“When, therefore, we maintain that pleasure is the end, we do not mean the pleasures of profligates and those that consist in sensuality, as is supposed by some who are either ignorant or disagree with us or do not understand, but freedom from pain in the body and from trouble in the mind. For it is not continuous drinkings and revelings, nor the satisfaction of lusts, nor the enjoyment of fish and other luxuries of the wealthy table, which produce a pleasant life, but sober reasoning, searching out the motives for all choice and avoidance, and banishing mere opinions, to which are due the greatest disturbance of the spirit.”
“Someone can be madly in love with you and still not be ready. They can love you in a way you have never been loved and still not join you on the bridge. And whatever their reasons you must leave. Because you never ever have to inspire anyone to meet you on the bridge. You never ever have to convince someone to do the work to be ready. There is more extraordinary love, more love that you have never seen, out here in this wide and wild universe. And there is the love that will be ready.”
“Beware the irrational, however seductive. Shun the 'transcendent' and all who invite you to subordinate or annihilate yourself. Distrust compassion; prefer dignity for yourself and others. Don't be afraid to be thought arrogant or selfish. Picture all experts as if they were mammals. Never be a spectator of unfairness or stupidity. Seek out argument and disputation for their own sake; the grave will supply plenty of time for silence. Suspect your own motives, and all excuses. Do not live for others any more than you would expect others to live for you.”
Held tight as it seems to you in the finite, committed to the perpetual rhythmic changes, the unceasing flux of "natural" life— compelled to pass on from state to state, to grow, to age, to die— there is yet, as you discovered in the first exercise of recollection, something in you which endures through and therefore transcends this world of change. This inhabitant, this mobile spirit, can spread and merge in the general consciousness, and gather itself again to one intense point of personality. It has too an innate knowledge of— an instinct for— another, greater rhythm, another order of Reality, as yet outside its conscious field; or as we say, a capacity for the Infinite. This capacity, this unfulfilled craving, which the cunning mind of the practical man suppresses and disguises as best it can, is the source of all your unrest. More, it is the true origin of all your best loves and enthusiasms, the inspiring cause of your heroisms and achievements; which are but oblique and tentative efforts to still that strange hunger for some final object of devotion, some completing and elucidating vision, some total self-donation, some great and perfect Act within which your little activity can be merged.
I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.
It was his power, his gift, suddenly to shed all superfluities, to shrink and diminish so that he looked barer and felt sparer, even physically, yet lost none of his intensity of mind, and so to stand on his little ledge facing the dark of human ignorance, how we know nothing and the sea eats away the ground we stand on - that was his fate, his gift. But having thrown away, when he dismounted, all gestures and fripperies, all trophies of nuts and roses, and shrunk so that not only fame but even his own name was forgotten by him, he kept even in that desolation a vigilance which spared no phantom and luxuriated in no vision, and it was in this guise that he inspired in William Bankes (intermittently) and in Charles Tansley (obsequiously) and in his wife now, when she looked up and saw him standing at the edge of the lawn, profoundly, reverence, and pity, and gratitude too, as a stake driven into the bed of a channel upon which the gulls perch and the waves beat inspires in merry boat-loads a feeling of gratitude for the duty it is taking upon itself of marking the channel out there in the floods alone.
In the past few decades quite a few people have suggested -- citing most often the offence of impossible proportions -- that Barbie dolls teach young girls to hate themselves. But the opposite may be true. British researchers recently found that girls between the ages of seven and eleven harbor surprisingly strong feelings of dislike for their Barbie dolls, with no other toy or brand name inspiring such a negative response from the children. The dolls "provoked rejection, hatred, and violence" and many girls preferred Barbie torture -- by cutting, burning, decapitating, or microwaving -- over other ways of playing with the doll. Reasons that the girls hated their Barbies included, somewhat poetically, the fact that they were 'plastic.' The researchers also noted that the girls never spoke of one single, special Barbie, but tended to talk about having a box full of anonymous Barbies. 'On a deeper level Barbie has become inanimate,' one of the researchers remarked. 'She has lost any individual warmth that she might have possessed if she were perceived as a singular person. This may go some way towards explaining the violence and torture.
“I think you can only last this long in the business when you're making the best music, and he's just one of those people and he's still doing it today. He totally inspired us growing up. I know he doesn't like to hear stuff like that, but [he is] the soundtrack to our lives, to a lot of people's lives, I'm sure. After meeting him, it was kind of nice to know that he was even better than I had imagined he would be. Nicer, sweeter. Just pure class.”
“To endow the writer publicly with a good fleshly body, to reveal that he likes dry white wine and underdone steak, is to make even more miraculous for me, and of a more divine essence, the products of his art. Far from the details of his daily life bringing nearer to me the nature of his inspiration and making it clearer, it is the whole mystical singularity of his condition which the writer emphasizes by such confidences. For I cannot but ascribe to some superhumanly the existence of beings vast enough to wear blue pajamas at the very moment when they manifest themselves as universal conscience.”
“Most of the time people forget to renew their subscription, but we need an audience for what we have created, so we mail it across. There is also the practical problem of having to store it under our beds if we do not distribute it. The way we run the magazines is totally informal and there cannot be a profit motive? We have still not thought about it and we have no illusions that we are carrying out a grand cultural project. We have been told to work quietly and consistently by our elders and we see meaning in it, that?s all.”