1
" 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
2
" The hardest bones, containing the richest marrow, can be conquered only by a united crushing of all the teeth of all dogs. That of course is only a figure of speech and exaggerated; if all teeth were but ready they would not need even to bite, the bones would crack themselves and the marrow would be freely accessible to the feeblest of dogs. If I remain faithful to this metaphor, then the goal of my aims, my questions, my inquiries, appears monstrous, it is true. For I want to compel all dogs thus to assemble together, I want the bones to crack open under the pressure of their collective preparedness, and then I want to dismiss them to the ordinary life they love, while all by myself, quite alone, I lap up the marrow. That sounds monstrous, almost as if I wanted to feed on the marrow, not merely of bone, but of the whole canine race itself. But it is only a metaphor. The marrow that I am discussing here is no food; on the contrary, it is a poison. "
― Franz Kafka , Investigations of a Dog
13
" From Bralloc’s mounted position he could see over the heads of most of his men, but the thickening darkness of evening coupled with the storm made it impossible to see more than a few yards. He jerked at the reins and swung his horse around, pushing into the crowd. The large grey charger was nearly as mean-spirited as her owner; she snorted and bucked her head, then nipped, stomped and shoved her way through, giving every indication that she was enjoying herself. His men drew to either side, and the crawling excitement in Bralloc’s belly became an angry swarm of insects. The scout – the ballsy woman whose name he could never remember - stood several paces away. Bralloc paid her no heed, however, and the mixture of nervousness, relief and fear on her face didn’t even register in his mind: his eyes were locked on the captive at her side. His lips twitched into a smile and he licked them, like a ghoul eyeing a fresh corpse. He forced himself to move slowly, deliberately – sucking each individual drop of marrow from the bones of his anticipation..." -From 'Feral "
14
" You don't know what it's like to grow up with a mother who never said a positive thing in her life, not about her children or the world, who was always suspicious, always tearing you down and splitting your dreams straight down the seams. When my first pen pal, Tomoko, stopped writing me after three letters she was the one who laughed: You think someone's going to lose life writing to you? Of course I cried; I was eight and I had already planned that Tomoko and her family would adopt me. My mother of course saw clean into the marrow of those dreams, and laughed. I wouldn't write to you either, she said. She was that kind of mother: who makes you doubt yourself, who would wipe you out if you let her. But I'm not going to pretend either. For a long time I let her say what she wanted about me, and what was worse, for a long time I believed her. "
― Junot Díaz , The Brief Wondrous Life of Oscar Wao
15
" Does that have to go in?” Lada asked.
“What do you mean?” Wistala said, brought back to the dictation.
“The battle. Betrayals. Incompetence, even cowardice. Boats falling, mud everywhere, blood running from balconies, carrion birds poking marrow from bones, dwarves hanging from bridges, burned corpses, but worst of all, no hero whose courage and skill is put to the ultimate test.”
“They asked for a history, they shall have my history. If someone else will have the battle take place on a spring-green field with pennants at the lance points and songs sung over the honored dead, let them write it thus. This history is a story of death begetting death, and should end with carrion birds, for they are the only ones who come out the better at the end. "
― E.E. Knight , Dragon Avenger (Age of Fire #2)
16
" If I had thought the beef marrow might be a hell of a lot of work for not much difference, I needn’t have worried. The taste of the marrow is rich, meaty, intense in a nearly-too-much way. In my increasingly depraved state, I could think of nothing at first but that it tasted like really good sex. But there was something more than that, even. What it really tastes like is life, well lived. Of course the cow I got marrow from had a fairly crappy life – lots of crowds and overmedication and bland food that might or might not have been a relative. But deep in his or her bones, there was a capacity for feral joy. I could taste it. "
― Julie Powell , Julie and Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen
17
" Her womb from her body. Separation. Her clitoris from her vulva. Cleaving. Desire from her body. We were told that bodies rising to heaven lose their vulvas, their ovaries, wombs, that her body in resurrection becomes a male body.
The Divine Image from woman, severing, immortality from the garden, exile, the golden calf split, birth, sorrow, suffering. We were told that the blood of a woman after childbirth conveys uncleanness. That if a woman's uterus is detached and falls to the ground, that she is unclean. Her body from the sacred. Spirit from flesh. We were told that if a woman has an issue and that issue in her flesh be blood, she shall be impure for seven days. The impure from the pure. The defiled from the holy. And whoever touches her, we heard, was also impure. Spirit from matter. And we were told that if our garments are stained we are unclean back to the time we can remember seeing our garments unstained, that we must rub seven substances over these stains, and immerse our soiled garments.
Separation. The clean from the unclean. The decaying, the putrid, the polluted, the fetid, the eroded, waste, defecation, from the unchanging. The changing from the sacred. We heard it spoken that if a grave is plowed up in a field so that the bones of the dead are lost in the soil of the field, this soil conveys uncleanness. That if a member is severed from a corpse, this too conveys uncleanness, even an olive pit's bulk of flesh. That if marrow is left in a bone there is uncleanness. And of the place where we gathered to weep near the graveyard, we heard that planting and sowing were forbidden since our grieving may have tempted unclean flesh to the soil. And we learned that the dead body must be separated from the city.
Death from the city. Wilderness from the city. Wildness from the city. The Cemetery. The Garden. The Zoological Garden. We were told that a wolf circled the walls of the city. That he ate little children. That he ate women. That he lured us away from the city with his tricks. That he was a seducer and he feasted on the flesh of the foolish, and the blood of the errant and sinful stained the snow under his jaws.
The errant from the city. The ghetto. The ghetto of Jews. The ghetto of Moors. The quarter of prostitutes. The ghetto of blacks. The neighborhood of lesbians. The prison. The witch house. The underworld. The underground. The sewer. Space Divided. The inch. The foot. The mile. The boundary. The border. The nation. The promised land. The chosen ones. "
― Susan Griffin , Woman and Nature: The Roaring Inside Her
