The inability to live in the present lies in the fear of leaving the sheltered position of anticipation or memory, and so of admitting that this is the only life that one is ever likely (heavenly intervention aside) to live.
ALAIN DE BOTTONIt’s as though either you accept [religious] doctrine and then you can have all the nice stuff, or you reject the doctrine and you’re living in some kind of spiritual wasteland under the guidance of CNN and Walmart.
More Alain de Botton Quotes
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Our disrespect for thinking: someone sitting in a chair, gazing out of a window blankly, always described as ‘doing nothing’.
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It’s perhaps easier now than ever before to make a good living; it’s perhaps harder than ever before to stay calm, to be free of career anxiety.
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Philosophy had supplied Socrates with convictions in which he had been able to have rational, as opposed to hysterical, confidence when faced with disapproval.
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Getting to the top has an unfortunate tendency to persuade people that the system is OK after all.
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Once I began to consider everything as being of potential interest, objects released latent layers of value.
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The longing for a destiny is no nowhere stronger than in our romantic life. All too often forced to share our bed with those who cannot fathom our soul, can we not be forgiven if we believe ourselves fated to stumble one day upon the man or woman of our dreams.
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It is by finding out what something is not that one comes closest to understanding what it is.
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Unhappiness can stem from having only one perspective to play with.
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Yet often, they know but just don’t care. So the task of serious journalism isn’t just to lay out truths. It is to make vital truths compelling to a big audience.
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A ‘good job’ can be both practically attractive while still not good enough to devote your entire life to.
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It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.
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A successful work will draw out the features capable of exciting a sense of beauty and interest in the spectator.
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Our sadness won’t be of the searing kind but more like a blend of joy and melancholy: joy at the perfection we see before us, melancholy at an awareness of how seldom we are sufficiently blessed to encounter anything of its kind.
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What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty.
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My writing always came out of a very personal place, out of an attempt to stay sane.
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