A Quote by Jean-Henri Fabre
All failed lovers rewrite the script, as if one sexual detail or another might have tipped the balance of pain into destiny, either tragic or miraculous. History record the names of royal bastards, but cannot tell us the origin of wheat.
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History records the names of royal bastards, but cannot tell us the origin of wheat.
History celebrates the battlefields whereon we meet our death, but scorns to speak of the plowed fields whereby we thrive. It knows the names of the king's bastards but cannot tell us the origin of wheat. This is the way of human folly.
In Lucretius, sexual desire is considered real and genuine, whereas love is illusory. Venus, the goddess who represents the power of sexual desire, is the font of love. She merely mocks lovers with mental images. Try as they might, lovers cannot satisfy themselves by gazing nor by rubbing against one another because the madness of love will always return; hence Lucretius' prescription to flee the mental images, that is, to ward off what feeds love, turning the mind elsewhere.
They might be a good friend, but they are also a bitter commercial rival. Let's not kid ourselves.. The American wheat industry has done everything it possibly can to criticize the Australian wheat industry in order to take the Iraqi wheat market from us.
I wonder if our names determine our destiny, or if destiny leads us to choose certain names.
In history there are no control groups. There is no one to tell us what might have been. We weep over the might have been, but there is no might have been. There never was. It is supposed to be true that those who do not know history are condemned to repeat it. I don't believe knowing can save us. What is constant in history is greed and foolishness and a love of blood and this is a thing that even God--who knows all that can be known--seems powerless to change.
The names of the cerros and the sierras and the deserts exist only on maps. We name them that we do not lose our way. Yet it was because the way was lost to us already that we have made those names. The world cannot be lost. We are the ones. And it is because these names and these coordinates are our own naming that they cannot save us. They cannot find for us the way again.
Freud's view is that all love is sexual in its origin or its basis. Even those loves which do not appear to be sexual or erotic have a sexual root or core. They are all sublimations of the sexual instinct.
But for us there are moments, O, how solemn, when destiny trembles in the balance and the preponderance of either scale is by our own choice.
There were guys in 'The State' who would take one script and rewrite it and rewrite it and rewrite it and fight for it for a whole season, and after a couple of seasons, you realized that doesn't work. You have to just be willing to throw something away, no matter how good it is, and write a better joke.
Revolution, in order to be creative, cannot do without either a moral or metaphysical rule to balance the insanity of history.
Pornography is the quadraphonics of sex. It adds a third and fourth track to the sexual act. It is the hallucination of detail that rules. Science has already habituated us to this microscopics, this excess of the real in its microscopic detail, this voyeurism of exactitude.
One of my friends once saw another guy's (criminal) record and said, 'Look, this guy is a born troublemaker, just a loser.' I had to tell him, 'No, that's my record - and it doesn't include my juvenile history.'
However far back we may be able to trace the - so to speak - internal history of the Universe, there can be no question of arguing that this or that external origin is either probable or improbable. We do not have, and we necessarily could not have, experience of other Universes to tell us that Universes, or Universes with these particular features, are the work of Gods, or of Gods of this or that particular sort.
History is not just facts and events. History is also a pain in the heart and we repeat history until we are able to make another's pain in the heart our own.
Each script has its own calligraphic and cultural history. It is more a question of matching different calligraphic styles to one another, without the features of one script dominating another.
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