"All things can be forgiven if we can progress"
About this Quote
Forgiveness, here, isn’t framed as sainthood; it’s framed as leverage. Cat Stevens’ line turns mercy into a practical tool: if we’re moving forward, we can loosen our grip on the past. That “if” matters. It’s not unconditional absolution, not the soft-focus version of healing sold in greeting cards. Progress is the price of admission. No motion, no forgiveness.
Coming from a musician whose public life included a dramatic reinvention (from pop troubadour to Yusuf Islam and back into wider culture), the quote carries autobiographical torque. Stevens knows what it is to be frozen in other people’s narratives: the early-’70s icon, the convert, the controversy, the comeback. “All things” reads less like naïve optimism and more like a challenge to the audience’s appetite for permanent sentencing. If the person or the culture is actually changing, why keep rehearsing the indictment?
The subtext is quietly political, too. Societies love the theater of blame because it feels like accountability without the hard work of repair. Stevens redirects the spotlight: not “Who was wrong?” but “What are we building next?” It’s a musician’s formulation of conflict resolution - tempo over testimony, the next verse over the last mistake.
Still, the line has a built-in discomfort. Progress can become a convenient escape hatch, a way to pressure people to “move on” before harm is addressed. That tension is what makes it resonate: forgiveness isn’t a mood. It’s a negotiation with time, change, and what we’re willing to demand from each other.
Coming from a musician whose public life included a dramatic reinvention (from pop troubadour to Yusuf Islam and back into wider culture), the quote carries autobiographical torque. Stevens knows what it is to be frozen in other people’s narratives: the early-’70s icon, the convert, the controversy, the comeback. “All things” reads less like naïve optimism and more like a challenge to the audience’s appetite for permanent sentencing. If the person or the culture is actually changing, why keep rehearsing the indictment?
The subtext is quietly political, too. Societies love the theater of blame because it feels like accountability without the hard work of repair. Stevens redirects the spotlight: not “Who was wrong?” but “What are we building next?” It’s a musician’s formulation of conflict resolution - tempo over testimony, the next verse over the last mistake.
Still, the line has a built-in discomfort. Progress can become a convenient escape hatch, a way to pressure people to “move on” before harm is addressed. That tension is what makes it resonate: forgiveness isn’t a mood. It’s a negotiation with time, change, and what we’re willing to demand from each other.
Quote Details
| Topic | Forgiveness |
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