41
" Via the mediation of the Enlightenment, this movement had changed from a hobby among a tiny literate elite and their secretaries, an ostentatious amusement among princely and mercantile art patrons and their masterly suppliers (who established a first 'art system'), into a national, a European, indeed a planetary matter. In order to spread from the few to the many, the renaissance had to discard its humanistic exterior and reveal itself as the return of ancient mass culture. The true renaissance question, reformulated in the terminology of practical philosophy - namely, whether other forms of life are possible and permissible for us alongside and after Christianity, especially ones whose patterns are derived from Greek and Roman (perhaps even Egyptian or Indian) antiquity - was no longer a secret discourse or an academic exercise in the nineteenth century, but rather an epochal passion, an inescapable pro nobis. "
― Peter Sloterdijk , You Must Change Your Life
42
" No one is a good historian of the patent, visible, striking, and public life of peoples, if he is not, at the same time, in a certain measure, the historian of their deep and hidden life; and no one is a good historian of the interior unless he understands how, at need, to be the historian of the exterior also...True history being a mixture of all things, the true historian mingles in everything. "
― Victor Hugo
43
" Since Paul wasn’t a big conversationalist—he was the anti-Mac, in other words, and today had been the longest she’d ever heard him speak in consecutive sentences—Jena watched the scenery for a while. Then she decided to study the inside of Paul’s truck to see what she could learn about him.
Technically, it was exactly like hers and Gentry’s. It had a black exterior with a blue light bar across the top and the Louisiana Department of Wildlife and Fisheries Enforcement Division logo on the doors.
It was tech heavy on the front dash, just like theirs, with LDWF, Terrebonne Parish Sheriff’s Office, and Louisiana State Police Troop C radios, a laptop, a GPS unit, and a weather unit.
In her truck and in Gentry’s, the cords and wires were a colorful tangle of plastic and metal, usually with extra plugs dangling around like vines. Paul’s cords were all black, and he had them woven in pairs and tucked underneath the dash, where they neatly disappeared.
She leaned over to see how he’d achieved such a thing, and noticed identical zip ties holding them in place.
“Sinclair, I hate to ask, but what are you doing?”
He sounded more bemused than annoyed, so she said, “I’m psychoanalyzing you based on the interior of your truck.”
He almost ran off the road. “Why?”
“Your scintillating conversation was putting me to sleep.”
His dark brows knit together but he seemed to have no answer to that.
She turned around in her seat, as much as the seat belt allowed, and continued her study. Paul had a 12-gauge shotgun and a .223 carbine mounted right behind the driver’s seat, same as in her own truck. The mounts had hidden release buttons so the agents could get the guns out one-handed and quickly.
But where her truck had a catch-all supply of stuff, from paper towels to zip ties to evidence bags to fast-food wrappers thrown in the back, Paul’s backseat was empty but for a zippered storage container normal people used for shoes. Each space held different things, all neatly arranged. Jena spotted evidence bags in one. Zip ties in another. Notebooks. Citation books. Paperwork. A spare uniform hung over one window, with a dry-cleaner’s tag dangling from the shirt’s top button.
Good Lord. She turned back around.
“What did you learn?” Paul finally asked.
“You’re an obsessive-compulsive neat freak,” she said. “Accent on freak. "
― Susannah Sandlin , Black Diamond (Wilds of the Bayou, #2)
47
" Never does one open the discussion by coming right to the heart of the matter. For the heart of the matter is always somewhere else than where it is supposed to be. To allow it to emerge, people approach it indirectly by postponing until it matures, by letting it come when it is ready to come. There is no catching, no pushing, no directing, no breaking through, no need for a linear progression which gives the comforting illusion that one knows where one goes. Time and space are not something entirely exterior to oneself, something that one has, keeps, saves, wastes, or loses. "
― Trinh T. Minh-ha
48
" He overheard the director talking to one of the cameramen. The cameraman was explaining that he couldn’t get a good long shot on the exterior because someone had set up a fake graveyard right in the plaza.
“Kids just playing around, I guess, but it’s morbid; we’ll have to get rid of it, maybe bring in some sod to—”
“No,” Albert said.
“We’re almost ready for you,” the director assured him.
“That’s not a fake graveyard. Those aren’t fake graves. No one was playing around.”
“You’re saying those . . . those are actually . . .”
“What do you think happened here?” Albert asked in a soft voice. “What do you think this was?” Absurdly, embarrassingly, he had started to cry. “Those are kids buried there. Some of them were torn apart, you know. By coyotes. By . . . by bad people. Shot. Crushed. Like that. Some of those kids in the ground there couldn’t take it, the hunger and the fear . . . some of those kids out there had to be cut down from the ropes they used to hang themselves. Early on, when we still had any animals? I had a crew go out and hunt down cats. Cats and dogs and rats. Kill them. Other kids to skin them . . . cook them up.”
There were a dozen crew people in the McDonald’s. None spoke or moved.
Albert brushed away tears and sighed. “Yeah. So don’t mess with the graves. Okay? Other than that, we’re good to go. "
― Michael Grant , Light (Gone, #6)