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Writing poetry after Auschwitz is barbaric.

Theodor Adorno

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Theodor Adorno
Barbaric
Poetry
Writing
Auschwitz

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The usual reproach against the essay, that it is fragmentary and random, itself assumes the givenness of totality and suggests that man is in control of this totality. The desire of the essay, though, is not to filter the eternal out of the transitory it wants, rather, to make the transitory eternal.
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It is not the office of art to spotlight alternatives, but to resist by its form alone the course of the world, which permanently puts a pistol to men's heads.
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On their way toward modern science human beings have discarded meaning. The concept is replaced by the formula, the cause by rules and probability.
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The taboos that constitute a man's intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check.
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Love is the power to see similarity in the dissimilar.
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Thinking no longer means anymore than checking at each moment whether one can indeed think.
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In psycho-analysis nothing is true except the exaggerations.
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Knowledge, which is power, knows no limits, either in its enslavement of creation or in its deference to worldly masters.
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Auschwitz begins wherever someone looks at a slaughterhouse and thinks: they’re only animals.
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If time is money, it seems moral to save time, above all one's own, and such parsimony is excused by consideration for others. One is straight-forward.
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Dissonance is the truth about harmony.
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The creed of evil has been, since the beginnings of highly industrialized society, not only a precursor of barbarism but a mask of good. The worth of the latter was transferred to the evil that drew to itself all the hatred and resentment of an order which drummed good into its adherents so that it could with impunity be evil.
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The inadequacy of the purely purpose-oriented form is revealed for what it is-a monotonous, impoverished boring practicality.
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One must have tradition in oneself, to hate it properly.
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What has become alien to men is the human component of culture, its closest part, which upholds them against the world. They make common cause with the world against themselves, and the most alienated condition of all, the omnipresence of commodities, their own conversion into appendages of machinery, is for them a mirage of closeness.
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