Twentieth Century Quotes

Anybody looking for a quiet life has picked the wrong century to born in.

Whitaker Chambers

When I came out into the outside room again, I saw her shoe still lying there, where it had come off in the course of our brief wrestle. It looked so pathetic there by itself without an owner, it looked so lonely, it looked so empty. Something made me pick it up arid take it in to her. Like when someone's going away, you help them on with their coat, or their jackboots, or whatever it is they need for going away.I didn't try to put it back on her, I just set it down there beside her close at hand. You're going to need this, I said to her in my mind. You're starting on a long walk. You're going to keep walking from now on, looking for your home.I stopped and wondered for a minute if that was what happened to all of us when we crossed over. Just keep walking, keep on walking, with no ahead and no in-back-of; tramps, vagrants in eternity. With our last hope and horizon - death - already taken away.In the Middle Ages they had lurid colors, a bright red hell, an azure heaven shot with gold stars. They knew where they were, at least. They could tell the difference. We, in the Twentieth, we just have the long walk, the long walk through the wispy backward-stringing mists of eternity, from nowhere to nowhere, never getting there, until you're so tired you almost wish you were alive again. ("Life Is Weird Sometimes" - first chapter of unpublished novel THE LOSER)

Cornell Woolrich

Fatally, the term 'barbarian' is the password that opens up the archives of the twentieth century. It refers to the despiser of achievement, the vandal, the status denier, the iconoclast, who refuses to acknowledge any ranking rules or hierarchy. Whoever wishes to understand the twentieth century must always keep the barbaric factor in view. Precisely in more recent modernity, it was and still is typical to allow an alliance between barbarism and success before a large audience, initially more in the form of insensitive imperialism, and today in the costumes of that invasive vulgarity which advances into virtually all areas through the vehicle of popular culture. That the barbaric position in twentieth-century Europe was even considered the way forward among the purveyors of high culture for a time, extending to a messianism of uneducatedness, indeed the utopia of a new beginning on the clean slate of ignorance, illustrates the extent of the civilizatory crisis this continent has gone through in the last century and a half - including the cultural revolution downwards, which runs through the twentieth century in our climes and casts its shadow ahead onto the twenty-first.

Peter Sloterdijk

The beauty of the twentieth century is the charm of the hospital, the grace of the cemetery, of consumption and emaciation. I admit that I have submitted to it all; worse, I have loved with all my heart.

Two moral forces shaped how we think and live in this shining twentieth century: the Virgin, and the Dynamo. The Dynamo represents the desire to know; the Virgin represents the freedom not to know.What's the Virgin made of? Things that we think are silly, mostly. The peculiar logic of dreams, or the inexplicable stirring we feel when we look on someone that's beautiful not in a way that we all agree is beautiful, but the unique way in which a single person is. The Virgin is faith and mysticism; miracle and instinct; art and randomness.On the other hand, you have the Dynamo: the unstoppable engine. It finds the logic behind a seeming miracle and explains that miracle away; it finds the order in randomness to which we're blind; it takes the caliper to a young woman's head and quantifies her beauty in terms of pleasing mathematical ratios; it accounts for the secret stirring you felt by discoursing at length on the nervous systems of animals.

Two moral forces shaped how we think and live in this shining twentieth century: the Virgin, and the Dynamo. The Dynamo represents the desire to know; the Virgin represents the freedom not to know.What's the Virgin made of? Things that we think are silly, mostly. The peculiar logic of dreams, or the inexplicable stirring we feel when we look on someone that's beautiful not in a way that we all agree is beautiful, but the unique way in which a single person is. The Virgin is faith and mysticism; miracle and instinct; art and randomness.On the other hand, you have the Dynamo: the unstoppable engine. It finds the logic behind a seeming miracle and explains that miracle away; it finds the order in randomness to which we're blind; it takes the caliper to a young woman's head and quantifies her beauty in terms of pleasing mathematical ratios; it accounts for the secret stirring you felt by discoursing at length on the nervous systems of animals.