The novel should tell the truth, as I see the truth, or as the novelist persuades me to see it. And one more demand: I expect the novelist to aspire to improve the world. ... As a novelist, I want to be more than one more dog barking at the other dogs barking at me. Not out of any foolish hope that one novelist, or all virtuous novelists in chorus, can make much of a difference for good, except in the long run, but out of the need to prevent the human world from relaxing into something worse. To maintain the tension between truth and falsity, beauty and ugliness, good and evil. ... I believe the highest duty of the serious novelist is, whatever the means or technique, to be a critic of his society, to hold society to its own ideals, or if these ideals are unworthy, to suggest better ideals.

As neoliberalism wages war on public goods and the very idea of a public, including citizenship beyond membership, it dramatically thins public life without killing politics. Struggles remain over power, hegemonic values, resources, and future trajectories. This persistence of politics amid the destruction of public life and especially educated public life, combined with the marketization of the political sphere, is part of what makes contemporary politics peculiarly unappealing and toxic— full of ranting and posturing, emptied of intellectual seriousness, pandering to an uneducated and manipulable electorate and a celebrity-and-scandal-hungry corporate media. Neoliberalism generates a condition of politics absent democratic institutions that would support a democratic public and all that such a public represents at its best: informed passion, respectful deliberation, aspirational sovereignty, sharp containment of powers that would overrule or undermine it.

It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.

One need not believe in Pallas Athena, the virgin goddess, to be overwhelmed by the Parthenon. Similarly, a man who rejects all dogmas, all theologies and all religious formulations of beliefs may still find Genesis the sublime book par excellence. Experiences and aspirations of which intimations may be found in Plato, Nietzsche, and Spinoza have found their most evocative expression in some sacred books. Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too.

I'm not a Wiccan. I'm not big on churches of any kind, despite the fact that I've spoken, face-to-face, with an archangel of the Almighty.But there were some things I believed in. Some things I had faith in. And faith isn't about perfect attendance to services, or how much money you put on the little plate. It isn't about going skyclad to the Holy Rites, or meditating each day upon the divine.Faith is about what you do. It's about aspiring to be better and nobler and kinder than you are. It's about making sacrifices for the good of others--even when there's not going to be anyone telling you what a hero you are.Faith is a power of its own, and one even more elusive and difficult to define than magic.

All other trades are contained in that of war.Is that why war endures?No. It endures because young men love it and old men love it in them. Those that fought, those that did not.That's your notion.The judge smiled. Men are born for games. Nothing else. Every child knows that play is nobler than work. He knows too that the worth or merit of a game is not inherent in the game itself but rather in the value of that which is put at hazard. Games of chance require a wager to have meaning at all. Games of sport involve the skill and strength of the opponents and the humiliation of defeat and the pride of victory are in themselves sufficient stake because they inhere in the worth of the principals and define them. But trial of chance or trial of worth all games aspire to the condition of war for here that which is wagered swallows up game, player, all.

Like seeds planted in the depths of our souls, our dreams are at the center of who we really are. Our mission and our right is to nurture them and to allow them to grow. To follow your dreams takes courage, action, persistence, time and patience, but most of all, you must first believe in them. Believing in your dreams means that you trust your aspirations exist for a reason and the reason is your calling. Believing in your dreams means that you hold true that everything is possible and you can manifest the life and experiences you desire. We know that dreaming is a form of planning. We know that everything we enjoy and appreciate around us – every advancement and contribution to society – developed from the commitment, perseverance, and belief in our dreams.

For the first time he considers the full emotional dimensions of the day. His life is changing but his parent’s lives are changing too. Like a habitat, abruptly deprived of a major species, the household will be wrenched into realignment by his departure. Like all young people, he has no idea who his parents really are. For 18 years he has experienced their existence only in so far as it is related to his own needs. Suddenly his mind is full of questions. What do they talk about when he's not around? What secrets do they hold from each other? What aspirations have been left to languish? What private grievances held in check by the shared project of child rearing will now in his absence, lurch into the light?

When did you star here?” I ask her.“Three days ago. Sir. Aspirant. Um—” She wrings her hands.“Veturius is fine.”She walks carefully, gingerly—the Commandant must have whipped her recently. And yet she doesn't hunch or shuffle like the others slaves. The straight-backed grace with which she moves tells her story better than words. She'd been a freewoman before this—I'd bet my scims on it. And she has no idea how pretty she is—or what kind of problems her beauty will cause for her at a place like Blackcliff. The wind pulls at her hair again, and I catch her scent—like fruit and sugar. “Can I give you some advi

Every book adds a grain of humility and humanity to the communal ground that we tread. Writing is the one method that the modern shaman employs to interpret reality and create messages that will provide a beacon of light to other members of our tribe. So long as ignorance, misery, and confusion remain on earth, and people look to expand their state of awareness, books that contribute to the aesthetics of despair, a world composed of mist and shadows cannot be useless. Writing is a personal effort to coexist with the banality, tedium, and anguish of living a fated life. Writing is a shamanistic act of faith because seeking to link thoughts together in order to understand how one fits into nature’s wonderland is a quest for unity and wholeness, the ultimate medicinal poultices that all self-disciplined shaman and alchemistic writers aspire to achieve.