The Art of Travel Quotes

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The Art of Travel The Art of Travel by Alain de Botton
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The Art of Travel Quotes (showing 1-30 of 37)
“Journeys are the midwives of thought. Few places are more conducive to internal conversations than a moving plane, ship or train. There is an almost quaint correlation between what is in front of our eyes and the thoughts we are able to have in our heads: large thoughts at times requiring large views, new thoughts new places. Introspective reflections which are liable to stall are helped along by the flow of the landscape. The mind may be reluctant to think properly when thinking is all it is supposed to do.

At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestice setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are.

If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.”
Alain de Botton, The Art of Travel
“It seemed an advantage to be traveling alone. Our responses to the world are crucially moulded by the company we keep, for we temper our curiosity to fit in with the expectations of others...Being closely observed by a companion can also inhibit our observation of others; then, too, we may become caught up in adjusting ourselves to the companion's questions and remarks, or feel the need to make ourselves seem more normal than is good for our curiosity.”
Alain de Botton, The Art of Travel
“The pleasure we derive from journeys is perhaps dependent more on the mindset with which we travel than on the destination we travel to.”
Alain de Botton, The Art of Travel
“It is perhaps sad books that best console us when we are sad, and to lonely service stations that we should drive when there is no one for us to hold or love.”
Alain de Botton, The Art of Travel
“A dominant impulse on encountering beauty is to wish to hold on to it, to possess it and give it weight in one’s life. There is an urge to say, ‘I was here, I saw this and it mattered to me.”
Alain de Botton, The Art of Travel
“There is psychological pleasure in this takeoff, too, for the swiftness of the plane’s ascent is an exemplary symbol of transformation. The display of power can inspire us to imagine analogous, decisive shifts in our own lives, to imagine that we, too, might one day surge above much that now looms over us.” P. 38-39”
Alain de Botton, The Art of Travel
“A danger of travel is that we see things at the wrong time, before we have had a chance to build up the necessary receptivity and when new information is therefore as useless and fugitive as necklace beads without a connecting chain.”
Alain de Botton, The Art of Travel
“It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestic setting keeps us tethered to the person we are in ordinary life, who may not be who we essentially are.”
Alain de Botton, The Art of Travel
“Instead of bringing back 1600 plants, we might return from our journeys with a collection of small unfêted but life-enhancing thoughts.”
Alain de Botton, The Art of Travel
“It seemed an advantage to be traveling alone. Our responses to the world are crucially moulded by whom we are with, we temper our curiosity to fit in with the expectations of others...Being closely observed by a companion can inhibit us from observing others; we become taken up with adjusting ourselves to the companion's questions and remarks, we have to make ourselves seem more normal than is good for our curiosity.”
Alain de Botton, The Art of Travel
“A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray.

Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present.”
Alain de Botton, The Art of Travel
“Journeys are the midwives of thought. Few places are more conducive to internal conversations than moving planes, ships or trains.”
Alain de Botton, The Art of Travel
tags: travel
“Valuable elements may be easier to experience in art and in anticipation than in reality.
The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.”
Alain de Botton, The Art of Travel
tags: art
“The twenty-four-hour diner, the station waiting room and the motel are sanctuaries for those who have, for noble reasons, failed to find a home in the ordinary world, sanctuaries for those whom Baudelaire might have dignified with the honorific 'poets'.”
Alain de Botton, The Art of Travel
“If it is true that love is the pursuit in another of qualities we lack in ourselves, then in our love of someone from another culture, one ambition may be to weld ourselves more closely to values missing from our own culture.”
Alain de Botton, The Art of Travel
“If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.”
Alain de Botton, The Art of Travel
“If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'.

A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray.

Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.”
Alain de Botton, The Art of Travel
“…it seems we may best be able to inhabit a place where we are not faced with the additional challenge of having to be there.” (p.23)”
Alain de Botton, The Art of Travel
“A danger of travel is that we may see things at the wrong time, before we have had an opportunity to build up the necessary receptivity, so that new information is as useless and fugitive as necklace beads without a connecting chain.”
Alain de Botton, The Art of Travel
“And I wondered, with mounting anxiety, What am I supposed to do here? What am I supposed to think?”
Alain de Botton, The Art of Travel
“If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find the same process of simplification or selection at work as in the imagination.”
Alain de Botton, The Art of Travel
tags: art
“It was as if a vital evolutionary advantage had been bestowed centuries ago on those members of the species who lived in a state of concern about what was to happen next. These ancestors might have failed to savour their experiences appropriately, but they had at least survived and shaped the character of their descendants, while their more focused siblings, at one with the moment and with the place where they stood, had met violent ends on the horns of unforeseen bison.”
Alain de Botton, The Art of Travel
“..we may value foreign elements not only because they are new but because they seem to accord more faithfully with our identity and commitments than anything our homeland can provide.”
Alain de Botton, The Art of Travel
“The sole cause of a man's unhappiness is that he does not know how to stay quietly in his room.”
Alain de Botton, The Art of Travel
“Our capacity to draw happiness from aesthetic objects or material goods in fact seems critically dependent on our first satisfying a more important range of emotional or psychological needs, among them the need for understanding, for love, expression and respect.”
Alain de Botton, The Art of Travel
“He [Wordsworth] invited his readers to abandon their usual perspective and to consider for a time how the world might look through other eyes, to shuttle between the human and the natural perspective. Why might this be interesting, or even inspiring? Perhaps because unhappiness can stem from only having one perspective to play with.”
Alain de Botton, The Art of Travel
“... Eu me desnudo emocionalmente quando confesso minha carência – que estarei perdido sem você, que não sou necessariamente a pessoa independente que tentei aparentar. Na verdade, não passo de um fraco, cuja noção dos rumos ou do significado da vida é muito restrita. Quando choro e lhe conto coisas que, confio, serão mantidas em segredo, coisas que me levarão à destruição, caso terceiros tomem conhecimento delas, quando vou a festas e não me entrego ao jogo da sedução porque reconheço que só você me interessa, estou me privando de uma ilusão há muito acalentada de invulnerabilidade. Me torno indefeso e confiante como a pessoa no truque circense, presa a uma prancha sobre a qual um atirador de facas exercita sua perícia e as lâminas que eu mesmo forneci passam a poucos centímetros da minha pele. Eu permito que você assista a minha humilhação, insegurança e tropeços. Exponho minha falta de amor-próprio, me tornando, dessa forma, incapaz de convencer você (seria realmente necessário?) a mudar de atitude. Sou fraco quando exibo meu rosto apavorado na madrugada, ansioso ante a existência, esquecido das filosofias otimistas e entusiasmadas que recitei durante o jantar. Aprendi a aceitar o enorme risco de que, embora eu não seja uma pessoa atraente e confiante, embora você tenha a seu dispor um catálogo vasto de meus medos e fobias, você pode, mesmo assim, me amar...”
Alain de Botton, The Romantic Movement: Sex, Shopping, and the Novel
“See how small your are next to the mountains. Accept what is bigger that you and what you do not understand. The world may appear illogical to you, but it does not follow that it is illogical per se. Our life is not the measure of all things: consider sublime places a reminder of human insignificance and frailty.”
Alain de Botton, The Art of Travel
“The longing provoked by the brochure was an example , at once touching and pathetic, of how projects (and even whole lives) might be influenced by the simplest and most unexamined images of happiness; of how a lengthy and ruinously expensive journey might be set in motion by nothing more than the sigh of a photograph of a palm tree gently inclining in a tropical breeze. I resolved to travel to the island of Barbados.”
Alain de Botton, The Art of Travel
“Why be seduced by something as small as a front door in another country? Why fall in love with a place because it has trams and its people seldom have curtains in their homes? However absurd the intense reactions provoked by such small (and mute) foreign elements may seem, the pattern is at least familiar from our personal lives. There, too, we may find ourselves anchoring emotions of love on the way a person butters his or her bread, or recoiling at his or her taste in shoes. To condemn ourselves for these minute concerns is to ignore how rich in meaning details may be.”
Alain de Botton, The Art of Travel

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