A Quote by A. C. Benson
As I make my slow pilgrimage through the world, a certain sense of beautiful mystery seems to gather and grow.
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State are not made, nor patched; they grow;
Grow slow through centuries of pain,
And grow correctly in the main;
But only grow by certain laws,
Of certain bits in certain jaws.
By the sense of mystery I understand the experience of certain places and times when one's whole nature seems to be in touch with a presence, a genius loci, a potency.
Writers are voracious readers. Once I unlocked the mystery of the alphabet that led to words, a multitude of words connecting me to the world, there was no stopping me. Everything was fair game, from Louisa May Alcott to my older cousin's True Romance Magazines, from Lewis Carroll to the backs of cereal boxes. All of this fed me, but it took certain books to make me grow. I don't want to work without a sense of drama, without passion, or without both eyes open to the world around me.
Now I'm no biologist, but it seems to make a lot of sense that slow lives, as well as being enjoyable, are long lives. One only has to think of the example of the tortoise for proof of this theory from the animal world.
You've got to give kids really beautiful children's books in order to turn them into revolutionaries. Because if they see these beautiful things when they're young, when they grow up they'll see the real world and say, 'Why is the world so ugly?! I remember when the world was beautiful.' And then they'll fight, and they'll have a revolution. They'll fight against all of our corruption in the world, they'll fight to try to make the world more beautiful. That's the job of a good children's book illustrator.
I love child things because there's so much mystery when you're a child. When you're a child, something as simple as a tree doesn't make sense. You see it in the distance and it looks small, but as you go closer, it seems to grow - you haven't got a handle on the rules when you're a child. We think we understand the rules when we become adults but what we really experienced is a narrowing of the imagination.
Human beings can only make sense of the world through the lens they were socialized to make sense of it through.
The "through-and-through" universe seems to suffocate me with its infallible impeccable all-pervasiveness. Its necessity , with no possibilities; its relations, with no subjects, make me feel as if I had entered into a contract with no reserved rights ... It seems too buttoned-up and white-chokered and clean-shaven a thing to speak for the vast slow-breathing unconscious Kosmos with its dread abysses and its unknown tides.
Because the idea of zombies seems to make sense, and seems to, in a certain sense, be possible, I think one can use that to argue against the thesis that everything is purely physical. Now many people, I think, agree that the idea of zombies are conceivable, including people who want to be physicalists.
A novel requires a certain kind of world building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see. I would say that all short stories have mystery naturally built into them.
The paradox: there can be no pilgrimage without a destination, but the destination is also not the real point of the endeavor. Not the destination, but the willingness to wander in pursuit characterizes pilgrimage. Willingness: to hear the tales along the way, to make the casual choices of travel, to acquiesce even to boredom. That's pilgrimage -- a mind full of journey.
Human beings are like detectives. They love a mystery. They love going where the mystery pulls them. What we don't like is a mystery that's solved completely. It's a letdown. It always seems less than what we imagined when the mystery was present. The last scene in `Blow Up' is so perfect because you leave the theater still dreaming. Or the end of `Chinatown,' where the guy says `Forget it, Jake, it's Chinatown.' It explains so much but it only gives you a dream of a bigger mystery. Like life. For me, I want to solve certain things but leave some room to dream.
Usually being a young actor, you've got to go through certain levels of hierarchy, going through bit parts and extra roles and then kind of progressing up the food chain and having the size of your roles grow in that sense.
1926 was the most significant year. Looking back, it seems that it was not just a year in the sense of time. It was a year of great realisation or awareness. It seems to me that at certain times of the history of man, the understanding of certain situations ripens.
Common sense and nature will do a lot to make the pilgrimage of life not too difficult.
I feel cleaner on the days where I am painting as opposed to the periods when I am not, that is certain to me. In a sense it is a transfiguration, what comes at me in my life or what I see going on in the world comes out as something beautiful or hopefully beautiful.
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