Moral imagination Quotes

“Mere instruction in morality is not sufficient to nurture the virtues. It might even backfire, especially when the presentation is heavily exhortative and the pupil's will is coerced. Instead a compelling vision of the goodness of goodness itself needs to be presented in a way that is attractive and stirs the imagination.”

“War, except in self-defense, is a failure of moral imagination.”

“We are among the first peoples in human history who do not broadly inherit religious identity as a given, a matter of kin and tribe, like hair color and hometown. But the very fluidity of this—the possibility of choice that arises, the ability to craft and discern one’s own spiritual bearings—is not leading to the decline of spiritual life but its revival. It is changing us, collectively. It is even renewing religion, and our cultural encounter with religion, in counterintuitive ways. I meet scientists who speak of a religiosity without spirituality—a reverence for the place of ritual in human life, and the value of human community, without a need for something supernaturally transcendent. There is something called the New Humanism, which is in dialogue about moral imagination and ethical passions across boundaries of belief and nonbelief. But I apprehend— with a knowledge that is as much visceral as cognitive— that God is love. That somehow the possibility of care that can transform us— love muscular and resilient— is an echo of a reality behind reality, embedded in the creative force that gives us life.”

“It's through the small things that we develop our moral imagination, so that we can understand the sufferings of others.”

“Our world faces a true planetary emergency. I know the phrase sounds shrill, and I know it's a challenge to the moral imagination.”

“If the history of the western moral imagination is the story of an enduring and unending revolt against human cruelty, there are few more consequential figures than Raphael Lemkin - and few whose achievements have been more ignored by the general public. It was he who coined the word 'genocide.' He was also its victim.”

“One of the strongest motivations for rereading is purely selfish: it helps you remember what you used to be like. Open an old paperback, spangled with marginalia in a handwriting you outgrew long ago, and memories will jump out with as much vigor as if you’d opened your old diary. These book-memories, says Hazlitt, are “pegs and loops on which we can hang up, or from which we can take down, at pleasure, the wardrobe of a moral imagination, the relics of our best affections, the tokens and records of our happiest hours.” Or our unhappiest. Rereading forces you to spend time, at claustrophobically close range, with your earnest, anxious, pretentious, embarrassing former self, a person you thought you had left behind but who turns out to have been living inside you all along.”

“When we observe oppression, let us develop strategies that free not only the oppressed but also the oppressor. Let us remember that those who use their power to deny freedom to others are also imprisoned and are also worthy of care. Do not let their unjust actions inspire us to cruelty, or else we will soon become what we set out against.Here is our challenge: let us take up the miseducation of justice-making, by stripping our minds of the idea that equity can be manifested through condemnation, through humiliation, through shame and blame, and through righteous vindication. No, justice-making begins by marrying a just thought to insightful words, inviting us to collective action, by daring to free both the oppressed and the oppressor, for we know what it is like to be both.Stand we must, stand strong and bold. But let us choose a new way to balance the scales. Rather than shoving our foot on oppressors’ necks, let us instead reach out a hand, offer a seat, and show them, and even ourselves, a new way of justice-making by collectively experimenting with the moral imagination.”

“Be a good listener in the special way a story requires: note the manner of presentation; the development of plot, character; the addition of new dramatic sequences; the emphasis accorded to one figure or another in the recital; and the degree of enthusiam, of coherence, the narrator gives to his or her account.”