The best thing about being rich.

"Hey, tell me, what d'you think the best thing is about being rich?" 

"Beats me." 

"Being able to say you don't have any money. Like, if I suggested to a classmate we do something, she could say, 'Sorry, I don't have any money.' Which is something I could never say if the situation was reversed. If I said 'I don't have any money,' it would really mean 'I don't have any money.' It's sad. Like if a pretty girl says 'I look terrible today, I don't want to go out,' that's O.K., but if an ugly girl says the same thing people laugh at her. That's what the world was like for me. For six years, until last year." 

"You'll get over it." 

"I hope so. College is such a relief! It's full of ordinary people!" 

—Haruki Murakami, Norwegian Wood (1987, trans. J. Rubin 2000)

To merge himself with others and be a part of this world

But what was he after? What did he want? What did he love and what did he hate? He did not know. There was something he knew and something he felt; something the world gave him and something he himself had; something spread out in front of him and something spread out in back; and never in all his life, with this black skin of his, had the two worlds, thought and feeling, will and mind, aspiration and satisfaction, been together; never had he felt a sense of wholeness. Sometimes, in his room or on the sidewalk, the world seemed to him a strange labyrinth even when the streets were straight and the walls were square; a chaos which made him feel that something in him should be able to understand it, divide it, focus it. But only under the stress of hate was the conflict resolved. He had been so conditioned in a cramped environment that hard words or kicks alone knocked him upright and made him capable of action--action that was futile because the world was too much for him. It was then that he closed his eyes and struck out blindly, hitting what or whom he could, not looking or caring what or who hit back. 

And, under it all, and this made it hard for him, he did not want to make believe that it was solved, make believe that he was happy when he was not. He hated his mother for that way of hers which was like Bessie's. What his mother had was Bessie's whiskey and Bessie's whiskey was his mother's religion. He did not want to sit on a bench and sing, or lie in a corner and sleep. It was when he read the newspapers or magazines, went to the movies, or walked along the streets with crowds, that he felt what he wanted: to merge himself with others and be a part of this world, to lose himself in it so he could find himself, to be allowed a chance to live like others, even though he was black.

--Richard Wright, Native Son (1941)

Pursuing Sacred Magic

The practical aspect of the scientific ideal is revealed in the progress of modern science from the eighteenth century to the present day. Its essential stages are the discoveries and putting into man's service, successively, steam, electricity and atomic energy. But as different as these appear to be, these discoveries are based only on a single principle, namely the principle of the destruction of matter, by which energy is freed in order to be captured anew by man so as to be put at his service.... [T]he practical aspect of the scientific ideal is the domination of Nature by means of putting into play the principle of destruction or death.

Imagine, dear Unknown Friend, efforts and discoveries in the opposite direction, in the direction of construction or life. Imagine, not an explosion, but rather the blossoming out of a constructive “atomic bomb”. It is not too difficult to imagine, because each little acorn is such a “constructive bomb” and the oak is only the visible result of the slow “explosion”—or blossoming out—of this “bomb”. Imagine it, and you will have the ideal of the great work or the idea of the Tree of Life. The image itself of the tree comprises the negation of the technical and mechanical element. It is the living synthesis of heaven and earth, it constantly synthesis that which descends from above and that which ascends from below.

Now, the ideal of Hermeticism is contrary to that of science. Instead of aspiring to power over the forces of Nature by means of the destruction of matter, Hermeticism aspires to conscious participation with the constructive forces of the world on the basis of an alliance and a cordial communion with them. Science wants to compel Nature to obedience to the will of man such as it is; Hermeticism—or the philosophy of sacred magic—on the contrary wants to purify, illumine and change the will and nature of man in order to bring them into harmony with the creative principle of Nature (natura naturans) and to render them capable of receiving its willingly bestowed revelation. The “great work”, as an ideal, is therefore the state of the human being who is in peace, alliance, harmony and collaboration with life. This is the “fruit” of the Tree of Life.

—Anonomous (Valentin Tomberg), Meditations on the Tarot: A Journey into Christian Hermeticism (1980)

'the misfortune of poetry'

[Captain Benwick] was evidently a young man of considerable taste in reading, though principally in poetry . . . though shy, he did not seem reserved; it had rather the appearance of feelings glad to burst their usual restraints; and having talked of poetry, the richness of the present age, and gone through a brief comparison of opinion as to the first-rate poets . . . he shewed himself so intimately acquainted with all the tenderest songs of one poet, and all the impassioned descriptions of hopeless agony of the other; he repeated, with such tremulous feeling, the various lines which imaged a broken heart, or a mind destroyed by wretchedness, and looked so entirely as if he meant to be understood, that she ventured to hope he did not always read only poetry; and to say, that she thought it was the misfortune of poetry, to be seldom safely enjoyed by those who enjoyed it completely; and that the strong feelings which alone could estimate it truly, were the very feelings which ought to taste it but sparingly.

—Jane Austen, Persuasion (1817)

'consequence has its tax'

"Therefore, Sir Walter, what I would take leave to suggest is, that if in consequence of any rumours getting abroad of your intention—which must be contemplated as a possible thing, because we know how difficult it is to keep the actions and designs of one part of the world from the notice and curiosity of the other,—consequence has its tax—I, John Shepherd, might conceal any family-matters that I chose, for nobody would think it worth their while to observe me, but Sir Walter Elliot has eyes upon him which it may be very difficult to elude—"

—Jane Austen, Persuasion (1817)

"invention, by its nature, can't be a lie"

"Dreams are reality at its most profound, and what you invent is truth because invention, by its nature, can't be a lie. Writers who try to prove something are unattractive to me, because there is nothing to prove and everything to imagine."

—Eugène Ionesco, Paris Review interview, The Art of Theater No. 6 (1984)

'settling down in misfortune and making it my heaven'

LEFRANC

I did what I could, out of a yearning for misfortune. 

GREEN EYES

You don't know the first thing about misfortune if you think you can choose it. I didn't want mine. It fell on my shoulders and clung to me. I tried everything to shake it off. I struggled, I boxed, I danced, I even sang, and, odd as it may seem, I refused it at first. It was only when I saw that everything was irremediable that I quieted down. I've only just accepted it. It had to be total. 

LEFRANC

It's thanks to me. . . . 

GREEN EYES

I don't give a damn! It's only now that I'm really settling down in misfortune and making it my heaven. And you, you try to get there by fraud. . . . 

LEFRANC

I'm stronger than you. My misfortune comes from something deeper. It comes from myself.

—Jean Genet, Deathwatch (1949; trans. B. Frechtman)