Jacob Wren Quotes

On a social level, people have to look after each other, but on an ethical level, each of us has to look after ourselves. If you are a billionaire it is because you have done evil in the world. You have exploited and caused untold misery. You have bent laws and governments to your will. I don't want to shoot him.
I want to strangle him with piano wire. I don't want to escape. I want to be caught and explain my idea to the world. I want to be executed. I now have nothing to lose. We will all be forgotten. But if ten of us manage to kill billionaires those ten will be remembered forever. Our poverty will become history. Wealth is impersonal but we will make it personal again.

If I'm the enemy then really let me have it. If moral outrage about the state of the world is consuming your life, paralyzing you, taking over your world, then set fire to the reader in an act of revenge. Instead you leave the reader, or this reader at least, indifferent, watching your ineffective life unravel ineffectually. If our wealth is criminal then let's live with the criminal joy of pirates or fight to the death to bring a sliver more of justice into being. Not the passive slither forward you are attempting to pass off as literature.

I was clearly fascinated by him, but had the strange sense that he was equally fascinated by me. As far as he was concerned I was the devil itself, but the devil always holds a variety of attractions.

But no, I'm sorry. I can't end there. I haven't yet said everything I want to say. A little girl is at school, out in the playground with her friends, and she sees a flower and says to her friends, just thinking out loud, wondering gently to herself: Do you think flowers have feelings? And for the rest of the day her friends tease her relentlessly, with every new opportunity that arises. Do flowers have feelings, that's so stupid. Right, flowers have feelings. All day and for the rest of the week: stupid flowers have stupid feelings and that little girl feels she is never going to say anything like that ever again. She has already learned that when you open your heart or express genuine, innocent curiosity or wonder about the world, your friends will pounce on the opportunity and use it to hurt you as viciously as possible and there is nothing anyone can do to protect her. It's simple stories like that that really break my heart.

I go to the shelf and pick out a few poetry books to take with me. A few old favorites and a few I haven't gotten to yet. As I slip the books into my carry-on, it occurs to me that there really are a lot of poems about death, that I've always read many poems about dying, but had almost never noticed them before. They were always the ones I lightly skimmed, and I thought that maybe I could start reading these poems more carefully. It was almost nothing, but it was also a decision about my life.

Often the idea of survival is mentioned in relation to capitalism, as in the phrase 'economic survival' or the thought 'I need to earn money to survive.' However, in our endeavour we hoped to sever survival from economy, striving for a purer form of modernized surviving. Our fight would be a fight for survival and the fighting itself would be our life, not in the sense of employment but in the sense of a full reality with all of the inherent risk, complexity and completion that living implies.

There is pleasure in reading a version of myself I know in my heart could never exist, since mine is not an iron mind coldly calculating every possible option and outcome. Instead I am a businessman who loves excitement, loves tension, loves risk and the unexpected, and just happens to possess an extraordinary, on occasion even miraculous, degree of good luck.

Friendship is a strange idea, difficult to quantify and, at times, even more difficult to maintain. Clearly a friend is someone you enjoy spending time with. However, a friend is also someone you continue to support even during periods when they are considerably less pleasurable to be around. The loyalty of friendship often contains a kind of tautology or feedback loop: the longer you are friends the more loyal you become, and the more loyal you become the longer you remain friends.

People who manage to maintain some sort of excitement throughout their entire lives are rare (and of course must be cherished).

People say movies are escapist, just entertainment, but I think that's only an alibi, a way of hiding from ourselves just how effective what we do actually is. When something is in a movie, and especially when something is in a particularly successful film, its language, its grammar, is added into the grammar of possible reality. The banal fact that sharks are terrifying was cemented into our cultural imagination after Jaws. We have no idea how much power we have and absolutely no idea how to use it. It's like we invent people's dreams.

The almost complete, but temporary, loss of self that was involved - a loss of self present in all intense sexual encounters - doubled as an open door through which one could enter new areas of thought, as if one had left one's old self behind, as if within this new, amorphous territory, in which one was no longer one's previous self but had not yet become anything else, infinite modes of discovery became possible. The intimacy of our nakedness made us feel, or at least gave the illusion, that we were so much more directly engaged, both in dialogue with the larger world of ideas and with each other. This directness of being intertwined, exhausted and sated, of drifting in and out of sleep and having the strains of our discussions, of our nighty lessons, freely intermixed with half-remembered dreams forms the basis for a different kind of learning, learning that enters not only through the mind but also through skin and sweat and pores. In this way ideas are divested of their previously cold abstraction and instead gain heat, momentum and complicity. This is the deep learning, and there is no conduit for it other than one's intimate and ongoing personal experience.

He tells me he can't believe how bitter he has become, how sour, that all his life he had been one of the most fun, one of the happiest, one of the most joyous people anyone knew, and now he was like a crumpled piece of steel covered in rust. The way he describes himself, a 'crumpled piece of steel covered in rust,' I don't think I'll ever forget those precise words or his voice as he said them.

The work of PME-ART is highly collaborative and is also very much about collaboration, about people working together, trying to negotiate what is meaningful to them, where and how they disagree, and how such agreements and disagreements might be evocatively conveyed. Collaboration is definitely not easy. As a teenager in Toronto I would see many one-person shows and think the reason there is only one person onstage has little to do with art and much to do with economics. I would see many shows where the people onstage felt like employees primarily doing what they had been told. Instead I wanted to see people onstage doing what they wanted to do, and felt that this wanting should include active, alive ways of working together.

However, looking back over the past twenty years, I also have to admit that I'm not completely sure collaboration is the place for me. It seems I am temperamentally ill-suited for it. Twenty years of doing something I'm ill-suited for and justifying it to myself through compelling artistic results. (This book is in many ways the story of this struggle.) Because though collaboration has never felt good, I still believe in it. Perhaps I believe in it even more because I find it so difficult. Perhaps I believe in it too much. We are all here on this planet, in our various societies and communities, and like it or not we must find ways to work together. The fact that it is often not easy makes it all that much more necessary.

I sometime

The most effective lie is always the closest to the truth. The closer the better. A dream is not true but is never a lie. There are various approaches for understanding dreams: as evidence of some deeper psychological truth, as alternate realities, as subtle yet surreal mental reprocessings of our daily lives, as experiences equally valid to those had while awake. Due to the acuity of their strangeness, dreams practically call out for interpretation. However, since we don't accurately know what consciousness is, since we don't know precisely what or how we experience being awake, why would we be able to know what happens when we dream? There are also various approaches one might use for understanding a lie. But one aspect generally agreed upon is that to tell the complete truth, and only the complete truth, at all times, is a disaster. There are different ways of being honest.