The bitter, of course, goes with the sweet. To be an American is, unquestionably, to be the noblest, grandest, the proudest mammal that ever hoofed t… - H. L. Mencken

The most common of all follies is to believe passionately in the palpably not true. It is the chief occupation of mankind.

The older I grow the more I distrust the familiar doctrine that age brings wisdom. . . . Certainly it would be difficult to imagine any committee of relatively young men, of thirty or thirty-five, showing the unbroken childishness, ignorance and lack of humor of the Supreme Court of the United States. The average age of the learned justices must be well beyond sixty, and all of them are supposed to be of finished and mellowed sagacity. Yet their knowledge of the most ordinary principles of justice often turns out to be extremely meager, and when they spread themselves grandly upon a great case their reasoning powers are usually found to be precisely equal to those of a respectable Pullman conductor.

Once I ventured the guess that men worked in response to a vague inner urge for self-expression. But that was probably a shaky theory, for some men who work the hardest have nothing to express. A hypothesis with rather more plausibility in it now suggests itself. It is that men work simply in order to escape the depressing agony of contemplating life – that their work, like their play, is a mumbo-jumbo that serves them by permitting them to escape from reality. Both work and play, ordinarily, are illusions. Neither serves any solid or permanent purpose. But life, stripped of such illusions, instantly becomes unbearable. Man cannot sit still, contemplating his destiny in this world, without going frantic. So he invents ways to take his mind off the horror. He works. He plays. He accumulates the preposterous nothing called property. He strives for the coy eyewink called fame. He founds a family, and spends his curse over others. All the while the thing that moves him is simply the yearning to lose himself, to forget himself, to escape the tragic-comedy that is himself. Life, fundamentally, is not worth living. So he confects artificialities to make it so. So he erects a gaudy structure to conceal the fact that it is not so.