Quotes by Authors - Page 3793

There's folly in her stridethat's the rumorjustified by liesI've seen her up closebeneath the sheetsand sometime during the summershe was mine for a few sweet months in the falland parts of December((( To get to the heart of this unsolvable equation, one must first become familiar with the physical, emotional, and immaterial makeup as to what constitutes both war and peace. )))I found her looking through a windowthe same window I'd been looking throughShe smiled and her eyes never falteredthis folly was a crime((( The very essence of war is destructive, though throughout the years utilized as a means of creating peace, such an equation might seem paradoxical to the untrained eye. Some might say using evil to defeat evil is counterproductive, and gives more meaning to the word “futile”. Others, like Edmund Burke, would argue that “the only thing necessary for the triumph of evil is for good men and women to do nothing.” )))She had an identity I could identify withsomething my fingertips could caress in the night((( There is such a limitless landscape within the mind, no two minds are alike. And this is why as a race we will forever be at war with each other.What constitutes peace is in the mind of the beholder. )))Have you heard the argument?This displacement of men and womenand women and menthe minds we all havethe beliefs we all shareSlipping inside of usthoughts and religions and bodiesall bare((( “Without darkness, there can be no light,”he once said. To demonstrate this theory, during one of his seminars he held a piece of white chalk and drew a line down the center of a blackboard. Explaining that without the blackness of the board, the white line would be invisible. )))When she leftshe kissed with eyes openI knew this because I'd done the sameSometimes we saw eye to eye like thatVery briefly,she considered an apotheosisa synthesisa rendering of her follyinto solidarity((( To believe that a world-wide lay down of arms is possible, however, is the delusion of the pacifist; the dream of the optimist; and the joke of the realist. Diplomacy only goes so far, and in spite of our efforts to fight with words- there are times when drawing swords of a very different nature are surely called for. )))Experiencing the subsequent sunriseinhaling and drinkingbreaking mirrors and regurgitatingjust to start againall in allI was just another gash in the bark((( Plato once said:“Only the dead have seen the end of war.” Perhaps the death of us all is called for in this time of emotional desperation. War is a product of the mind; only with the death of such will come the end of the bloodshed. Though this may be a fairly realistic view of such an issue, perhaps there is an optimistic outlook on the horizon. Not every sword is double edged, but every coin is double sided. )))Leaving town and throwing shit out the windowdrinking boroughs and borrowing spare changeI glimpsed the rear view mirrorstole a glimpse reallyI've believed in looking back for a whileit helps to have one last viewa reminder in case one ever decides to rebelin the event the self regressesand makes the declaration of devastationonce more((( Thus, if we wish to eliminate the threat of war today- complete human annihilation may be called for. )))
Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered.