1
" In books I have traveled, not only to other worlds, but into my own. I learned who I was and who I wanted to be, what I might aspire to, and what I might dare to dream about my world and myself. More powerfully and persuasively than from the " shalt nots" of the Ten Commandments, I learned the difference between good and evil, right and wrong. A Wrinkle in Time described that evil, that wrong, existing in a different dimension from our own. But I felt that I, too, existed much of the time in a different dimension from everyone else I knew. There was waking, and there was sleeping. And then there were books, a kind of parallel universe in which anything might happen and frequently did, a universe in which I might be a newcomer but was never really a stranger. My real, true world. My perfect island. "
5
" So, ‘sensation’ and ‘judgment’ have together lost their apparent clearness: we have observed that they were clear only as long as the prejudice in favour of the world was maintained. As soon as one tried by means of them, to picture consciousness in the process of perceiving, to revive the forgotten perceptual experience, and to relate them to it, they were found to be inconceivable. By dint of making these difficulties more explicit, we were drawn implicitly into a new kind of analysis, into a new dimension in which they were destined to disappear. The criticism of the constancy hypothesis and more generally the reduction of the idea of ‘the world’ opened up a *phenomenal field* which now has to be more accurately circumscribed, and suggested the rediscovery of direct experience which must be, at least provisionally, assigned its place in relation to scientific knowledge, and to psychological and philosophical reflection.”
—from_Phenomenology of Perception_. Translated by Colin Smith, p. 62 "
― Maurice Merleau-Ponty
8
" GOD. Sometimes I think there might be a god out there, and that every once in a while he tunes in to see what we're up to, and have a good laugh at how we like to dress him up in various costume. Robes, thorny crowns, yarmulkes and curls, saris and butt-hugging yoga pants. Male, female, a genderless reincarnation factory; a Mother Earth or a withholding Father Christmas. I would think it would amuse the hell out of him. That we're all idolaters, worshiping figments of our own creation who bear no resemblance to him.
Maybe he's sitting in some alternate dimension somewhere, saying, 'Shit, I didn't even create the world! I was just cooking my dinner, not paying attention to the heat, and suddenly here was this big band and a few hours later, a bunch of dinosaurs... "
― Suzanne Morrison , Yoga Bitch: One Woman's Quest to Conquer Skepticism, Cynicism, and Cigarettes on the Path to Enlightenment
13
" We are so fascinated by the complexity and beauty of the various forms in nature, that we have been led away from the formless dimension of Consciousness that lies at our very center. When you look at a person, you see many differences in their unique form, and often we compare, contrast, and judge one another because of the forms that we inhabit. But if you look beyond the various qualities and characteristics of form, and look another person in the eyes, you see a Being, and it is this Being that lies beneath the surface of form that connects us all. That is why the eyes are often referred to as the gateway to the soul, because they allow us to see and feel the presence of another Being, and realize our oneness. "
― Joseph P. Kauffman , The Answer Is YOU: A Guide to Mental, Emotional, and Spiritual Freedom
16
" After my mom died she ate my father up completely. She would have hated it. Every minute of his life since then has been marked by her absence, every action has lacked dimension because she is not there to measure against. And when I was young I didn't understand, but now, I know, how absence can be present, like a damaged nerve, like a dark bird. If I had to live on without you I know I could not do it. But I hope, I have this vision of you walking unencumbered, with your shining hair in the sun. I have not seen this with my eyes, but only with my imagination, that makes pictures, that always wanted to paint you, shining; but I hope that this vision will be true, anyway. "
― Audrey Niffenegger , The Time Traveler's Wife
19
" When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl. "
― Ernest Hemingway , Death in the Afternoon
20
" One need not believe in Pallas Athena, the virgin goddess, to be overwhelmed by the Parthenon. Similarly, a man who rejects all dogmas, all theologies and all religious formulations of beliefs may still find Genesis the sublime book par excellence. Experiences and aspirations of which intimations may be found in Plato, Nietzsche, and Spinoza have found their most evocative expression in some sacred books. Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too. "
― Walter Kaufmann
