A Quote by Susan Howe
In Maureen Owen's perfectly titled Erosion's Pull, words and lines map, unmap, and revamp our everyday postcontemporary geographies: ironies and ambiguities, surrealistic conundrums, kaleidoscopic comedies, puzzlements, certain and uncertain loves and losses.
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Determined will is the beginning of all magical operations. It is because men do not perfectly imagine and believe the result, that the (occult) arts are so uncertain, while they might be perfectly certain.
If he loves, he wants to make a relationship out of it immediately! He wants to get married. He wants to create a certain conditioning. He wants to make it a contract. Or he enters a church, or he enters a political party, or he enters into any club and he wants to be structured, he wants to know where he stands in the hierarchy, in what relationship. He wants to have an identity - that 'I am this.' He does not want to remain uncertain. And life is uncertain. Only death is certain.
I hope to make pictures like I walk in the desert—under a spell, an instinct of motion, a kind of knowing that is essentially indirect and sideways.Of all the things I wondered about on this land, I wondered the hardest about the seduction of certain geographies that feel like home–not by story or blood but merely by their forms and colors. How our perceptions are our only internal map of the world, how there are places that claim you and places that warn you away. How you can fall in love with the light.
My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.
While writing 'Cold Mountain,' I held maps of two geographies, two worlds, in my mind as I wrote. One was an early map of North Carolina. Overlaying it, though, was an imagined map of the landscape Jack travels in the southern Appalachian folktales. He's much the same Jack who climbs the beanstalk, vulnerable and clever and opportunistic.
While writing Cold Mountain, I held maps of two geographies, two worlds, in my mind as I wrote. One was an early map of North Carolina. Overlaying it, though, was an imagined map of the landscape Jack travels in the southern Appalachian folktales. He's much the same Jack who climbs the beanstalk, vulnerable and clever and opportunistic.
One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or to the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory. You must remember this.
This is a world that is much more uncertain than the past. In the past we were certain, we were certain it was us versus the Russians in the past. We were certain, and therefore we had huge nuclear arsenals aimed at each other to keep the peace. That's what we were certain of... You see, even though it's an uncertain world, we're certain of some things. We're certain that even though the "evil empire" may have passed, evil still remains.
There is beautiful you are." "No," said Marged, between a sigh and a sob. "Yes," said Owen. "No," said Marged, not so certain. "Behold," Owen said, from Solomon. "thou art fair. Thou hast dove's eyes." "Dove's eyes are small." Marged said. "Yours are so big they are my whole world," said Owen.
We shall never forget that it was our submarines that held the lines against the enemy while our fleets replaced losses and repaired wounds.
The problem we have in America is the systematic erosion of our religious values in an attempt by certain liberal groups to expunge our Christian heritage from the public square.
If our hearts are ready for anything, we can open to our inevitable losses, and to the depths of our sorrow. We can grieve our lost loves, our lost youth, our lost health, our lost capacities. This is part of our humanness, part of the expression of our love for life.
I used to take formal notes in lines of blue, and underline the key words in red, and I realised I needed only the key words and the idea. Then to bring in connections, I drew arrows and put in images and codes. It was a picture outside my head of what was inside my head - 'mind map' is the language my brain spoke.
I had a lot of fun working with Maureen, she was so sweet and so nice to me. We'd have fun joking around. Maureen and I both love to sing and we love it when we got to do it. I was so glad to have had the opportunity to work with her. Maureen is a beautiful person, not just on the outside, but on the inside as well. I will always have lots of fond memories working with her.
I think if a writer is not endeavoring to expand and alter consciousness in himself and in his readers, he is not doing much of anything. It is precisely words, word lines, lines of words and images, and associations connected with these word and image lines in the brain, that keep you in present time, right where you are sitting now.
If we're going to do trade agreements, as we should, we need trade agreements with rules that will lift up all boats, rather than continuing to pull down U.S. food safety standards, U.S. worker wages, environment, all that these job losses and all that this has done to pull down our standards.
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