“If you wish to have little spare time, do nothing.”
Anton Chekov, quoted as “Thought du jour” in Globe & Mail May 13, 2003
“If the evil is to be absent, it shall be because we have routed it; not because we have fled from it.”
G.K. Chesterton in Reveille November, 1918, quoted in “Evil and Other Evils” in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 27 #6 (July-August 2024)
“IF AN AIRLINE PILOT CAN REMEMBER ALL THE BUTTONS… YOU TOO CAN USE THE TURN SIGNAL LEVER”
Graphic emailed by a friend without attribution
“My taste is for the sensational novel, the detective story, the story about death, robbery, and secret societies; a taste which I share in common with the bulk at least of the male population of this world.”
G.K. Chesterton “Novel-Reading” in T.P.’s Weekly April 7, 1911, reprinted in Gilbert! The Magazine of the Society of G.K. Chesterton Vol. 27 #5 (May/June 2024)
“Normal people generally take normal things for granted; even when they are no longer there.”
G.K. Chesterton in G.K.’s Weekly March 19, 1932, as header quotation on Dale Ahlquist in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 27 #2 (November/December 2023)
“The terrible danger in the heart of our Society is that the tests are giving way. We are altering, not the evils, but the standards of good by which alone evils can be detected and defined.”
G.K. Chesterton in Illustrated London News March 25, 1911, quoted in “Evil and Other Evils” in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 27 #6 (July-August 2024)
“To hear some critics talk now you would think there are only two kinds of writers in the world – popular writers who are bad, and unpopular writers who are good.”
G.K. Chesterton in The Observer Feb. 26, 1911, quoted in “The Writer’s Work” in Gilbert! The Magazine of the Society of G.K. Chesterton Vol. 27 #5 (May/June 2024)
“of all the war books of the late twenties... Remarque’s [phenomenally successfull All Quiet on the Western Front] made its point, that his was a truly lost generation, most directly and emotionally, even stridently, and this directness and passionately at the heart of its popular appeal. But there was more. The ‘romantic agony” was a wild cry of revolt and despair – and a cry of acceleration. In perversion there could be pleasure. In darkness, light. The relation of Remarque and his generation to death and destruction is not as straightforward as it appears. In his personal life and in his reflections on the war Remarque seemed fascinated by death. All of his subsequent work exudes this fascination. As one critic put it later, Remarque ‘probably made more out of death than the most fashionable undertakers.’ Like the Dadaists, he was spellbound by war in its horror, by the act of destruction, to the point where death becomes not the antithesis of life but the ultimate expression of life, where death becomes a creative force, a source of art and vitality.”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era