A Quote by Pankaj Mishra
I guess I am nostalgic for a time - the nineteenth century and early twentieth - when writers were, to use Stefan Collini's phrase, "public moralists" and politicians, plutocrats, bankers, arms dealers, and experts and technocrats were not solely defining the moral norms as well as the political lives of our societies. We do have some writers claiming to be public moralists, but, as I said, they have actually been more jingoistic than even the henchmen of Bush and Blair.
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Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
I cannot sufficiently celebrate the glorious liberty that reigns in the public libraries of the twentieth century as compared with the intolerable management of those of the nineteenth century, in which the books were jealously railed away from the people, and obtainable only at an expenditure of time and red tape calculated to discourage any ordinary taste for literature.
So long as the mental and moral instruction of man is left solely in the hands of hired servants of the public--let them be teachers of religion, professors of colleges, authors of books, or editors of journals or periodical publications, dependent upon their literary incomes for their daily bread, so long shall we hear but half the truth; and well if we hear so much. Our teachers, political, scientific, moral, or religious; our writers, grave or gay, are compelled to administer to our prejudices and to perpetuate our ignorance.
Like the Britain of Beaverbrook and Kipling, Japan in the early twentieth century was a jingoistic nation, subduing weaker countries with the help of populist politicians and sensationalist journalism.
The great crimes of the twentieth century were committed not by money-grubbing capitalists but by dedicated idealists. Lenin, Stalin, and Hitler were contemptuous of money. The passage from the nineteenth to the twentieth century has been a passage from considerations of money to considerations of power.
I think I'll always be a better playwright than a pundit, but I believe that writers should be public intellectuals and that theater, even more than film, is a place of public debate.
I still prefer going to the classical writers, the modernists and the nineteenth century writers. Much of what has been done since then has just been repetition. A lot of it is marvelous but the forms haven't changed.
In the early period of Left struggles, in the late nineteenth and early twentieth century, there were many different trajectories for the struggle, whether you call it 'syndicalism' or 'anarchism' or, at the time, 'social democracy', eventually 'Communism', these were different theories of struggle. But all of them shared a basic understanding that the people...experience exploitation, they experience oppression, but they're not prepared to rise up.
What is difficult is the promotion, balancing the public side of a writer's life with the writing. I think that's something a lot of writers are having to face. Writers have become much more public now.
It was the time of the Cold War and so there were was a lot of pressure on the - to get going and the Russians were claiming that they were - Soviets were claiming they were ahead of us in technology. And so it was against that backdrop that the early space flights took off.
I thought the message of the artist was more important than the writing style. I tried to be clear; I wanted everyone to be welcome. I think some of the more serious writers wrote to a more elite audience than that. They're the ones who were defining the seriousness of rock n' roll.
Given that the nineteenth century was the century of Socialism, of Liberalism, and of Democracy, it does not necessarily follow that the twentieth century must also be a century of Socialism, Liberalism and Democracy: political doctrines pass, but humanity remains, and it may rather be expected that this will be a century of authority ... a century of Fascism. For if the nineteenth century was a century of individualism it may be expected that this will be the century of collectivism and hence the century of the State.
In the nineteenth century, the central moral challenge was slavery. In the twentieth century, it was the battle against totalitarianism. We believe that in this century the paramount moral challenge will be the struggle for gender equality around the world.
Political realism is aware of the moral significance of political action. It is also aware of the ineluctable tension between the moral command and the requirements of successful political action. And it is unwilling to gloss over and obliterate that tension and thus to obfuscate both the moral and the political issue by making it appear as though the stark facts of politics were morally more satisfying than they actually are, and the moral law less exacting than it actually is.
..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.
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