A Quote by Hannah Kent
In Iceland, you can see the contours of the mountains wherever you go, and the swell of the hills, and always beyond that the horizon. And theres this strange thing: youre never sort of hidden; you always feel exposed in that landscape. But it makes it very beautiful as well.
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In Iceland, you can see the contours of the mountains wherever you go, and the swell of the hills, and always beyond that the horizon. And there's this strange thing: you're never sort of hidden; you always feel exposed in that landscape. But it makes it very beautiful as well.
Maybe it's just a personal thing, but I get so much grounding from Iceland because I know it's always going to be there. I have a very happy, healthy relationship with the country, so it's really easy to go everywhere because I always have Iceland to go back to. It's sort of a contradiction, but that's how it works somehow.
Maybe it's just a personal thing, but I get so much grounding from Iceland because I know it's always going to be there. I have a very happy, healthy relationship with the country, so it's really easy to go everywhere because I always have Iceland to go back to.
The truth is not a bidimensional thing; it's not flat. It's rounded; it's like a sphere, so there's always a hidden face. There's one that is revealed because there's light reflecting on it, but there's always a hidden one, and once you go around to see the hidden one, it moves, and that's life.
Ive walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesnt necessarily tell you how big it is. It doesnt really tell you what youre looking at. The moment you start to move the mountain starts to move.
hills that stand soft and a sky that stands high and blue, and the sun setting behind a windmill, and always, always, hazy strings of mountains that fall and fall away on the horizon.
My grandfather always told me, You know youre American first, but youre a Greek-American, which makes you a better American. It sounds sort of old-world and very sweet, but what he meant was that you should embrace those things that are most special and different about you.
I can go wherever, to Kuala Lumpur or wherever, and if somebody will ask me where I'm from and I say I'm from Iceland, they say, "Yeah, Björk." And that makes me very proud, and that makes me proud to be an Icelandic artist.
Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present.
Wherever I go - like, I go to elementary schools, I go to middle schools - wherever it is, if it's in Florida, if it's up in New England, I just feel like wherever I am, the kids always go crazy whenever they see me.
It's curiosity, and always a sense of poetry. You see it in particular in the chapter "Iceland" where I'm reciting ancient Icelandic poetry. It has this very beautiful gravitas in conjunction with the volcanoes.
Everything we see hides another thing, we always want to see what is hidden by what we see, but it is impossible. Humans hide their secrets too well.
The essence of travel is diffuse. It is never there on the spot as it were, but always beyond: its symbol is the horizon, and its interest always lies over that edge in the unseen.
Before practicing meditation, we see that mountains are mountains. When we start to practice, we see that mountains are no longer mountains. After practicing a while, we see that mountains are again mountains. Now the mountains are very free. Our mind is still with the mountains, but it is no longer bound to anything.
I really only write about inner landscapes and most people don't see them, because they see practically nothing within, because they think that because it's inside, it's dark, and so they don't see anything. I don't think I've ever yet, in any of my books, described a landscape. There's really nothing of the kind in any of them. I only ever write concepts. And so I'm always referring to "mountains" or "a city" or "streets." But as to how they look: I've never produced a description of a landscape. That's never even interested me.
I see things beyond what other people see. I am always looking for hidden corners and closets of a life that I feel aren't explored either by the person who lived it or the people writing about it.
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