Alain de Botton Quotes

In Montaigne’s redrawn portrait of the adequate, semi-rational human being, it is possible to speak no Greek, fart, change one’s mind after a meal, get bored with books, know none of the ancient philosophers and mistake Scipios. A virtuous, ordinary life, striving for wisdom but never far from folly, is achievement enough.

wisdom lies in correctly discerning where we are free to mould reality according to our wishes and where we must accept the unalterable with tranquillity.

If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find the same process of simplification or selection at work as in the imagination.

It follows that the more people we take to be our equals and compare ourselves to, the more people there will be to envy.

He was reminded of a Dutch book whose moral he often returned to: De Schoonheid van hoogspanningslijnen in het Hollandse landschap, written by a couple of academics in Rotterdam University, Anne Kieke Backer and Arij de Boode. The Beauty of Electricity Pylons in the Dutch Landscape was a defence of the contribution of transmission engineering to the visual appeal of Holland, referencing the often ignored grandeur of the towers on their march from power stations to cities. Its particular interest for Ian, however, lay in its thesis about the history of the Dutch relationship to windmills, for it emphasised that these early industrial objects had originally been felt to have all the pylons’ threateningly alien qualities, rather than the air of enchantment and playfulness now routinely associated with them. They had been denounced from pulpits and occasionally burnt to the ground by suspicious villagers. The re-evaluation of the windmills had in large part been the work of the great painters of the Dutch Golden Age, who, moved by their country’s dependence on the rotating utilitarian objects, gave them pride of place in their canvases, taking care to throw their finest aspect into relief, like their resilience during storms and the glint of their sails in the late afternoon sun. … It would perhaps be left to artists of our own day to teach us to discern the virtues of the furniture of contemporary technology.

The great defect, for Chamfort, consisted in the public’s reluctance to submit its thinking to the rigors of rational examination, and its tendency to rely instead on intuition, emotion, and custom. “One can be certain that every generally held idea, every received notion, will be an idiocy, because it has been able to appeal to a majority,” the Frenchman observed, adding that what is flatteringly called common sense is usually little more than common nonsense, suffering as it does from simplification and illogicality, prejudice and shallowness: “The most absurd customs and the most ridiculous ceremonies are everywhere excused by an appeal to the phrase, but that’s the tradition.”

Most victories are, in the best way, acts of revenge.

He was marked out by his relentless ability to find fault with others' mediocrity — suggesting that a certain type of intelligence may be at heart nothing more or less than a superior capacity for dissatisfaction.

Valuable elements may be easier to experience in art and in anticipation than in reality.
The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

Though debts are condemned in the financial world, the world of friendship and love may perversely depend on well-managed debts.

Our minds are susceptible to the influence of external voices, telling us what we require to be satisfied, voices that may drown our the faint sounds emitted from our souls, and distract us from the careful, arduous task of accurately naming our priorities.

Aside from the equation it draws between making money and being good, the modern ideal of a successful life posits a further linkage between making money and being happy. This latter association rests on … assumptions. First, it is presumed that identifying what will make us happy is not an inordinately difficult task. Just as our bodies typically know what they need in order to be healthy… so, too, the theory goes, can our minds to be relied upon to understand what we should aim for so as to flourish as whole human beings. … Second, it is taken for granted that the enormous range of … consumer goods available to modern civilization is not merely a gaudy, enervating show responsible for stoking desires bearing little relevance to our welfare, but is, rather, a helpful array of potentialities and products, capable of satisfying some of our most important needs.

Writing a book has about it some of the anxiety of telling a joke and having to wait several years to know whether or not it was funny.

I … thought about societies where exceptional fortunes are built up in industries with very little connection to out sincere and significant needs, industries where it is difficult to escape from the disparity between a seriousness of means and a triviality of ends.

Nowhere was the airport's charm more concentrated than on the screens placed at intervals across the terminal which announced, in deliberately workmanlike fonts, the itineraries of aircraft about to take to the skies. These screens implied a feeling of infinite and immediate possibility: they suggested the ease with which we might impulsively approach a ticket desk and, within a few hours, embark for a country where the call to prayer rang out over shuttered whitewashed houses, where we understood nothing of the language and where no one knew our identities.