A Quote by Marsden Hartley
My work embodies little visions of the great intangible. ... Some will say he's gone mad - others will look and say he's looked in at the lattices of Heaven and come back with the madness of splendor on him.
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Both good and evil, when they are full grown, become retrospective...That is what mortals misunderstand. They say of some temporary suffering, 'No future bliss can make up for it,' not knowing that Heaven, once attained, will work backwards and turn even that agony into a glory. And of some sinful pleasure they say 'Let me but have this and I'll take the consequences': little dreaming how damnation will spread back and back into their past and contaminate the pleasure of the sin.
Some will tell you that you are mad, and nearly all will say, 'What is the use?' For we are a nation of shopkeepers, and no shopkeeper will look at research which will not promise him a financial return within a year. And so you will sledge nearly alone, but those with whom you sledge will not be shopkeepers: that is worth a good deal. If you march your Winter Journeys you will have your reward, so long as all you want is a penguin's egg.
Roman’s a little gay boy who lives in me. And every time I talk he sort of just appears and I tell him, ‘Roman, you know, stop it, you’ve gone mad, I tell you, mad.’ He’s an outlet to say what I need to say but sometimes don’t want to.
You will never please everybody. Some men will say you have gone too far. Other men will say you haven't gone far enough. I just compromise and say I won't please anybody.
When I am working a book, I go through my library and take a look through some of the great cartoonists of the past, like Cliff Sterrett, who did "Polly and Her Pals," or Winsor McCay who did "A Little Nemo in Slumberland," and Herriman - and I just looked through these guys and looked for somebody to steal. You know, looked for who I could swipe, or turn into - who's work I will turn into my work. And I still use, after all these years, these artists as inspirations. So, here in my eighties, I go back to when I was eight for my inspiration.
I will say this: The overriding feeling that I have is that I want to go up there and do my job well and then come back and tell a great story about a great mission and a great team so that people have something to look up to and look forward to.
I cannot prevent anyone from getting angry, or mad, or frustrated. I can only hope that they'll turn that anger and frustration and madness into something positive, so that two, three, four, five hundred will step forward, so the gay doctors will come out, the gay lawyers, the gay judges, gay bankers, gay architects I hope that every professional gay will say 'enough', come forward and tell everybody, wear a sign, let the world know. Maybe that will help.
Looking back, I have to say that I've been fortunate to work with a lot of great people. Unfortunately, a lot of them are gone. But I look back and, yeah, I have had a really great career!
People say, 'You have inspired me, you've given me courage...' They've gone so far as to say, 'You've changed my life!' And I would come back and say to my husband, 'I can't understand it - what kind of poor little life did she have if I had to come and change it?'
Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.
A day will come when our children and grandchildren will look back and they'll ask one of two questions. Either they will ask: "what in God's name were they doing?" or they may look back and say: "how did they find the uncommon moral courage to rise above politics and redeem the promise of American democracy?"
When Satan cannot get a great sin in he will let a little one in, like the thief who goes and finds shutters all coated with iron and bolted inside. At last he sees a little window in a chamber. He cannot get in, so he puts a little boy in, that he may go round and open the back door. So the devil has always his little sins to carry about with him to go and open back doors for him, and we let one in and say, 'O, it is only a little one.' Yes, but how that little one becomes the ruin of the entire man!
I will make up a crush, you hear me?! I will look at a guy and say, for two months at least, 'I think you're cute.' And then I can be psycho. I will go in my head and make a whole life with him, he don't even understand why I'm mad at him. I'm like... 'cause you came in late last night!' And he's like, 'I don't even know you.'
I discovered there are some messages, left by other artists. I've just started to draw, say, to share the visions with them, or to start my own. Which will probably be transformed soon by others.
I don't have the privilege of choice to say, 'I want to work with you,' and the person will say, 'Yes, come on, I will write a film for you.' It doesn't happen for people like me who come from the outside.
All artists, they say, are a little mad. This madness is, to a certain extent, a self-created myth designed to keep the generality away from the phenomenally close-knit creative community. Yet, in the world of the artists, the consciously eccentric are always respectful and admiring if those who have the courage to be genuinely a little mad.
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