Tragedy, no matter how sad, becomes boring to those not caught in its addictive caress.
The death of classical music is perhaps its oldest continuing tradition.
Beethoven in c minor has come to symbolize his artistic character. . . where he seems to be most impatient of any compromise.
Stage fright, like epilepsy, is a divine ailment, a sacred madness. . . It is a grace that is sufficient in the old Jesuit sense - that is, insufficient by itself but a necessary condition for success.
Even Stravinsky does not evoke the same public affection as Verdi.
The belief may be too often mistaken, but the illusion of coming into direct contact with the past is intoxicating and persuasive, and can result in an interpretation that carries conviction. Sometimes confidence is all that's needed.
A love of classical music is only partially a natural response to hearing the works performed, it also must come about by a decision to listen carefully, to pay close attention, a decision inevitably motivated by the cultural and social prestige of the art.
When people know you've been a soldier, they judge you: you are a thief, a lost boy.
I was a good kid, but I was just very chatty. Teachers were rarely entertained, but occasionally a child was, which was enough for me. Everything was so urgent. I needed to say it immediately.
Anarchism as the name for an ideal total social form is a really complicated question. I have never found satisfying answers from anarchists about the definition of the state they are opposed to. Most are opposed to coercive forms of state power. Questions about large scale systems of organization and how they will be funded - those are questions it's hard to get anarchists to give good answers to.
You know, I'm almost out of the habit of watching episodic television now.