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I've always believed that a writer has got to remain an outsider. If I was offered anything like the Nobel Prize for Literature, I'd find it an extremely difficult conflict because I'd be basically disinclined to accept.
Colin Wilson
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We all observe that the reality of sexual intercourse is far from perfect; yet this does not convince us that sex is a greatly overrated occupation. Every time a man glimpses a pretty girl pulling up her stocking, he catches a glimpse of what might be called the "primal sexual vision." It is unfortunate that there seems to be a certain disparity between this primal vision and most ordinary sexual experience. But it dances in front of us like a will-o'-the-wisp, luring us into tormented effort. It can lead novelists to write novels, poets to write poems, and musicians to write symphonies.
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When I'm bored, my sense of values goes to sleep. But it's not dead, only asleep. A crisis can wake it up and make the world seem infinitely important and interesting. But what I need to learn is the trick of shaking them awake myself... And incidentally, another name for the sense of values is intelligence. A stupid person is a person whose values are narrow.
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And at once I saw with great clarity that human beings possess two bodies. One is the physical body, the other — just as real, just as self-contained — is the emotional body. Like the physical body, the emotional body reaches a certain level of growth, and then stops. But it stops rather sooner than the physical body. So most of us possess the emotional body of a retarded adolescent.
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Jung believed that he was proceeding scientifically, but most Freudians remain convinced that he was inventing his own underground realm, rather as Tolkien invented Middle Earth. There is at least an element of truth in this view.
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I do not regard the late Carl Sagan as any kind of authority. On the contrary, as this book will show, I regard him in many ways as a dubious publicity seeker and careerist, more concerned to maintain his reputation as the brilliant and sceptical representative of hard-headed science than to look squarely and honestly at the facts. In short, a bit of a crook.
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The basic paradox about sex is that it always seems to be offering more than it can deliver. A glimpse of a girl undressing through a lighted bedroom window induces a vision of ecstatic delight, but in the actual process of persuading the girl into bed, the vision somehow evaporates.
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The main problem for the average reader — particularly of The Great Beast — is that Crowley seems such an intolerable show-off that it is hard to believe anything he says.
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The chief impression left by a study of Crowley's life and works is that he wasted an immense amount of time and energy trying to shock everyone he came into contact with, and his dislike of orthodoxy turned him into an unconsciously comic figure, like Don Quixote.
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He alone is aware of the truth, and if all men were aware of it, there would be an end of life. In the country of the blind, the one-eyed man is king. But his kingship is kingship over nothing. It brings no powers and privileges, only loss of faith and exhaustion of the power to act. Its world is a world without values.
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Our language has become a tired and inefficient thing in the hands of journalists and writers who have nothing to say.
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The visionary disciplines himself to see the world always as if he had only just seen it for the first time.
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A symphony is a stage play with the parts written for instruments instead of for actors.
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What so impressed me on that first reading was the self-containedness of Tolkien's world. I suppose there are a few novelists who have created worlds that are uniquely their own — Faulkner, for example, or Dickens. But since their world is fairly close to the actual world, it cannot really be called a unique creation. The only parallel that occurs to me is the Wagner Ring cycle, that one can only enter as if taking a holiday on a strange planet.
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The Outsider cannot accept life as it is, who cannot consider his own existence or anyone else's necessary. He sees 'too deep and too much'. It is still a question of self-expression.
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Self-expression is impossible in relation with other men; their self-expression interferes with it. The greatest heights of self-expression in poetry, music, painting – are achieved by men who are supremely alone.
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It may seem to be a long way from Blake's innocent talk of love and copulation to De Sade's need to inflict pain. And yet both are the outcome of a sexual mysticism that strives to transcend the everyday world. Simone de Beauvoir said penetratingly of De Sade's work that 'he is trying to communicate an experience whose distinguishing characteristic is, nevertheless its will to remain incommunicable'. De Sade's perversion may have sprung from his dislike of his mother or of other women, but its basis is a kind of distorted religious emotion.
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These are the visionary, mystical moments, when a man 'completes his partial mind'. His everyday conscious self is only a small part of the mind, like the final crescent of the moon. In moments of crisis, the full moon suddenly appears.
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Jung fiercely resented the implication that he was a hypocritical, self-seeking Judas, a 'rat'. Yet there was just enough truth in it to strike home. He was undoubtedly a man who liked his own way, no matter what the cost to others.
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That passivity was the essence of the problem. The human being was intended to be passive only in a condition of fatigue, and not always then. Too much passivity of body produced surplus fat, short-windedness, indigestion: passivity of mind produced the same symptoms on the mental level. a feeling of spiritual dyspepsia. Since the average human being has no purposes that are not connected with the activities of keeping alive, the black room was bound to produce passivity, increasing dullness, a state in which the mind is at once awake and static, motionless, stagnant. This sense of dullness was nothing less than the collapse of the sense of reality and of values, the retreat into one's inner world.
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The Diary of Vaslav Nijinjsky reaches a limit of sincerity beyond any of the documents that we have referred to on this study. There are other modern works that express the same sense that civilized life is a form of living death; notably the poetry of T. S. Eliot and the novels of Franz Kafka; but there is an element of prophetic denunciation in both, the attitude of healthy men rebuking their sick neighbors. We possess no other record of the Outsider's problems that was written by a man about to be defeated and permanently smashed by those problems.
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I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions.
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The Outsider may be an artist, but the artist is not necessarily an Outsider.
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And the central assertion of his philosophy is that this inner realm is the 'spiritual world' and that once man has learned to enter this realm, he realizes that it is not a mere imaginative reflection of the external world, but a world that possesses its own independent reality.
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No matter how honest scientists think they are, they are still influenced by various unconscious assumptions that prevent them from attaining true objectivity. Expressed in a sentence, Fort's principle goes something like this: People with a psychological need to believe in marvels are no more prejudiced and gullible than people with a psychological need not to believe in marvels.
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It is the fallacy of all intellectuals to believe that intellect can grasp life. It cannot, because it works in terms of symbols and language. There is another factor involved: consciousness. If the flame of consciousness is low, a symbol has no power to evoke reality, and intellect is helpless.
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The real issue is not whether two and two make four or whether two and two make five, but whether life advances by men who love words or men who love living.
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The vitality of the ordinary members of society is dependent it's Outsiders.
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Husserl has shown that man's prejudices go a great deal deeper than his intellect or his emotions. Consciousness itself is 'prejudiced' — that is to say, intentional.
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Steiner goes further than this — and this is his own central contribution to modern thought. He states that once we have made a habit of remembering Mozart and the stars, we shall find ourselves developing powers of 'spiritual vision.' We shall never again feel ourselves to be helpless victims of the external world.
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Quote of the day
Good authors, too, who once knew better words Now only use four-letter words Writing prose — Anything goes.
Cole Porter
Colin Wilson
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Born:
June 26, 1931
Died:
December 5, 2013
(aged 82)
Bio:
Colin Henry Wilson was an English writer, philosopher and novelist. He also wrote widely on true crime, mysticism and the paranormal.
Known for:
The Outsider (1956)
The Occult: A History (1971)
The Mind Parasites (1967)
Ritual in the dark (1960)
The Space Vampires (1976)
Most used words:
man
life
self
mind
human
sense
reality
time
outsider
people
feeling
real
problem
meaning
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