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1 " For that half-hour in the hospital delivery room I was intimate with immensity, for that half-minute before birth I held her hands and for that duration we three were undivided, I felt the blood of her pulse as we gripped hands, felt her blood beat in the rhythm that reached into the baby as she slipped into the doctor's hands, and for a few days we touched that immensity, we saw through her eyes to an immense intimacy, saw through to where she had come from, I felt important being next to her, and the feeling lasted when we entered our car for the drive home, thinking to myself that we weren't to be trusted with our baby, the feeling lasting while I measured us against the landscape, the February rain, the pewter sky, and then the rain freezing to the roadway, the warmth of the interior of the car with its unbreakable transparent sky dome and doors, until the car spun on the ice in the lane and twirled so that I could take an hour to describe how I threw up my hands in anguish as the baby slipped from her arms and whipped into the face of her mother reflected in the glass door, and she caught the baby back into her arms as the car glided to a stop in its usual place at the end of the drive, and nothing but silence and a few drops of blood at a nostril suggested that we would now be intimate with the immensities of death (" Interim" ) "
2 " As the sun rose I could see Etna, a truncated cone with a plume of smoke over it like the quill of a pen stuck in a pewter inkpot, rising out of the haze to the north of where I was treading water. "
3 " 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
4 " … not my own opinion, but my wife’s: Yesterday, when weary with writing, I was called to supper, and a salad I had asked for was set before me. ‘It seems then,’ I said, ‘if pewter dishes, leaves of lettuce, grains of salt, drops of water, vinegar, oil and slices of eggs had been flying about in the air for all eternity, it might at last happen by chance that there would come a salad.’ ‘Yes,’ responded my lovely, ‘but not so nice as this one of mine. "
― Johannes Kepler
5 " Her laughter was a shiny thing, like pewter flung high in the air. "
― Pat Conroy , Beach Music
6 " The moon grew plump and pale as a peeled apple, waned into the passing nights, then showed itself again as a thin silver crescent in the twilit western sky. The shed of leaves became a cascade of red and gold and after a time the trees stood skeletal against a sky of weathered tin. The land lay bled of its colors. The nights lengthened, went darker, brightened in their clustered stars. The chilled air smelled of woodsmoke, of distances and passing time. Frost glimmered on the morning fields. Crows called across the pewter afternoons. The first hard freeze cast the countryside in ice and trees split open with sounds like whipcracks. Came a snow flurry one night and then a heavy falling the next day, and that evening the land lay white and still under a high ivory moon. "
― James Carlos Blake , Wildwood Boys