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Quotes / Everyone Is Jesus in Purgatory

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"Everyone in the world is Christ and they are all crucified."
Sherwood Anderson

"Christ figure is a recurring motif in many cultures; death and rebirth; symbolic turning of the seasons, all that crap. Wyle E. Coyote was a fucking Christ figure, man, and Acme Company was Rome, baby."
Daniel Suarez, Daemon

On works

"I understand. The bird represents God and coyote is man, endlessly chasing the divine, yet never able to catch him. It’s hilarious."

"Now they're trying to come up with meanings for Beatles songs. I never understood what any of them were about, myself..."

"Babylon 5, Deep Space Nine, Battlestar Galactica, The X-Files — they all seem to think by adding a spiritual forecast to the show, that it automatically adds a layer of depth and worthiness to the proceedings. When in most cases it just leads to disappointment, with the holy fireworks that are promised turning out to be anything but...This is what happens when you believe that your show is more than just an hour's entertainment, but a quasi-religion of its own."

"Yeah, anyone who didn't think there was gonna be some kind of Christ motif in this movie, raise your hands. Okay, everyone who raised their hands, go home. Have any of you ever seen a pretentious movie before?"

Chris: Lex totally prison shanks Superman with a Kryptonite shiv.
David: In the side, natch. This is the most labored combination Caesar/Jesus metaphor of all time.
Chris: Aw jeez, I didn’t even think of that. Thanks for ruining one of the three things I liked about this movie, jerk.
Chris Sims and David Uzumeri on Superman Returns

"Saw Cannonball Run II in West Virginia. After the movie, everybody broke up into discussion groups. Trying to get through that Burt Reynolds subtext. I believe Heloise is supposed to be a Christ figure."

"The problem with saying that Everyone Is Jesus in Purgatory is NOT that critics and scholars and English teachers are 'Reading Too Much Into Things.' That, ladies and gentlemen, is what we call a Shitty Argument. It's an argument that refuses to discuss the merits of symbols and just dismisses them entirely because 'The author couldn't have meant that!'"

If there is anything pleasant in life, it is doing what we aren’t meant to do. If there is anything pleasant in criticism, it is finding out what we aren’t meant to find out. It is the method by which we treat as significant what the author did not mean to be significant, by which we single out as essential what the author regarded as incidental. Thus, if one brings out a book on turnips, the modern scholar tries to discover from it whether the author was on good terms with his wife; if a poet writes on buttercups, every word he says may be used as evidence against him at an inquest of his views on a future existence. On this fascinating principle, we delight to extort economic evidence from Aristophanes, because Aristophanes knew nothing of economics: we try to extract cryptograms from Shakespeare, because we are inwardly certain that Shakespeare never put them there: we sift and winnow the Gospel of St. Luke, in order to produce a Synoptic problem, because St. Luke, poor man, never knew the Synoptic problem to exist.

I spotted a chart where someone lists all the multifarious similarities between Harry and Jesus. The list includes the fact that they both had father figures. (Harry: Dumbledore. Jesus: God the Father.) They both suffered. (Harry: Cruciatus curse. Jesus: Hung on the cross.) Both of them even had a decent into the “nether regions.” (Harry descends into the Chamber of Secrets. Jesus descends into hell.)

Well, this brilliant and insightful list got me thinking. Last night I had a descent into my basement where I did some laundry. It was dark down there, and I stubbed my toe really hard. (You know how much that hurts when you bang your little toe? I bet it’s as least as bad as the Cruciatus curse.) Then my dad called me on the phone and I realized that I have a father figure too! Wow! What are the odds?

In many college English courses the words "myth" and "symbol" are given a tremendous charge of significance. You just ain't no good unless you can see a symbol hiding, like a scared gerbil, under every page. And in many creative writing courses the little beasts multiply, the place swarms with them. What does this Mean? What does this Symbolize? What is the Underlying Mythos? Kids come lurching out of such courses with a brain full of gerbils. And they sit down and write a lot of empty pomposity, under the impression that that's how Melville did it.
Ursula K. Le Guin, "Myth and Archetype in Science Fiction"

I'm talking about the Pipe Strip in relation to religion. It's... it's interesting to assign the roles of God and anti-God, or, as many know him to be, the devil. Or on a much larger scale, simply the forces of good and evil. Garfield, the thief-cat, evil and malicious: He is the devil, placed to the right. And note, the two forms of Jon; the Jon on the left, still innocent, still draped in the delight, of the lack of knowledge. He is the humans in the Garden of Eden. He feels for his pipe... but he has yet to eat from the tree. And Garfield, the sinister serpent... and notice, notice how Jim Davis has framed this. The center Jon is locked in a struggle, between his innocence, and his knowledge of the truth, knowledge of the existence of evil.
It is stunning. The great struggle, the struggle that transcends time. And Jim Davis floats over all this, as creator — the God, of sorts, in his own right.


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