1
" Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw.
It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating.
We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast. "
― Owen Barfield
6
" While studying my bible, I noticed that all the miracle Jesus did was never magical, the people that received their healing call it the blind man, the woman with the issue of blood, lazarus, the man they threw through the ceiling to him etc, had one thing in common. I didn't call it faith but I call it action. ...they made a move and was ready to make a shift and a change.
Lessons to learn from here; faith without work better put without action is dead. Secondly, miracle will never find you in your sitting room, you need to make a move in order to find it. Third, God can only start the work in your life only with what you have left not what you do not have. Fourth, do your own part and then allow God to do the one you cannot do. Fifth, always be ready for a change. Sixth, when you have done everything and nothing seems to work....Call on JESUS...I am a living withness, He always starts when we are tired. "
― Patience Johnson, , Why Does an Orderly God Allow Disorder
8
" Joel Kotkin, a professor of urban development, argued in the daily beast that the power of the single voter is destined to fade, since single people " Have no heirs," while their religious, conservative, counterparts will repopulate the nation with children who will replicate their parents politics, ensuring that " conservative, more familial-oriented values inevitably prevail." Kotkin's error, of course, is both in assuming that unmarried people do not reproduce -- in fact, they are doing so in ever greater numbers -- but also in failing to consider whence the gravitation away from married norms derived. A move toward independent life did not simply emerge from the clamshell: it was born of generations of dissatisfaction with the inequalities of religious, conservative, social practice. "
11
" ...it's exemplification of our moment in American culture and American cultural journalism. It is an accurate document of the discourse of " takes." This movie, that book, this poem, that painting, this record, that show: Make a smart remark and move on. A take is an opinion that has no aspiration to a belief, an impression taht never hardens into a position. Its lightness is its appeal. It is provisional, evanescent, a move in a game, an accredited shallowness, a bulwark against a pause in the conversation. A take is expected not to be true but to be interesting, and even when it is interesting it makes no troublesome claim upon anybody's attention. Another take will quickly follow, and the silence that is a mark of perplexity, of research and reflection, will be mercifully kept at bay. A take asks for no affiliation. It requires no commitment. "
13
" I imagined the lies the valedictorian was telling them right now. About the exciting future that lies ahead. I wish she'd tell them the truth: Half of you have gone as far in life as you're ever going to. Look around. It's all downhill from here. The rest of us will go a bit further, a steady job, a trip to Hawaii, or a move to Phoenix, Arizona, but out of fifteen hundred how many will do anything truly worthwhile, write a play, paint a painting that will hang in a gallery, find a cure for herpes? Two of us, maybe three? And how many will find true love? About the same. And enlightenment? Maybe one. The rest of us will make compromises, find excuses, someone or something to blame, and hold that over our hearts like a pendant on a chain. "
― Janet Fitch , White Oleander
15
" ...We were pulling into the next station, when the woman suddenly got to her feet and made a move to squeeze past me. As her knees made contact with mine, she turned towards me. Her eyes locked straight onto mine, her eyelids pinned back, with a look I could only describe as sheer dread. In the next second, deep tram-lines formed between her eyebrows and her expression shifted. It was as if she was silently imploring me, entreating me. To do what? I had no idea. I was immobile, her gaze pressing me into my seat by some centrifugal force and I held her stare, unsure of how to react. Just as swiftly, she dropped her eyes and the moment passed. With one final glance behind her, she was swallowed up in the bodies at the door.
She was getting off. Something wasn’t right. "
― A.J. Waines , Girl on a Train