27
" Hippasus’ proof—or at least Nico’s retelling of it—was really so simple that when he finished sketching it out, I wasn’t even aware that we had actually proven anything. Nico paused for a few minutes to let us mull it over.It was Peter who broke the silence, “I’m not sure I understand what we have done.”Nico seemed to be expecting such a response. “Step back and examine the proof; in fact, you should try and do this with every proof you see or have to work out for yourself. ..." He again waited for his words to sink in, and it began to make sense for me. All my mathematics teachers (other than Bauji and Nico) always seemed to evade this part of their responsibility. They had been content to merely write out a proof on the blackboard and carry on, seemingly without concern for what the proof meant and what it told us.“But you should not stop here. Even when you have understood a proof, and I hope you have indeed understood this proof, ask yourself the next question, the obvious one, but as critical: So what? Or, why are we proving this? What is the point? What is the context? How does it relate to us? To answer these questions we have to step back a little. Let me show you—it’s really quite delightful.” Now there was excitement in Nico’s voice. "
29
" This happened back east of course. I've heard that term a lot since coming to this part of the country. But I never think of the term as a marker of geography. It's a reference to time, a statement about time, about all the densities of being and experience, it's time disguised, it's light-up time, shifting smoky time tricked out as some locus of stable arrangement. When people use that term they're talking about the way things used to be before they moved out here, the way the world used to be, not just New Jersey or South Philly, or before their parents moved, or grandparents, and about the way things still exist in some private relativity theory, some smoky shifting mind dimension, or before the other men and women came this way, the ones in Conestoga wagons, a term we learned in grade school, a back-east term, stemming from the place where the wagons were made. (pg.333) "
30
" A deep love resides inside each of us. This love is independent of the desires, thoughts, and opinions, good or bad, which are readily offered to us. It is a love that is gentle and kind, accepting and nonjudgmental, playful and spontaneous, courageous and curious. It is always encouraging and always evolving. This love can be discovered only through turning off the noise around us, coming to ourselves in silence, meditation, and prayer. If we listen carefully we will hear the murmurs of our inner voice tell yearnings of our truest selves. What is available to us is a profound understanding, appreciation, and full acceptance of self, all of the good and all of the bad.Only when we truly know that we are able to tap into this part of ourselves can we begin to love others fully. Love for others is the manifestation of love for self. We cannot love another more than we love ourselves. Life is a mirror. If you want to know what love for yourself looks like, look at your love for others. If you want to know what your love for others look like, look at your love for self. When you love yourself this way, you love God this way. This relationship is the divine love triangle; self, God, and others in any order. "
39
" I understand, all right. The hopeless dream of being - not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don’t have to lie. You can shut yourself in. Then you needn’t play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn’t watertight. Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one. "