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The Fountainhead

The Fountainhead (1943) is a novel by Ayn Rand about an idealistic young architect who chooses to struggle in obscurity rather than compromise his artistic and personal vision. The book follows his battle to practice modern architecture, which he believes to be superior, despite an establishment centered on tradition-worship.

Quotes

 * Except as otherwise noted, page numbers correspond to the hardcover Bobbs-Merrill edition (1943)

Part I ( Peter Keating )

 * Howard Roark laughed.
 * Chapter I, p. 9 ; opening sentence

 * "Do you mean to tell me that you're thinking seriously of building that way, when and if you are an architect?" "Yes." "My dear fellow, who will let you?" "That's not the point. The point is, who will stop me?"
 * Chapter I, p. 17 ; the Dean and Howard Roark

 * "Why do you want me to think that this is great architecture?" He pointed to the picture of the Parthenon. "That," said the Dean, "is the Parthenon!" "So it is." "I haven't the time to waste on silly questions." "All right, then." Roark got up, he took a long ruler from the desk, he walked to the picture. "Shall I tell you what's rotten about it?" "It’s the Parthenon!" said the Dean. "Yes, God damn it, the Parthenon." The ruler struck the glass over the picture. "Look, " said Roark. "The famous flutings on the the famous columns—what are they there for? To hide the joints in the wood—when columns were made of wood, only these aren't, they're marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?"
 * Chapter I, p. 23; Howard Roark to the Dean

 * "Here are my rules: what can be done with one substance must never be done with another. No two materials are alike. No two sites on earth are alike. No two buildings have the same purpose. The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it's made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn't borrow pieces of his body. A building doesn't borrow hunks of its soul. Its maker gives it the soul and every wall, window and stairway to express it."
 * Chapter I, p. 18 ; Howard Roark to the Dean

 * "Every form has its own meaning. Every man creates his meaning and form and goal. Why is it so important—what others have done? Why does it become sacred by the mere fact of not being your own? Why is anyone and everyone right—so long as it's not yourself? 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 out 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."
 * Chapter I, pp. 18-19 ; Howard Roark to the Dean

 * "But you see, I have, let's say, sixty 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 sixty 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."
 * Chapter I, p. 24; Howard Roark to the Dean

 * "I don't intend to build in order to have clients; I intend to have clients in order to build."
 * Chapter I, p. 20 ; Howard Roark to the Dean

 * "If you want my advice, Peter, you've made a mistake already. By asking me. By asking anyone. Never ask people. Not about your work. Don't you know what you want? How can you stand it, not to know?"
 * Chapter II, p. 28 ; Howard Roark to Peter Keating

 * "How do you always manage to decide?" "How can you let others decide for you?"
 * Chapter II, p. 28 ; Peter Keating and Howard Roark

 * It was not necessary to design buildings any longer, only to photograph them; the architect with the best library was the best architect. […] Henry Cameron had nothing to offer against this; nothing but a faith he held merely because it was his own. He had nobody to quote and nothing of importance to say. He said only that the form of a building must follow its function; that the structure of a building is the key to its beauty; that new methods of construction demand new forms; that he wished to build as he wished and for that reason only. […] Men hate passion, any great passion. Henry Cameron made a mistake: he loved his work. That was why he fought. That was why he lost.
 * Chapter III, p. 41

 * "Do you always have to have a purpose? Do you always have to be so damn serious? Can't you ever do things without reason, just like everybody else? You're so serious, so old. Everything's important with you, everything's great, significant in some way, every minute, even when you keep still. Can't you ever be comfortable—and unimportant?" "No."
 * Chapter VII, p. 88 ; Peter Keating and Howard Roark

 * " […] the only way in which we can have any law at all is to have as little of it as possible. I see no ethical standard by which to measure the whole unethical conception of a State, except in the amount of time, of thought, of money, of effort and of obedience, which a society extorts from its every member. Its value and its civilization are in inverse ratio to that extortion. There is no conceivable law by which a man can be forced to work on any terms except those he chooses to set. There is no conceivable law to prevent him from setting them—just as there is none to force his employer to accept them. The freedom to agree or disagree is the foundation of our kind of society—and the freedom to strike is a part of it."
 * Chapter IX, p. 110 ; Austen Heller, speech to meeting of strike sympathizers

 * "A house can have integrity, just like a person; and just as seldom."
 * Chapter XI, p. 140 ; Howard Roark to Austin Heller

 * "If I found a job, a project, an idea or a person I wanted—I'd have to depend on the whole world. Everything has strings leading to everything else. We're all so tied together. We're all in a net, the net is waiting, and we're pushed into it by one single desire. You want a thing and it's precious to you. Do you know who is standing ready to tear it out of your hands? You can't know, it may be so involved and so far away, but someone is ready, and you're afraid of them all. And you cringe and you crawl and you beg and you accept them—just so they'll let you keep it."
 * Chapter XII, p. 148 ; Dominique Francon to Alvah Scarret

 * "As a matter of fact, one can feel some respect for people when they suffer. They have a certain dignity. But have you ever looked at them when they're enjoying themselves? That's when you see the truth."
 * Chapter XII, p. 149 ; Dominique Francon to Alvah Scarret

 * "What do you want? Perfection?" "—or nothing. So, you see, I take the nothing." "That doesn’t make sense." "I take the only desire one can permit oneself. Freedom, Alvah. Freedom." "You call that freedom?" "To ask nothing. To expect nothing. To depend on nothing."
 * Chapter XII, p. 149 ; Alvah Scarret and Dominique Francon

 * "You know, there's a thing that stumps me. You're the coldest man I know. And I can't understand why—knowing that you're actually a fiend in your quiet sort of way—why I always feel, when I see you, that you're the most life-giving person I've ever met."
 * Chapter XIII, pp. 166-167 ; Austin Heller to Howard Roark

 * "Now take a human body. Why wouldn't you like to see a human body with a curling tail with a crest of ostrich feathers at the end? And with ears shaped like acanthus leaves? It would be ornamental, you know, instead of the stark, bare ugliness we have now. Well, why don't you like the idea? Because it would be useless and pointless. Because the beauty of the human body is that it hasn't a single muscle which doesn't serve its purpose; that there's not a line wasted; that every detail of it fits one idea, the idea of a man and the life of a man. Will you tell me why, when it comes to a building, you don't want it to look as if it had any sense or purpose, you want to choke it with trimmings, you want to sacrifice its purpose to its envelope—not knowing even why you want that kind of an envelope? You want it to look like a hybrid beast produced by crossing the bastards of ten different species until you get a creature without guts, without heart or brain, a creature all pelt, tail, claws and feathers? Why? You must tell me, because I’ve never been able to understand it."
 * Chapter XIII, p. 171 ; Howard Roark to Nathaniel Janss

Part II ( Ellsworth M. Toohey )

 * "There's nothing as significant as a human face. Nor as eloquent. We can never really know another person, except by our first glance at him. Because, in that glance, we know everything. Even though we're not always wise enough to unravel the knowledge. Have you ever thought about the style of a soul, Kiki?" "The ... what?" "The style of the soul. Do you remember the famous philosopher who spoke of the style of a civilization? He called it 'style.' He said it was the nearest word he could find for it. He said that every civilization has its one basic principle, one single, supreme, determining conception, and every endeavor of men within that civilization is true, unconsciously and irrevocably, to that one principle.... I think, Kiki, that every human soul has a style of its own, also. Its one basic theme. You'll see it reflected in every thought, every act, every wish of that person. The one absolute, the one imperative in that living creature. Years of studying a man won't show it to you. His face will. You'd have to write volumes to describe a person. Think of his face. You need nothing else." "That sounds fantastic, Ellsworth. And unfair, if true. It would leave people naked before you." "It's worse than that. It also leaves you naked before them. You betray yourself by the manner in which you react to a certain face."
 * Chapter VI, pp. 281-282 ; Ellsworth Toohey and Kiki Holcombe

 * "Every loneliness is a pinnacle."
 * Chapter VIII, p. 295 ; Ellsworth Toohey to Dominique Francon

 * "You're much worse than a bitch. You're a saint. Which shows why saints are dangerous and undesirable."
 * Chapter VIII, p. 297 ; Ellsworth Toohey to Dominique Francon

 * "It's good to suffer. Don't complain. Bear, bow, accept—and be grateful that God has made you suffer. For this makes you better than the people who are laughing and happy. If you don't understand this, don't try to understand. Everything bad comes from the mind, because the mind asks too many questions. It is blessed to believe, not to understand. So if you didn't get passing grades, be glad of it. It means that you are better than the smart boys who think too much and too easily."
 * Chapter IX, p. 318 ; Ellsworth Toohey

 * "We are all brothers under the skin, and I, for one, would be willing to skin humanity to prove it."
 * Chapter IX, pp. 324-325 ; Ellsworth Toohey

 * "The causes of illusions are not pretty to discover. They’re either vicious or tragic."
 * Chapter X, p. 332 ; Kent Lansing to Howard Roark

 * "When facing society, the man most concerned, the man who is to do the most and contribute the most, has the least to say. It's taken for granted that he has no voice and the reasons he could offer are rejected in advance as prejudiced—since no speech is ever considered, but only the speaker. It's so much easier to pass judgment on a man than on an idea. Though how in hell one passes judgment on a man without considering the content of his brain is more than I'll ever understand. However, that's how it's done."
 * Chapter X, p. 333 ; Kent Lansing to Howard Roark

 * "I want a good hotel, and I have certain standards of what is good, and they're my own, and you're the one who can give me what I want. And when I fight for you, I’m doing—on my side of it—just what you do when you design a building. Do you think integrity is the monopoly of the artist? And what, incidentally, do you think integrity is? The ability not to pick a watch out of your neighbor’s pocket? No, it's not as easy as that. If that were all, I'd say ninety-five percent of humanity were honest, upright men. Only, as you can see, they aren't. Integrity is the ability to stand by an idea. That presupposes the ability to think. Thinking is something one doesn't borrow or pawn. […] Don't worry. They're all against me. But I have one advantage: they don't know what they want. I do."
 * Chapter X, p. 333 ; Kent Lansing to Howard Roark

 * "Now, talk. Talk about the things you really want said. Don't tell me about your family, your childhood, your friends or your feelings. Tell me about the things you think." Mallory looked at him incredulously and whispered: "How did you know that?" Roark smiled and said nothing. "How did you know what's been killing me? Slowly, for years, driving me to hate people when I don't want to hate.... Have you felt it, too? Have you seen how your best friends love everything about you—except the things that count? And your most important is nothing to them, nothing, not even a sound they can recognize. You mean, you want to hear? You want to know what I do and why I do it, you want to know what I think? It's not boring to you? It's important?" "Go ahead," said Roark. Then he sat for hours, listening, while Mallory spoke of his work, of the thoughts behind his work, of the thoughts that shaped his life, spoke gluttonously, like a drowning man flung out to shore, getting drunk on huge, clean snatches of air.
 * Chapter XI, p. 351 ; Howard Roark and Steven Mallory

 * "I don't believe it matters to me—that they're going to destroy it. Maybe it hurts so much that I don't even know I'm hurt. But I don't think so. If you want to carry it for my sake, don't carry more than I do. I'm not capable of suffering completely. I never have. It goes only down to a certain point and then it stops. As long as there is that untouched point, it's not really pain. "Where does it stop?" "Where I can think of nothing and feel nothing except that I designed that temple. I built it. Nothing else can seem very important." "You shouldn't have built it. You shouldn't have delivered it to the sort of thing they're doing." "That doesn't matter. Not even that they'll destroy it. Only that it had existed."
 * Chapter XII, p. 366 ; Howard Roark and Dominique Francon

 * "When you see a man casting pearls without getting even a pork chop in return—it is not against the swine that you feel indignation. It is against the man who valued his pearls so little that he was willing to fling them into the muck and let them become the occasion for a whole concert of grunting, transcribed by the court stenographer."
 * Chapter XII, p. 378 ; testimony of Dominique Francon

 * "Ask anything of men. Ask them to achieve wealth, fame, love, brutality, murder, self-sacrifice. But don't ask them to achieve self-respect. They will hate your soul."
 * Chapter XII, p. 379 ; testimony of Dominique Francon

 * "We must not think. We must believe. Believe, Katie, even if your mind objects. Don't think. Believe. Trust your heart, not your brain. Don't think. Feel. Believe."
 * Chapter XIII, p. 388 ; Ellsworth Toohey to Catherine Halsey

 * "We never need to say anything to each other when we're together. This is—for the time when we won't be together. I love you, Dominique. As selfishly as the fact that I exist. As selfishly as my lungs breath air. I breathe for my own necessity, for the fuel of my body, for my survival. I've given you not my sacrifice or my pity, but my ego and my naked need. This is the only way you can wish to be loved. This is the only way I can want you to love me. If you married me now, I would become your whole existence. But I would not want you then. You would not want yourself—and so you would not love me long. To say 'I love you' one must first know how to say the 'I'. The kind of surrender I could have from you now would give me nothing but an empty hulk. If I demanded it, I'd destroy you. That's why I won't stop you. I'll let you go to your husband. I don't know how I'll live through tonight, but I will. I want you whole, as I am, as you'll remain in the battle you've chosen. A battle is never selfless. [...] You must learn not to be afraid of the world. Not to be held by it as you are now. Never to be hurt by it as you were in that courtroom. I must let you learn it. I can't help you. You must find your own way. When you have, you'll come back to me. They won't destroy me, Dominique. And they won't destroy you. You'll win, because you've chosen the hardest way of fighting for your freedom from the world. I'll wait for you. I love you. I'm saying this now for all the years we'll have to wait. I love you, Dominique."
 * Chapter XIV, p. 400 ; Howard Roark to Dominique Keating (Francon)

 * "Mr. Roark, we're alone here. Why don't you tell me what you think of me? In any words you wish. No one will hear us." "But I don't think of you."
 * Chapter XV, p. 413 ; Ellsworth Toohey and Howard Roark

Part III ( Gail Wynand )

 * "It's said that the worst thing one can do to a man is to kill his self-respect. But that's not true. Self-respect is something that can't be killed. The worst thing is to kill a man's pretense at it."
 * Chapter II, p. 427 ; Dominique Keating (Francon) to Peter Keating

 * "Suffering? I'm not conscious of having shown that." "You haven't. That's what I meant. No happy person can be quite so impervious to pain."
 * Chapter III, p. 438 ; Dominique Keating (Francon) and Gail Wynand

 * "Surely you've seen through that particular stupidity. I mean the one that claims the pig is the symbol of love for humanity—the creature that accepts anything. As a matter of fact, the person who loves everybody and feels at home everywhere is the true hater of mankind. He expects nothing of men, so no form of depravity can outrage him."
 * Chapter IV, p. 475 ; Gail Wynand to Dominique Keating (Francon)

 * "One can't love man without hating most of the creatures who pretend to bear his name. It's one or the other. One doesn't love God and sacrilege impartially. Except when one doesn't know that sacrilege has been committed. Because one doesn't know God."
 * Chapter IV, p. 476 ; Gail Wynand to Dominique Keating (Francon)

 * " [...] love is reverence, and worship, and glory, and the upward glance. Not a bandage for dirty sores. But they don't know it. Those who speak of love most promiscuously are the ones who've never felt it. They make some sort of feeble stew out of sympathy, compassion, contempt and general indifference, and they call it love. Once you've felt what it means to love as you and I know it—the total passion for the total height—you're incapable of anything less."
 * Chapter IV, p. 476 ; Gail Wynand to Dominique Keating (Francon)

 * "You're called a hater of humanity, Mrs. Keating, because you've committed the crime of knowing a love humanity has not learned to deserve."
 * Chapter IV, p. 476 ; Gail Wynand to Dominique Keating (Francon)

 * The luxury was secondary, a background so proper to him that it could be ignored. The man humbled his own wealth. She had seen people of wealth, stiff and awed before that which represented their ultimate goal. The splendor of this place was not the aim, not the final achievement of the man who leaned casually across the table. She wondered what his aim had been.
 * Chapter IV, p. 477 ; thoughts of Dominique Keating (Francon)

 * "You've never felt how small you were when looking at the ocean." He laughed. "Never. Nor looking at the planets. Nor at mountain peaks. Nor at the Grand Canyon. Why should I? When I look at the ocean, I feel the greatness of man. I think of man's magnificent capacity that created this ship to conquer all that senseless space. When I look at mountain peaks, I think of tunnels and dynamite. When I look at the planets, I think of airplanes."
 * Chapter IV, p.477 ; Dominique Keating (Francon) and Gail Wynand

 * "I would give the greatest sunset in the world for one sight of New York's skyline. Particularly when one can't see the details. Just the shapes. The shapes and the thought that made them. The sky over New York and the will of man made visible. What other religion do we need? And then people tell me about pilgrimages to some dank pesthole in a jungle where they go to do homage to a crumbling temple, to a leering stone monster with a pot belly, created by some leprous savage. Is it beauty and genius they want to see? Do they seek a sense of the sublime? Let them come to New York, stand on the shore of the Hudson, look and kneel. When I see the city from my window—no, I don't feel how small I am—but I feel that if a war came to threaten this, I would like to throw myself into space, over the city, and protect these buildings with my body."
 * Chapter IV, p. 478 ; Gail Wynand to Dominique Keating (Francon)

 * "I often think that he's the only one of us who's achieved immortality. I don't mean in the sense of fame and I don't mean that he won't die some day. But he's living it. I think he is what the conception really means. You know how people long to be eternal. But they die with every day that passes. When you meet them, they're not what you met last. In any given hour, they kill some part of themselves. They change, they deny, they contradict—and they call it growth. At the end there's nothing left, nothing unreversed or unbetrayed; as if there had never been an entity, only a succession of adjectives fading in and out on an unformed mass. How do they expect a permanence which they have never held for a single moment? But Howard—one can imagine him lasting forever."
 * Chapter V, p. 485 ; Steven Mallory to Dominique Keating (Francon)

 * She thought how strange it would be if she ever said "Hello" to him; one did not greet oneself each morning.
 * Chapter V, p. 494 ; thoughts of Dominique Keating (Francon)

 * "I love doing it. Every building is like a person. Single and unrepeatable."
 * Chapter V, p. 495 ; Howard Roark to Dominique Keating (Francon)

 * "Writing is a serious business and not for any stray bastard that wants to try it."
 * Chapter XII, p. 501 ; Lancelot Clokey to Ike (the playwright)

 * "Patience is always rewarded and romance is just around the corner."
 * Chapter VIII, p. 523 ; Dominique Wynand (Francon) to Sally Brent

 * " [...] love is exception-making."
 * Chapter IX, p. 532 ; Gail Wynand to Dominique Wynand (Francon)

 * "You can't fight him on his terms. You're only a tank—and that's a very clean, innocent weapon. An honest weapon that goes first, out in front, and mows everything down or takes every counterblow. He's a corrosive gas. The kind that eats lungs out."
 * Chapter IX, pp. 536-537 ; Dominique Wynand (Francon) to Gail Wynand about Ellsworth Toohey

 * "The hardest thing to explain is the glaringly evident which everybody has decided not to see."
 * Chapter IX, p. 537 ; Dominique Wynand (Francon) to Gail Wynand

 * "I love you, Dominique. I love you so much that nothing can matter to me—not even you. Can you understand that? Only my love—not your answer. Not even your indifference. I've never taken much from the world. I haven't wanted much. I've never really wanted anything. Not in the total, undivided way, not with the kind of desire that becomes an ultimatum, 'yes' or 'no,' and one can't accept the 'no' without ceasing to exist. That's what you are to me. But when one reaches that stage, it's not the object that matters, it's the desire. Not you, but I. The ability to desire like that. Nothing less is worth feeling or honoring. And I've never felt that before. Dominique, I've never known how to say 'mine' about anything. Not in the sense I say it about you. Mine. Did you call it a sense of life as exaltation? You said that. You understand. I can't be afraid. I love you, Dominique—I love you—you're letting me say it now—I love you."
 * Chapter IX, pp. 538-539 ; Gail Wynand to Dominique Wynand (Francon)

Part IV ( Howard Roark )

 * He had always wanted to write music, and he could give no other identity to the thing he sought. If you want to know what it is, he told himself, listen to the first phrases of Tchaikovsky's "First Concerto"—or to the last movement of Rachmaninoff's Second. Men have not found the words for it nor the deed nor the thought, but they have found the music. Let me see that in one single act of man on earth. Let me see it made real. Let me see the answer to the promise of that music. Not servants nor those served; not altars and immolations; but the final, the fulfilled, innocent of pain. Don't help me or serve me, but let me see it once, because I need it. Don't work for my happiness, my brothers—show me yours—show me that it is possible—show me your achievement—and the knowledge will give me courage for mine.
 * Chapter I, p. 504; Thoughts of the young man with the bicycle (from the opening of Part IV)

 * "It takes two to make a very great career: The man who is great, and the man—almost rarer—who is great enough to see greatness and say so."
 * Chapter I, p. 512; Kent Lansing to Howard Roark

 * "I don't work with collectives. I don't consult, I don't co-operate, I don't collaborate."
 * Chapter I, p. 513; Howard Roark

 * "What you feel in the presence of a thing you admire is just one word—'Yes.' The affirmation, the acceptance, the sign of admittance. And that 'Yes' is more than an answer to one thing, it's a kind of 'Amen' to life, to the earth that holds this thing, to the thought that created it, to yourself for being able to see it. But the ability to say 'Yes' or 'No' is the essence of all ownership. It's your ownership of your own ego. Your soul, if you wish. Your soul has a single basic function—the act of valuing. 'Yes' or 'No,' 'I wish' or 'I do not wish.' You can't say 'Yes' without saying 'I.' There's no affirmation without the one who affirms. In this sense, everything to which you grant your love is yours. [...] "Howard, that 'Yes'—once granted, can it be withdrawn?" "Never."
 * Chapter IV, pp. 539-540; Howard Roark and Gail Wynand

 * "There's so much nonsense about human inconstancy and the transience of all emotions. I've always thought that a feeling which changes never existed in the first place. There are books I liked at the age of sixteen. I still like them."
 * Chapter IV, p. 584; Gail Wynand to Howard Roark and Dominique Wynand (Francon)

 * "I regret nothing. There have been things I missed, but I ask no questions, because I have loved it, such as it has been, even the moments of emptiness, even the unanswered—and that I loved it, that is the unanswered in my life."
 * Chapter V, pp. 594-595; thoughts of Gail Wynand

 * I am Gail Wynand, the man who has committed every crime except the foremost one: that of ascribing futility to the wonderful fact of existence and seeking justification beyond myself.
 * ChapterV, p. 595; thoughts of Gail Wynand

 * "Look, Gail." Roark got up, reached out, tore a thick branch off a tree, held it in both hands, one fist closed at each end; then, his wrists and knuckles tensed against the resistance, he bent the branch slowly into an arc. "Now I can make what I want of it: a bow, a spear, a cane, a railing. That's the meaning of life." "Your strength?" "Your work." He tossed the branch aside. "The material the earth offers you and what you make of it . . . "
 * Chapter V, p. 596 ; Howard Roark and Gail Wynand

 * When she had gone upstairs, he walked to a window and stood looking up at the sky. His head thrown back, he felt the pull of his throat muscles and he wondered whether the peculiar solemnity of looking at the sky comes, not from what one contemplates, but from that uplift of one's head.
 * Chapter V, p. 598 ; thoughts of Gail Wynand

 * "Worry is a waste of emotional reserves."
 * Chapter VII, p. 615; Ellsworth Toohey to Peter Keating

 * "One loses everything when one loses one's sense of humor."
 * Chapter VII, p. 620; Ellsworth Toohey to Peter Keating

 * "To sell your soul is the easiest thing in the world. That's what everybody does every hour of his life. If I asked you to keep your soul—would you understand why that's much harder?"'''
 * Chapter VIII, p. 577; Howard Roark to Peter Keating

 * "To get things done, you must love the doing, not the secondary consequences. The work, not the people. Your own action, not any possible object of your charity."
 * Chapter VIII, p. 627; Howard Roark to Peter Keating

 * "The only thing that matters, my goal, my reward, my beginning, my end is the work itself. My work done my way."'''
 * Chapter VIII, p. 628; Howard Roark to Peter Keating
 * "My reward, my purpose, my life, is the work itself."
 * Howard Roark in The Fountainhead (film)

 * "You'll get everything society can give a man. You'll keep all the money. You'll take any fame or honor anyone might want to grant. You'll accept such gratitude as the tenants might feel. And I—I'll take what nobody can give a man, except himself. I will have built Cortlandt." "You’re getting more than I am, Howard."
 * Chapter VIII, p. 630 ; Howard Roark and Peter Keating

 * "I don't make comparisons. I never think of myself in relation to anyone else. I just refuse to measure myself as part of anything."
 * Chapter VIII, p. 631 ; Howard Roark to Peter Keating

 * "This is pity," he thought, and then he lifted his head in wonder. He thought that there must be something terribly wrong with a world in which this monstrous feeling is called a virtue.
 * Chapter VIII, p. 632 ; thoughts of Howard Roark

 * "Why do they always teach us that it's easy and evil to do what we want and that we need discipline to restrain ourselves? It's the hardest thing in the world—to do what we want. And it takes the greatest kind of courage. I mean, what we really want. "
 * Chapter X, p. 650 ; Peter Keating to Catherine Halsey

 * "I don't wish to be the symbol of anything. I'm only myself."
 * Chapter XI, p. 655 ; Howard Roark to Gail Wynand

 * "I'm not an altruist, Gail. I don't decide for others."
 * Chapter XI, p. 657 ; Howard Roark to Gail Wynand

 * "And isn't that the root of every despicable action? Not selfishness, but precisely the absence of a self."
 * Chapter XI, p. 658 ; Howard Roark to Gail Wynand

 * "I don't see anything evil in a desire to make money. But money is only a means to some end. If a man wants it for a personal purpose—to invest in his industry, to create, to study, to travel, to enjoy luxury—he's completely moral. But the men who place money first go much beyond that. Personal luxury is a limited endeavor. What they want is ostentation: to show, to stun, to entertain, to impress others. They're second-handers."
 * Chapter XI, p. 658 ; Howard Roark to Gail Wynand

 * "A truly selfish man cannot be affected by the approval of others."
 * Chapter XI, p. 658 ; Howard Roark to Gail Wynand

 * "It's easy to run to others. It's so hard to stand on one's own record. You can fake virtue for an audience. You can't fake it in your own eyes. Your ego is your strictest judge. They run from it. They spend their lives running. It's easier to donate a few thousand to charity and think oneself noble than to base self-respect on personal standards of personal achievement. It's simple to seek substitutes for competence—such easy substitutes; love, charm, kindness, charity. But there is no substitute for competence."
 * Chapter XI, p. 658 ; Howard Roark to Gail Wynand

 * "They have no concern for facts, ideas, work. They're concerned only with people. They don't ask: 'Is this true?' They ask: 'Is this what others think is true?' Not to judge, but to repeat. Not to do, but to give the impression of doing. Not creation, but show. Not ability, but friendship. Not merit, but pull."
 * Chapter XI, pp. 658-659 ; Howard Roark to Gail Wynand

 * "Listen to what is being preached today. Look at everyone around us. You've wondered why they suffer, why they seek happiness and never find it. If any man stopped and asked himself whether he's ever held a truly personal desire, he'd find the answer. He'd see that all his wishes, his efforts, his dreams, his ambitions are motivated by other men. He's not really struggling even for material wealth, but for the second-handers delusion—prestige. A stamp of approval, not his own. He can find no joy in the struggle and no joy when he has succeeded. He can't say about a single thing: 'This is what I wanted because I wanted it, not because it made my neighbors gape at me.' Then he wonders why he's unhappy."
 * Chapter XI, p. 660 ; Howard Roark to Gail Wynand

 * "Every form of happiness is private. Our greatest moments are personal, self-motivated, not to be touched. […] I think the only cardinal evil on earth is that of placing your prime concern within other men. I've always demanded a certain quality in the people I liked. I've always recognized it at once—and it's the only quality I respect in men. I chose my friends by that. Now I know what it is. A self-sufficient ego. Nothing else matters."
 * Chapter XI, p. 660 ; Howard Roark to Gail Wynand

 * "If one doesn't respect oneself one can have neither love nor respect for others."
 * Chapter XI, p. 660 ; Howard Roark to Gail Wynand

 * "I could die for you. But I couldn't, and wouldn't, live for you."
 * Chapter XI, p. 660 ; Howard Roark to Gail Wynand

 * "Self–sacrifice? But it is precisely the self that cannot and must not be sacrificed."
 * Chapter XIII, p. 677 ; Gail Wynand (in an editorial)

 * "If you learn how to rule one single man's soul, you can get the rest of mankind. It's the soul, Peter, the soul. Not whips or swords or fire or guns. That's why the Caesars, the Attilas, the Napoleons were fools and did not last. We will. The soul, Peter, is that which can't be ruled. It must be broken. Drive a wedge in, get your fingers on it—and the man is yours."
 * Chapter XIV, p. 690 ; Ellsworth Toohey to Peter Keating

 * "Don't set out to raze all shrines—you'll frighten men. Enshrine mediocrity—and the shrines are razed."
 * Chapter XIV, p. 691 ; Ellsworth Toohey to Peter Keating

 * "Then there's another way. Kill by laughter. Laughter is an instrument of human joy. Learn to use it as a weapon of destruction. Turn it into a sneer. It's simple. Tell them to laugh at everything. Tell them that a sense of humor is an unlimited virtue. Don't let anything remain sacred in a man’s soul—and his soul won't be sacred to him. Kill reverence and you've killed the hero in man. One doesn't reverence with a giggle."
 * Chapter XIV, p. 691 ; Ellsworth Toohey to Peter Keating

 * "Here's another way. This is most important. Don't allow men to be happy. Happiness is self-contained and self-sufficient. Happy men have no time and no use for you. Happy men are free men. So kill their joy in living. Take away from them whatever is dear or important to them. Never let them have what they want. Make them feel that the mere fact of a personal desire is evil. Bring them to a state where saying ‘I want’ is no longer a natural right, but a shameful admission. Altruism is of great help in this. Unhappy men will come to you. They'll need you. They'll come for consolation, for support, for escape. Nature allows no vacuum. Empty man's soul—and the space is yours to fill."
 * Chapter XIV, p. 691 ; Ellsworth Toohey to Peter Keating

 * "The man who speaks to you of sacrifice, speaks of slaves and masters. And intends to be the master."
 * Chapter XIV, p. 692 ; Ellsworth Toohey to Peter Keating

 * "Have you noticed that the imbecile always smiles? Man's first frown is the first touch of God on his forehead. The touch of thought."
 * Chapter XIV, p. 693 ; Ellsworth Toohey to Peter Keating

 * "You have been the one encounter in my life that can never be repeated."
 * Chapter XV, p. 710 ; Howard Roark to Gail Wynand

 * "Anything may be betrayed, anyone may be forgiven. But not those who lack the courage of their own greatness."
 * Chapter XVI, p. 720 ; thoughts of Gail Wynand

 * "What you think you've lost can neither be lost nor found. Don't let it go."
 * Chapter XVII, p. 722 ; Howard Roark (by letter) to Gail Wynand

 * "She knew that even pain can be confessed, but to confess happiness is to stand naked, delivered to the witness, yet they could let each other see it without need of protection."
 * Chapter XVII, pp. 725-726 ; thoughts of Dominique Wynand (Francon)

 * "Thousands of years ago, the first man discovered how to make fire. He was probably burned at the stake he had taught his brothers to light. He was considered an evildoer who had dealt with a demon mankind dreaded. But thereafter men had fire to keep them warm, to cook their food, to light their caves. He had left them a gift they had not conceived and he had lifted darkness off the earth. Centuries later, the first man invented the wheel. He was probably torn on the rack he had taught his brothers to build. He was considered a transgressor who ventured into forbidden territory. But thereafter, men could travel past any horizon. He had left them a gift they had not conceived and he had opened the roads of the world. That man, the unsubmissive and first, stands in the opening chapter of every legend mankind has recorded about its beginning. Prometheus was chained to a rock and torn by vultures—because he had stolen the fire of the gods. Adam was condemned to suffer—because he had eaten the fruit of the tree of knowledge. Whatever the legend, somewhere in the shadows of its memory mankind knew that its glory began with one and that that one paid for his courage. Throughout the centuries there were men who took first steps down new roads armed with nothing but their own vision. Their goals differed, but they all had this in common: that the step was first, the road new, the vision unborrowed, and the response they received—hatred. The great creators—the thinkers, the artists, the scientists, the inventors—stood alone against the men of their time. Every great new thought was opposed. Every great new invention was denounced. The first motor was considered foolish. The first airplane was considered impossible. The power loom was considered vicious. Anesthesia was considered sinful. But the men of unborrowed vision went ahead. They fought, they suffered and they paid. But they won."
 * Chapter XVIII, pp. 736-737 ; testimony of Howard Roark

 * "The creators were not selfless. It is the whole secret of their power—that it was self-sufficient, self-motivated, self-generated. A first cause, a fount of energy, a life force, a Prime Mover. The creator served nothing and no one. He had lived for himself. And only by living for himself was he able to achieve the things which are the glory of mankind. Such is the nature of achievement."
 * Chapter XVIII, p. 737 ; testimony of Howard Roark

 * "Man cannot survive except through the use of his mind. He comes on earth unarmed. His brain is his only weapon. Animals obtain food by force. Man has no claws, no fangs, no horns, no great strength of muscle. He must plant his food or hunt it. To plant, he needs a process of thought. To hunt, he needs weapons, and to make weapons—a process of thought. From this simplest necessity to the highest religious abstraction, from the wheel to the skyscraper, everything we are and everything we have comes from a single attribute of man—the function of his reasoning mind. But the mind is an attribute of the individual. There is no such thing as a collective brain. There is no such thing as a collective thought. 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 reason—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."
 * Chapter XVIII, p. 737 ; testimony of Howard Roark

 * "The creator's concern is the conquest of nature. The parasite's concern is the conquest of men."
 * Chapter XVIII, P. 738 ; testimony of Howard Roark

 * "The basic need of the creator is independence. The reasoning mind cannot work under any form of compulsion. It cannot be curbed, sacrificed or subordinated to any consideration whatsoever. It demands total independence in function and in motive. To a creator, all relations with men are secondary."
 * Chapter XVIII, p. 738 ; testimony of Howard Roark

 * "Altruism is the doctrine which demands that man live for others and place others above self."
 * Chapter XVIII, p. 738 ; testimony of Howard Roark

 * "No man can live for another. He cannot share his spirit just as he cannot share his body. But the second-hander has used altruism as a weapon of exploitation and reversed the base of mankind's moral principles. Men have been taught every precept that destroys the creator. Men have been taught dependence as a virtue."
 * Chapter XVIII, p. 738 ; testimony of Howard Roark

 * "If physical slavery is repulsive, how much more repulsive is the concept of servility of the spirit? […] But the man who enslaves himself voluntarily in the name of love is the basest of creatures. He degrades the dignity of man, and he degrades the conception of love. But that is the essence of altruism."
 * Chapter XVIII, pp. 738-739 ; testimony of Howard Roark

 * "Men have been taught that the highest virtue is not to achieve, but to give. Yet one cannot give that which has not been created. Creation comes before distribution—or there will be nothing to distribute. The need of the creator comes before the need of any possible beneficiary. Yet we are taught to admire the second-hander who dispenses gifts he has not produced above the man who made the gifts possible. We praise an act of charity. We shrug at an act of achievement."
 * Chapter XVIII, p. 739 ; testimony of Howard Roark

 * "Men have been taught that their first concern is to relieve the suffering of others. […] To make that the highest test of virtue is to make suffering the most important part of life. Then man must wish to see others suffer—in order that he may be virtuous. Such is the nature of altruism."
 * Chapter XVIII, p. 739 ; testimony of Howard Roark

 * "Men have been taught that it is a virtue to agree with others. But the creator is the man who disagrees. Men have been taught that it is a virtue to swim with the current. But the creator is the man who goes against the current. Men have been taught that it is a virtue to stand together. But the creator is the man who stands alone."
 * Chapter XVIII, p. 739 ; testimony of Howard Roark

 * "As poles of good and evil, he was offered two conceptions: egoism and altruism. Egoism was held to mean the sacrifice of others to self. Altruism—the sacrifice of self to others. This tied man irrevocably to other men and left him nothing but a choice of pain: his own pain borne for the sake of others or pain inflicted upon others for the sake of self. […] Man was forced to accept masochism as his ideal—under the threat that sadism was his only alternative."
 * Chapter XVIII, p. 739 ; testimony of Howard Roark

 * "Independence is the only gauge of human virtue and value. What a man is and makes of himself; not what he has or hasn't done for others. There is no substitute for personal dignity. There is no standard of personal dignity except independence."
 * Chapter XVIII, p. 740 ; testimony of Howard Roark

 * "The first right on earth is the right of the ego."
 * Chapter XVIII, p. 740 ; testimony of Howard Roark

 * "Every major horror of history was committed in the name of an altruistic motive."
 * Chapter XVIII, p. 741 ; testimony of Howard Roark

 * "Civilization is the progress toward a society of privacy. The savage's whole existence is public, ruled by the laws of his tribe. Civilization is the process of setting man free from men."
 * Chapter XVIII, p. Howard Roark, p. 742 ; testimony of Howard Roark

 * "I came here to say that I do not recognize anyone's right to one minute of my life. Nor to any part of my energy. Nor to any achievement of mine. No matter who makes the claim, how large their number or how great their need."
 * Chapter XVIII, p. 743 ; testimony of Howard Roark

 * "The world is perishing from an orgy of self-sacrificing."
 * Chapter XVIII, p. 743 ; testimony of Howard Roark

 * The first movement of Roark's head was not to look at the city in the window, at the judge or at Dominique. He looked at Wynand. Wynand turned sharply and walked out. He was the first man to leave the courtroom.
 * Chapter XVIII, p. 744

 * Wynand looked at his wrist watch. He said: "It's 9 o'clock. You're out of a job, Mr. Toohey. The Banner has ceased to exist."
 * Chapter XIX, p. 747 ; Gail Wynand to Ellsworth Toohey

 * "This was the end of The Banner... I think it is proper that I should meet it with you."
 * Chapter XIX, p. 748 ; Gail Wynand to Ellsworth Toohey

 * "Mankind will never destroy itself, Mr. Wynand. Nor should it think of itself as destroyed. Not so long as it does things such as this."
 * Chapter XIX, p. 751 ; Howard Roark to Gail Wynand

 * "Build it as a monument to that spirit which is yours ... and could have been mine."
 * Chapter XIX, p. 751 ; Gail Wynand to Howard Roark

 * The line of the ocean cut the sky. The ocean mounted as the city descended. She passed the pinnacles of bank buildings. She passed the crowns of courthouses. She rose above the spires of churches. Then there was only the ocean and the sky and the figure of Howard Roark.
 * Chapter XX, p. 754 ; conclusion

Quotes about The Fountainhead

 * I care very much about literature as the place where the real ethical dilemmas are met, so to have novels as transcendently awful as Atlas Shrugged and The Fountainhead sort of undermines my project.... I don't think there's any need to have essays advocating selfishness among human beings.
 * Christopher Hitchens, 'The Moral Necessity of Atheism' at Sewanee University (2004)

 * There have even been outright bad writers blessed by the visitation of a poetic title. Ayn Rand had one with The Fountainhead, and another with Atlas Shrugged: a bit of a mouthful, but nobody has ever spat it out without first being fascinated with what it felt like to chew. Yet if those were not two of the worst books ever written - the worst books ever written don't even get published - they were certainly among the worst books ever to be taken seriously.
 * Clive James, Cultural Amnesia (2007), p. 80

 * I never made it through either of Rand’s two big novels, The Fountainhead and Atlas Shrugged. To enjoy either, I suspect, you had to have encountered Rand in adolescence, when so many of life’s lasting enthusiasms are forged. In recent years, a few friends have urged Rand on me, and I dutifully tried both novels more than once. Each time, I found myself oscillating between fits of the giggles, at the awful prose, and irritation, at the jejune philosophy.
 * Roger Kimball, 'One or two thoughts about Ayn Rand', PJ Media (2010)

 * Ayn Rand's The Fountainhead is a 754-page orgy of glorification of that sternest of arts, architecture...Surely The Fountainhead is the curiosity of the year, and anyone who is taken in by it deserves a stern lecture on paper-rationing.
 * Diana Trilling Reviewing the Forties (1974)

title: The Fountainhead


text:
W. C. Handy

William Christopher Handy (November 16, 1873 – March 28, 1958) was an African American blues composer, often known as "The Father of the Blues".

Quotes

 * I think America concedes that (true American music) has sprung from the negro. When we take these things that come from the art of the Negro and from the heart of the man farthest down.
 * Music Preservation Society biography

 * Life is like a trumpet. If you don't put anything into it, you don't get anything out.
 * Music Preservation Society biography

 * If my serenade of song and story should serve as a pillow for some composer's head, as yet perhaps unborn, to dream and build on our fond melodies in his tomorrow, I have not labored in vain.
 * Profiles In Black

Quotes about W. C. Handy

 * It's a street in Memphis that W.C. Handy wrote about in his "Beale Street Blues." You know, If Beale Street could talk,/If Beale Street could talk,/Married men would have to take their beds and walk.
 * 1972 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)

 * The blues is a method. It represents a treatment of songs, first by W. C. Handy, and then by a great line of singers and musicians.
 * Muriel Rukeyser The Life of Poetry (1949)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: W. C. Handy


text:
Globalization

Globalization, or globalisation, is the process of interaction and integration among people, companies, and governments worldwide. As a complex and multifaceted phenomenon, globalization is considered by some as a form of capitalist expansion which entails the integration of local and national economies into a global, unregulated market economy. Globalization has grown due to advances in transportation and communication technology. With the increased global interactions comes the growth of international trade, ideas, and culture. Globalization is primarily an economic process of interaction and integration that's associated with social and cultural aspects. However, conflicts and diplomacy are also large parts of the history of globalization, and modern globalization.

A

 * Let's discuss the world. To answer the question, "is globalisation possible without God", the simple answer is "yes". Globalisation is after all itself a code word, a mask, for not using the C-word, capitalism. Globalisation is basically the latest phase of expanding capitalism. This not something which is neutral, this is a capitalism that has its rules: it has its economic rules, it has its political rules, it has its cultural rules and it has its military rules. It is a system. At the heart of this system is the United States of America, the world's only existing empire today. The first time in the history of humanity that you have just had a single empire, so dominant, whose military budget is higher than the military budgets of the next 15 countries put together, and whose military-industrial complex itself is the eleventh largest economic entity in the world. This is the reality we live in, and this is the reality which confronts us in different ways.
 * Tariq Ali, 10th Globalisation lecture, VRPO.

 * It has been said that arguing against globalization is like arguing against the laws of gravity.
 * Kofi Annan, 5 June 2000, quoted in Bale, John; Christensen, Mette Krogh. Post-Olympism? Bloomsbury, 2004, p. 181

B

 * On globalization’s parallel track, demarcated by markets rather than territorial boundaries, corporations and firms have displaced nation-states as the key players on the international scene. They more often use the political institutions created by nation-states to work their will than they are used by those states to enact sovereign political objectives. Even philanthropies such as the Clinton Foundation, the Gates Foundation, and the Ford Foundation have become weighty actors in the international marketplace, boasting an economic clout that many nation-states cannot begin to exercise.
 * Benjamin R. Barber, (Spring 2008). "Shrunken Sovereign: Consumerism, Globalization, and American Emptiness". World Affairs. Retrieved 23 April 2013.

 * The big question today is 'Will globalisation allow democracy to survive?' On one side we have the multinationals, the International Monetary Fund and the European Union. I want to help to redress the balance on the other side.
 * Tony Benn, Interview with Andrew Walker (10 March 2001), quoted in BBC News, 'Tony Benn: End of an era' (10 March 2001)

 * Thanks to globalization, new technologies and social networks, we know that what makes us laugh or saddens us, causes exactly the same reaction on the other side of the world.
 * Ángel Boligán Interview (2022)

C

 * In order to work, free-trade systems must be frictionless and immune to interruption, forever. This means a program of intellectual property protection, zero tariffs, and cross-border traffic in everything, including migrants. This can be assured only in a system that is veto-proof and non-consultative—in short, undemocratic. That is why it is those who have benefited most from globalization who have been leading the counterattack against the democracy movements arising all over the West.
 * Christopher Caldwell, "Sending Jobs Overseas", Claremont Review of Books, Spring 2017
 * Traditional nationalism cannot survive the fissioning of the atom. One world or none.
 * Stuart Chase, quoted in Pennsylvania Technology, Vol. 1, No. 3, 1990, p. 11

 * The dominant propaganda systems have appropriated the term "globalization" to refer to the specific version of international economic integration that they favor, which privileges the rights of investors and lenders, those of people being incidental. In accord with this usage, those who favor a different form of international integration, which privileges the rights of human beings, become "anti-globalist." ... Take the World Social Forum, called "anti-globalization" in the propaganda system—which happens to include the media, the educated classes, etc., with rare exceptions. The WSF is a paradigm example of globalization. It is a gathering of huge numbers of people from all over the world, from just about every corner of life one can think of, apart from the extremely narrow, highly privileged elites who meet at the competing World Economic Forum, and are called "pro-globalization" by the propaganda system. An observer watching this farce from Mars would collapse in hysterical laughter at the antics of the educated classes.
 * Noam Chomsky, Interview by Sniježana Matejčić, June 2005

D

 * Globalization makes it impossible for modern societies to collapse in isolation, as did Easter Island and the Greenland Norse in the past. Any society in turmoil today, no matter how remote...can cause trouble for prosperous societies on other continents, and is also subject to their influence (whether helpful or destabilizing). For the first time in history, we face the risk of a global decline. But we also are the first to enjoy the opportunity of learning quickly from developments in societies anywhere else in the world today, and from what has unfolded in societies at any time in the past.
 * Jared Diamond, Collapse: How Societies Choose to Fail or Succeed (2005), (Prologue)

E

 * Recruits who sign up to die [in the Russo-Ukrainian war] shooting Soviet-era rifles at Russian battle tanks are not defending “world peace” or democracy or freedom or anything like that. They are sacrificing themselves to convenience some peripheral interests of western globalism, which is responsible for all manner of armed conflict around the world, and which could not be less interested in these quaint liberal abstractions. We are in the end stage of liberalism now, an end stage in which most liberal political forms have been set aside in favour of a naked if distributed autocracy.
 * Eugyppius, The Globalist Enemy, 14 March 2022

F

 * If you think in terms of people divided up into countries, you won't follow me. The idea of countries is going by the boards. Young people are getting wonderfully uprooted and they're too strong to get sucked into this 'country' crap.
 * Buckminster Fuller, quoted in "The View from the Year 2000" by Barry Farrell in LIFE magazine (26 February 1971)

 * Is that never before in the history of the world have so many people been able to learn about so many other people’s lives, products and ideas.
 * Thomas L. Friedman, explains about internet. Cited in Awake! 2002, 5/22; article: Globalization—The Hopes and the Fears.

 * Today, no country can ever truly cut itself off from the global media or from external sources of information; trends that start in one corner of the world are rapidly replicated thousands of miles away... A country trying to opt out of the global economy by cutting itself off from external trade and capital flows will still have to deal with the fact that the expectations of its population are shaped by their awareness of living standards and cultural products emerging from the outside world.
 * Francis Fukuyama, cited in: Thomas L. Friedman (2000). The Lexus and the Olive Tree: Understanding Globalization. p. 67

G

 * What the corporations fear most is that grassroots activists and independent journalists will utilize the same model that companies have used to grab power: globalization. Grassroots globalization.
 * Amy Goodman The Exception to the Rulers written with David Goodman (2004)

 * Thanks to the advances in mass media and means of transportation, the world seems to have become more visible and tangible. International communication has become easier than ever before. Today, the preservation of any kind of ″closed″ society is hardly possible. This calls for a radical review of approaches to the totality of the problems of international cooperation as a major element of universal security. The world economy is becoming a single organism, and no state, whatever its social system or economic status, can normally develop outside it. This places on the agenda the need to devise a fundamentally new machinery for the functioning of the world economy, a new structure of the international division of labor. At the same time, the growth of the world economy reveals the contradictions and limits inherent in traditional-type industrialization. Its further extension and intensification spell environmental catastrophe. But there are still many countries without sufficiently developed industries, and some have not yet moved beyond the pre-industrial stage. One of the major problems is whether the process of their economic growth will follow the old technological patterns or they can join in the search for environmentally clean production. And there is another problem: instead of diminishing, the gap between the developed and most of the developing countries is increasingly growing into a serious global threat. Hence the need to begin a search for a fundamentally new type of industrial progress - one that would meet the interests of all peoples and states.
 * Mikhail Gorbachev, 1988 address to the United Nations
 * Globalization was exerting a dis-inflationary impact.
 * Alan Greenspan The Age of Turbulence (2008) Chapter Eleven, "The Nation Challenged", p. 228.

H

 * 'Globalization' is a horrible term, in the sense that it encompasses all kinds of things; it's used very widely and vaguely.
 * Michael Hardt.

 * Projects to stop the spread of AIDS have tried to establish protective boundaries … by requiring HIV tests in order to cross national boundaries. The boundaries of nation-states, however, are increasingly permeable by all kinds of flows. Nothing can bring back the hygienic shields of colonial boundaries. The age of globalization is the age of universal contagion.
 * Michael Hardt and Antonio Negri, Empire, p. 136.

 * Simplifying a great deal, one could argue that postmodernist discourses appeal primarily to the winners in the processes of globalization and fundamentalist discourses to the losers.
 * Michael Hardt and Antonio Negri, Empire, p. 150.

 * Globalization must be met with a counter-globalization, Empire with a counter-Empire.
 * Michael Hardt and Antonio Negri, Empire, p. 207.

J

 * The problems and possibilities associated with the emergence of a global consumerist ethos is one with which scholars have only just begun to come to grips. For much of the past century, beginning with Thorstein Veblen’s investigation of conspicuous consumption in 1899, anxieties about commodity culture were treated as national or Western rather than global concerns. They have been explored in articles and books on a dizzying array of themes and topics, and from a variety of theoretical perspectives. Attempts to make analytic sense of the impact and significance of consumerism on modern cultures have been complicated from the outset by normative considerations – either of a moralizing character or by concerns about consumerism as a form of social control – as well as by the role played by consumerism in the rise of ‘mass’ societies. When these long-standing anxieties about consumption and consumerism are set against the space of the entire globe, coming to clear conclusions about its impact on global and local social relations is made even more difficult. The idea of consumerism as a form of social control, for example, blends easily into existing discourses of economic and cultural imperialism; what is described as ‘Americanism’ is often the threat of a consumer culture associated with US society. 7 Expressed more structurally, the addition of new global communication technologies and the increasing role of techno-scientific inquiry (labelled R&D) in the production of goods, have intersected with and altered practices of production and exchange, further multiplying the difficulties of accounting for consumption and consumerism in the world today.
 * Paul James; Imre Szeman, (2010). Globalization and Culture, Vol. 3: Global-Local Consumption. London: Sage Publications. prilims ix

 * The processes associated with globalization have created hitherto unimaginable opportunities for cultural forms and practices to travel far beyond the indigenous sites and spaces in which they were first conceived and produced. While there have always been cultural movements and flows from one space to another, the intensity and extensity of contemporary intersections of the global and the local have forced scholars to look closely at the myriad ways in which culture is consumed – used up, made sense of, embraced, and explored. Examining this first sense of cultural ‘consumption’ takes up the difficult questions of cultural diversity and authenticity that have shaped much of the discussion around culture in/and globalization. For example, by looking at implications of the transformation of older cultural forms and the creation of new forms of global-local culture such as global literatures and world music, we can see the meaning and effects of social change on people’s identity and subjectivity.
 * Ibid, xi

 * Nineteenth-century cosmopolitanism (rather than imperialism) framed another discourse on global culture and cultural consumption. Johann W. Von Goethe’s (1749–1832) discussion in the late 1820s on Weltliteratur or ‘world literature’(reproduced in this volume) 10 has become an important point of reference in many discussions of ‘world’ or ‘global culture’. His brief comments on world literature draw attention to the substantial literary and cultural interchanges already taking place in Europe at the beginning of the nineteenth century. These include translations of significant works, including Goethe’s own writings, into major European languages, and the existence of journals across the continent devoted to reviewing foreign works of literature. For Goethe, these literary exchanges do not bring about a homogenization of culture – a consistent worry whenever ‘culture’and the ‘global’ are placed in relation to one another. On the contrary, for him, Weltliteratur promises to create greater opportunities for mutual understanding and tolerance, with both spiritual and material benefits for all. Goethe points, ,to the importance of cultural borrowing and interchange to the vitality of cultural life – a point stressed by many theorists of globalization and culture today. The differences, however, are stark. The world literature that Goethe envisions remained tied to a system of nations, each of which expressed its specific national characteristics through its literature. He also expresses anxiety about the emergenceof a mass culture – the culture of the ‘crowd’ – which must be contained by the activity of ‘serious’ and ‘intellectual’ individuals around the world. In the concept of Weltliteratur are framed many of the problems and challenges in conceptualizing global culture: the role of national culture and its relationship to a universal, ‘world’ Introduction xiii Intro-Vol-3 culture; the status of elite versus mass cultures; and even the relationship of culture to economic and social institutions and structures.
 * Ibid, xii-xiii.

 * David Rowe argues that, contrary to what might have been expected, international sport does not contribute to a process of ‘comprehensive globalization’– by which he understands a process through which global forces dissipate local differences until the latter are all but lost. Widely-watched televised mega-sporting events, such as the FIFA World Cup or the Olympics, which are sponsored by global consumer brands (Adidas, Nike, McDonalds, Budweiser, etc.), might suggest that sport is ‘globalization’s most attentive handmaiden’. Rowe notes, however, that in these cases, the local cannot be so easily written out of the picture. In the case of sports, the nation remains an essential touchstone and symbolic register: even if everyone is watching the World Cup, they are usually cheering for their own national team. ‘Sport’s dependency on the nation’, Rowe argues, ‘always reinserts the restrictive framework of modernity into the fluid workings of post modernity. In doing so – in a highly emotional manner – sport operates as a perpetual reminder of the social limits to the reconfiguration of endlessly mutable identities and identifications’..
 * Ibid, xvii-xviii.

 * However, it is not just ideas, representations, ideologies, and styles that are globalized: in other words, it is not just content that is globalized. The globalization of content is the obvious part of the process. It is easy to see when an element of content comes from elsewhere across the globe (cultural consumption in the first sense of the concept as discussed above). By comparison, except when there are obvious border-crossing clashes, it is strangely much harder to see when literary, artistic, and musical forms are globalized. Usually they emerge slowly, subtly and hegemonically. The literary form of the novel, for example – an extended prose fictional narrative, printed and bound, to be read privately – can now be found everywhere in the world, with its greatest moment of globalization coming in the nineteenth century. This was linked to a slow world-historical change in the dominant mode of communication as script gave way to print, and print-capitalism generalized the reach of the novel as a consumerable commodity. The same can be said for novel genres: romance, comedy, detective-fiction, magical realism, and so on. As content, magical realism, for example, was used as a means of resistance to globalization and imperialism; by contrast, as form the genre was itself part of a globalizing counter-response to realism in Latin America and Southeast Asia linked back to a magical realist visual art movement in Weimar German. More generally again, it was part of the globalized spread of a literary form called ‘the novel’. Music went through the same process, though later and more unevenly. At the level of musical form, different notation systems were slowly globalized across the world with the five-line staff system rising to partial dominance in the nineteenth century. In 1939, and then confirmed by the International Organization for Standardization in 1955, an international conference recommended a global standardization of pitch with the note A to be tuned to 440 Hz. This had parallels to the earlier process of globalizing time through agreement on the prime meridian,but it remains more contentious because of issues as basic as local histories of use and questions about what temperature at which the standard should be measured. The establishment of globalized genres of music – classical, rock-and-roll, jazz, samba, and so on – developed in the twentieth century, and music was distributed on changing media of recording that waxed and waned in their dominance. At the leading edge, commercially-produced tapes, records and compact discs as albums, gave way to self-burned CD compilations, and, most recently, to web-based music management programmes such as iTunes. Linked back to content, we are now long past the point where the simple fact of cultural influence or borrowing raises eyebrows. We are used to living in a world where ‘hip hop is mixed up with samba’, as the Los Angeles’ group the Black Eyed Peas sing in ‘Mas Que Nada’, their update of the song by Brazilian pianist Sergio Mendes. More than that, fashion in the forms of distribution has entered the global scene. Will-i-am, leader of the Black-Eyed Peas, has said that the group’s latest studio release on iTunes, The END (2009), is more a continuing ‘diary’ of music rather than an album of music. ‘There is no album any more.’ This is hyperbole for effect of course, just as it was for writers such as John Barth and Walter Benjamin in saying that ‘the novel is dead’, or Roland Barthes in analytically describing "the death of the author." The difference now is that those phrases are globally accessible at the touch of button through internet search engines such as google.com.
 * Ibid, xix

K

 * The international system of the twenty-first century will be marked by a seeming contradiction: on the one hand, fragmentation; on the other, growing globalization. On the level of the relations among states, the new order will be more like the European state system of the eighteenth and nineteenth centuries than the rigid patterns of the Cold War. It will contain at least six major powers—the United States, Europe, China, Japan, Russia, and probably India—as well as a multiplicity of medium-sized and smaller countries. At the same time, international relations have become truly global for the first time. Communications are instantaneous; the world economy operates on all continents simultaneously. A whole set of issues has surfaced that can only be dealt with on a worldwide basis, such as nuclear proliferation, the environment, the population explosion, and economic interdependence. For America, reconciling differing values and very different historical experiences among countries of comparable significance will be a novel experience and a major departure from either the isolation of the last century or the de facto hegemony of the Cold War, in ways which this book seeks to illuminate. Equally, the other major players are facing difficulties in adjusting to the emerging world order.
 * Henry Kissinger, Diplomacy (1994)

M

 * The bourgeoisie has through its exploitation of the world market given a cosmopolitan character to production and consumption in every country. To the great chagrin of Reactionists, it has drawn from under the feet of industry the national ground on which it stood. All old-established national industries have been destroyed or are daily being destroyed. They are dislodged by new industries, whose introduction becomes a life and death question for all civilised nations, by industries that no longer work up indigenous raw material, but raw material drawn from the remotest zones; industries whose products are consumed, not only at home, but in every quarter of the globe. In place of the old wants, satisfied by the production of the country, we find new wants, requiring for their satisfaction the products of distant lands and climes. In place of the old local and national seclusion and self-sufficiency, we have intercourse in every direction, universal inter-dependence of nations. And as in material, so also in intellectual production. The intellectual creations of individual nations become common property. National one-sidedness and narrow-mindedness become more and more impossible, and from the numerous national and local literatures, there arises a world literature.
 * The bourgeoisie, by the rapid improvement of all instruments of production, by the immensely facilitated means of communication, draws all, even the most barbarian, nations into civilisation. The cheap prices of commodities are the heavy artillery with which it batters down all Chinese walls, with which it forces the barbarians’ intensely obstinate hatred of foreigners to capitulate. It compels all nations, on pain of extinction, to adopt the bourgeois mode of production; it compels them to introduce what it calls civilisation into their midst, i.e., to become bourgeois themselves. In one word, it creates a world after its own image.
 * Karl Marx and Friedrich Engels, Manifesto of the Communist Party, February 1848

 * I think that we're inside that epoch that stretches from the atomic bomb blast over Hiroshima to the moment of the winter solstice of 2012.
 * Terence McKenna, In the Valley of Novelty

 * We have come to the end of our separateness.'
 * Terence McKenna, Light of the Third Millenium Chicago, 1996, 50m09s

N

 * "Globalism" is often the most self-interested and "nationalist" thing you can do. It has been a bonanza.
 * Jay Nordlinger, Twitter post (9 September 2018)

P

 * Questioning global stereotypes on economic responses to globalisation, I argue that labour becomes actively involved in the very process of globalisation and the expansion of capital. [...] Although it would seem a simple proposition to suggest that working class people and their organisations affect the ways in which the landscapes of capitalism are made, until recently, there has been little work, even within economic geography, addressing this issue.
 * Neethi Padmanabhan, Globalisation Lived Locally: A Labour Geography Perspective on Control, Conflict and Response among Workers in Kerala, 2012, at

 * Low labour cost, along with ﬂexibility in labour use, has become a key source of competitive advantage for ﬁrms. As external competition intensiﬁes, the domestic industry has come under great pressure to restructure itself, to become more competitive and to adopt ﬂexible policies with regard to production and labour. With a view to increasing global competitiveness, investors are moving more towards countries that either have low labour costs, or are shifting to informal employment arrangements. These changes create an entirely different political-economic environment for workers around the world. Greater international mobility of capital relative to labour puts workers from a given location at an immediate disadvantage, both in terms of bargaining power with the owners of capital (whose threat to move gains greater credibility) and with respect to the State. Thus the removal of domestic entry barriers and movement of capital to areas of cheap labour have caused intensiﬁcation of domestic competition in many developing countries— especially those with surplus labour supply and those where labour is a major factor of production. This has been accentuated by potential investors citing the lack of ﬂexibility in hiring and laying off workers as a concern, while targeting a developing country in which to invest. [...] Optimism with regard to labour as an agency of social progress has been replaced by pessimism that sees little prospect of workers acting on their own behalf.
 * Neethi Padmanabhan, Globalisation Lived Locally: A Labour Geography Perspective on Control, Conflict and Response among Workers in Kerala, 2012, at

R

 * These were the years of the Clinton boom and the gradual recovery of economic dynamism in Europe. They were the heyday of economic globalization and the weightless consumerism it afforded the Western middle classes in particular. The implications of this proved significant in the forging of at least three basic elements of the post-Cold War order: first, regarding the manner in which the world economy was “constructed” (primarily around international finance), the variant of financialized globalization it led to, and the leverage that afforded markets over states; secondly, regarding the timing and significance of the Cold War’s end, the lessons of which pushed the decade’s critical actors, social democrats, into a generational turn towards these newly liberalized markets as a less costly tool of distributional fairness; and thirdly, in terms of very real social tensions that reappeared across the Western democracies during the immediate post-Cold War years. With the world seeming to pick up speed all around, much of this went unnoticed—or at least it was not acted upon—at the time. For this was when the two Germanies were learning how to live as one nation again, and when the European Union was born at Maastricht. It was when the twentieth century seemed to deliver on so many of its technological promises—home computing and the Internet, GM food and cable television—and when it was possible to look at the world at large and, for the first time in people’s memory, not need to interpret events in terms of the struggle between communism and capitalism. It was the self-proclaimed era of being “post-” everything. And yet there was much that persisted too. Yugoslavia broke apart amid the violence in Bosnia; Eastern Europe struggled under the burden of its rapid conversion to a capitalist economy. International law took great strides forward but was written mostly by—and for—the powerful. Meanwhile, an oversized and underregulated financial market thrived beyond the oversight of national states, as did the black market and the oligarchs who profited from this.
 * Simon Reid-Henry, Empire of Democracy: The Remaking of the West Since the Cold War, 1971-2017 (2019), pp. 6-7
 * Consider the death of Princess Diana. This accident involved an English citizen, with an Egyptian boyfriend, crashed in a French tunnel, driving a German car with a Dutch engine, driven by a Belgian, who was drunk on Scotch whiskey, followed closely by Italian paparazzi, on Japanese motorcycles, and finally treated with Brazilian medicines by an American doctor. In this case, even leaving aside the fame of the victims, a mere neighborhood canvass would hardly have completed the forensic picture, as it might have a generation before.
 * Mark Riebling, "The New Paradigm: Merging Law Enforcement and Intelligence Strategies," Center for Policing Terrorism (2006) Full text online

 * "During the last century there has been a distinct diminution in the number of wars between the most civilized nations. International relations have become closer and the development of The Hague tribunal is not only a symptom of this growing closeness of relationship, but is a means by which the growth can be furthered. Our aim should be from time to time to take such steps as may be possible toward creating something like an organization of the civilized nations, because as the world becomes more highly organized the need for navies and armies will diminish. "
 * Theodore Roosevelt, 1905 State of the Union speech. As quoted by Professor

S

 * Globalization is not in itself a folly: It has enriched the world scientifically and culturally and benefited many people economically as well.
 * Amartya Sen, "Ten theses on globalization." New Perspectives Quarterly 18.4 (2001): 9-9.

 * We, the people of the Earth, are one large family. The new epoch offers new challenges and new global problems, such as environmental catastrophes, exhaustion of resources, bloody conflicts and poverty.
 * Eduard Shevardnadze, Globalization—The Hopes and the Fears

 * Globalizing a bad thing makes it worse. But globalizing a good thing is usually good.
 * Richard Stallman, in Znet interview.

 * For much of the world, globalization as it has been managed seems like a pact with the devil. A few people in the country become wealthier; GDP statistics, for what they are worth, look better, but ways of life and basic values are threatened. For some parts of the world the gains are even more tenuous, the costs more palpable. Closer integration into the global economy has brought greater volatility and insecurity, and more inequality. It has even threatened fundamental values. This is not how it has to be. We can make globalization work, not just for the rich and powerful but for all people, including those in the poorest countries. The task will be long and arduous, We have already waited far too long. the time to begin is now.
 * Joseph Stiglitz, Making globalization work (2006)

T

 * As recently as 2005, Britain’s centrist prime minister Tony Blair could declare that to argue about globalization made as much sense as arguing about whether autumn should follow summer. By 2020, both globalization and the seasons were very much in question. The economy had morphed from being the answer to being the question. The obvious retort to “It’s the economy, stupid,” was “Whose economy?” or “Which economy?” or even “What’s the economy?” A series of deep crises beginning in Asia in the late 1990s and moving to the Atlantic financial system in 2008, the eurozone in 2010, and global commodity producers in 2014 had shaken confidence in market economics. All those crises had been overcome, but by government spending and central bank interventions that drove a coach and horses through firmly held precepts about “small government” and “independent” central banks. And who benefited? Whereas profits were private, losses were socialized. The crises had been brought on by speculation. The scale of the interventions necessary to stabilize them had been historic. Yet the wealth of the global elite continued to expand. Who could be surprised, it was now commonplace to ask, if surging inequality led to populist disruption? What many Brexit and Trump voters wanted was “their” national economy back.
 * Adam Tooze Shutdown: How Covid Shook the World's Economy (2021)

 * Hillary wants to surrender America to globalism. She wants a country without borders. She wants trade deals written for the benefit of foreign corporations. She wants a government that ignores the will of the people. She wants to sell out American security to the Clinton Foundation for a pile of cash. It is hard to tell where the Clinton Foundation ends and the State Department begins. ... Hillary Clinton has betrayed her duty to the people.
 * Donald Trump, speech in . As quoted by ' and ' (August 24, 2016)

 * The truth is plain to see - if you want freedom, take pride in your country; if you want democracy, hold onto your sovereignty, and if you want peace, love your nation. Wise leaders always put the good of their own people and their own country first. The future does not belong to globalists. The future belongs to patriots. The future belongs to sovereign and independent nations who protect their citizens, respect their neighbours, and honour the differences that make each country special and unique.
 * Donald Trump, Address at the 74th Session of the UN General Assembly

 * America is governed by Americans. We reject the ideology of globalism and we embrace the doctrine of patriotism.
 * Donald Trump, Address at the 74th Session of the UN General Assembly

W

 * Globalization is part of modern reality. How you define it is where the conflict is. Some of us think that it's civilized to provide people with water by putting up public drinking fountains. Other people think that drinking fountains need to be eliminated so as not to undercut the market for $2.00 bottled water.
 * Matt Wuerker 2002 interview in Attitude, edited by Ted Rall

Z

 * Although "globalism" is a term often used to describe a coming golden age of economic and cultural borderlessness, persistent economic disparities as well as recent ethnic conflicts and other examples of extreme parochialism such as widespread anti-immigration rhetoric and legislation, all of which evince an astonishing resistance to changes in the traditional methods of societal organization, suggest that the modern world may face great upheaval and loss on its way to globalism. Nevertheless, other developments such as the movement toward the "Open Republic" are more encouraging. As people, businesses, and ideas become increasingly dispersed, the world's nations may come to better understand one another, and therefore be better able to coexist. At a minimum this commingling will profoundly affect the character of modern nations.
 * Aristide R. Zolberg, “Changing Sovereignty Games and International Migration Changing Sovereignty Games and International Migration”, Indiana Journal of Global Legal Studies, Volume 2, Issue 1, (Fall 1994), p. 170

 * Modern globalism is the highest form of imperialism. The onslaught of capital on workers’ rights is mounting fast. Imperialism is becoming more aggressive in the world and the threat of a new large-scale war is growing. The financial and economic crisis is worsening with each new wave being more grievous and painful. One side effect of the crisis is the groundswell of nationalist and separatist sentiments in contemporary Europe.
 * Gennady Zyuganov, "Socialism Is Genuine Freedom" (22 November 2017)

 * In this struggle we are inspired by the example of those countries where staunch supporters of the socialist option are in power. They are China which has the world in awe of its spectacular successes in the economy and the social sphere. Cuba, which the US imperialism has vainly tried to strangle for six decades. The dynamically developing Vietnam. These countries challenge capitalist globalization, refuse to submit to their diktat and score successes on the socialist path. The experience of fraternal Byelorussia is highly instructive.
 * Gennady Zyuganov, "Socialism Is Genuine Freedom" (22 November 2017)

title: Globalization


text:
Chick Corea

Chick Corea (June 12, 1941 - February 9, 2021) was an American jazz pianist/keyboardist and composer known for his work during the 1970s in the genre of jazz fusion. He participated in the birth of the electric fusion movement as a member of Miles Davis' band in the 1960s, and in the 1970s formed the band Return to Forever. He received multiple Grammy Awards.

Quotes

 * I believe that any "awareness" of life is "spiritual" since awareness can only be a quality of the spirit not of the material world or of matter and machines. Only a spiritual being has awareness. But if you mean "spiritual" in the sense of a kind of "celebration of Life", then yes, I write music to celebrate life. I think most artists do, no matter how they themselves describe it. It's the joy of creating. It's a way of life.
 * "Answer #3" at his official website.

 * The values that Scientology states are universal values. Values that any good mother or father or friend couldn't possibly disagree with. They're the values of health and improvement. It's not a belief system where you have to sign up and believe something particularly. People of all religions study Hubbard, and Hubbard himself encouraged religions to flourish because in our day and age, in our mechanized society, what is lacking is the humanities and people with faith and beliefs. So that's one of our operations. We encourage that. I require a certain amount of ethics from anybody I work with.
 * Interview at All About Jazz (30 October 2004)

 * It's a way of life for me. To me, Scientology is the very thing that artists need, in the sense that it's not a religion that you have to change the way that you pray or think about the Creator. What's incredible about Scientology is that this is the first time there's been a real technology on human relationships. To me, that's what's missing in the world. Like most of us, I grew up in a mechanical world. And when I got into music, it was mechanical in the sense of choosing notes and chords. Missing were the humanities. What ever happened to how you really live? How you feel?  How you relate to people? How you reach out and help someone? I think that's one of the most basic, natural tendencies all people have—to help.  Scientology gives you the necessary tools to be successful at helping someone.
 * Response when asked "How has Scientology influenced your artistry?". BET Jazz (December 2004)

Quotes about Corea

 * The most prolific and versatile of any modern jazz musician
 * Gary Burton

 * You a motherfucker!
 * Miles Davis, complementing Corea's talent.

 * Jazz's most protean and unpredictable character.
 * "DownBeat magazine" as quoted in "Chick Corea: The Chameleon" by Mike Zwerin in CultureKiosque (14 May 1998).

title: Chick Corea


text:
Yu-Gi-Oh!

Seasons: 1 / 2 / 3 Enter the Shadow Realm / 4 Waking with Dragons / 5 Grand Championship, Capsule Monsters and Dawn of the Duel | Movies: Yu-Gi-Oh! The Movie: Pyramid of Light / The Dark Side of Dimensions / Bonds Beyond Time | Main

Yu-Gi-Oh! is a Japanese manga series about gaming written and illustrated by Kazuki Takahashi. Two anime adaptations were produced; one by Toei Animation, which aired from April 4, 1998 to October 10, 1998, and another produced by NAS and TV Tokyo animated by Studio Gallop titled ''Yu-Gi-Oh! Duel Monsters'', which aired between April 2000 and September 2004.

Seasons (2000–06)

 * Season 1
 * Season 2
 * Season 3: Enter the Shadow Realm
 * Season 4: Waking with Dragons
 * Season 5: Grand Championship, Capsule Monsters and Dawn of the Duel

Movies

 * The Movie: Pyramid of Light
 * Bonds Beyond Time
 * The Dark Side of Dimensions

 * “Yu-Gi-Oh!’s” fundamental theme, aside from the triad of “friendship,” “death,” and “love,” also includes the keyword “independence.” I would like all my readers to have something–one thing–that they’ll rise above others to. For example, even though the card game takes center stage in the story, I would hope you all make friends and form a friendly rivalry with one another. And while doing so, I hope you all find something unique to yourself–your ‘only one.’ I may present only the card game aspect during the story to everyone, but I’m glad that it could be provided as an opportunity for communication to allow everyone to meet one another and explore new possibilities. By fighting through cards, I wish you could all learn about people and build good relationships.
 * Kazuki Takahasi, The Gospel of Truth, (November 1, 2002).

Main

 * Dan Green - Yugi Muto/Yami Yugi/Pharaoh Atem
 * Wayne Grayson - Joey Wheeler
 * Greg Abbey - Tristan Taylor
 * Amy Birnbaum - Tea Gardner
 * Marc Thompson - Duke Devlin
 * Eric Stuart - Seto Kaiba
 * Tara Sands - Mokuba Kaiba

Supporting

 * Ted Lewis as Ryo Bakura, Yami Bakura (Seasons 1, 2, 5)
 * Megan Hollingshead (Seasons 1, 2, 3) and Bella Hudson (Season 4; cameo in Season 5)- Mai Valentine
 * Wayne Grayson- Solomon Moto (Seasons 1, 2, 5)
 * Darren Dunstan - Maximilian Pegasus (Seasons 1, 4, 5)
 * Jonathan Todd Ross- Marik Ishtar (Seasons 2, 3, 5)
 * TBA- Ishizu Ishtar (Seasons 2, 3, 5)
 * TBA- Odion (Seasons 2, 3, 5)
 * Bella Hudson- Dark Magician Girl (Seasons 3, 4, 5)
 * Dan Green- Timaeus (Season 4)
 * Wayne Grayson- Hermos (Season 4)
 * Eric Stuart- Critias (Season 4)
 * Lisa Ortiz- Serenity Wheeler (Seasons 1, 2, 3; cameo in Season 5)
 * Kerry Williams- Rebecca Hawkins (Seasons 1, 4, 5)
 * Mike Pollock- Arthur Hawkins (Seasons 1, 4, 5)

Recurring

 * TBA- Zigfreid Von Schroeder (Season 5; 14 Episodes)
 * TBA- Leon Von Schroeder (Season 5; 14 Episodes)
 * TBA- Vivian Wong (Season 5; 14 Episodes)
 * Carter Cathcart- Weevil Underwood (Seasons 1, 2, 4, 5)
 * Sam Regal and Anthony Salerno- Rex Raptor (Seasons 1, 2, 4, 5)
 * Wayne Grayson- Shadi Shin (Seasons 1, 2, 5)
 * Marc Thompson- Rafael (Season 4; cameo in Season 5)
 * Marc Thompson- Valon (Season 4; cameo in Season 5)
 * Ted Lewis- Alister (Season 4; cameo in Season 5)
 * Wayne Grayson- Dartz (Season 4; 40 Episodes)
 * Andrew Rannells- Noah Kaiba (Season 3; 24 Episodes)

Movies

 * Scottie Ray as Anubis (from The Pyramid of Light)
 * Matthew Charles as Jaden Yuki (from Bonds Beyond Time)
 * Greg Abbey as Yusei Fudo ( from Bonds Beyond Time)
 * Laurie Hymens as Sera (from The Dark Side of Dimensions)
 * Tamir Cousins as Mani (from The Dark Side of Dimensions)
 * Daniel J. Edwards as Deva/Aigami (from The Dark Side of Dimensions)

title: Yu-Gi-Oh!


text:
Mason Cooley

Mason Cooley (1927 – July 25, 2002) was an American literary academic and aphorist.

Quotes

 * Every day begins with an act of courage and hope: getting out of bed.
 * City Aphorisms (1984)

 * Lonely people keep up a ceaseless flow of commentary on themselves.
 * City Aphorisms (1984)

 * Ideology has shaped the very sofa on which I sit.
 * City Aphorisms, Third Selection (1986)

 * Wisdom remembers. Happiness forgets.
 * City Aphorisms, Third Selection (1986)

 * In an aphorism, aptness counts for more than truth.
 * City Aphorisms, Fourth Selection (1987)

 * Scepticism is always a back road leading to some credo or other.
 * City Aphorisms, Fourth Selection (1987)

 * I am easy-going right up to the borders of my self-interest.
 * City Aphorisms, Sixth Selection (1989)

 * The laughter of the aphorism is sometimes triumphant, but seldom carefree.
 * City Aphorisms, Sixth Selection (1989)

 * Timidity keeps me safe and sad in a narrow room.
 * City Aphorisms, Eighth Selection (1991)

 * Writing an upbeat aphorism is a temptation, but decorum forbids.
 * City Aphorisms, Eighth Selection (1991)

 * Reality is the name we give to our disappointments.
 * City Aphorisms, Ninth Selection (1992)

 * When lying to someone, look him straight in the eye.
 * City Aphorisms, Ninth Selection (1992)

 * To be successful be ahead of your time, but only a little.
 * City Aphorisms, Tenth Selection (1992)

 * People may show jealousy, but hide their envy.
 * City Aphorisms, Eleventh Selection (1993)

 * Don’t milk the cow too hard. She will kick you.
 * City Aphorisms, Eleventh Selection (1993)

 * Wisdom cannot prevent a fall, but may cushion it.
 * City Aphorisms, Twelfth Selection (1993)

 * Why do we never expect dull people to be rascals?
 * City Aphorisms, Thirteenth Selection (1994)

"Forgiveness is like Faith. you have to keep reviving it."

title: Mason Cooley