A blog dedicated to providing quotes by and posts relating to one of the most influential (and quotable!) authors of the twentieth century, G.K. Chesterton (1874-1936). If you do not know much about GKC, I suggest visiting the webpage of the American Chesterton Society as well as this wonderful Chesterton Facebook Page by a fellow Chestertonian

I also have created a list detailing examples of the influence of Chesterton if you are interested, that I work on from time to time.

(Moreover, for a list of short GKC quotes, I have created one here, citing the sources)

"...Stevenson had found that the secret of life lies in laughter and humility."

-Heretics (1905)
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Finally, not directly Chesterton related, but I highly recommend the following websites

M.G.D.'s website is where you can learn the latest concerning the Marcus series of novels, as well as other great writing!

Mardi Robyn, run by my great friend Mardi, is an excellent site for handmade jewelry and accessories that you'll love! Also make sure to visit Rockin' Robyn Boutique

Please make sure to visit those sites! (And remember, it is very Chestertonian to support small businesses!)
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Wednesday, December 26, 2018

Arts die of a false emphasis, which is generally the effect of fatigue. The Byzantines hammered away at their hard and orthodox symbols, because they could not be in a mood to believe that men could take a hint. The moderns drag out into lengths and reels of extravagance their new orthodoxy of being unorthodox, because they also cannot give a hint-or take a hint. Yet all perfect and well-poised art is really a hint. I admit that sometimes, in Rubens or Rabelais, it might be called a broad hint; but it it is always a suggestion, even when it is an absurd suggestion. It always opens the vista of liberty that does not need to go all its own lengths. But there is a kind of dull exaggeration that is the very opposite of this light emphasis. And in this respect there is not much to choose between the large haloes of the old Crucifixion and the long hands of the modern Crucifixion. In both there is the weakness of stressing what strength would be content to suggest. In both a man who might have spoken to us, when he was alert and lively, is shouting at us because he is tired. And some of us may say, in the popular phrase, that it makes us tired to be shouted at. I can see what Michael Angelo means when he seems to make a limb unusually long; or what Giotto means when he seems to make a figure unusually stiff. And when an artist implies that I shall not see what he means unless he lengthens limbs in the manner of the modern Crucifixion, or stiffens them in the manner of the portrait of an Englishwoman, I feel as if a man two feet away were talking at the top of his voice on the assumption that I am stone deaf.
-March 10, 1923, Illustrated London News

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