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John Osborne

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Jimmy Porter: They spend their time mostly looking forward to the past.
--
Look Back in Anger, Act II, sc. I (1956)

 
John Osborne

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Hey porter! Hey porter!
Would you tell me the time?
How much longer will it be till we cross that Mason Dixon Line?
At daylight would ya tell that engineer to slow it down?
Or better still, just stop the train,
Cause I wanna look around.

 
Johnny Cash
 

I was aggressively nonpolitical. I believed that people who make a fuss about politics do so because their heads are too empty to think about more important things. So I felt nothing but impatient contempt for Osborne's Jimmy Porter and the rest of the heroes of social protest.

 
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John Osborne spoke out in a vein of ebullient, free-wheeling rancour that betokened the arrival of something new in the theatre — a sophisticated, articulate lower-class. Most of the critics were offended by Jimmy Porter, but not on account of his anger; a working-class hero is expected to be angry. What nettled them was something quite different: his self-confidence. This was no envious inferior whose insecurity they could pity.

 
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This was the past and it was the dead past; there were only corpses in it — and perhaps not even corpses, but the shadows of those corpses. For the dead trees and the fence posts and the bridges and the buildings on the hill all would classify as shadows. There was no life here; the life was up ahead. Life must occupy but a single point in time, and as time moved forward, life moved with it. And so was gone, thought Blaine, any dream that Man might have ever held of visiting the past and living in the action and the thought and the viewpoint of men who'd long been dust. For the living past did not exist, nor did the human past except in the records of the past. The present was the only valid point for life — life kept moving on, keeping pace with the present, and once it had passed, all traces of it or its existences were carefully erased.

 
Clifford D. Simak
 

The celebrity never sees himself. I have some idea what I'm doing on that stage; above all, I have some idea what sustains me on that stage. But the celebrity is not exactly Jimmy, though he comes out of Jimmy and Jimmy nourishes that, too. I can see now, with hindsight, that I would've had to become a celebrity in order to survive. A boy like me with all his handicaps, real and fancied, could not have survived in obscurity. I can say that it would have had to happen this way, though I could not see it coming.

 
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