A Quote by Ben Okri
'The Rime of the Ancient Mariner' had a formative effect on me. I think it's one of those works that if you encounter it very early you're doubly enchanted by the beauty of the language and the strangeness of the vision. It stays with you.
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Sure, some tracks are not as good as others, but we've written some really strong, classic stuff, like 'The Number of the Beast,' 'Hallowed Be Thy Name,' and 'Rime of the Ancient Mariner.'
Vance has a genius in evoking the beauty of strangeness, the strangeness of beauty.
The Ancient Mariner would not have taken so well if it had been called The Old Sailor.
As I read 'The Infinities', with its magical, playful richness, its sensuous delight in the power of language to convey the strangeness and beauty of being human, I wondered if J. M. Coetzee, with his bleak, pared-down, elemental view of the world, had ever read a Banville and, if he had, whether he had envied him his astonishing powers.
The poem is lonely. It is lonely and en route. Its author stays with it. Does this very fact not place the poem already here, at its inception, in the encounter, in the mystery of encounter?
The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
Whether it's a pebble in a riverbed or a soaring mountain peak, I see everything in the world as the handiwork of the Lord. When I paint, I try to represent the beauty of God's creation in my art. Many modern painters see the world as a jumble of random lines and shapes with no divine beauty or order, and their works reflect their viewpoint. Because I see God's peacefulness, serenity, and contentment, I work to capture those feelings on the canvas. My vision of God defines my vision of the world.
The mathematics is the odd one, odd because I'm not sure how to measure its effect. It is so fundamental to my outlook on everything and yet I'm not even sure how. It must be because in my formative years it was everything to me, the single place of beauty in my life, and of breathtaking beauty at that. I still believe that pure mathematics is the most creative thing that humanity does, though I am no longer a part of it.
I think Chicago people are very special people, and the Midwest's confluence of East Coast-meets-Midwest sensibilities had to, on a formative level, inform me as an artist and an actor. In that sense, it had to have helped me.
Prosperity too often has the same effect on a Christian that a calm at sea has on a Dutch mariner; who frequently, it is said, in those circumstances, ties up the rudder, gets drunk, and goes to sleep.
I say this as a young dad seeing children going into primary school: I don't think we should underestimate the formative effect on a child of those first years in primary school.
I think the thing is that you're very affected by your early life, and I think that if you ever had that feeling of outsider, or loneliness or whatever, it just doesn't leave you. You can be happy and successful, whatever, but I think that thing stays inside of you. It doesn't ever really leave you. You kind of always will have that.
The funniest thing is not who influenced me positively, but who influenced me negatively. I had such an aversion to what Busby Berkeley did; in my early formative years, I thought it was terrible. Now, I think it's wonderful. But then, I wanted to do anything but what Busby Berkeley did.
The difference between Marilyn Monroe and the early Pamela Anderson is not that great. What's amazing is that the taste of American men and international tastes in terms of beauty have essentially stayed the same. Styles change, but our view of beauty stays the same.
As we know all too well, our early years are formative in ways it can takes us a lifetime to grasp. Those years leave deep marks; in that way, the stakes of childhood are inherently very high.
Such is the nature of novelty that where anything pleases it becomes doubly agreeable if new; but if it displeases, it is doubly displeasing on that very account.
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