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4 May 2009

Strong Animals vs. Smart Animals

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    “I have to say there is a part of me that envies the moral clarity of the vegetarian, the blamelessness of the tofu eater. yet part of me pities him, too. Dreams of innosence are just that; they usually depend on a denial of reality that can be its own form of hubris. Ortega suggests that there is an immorality in failing to look clearly at reality, or in believing that the sheer force of human will can somehow overcome it. ‘The preoccupation with what should be is estimable only when the respect for what is has been exhausted.'”–Michael Pollan, The Omnivore’s Dilemma

More findings after the jump.


— Neil LaBute, In the Company of Men

“Why is Chad so frightening? Because Society is full of Chads. Around every corner there is some version of Chad: a cruel, unscrupulous, good-looking, highly intelligent person along his lines, who will not only NEVER get what’s coming to him, but through guile, hypocrisy and ruthlessness rise and devour. In addition, elements of Chad exist in almost everyone, male or female, which if given a chance to operate without personal cost, will always tend to assert themselves to RULE and EXPLOIT the weak.”—customer review, Amazon.com

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THE SIGHT OF A DEAF GIRL?

“Exactly why we would strive so hard to distance ourselves from our animality is a larger question, but surely the human fear of death figures in the answer. What we see animals do an awful lot of is die, very often at our hands. Animals resist dying, but, having no conception of death, they don’t give it nearly as much thought as we do. And one of the main thoughts about it we think is, will my own death be like this animal’s or not?The belief, or hope, that human death is somehow different from animal death is precious to us — but unprovable. Whether it is or is not is one of the questions I suspect we’re trying to answer whenever we look into the eyes of an animal.” – Michael Pollan, The Omnivore’s Dilemma, chapter 18 “Hunting the Meat”

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THE SOUND OF A DEAF GIRL

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“Of course, it had always been the spring that she discovered her husband’s affairs. But the last one was years ago, and what did she care about all that now? There had been a parade of flings — in the end, they’d made her laugh: Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha!” — Lorrie Moore, Birds of America

Posted by Alec Hanley Bemis

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