Author: Antonin Artaud

Cited by

• Knut Hamsun (1)
  • IN: Hunger (1970) Fiction, NULL
    EPIGRAPH: What is important, it seems to me, is not so much to defend a culture whose existence has never kept a man from going hungry, as to extract, from what is called culture, ideas whose compelling force is identical with that of hunger.
    FROM: The Theatre and its Double, (1938), Book, France
• William Bayer (1)
  • IN: The Luzern Photograph (2015) Fiction, American
    EPIGRAPH: Without an element of cruelty at the root of every spectacle, the theater is not possible.
    FROM: The Theatre of Cruelty (First Manifesto), (1932), Essay, France
• Antonin Varenne (1)
  • IN: Bed of Nails (2008) Fiction, French
    EPIGRAPH: The burned hand was heroism pure and simple; as for cutting off his ear, it was entirely logical, and I repeat: a world that day and night, and increasingly, eats the uneatable, in order that its will may achieve its ends cam, on this point, simply shut up.
    FROM: Van Gogh, Suicide and Society, (1947), Book, France
• Atiq Rahimi (1)
  • IN: The Patience Stone (2008) Fiction, French
    EPIGRAPH: From the body by the body with the body Since the body and until the body.
    FROM: NULL, (None), [NA], France
• David Peace (1)
  • IN: Occupied City (2009) Fiction, British
    EPIGRAPH: The obedient and virtuous son kills his father. The chaste man performs sodomy upon his neighbours. The lecher becomes pure. The miser throws his gold in handfuls out of the window. The warrior hero sets fire to the city he once risked his life to save.
    FROM: The Theatre and the Plague, (1933), Book, France
• Roberto Bolaño (1)
  • IN: A Little Lumpen Novelita (2002) Fiction, NULL
    EPIGRAPH: All writing is garbage. People who come out of nowhere to try and put into words any part of what goes on in their minds are pigs. All writers are pigs. Especially writers today.
    FROM: NULL, (None), NULL, France
• David and Joe Henry (1)
  • IN: Furious Cool (2013) Screenplay, American
    EPIGRAPH: And if there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signaling through the flames.
    FROM: The Theatre and Its Double, (1938), Essay, France