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21 " The environment we create can help heal us or fracture us. This is true not just for buildings and landscapes but also for interactions and relationships. "
― Sharon Salzberg , Real Love: The Art of Mindful Connection
22 " To meditate is to sail a course, to navigate, among problems many of which we are in the process of clearing up. After each one looms another, whose shores are even more attractive, more suggestive. Certainly, it requires strength and perseverance to get to windward of problems, but there is no greater delight than to reach new shores, and even to sail, as Camoëns says, “through seas that keel has never cut before.” If you will now open a bank-account of attention for me, I foretell sun-smitten landscapes and promise archipelagoes. "
― José Ortega y Gasset , Man and People
23 " Sometimes there aren't words, Benny knew. Sometimes there are hurts so deep that they exist in a country that has no spoken language, a place where all landscapes are blighted and no sun ever shines. Benny had left his footprints in the dust of that place. "
― Jonathan Maberry , Fire & Ash (Rot & Ruin, #4)
24 " I had come from wondrous lands, from landscapes more enchanting than life, but only to myself did I ever mention these lands, and I said nothing about the landscapes which I saw in dreams. My feet stepped like theirs over the floorboards and the flagstones, but my heart was far away, even if it beat close by, false master of an estranged and exiled body. "
― Fernando Pessoa , The Book of Disquiet
25 " We tend to think of landscapes as affecting us most strongly when we are in them or on them, when they offer us the primary sensations of touch and sight. But there are also the landscapes we bear with us in absentia, those places that live on in memory long after they have withdrawn in actuality, and such places -- retreated to most often when we are most remote from them -- are among the most important landscapes we possess. "
― Robert Macfarlane , The Old Ways: A Journey on Foot
26 " It is a pity indeed to travel and not get this essential sense of landscape values. You do not need a sixth sense for it. It is there if you just close your eyes and breathe softly through your nose; you will hear the whispered message, for all landscapes ask the same question in the same whisper. 'I am watching you -- are you watching yourself in me?' Most travelers hurry too much...the great thing is to try and travel with the eyes of the spirit wide open, and not to much factual information. To tune in, without reverence, idly -- but with real inward attention. It is to be had for the feeling...you can extract the essence of a place once you know how. If you just get as still as a needle, you'll be there. "
― Lawrence Durrell , Spirit of Place
27 " We saw beautiful landscapes on the journey. "
― Lailah Gifty Akita ,
28 " To inquire into the intricacies of a distant landscape, then, is to provoke thoughts about one’s own interior landscape, and the familiar landscapes of memory. The land urges us to come around to an understanding of ourselves. "
― Barry Lopez
29 " ... And that has remained an important mental landscape for me, a reference point. It teaches me something — or tries to. People need things like that to go on living — mental landscapes that have meaning for then, even if they can't explain them in words. Part of why we live is to come up with explanations for these things. That what I think. "
― Haruki Murakami , 1Q84 (1Q84, #2)
30 " We survey lush landscapes with variations not dissimilar to a so-called " imperfect" female body with absolute pleasure -- say, an expanse of Irish countryside with grassy rolling hills. But is it really so much uglier when it's made of flesh instead of soil? "
31 " Alexandra, my eldest, here, plays the piano, or reads or sews; Adelaida paints landscapes and portraits (but never finishes any); and Aglaya sits and does nothing. I don't work too much, either. "
― Fyodor Dostoevsky , The Idiot
32 " Art is an adventure. When it ceases to be an adventure, it ceases to be art. Not all of us pursue the inaccessible landscapes of the twelve-tone scale, just as not all of us strive for inaccessible mountain-tops, or glory in storms at sea. But the human incidence is there. Could it be that these two impractical pursuits — of beauty and of adventure’s embrace — are simply two differing profiles of the same uniquely human reality? "
― Robert Ardrey
33 " These three children own the summer. They know the wood as surely as they know the micro landscapes of their own grazed knees; put them down blindfolded in any dell or clearing and they could find their way out without putting a foot wrong. This is their territory, and they rule it wild and lordly as young animals; they scramble through its trees and hide-and-seek in its hollows all the endless day long, and all night in their dreams. "
― Tana French , In the Woods (Dublin Murder Squad, #1)
34 " . . . every society that grows extensive lawns could produce all its food on the same area, using the same resources, and . . . world famine could be totally relieved if we devoted the same resources of lawn culture to food culture in poor areas. These facts are before us. Thus, we can look at lawns, like double garages and large guard dogs, [and Humvees and SUVs] as a badge of willful waste, conspicuous consumption, and lack of care for the earth or its people.Most lawns are purely cosmetic in function. Thus, affluent societies have, all unnoticed, developed an agriculture which produces a polluted waste product, in the presence of famine and erosion elsewhere, and the threat of water shortages at home.The lawn has become the curse of modern town landscapes as sugar cane is the curse of the lowland coastal tropics, and cattle the curse of the semi-arid and arid rangelands.It is past time to tax lawns (or any wasteful consumption), and to devote that tax to third world relief. I would suggest a tax of $5 per square metre for both public and private lawns, updated annually, until all but useful lawns are eliminated. "
― Bill Mollison
35 " Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do.There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert.But the still life resides in absolute silence.Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard.But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver.These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time.Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented.These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said? "
― Mark Doty , Still Life with Oysters and Lemon: On Objects and Intimacy
36 " I tramp the perpetual journeyMy signs are a rain-proof coat, good shoes, and a staff cut from the woods, No friend of mine takes his ease in my chair, I have no chair, no philosophy, I lead no man to a dinner-table, library, exchange, But each man and each woman of you I lead upon a knoll, My left hand hooking you round the waist, My right hand pointing to landscapes of continents and the public road. Not I, not any one else can travel that road for you, You must travel it for yourself. It is not far, it is within reach, Perhaps you have been on it since you were born and did not know, Perhaps it is everywhere on water and on land. Shoulder your duds dear son, and I will mine, and let us hasten forth, Wonderful cities and free nations we shall fetch as we go. If you tire, give me both burdens, and rest the chuff of your hand on my hip, And in due time you shall repay the same service to me, For after we start we never lie by again. This day before dawn I ascended a hill and look'd at the crowded heaven, And I said to my spirit When we become the enfolders of those orbs, and the pleasure and knowledge of every thing in them, shall we be fill'd and satisfied then? And my spirit said No, we but level that lift to pass and continue beyond. You are also asking me questions and I hear you, I answer that I cannot answer, you must find out for yourself. Sit a while dear son, Here are biscuits to eat and here is milk to drink, But as soon as you sleep and renew yourself in sweet clothes, I kiss you with a good-by kiss and open the gate for your egress hence. Long enough have you dream'd contemptible dreams, Now I wash the gum from your eyes, You must habit yourself to the dazzle of the light and of every moment of your life. Long have you timidly waded holding a plank by the shore, Now I will you to be a bold swimmer, To jump off in the midst of the sea, rise again, nod to me, shout, and laughingly dash with your hair. "
― Walt Whitman , Song of Myself
37 " All mountain landscapes hold stories: the ones we read, the ones we dream, and the ones we create.-from the Editor's Note, The Alpinist (April 1, 2010) "
38 " We move much too fast, and too frequently, to pause to savor landscapes or avoid disfiguring clutter. "
― Edwin M. Yoder Jr.
39 " All scornful descriptions of American landscapes with ruined tenements, automobile dumps, polluted rivers, jerry-built ranch houses, abandoned miniature golf links, cinder deserts, ugly hoardings, unsightly oil derricks, diseased elm trees, eroded farmlands, gaudy and fanciful gas stations, unclean motels, candlelit tearooms, and streams paved with beer cans, for these are not, as they might seem to be, the ruins of our civilization but are the temporary encampments and outposts of the civilization that we – you and I – shall build. "
― John Cheever , The Stories of John Cheever
40 " ...seen from above, landscapes are made up of mountains and watercourses. Just as a transparent model of the human body consists of a framework of bone and a network of arteries, the earth's crust is structured in mountain ridges, river, creeks, and gullies. "
― , Mountains from Space: Peaks and Ranges of the Seven Continents
