1
" We are among the first peoples in human history who do not broadly inherit religious identity as a given, a matter of kin and tribe, like hair color and hometown. But the very fluidity of this—the possibility of choice that arises, the ability to craft and discern one’s own spiritual bearings—is not leading to the decline of spiritual life but its revival. It is changing us, collectively. It is even renewing religion, and our cultural encounter with religion, in counterintuitive ways. I meet scientists who speak of a religiosity without spirituality—a reverence for the place of ritual in human life, and the value of human community, without a need for something supernaturally transcendent. There is something called the New Humanism, which is in dialogue about moral imagination and ethical passions across boundaries of belief and nonbelief.
But I apprehend— with a knowledge that is as much visceral as cognitive— that God is love. That somehow the possibility of care that can transform us— love muscular and resilient— is an echo of a reality behind reality, embedded in the creative force that gives us life. "
― , Becoming Wise: An Inquiry into the Mystery and Art of Living
6
" Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.
It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.
The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. "
― Adam Hochschild , King Leopold's Ghost
7
" Was it a moment of indecision or was it a moment of redemption. Redemption long overdue and long unacknowledged? They didn’t know. He suddenly went at her mouth and she claimed it as if it was never supposed to be elsewhere.
It was stormy. It was fierce. His manhood shafted through his loose night pajamas challenging her even beyond the thickness of her bath robe, which was cast aside in one unsparing sweep of his hand, revealing the quavering ripeness of her fulsome breasts. After a moment of awe, he went at them with unquenched ferocity.
First he devoured her there itself, against the wall, on the carpet. Within moments their frenzied hands tore away each other’s underpants with unapologetic fury and then in one smooth motion of a dancer’s lucidity, he lifted her and like a great performer of an opera, placed her on the bed. The inviting altar of desire and passion and longing. Now as they claimed each other, there was unhurried fluidity in their motion. Tears of pain and love in their eyes. Ecstasy of carnal compatibility in their fusion. Symphony of sensuality in their strokes and when he finally exploded inside her, she had gone aflame with matching uncontrollability.
It was a heavenly union which in one go had robbed them of their beings, their earth, their universe, their past, their present, their future. In one instant, they had undone what was done and had done what was ‘not done’. "
― Vinod Pande
8
" Next to the dragon, and connected with it, water is the most frequently used symbol in Taosim. It is the strength in apparent weakness, the fluidity of life, an also symbolic of the state of coolness of judgment, acceptance and passionlessness, as opposed to the heat of argument, the friction of opposition, and the emotion of desire. Water fertilizes, refreshes and purifies and it is symbolic of gentle persuasion in government of the state and the individual. It occupies the lowest position, yet is the most powerful of forces. The highest goodness in like water. "
12
" Of course it was painful, and there were times when, emotionally, I just wanted to chuck it all. But pain seems to be a precondition for this kind of sport. If pain weren't involved, who in the world would ever go to the trouble of taking part in sports like the triathlon or the marathon, which demand such an investment of time and energy? It's precisely because of the pain, precisely because we want to overcome that pain, that we can get the feeling, through this process, of really being alive--or at least a partial sense of it. Your quality of experience is based not on standards such as time or ranking, but on finally awakening to an awareness of the fluidity within action itself. "
― Haruki Murakami , What I Talk About When I Talk About Running
13
" Of course it was painful, and there were times when, emotionally, I just wanted to chuck it all. But pain seems to be a precondition for this kind of sport. If pain weren't involved, who in the world would ever go to the trouble of taking part in sports like the triathlon or the marathon, which demand such an investment of time and energy? It's precisely because of the pain, precisely because we want to overcome that pain, that we can get the feeling, through this process, of really being alive--or at least a partial sense of it. Your quality of experience is based not on standards such as time or ranking, but on finally awakening to an awareness of the fluidity within action itself.” ― Haruki Murakami, What I Talk About When I Talk About Running "