2
" Normally, in anything I do, I'm fairly miserable. I do it, and I get grumpy because there is a huge, vast gulf, this aching disparity, between the platonic ideal of the project that was living in my head, and the small, sad, wizened, shaking, squeaking thing that I actually produce. "
― Neil Gaiman
7
" Morning is an important time of day, because how you spend your morning can often tell you what kind of day you are going to have. For instance, if you wake up to the sound of twittering birds, and find yourself in an enormous canopy bed, with a butler standing next to you holding a breakfast of freshly made muffins and hand-squeezed orange juice on a silver tray, you will know that your day will be a splendid one. If you wake up to the sound of church bells, and find yourself in a fairly big regular bed, with a butler standing next to you holding a breakfast of hot tea and toast on a plate, you will know that your day will be O.K. And if you wake up to the sound of somebody banging two metal pots together, and find yourself in a small bunk bed, with a nasty foreman standing in the doorway holding no breakfast at all, you will know that your day will be horrid. "
― Lemony Snicket , Horseradish
11
" Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw.
It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating.
We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast. "
― Owen Barfield
12
" See the exquisite contrast of the types of mind! The pragmatist clings to facts and concreteness, observes truth at its work in particular cases, and generalises. Truth, for him, becomes a class-name for all sorts of definite working-values in experience. For the rationalist it remains a pure abstraction, to the bare name of which we must defer. When the pragmatist undertakes to show in detail just why we must defer, the rationalist is unable to recognise the concretes from which his own abstraction is taken. He accuses us of denying truth; whereas we have only sought to trace exactly why people follow it and always ought to follow it. Your typical ultra-abstractions fairly shudders at concreteness: other things equal, he positively prefers the pale and spectral. If the two universes were offered, he would always choose the skinny outline rather than the rich thicket of reality. It is so much purer, clearer, nobler. "
― William James , Pragmatism and Other Writings
16
" If one has failed to develop curiosity and interest in the early years, it is a good idea to acquire them now, before it is too late to improve the quality of life.
To do so is fairly easy in principle, but more difficult in practice. Yet it is sure worth trying. The first step is to develop the habit of doing whatever needs to be done with concentrated attention, with skill rather than inertia. Even the most routine tasks, like washing dishes, dressing, or mowing the lawn become more rewarding if we approach them with the care it would take to make a work of art. The next step is to transfer some psychic energy each day from tasks that we don’t like doing, or from passive leisure, into something we never did before, or something we enjoy doing but don’t do often enough because it seems too much trouble. There are literally millions of potentially interesting things in the world to see, to do, to learn about. But they don’t become actually interesting until we devote attention to them. "
― Mihaly Csikszentmihalyi , Finding Flow: The Psychology of Engagement with Everyday Life
18
" No, this, she felt, was real life and if she wasn’t as curious or passionate as she had once been, that was only to be expected. It would be inappropriate, undignified, at thirty-eight, to conduct friendships or love affairs with the ardour and intensity of a twenty-two-year-old. Falling in love like that? Writing poetry, crying at pop songs? Dragging people into photo-booths, taking a whole day to make a compilation tape, asking people if they wanted to share your bed, just for company? If you quoted Bob Dylan or T.S. Eliot or, God forbid, Brecht at someone these days they would smile politely and step quietly backwards, and who would blame them? Ridiculous, at thirty-eight, to expect a song or book or film to change your life. No, everything had evened out and settled down and life was lived against a general background hum of comfort, satisfaction and familiarity. There would be no more of these nerve-jangling highs and lows. The friends they had now would be the friends they had in five, ten, twenty years’ time. They expected to get neither dramatically richer or poorer; they expected to stay healthy for a little while yet. Caught in the middle; middle class, middle-aged; happy in that they were not overly happy.
Finally, she loved someone and felt fairly confident that she was loved in return. If someone asked Emma, as they sometimes did at parties, how she and her husband had met, she told them:
‘We grew up together. "
― David Nicholls , One Day
19
" I’m fairly certain, Captain,” she said, “that the more you discover about me, the more you will dislike me. Therefore, let’s cut to the chase and acknowledge that we don’t like each other. Then we won’t have to bother with the in-between part.”
She was so bloody frank and practical about the whole thing that Christopher couldn’t help but be amused.
“I’m afraid I can’t oblige you.”
“Why not?”
“Because when you said that just now, I found myself starting to like you.”
“You’ll recover,” she said.
Her decisive tone made him want to smile. “It’s getting worse, actually,” he told her. “Now I’m absolutely convinced that I like you.”
Beatrix gave him a patently skeptical stare. “What about my hedgehog? Do you like her, too?”
Christopher considered that. “Affection for rodents can’t be rushed.”
“Medusa isn’t a rodent. She’s an erinaceid. "
― Lisa Kleypas , Love in the Afternoon (The Hathaways, #5)