A Quote by Eugene Ionesco
I look out the chair while eating my pillow. I open the wall, I walk with my ears. I have ten eyes to walk with and two fingers to look with. I put my head on the floor to sit down, I put my bottom on the ceiling. After eating the music box, I spread jam on the rug for a great dessert.
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A window looks outside, but a painting should do the opposite - it should look inside of us. When I put them in the middle of the room, I attach the paintings at the top to the ceiling and on the bottom to the floor. I prefer this to just hanging them from the ceiling because it creates a place in a space, like a wall.
Eating alone is a disappointment. But not eating matter more, is hollow and green, has thorns like a chain of fish hooks, trailing from the heart, clawing at your insides. Hunger feels like pincers, like the bite of crabs; it burns, burns, and has no fur. Let us sit down soon to eat with all those who haven't eaten; let us spread great tablecloths, put salt in lakes of the world, set up planetary bakeries, tables with strawberries in snow, and a plate like the moon itself from which we can all eat. For now I ask no more than the justice of eating.
I always look forward to going for a walk in Rushcutters Bay Park, right down to the bottom where you can look in the clear water of the harbour. I use that time to clear my head and really focus my thoughts.
People make fun of what I'm eating because they can tell I hate it. They know I am not happy eating healthy food. I look miserable - I look like I would rather be eating something else.
I think the best way to crash a stranger's party would be to arrive as the pizza person, buy pizza, buy some sort of pizza shirt, walk in like you're delivering the pizza, put it down and proceed to party while eating the pizza.
There are people who put their dreams in a little box and say, 'Yes, I've got dreams, of course I've got dreams.' Then they put the box away and bring it out once in awhile to look in it, and yep, they're still there. These are great dreams, but they never even get out of the box. It takes an uncommon amount of guts to put your dreams on the line, to hold them up and say, 'How good or how bad am I?' That's where courage comes in.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
They are born, put in a box; they go home to live in a box; they study by ticking boxes; they go to what is called "work" in a box, where they sit in their cubicle box; they drive to the grocery store in a box to buy food in a box; they talk about thinking "outside the box"; and when they die they are put in a box.
In some neighborhoods, if you want to walk down the streets, you've got two choices - look down, or look hard.
Breaking down that wall is the kind of story that might have a happy middle - oh, look, we broke down this wall, I'm going to look at you like a girl and you're going to look at me like a boy, and we're going to play a fun game called Can I Put My Hand There What About There What About There.
We'd lie on the floor, turn the lights out, put two speakers on either side of our ears, and try to blow our minds with music. I know that I want to make a record that does that yet a record that, if it was played on the radio at twelve in the afternoon, the guy making the wall - the guy cleaning the motorway - he's got a melody to hang on.
It was pleasant to wake up in Florence, to open the eyes upon a bright bare room, with a floor of red tiles which look clean though they are not; with a painted ceiling whereon pink griffins and blue amorini sport in a forest of yellow violins and bassoons. It was pleasant, too, to fling wide the windows, pinching the fingers in unfamiliar fastenings, to lean out into sunshine with beautiful hills and trees and marble churches opposite, and, close below, Arno, gurgling against the embankment of the road.
I suppose the only thing at 50 you can really start to look forward to is just total irresponsibility. As you get older, you can just sit in a chair, wear anything you want, you know you can walk down; old people dress cool. You know they wear sweatpants. The elderly have it down.
Wonder knows that while you cannot look at the light, you cannot look at anything else without it. It is not exhausted by childhood, but finds its key there. It is a journey like a walk through the woods over the usual obstacles and around the common distractions while the voice of direction leads, saying, 'This is the way, walk ye in it.'
My life is routine. I wake up early in the morning. I brush my teeth. I sit on the floor of the cell I do not go to breakfast. I stare at a gray cement wall. I keep my legs crossed my back straight my eyes forward. I take deep breaths in and out, in and out, and I try not to move. I sit for as long as I can I sit until everything hurts I sit until everything stops hurting I sit until I lose myself in the gray wall I sit until my mind becomes as blank as the gray wall. I sit and I stare and I breathe. I sit and I stare. I breathe.
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.
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