A Quote by Tomas Transtromer

I am carried in my shadow like a violin in its black case — © Tomas Transtromer
I am carried in my shadow like a violin in its black case
I open up my violin case every day, and have one of the great creations. It is very inspiring. It makes you want to practice. How can you open up a case and look at a violin that was made in 1713 by one of the greatest artists in history and then say, "No, I don't feel like practicing today."
To regard one's immortality as an exchange of matter is as strange as predicting the future of a violin case once the expensive violin it held has broken and lost its worth.
Without black, no color has any depth. But if you mix black with everything, suddenly there's shadow - no, not just shadow, but fullness. You've got to be willing to mix black into your palette if you want to create something that's real.
There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.
I, however, like black. It is a color that makes me comfortable and the color with which I have the most experience. In the darkest darkness, all is black. In the deepest hole, all is black. In the terror of my Addicted mind, all is black. In the empty periods of my lost memory, all is black. I like black, goddammit, and I am going to give it its due.
But maybe you carried your demons with you everywhere, the way you carried your shadow.
Pain may be said to follow pleasure as its shadow; but the misfortune is that in this particular case, the substance belongs to the shadow, the emptiness to its cause.
We human beings have not secured happiness; on the contrary, science gives us catastrophes. We are like travelers losing their way in a desert. They see a big black shadow ahead and desperately run to it, thinking it may lead them somewhere. But after running a long way, they no longer see the shadow and fall into the slough of despond. What is that shadow? It is this ""Mr. Science.
When I hear of an 'equity' in a case like this, I am reminded of a blind man in a dark room - looking for a black hat - which isn't there.
As far as I'm aware, everybody in the shadow cabinet accepts that there's a compelling case on climate change and a strong scientific case.
I got into my very theatrical phase. I wore only black: a big black hat and wild hair and wild black clothes, and I carried a sword stick. I went there still looking like Miss Florida, and I came back looking very different.
A computer is like a violin. You can imagine a novice trying ?rst a phonograph and then a violin. The latter, he says, sounds terrible. That is the argument we have heard from our humanists and most of our computer scientists. Computer programs are good, they say, for particular purposes, but they aren’t ?exible. Neither is a violin, or a typewriter, until you learn how to use it.
One of the things I recognized early on, doing whatever studies of black history I have, is that even though black folks were transported as slaves, into servitude, when they were carried out of Africa they left empty-handed, but they didn't leave empty-headed. They carried with them the culture they knew, the culture they had, and that culture reconstituted itself in all the places they went.
I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people's eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth.
Violin for me is a great instrument because you can use it as a rhythmical instrument and also as a melodic instrument. ... You can pretty much do everything with the violin. Sometimes I feel classical music limits the violin.
[Billy Strayhorn] understood the violin as well as he understood Jazz, and he wrote for the violin as a violin.
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