The structure of the house was hierarchical, with my grandfather at the top, but its secret life – the life of pie crusts, clean sheets, the box of rags in the linen closet, the loaves in the oven – was female. The house, and all the objects in it, crackled with static electricity; undertows washed through it, the air was heavy with things that were known but not spoken. Like a hollow log, a drum, a church, it amplified, so that conversations whispered in it sixty years ago can be half-heard even today.
― Margaret Atwood, “Significant Moments in the Life of My Mother”, Bluebeard’s Egg
These are twenty of my favorite quotes from 2016, strung together into a meditation. Each quote has some resonance or synchronicity with the one that follows it. I hope the combination will give some meaning to things which we have experienced and things that we have yet to encounter. May 2017 bring you good things.
All morning I struggled with the sensation of stray wisps of one world seeping through the cracks of another. Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes — characters even — caught in the fibers of your clothes, and when you open the new book, they are still with you.
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent.
―Jim Jarmusch, MovieMaker Magazine #53 – Winter, January 22, 2004
Orpheus Leading Eurydice from the Underworld, Jean-Baptiste-Camille Corot, 1861
I think the more you understand myths, the more you understand the roots of our culture and the more things will resonate. Do you have to know them? No, but certainly it is nice to recognise how deeply these things are embedded in our literature, our art.
We stop other people from crying because we cannot stand the sounds and movements of their bodies. It threatens our own rigidity. It induces similar feelings in ourselves which we dare not express and it evokes a resonance in our own bodies which we resist.
The word itself has another color. It’s not a word with any resonance, although the e was once pronounced. There is only the bump now between b and l, the relief at the end, the whew. It hasn’t the sly turn which crimson takes halfway through, yellow’s deceptive jelly, or the rolled-down sound in brown. It hasn’t violet’s rapid sexual shudder or like a rough road the irregularity of ultramarine, the low puddle in mauve like a pancake covered in cream, the disapproving purse to pink, the assertive brevity of red, the whine of green.
The arts especially address the idea of aesthetic experience. An aesthetic experience is one in which your senses are operating at their peak; when you’re present in the current moment; when you’re resonating with the excitement of this thing that you’re experiencing; when you are fully alive.