If you like capitalism, you will positively love depressions, because they are one and the same, like manic-depressives and their cycles, like spouse-abusers and their storms of violence.

I regret not getting brutally forthright with human beings a hell of a lot sooner than I did. Civility and obliquity are wasted on people who will not make the effort to be harsher or stricter on their own gooey egos than they are on other people.

Indisputably we live in a shaped reality, an artificialism. Most people who grasp this are thinking only at a consumer-level, of the "things" they like and need and feel impelled to acquire. But our societal and political arrangements are just as much manipulations of game-pieces and rules as is any Atari or Sega product. The subliminal psychology that drives people to become addicted to games, not to be able to see over the edges of their labyrinths, is transferable to any field whatsoever.

Those who have chosen the path of least resistance in life, who cannot bear to bring themselves to make a stern value-judgment in criticism of their own most intimate feelings, achieve what they deserve: not self-understanding but radical self-superficialization, not a discovered but a self-ascribed identity that explains nothing, reveals nothing, means nothing, and ultimately accomplishes nothing culturally or intellectually.

Myth is the practical metabolism of our soulish life, the logic of our obsessions and oversights for which we have no language or code. Myth is the "morality" that the ineffable puts upon us, our unaccountable imperatives, our inexplicably selective clarity and obscurity, the mortal one-sidedness of our talents and wits, the passion and apathy that make such a transient passage through our hapless minds; that weave a pattern of fatality others will see before we do. Myth is distinctively human or sublime higher-order instinct, the "reason" in culture that reason knows not of.

I start off with the obvious, that it makes no sense either to believe or to disbelieve in God until a substantial and intelligent definition or concept should be offered. Belief or disbelief is a secondary consideration, contingent on the intelligibility and cogency of the premise; the primal unintelligence or irrationality of moderns is revealed by their eagerness to leap to a conclusion without ever being curious what the hell the original premise was.

Misfortune occurs or can occur to anyone, of any sort of character. The eudaimonic has more resources to avoid it (being in autonomous control of his appetites and assumptions) and more resources to deal with it if it occurs (being better able to put it in perspective and maintain his own evenness of self-mastery). Tragedy as a dramatic form is meant to foster the ethos of sophrosyne or moderation, "nothing to excess"; it nurtures a sense of distance from the dominant illusions and delusions that may infect even aristoi.