16
" My poor little child
Karin Boye
My poor child, so afraid of the dark,
who has met ghosts of another kind,
who always among those clad in white
glimpses those with evil faces,
now let me sing you gentle songs,
from fright they free, from force and cramp.
Of the evil they ask no repentance.
Of the good they ask not for battle.
See, you must know, that all that lives
is deep inside of equal kind.
Like trees and herbs it seeks to grow -
pulled forward by its inner laws.
And trees may fall and flowers wilt
and branches break, their power lost,
still the dream remains - awaits the call -
in every living drop of sap. (205) "
― Linda Olsson , Astrid and Veronika
19
" I can take one individual note out of the music I am trying to write at the moment, and ti could belong anywhere. Yet where it sits, where I have placed it, it follows what came before and leads to what comes after. Without it the whole would not be as it is. As the composer I must know each individual note in order to make the whole. Like the colors on an artist's palette, on their own the notes are absolute, yet when they are placed in a particular work, their individuality becomes one with the whole. They have to be chosen for what they are - red, yellow, blue - but with the effect of their combined potential in mind. It is necessary to know the parts in order to make up the whole. It applies to music, to art, and to life itself, I think. When you listen to the finished composition, or when you go about living your life, the individual components join to make a whole that can so easily be taken for granted. But it is not until you become aware of the parts that you can begin to understand the miracle. It took me almost a lifetime to start searching for the sounds, the notes that make my life's music. And it required a sacrifice so enormous that it did away with all that had made my life meaningful. But in the total silence that came afterward, I finally heard a first single note, and others slowly followed. (5) "
― Linda Olsson , Sonata for Miriam
