For those for whom the sex act has come to seem mechanical and merely the meeting and manipulation of body parts, there often remains a hunger which can be called metaphysical but which is not recognized as such, and which seeks satisfaction in physical danger, or sometimes in torture, suicide, or murder.
(Marshall McLuhan (1911-1980), Canadian communications theorist. Title essay, The Mechanical Bride (1951).)
The force of a death should be enormous but how can you know what kind of man you've killed or who was the braver and stronger if you have to peer through layers of glass that deliver the image but obscure the meaning of the act? War has a conscience or it's ordinary murder.
(Don Delillo (b. 1926), U.S. author. Frank Vásquez, in Libra, pt. 2, "6 September," (1988).)
You lovers of knowledge! So what have you done out of your love of knowledge up to now? Have you already stolen and murdered so as to know how a thief and a murderer feels?
(Friedrich Nietzsche (1844-1900), German philosopher, classical scholar, critic of culture. Friedrich Nietzsche, Sämtliche Werke: Kritische Studienausgabe, vol. 10, p. 192, selection 5, number 47, eds. Giorgio Colli and Mazzino Montinari, Berlin, de Gruyter (1980). Unpublished fragments dating to November 1882February 1883.
Originally meant to be attributed to Zarathustra in Thus Spoke Zarathustra.)
It is a crime to put a Roman citizen in chains, it is an enormity to flog one, sheer murder to slay one: what, then, shall I say of crucifixion? It is impossible to find the word for such an abomination.
(Marcus Tullius Cicero (106-43 B.C.), Roman orator, philosopher, statesman. II, v, 170.)
A man is murdered a mile away. And do you know what killed him? My name. The very name of Frankenstein burst his heart. And now the happy little villagers are clamoring for my blood.
(Willis Cooper, and Rowland V. Lee. Wolf von Frankenstein (Basil Rathbone), Son of Frankenstein, to his wife, while the mob gathers outside the gates after the second murder (1938).
Suggested by the story written in 1816 by Mary Wollstonecraft Shelley.)
Oh yes, children often commit murders. And quite clever ones, too. Some murderers, particularly the distinguished ones who are going to make great names for themselves, start amazingly early.... Like mathematicians and musicians. Poets develop later.
(John Lee Mahin (1902-1984), U.S. screenwriter, and novel by William March. Mervyn Le Roy. Reginald Tasker (Gage Clarke), The Bad Seed, answering Mrs. Penmark's question over cocktails (1956).)
The newspaper has debauched the American until he is a slavish, simpering, and angerless citizen; it has taught him to be a lump mass-man toward fraud, simony, murder, and lunacies more vile than those of Commodus or Caracalla.
(Edward Dahlberg (1900-1977), U.S. author, critic. "Peopleless Fiction," Alms for Oblivion (1964).)
For most of the guys killings got to be accepted. Murder was the only way everybody stayed in line. You got out of line, you got whacked. Everybody knew the rules.
(Nicholas Pileggi, U.S. screenwriter, and Martin Scorsese. Henry Hill (Ray Liotta), GoodFellas, voiceover as Tommy DeVito (Joe Pesci) and Jimmy Conway (Robert DeNiro) finish killing Billy Batts (Frank Vincent) (1990).)
In Italy for thirty years under the Borgias they had warfare, terror, murder, bloodshedthey produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland they had brotherly love, five hundred years of democracy and peace, and what did they produce? The cuckoo clock!
(Orson Welles (1915-84), U.S. filmmaker, actor. The Third Man (1949).
contributed by Welles to Graham Greene's screenplay of the film in which Welles starred. Welles later claimed that the speech was based on a fragment of an old Hungarian play.)
What do you know what goes on inside a man's mind? Outside he may look like a gentleman, but inside ' e may 'ave the 'ankering for murder.
(Lester Cole (1904-1985), U.S. screenwriter, and Kurt Siodmak (1902-1988), German. Joe May. Chauffeur, The Invisible Man Returns, to the butler, who is sure Sir Geoffrey is innocent (1940).
Story by Kurt Siodmak (1902-1988) and Joe May (1880-1954).)