A Quote by J. M. Coetzee

There are works of literature whose influence is strong but indirect because it is mediated through the whole of the culture rather than immediately through imitation. Wordsworth is the case that comes to mind.
Nowadays, the tragedy of war is mediated through technology. It is no longer mediated through a human being with moral responsibilities.
There is a case, and a strong case, for that particular form of indolence that allows us to move through life knowing only what immediately concerns us.
You can travel through literature, and you can expand your mind through literature. It's so cheap to buy that kind of ticket.
There are those people who basically don't like those who are different. Now, that is a prejudice and it's a prejudice that's dangerous because in the world today, the world works through connectivity. It works through going across the boundaries, but faith and culture and race in a nation.
We're living in a homogenized culture where everything is the same, and books are not a homogenized culture. They are extremely varied, and they're eccentric because they are the product of an individual mind. They are not, in any way, mediated.
God doesn't work through us because we're flawless; rather, He works through us in spite of our imperfections.
You have to free yourself from your mental conditioning through association with the holy, through doing good works, through meditating, through laughter, through love and through solitude.
Resistance keeps you stuck. Surrender immediately opens you to the greater intelligence that is vaster than the human mind, and it can then express itself through you. So through surrender often you find circumstances changing.
The nobility of Teresa Leo's poems is that they are not disposed to hide from the dark-rather, they display a mind that tends toward obsession and brooding, that works against fatality like fingers at a knot. The firm, attentive mind on display and the lucid unfolding of the poems are the life instinct seeking and finding its way through again and again. Love and beauty are the argument, but they don't win easily. Bloom in Reverse works through elegy toward survival with moving persistence, both driven and compelling.
I hope I'm able to achieve more on camera through stillness, through focus, through being quite careful to do less on every take, rather than more. So I'm reducing, rather than adding. Which hopefully is a good exercise. That's what I'd like to do.
Every artist learns through imitation, but I rather doubt the aim of these things is artistic development. I assume they're either homages or satiric riffs, and are not intended to be taken too seriously as works in their own right. Otherwise I should be talking to a copyright lawyer.
If you wanna talk about influence, man, then you've got to realize that influence is not influence. It's simply someone's idea going through my new mind.
Since the Renaissance, a concept called 'progress' has been baked into our society. Progress - founded on an accumulation of knowledge through experience (and in the case of science, through experiment). To build on the past rather than endlessly relive it. That's what separates us from the beasts.
In God's school we learn through the heart rather than through the head, and by faith rather than logic.
The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.
I love traveling. It not only opens my mind up, but it also allows me to use my fame in another way through humanitarian works and stuff, and being an influence around the world.
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