A Quote by Paul Theroux
I greatly enjoyed Tom Reiss's The Orientalist, for its mingled scholarship and sleuthing, and for so elegantly solving the puzzle of one of the Twentieth Century's most mysterious writers.
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The humanities and science are not in inherent conflict but have become separated in the twentieth century. Now their essential unity must be re-emphasized, so that twentieth-century multiplicity may become twentieth-century unity.
Today's Uncle Tom doesn't wear a handkerchief on his head. This modern, twentieth-century Uncle Thomas now often wears a top hat. He's usually well-dressed and well-educated. He's often the personification of culture and refinement. The twentieth-century Uncle Thomas sometimes speaks with a Yale or Harvard accent. Sometimes he is known as Professor, Doctor, Judge, and Reverend, even Right Reverend Doctor. This twentieth-century Uncle Thomas is a professional Negro -by that I mean his profession is being a Negro for the white man.
Mathematics began to seem too much like puzzle solving. Physics is puzzle solving, too, but of puzzles created by nature, not by the mind of man.
The writers job is like solving a puzzle, and finally arriving at a solution is a tremendous satisfaction.
Without writers, none of the entertainment would exist. It starts with writers. Writers are the most important piece of the entire puzzle.
The thriller is the cardinal twentieth-century form. All it, like the twentieth century, wants to know is: Who's Guilty?
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.
As a journalist, I never isolated myself. I was a journalist at a daily newspaper and every day I went out on the street. Every day I had contact with people. I interviewed the most important writers of the twentieth century, and into the twenty-first century, from Simone de Beauvoir, Marguerite Duras, and Marguerite Yourcenar to Christa Wolf.
I've had very close relationships with some twentieth-century writers.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
and in some of the people of the town and community surrounding it, one of the characteristic diseases of the twentieth century was making its way: the suspicion that they would be greatly improved if they were somewhere else.
I think of each movie as a puzzle. The fun is in solving the puzzle: finding a musical identity for the picture, however that can be summed up.
The twentieth century had produced a literature in Ireland that kept a tense distance from the sources of faith - and for good reason. Irish writing had suffered a terrible censorship in the twentieth century.
Manhattan was the capital of the twentieth century for black writers, artists, and intellectuals as much as it was for their white counterparts.
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
It has become part of the accepted wisdom to say that the twentieth century was the century of physics and the twenty-first century will be the century of biology.
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