25
" In the detective story, as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder. The country is preferable to the town, a well-to-do neighborhood (but not too well-to-do-or there will be a suspicion of ill-gotten gains) better than a slum. The corpse must shock not only because it is a corpse but also because, even for a corpse, it is shockingly out of place, as when a dog makes a mess on a drawing room carpet." , Harper's Magazine, May 1948) "
27
" I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation. "
― Alan Lee
28
" In the tenth century BC, the priests of India devised the Brahmodya competition, which would become a model of authentic theological discourse. The object was to find a verbal formula to define the Brahman, the ultimate and inexpressible reality beyond human understanding. The idea was to push language as far as it would go, until participants became aware of the ineffable. The challenger, drawing on his immense erudition, began the process by asking an enigmatic question and his opponents had to reply in a way that was apt but equally inscrutable. The winner was the contestant who reduced the others to silence. In that moment of silence, the Brahman was present - not in the ingenious verbal declarations but in the stunning realisation of the impotence of speech. Nearly all religious traditions have devised their own versions of this exercise. It was not a frustrating experience; the finale can, perhaps, be compared to the moment at the end of the symphony, when there is a full and pregnant beat of silence in the concert hall before the applause begins. The aim of good theology is to help the audience to live for a while in that silence. "
― Karen Armstrong , The Case for God
30
" ...where were answers to the truly deep questions? Religion promised those, though always in vague terms, while retreating from one line in the sand to the next. Don't look past this boundary, they told Galileo, then Hutton, Darwin, Von Neumann, and Crick, always retreating with great dignity before the latest scientific advance, then drawing the next holy perimeter at the shadowy rim of knowledge. "
― David Brin , Kiln People
31
" So that’s how we live our lives. No matter how deep and fatal the
loss, no matter how important the thing that's stolen from us - that's
snatched right out of our hands - even if we are left completely
changed, with only the outer layer of skin from before, we continue to
play out our lives this way, in silence. We draw ever nearer to the
end of our allotted span of time, bidding it farewell as it trails off
behind. Repeating, often adroitly, the endless deeds of the everyday.
Leaving behind a feeling of insurmountable emptiness...
Maybe, in some distant place, everything is already, quietly, lost.
Or at least there exists a silent place where everything can
disappear, melting together in a single, overlapping figure. And as
we live our lives we discover - drawing toward us the thin threads
attached to each - what has been lost. I closed my eyes and tried to
bring to mind as many beautiful lost things as I could. Drawing them
closer, holding on to them. Knowing all the while that their lives
are fleeting. "
― Haruki Murakami , Sputnik Sweetheart
32
" I've always been shy physically. This in part tended to keep me from rushing into things, including relationships, headlong. Not rushing headlong, though I may have wanted to, but beginning to write stories about people, I drew near slowly; noting and guessing, apprehending, hoping, drawing my eventual conclusions out of my own heart, I did venture closer to where I wanted to go. "
― Eudora Welty , On Writing
