44
" I guess I´m too used to sitting in a small room and making
words do a few things. I see enough of humanity at the
racetracks, the supermarkets, gas stations, freeways, cafes,
etc. This can´t be helped. But I feel like kicking myself in
the ass when I go to gatherings, even if the drinks are free.
It never works for me. I´ve got enough clay to play with.
People empty me. I have to get away to refill. I´m what´s best
for me, sitting here slouched, smoking a beedie and watching
this creen flash the words. Seldom do you meet a rare or
interesting person. It´s more than galling, it´s a fucking
constant shock. It´s making a god-damned grouch out of me.
Anybody can be a god-damned grouch and most are. Help! "
― Charles Bukowski , The Captain is Out to Lunch and the Sailors Have Taken Over the Ship
45
" But Viv, if I've learned anything at all in the last eight years of my life? It's that people just like to tell themselves stories about where they came from. They can't help themselves. They don't trust the world around them--it's too good for them, or not good enough--so they tell themselves stories about it. They tell themselves an old magician who lives up in the sky made them out of clay and put them here until whenever he makes up his mind to take them out again. Your parents didn't like their creation myth, that's all--it had pain in it, and chaos, and their own parents were ashamed. So they told themselves a story that was at least partially true: about two good people who deserved happy lives. And probably at some point they started to believe that story. But the thing is, really, that it doesn't matter. For your parents or anyone else. It doesn't actually matter where we came from, or where we're going, or when. The only thing that matters is what we have to do while we're here and how well we do it. "
― Katie Coyle , Vivian Apple at the End of the World (Vivian Apple, #1)
49
" Indeed, very few people are aware that in each of our fingers, located somewhere between the first phalange, the mesophalange, and the metaphalange, there is a tiny brain. The fact is that the other organ which we call the brain, the one with which we came into the world, the one which we transport around in our head and which transports us so that we can transport it, has only ever had very general, vague, diffuse and, above all, unimaginative ideas about what the hands and fingers should do. For example, if the brain-in-our-head suddenly gets an idea for a painting, a sculpture, a piece of music or literature, or a clay figurine, it simply sends a signal to that effect and then waits to see what will happen "
― José Saramago , The Cave
50
" For he has faith enough, he feels, if he were really to delve into himself, faith enough to move mountains, but he cannot manage to put his back into it. Once in a while the need to create wells up in him, the longing to see a part of himself set free in a work by him, and for days at a time his being can be tensed with joyous, titanic efforts to mold the clay into his Adam. But he is never able to shape him into a semblance of his image, he does not have enough stamina to maintain the self-discipline that it demands. It make take weeks for him to give up the work, but he does give it up, and irritably asks himself why he should keep on: what more does he have to gain? He has enjoyed the pleasure of creation, the tedium of upbringing remains, to nurse, nurture, and support entirely - why? for whom? He is no pelican, he says. But whatever he says, he is still ill at ease and feels that he has not done justice to the expectations he has of himself. It doesn’t help him to confront these expectations and try to doubt that their demands on him are justified. He is faced with a choice, and he must choose; for life is such that when the first youth is gone, sooner or later - depending on the natural disposition of the person - sooner or later a day dawns when resignation comes to you like a seducer and tempts you, and you have to say farewell to the impossible and accept it. "
― Jens Peter Jacobsen
54
" I grow into these mountains like a moss. I am bewitched. The blinding snow peaks and the clarion air, the sound of earth and heaven in the silence, the requiem birds, the mythic beasts, the flags, great horns, and old carved stones, the silver ice in the black river, the Kang, the Crystal Mountain. Also, I love the common miracles-the murmur of my friends at evening, the clay fires of smudgy juniper, the coarse dull food, the hardship and simplicity, the contentment of doing one thing at a time… gradually my mind has cleared itself, and wind and sun pour through my head, as through a bell. Though we talk little here, I am never lonely; I am returned into myself. In another life-this isn’t what I know, but how I feel- these mountains were my home; there is a rising of forgotten knowledge, like a spring from hidden aquifers under the earth. To glimpse one’s own true nature is a kind of homegoing, to a place East of the Sun, West of the Moon- the homegoing that needs no home, like that waterfall on the supper Suli Gad that turns to mist before touching the earth and rises once again to the sky. "
― Peter Matthiessen , The Snow Leopard
59
" Art is the conscious making of numinous phenomena. Many objects are just objects - inert, merely utilitarian. Many events are inconsequential, too banal to add anything to our experience of life. This is unfortunate, as one cannot grow except by having one’s spirit greatly stirred; and the spirit cannot be greatly stirred by spiritless things. Much of our very life is dead. For primitive man, this was not so. He made his own possessions, and shaped and decorated them with the aim of making them not merely useful, but powerful. He tried to infuse his weapons with the nature of the tiger, his cooking pots with the life of growing things; and he succeeded. Appearance, material, history, context, rarity - perhaps rarity most of all - combine to create, magically, the quality of soul. But we modern demiurges are prolific copyists; we give few things souls of their own. Locomotives, with their close resemblance to beasts, may be the great exception; but in nearly all else with which today’s poor humans are filling the world, I see a quelling of the numinous, an ashening of the fire of life. We are making an inert world; we are building a cemetery. And on the tombs, to remind us of life, we lay wreaths of poetry and bouquets of painting. You expressed this very condition, when you said that art beautifies life. No longer integral, the numinous has become optional, a luxury - one of which you, my dear friend, are fond, however unconsciously. You adorn yourself with the same instincts as the primitive who puts a frightening mask of clay and feathers on his head, and you comport yourself in an uncommonly calculated way - as do I. We thus make numinous phenomena of ourselves. No mean trick - to make oneself a rarity, in this overpopulated age. "
― K.J. Bishop , The Etched City