fossilized QUOTES

1 " It was a fossilized path: the will which had cut this gash out of these solitary places so that the blood and sap would flow there was long since dead - and dead too were the circumstances which had guided this will. A whitish and indurated scar remained, gradually gnawed away by the earth like a flesh that heals itself, yet its direction was still vaguely cut into the horizon; a language and crepuscular sign rather than a way forward - a worn-out lifeline which still vegetated through the fallow land as it does on the palm of a hand. It was so old that, since it had been constructed, the very configuration of the land must have changed imperceptibly. "

― Julien Gracq

2 " Current theories on the creation of the Universe state that, if it were created at all and didn't just start, as it were, unofficially, it came to being between ten and twenty thousand million years ago. By the same token the earth itself is generally supposed to be about four and a half thousand million years old.

These dates are incorrect.

Medieval Jewish scholars put the date of the Creation at 3760BC. Greek Orthodox theologians put Creation as far back as 5508BC.

These suggestions are also incorrect.

Archbishop James Usher (1580-1656) published Annales Veteris et Novi Testamenti in 1654, which suggested that the Heaven and the Earth were created in 4004BC. One of his aides took the calculation further, and was able to announce triumphantly that the Earth was created on Sunday the 21st of October, 4004BC, at exactly 9.00 a.m., because God liked to get work done early in the morning while he was feeling fresh.

This too was incorrect. By almost a quarter of an hour.

The whole business with the fossilized dinosaur skeletons was a joke the paleontologists haven't seen yet. "

― Terry Pratchett

3 " Have you ever plunged into the immensity of space and time by reading the geological treatises of Cuvier? Borne away on the wings of his genius, have you hovered over the illimitable abyss of the past as if a magician's hand were holding you aloft? As one penetrates from seam to seam, from stratum to stratum and discovers, under the quarries of Montmartre or in the schists of the Urals, those animals whose fossilized remains belong to antediluvian civilizations, the mind is startled to catch a vista of the milliards of years and the millions of peoples which the feeble memory of man and an indestructible divine tradition have forgotten and whose ashes heaped on the surface of our globe, form the two feet of earth which furnish us with bread and flowers. Is not Cuvier the greatest poet of our century? Certainly Lord Byron has expressed in words some aspects of spiritual turmoil; but our immortal natural historian has reconstructed worlds from bleached bones. "

― Honoré de Balzac , The Wild Ass's Skin

4 " The instinct to tell our children that they are better than someone else’s children, based on nothing more than the color of their skin, is now a fossilized aberration that serves no useful purpose. "

― Aberjhani , Illuminated Corners: Collected Essays and Articles Volume I.

5 " Words are fossilized butterfly wings,
pretty to look at sometimes,
but only good for Museums.

I want to miserably burn down the Museums. "

― Jeremiah Walton

6 " The Chinese ideograph for forbearance is a heart with a sword dangling over it, another instance of language's brilliant way of showing us something surprising and important fossilized inside the meaning of a word. Vulnerability is built into our hearts, which can be sliced open at any moment by some sudden shift in the arrangements, some pain, some horror, some hurt. We all know and instinctively fear this, so we protect our hearts by covering them against exposure. But this doesn't work. Covering the heart binds and suffocates it until, like a wound that has been kept dressed for too long, the heart starts to fester and becomes fetid. Eventually, without air, the heart is all but killed off, and there's no feeling, no experiencing at all.

To practice forbearance is to appreciate and celebrate the heart's vulnerability, and to see that the slicing or piercing of the heart does not require defense; that the heart's vulnerability is a good thing, because wounds can make us more peaceful and more real—if, that is, we are willing to hang on to the leopard of our fear, the serpent of our grief, the boar of our shame without running away or being hurled off. Forbearance is simply holding on steadfastly with whatever it is that unexpectedly arises: not doing anything; not fixing anything (because doing and fixing can be a way to cover up the heart, to leap over the hurt and pain by occupying ourselves with schemes and plans to get rid of it.) Just holding on for hear life. Holding on with what comes is what makes life dear.

...Simply holding on this way may sound passive. Forbearance has a bad reputation in our culture, whose conventional wisdom tells us that we ought to solve problems, fix what's broken, grab what we want, speak out, shake things up, make things happen. And should none of this work out, then we are told we ought to move on, take a new tack, start something else. But this line of thinking only makes sense when we are attempting to gain external satisfaction. It doesn't take into account internal well-being; nor does it engage the deeper questions of who you really are and what makes you truly happy, questions that no one can ignore for long... Insofar as forbearance helps us to embrace transformative energy and allow its magic to work on us... forbearance isn't passive at all. It's a powerfully active spiritual force, (67-70). "

― Norman Fischer , Sailing Home: Using the Wisdom of Homer's Odyssey to Navigate Life's Perils and Pitfalls

7 " The movies remind me of the Triangle Club at Princeton. I used to belong to it, and we always started out firm in our decision to create new and startling things. We always ended up by producing the same old show. In the beginning, our enthusiasm and ideals discarded as rubbish all the old fossilized plots. "

― F. Scott Fitzgerald

8 " An extreme case of the distortion of the memory of a committed guilty act is found in its suppression. Here, too, the borderline between good and bad faith can be vague; behind the " I don't know" and " I do not remember" that one hears in courtrooms there is sometimes the precise intent to lie, but at other times it is a fossilized lie, rigidified in a formula. "

9 " An older author is constantly rediscovering himself in the more or less fossilized productions of his earlier years. "

10 " Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’

The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow.

The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole.

Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the far
end, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap.

That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself.

I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time. "

― Jacques Yonnet , Paris Noir: The Secret History of a City