5
" For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day....
To me, it's all art, inside the studio and out. At least it is if we approach our lives that way. "
― Terri Windling
8
" Clara shrugged and immediately knew her betrayal of Peter. In one easy movement she'd distanced herself from his bad behavior, even thought she herself was responsible for it. Just before everyone had arrived, she'd told Peter about her adventure with Gamache. Animated and excited she'd gabbled on about her box and the woods and the exhilarating climb up the ladder to the blind. But her wall of words hid from her a growing quietude. She failed to notice his silence, his distance, until it was too late and he'd retreated all the way to his icy island. She hated that place. From it he stood and stared, judged, and lobbed shards of sarcasm.
'You and your hero solve Jane's death?'
'I thought you'd be pleased,' she half lied. She actually hadn't thought at all, and if she had, she probably could have predicted his reaction. But since he was comfortably on his Inuk island, she'd retreat to hers, equipped with righteous indignation and warmed by moral certitude. She threw great logs of 'I'm right, you're an unfeeling bastard' onto the fire and felt secure and comforted. "
― Louise Penny , Still Life (Chief Inspector Armand Gamache, #1)
10
" A procession of the damned: By the damned I mean the excluded. We shall have a procession of data that science has excluded. Battalions of the accursed, captained by pallid data that I have exhumed will march. You'll read them, or they'll march. Some of them livid and some of them fiery and some of them rotten. Some of them are corpses, skeletons, mummies, twitching, tottering, animated by companions that have been damned alive. There are giants that will walk by, though sound asleep. There are things that are theorems and things that are rags. They'll go by, like you could, arm-in-arm with the spirit of anarchy. Here and there will foot little harlots. Many are clowns, but many are of the highest respectability. Some are assassins. There are pale stenches and gaunt superstitions and mere shadows and lively malices, whims and amiabilities, the naive and the pedantic and the bizarre and the grotesque and the sincere and the insincere, the profound, and the puerile. A stab and a laugh and the patiently folded hands of hopeless propriety. The ultra-respectable! But the condemned, anyway. "
― Charles Fort , The Book of the Damned
