63
" To acquire the full consciousness of self is to know oneself so different from others that no longer feels allied with men except by purely animal contacts: nevertheless, among souls of this degree, there is an ideal fraternity based on differences,--while society fraternity is based on resemblances.
The full consciousness of self can be called originality of soul, -and all this is said only to point out the group of rare beings to which Andre Gide belongs.
The misfortune of these beings, when they express themselves, is that they do it with such odd gestures that men fear to approach them; their life of social contacts must often revolve in the brief circle of ideal fraternities; or, when the mob consents to admit such souls, it is as curiosities or museum objects. Their glory is, finally, to be loved from afar & almost understood, as parchments are seen & read above sealed cases. "
― Remy de Gourmont , The Book of Masks
65
" If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore. "
― Francesca Lia Block , I Was a Teenage Fairy
66
" I have a print - you can buy them at the Victoria and Albert Museum - of a photograph of the village street of Thetford, taken in 1868, in which William Smith is not. The street is empty. There is a grocer's shop and a blacksmith's and a stationary cart and a great spreading tree, but not a single human figure. In fact William Smith - or someone, or several people, dogs too, geese, a man on a horse - passed beneath the tree, went into the grocer's shop, loitered for a moment talking to a friend while the photograph was taken but he is invisible, all of them are invisible. The exposure of the photograph - sixty minutes - was so long that William Smith and everyone else passed through it and away leaving no trace. Not even so much of a mark as those primordial worms that passed through the Cambrian mud of northern Scotland and left the empty tube of their passage in the rock.
I like that. I like that very much. A neat image for the relation of man to the physical world. Gone, passed through and away. "
― Penelope Lively , Moon Tiger
68
" then things got even stranger.Mr. Brunner, who'd been out in front of the museum a minute before, wheeled his chair into the doorway of the gallery, holding a pen in his hand. " What ho, Percy!" he shouted, and tossed the pen through the air.Mrs. Dodds lunged at me.With a yelp, I dodged and felt talons slash the air next to my ear. I snatched the ballpoint pen out of the air, but when it hit my hand, it wasn't a pen anymore. It was a sword-Mr. Brunner's bronze sword, which he always used on tourement day.Mrs. Dodds spun toward me with a murderous look in her eyes.My knees were jelly. My hands were shaking so bad I almost dropped the sword.She snarled, " Die, honey!" And she flew straight at me.Absolute terror ran through my body. I did the only thing that came naturally:I swung the sword.The metal blade hit her shoulder and passed through her body as if she were made made of water. Hisss!Mrs. Dodds was a sand castle in a power fan. She exploded into yellow powder, vaporized on the spot, leaving nothing but the smell of sulfur and a dying screech and a chill of evil in the air, as if those two glowing red eyes were still watching me. "
70
" What—in other words—would modern boredom be without terror? One of the most boring documents of all time is the thick volume of Hitler’s Table Talk. He too had people watching movies, eating pastries, and drinking coffee with Schlag while he bored them, while he discoursed theorized expounded. Everyone was perishing of staleness and fear, afraid to go to the toilet. This combination of power and boredom has never been properly examined. Boredom is an instrument of social control. Power is the power to impose boredom, to command stasis, to combine this stasis with anguish. The real tedium, deep tedium, is seasoned with terror and with death.
There were even profounder questions. For instance, the history of the universe would be very boring if one tried to think of it in the ordinary way of human experience. All that time without events! Gases over and over again, and heat and particles of matter, the sun tides and winds, again this creeping development, bits added to bits, chemical accidents—whole ages in which almost nothing happens, lifeless seas, only a few crystals, a few protein compounds developing. The tardiness of evolution is so irritating to contemplate. The clumsy mistakes you see in museum fossils. How could such bones crawl, walk, run? It is agony to think of the groping of the species—all this fumbling, swamp-creeping, munching, preying, and reproduction, the boring slowness with which tissues, organs, and members developed. And then the boredom also of the emergence of the higher types and finally of mankind, the dull life of paleolithic forests, the long long incubation of intelligence, the slowness of invention, the idiocy of peasant ages. These are interesting only in review, in thought. No one could bear to experience this. The present demand is for a quick forward movement, for a summary, for life at the speed of intensest thought. As we approach, through technology, the phase of instantaneous realiza-tion, of the realization of eternal human desires or fantasies, of abolishing time and space the problem of boredom can only become more intense. The human being, more and more oppressed by the peculiar terms of his existence—one time around for each, no more than a single life per customer—has to think of the boredom of death. O those eternities of nonexistence! For people who crave continual interest and diversity, O! how boring death will be! To lie in the grave, in one place, how frightful! "
― Saul Bellow , Humboldt's Gift
75
" My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries.
Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places.
Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted. "
― Ernest Hemingway , A Moveable Feast