1
" In the case of Michel Angelo we have an artist who with brush and chisel portrayed literally thousands of human forms; but with this peculiarity, that while scores and scores of his male figures are obviously suffused and inspired by a romantic sentiment, there is hardly one of his female figures that is so,—the latter being mostly representative of woman in her part as mother, or sufferer, or prophetess or poetess, or in old age, or in any aspect of strength or tenderness, except that which associates itself especially with romantic love. Yet the cleanliness and dignity of Michel Angelo's male figures are incontestable, and bear striking witness to that nobility of the sentiment in him, which we have already seen illustrated in his sonnets. "
― Edward Carpenter , The Intermediate Sex: A Study Of Some Transitional Types Of Men And Women
2
" People referred to the symbolism of the empty Cross more than once on its journey. It would seem obviously to point to our faith in Jesus’ resurrection. It’s not quite so simple though. The Cross is bare, but in and of itself the empty Cross does not point directly to the Resurrection. It says only that the body of Jesus was removed from the Cross. If a crucifix is a symbol of Good Friday, then it is the image of the empty tomb that speaks more directly of Easter and resurrection. The empty Cross is a symbol of Holy Saturday. It’s an indicator of the reality of Jesus’ death, of His sharing in our mortal coil. At the same time, the empty Cross is an implicit sign of impending resurrection, and it tells us that the Cross is not only a symbol of hatred, violence and inhumanity: it says that the Cross is about something more.
The empty Cross also tells us not to jump too quickly to resurrection, as if the Resurrection were a trump card that somehow absolves us from suffering. The Resurrection is not a divine ‘get-out-of-jail free’ card that immunises people from pain, suffering or death. To jump too quickly to the Resurrection runs the risk of trivialising people’s pain and seemingly mapping out a way through suffering that reduces the reality of having to live in pain and endure it at times. For people grieving, introducing the message of the Resurrection too quickly cheapens or nullifies their sense of loss. The empty Cross reminds us that we cannot avoid suffering and death. At the same time, the empty Cross tells us that, because of Jesus’ death, the meaning of pain, suffering and our own death has changed, that these are not all-crushing or definitive. The empty Cross says that the way through to resurrection must always break in from without as something new, that it cannot be taken hold of in advance of suffering or seized as a panacea to pain. In other words, the empty Cross is a sign of hope. It tells us that the new life of God surprises us, comes at a moment we cannot expect, and reminds us that experiences of pain, grief and dying are suffused with the presence of Christ, the One Who was crucified and is now risen. "
― , In The Light Of The Cross: Reflections On The Australian Journey Of The World Youth Day Cross And Icon
6
" It's the whistling," Laila said to Tariq, " the damn whistling, I hate more than anything" Tariq nodded knowingly. It wasn't so much the whistling itself, Laila thought later, but the seconds between the start of it and impact. The brief and interminable time of feeling suspended. The not knowing. The waiting. Like a defendant about to hear the verdict. Often it happened at dinner, when she and Babi were at the table. When it started, their heads snapped up. They listened to the whistling, forks in mid-air, unchewed food in their mouths. Laila saw the reflection of their half-lit faces in the pitch-black window, their shadows unmoving on the wall. The whistling. Then the blast, blissfully elsewhere, followed by an expulsion of breath and the knowledge that they had been spared for now while somewhere else, amid cries and choking clouds of smoke, there was a scrambling, a barehanded frenzy of digging, of pulling from the debris, what remained of a sister, a brother, a grandchild. But the flip side of being spared was the agony of wondering who hadn't. After every rocket blast, Laila raced to the street, stammering a prayer, certain that, this time, surely this time, it was Tariq they would find buried beneath the rubble and smoke. At night, Laila lay in bed and watched the sudden white flashes reflected in her window. She listened to the rattling of automatic gunfire and counted the rockets whining overhead as the house shook and flakes of plaster rained down on her from the ceiling. Some nights, when the light of rocket fire was so bright a person could read a book by it, sleep never came. And, if it did, Laila's dreams were suffused with fire and detached limbs and the moaning of the wounded. Morning brought no relief. The muezzin's call for namaz rang out, and the Mujahideen set down their guns, faced west, and prayed. Then the rugs were folded, the guns loaded, and the mountains fired on Kabul, and Kabul fired back at the mountains, as Laila and the rest of the city watched as helpless as old Santiago watching the sharks take bites out of his prize fish. "
7
" I had allowed my body to take whatever path it wished. The fact that it was guiding me and not I it gave me great pleasure. I had confidence. The body is not blind unwrought material when bathed in Greek light; it is suffused with abundant soul which makes it phosphoresce, and it left free, it is able to arrive at its own decision and find the correct road without the mind's intervention. Conversely, the soul is not an invisible airy phantom; it has taken on some body's sureness and warmth in its own right, and it savors the world with what you might call carnal pleasure, as though it had a mouth and nostrils and hands with which to caress this world. Man often lacks the persistence to maintain all of his humanity. He mutilates himself. Sometimes he wishes to be released from his soul sometimes from his body. To enjoy both together seems a heavy sentence. But here is Greece these two graceful, deathless elements are able to commingle like hot water with cold, the soul to take something from the body, the body from the soul. They become friends, and thus man, here on Greece's divine threshing floor, is able to live and journey unmutilated, intact. (Report to Greco) "
8
" I had allowed my body to take whatever path it wished. The fact that it was guiding me and not I it gave me great pleasure. I had confidence. The body is not blind unwrought material when bathed in Greek light; it is suffused with abundant soul which makes it phosphoresce, and it left free, it is able to arrive at its own decision and find the correct road without the mind's intervention. Conversely, the soul is not an invisible airy phantom; it has taken on some body's sureness and warmth in its own right, and it savors the world with what you might call carnal pleasure, as though it had a mouth and nostrils and hands with which to caress this world. Man often lacks the persistence to maintain all of his humanity. He mutilates himself. Sometimes he wishes to be released from his soul sometimes from his body. To enjoy both together seems a heavy sentence. But here in Greece these two graceful, deathless elements are able to commingle like hot water with cold, the soul to take something from the body, the body from the soul. They become friends, and thus man, here on Greece's divine threshing floor, is able to live and journey unmutilated, intact. (Report to Greco) "
― N. Kazantzakis
9
" I had allowed my body to take whatever path it wished. The fact that it was guiding me and not I it gave me great pleasure. I had confidence. The body is not blind unwrought material when bathed in Greek light; it is suffused with abundant soul which makes it phosphoresce, and is left free, it is able to arrive at its own decision and find the correct road without the mind's intervention. Conversely, the soul is not an invisible airy phantom; it has taken on some body's sureness and warmth in its own right, and it savors the world with what you might call carnal pleasure, as though it had a mouth and nostrils and hands with which to caress this world. Man often lacks the persistence to maintain all of his humanity. He mutilates himself. Sometimes he wishes to be released from his soul sometimes from his body. To enjoy both together seems a heavy sentence. But here in Greece these two graceful, deathless elements are able to commingle like hot water with cold, the soul to take something from the body, the body from the soul. They become friends, and thus man, here on Greece's divine threshing floor, is able to live and journey unmutilated, intact. (Report to Greco) "
― N. Kazantzakis
10
" Long, blue, spiky-edged shadows crept out across the snow-fields, while a rosy glow, at first scarce discernible, gradually deepened and suffused every mountain-top, flushing the glaciers and the harsh crags above them. This was the alpenglow, to me the most impressive of all the terrestrial manifestations of God. At the touch of this divine light, the mountains seemed to kindle to a rapt, religious consciousness, and stood hushed like devout worshippers waiting to be blessed. "
― , The Wild Muir: Twenty-Two of John Muir's Greatest Adventures
11
" Never had there been a time when sound, color, and feeling hadn’t been intertwined, when a dirty, rolling bass line hadn’t induced violets that suffused him with thick contentment, when the shades of certain chords sliding up to one another hadn’t produced dusty pastels that made him feel like he was cupping a tiny, golden bird. It wasn’t just music but also rumbling trains and rainstorms, occasional voices, a collective din. Colors and textures appeared in front of him, bouncing in time to the rhythm, or he’d get a flash of color in his mind, an automatic sensation of a tone, innate as breathing. "
― Lisa Ko , The Leavers
12
" The Lover ReconsidersWait... You. Come hither come closer come here,shrug and wriggle your way out of those clothes, shed them like baby teeth, like snakeskin, like feathers from the molt of a phoenixcome here let me hold you let my arms draw you closer come hither let me be suffused with your scent come here now. I want to kiss you, I want to kiss you, I want to kiss my way down your body and back up again give me your guided tour, teach me of your landmarks those hips of yours are strangers to my touch but I mean to make their acquaintance so yes there here I want to kiss you I want to learn what you whisper when you kiss with your heart’s shutters openI want to nip at your lower lip I want the rush of blood to make that mouth tingle I want to talk in quiet tones to all of you come hither come closer come hereNow, bolt the door, now, unplug the phone, now warn the neighbors to ignore the racket I do not want fifteen minutes of your time I want the whole fucking night. Now let me see the smile you save for special occasions Now don’t pick a favorite position pick five Now I want to bathe myself in you Now now now like the Ganges, like the Red Sea, like the Amazon I want to follow you down to your ocean Now I want to savor you, lover, come to memake time and I will make you breakfastI want to become overfamiliar with your tastes come hither come closer come here come now you. "
18
" I have to tell you about these things from the past, because they are so important. The really important things usually lie in the distant past. And until you know about them, if you'll forgive my saying so, you will always to some extent a mere newcomer in my life.
When I was at High School my favourite pastime was walking. Or rather, loitering. If we are talking about my adolescence, it's the more accurate word. Systematically, one by one, I explored all the districts of Pest. I relished the special atmosphere of every quarter and every street. Even now I can still find the same delight in houses that I did then. In this respect I've never grown up. Houses have so much to say to me. For me, they are what Nature used to be to the poets - or rather, what the poets thought of as Nature.
But best of all I loved the Castle Hill District of Buda. I never tired of its ancient streets. Even in those days old things attracted me more than new ones. For me the deepest truth was found only in things suffused with the lives of many generations, which hold the past as permanently as mason Kelemen's wife buried in the high tower of Deva. "
― Antal Szerb