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For Vida, that moment was the beginning of happiness, and in that happiness, like some kind of disease, the beginning of her titanic jealousy, which stayed with her forever and finally drove her to her grave. Because one dies of happiness sooner than of misery. (Milorad Pavić, from Landscape Painted With Tea)
There was no hope for an empire that lost the will to prosecute the grand and awful business of adventure. (Michael Chabon, from Gentlemen of the Road)
“Do you know what it is to throw a child in the air and catch it on a knife in front of its mother? To be tied to a burning log? To have your ass split with an axe so that you beg the Serbs, beg them, to shoot you in the head and they don’t?
“And they go to their church after. They go to their goddamn church. I have no words …”
Ismail shuddered. “There are things that are beyond evil, that you just can’t speak about.” (Robert Kaplan, from Balkan Ghosts)
If miracles have been so rare since the appearance of Christianity, the blame rests not on Christianity but on Christians. (Mircea Eliade, from The Myth of the Eternal Return)
If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of those you can be sure it will kill you too but there will be no special hurry. (Ernest Hemingway, from A Farewell to Arms)
Our nation has grown by its need for the unnecessary — another name for human progress. (Daniel Boorstin, from Cleopatra’s Nose)
“I’d like to change the world, but I end up as entertainment. Whereas all you lovers” — he spoke the word contemptuously — “who couldn’t give a fuck about the world as long as you’re feeling passionate, you’re the ones who make the cities burn and the nations tumble. You’re the engines in the tragedy, and most of the time you don’t even know it.” (Clive Barker, from Imajica)
Here are links to all the Comics You Should Own essays I have written so far. Plus, I’ve added some explanation. Enjoy!
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“Keep away, keep away,” Hungry Joe screamed. “I said keep away, keep away, you goddam stinking lousy son of a bitch.”
“At least we found out what he dreams about,” Dunbar observed wryly. “He dreams about goddam stinking lousy sons of bitches.” (Joseph Heller, from Catch-22)
Society had tamed the erratic fellow by co-opting him into the mainstream. For its largest threats, society reserves success. (Richard Powers, from Three Farmers on Their Way to a Dance)
I’ve talked pretty openly about my love for Brian Wood’s new DV8 mini-series Gods & Monsters, from the fact that I think it feels both modern and also somehow like a throwback to really good superhero character pieces, but it’s also been one of the inspirations for why I’ve been talking so frequently about how much I’d like to see more independent creators given a chance to show what they can do on more mainstream characters. Not that DV8 was ever totally mainstream, but there’s no reason why DV8 can’t emerge as a powerhouse of a title from Wildstorm, if done right. And with able assists from Fiona Staples on covers and Carrie Strachan delivering beautiful colors, Brian Wood and Rebekah Isaacs are doing it SO right. The way I feel a lot more indie creators could if given the chance to run wild on a title the way Wood and Isaacs have cut loose on Gods & Monsters.
Brian Wood is a goliath in this industry so it feels strange to call him independent, but if you look at his body of work, that’s exactly what it is. Wildly independent. It’s honed to his own vision and his own personal standards, which as far as I’m concerned, are well above that of most comics out there. Brian Wood puts out awesome book after awesome book ranging from ongoings like the epic Northlanders and DMZ to totally alternative superhero-ish tales in the excellent Demo; to literary short fiction made into comics in the form of Local; to now breathing new life into some 1990’s anti-heroes almost forgotten in DV8’s Gods & Monsters mini-series.
It’s all exceptional stuff. Brian Wood, for my money, is one of the great comic creators and writers of our time, so I was pretty excited when he agreed to talk to me about DV8, a comic that I really hope will pave the way (eventually) for a new direction for superheroes.
The difference between men and sheep seems to be that men, unlike sheep, need not be led to the slaughter but are carried there on the wings of their own enthusiasm. (William Gerhardie, from God’s Fifth Column)
“That’s why opera is important, Baron. Because it’s realer than any play! A dramatic poet would have to put all those thoughts down one after another to represent this second of time. The composer can put them all down at once – and still make us hear each one of them. Astonishing device: a Vocal Quartet! … I tell you I want to write a finale lasting half an hour! A quartet becoming a quintet becoming a sextet. On and on, wider and wider – all sounds multiplying and rising together – and the together making a sound entirely new! … I bet you that’s how God hears the world. Millions of sounds ascending at once and mixing in His ear to become an unending music, unimaginable to us! That’s our job! That’s our job, we composers: to combine the inner minds of him and him and him, and her and her – the thoughts of chambermaids and Court Composers – and turn the audience into God.” (Peter Shaffer, from “Amadeus”)
“It took me some time to figure out that love is in the details. It’s in the books and records and the stereo and the convertible. Love is always in the details. And that’s where the pain is too.” (John Crowley, from Aegypt)
The thousands stand and chant. Around them in the world, people ride escalators going up and sneak secret glances at the faces going down. People dangle teabags over hot water in white cups. Cars run silently on the autobahns, streaks of painted light. People sit at desks and stare at office walls. They smell their shirts and drop them in the hamper. People bind themselves into numbered seats and fly across time zones and high cirrus and deep night, knowing there is something they’ve forgotten to do.
The future belongs to crowds. (Don DeLillo, from Mao II)
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