#t

Boy, you're good at figuring things out. Isn't he? Except that if anybody's the devil in this room it's _you_, buster." An extraordinary bitterness came into his face. "I've seen you before. I know you, all right, preacher man. Age after age, you come back. You always lead the crusades. You're so damned golden-tongued, other people just flock to die for your causes. You die with them, it's true, because you're stupid enough to believe your own great lies; but you always come back again somehow. Oh, I know _you_. ↗

— Kage Baker

#history #religion #age

I’ve had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist. ↗

— Alan Lee

#illustrating #influences #age

At this point, a few words on this term 'horror' are perhaps called for. Some amateurs of this kind of literature engage in endless hairsplitting disputes, centered around this word and its close companion 'terror', as to which' stories may so be categorized and which may not, and whether or not descriptions such as weird or fantasy or macabre are preferable. The designation 'horror', with its connotations of revulsion, satisfies me no more than it does the purists but I believe that it is the only term which embraces all the stories in this collection and which succinctly suggests to the majority of readers what is in store for them. Horror then, in this instance, covers tales of the Supernatural and of physical terror, of ghosts and necromancy and of inhuman violence and all the dark corners and crevices of human belief and behavior that lie in between. ("An Age In Horror" - introduction) ↗

— Michel Parry

#genre-constraints #genre-fiction #horror #terror #age

At heart, Sussman was a theoretician. In another age, he might have been a Talmudic scholar. He had cultivated a Socratic method, zinging question after question at the reporters: Who moved over from Commerce to CRP with Stans? What about Mitchell's secretary? Why won't anybody say when Liddy went to the White House or who worked with him there? Mitchell and Stans both ran the budget committee, right? What does that tell you? Then Sussman would puff on his pipe, a satisfied grin on his face. ↗

— Carl Bernstein

#watergate #age

In 1231, Pope Gregory ordered the Dominicans to take charge of papal courts and decisions and so prevent mob rule and guarantee that the accused received a fair trial and the right of defence. This was the foundation of the Inquisition, and it was a move to organize, control, and limit violence, disruption, and division. Of course, it often failed and even achieved the opposite of its stated and original purpose, but it's surprising how often in an age of casual and brutal violence a relative moderation and legality was achieved. Civil law was far harsher than canon law, demanding confiscation of a heretic's property and usually death, something the Church had tried to prevent for generations. ↗

— Michael Coren

#inquisition #law #age

Here in the last minutes, the very end of the world, someone's tightening a screw thinner than an eyelash, someone with slim wrists is straightening flowers... ↗

— James Richardson

#karen-thompson-walker #the-age-of-miracles #age

It is usually assumed that children are the natural or the specially appropriate audience for fairy-stories. In describing a fairy-story which they think adults might possibly read for their own entertainment, reviewers frequently indulge in such waggeries as: "this book is for children from the ages of six to sixty." But I have never yet seen the puff of a new motor-model that began thus: "this toy will amuse infants from seventeen to seventy"; though that to my mind would be much more appropriate. Is there any essential connexion between children and fairy-stories? Is there any call for comment, if an adult reads them for himself? Reads them as tales, that is, not studies them as curios. Adults are allowed to collect and study anything, even old theatre programmes or paper bags. ↗

— J.R.R. Tolkien

#fiction #age

Great scientists are Peter Pans, still anxious to classify and explain at an age when most people are concerned with money, power and sex. ↗

— David M. Knight

#science #age

I have often perplexed myself over what I saw in Nelle Snyder's aged face at that moment. It was no look of paranoia. It was a look of waiting. Perpetual waiting. That look was to come back to me sixteen years later when I heard Rose's narration at the end of James Cameron's Titanic, with its line about survivors "waiting for an absolution that never came." Yet the waiting I saw in Nelle Snyder's face seemed larger even than a waiting for absolution. It seemed vaster even than Titanic herself. Call it the waiting of the Mother of all Perished Vessels. Or of a Ship of Honeymoon Dreams perchance, with a passenger list spanning all humanity, that once proudly sailed but was lost, aeons ago, and sank to a dark, unreachable abode where nothing whatsoever can be grasped about her except her perplexing power still to haunt us. ↗

— James Glaeg

#age

The alternate domination of one faction over another, sharpened by the spirit of revenge, natural to party dissension, which in different ages and countries has perpetrated the most horrid enormities, is itself a frightful despotism. But this leads at length to a more formal and permanent despotism. ↗

— George Washington

#history #patriotism #political-parties #political-philosophy #politics