5
" Oh, I’m Chrissy Mackenzie, I’m from Vancouver but I came here to study environmental journalism,” the girl exclaimed with way too much enthusiasm. “You got any advice?”“Search me,” Mandy muttered, spooning another ice cube from the empty glass on the table in front of her. “I like pollution, I write in favor of it, and environmental journalism most often implies that it’s in favor of all that “go green” hippie crap.” “Oh, well….” Chrissy seemed taken aback, offended, and Mandy sighed a fourth time. “Damn it, I’m really sorry,” she apologized, smiling dismally at the aspiring writer. “It’s just been a really lousy day for me and I wasn’t really thinking. My advice? Find your own cause to represent, not one thrown out into society by a ton of environmentalist dopes. Find something new, something you think could be improved, and work from there.” Chrissy smiled with a look of total ecstasy as if the words of some nobody woman were important. Mandy momentarily noticed the groups of laughing, drunk, giggling people, all acting childish… and for a moment she wished she could be them. "
14
" Few religions are definite about the size of Heaven, but on the planet Earth the Book of Revelation (ch. XXI, v.16) gives it as a cube 12,000 furlongs on a side. This is somewhat less than 500,000,000,000,000,000,000 cubic feet. Even allowing that the Heavenly Host and other essential services take up at least two thirds of this space, this leaves about one million cubic feet of space for each human occupant- assuming that every creature that could be called ‘human’ is allowed in, and the the human race eventually totals a thousand times the numbers of humans alive up until now. This is such a generous amount of space that it suggests that room has also been provided for some alien races or - a happy thought - that pets are allowed. "
― Terry Pratchett , The Last Hero (Discworld #27; Rincewind #7)
15
" The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism.
To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points.
If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere. "
― Frithjof Schuon , Gnosis: Divine Wisdom: A New Translation with Selected Letters
16
" Aloneness – that is what SM feels like to me. Isolated, alone, separated, left out as I silently stand by watching others experience life while the words freeze inside me, afraid to speak up or join in a conversation. Actually feeling the anxiety shaking inside my chest as I try to get up the courage to speak to someone or call or text a friend. SM feels like the child standing alone behind the door watching the other kids in the playground – afraid to ask, 'may I play?' It feels like the teenager standing silently against the wall, listening to classmates laugh and chat, invisible to everyone and wondering what it would be like to have a friend. It feels like the 50-year-old office worker, alone in her cube while others chat and laugh in the aisle, still left out. I live inside a shell, a mask that looks like me, but isn't me. I am in here, but it is really hard to let others see. I'm so grateful for the few dear friends I have now. Most people, though, only see the shell and assume I'm aloof and uncaring because I am quiet. I feel very deeply. I feel others' joy and pain intensely, yet they rarely know. I'm not quiet because I am uncaring. I'm silent because I'm afraid. "
― , Selective Mutism In Our Own Words: Experiences in Childhood and Adulthood