62
" The Northwestern Carpathians, in which I was raised, were a hard place, as unforgiving as the people who lived there, but the Alpine landscape into which Zlee and I were sent that early winter seemed a glimpse of what the surface of the earth looked and felt and acted like when there were no maps or borders, no rifles or artillery, no men or wars to claim possession of land, and snow and rock alone parried in a match of millennial slowness so that time meant nothing, and death meant nothing, for what life there was gave in to the forces of nature surrounding and accepted its fate to play what role was handed down in the sidereal march of seasons capable of crushing in an instant what armies might--millennia later--be foolish enough to assemble on it heights.And yet there we were, ordered to march ourselves, for God, not nature, was with us now, and God would deliver us, in this world and next, when the time came for that. "
64
" She was an echo masquerading as a shadow and she followed me just the same. The night and its moon were her favor while the sunrise and sunlight the daggers that sliced her to ribbons. She looked through half closed eyes at a blind world filled with wide eyes staring at walls. She felt pity with no care while around here steamed a burden too dense to bear. In the hours before dawn her tears slide to her jaw as a soft song escapes from between her cracked lips. A barbed song of glory and woe that hugs her tight and steals her breath, each line a quiver, every word a bind. A cage in her image meant to be broken. Destroy and recreate, scar after scar shallow and deep, her dreams were her life and the nightmares her sleep. Dark circles under eyes that truly see, time while awake moves more slowly. It trickles past her, eroding her being and pulling on her delicate seams. She unravels a little each day, tucking the threads back in every which way. In the night she is flawless and clear, the moonlight dancing in swirls, throwing half formed monograms against her wall. She traces these curves and whispers her story, an imprint in an ocean of churning shadows. Her imagination plays a scene of a teary-eyed embrace on the shores of a former dream, where droplets of her soul fell wildly below, where they and her became a part of a much larger whole. A smile rips her taunt and clenched face, the memory of the feeling of an unreal embrace. She holds herself tightly in a corner with no light and shudders with every pinprick of the downpour of night. Though muffled by the glass of her self imposed flask, she hears the birds singing their song, the natural alarm of impending light. She waits patiently for the sun, counting the half seconds and making time slow, her grey eyes less than aimless and staring at the clouds. With half closed eyes now shining a golden haloed blue, she watches the sky change colors from soft to brilliant hue. The flood of life and color takes her by surprise every day and which way. The rip cuts a little more, her restless thoughts take note and pause. She just wants to scream. To swallow the vibrant light and flood her veins with all the color ever seen, a strange desire to fix what is broken and yet wanting to break. She loses count of the seconds in the wrinkles of her palms, mere dust to wind, ashes to gale. She recites the deadly seven and stops at lust, how different from love while still the same in a twisted way. Her knees press against the worn, wooden floor with no intent to pray, she just wants the numbness and the pain. There are some things right and a few that are wrong, feeling the breath of freedom tapered against the need to belong, The sun now vomits its light across the cragged horizon, illuminating manmade lines and verdurous fuzz, her rip widens in distaste and her mind frowns in disgust. Her heart hangs limp as a shattered mirror reflecting its own cracks, each inaudible beat a glimmer of a glimpse of something more than her created deceit. This is hope. In a fragile and faceted way, the reflects are abyss and ascension portrayed intertwined with no ties holding them together. She is the half second of the transition of the beat, the moment her heart begins to flex and show more than bones and maneuverable meat. She wonders about the subtle difference between spirit and soul and whether she needs only one or both to be whole. Shaking her head as if to dislodge her thoughts, they steer from the tracks and tumble and crash, destruction and turmoil birthing creation and a new path. She thinks about the way she thinks and comes full triangle, it feels right to be so jagged rather than unburdened as a circle. With a sigh and a breath, she stands against the weight of her shoulders and the unbalance of her feet. Her half closed eyes slowly fade to grey as the light and color in the sky changes and decays. She is the moments before the sun rises and sets-1-2-3 "
66
" When you're a kid, the world can be bounded in a nutshell. In geographical terms, a child's universe is a space that comprises home, school and—possibly—the neighbourhood where your cousins or your grandparents live. In my case, the universe sat comfortably within a small area of Flores that ran from the junction of Boyacá and Avellaneda (my house), to the Plaza Flores (my school). My only forays beyond the area were when we went on holiday (to Córdoba or Bariloche or to the beach) or occasional, increasingly rare visits to my grandparents' farm in Dorrego, in the province of Buenos Aires.
We get our fist glimpse of the big wide world from those we love unconditionally. If we see our elders suffer because they cannot get a job, or see them demoted, or working for a pittance, our compassion translates these observations and we conclude that the world outside is cruel and brutal. (This is politics.) If we hear our parents bad-mouthing certain politicians and agreeing with their opponents, our compassion translates these observations and we conclude that the former are bad guys and the latter are good guys. (This is politics.) If we observe palpable fear in our parents at the very sight of soldiers and policemen, our compassion translates our observations and we conclude that, though all children have bogeymen, ours wear uniforms. (This is politics.) "
― Marcelo Figueras , Kamchatka
70
" I sought her eye, desirous to read there the intelligence which I could not discern in her face or hear in her conversation; it was merry, rather small; by turns I saw vivacity, vanity, coquetry, look out through its irid, but I watched in vain for a glimpse of soul. I am no Oriental; white necks, carmine lips and cheeks, clusters of bright curls, do not suffice for me without that Promethean spark which will live after the roses and lilies are faded, the burnished hair grown grey. In sunshine, in prosperity, the flowers are very well; but how many wet days are there in life--November seasons of disaster, when a man's hearth and home would be cold indeed, without the clear, cheering gleam of intellect. "
― Charlotte Brontë , The Professor
74
" ...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous " bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion. "
75
" The figure in the icon is not meant to represent literally what Peter or John or any of the apostles looked like, or what Mary looked like, nor the child, Jesus. But, the orthodox painter feels, Jesus of Nazareth did not walk around Galilee faceless. The icon of Jesus may not look like the man Jesus two thousand years ago, but it represents some *quality* of Jesus, or his mother, or his followers, and so becomes an open window through which we can be given a new glimpse of the love of God. "
― Madeleine L'Engle , Walking on Water: Reflections on Faith and Art
77
" At the Uffizi, I experienced a moment that was touching, painful, and almost embarrassing. We stopped in front of the famous Botticelli painting, The Birth of Venus. I gazed wistfully at her incomparably lovely, yet, as Vasari described, oddly distorted form emerging from the waves in a seashell, her long red-golden tresses blown by Zephyrs. No woman ever had so elongated a neck or such sinuous limbs. Botticelli contorted, and some might say deformed, the human shape to give us a glimpse of the sublime. "
― Gary Inbinder , Confessions of the Creature