Frisson Quotes

“Of real sensational journalism, as it exists in France, in Ireland, and in America, we have no trace in this country. When a journalist in Ireland wishes to create a thrill, he creates a thrill worth talking about. He denounces a leading Irish member for corruption, or he charges the whole police system with a wicked and definite conspiracy. When a French journalist desires a frisson there is a frisson; he discovers, let us say, that the President of the Republic has murdered three wives. Our yellow journalists invent quite as unscrupulously as this; their moral condition is, as regards careful veracity, about the same. But it is their mental calibre which happens to be such that they can only invent calm and even reassuring things. The fictitious version of the massacre of the envoys of Pekin was mendacious, but it was not interesting, except to those who had private reasons for terror or sorrow. It was not connected with any bold and suggestive view of the Chinese situation. It revealed only a vague idea that nothing could be impressive except a great deal of blood. Real sensationalism, of whichI happen to be very fond, may be either moral or immoral. But even when it is most immoral, it requires moral courage. For it is one of the most dangerous things on earth genuinely to surprise anybody. If you make any sentient creature jump, you render it by no means improbable that it will jump on you. But the leaders of this movement have no moral courage or immoral courage; their whole method consists in saying, with large and elaborate emphasis, the things which everybody else says casually, and without remembering what they have said. When they brace themselves up to attack anything, they never reach the point of attacking anything which is large and real, and would resound with the shock. They do not attack the army as men do in France, or the judges as men do in Ireland, or the democracy itself as men did in England a hundred years ago. They attack something like the War Office--something, that is, which everybody attacks and nobody bothers to defend, something which is an old joke in fourth-rate comic papers”

“Do you trust me?” he said. Olivia met his hard gaze, and a frisson of uncertainty ran down her spine. She did trust him. Completely. But did he trust her? And why did that matter so much?”

“In work, it is possible to find commitment, attachment, chemistry, and connection. In fact, it's high time that more people acknowledged the electric pull that women can feel for their profession, the exciting heat of ambition and frisson of success.”

“Levi's gaze sought out Miss Spencer. Eden. All she had to do was smile to release those little frissons of lightning in him. As that thought crossed his mind, she glanced up, and Levi realized he was wrong. She didn't have to smile. All she had to do was look at him. Heaven help him. He was in bad.”

“It's chemical, fancying him is purely chemical. It's intoxicating - the frisson, the attraction - it's intoxicating because it's purely chemical. But you'll just have to remember the wedding ring - divorcees don't wear wedding rings. This guy has his own Vita at home. You're his potential Suzie. Is that who you want to be? Do you want the next man in your life to have Tim's principles?”

“From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.”

“All my life I have been the sort of person in whom people confide. And all my life I have been flattered by this role - grateful for the frisson of importance that comes with receiving important information. In recent years, however, I have noticed that my gratification is becoming diluted by a certain weary indignation. They tell me because they regard me as safe. All of them, they make their disclosures to me in the same spirit that they might tell a castrato or a priest - with a sense that I am so outside the loop, so remote from the doings of the great world, as to be defused of any possible threat. The number of secrets I receive is in inverse proportion to the number of secrets anyone expects me to have of my own. And this is the real source of my dismay. Being told secrets is not - never has been - a sign that I belong or that I matter. It is quite the opposite: confirmation of my irrelevance.”

“Genius' was a word loosely used by expatriot Americans in Paris and Rome, between the Versailles Peace treaty and the Depression, to cover all varieties of artistic, literary and musical experimentalism. A useful and readable history of the literary Thirties is Geniuses Together by Kay Boyle-Joyce, Hemingway, Scott Fitzgerald, Pound, Eliot and the rest. They all became famous figures but too many of them developed defects of character-ambition, meanness, boastfulness, cowardice or inhumanity-that defrauded their early genius. Experimentalism is a quality alien to genius. It implies doubt, hope, uncertainty, the need for group reassurance; whereas genius works alone, in confidence of a foreknown result. Experiments are useful as a demonstration of how not to write, paint or compose if one's interest lies in durable rather than fashionable results; but since far more self-styled artists are interested in frissons á la mode rather than in truth, it is foolish to protest. Experimentalism means variation on the theme of other people's uncertainties.”