"The air is like being wanted, we say, and they nod approvingly. The air is like getting older, they say, and they touch our arms gently."
— Dave Eggers

"There are, broadly speaking, three directly analogous progressions inthe history of art: in Antiquity, from the blockiness of Egyptian art to the loose, painterly handling of Roman landscape frescoes; in the Middle Ages, from the tectonic emphasis of Ottonian art to the flamboyance of late Gothic; and in later times, from early Renaissance linearity to the sparkling web of light spun by the Rococo. The wheel turns full circle, but more rapidly each time. "
— Klaus Berger (Japonisme in Western Painting from Whistler to Matisse)

"Nature is like a wild animal that you have trained to work for you. So long as you are vigilant and walk warily with thought and care, so long will it give you its aid; but look away for an instant, be heedless or forgetful, and it has you by the throat."
— Kamala Markandaya

"Japonisme was a vertical phenomenon running through a number of successive styles; Art Nouveau was a horizontal, chronologically limited phenomenon that embodied the aim of giving expression to a new experience of life."
— Klaus Berger (Japonisme in Western Painting from Whistler to Matisse)

""The Senator did not know who owned the jet, nor had he ever met Mr. Trudeau, which in most cultures would seem odd since Rudd had taken so much money from the man. But in Washington, money arrives through a myriad of strange and nebulous conduits. Often those taking it have only a vague idea of where it's coming from; often they have no clue. In most democracies, the transference of so much cash would be considered outright corruption, but in Washington the corruption has been legalized. Senator Rudd didn't know and didn't care that he was owned by other people."
— John Grisham (The Appeal)

"[Medieval] Art was not just a static element in society, or even one which interacted with the various social groups. It was not simply something which was made to decorate or to instruct — or even to overawe and dominate. Rather, it was that and more. It was potentially controversial in ways both similar and dissimilar to its couterpart today. It was something which could by its force of attraction not only form the basis for the economy of a particular way of life, it could also come to change that way of life in ways counter to the original intent. Along with this and because of this, art carried a host of implications, both social and moral, which had to be justified. Indeed, it is from the two related and basic elements of justification and function — claim and reality — that Bernard approaches the question of art in the Apologia."
— Conrad Rudolph

"'These are small things; I am coming to things of greater importance, but which seem smaller, because they are more common.' — Bernanrd of of Clairvaux"
— Conrad Rudolph (The "Things of Greater Importance": Bernard of Clairvaux's Apologia and the Medieval Attitude Toward Art)

"THE BOUNTY
In her kitchen, she saw many things she would like to eat. On the counter, there was a bunch of new bananas, yellow as a Van Gogh chair, and two apples, pristine. The cabinet was open and she saw a box of crackers, a new box of cereal, a tube of curved chips. She felt overwhelmed, seeing all of the food there, that it was all hers. And there was more in the refrigerator! There were juices, half a melon, a dozen bagels, salmon, a steak, yogurt in a dozen colors. It would take her a week to eat all of this food. She does not deserve this, she thought. It really isn't fair, she thought. You're correct, God said, and then struck dead 65,000 Malaysians."
— Dave Eggers (How We Are Hungry)

"Well, and what if we give in to our troubles at every step! We would be pitiable creatures indeed to be so weak, for is not a man's spirit given to him to rise above his misfortunes? As for our wants, they are many and unfilled, for who is so rich or compassionate as to supply them? Want is our companion from birth to death, familiar as the seasons or the earth, varying only in degree. What profit to bewail that which has always been and cannot change?"
— Kamala Markandaya (Nectar in a Sieve)

"To those who live by the land there must always come times of hardship, of fear and of hunger, even as there are years of plenty. This is one of the truths of our existence as those who live by the land know: that sometimes we eat and sometimes we starve. We live by our labours fromone harvest to the next, there is no certain telling whether we shall be able to feed ourselves and our children, and if bad times are prolonged we know we must see the weak surrender their lives and this fact, too, is within our experience. In our lives there is no margin for misfortune."
— Kamala Markandaya (Nectar in a Sieve)

"For where shall a man turn who has no money? Where can he go? Wide, wide world, but as narrow as the coins in your hand. Like a tethered goat, so far and no farther. Only money can make the rope stretch, only money."
— Kamala Markandaya (Nectar in a Sieve)

"Bernard undoubtedly was truly concerned with the well-being of the poor ... but the approach here is again largely from a monastic standpoint. It is not just a question of art or the care of the poor. It is also a question of debunking the traditional social justification of excessive art — that it was somehow similar to almsgiving ... In the same way that art for the honor of God is not the business of the monk since the monk has already offered the most precious gift one can to God, so there is no need for a rationale which sees these lesser gifts as a worthy form of honor for a monk to convey, a form of honor which as a spiritual undertaking is ultimately contradictory to the dictates of charity."
— Conrad Rudolph (The "Things of Greater Importance": Bernard of Clairvaux's Apologia and the Medieval Attitude Toward Art)

"Stories are light. Light is precious in a world so dark. Begin at the beginning. Tell Gregory a story. Make some light."
— Kate DiCamillo (The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup and a Spool of Thread)

"There are those hearts, reader, that never mend again once they are broken. Or if they do mend, they heal themselves in a crooked and lopsided way, as if sewn together by a careless craftsman. Such was the fate of Chiaroscuro. His heart was broken. Picking up the spoon and placing it on his head, speaking of revenge, these things helped him to put his heart together again. But it was, alas, put together wrong."
— Kate DiCamillo (Despereaux/the Tale Of Despereaux)

"He pulled out turned west and started driving towards the glow it was thousands of miles away, he started driving towards the glow."
— James Frey (Bright Shiny Morning)

"A contest was held in 1994 to rename the Los Angeles Convention and Exhibition Center after an extensive renovation and expansion. The winning name, chosen from over ten thousand entries, was the Los Angeles Convention Center."
— James Frey (Bright Shiny Morning)

"The Los Angeles Air Pollution Control Board is established in 1946 in an effort to discover the cause of the brown cloud hanging over the city and decide how to combat and disperse it. In 1949, after intense lobbying from both the automobile and oil industries, and against the recommendations and position of the Los Angeles Air Pollution Control Board, the public rail system, which at one time was the largest in the world, and still serves a majority of the city's population, is decommissioned and torn out. It is replaced by a small fleet of buses."
— James Frey (Bright Shiny Morning)

"In Britain, chinoiserie was eclipsed by the medievalism of Sir Walter Scott and the Gothic Revival, while in Europe japonisme would be chinoiserie's successor. Japonisme never compelled the general middle-class British taste as did the indigenous medieval style. Nonetheless, through extensive importations to Britain of Japanese art and artifacts, notably by the shop Liberty's of London, as well as through the artists James McNeill Whistler and Dante Gabriel Rossetti, the architect E.W. Godwin, and the writer Oscar Wilde, the Japanese style of decoration was known in Britain well before 1894."
— Linda Gertner Zatlin (Beardsley, Japonisme, and the Perversion of the Victorian Ideal)

"Joe asks how long they've been there one of them says fuck off another says a week a third calls him a drunk homeless fuck and tells him to go away. Joe asks how long they will wait the singular answer is as long as it takes and somewhere inside the house five-day-old children sleep under siege because their mother has a nice smile and beautiful hair and can recite lines on camera."
— James Frey (Bright Shiny Morning)

"Every year, at 8:00 PM on the second Saturday of July, hundreds of people gather along a section of Los Angeles rail track to drop their pants and moon passing passenger trains."
— James Frey (Bright Shiny Morning)

"In 1970, a superior Court judge issues an order forcing the desegregation of Los Angeles schools. The judge survives an assassination attempt and loses his job in the next election."
— James Frey (Bright Shiny Morning)

"1954. Smog prevents airplanes from landing and ships from docking for three days."
— James Frey (Bright Shiny Morning)

"When you are five, you know your age down to the month. Even in your twenties, you know how old you are. I'm twenty-three you say, or maybe twenty-seven. But then in your thirties, something strange starts to happen. It is a mere hiccup at first, an instant of hesitation. How old are you? Oh, I'm--you start confidently, but then you stop. You were going to say thirty-three, but you are not. You're thirty-five. And then you're bothered, because you wonder if this is the beginning of the end. It is, of course, but it's decades before you admit it."
— Sara Gruen

"At That Moment, it seemed the whole world cared what happened to him. All those people were hugging him and petting his hair. Everybody asked if he was okay.
It seemed that moment would last forever. That you had to risk your life to get love. You had to get right to the edge of death to ever be saved. "
— Chuck Palahniuk

"The truth is, every son raised by a single mom is pretty much born married. I don't know, but until your mom dies it seems like all the other women in your life can never be more than just your mistress."
— Chuck Palahniuk

"The old rule about how a thing of beauty is a joy forever, in my experience, even the most beauteous thing is only a joy for about three hours, tops. After that, she'll want to tell you all about her childhood traumas. Part of meeting these jail girls is it's so sweet to look at your watch and know she'll be behind bars in half an hour."
— Chuck Palahniuk

"The story is even Bill Wilson, a founder of Alcoholics Anonymous, couldn't overcome the sex monkey on his back, and spent his sober life cheating on his wife and filled with guilt."
— Chuck Palahniuk

"This is the worst problem with living history museums. They always leave the best parts out. Like typhus. And opium. And scarlet letters. Shunning. Witch-burning."
— Chuck Palahniuk (Choke)

"The skin along the parts in her hair, the skin above and behind the doctor's ears, is as clear and white as the skin inside her other tan lines must look. If women knew how their ears come across, the firm fleshy edge, the little dark hood at the top, all the smooth contours coiled and channeling you to the tight darkness inside, well, more women would wear their hair down."
— Chuck Palahniuk (Choke)

"The only funny part about Colonial Dunsboro is maybe it's too authentic, but for all the wrong reasons. This whole crowd of losers and nutcases who hide out here because they can't make it in the real world, in real jobs — isn't this why we left England in the first place? To establish our own alternate reality. Weren't the Pilgrims pretty much the crackpots of their time? For sure, instead of just wanting to believe something different about God's love, the losers I work with want to find salvation through compulsive behaviors."
— Chuck Palahniuk (Choke)

"We're all trapped. It's always 1734. All of us, we're stuck in the same time capsule, the same as those television shows where the same people are marooned on the same desert island for thirty seasons and never age or escape. They just wear more makeup. In a creepy way, those shows are maybe too authentic."
— Chuck Palahniuk (Choke)

"More effectively than any of the other tales, 'The Emperor's New Clothes' established Andersen's reputation as a man who created stories for children — not just in the sense of target audience, but also as beneficiaries of something extraordinary. The lesson embedded in it is so transparent that its title circulates in the form of proverbial wisdom about social hypocrisy. But more importantly, 'The Emperor's New Clothes' romanticizes children by investing them with the courage to challenge authority and to speak truth to power."
— Maria Tatar

"It is through beauty, poetry and visionary power that the world will be renewed."
— Maria Tatar

"Andersen himself believed that many of his finest stories were written after travels to Rome, Naples, Constantinople, and Athens in 1841. He returned to Copenhagen reinvigorated by the encounter with the 'Orient' and began inventing his own tales rather than relying on the folklore of his culture. Andersen believed that he had finally found his true voice, and 'The Snow Queen,' even if it does not mark a clean break with the earlier fairy tales, offers evidence of a more reflective style committed to forging new mythologies rather than producing lighthearted entertainments."
— Maria Tatar

"Purple and orange weren't two colors Ruby would ever put together and she couldn't for the life f her understand how this Lord God of theirs could have come up with the combination, but He had, and there they were in the sky outside the Winnebago's windshield."
— Amy Wallen (MoonPies and Movie Stars)

""But I don't want to go among mad people," Alice remarked.

"Oh, you can't help that," said the Cat: "we're all mad here. I'm mad. You're mad."

"How do you know I'm mad?" said Alice.

"You must be," said the Cat, "or you wouldn't have come here."
— Lewis Carroll (Alice's Adventures in Wonderland and Through the Looking Glass)

"Experience shows that Being is the essential, basic nature of the mind; but, since It commonly remains in tune with the senses projecting outwards toward the manifested realms of creation, the mind misses or fails to appreciate its own essential nature, just as the eyes are unable to see themselves. "
— Maharishi Mahesh Yogi (The Science of Being and the Art of Living)

"The first theft marked Buck as fit to survive in the hostile Northland environment. It marked his adaptability, his capacity to adjust himself to changing conditions, the lack of which would have meant swift and terrible death. It marked, further, the decay or going to pieces of his moral nature, a vain thing and a handicap in the ruthless struggle for existence."
— Jack London (The Call of the Wild)

"He had learned well the law of club and fang, and he never forewent an advantage or drew back from a foe he had started on the way to Death. He had lessoned from Spitz, and from the chief fighting dogs of the police and mail, and knew there was no middle course. He must master or be mastered; while to show mercy was a weakness. mercy did not exist in the primordial life. It was misunderstood for fear, and such misunderstandings made for death. Kill or be killed, eat or be eaten, was the law; and this mandate, down out of the depths of Time, he obeyed."
— Jack London (The Call of the Wild)

"But under it all they were men, penetrating the land of desolation and mockery and silence, puny adventurers bent on colossal adventure, pitting themselves against the might of a world as remote and alien and pulseless as the abysses of space. "
— Jack London (The Call of the Wild)

"There is an ecstasy that marks the summit of life, and beyond which life cannot rise. And such is the paradox of living, this ecstasy comes when one is most alive, and it comes as a complete forgetfulness that one is alive. This ecstasy, this forgetfulness of living, comes to the artist, caught up and out of himself in a sheet of flame; it comes to the soldier, war-mad n a stricken field and refusing quarter; and it came to Buck, leading the pack, sounding the old wolf cry, straining after the food that was alive and that fled swiftly before him through the moonlight. "
— Jack London (The Call of the Wild)

"One thing became clear as I thought back to my stay in Quirishari. Every time I had doubted one of my consultants' explanations, my understanding of the Ashaninca view of reality had seized up; conversely, on the rare occasions that I had managed to silence my doubts, my understanding of local reality had been enhanced — as if there were times when one had to believe in order to see, rather than the other way around."
— Jeremy Narby (The Cosmic Serpent)

"According to Eliade, the shamanic ladder is the earliest version of the idea of an axis of the world, which connects the different levels of the cosmos, and is found in numerous creation myths in the form of a tree."
— Jeremy Narby (The Cosmic Serpent)

"Nonetheless, gazing out the train window at a random sample of the Western world, I could not avoid noticing a kind of separation between human beings and all other species. We cut ourselves off by living in cement blocks, moving around in glass-and-metal bubbles, and spending a good part of our time watching other human beings on television. Outside, the pale light of an April sun was shining down on a suburb. I opened a newspaper and all I could find were pictures of human beings and articles about their activities. There was not a single article about another species. "
— Jeremy Narby (The Cosmic Serpent)

"All the peoples in the world who talk of a cosmic serpent have been saying as much for millennia. He had not seen it because the rational gaze is forever focalized and can examine only one thing at a time. It separates things to understand them, including the truly complementary. It is the gaze of the specialist, who sees the fine grain of a necessarily restricted field of vision. "
— Jeremy Narby (The Cosmic Serpent)

"If one stretches out the DNA contained in the nucleus of a human cell, one obtains a two-yard-long thread that is only ten atoms wide. This thread is a billion times longer than its own width. Relatively speaking, it is as if your little finger stretched from Paris to Los Angeles. "
— Jeremy Narby (The Cosmic Serpent)

"When I started reading the literature of molecular biology, I was stunned by certain descriptions. Admittedly, I was on the lookout for anything unusual, as my investigation had led me to consider that DNA and its cellular machinery truly were an extremely sophisticated technology of cosmic origin. But as I pored over thousands of pages of biological texts, I discovered a world of science fiction that seemed to confirm my hypothesis. Proteins and enzymes were described as 'miniature robots,' ribosomes were 'molecular computers,' cells were 'factories,' DNA itself was a 'text,' a 'program,' a 'language,' or 'data.' One only had to do a literal reading of contemporary biology to reach shattering conclusions; yet most authors display a total lack of astonishment and seem to consider that life is merely 'a normal physiochemical phenomenon.'"
— Jeremy Narby (The Cosmic Serpent)

"The rational approach start from the idea that everything is explainable and that mystery is in some sense the enemy. This means that it prefers pejorative, and even wrong, answers to admitting its own lack of understanding."
— Jeremy Narby (The Cosmic Serpent)

"This is perhaps one of the most important things I learned during this investigation: We see what we believe, and not just the contrary; and to change what we see, it is sometimes necessary to change what we believe."
— Jeremy Narby (The Cosmic Serpent)

"Shamanism resembles an academic discipline (such as anthropology or molecular biology); with its practitioners, fundamental researchers, specialists, and schools of thought it is a way of apprehending the world that evolves constantly. One thing is certain: Both indigenous and mestizo shamans consider people like the Shipibo-Conibo, the Tukano, the Kamsá, and the Huitoto as the equivalents to universities such as Oxford, Cambridge, Harvard, and the Sorbonne; they are the highest reference in matters of knowledge. In this sense, ayahuasca-based shamanism is an essentially indigenous phenomenon. It belongs to the indigenous people of Western Amizonia, who hold the keys to a way of knowing that they have practiced without interruption for at least five thousand years. In comparison, the universities of the Western world are less than nine hundred years old."
— Jeremy Narby (The Cosmic Serpent)