A Quote by Keith Crown

Seeing is such a privilege. Who notices the way the screech of a gull looks, the look of a gale, the sight of some fragrance? — © Keith Crown
Seeing is such a privilege. Who notices the way the screech of a gull looks, the look of a gale, the sight of some fragrance?
I think that all people, in some way, have privilege in some way shape or form. I have access to things that others don't, so privilege isn't wrong. But as a believer, we kind of bank on that. We have access to the Father, so we bank on that through the Son, so Christ gave us privilege.
"I'm so sorry," I whisper. I lean forward and kiss him. His eyelashes flutter and he looks at me through a haze of opiates. "Hey, Catnip." "Hey, Gale," I say. "Thought you'd be gone by now," he says. My choices are simple. I can die like a quarry in the woods or I can die here beside Gale. "I'm not going anywhere. I'm going to stay right here and cause all kinds of trouble." "Me, too," Gale says. He just manages a smile before the drugs pull him back under.
Sight is by much the noblest of the senses. We receive our notices from the other four, through the organs of sensation only. We hear, we feel, we smell, we taste, by touch. But sight rises infinitely higher. It is refined above matter, and equals the faculty of spirit.
I walked home, seeing all my doubt from the other side. Have you ever seen that? Like when you go on holiday. On the way back, everything is the same but it looks a little different than it did on the way. It's because you're seeing it backwards.
I'd be interested to read Gull's paper on it, and I wish Alan would put it in somewhere. It gives him a relevance to our times, which he doesn't otherwise have. Gull, I mean, not Alan.
[On the] question of why we might want to look at images even more than the real thing: I think there is some quality when you look at an image of, not only seeing this thing, whether it's the horse or the sky, but you are seeing somebody point at it and say, Look!
There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
One of the things that made me want to be an actor more than ever was seeing a Chekhov play, "The Sea Gull," when was 14 in the Bronx.
average human “looks without seeing, listens without hearing, touches without feeling, eats without tasting, moves without physical awareness, inhales without awareness of odour or fragrance, and talks without thinking.
I can't help comparing what I have with Gale to what I'm pretending to have with Peeta. How I never question Gale's motives while I do nothing but doubt the latter's. It's not a fair comparison really. Gale and I were thrown together by a mutual need to survive. Peeta and I know the other's survival means our own death. How do you sidestep that?
As we trudge back through the woods, we reach a boulder, and both Gale and I turn our heads in the same direction, like a pair of dogs catching a scent on the wind. Cressida notices and asks what lies that way. We admit, without acknowledging each other, it's our old hunting rendez-vous place. She wants to see it, even after we tell her it's nothing really. Nothing but a place where I was happy, I think.
The trees are in misery, and the birds are in misery. I don’t think they sing. They just screech in pain. …Taking a close look at what’s around us, there is some sort of harmony: it’s the harmony of overwhelming and collective murder.
Victimhood, in the intersectional way of seeing the world, is akin to sainthood; power and privilege are profane.
There are a number of ways you can find out if a restaurant is good or not: just the way it looks can give you all these visual clues: is it well maintained? Is the décor slapdash or does it look like someone put some effort into it? The employees - do they look disgruntled or proud to be serving what they're serving. Even better, when you walk into a place you can look at the food.
It's your own fault for being so camera-ready," I tell Gale. If looks could kill.
When a crew and a captain understand each other to the core, it takes a gale, and more than a gale, to put their ship ashore.
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