2
" Let it be stated clearly that mysticism is an a-rational type of experience, and in some degree common to all men.
It is an intuitive, self-evident, self-recognized knowledge which comes fitfully to man. It should not be confounded with the instinctive and immediate knowledge possessed by animals and used by them in their adaptations to environment.
The average man seldom pays enough attention to his slight mystical experiences to profit or learn from them. Yet his need for them is evidenced by his incessant seeking for the thrills, sensations, uplifts, and so on, which he organizes for himself in so many ways--the religious way being only one of them. In fact, the failure of religion--in the West, at any rate--to teach true mysticism, and its overlaying of the deeply mystic nature of its teachings with a pseudo-rationalism and an unsound historicity may be the root cause for driving people to seek for things greater than they feel their individual selves to be in the many sensation-giving activities in the world today. "
― Paul Brunton , The Notebooks of Paul Brunton, the Ego: From Birth to Rebirth
4
" A few months ago, a fog blinded me, thicker than ever before. I slept in the monster’s arms. I felt its breath on my neck, its scaled stomach rising and falling against my back, its head and face invisible as always. I couldn’t pretend anymore to Margaret that I was working. The children receded into noises grating on my ears. I stopped moving. Weeks went by indistinguishable one from another. I could smell the rot of myself, my armpits, my breath, my groin, as though the living part of death had already commenced, the preliminary decomposing, as the will fades. In Dante and Milton hell is vivid. Sin organizes the dead into struggle. The darkness bristles with life. There is story upon story to tell. But in the fog there is nothing to see. The monster you lie with is your own. The struggle is endlessly private. I thought it was over. That one night the beast at my back would squeeze more tightly and I would cease breathing. What remained of me hoped for it. "
― Adam Haslett , Imagine Me Gone
5
" Every person’s story contains chapters of pain and loss, victory and defeat, love and hate, pride and prejudice, courage and fear, faith and self-distrust, charity and kindness, selfishness and jealously. Every person’s story also contains folios of hopefulness and truthfulness, deceit and despair, action and change, passion and compassion, excitement and boredom, birth and creation, mutation and defect, generation and preservation, delusions and illusions, imagination and fantasy, bafflement and puzzlement. What makes a person’s selfsame story unique is how he or she organizes the pure and impure forces that comprise them, how they respond to internal and external crisis, if they act in a safeguarding and humble manner, or lead a self-seeking and destructive existence. "
8
" If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which finally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds.
Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression. "
― Maurice Merleau-Ponty , Phenomenology of Perception