I don't think our lives actually unfold with morals attached to them, or meanings that are easily extracted, or jokes designed to generate sympathy. I wanted to do the opposite - to offer up a life whose meanings can only be perceived through a tangle of desires, confusions, and textural details.
Writing is a mode of agency in the world that is different from mere employment. There has to be some sort of ethical or moral drive, even if you are unaware of it.
We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.
There's no connection between consumption of art and moral stamina at all.
It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.
If Fobbit leaves a reader feeling stranded in some bland in-between territory, then I haven't done my job. But having said all that, I didn't consciously write the book with a particular moral intent. I took what I experienced and processed it through the sausage factory of fiction. It's up to readers to interpret what's on the page - as is the case with any novel.
The cool thing about Watchmen is it has this really complicated question that it asks, which is: who polices the police or who governs the government? Who does God pray to? Those are pretty deep questions but also pretty fun questions. Kind of exciting. It tries to subvert the superhero genre by giving you these big questions, moral questions. Why do you think you're on a fun ride? Suddenly you're like how am I supposed to feel about that?
Africans believed that the woman's bare breast represented God, the circle of life and the moral cleanliness of human beings.
Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.
I argue that I don't think it's a moral position to say that civilization is going to collapse, and that's okay. Because that would cause the deaths of billions of people. It's certainly not something I'm willing to accept.
Noir is where the clarity of moral divisions break down, the black and whites turn into grays.
The young readers I have interacted with carry old concerns repackaged in the skin of a new generation: puzzlement over continuous national moral failings, contradictions with the elders, nostalgia for a nonexistent Kenyan past.
I love to read things that have moral messages, and I love to hear stories where it's not just a hook, you have to follow the story, you have to listen to the message of the song, and get it and use it in your everyday life.
Las Vegas is incredible. Either you love it or you're a classy person with morals. I fall into the former category. It's definitely bled into my writing.
Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.
Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.
One can say that the disaffection is still a lingering naiveté about, not the place of poetry in the world, but - how to say this - the moral and intellectual presence of poets in the world. And while this may seem an old conversation to many poets who roll their eyes and say, "Here we go again about the function of poetry," I think that conversation, about poetry as an engaged art in a world that is full of regression or still lacking in progress, is still really not well-developed. It's almost an avoided conversation.
I don't think he should make foreign policy on the basis of peak,but I don't think it can be overstated that Israel has been an embattled democracy that has enjoyed the bipartisan and overwhelming support of Americans. It has been a moral force.
But then you say, Well, who makes the decision? Does the government make the decision? The reason this is such a national dispute and moral issue for people is because it occurs inside the body of a woman. That makes it really complicated. What are you going to do? Put women in prison? How much do we want the government to intrude on this?
That's his definition of mercy. This is the year of the Mercy Jubilee of the pope. I know that he's against abortion, but he talks about Christ's emphasis on mercy instead of his emphasis on judgment. He talks about the lack of Christian charity and the pride that are afloat in our world these days in terms of making moral judgments on other people. That's really it for Willie. He's really a missionary.
I don't regard the real and true and authentic as something to claim as a moral high ground.
I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.
I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?
You don't really want an army of people making individual decisions. And I don't think I completely understood that until people gave me examples of what happens when your army takes over your government and it's like, "Oh, yeah, I guess you can't really have people make individual moral decisions."
We need to ask the moral questions: Do I have a right to be rich? And do I have a right to be content living in a world with so much poverty and inequality? These questions motivate us to view the issue of inequality as central to human living.
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