1
" Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag. "
― Donna Tartt , The Goldfinch
2
" DJ, are you awake?
Freaking elf. “Go home, Rand.”
I am home. Where are you?
I frowned and burrowed my face into the soft down pillow. Which wasn’t my pillow.
Holy crap. What had happened?
I sat up and took in several observations at once, none of which made sense and all of which sent my heart rate jack-rabbiting hard enough to send my blood pressure into the ozone.
First, I was lying beneath a heavy bedspread woven in a rich blue-and-cream print. The bed was an elaborate confection made to look like an antique half-tester, and a brass chandelier hung overhead.
I recognized the Hotel Monteleone. I recognized Jean Lafitte’s bedroom in the posh Eudora Welty Suite in the Monteleone. I didn’t have a clue as to how I got here.
Second, I wore only underwear. My clothes were thrown across a chair in the corner. I had no recollection of removing them.
Third, the pillow next to mine still held the clear indentation of a head, and there was water running behind the closed bathroom door.
What in God’s name had I done?
Rand! Where are you? So help me, if that elf was behind this, I’d splay him open like a catfish and watch his guts fall on the floor. Then I’d batter and deep-fry him.
God, Dru. Stop shrieking like an elven shrew. I think you got too cold and went into a survival state. "
― Suzanne Johnson , Pirate's Alley (Sentinels of New Orleans, #4)
3
" The beautiful unruliness of literature is what makes it so much fun to wander through: you read Jane Austen and you say, oh, that is IT. And then you turn around and read Sterne, and you say, Man, that is IT. And then you wander across a century or so, and you run into Kafka, or Calvino, or Cortazar, and you say, well that is IT. And then you stroll through what Updike called the grottos of Ulysses, and after that you consort with Baldwin or Welty or Spencer, or Morrison, or Bellow or Fitzgerald and then back to W. Shakespeare, Esq; the champ, and all the time you feel the excitement of being in the presence of IT. And when you yourself spend the good time writing, you are not different in kind than any of these people, you are part of that miracle of human invention. So get to work. Get on with IT, no matter how difficult IT is. Every single gesture, every single stumble, every single uninspired-feeling hour, is worth IT." Richard Bausch "
4
" Eudora Welty singles out for praise Austen's " habit of seeing both sides of her own subject - of seeing it indeed in the round" . ... Both men and women can be vain about their appearances, selfish about money, overawed by rank, and limited by parochialism; both men and women can function capably, think profoundly, feel deeply, create imaginatively, laugh wittily, and love faithfully. Without vindicating the rights of anyone directly, Austen posits a humanism far ahead of her time. " How really modern she is, after all," Welty concludes of Austen. "