Ahmad Atallah

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The Seven Deadly ...
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Sep 06, 2018 01:32AM

 
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الحلاج
“نظري بَدءُ عِلَّتي”
الحسين بن منصور الحلاج

Arundhati Roy
“شرح لهما أن التاريخ مثل بيتٍ قديم في الليل،حيث المصابيح مضاءة بأكملها، والأجداد يهمسون في الداخل.
ومن أجل فهم التاريخ، علينا أن ندخل ونصغي إلى ما يقولونه. وأن ننظر في الكتب والصور التي على الجدران. وأن نشم الروائح
لكننا لا نستطيع الدخول، لأننا قد حُجزنا في الخارج، وإذا ما نظرنا من خلال النوافذ، فإن كل ما نراه هو الظلال. وعندما نحاول أن نصغي، فإن كل ما نسمعه هو الهمس. ونحن لا نستطيع فهم الهمس، لأن عقولنا اجتيحت بحرب، حربٍ ربحناها وخسرناها، حرب هي الأسوأ على الإطلاق بين كل الحروب، حرب استولت على أحلامنا، وحلمت بها من جديد، حرب جعلتنا نعبد غزاتنا ونكره أنفسنا.”
أروندهاتي روي, The God of Small Things

Susan Sontag
“It hurts to love. It's like giving yourself to be flayed and knowing that at any moment the other person may just walk off with your skin.”
Susan Sontag, Reborn: Journals and Notebooks, 1947-1963

George Orwell
“Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.”
George Orwell, Why I Write

Paul Valéry
“I am now going to make an admission. I confess, I agree, that all these good people who protested, who laughed, who did not perceive what we perceived, were in a quite legitimate position. Their opinion was quite in order. One must not be afraid to say that the kingdom of letters is only a province of the vast empire of entertainment. One picks up a book, one puts it aside; and even when one cannot put it down one very well understands that this interest is related to the facility of pleasure. That is to say that every effort of a creator of beauty or of fantasy should be bent, by the very essence of his work, on contriving for the public pleasure which demands no effort, or almost none. It is through the public that he should deduce what touches, moves, soothes, animates or enchants the public.

There are however several publics; amongst whom it is not impossible to find some people who do not conceive of pleasure without pain, who do not like to enjoy themselves without paying, and who are not happy if their happiness is not in some part their own contrivance through which they wish to realize what it costs them.

Paul Valery, Selected Writings

year in books
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