Solitude, the safeguard of mediocrity, is to genius the stern friend, the cold, obscure shelter where moult the wings which will bear it farther than suns and stars. He who should inspire and lead his race must be defended from travelling with the souls of other men, from living, breathing, reading, and writing in the daily, time-worn yoke of their opinions. "In the morning, — solitude;" said Pythagoras; that Nature may speak to the imagination, as she does never in company, and that her favorite may make acquaintance with those divine strengths which disclose themselves to serious and abstracted thought. 'Tis very certain that Plato, Plotinus, Archimedes, Hermes, Newton, Milton, Wordsworth, did not live in a crowd, but descended into it from time to time as benefactors: and the wise instructor will press this point of securing to the young soul in the disposition of time and the arrangements of living, periods and habits of solitude.
Music is a complete evocation – like a smell. It can bring an entire memory and feeling back to you in a rush. Much more complete than even a photograph. You allow yourself a certain visual distance with photos – not music. It envelopes you – there’s no way to escape it. It’s a great test of sensitivity – the degree of reaction to music. I use it all the time. I call it my ‘Music Test.’ People today don’t want to hear the truth. They’re really afraid of tranquility and silence – they’re afraid they might begin to understand their own motivations too well. They keep a steady stream of noise going to protect themselves, to build a wall against the truth. Like African natives, beating on their drums, rattling their gourds, shaking the bells to scare off evil spirits. As long as there’s enough noise, there’s nothing to fear – or hear. But they will listen. Times are changing.
If humanism were right in declaring that man is born to be happy, he would not be born to die. Since his body is doomed to die, his task on earth evidently must be of a more spiritual nature. It cannot the unrestrained enjoyment of everyday life. It cannot be the search for the best ways to obtain material goods and then cheerfully get the most out of them. It has to be the fulfillment of a permanent, earnest duty so that one's life journey may become an experience of moral growth, so that one may leave life a better human being than one started it. It is imperative to review the table of widespread human values. Its present incorrectness is astounding. It is not possible that assessment of the President's performance be reduced to the question of how much money one makes or of unlimited availability of gasoline. Only voluntary, inspired self-restraint can raise man above the world stream of materialism.
Inside the terminal at Keahole, they sat waiting to board, watching husky Hawaiians load luggage onto baggage ramps. Arriving tourists smiled at their dark, muscled bodies, handsome full-featured faces, the ease with which they lifted things of bulk and weight. Departing tourists took snapshots of them. 'That's how they see us', Pono whispered. 'Porters, servants. Hula Dancers, clowns. They never see us as we are, complex, ambiguous, inspired humans.' 'Not all haole see us that way...'Jess argued. Vanya stared at her. 'Yes, all Haole and every foreigner who comes here puts us in one of two categories: The malignant stereotype of vicious, drunken, do-nothing kanaka and their loose-hipped, whoring wahine. Or, the benign stereotype of the childlike, tourist-loving, bare-foot, aloha-spirit natives.
The difference was not that one was a pessimist and the other an optimist, it was that one's pessimism had led to an ethos of fear, and the other's pessimism had led to a noisy, fractious disdain for Everything-That-Was. One shrank, the other flailed. One toed the line, the other crossed it out. Much of the time they were at loggerheads, and because Willy found it so easy to shock his mother, he rarely wasted an opportunity to provoke an argument. If only she'd the wit to back off a little, he probably wouldn't have been so insistent about making his points. Her antagonism inspired him, pushed him into ever more extreme positions, and by the time he was ready to leave the house and go off to college, he had indelibly cast himself in his chosen role: as malcontent, as rebel, as outlaw poet prowling the gutters of a ruined world.
If the writer believes that our life is and will remain essentially mysterious, if he looks upon us as beings existing in a created order to whose laws we freely respond, then what he sees on the surface will be of interest to him only as he can go through it into an experience of mystery itself. His kind of fiction will always be pushing its own limits outward toward the limits of mystery, because for this kind of writer, the meaning of a story does not begin except at a depth where adequate motivation and adequate psychology and the various determinations have been exhausted. Such a writer will be interested in what we don't understand rather than in what we do. He will be interested in possibility rather than probability. He will be interested in characters who are forced out to meet evil and grace and who act on a trust beyond themselves—whether they know clearly what it is they act upon or not.
“Some of the most memorable, and least regrettable, nights of my own youth were spent in coon hunting with farmers. There is no denying that these activities contributed to the economy of farm households, but a further fact is that they were pleasures; they were wilderness pleasures, not greatly different from the pleasures pursued by conservationists and wilderness lovers. As I was always aware, my friends the coon hunters were not motivated just by the wish to tree coons and listen to hounds and listen to each other, all of which were sufficiently attractive; they were coon hunters also because they wanted to be afoot in the woods at night. Most of the farmers I have known, and certainly the most interesting ones, have had the capacity to ramble about outdoors for the mere happiness of it, alert to the doings of the creatures, amused by the sight of a fox catching grasshoppers, or by the puzzle of wild tracks in the snow.”
I am a storyteller. The type that went from place to place, gathered people in the square and transported them, inspired them, woke them up, shook their insides around so that they could resettle in a new pattern, a new way of being. It is a tradition that believes that the story speaks to the soul, not the ego... to the heart, not the head. In todays world , we yearn so to 'understand', to conquer with our mind, but it is not in the mind that a mythic story dwells.So I do not offer interpretation. What I offer is to tell the story again, and again... on and on, if need be - until the ego has stepped aside and the soul can hear. I trust that the life of the story continues long after I have gone, if the listener can step aside and be taken up and in, to a world where words speak not to the mind, but to the soul.I invite you to trust it too.
At one point in the story, following a brazen daytime bank robbery, Electro is shown escaping from the authorities by climbing up the side of a building, as easily as Spider-Man . . . we see one observer exclaim, "Look!! That strangely-garbed man is racing up the side of the building!" A second man on the street picks up the narrative: "He's holding on to the iron beams in the building by means of electric rays—using them like a magnet!! Incredible!"There are three feelings inspired by this scene. The first is wonder as to why people rarely use the phrase "strangely-garbed" anymore. The second is nostalgia for the bygone era when pedestrians would routinely narrate events occurring in front of them, providing exposition for any casual bystander. And the third is pleasure at the realization that Electro's climbing this building is actually a physically plausible use of his powers.
We agreed that at least to some extent the whole punk movement is based on the Buddha's 1st noble truth of suffering & the dissatisfactory nature of the material world. The punks see through the lies of society & the oppressive dictates of modern consumer culture. Very few punks though seem to take it further & attempt to understand the causes & conditions of the suffering & falsehoods, unfortunately punks rarely come around to seeing that there is actually a solution & a path to personal freedom. My own life's experience w/ both Dharma practice & punk rock inspired me to try to bridge the gap between the two. I've tried to help point out the similarities, while also acknowledging the differences, & to show those of my generation who are interested that they can practice meditation & find there the freedom we have been seeking in our rebellion against the system.