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  • I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.

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I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.

It is odd that a value/virtue that plays such a central role in dramatic literature has played such a small role in philosophical writing. There are probably a number of reasons, but I think that a predilection for a certain kind of individualism is a major one. Others might include the fashionability of consequentialism, the idea that loyalty has more to do with sentiment than reason, as well as its proneness to corruption. The revival of interest in virtue/character as distinct from rules/principles has also created space for a renewed, if hesitant, interest in loyalty.

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