Out of moderation a pure happiness springs.
We are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4am of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget.
The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism.
Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true. The tension broke that day. The paranoia was fulfilled.
We were that generation called silent, but we were silent neither, as some thought, because we shared the period's official optimism nor, as others thought, because we feared its official repression. We were silent because the exhilaration of social action seemed to many of us just one more way of escaping the personal, of masking for a while that dread of the meaningless which was man's fate.
It is impossible to think of Howard Hughes without seeing the apparently bottomless gulf between what we say we want and what we do want, between what we officially admire and secretly desire, between, in the largest sense, the people we marry and the people we love. In a nation which increasingly appears to prize social virtues, Howard Hughes remains not merely antisocial but grandly, brilliantly, surpassingly, asocial. He is the last private man, the dream we no longer admit.
The secret point of money and power in America is neither the things that money can buy nor power for power's sake... but absolute personal freedom, mobility, privacy. It is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one's own rules.
The mistake you make, don't you see,is in thinking one can live in a corrupt society without being corrupt oneself. After all, what do you achieve by refusing to make money? You're trying to behave as though one could stand right outside our economic system. But one can't. One's got to change the system, or one changes nothing. One can't put things right in a hole-and-corner way, if you take my meaning.
Do let him read the papers. But not while you accusingly tiptoe around the room, or perch much like a silent bird of prey on the edge of your most uncomfortable chair. (He will read them anyway, and he should read them, so let him choose his own good time.) Don't make a big exit. Just go. But kiss him quickly, before you go, otherwise he might think you are angry; he is used to suspecting he is doing something wrong.
A new kind of award has been added -- the deathbed award. It is not an award of any kind. Either the recipient has not acted at all, or was not nominated, or did not win the award the last few times around. It is intended to relieve the guilty conscience of the Academy members and save face in front of the public. The Academy has the horrible taste to have a star, choking with emotion, present this deathbed award so that there can be no doubt in anybody's mind why the award is so hurriedly given. Lucky is the actor who is too sick to watch the proceedings on television.