A Quote by Gertrude Atherton

if there's a spirit world why don't the ghosts of dead artists get together and inhibit bad playwrights from tormenting first-nighters? — © Gertrude Atherton
if there's a spirit world why don't the ghosts of dead artists get together and inhibit bad playwrights from tormenting first-nighters?
There are some very powerful contributions to knowledge in the scientific world or the legal world, but art is singular. That's why every dictator gets rid of the artists first. They burn the books and execute the artists first. Then they get on with whatever else they're interested in. Art might do something. It's dangerous.
Why precisely do we want to change land ownership? The answer seems to me to be quite clear: to inhibit land speculation, to inhibit the private exploitation of the scarcity-value of land, to inhibit as we might say the cornering of land.
What a world is this! What is there in it desirable? The good we hope for so strangely mixed, that one knows not what to wish for!And one half of mankind tormenting the other, and being tormented themselves in tormenting!
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
Every young man's heart is a graveyard in which are inscribed the names of a thousand dead artists but whose only actual denizens are a few mighty, often antagonistic, ghosts.
My fellow critics and I may occasionally fault a movie for departing, in detail or in spirit, from its literary source, but the grousing of a few adult pedants is nothing compared to the wrath of several million bookish 10-year-olds. Their presumed demands, and the hovering spirit of Harry's creator, J. K. Rowling, inhibit this movie as it did the first Potter film.
There are two parts to the human dilemma. One is the belief that the end justifies the means. That push-button philosophy, that deliberate deafness to suffering, has become the monster in the war machine. The other is the betrayal of the human spirit: the assertion of dogma that closes the mind, and turns a nation, a civilization, into a regiment of ghosts--obedient ghosts or tortured ghosts.
I think that in the first place, why we can get excited about [Buckminster ] Fuller, why it's plausible that people might - why my publisher would publish this book [You belong to the universe] about it long after he's dead and irrelevant by many standards has to do with the fact that he was in a sense coming up with this job for himself that is the job that we now refer to when we speak about world change.
I would advise you, Sir, to study algebra, if you are not an adept already in it: your head would get less muddy, and you will leave off tormenting your neighbours about paper and packthread, while we all live together in a world that is bursting with sin and sorrow.
I know too many playwrights, or would-be playwrights, or would-have-been playwrights, that are around my age, who were bitter or have gone to something else because they got such a raw deal from critics, and some are quite wonderful writers.
In graduate school, I decide to write my doctoral thesis on how Italian architecture influenced English playwrights of the seventeenth century. I wonder why certain playwrights decided to set their tragedies, written in English, in Italian palaces.
You menace others with your deadly fangs. But in tormenting them, you are only tormenting yourselves.
(What are your ghosts like?) (They are on the insides of the lids of my eyes.) (This is also where my ghosts reside.) (You have ghosts?) (Of course I have ghosts.) (But you are a child.) (I am not a child.) (But you have not known love.) (These are my ghosts, the spaces amid love.)
To show you how radical I am, I want carjackers dead. I want rapists dead. I want burglars dead. I want child molesters dead. I want the bad guys dead. No court case. No parole. No early release. I want 'em dead. Get a gun and when they attack you, shoot 'em.
The melancholy ghosts of dead renown, Whispering faint echoes of the world's applause.
I did a thing called 24 Hour Plays, a thing they do every year on Broadway. A bunch of playwrights and actors get together, you write a play and you act it out in 24 hours, literally. People pay and the money goes to charity. So I did one - I was horrible. I was bad. I was terrified. And I was like, "Oh, I gotta do this again." Because I know I can do it.
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