In a 1931 journal entry Wittgenstein wrote, “The works of great masters are suns which rise and set around us. The time will come for every great work that is now in the descendent to rise again.” This may be the most Irie remark that he ever set to paper and serves as a fine […]
You can’t say that this object is a world with crisis and this object is a world without crisis. Empirically we can’t do that; it’s a logical distinction, we can only have crisis and anti-crisis.
I don’t consider hopefulness to be a naïve thing or just for the young and the idealistic. The people I respect the most are people that have survived some stuff and they have this hope — that is what they have found.
As someone who cares about the reputations of these musicians that I write about, I don’t want to participate in the further exiling of them to this weird corner of American music history.
In Algerian Chronicles we get both the settled position of Camus on Algerian independence and a study of what led to this exasperated tone – namely the insufficiencies of humanist principles to get a fair hearing during a particular kind of political sequence.
Hollywood invariably has trouble with unadorned representations of the poor and the disadvantaged whose life stories may not produce positive resolutions in the form of glamor, adventure, triumphant individualism, and social mobility.