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I had it for about fifteen years until I read Lenin and other writers, who showed me what was wrong with our society and how to cure it... Since then I have needed no magnesia.
--
On being cured of his gastritis, as quoted in TIME magazine (24 June 1940)

 

J. B. S. Haldane

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Basically, I wish I could read the way I used to read. I did not dissect as I read. I simply became immersed in the story and let it sweep me happily along. Now I cannot help but dissect. I try not to, but I do anyway. I cannot help but see "flaws" and all the ways I think I could have done this better. I would suspect that all writers are like this, to one degree or another. Writers are the gods of their universes, and we are never at a loss to suggest how some other god might better run herhisits universe/s. At least, this is true of me. It is one reason I read so much less fiction than I did fifteen years ago. And, actually, stage magic is not a bad metaphor for this problem I now have as a reader. I am precisely like a magician watching another magician's act. I should be suckered in with the rest of the crowd. I passionately desire to have the wool pulled over my eyes. Only it very rarely happens, as I'm too busy figuring out how it's all being done and how I could improve upon it ... I just can't help but read it as a novelist. This is, from my perspective, unfortunate. I don't want to know how the trick works. I want to be amazed. I want to be convinced of the magic. But this is what I do. I spend my days gluing words together to try and fool other people. And I can't help but try to see how other writers, especially writers who have found more commercial success than have I, make it work. Sadly, I don't even find the mechanics & theory of fiction writing remotely interesting, which makes this doubly frustrating. It's just a reflex.

 

Caitlin R. Kiernan

 

John Cage, composer, painter, and all-round thinker and cultural catalyst, said that if you introduce twenty percent of novelty into any artwork, watch out -- you are going to lose eighty percent of your audience at once. He said you would lose them for fifteen years. Cage was interested in fifteen-year cycles. But he was hopelessly optimistic. The general appreciation, for example, of Western painting has got stuck around Impressionism, and that was 130 years ago, not fifteen years ago.

 

Peter Greenaway

 

Recoiling against the cult of Stalin, which caused such devastation in the American radical movement, some people now describe all reference to the Marxist authorities as the cult of Marx, the cult of Lenin, or the cult of Trotsky. Those who used to forbid themselves to say anything until it was first said by Stalin, or even to think any thoughts which had not first been thought for them by Stalin, have suddenly decided that the cure for this mental, moral and political prostration is to listen to nothing that is said and to read nothing that has been written outside the borders of the fifty states.

 

James P. Cannon

 

I do remember one formative influence in my undergraduate life. There was an elderly professor in my department who had been passionately keen on a particular theory for, oh, a number of years, and one day an American visiting researcher came and he completely and utterly disproved our old man's hypothesis. The old man strode to the front, shook his hand and said, "My dear fellow, I wish to thank you, I have been wrong these fifteen years". And we all clapped our hands raw. That was the scientific ideal, of somebody who had a lot invested, a lifetime almost invested in a theory, and he was rejoicing that he had been shown wrong and that scientific truth had been advanced. (Part 1, 00:13:32)

 

Richard Dawkins

 

You must show that a man is wrong before you start explaining why he is wrong. The modern method is to assume without discussion that he is wrong and then distract his attention from this (the only real issue) by busily explaining how he became so silly. In the course of the last fifteen years I have found this vice so common that I have had to invent a name for it. I call it “Bulverism”. Some day I am going to write the biography of its imaginary inventor, Ezekiel Bulver, whose destiny was determined at the age of five when he heard his mother say to his father—who had been maintaining that two sides of a triangle were together greater than a third—”Oh you say that because you are a man.” “At that moment”, E. Bulver assures us, “there flashed across my opening mind the great truth that refutation is no necessary part of argument. Assume that your opponent is wrong, and the world will be at your feet. Attempt to prove that he is wrong or (worse still) try to find out whether he is wrong or right, and the national dynamism of our age will thrust you to the wall.” That is how Bulver became one of the makers of the Twentieth Century.

 

C. S. Lewis