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1 " When people talk about poetry as a project, they suggest that the road through a poem is a single line. When really the road through a poem is a series of lines, like a constellation, all interconnected. Poems take place in the realm of chance, where the self and the universal combine, where life exist. I can’t suggest to you that going through a line that is more like a constellation than a road is easy—or that the blurring of the self and the universal doesn’t shred a poet a little bit in the process. The terrain of a poem is unmapped (including the shapes of the trees along the constellation-road). A great poet knows never to expect sun or rain or cold or wind in the process of creating a poem. In a great poem all can come to the fore at once. It would be worse yet, if none are there at all. "
― Dorothea Lasky
2 " A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult.What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges. "
3 " I dream that someone in space says to me: So let us rush, then, to see the world. It is shaped like an egg, covered with seas and continents, warmed and lighted by the sun. It has churches of indescribable beauty, raised to gods that have never been seen; cities whose distant roofs and smokestacks will make your heart leap; ballparks and comfortable auditoriums in which people listen to music of the most serious import; to celebrate life is recorded. Here the joy of women’s breasts and backsides, the colors of water, the shapes of trees, athletes, dreams, houses, the shapes of ecstasy and dismay, the shape even of an old shoe, are celebrated. Let us rush to see the world. They serve steak there on jet planes, and dance at sea. They have invented musical instruments to express love, peaceableness; to stir the finest memories and aspirations. They have invented games to catch the hearts of young men. They have ceremonies to exalt the love of men and women. They make their vows to music and the sound of bells. They have invented ways to heat their houses in the winter and cool them in the summer. They have even invented engines to cut their grass. They have free schools for the pursuit of knowledge, pools to swim in, zoos, vast manufactories of all kinds. They explore space and the trenches of the sea. Oh, let us rush to see this world. "
― John Cheever , The Journals of John Cheever
4 " He came away with an exasperated sense of failure. He denounced parliamentary government root and branch that night. Parliament was doomed. The fact that it had not listened to Rud was only one little conclusive fact in a long indictment. " It has become a series of empty forms," he said. " All over the world, always, the sawdust of reality is running out of the shapes of quasi-public things. Not one British citizen in a thousand watches what is done in Parliament; not one in a thousand Americans follows the discourses of Congress. Interest has gone. Every election in the past thirty years has been fought on gross misunderstandings. "
5 " The greatest masters have only made single statues, groups are always inferior; that is why Carpeaux, big though he was, is less so than Rodin, for he never knew how to make single statues. He did not know how to find his rhythm in the arrangement of the shapes of one body, but obtained it by the disposition of several. The great sculptors are there to prove it. Think of the masterpieces which we like most, all standing or seated, and one at a time, and they are not in the least monotonous. The connoisseur loves one spicy cake, but the glutton requires at least six to stimulate his pleasure. "
6 " After all, is it not the way we humans shape the universe, shape time itself? Do we not take the raw stuff of chaos and impose a beginning, middle, and end on it, like the simplest and most profound of folktales, to reflect the shapes of our own tiny lives? And if the physicists are right, that the physical world changes as it is observed, and we are its only known observers, then might we not be bending the entire chaotic universe, the eternal, ever-active Now, to fit that familiar form? "
― Tad Williams , Sea of Silver Light (Otherland, #4)
7 " Who doesn't have a dark place somewhere inside him that comes out sometimes when he's looking in a mirror? Dark and light, we are all made out of shadows like the shapes on a motion-picture screen. A lot of people think that the function of the projector is to throw light on the screen, just as the function of the story-teller is to stop fooling around and simply tell what happened, but the dark places must be there too, because without the dark places there would be no image and the figure on the screen would not exist. "
― MacDonald Harris , Mortal Leap
8 " He'd wanted to - he didn't know. Break bottles. Break windows, crash cars. Burn down the world. Find solace at the bottom of countless more bottles of wine, this time consumed in solitude. In the end he did none of these things; while he knew the shapes and forms of rage and grief, he had, in truth, nothing more than gentleness inside to sustain him. "
― Michael Montoure , Counting From Ten
9 " The library turned out to be a very pleasant place, but it was not the comfortable chairs, the huge wooden bookshelves, or the hush of people reading that made the three siblings feel so good as they walked into the room. It is useless for me to tell you all about the brass lamps in the shapes of different fish, or the bright blue curtains that rippled like water as a breeze came in from the window, because although these were wonderful things they were no what made the three children smile. The Quagmire triplets were smiling, too, and although I have not researched the Quagmires nearly as much as I have the Baudelaires, I can say with reasonable accuracy that they were smiling for the same reason. "
― Lemony Snicket , The Austere Academy (A Series of Unfortunate Events, #5)
10 " What are any of our lives but the shapes we force them into. Memory doesn't come to us of its own; we go after it, pull it into sunlight and make of it what we need, what we're driven towards, what we imagine, changing the world again and again with each new quarry, each descent, each morning. "
― James Sallis , Bluebottle (Lew Griffin, #5)
11 " His brain was in one of those states that are both violent and yet frighteningly calm, in which thought runs so deep it blots out reality. You no longer see the objects around you, yet you can see the shapes in your mind as thought they are outside your body. "
― Victor Hugo , Les Misérables
12 " In Galapagos, as elsewhere, things of the mind, including intellectual ramifications from evolutionary theory, and things of the spirit, like the feeling one gets from a Queen Anne’s lace of stars in the moonless Galapagean sky, struggle toward accommodation with an elementary desire for material comfort…because so many regard this archipelago as preeminently a terrain of the mind and spirit, a locus of biological thought and psychological rejuvenation. The sheer strength of Darwin’s insight into the development of biological life gently urges a visitor to be more than usually observant here- to notice, say, that while the thirteen Galapagean finches are all roughly the same hue, it is possible to separate them according to marked differences in the shapes of their bills and feeding habits. "
― Barry Lopez , About This Life
13 " Yes' Simon nodded. 'This would suggest that these patterns grow inside the batteries until a critical point is reached, when the shapes develop no further, and the phone ceases to function. "
― , Connected Infection
14 " And the bubbles of light again rose and fell, and in their disordered, irregular, turbulent maze, mingled with the wan moonlight. And now from these globules themselves as from the shell of an egg, monstrous things burst out; the air grew filled with them; larvae so bloodless and so hideous that I can in no way describe them except to remind the reader of the swarming life which the solar microscope brings before his eyes in a drop of water - things transparent, supple, agile, chasing each other, devouring each other - forms like nought ever beheld by the naked eye. As the shapes were without symmetry, so their movements were without order. In their very vagrancies there was no sport; they came round me and round, thicker and faster and swifter, swarming over my head, crawling over my right arm, which was outstretched in involuntary command against all evil beings. (" The House And The Brain" ) "
15 " People take on the shapes of the songs and the stories that surround them, especially if they don't have their own song. "
― Neil Gaiman , Anansi Boys (American Gods, #2)
16 " She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly’s wing lying upon the arches of a cathedral. "
― Virginia Woolf , To the Lighthouse
17 " Our lives are a constellation of events, strung together, glittering; the shapes only being seen from a distance. "
― Patricia Robin Woodruff
18 " My hands are flowing like sunlight. The shapes and colors are astounding. I don't understand these images that are empowering me. My brush touches the canvas like photons to the earth, and a new world develops, free from my control, yet intrinsically dependent upon me. I am sweating with elation. I have no idea what I am doing, or what it is my hands are trying to see. There is so much strength in this clarity I am overpowered by the independence of it. "
― Daniel J. Rice , This Side of a Wilderness
19 " These signs are real. They are also symptoms of a process. The process follows the same form, the same structure. To apprehend it you will follow the signs. All talk of cause and effect is secular history, and secular history is a diversionary tactic. Useful to you, gentlemen, but no longer so to us here. If you want the truth — I know I presume — you must look into the technology of these matters. Even into the hearts of certain molecules — it is they after all which dictate temperatures, pressures, rates of flow, costs, profits, the shapes of towers…''You must ask two questions. First, what is the real nature of synthesis? And then: what is the real nature of control? "
― Thomas Pynchon
20 " The story of two dreams is a coincidence, a line drawn by chance, like the shapes of lions or horses that are sometimes formed by clouds. "
― Jorge Luis Borges