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In the 14th Century an anonymous English mystic wrote a book called The Cloud of Unknowing, the main theme of which is that God cannot be apprehended by man's intellect and that only love can pierce the "cloud of unknowing" which lies between Him and us. I feel that in my own life anything I have done of possible worth has happened in spite of my gross, worldly self. I have been no more than the vessel used to convey ideas above my intellectual capacities. When people praise passages I have written, more often than not I can genuinely say, 'Did I write that?' I don't think this is due to my having a bad memory, because I have almost total recall of trivialities. I see it as evidence of the part the supernatural plays in lives which would otherwise remain earthbound.

 

Patrick White (Australian novelist)

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The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.” This he got from Spenser, not Marlowe.

 

Camille Paglia

 

I think that I offended many people when I decimated the postures and the lies of Noam Chomsky in an article I wrote called "Poisoning the Well in Academe." That wasn't a conservative screed on my part. That was a liberal's devotion to the truth, and the exposure of a liar, a person who assaults the mind by putting in false evidence.

 

Noam Chomsky

 

I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write. ...Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. ... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

 

Amy Tan

 

The Pythagoreans called the monad "intellect" because they thought that intellect was akin to the One; for among the virtues, they likened the monad to moral wisdom; for what is correct is one. And they called it "being," "cause of truth," "simple," "paradigm," "order," "concord," "what is equal among the greater and the lesser," "the mean between intensity and slackness," "moderation in plurality," "the instant now in time," and moreover they call it "ship," "chariot," "friend," "life," "happiness."

 

Iamblichus of Chalcis

 

I learned a lot about the play of emotion. There was a part of me that whistled in the dark, and said, "It's all right, he wrote a very good book; it's probably better than The Naked and the Dead." I must tell you now, in this point of my literary existence, I think it was better than The Naked and the Dead, because it went into the taproot of Army experience. I had learned a lot in the Army from a couple of years in it, and it had had a huge effect on me, and I'd been able to write a pretty good novel with it. But it hadn't been my life in the way it had been for Jones. He hadn't had a successful career life as an adolescent and a young man, so he went into that Regular Army. That was going to be his life; that was going to be his existence. It wasn't something he was going to get out of necessarily. And so his book, I felt, went deeper into the nature of what it was like to be a soldier. So I thought, yes, it was a better book than I had written.

 

James Jones