Showing posts with label philosophy. Show all posts
Showing posts with label philosophy. Show all posts

Sunday, June 30, 2013

The Fountainhead

by Ayn Rand (1943)
 

REACTION: ★★★★  (Loved)

I find Ayn Rand, as an author, endearing in her utter sense of rectitude about her strongly irreverent and entirely rational views. She objectifies people to personify her objectivism. Her characters and stories are more philosophical concepts than they are reflective of human experience, but such is the charm of her works. And you get the sense that she sees people as either belonging to her or dead to her, nothing in between. I agree with most everything she points out about humanity and society within this book, except I don't regard those who disagree or live/believe differently as evil or weak the way she does. No one is really qualified to judge how other people live their lives, and no single course works for everyone. But I do think she voices some very important and poignant truths about individualism vs. collectivism and self-sufficiency vs. altruism that needs to be voiced. No one ever speaks out against the dangers of imposed altruism and community, but to enforce that as an institution is just as oppressive to the human spirit as any sort of dictatorship/totalitarianism. So I'm glad she stated her case as viciously as she did, because otherwise it would never come across clearly enough. Freedom of choice, equal opportunity, self-respect, and independent thought are championed throughout this book, so I can imagine this being a hit with college students. Though I can see feminists being outraged by the incident of desired rape that happens between Dominique and Roark, but if understood correctly it does not justify nor condone the act of rape. These two characters are very much set apart as oddities and representative of no one else except themselves with their very specific attitudes and preferences in that specific situation which actually didn't victimize anyone. The writing and storytelling itself has such defined efficiency, every word used has exact purpose and intention, nothing goes to waste. Basically, the opposite of Charles Dickens, though just as lengthy. My favorite parts of the story involve Dominque, Roark, and Wynand, respectively. Both their individual characters alone and the shared understanding and kinship each recognizes in the other. They all see through the nonsense and posers that run the world and rebel against vacuous society in their own unique ways: Dominque by experimenting with and embodying contradictions, Wynand by destroying ideals and ruling the corruption, Roark by shunning publicity and staying true to himself. I have freakin' 25 pages of quotes from this book! I'll try to narrow it down to a few highlights here. 


QUOTES:

"Why does the number of those others take the place of truth? Why is truth made a mere matter of arithmetic--and only of addition at that? Why is everything twisted of all sense to fit everything else? There must be some reason. I don’t know. I’ve never known it. I’d like to understand."  (Roark to the Dean)

"I have, let’s say, 60 years to live. Most of that time will be spent working. I’ve chosen the work I want to do. If I find no joy in it, then I’m only condemning myself to 60 years of torture. And I can find the joy only if I do my work in the best way possible to me. But the best is a matter of standards--and I set my own standards. I inherit nothing. I stand at the end of no tradition. I may, perhaps, stand at the beginning of one."  (Roark to the Dean)

"I don’t propose to force or be forced. Those who want me will come to me."  (Roark to the Dean)

"Roark smiled, without resentment or interest."  (toward Peter)

"She said it quite correctly; there was nothing offensive in the quiet politeness of her voice; but following his high note of enthusiasm, her voice struck a tone that seemed flat and deadly in its indifference--as if the two sounds mingled into an audible counterpoint around the melodic thread of her contempt."  (Dominique)

"If I’m correct in gathering that you’re criticizing mankind in general."  (Scarret)
"You know, it’s such a peculiar thing--our idea of mankind in general. We all have a sort of vague, glowing picture when we say that, something solemn, big and important. But actually all we know of it is the people we meet in our lifetime."  (Dominique)

"What do you want? Perfection?"  (Scarret)
"--or nothing. So you see, I take the nothing."  (Dominique)
"That doesn’t make sense."  (Scarret)
"I take the only desire one can really permit oneself. Freedom."  (Dominique)
"You call that freedom?" (Scarret)
"To ask nothing. To expect nothing. To depend on nothing."  (Dominique)

"Dominique had spent so many summers and winters, surrounding herself with people in order to feel alone, that the experiment of actual solitude was an enchantment to her"

"Never place your punch at the beginning of a column nor at the end. Sneak it in where it’s least expected. Fill a whole column with drivel, just to get in that one important line."  (Dominique)
"Quite. That’s why I like to talk to you. It’s such a waste to be subtle and vicious with people who don’t even know that you’re being subtle and vicious. But the drivel is never accidental, Dominique."  (Toohey)

"This was some enormous negative--as if everything had been wiped out, leaving a senseless emptiness, faintly indecent because it seemed so ordinary, so unexciting, like murder wearing a homey smile. Nothing was gone--except desire; no, more than that--the root, the desire to desire. He thought that a man who loses his eyes still retains the concept of sight; but he had heard of a ghastlier blindness--if the brain centers controlling vision are destroyed, one loses even the memory of visual perception."  (Wynand)

"There was no order in his reading; but there was order in what remained of it in his mind."  (Wynand)

"He kept the details of his life secret by making it glaringly public as a whole."  (Wynand)

"Through the years the thought of suicide had occurred to him, not as an intention, but as one of the many possibilities among the chances of life. He examined it indifferently, with polite curiosity, as he examined any possibility--and then forgot it."  (Wynand)

"You never wanted me to be real. You never wanted anyone to be. But you didn’t want me to show it. You wanted an act to help your act--a beautiful, complicated act, all twists, trimmings, and words. All words… You wanted a mirror. People want nothing but mirrors around them. To reflect them while they’re reflecting too. You know, like the senseless infinity you get from two mirrors facing each other across a narrow passage. Usually in the more vulgar kind of hotels. Reflections of reflections and echoes of echoes. No beginning and no end. No center and no purpose. I gave you what you wanted. I became what you are, what your friends are, what most of humanity is so busy being--only without the trimmings. I didn’t go around spouting book reviews to hide my emptiness of judgment--I said I had no judgment."  (Dominique to Peter)

"I’ve probably destroyed you. If I could care, I’d say I’m sorry. That was not my purpose."  (Dominique to Peter)

"Most people go to very great length in order to convince themselves of their self-respect."  (Wynand)
"Yes."  (Dominique)
"And, of course, a quest for self-respect is proof of its lack"  (Wynand)
"Yes."  (Dominique)
"Do you see the meaning of a quest for self-contempt?"  (Wynand)
"That I lack it."  (Dominique)
"And that you’ll never achieve it."  (Wynand)

"You’re the most egotistical and the kindest man I know. And that doesn’t make sense."  (Peter)
"Maybe the concepts don’t make sense. Maybe they don’t mean what people have been taught to think they mean."  (Roark)

"Every form of happiness is private. Our greatest moments are personal, self-motivated, not to be touched. The things which are sacred or precious to us are the things we withdraw from promiscuous sharing. But now we are taught to throw everything within us into public light and common pawing."  (Roark to Wynand)

"If this boat were sinking, I’d give my life to save you. Not because it’s any kind of duty. Only because I like you, for reasons and standards of my own. I could die for you. But I couldn’t and wouldn’t live for you."  (Roark to Wynand)

"Every system of ethics that preached sacrifice grew into a world power and ruled millions of men. Of course, you must dress it up. You must tell people that they will achieve a superior kind of happiness by giving up everything that makes them happy. You don’t have to be too clear about it. Use big vague words. 'Universal Harmony.' 'Eternal Spirit.' 'Divine Purpose.' 'Nirvana.' 'Paradise.' 'Racial Supremacy.' 'The Dictatorship of the Proletariat.'"  (Toohey to Peter)

"Man cannot survive except through his mind. He comes on earth unarmed. His brain is his only weapon."  (Roark, courtroom speech)

"An agreement reached by a group of men is only a compromise or an average drawn upon many individual thoughts. It is a secondary consequence. The primary act--the process of reasoning--must be performed by each man alone. We can divide a meal among many men. We cannot digest it in a collective stomach. No man can use his lungs to breathe for another man. No man can use his brain to think for another. All the functions of body and spirit are private. They cannot be shared or transferred."  (Roark, courtroom speech)

"The egotist in the absolute sense is not the man who sacrifices others. He is the man who stands above the need of using others in any manner. He does not function through them. He is not concerned with them in any primary matter. Not in his aim, not in his motive, not in his thinking, not in his desires, not in the source of his energy. He does not exist for any other man--and he asks no other man to exist for him. This is the only form of brotherhood and mutual respect possible between men."  (Roark, courtroom speech)

"Men exchange their work by free, mutual consent to mutual advantage when their personal interests agree and they both desire the exchange. If they do not desire it, they are not forced to deal with each other. They seek further. This is the only possible form of relationship between equals. Anything else is a relation of slave to master, or victim to executioner."  (Roark, courtroom speech)

Sunday, February 3, 2013

The Unbearable Lightness of Being

by Milan Kundera (1984)
~ original language: Czech




REACTION: ★★★★ (Loved)

Perfect rendering of the imperfections of life and people. I felt like the book delves into pretty heavy, philosophical topics in such quirky and endearing ways. I appreciated the overall theme about how the weight and burden we think we have is nothing compared to the lightness we bear when we have to face the impermanence and insignificance of our lives. We can't handle absolute freedom. It's unbearable because we invariably want permanence and the realness that comes from weight and being bound to something. I liked that the author breaks from narrative to comment on the ongoing story and his process as a writer. It's like the book version of breaking the fourth wall. I also enjoyed the nonlinear structure where the story follows each character's point of view around and jumps back and forth in time. It's told in a way that's not hard to take in all of what's happening to everyone and really works for the story. So much symbolism in this book I can't even keep track. Sabina is hands-down my favorite character, just everything she represents. She may be the only one who could handle the lightness of being. Her entire relationship with Franz is made of win with its inevitable fail and Dictionary of Misunderstood Words. Then the irony of Franz being wholly misunderstood by Marie Clove in the same way he had misunderstood Sabina. Fascinating all the stuff the book goes into about the undertones of meaning in different languages for the word "compassion," lyrical vs. epic womanizer, the concept and theme of "kitsch," dividing people into four categories based on how and who we wish to be looked at by, etc. There's virtually nothing I disagreed with about this book.


QUOTES:

"If eternal return is the heaviest of burdens, then our lives can stand out against it in all their splendid lightness."

"The absolute absence of a burden causes man to be lighter than air...and become only half real, his movements as free as they are insignificant."

"And what can life be worth if the first rehearsal for life is life itself? That is why life is always a sketch. No, 'sketch' is not quite the word, because sketch is an outline for something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture."

"Dreaming is not merely an act of communication (or coded communication, if you like); it is also an aesthetic activity, a game of the imagination, a game that is a value in itself."

"She yearned for the two of them to merge into a hermaphrodite. Then the other bodies would be their playthings."  [Tereza, about Tomas]

"On the surface, an intelligible lie; underneath, the unintelligible truth showing through."  [Sabina, about her paintings]

"It was a drunken carnival of hate... But no carnival can go on forever.  [Russian invasion of Czechoslovakia]

"A monument to time past... it was a recapitulation of time, a hymn to their common past, a sentimental summary of an unsentimental story that was disappearing in the distance."  [Sabina's bowler hat]

"Being a woman is a fate Sabina did not choose. What we have not chosen we cannot consider either our merit or our failure. Sabina believed that she had assume the correct attitude to her unchosen fate. To rebel against being born a woman seemed as foolish to her as to take pride in it."

"Characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about."

"The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own “I” ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author’s confession; it is an investigation of human life in the trap the world has become. But enough. Let us return to Tomas."

"What repelled her was not nearly so much the ugliness of the Communist world (ruined castles transformed into cow sheds) as the mask of beauty it tried to wear--in other words, Communist kitsch."  [Sabina]

"Man invented God to sanctify the dominion that he had usurped for himself over the cow and the horse."

"Man is as much a parasite on the cow as the tapeworm is on man"  [Tereza]

"Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion."

"Mankind's true moral test...consists of its attitude towards those who are at its mercy" 


MOVIE (1988):


I actually saw the movie before I read the book. And I have to say it's probably the most effective adaptation of this book into film that could be made, capturing the essence of the story without following exact narrative structure since to do so would be too confusing to watch. Of course, nothing compares to the book and it's not like one of my favorite movies or anything. But it resonated enough to make me want to read the book in the first place. That scene where Franz walks into the empty room was my favorite part.