Clergyman's

“What is it that frightens us about a “novel of causes”, and conversely, does fiction have to exist in some suspended, apolitical landscape in order to be literary? Can it not politically and temporally specific and still be in good literary taste? We are leery of literature that smacks of the polemic, instructional, or prescriptive, and I guess rightly so–it’s a drag to be lectured to–but what does that imply about our attitudes towards intellectual inquiry? While I enjoy reading kitchen-table novels in which characters are distilled to their emotional essence and their lives stripped of politics and commerce, it simply is not reflective of my experience. I see our lives as being a part of an enormous web of interconnected spheres, where the workings of the larger social, political, and corporate machinery impact something as private and intimate as the descent of an egg through a woman’s fallopian tube. This is the resonance I want to conjure in my books.I want to write novels that engage the emotions and the intellect, and that means going head to head with the chaos of evils and issues that threaten to overpower us all. And if they threaten to overpower the characters, then I have to make the characters stronger.”
— Ruth Ozeki

“But Pierre had been born with a shrewdness that made him early aware that a failure to believe that human events were ordered by a higher power was regarded by many in the highest positions as obnoxious and even sinful, and as nothing was to be gained by exciting such hostility, it was better to give a silent or even smiling assent to the fatuous idealism to which, particularly in youth, one was so relentlessly exposed.”
— Louis Auchincloss

“Honor is for the living. Dead is dead.”
— Drew Karpyshyn