For the machine meant the conquest of horizontal space. It also meant a sense of that space which few people had experienced before – the succession and superimposition of views, the unfolding of landscape in flickering surfaces as one was carried swiftly past it, and an exaggerated feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time. Conversely, it left less time in which to dwell on any one thing.
You yearn to stay in this in-between place, where the beauty of the times you have freshly bade farewell to is still alive and vivid in your mind – almost real – and the reality of your new circumstances has yet to fully sink in. You listen to the familiar melodies that had accompanied you on your journey, and allow the music to evoke landscapes and scenes in your mind. The songs caress your sub-consciousness and fill your being with an airy joy. You are both here and elsewhere. Or perhaps you are everywhere and nowhere.
Rome and New York were impressive, but they knew they were. They had the beauty of a vain woman who had squeezed herself into her favourite dress after hours of careful self worship. There was a raw, feral beauty about this landscape that was totally unselfconscious but no less real...There was no pomp or vainty here; this was an innocent, natural beauty, the best kind, like a woman first thing in the morning, lit up by the sun streaming through a window, who doesn't quite believe it when you tell her how beautiful she is.
They were readers for whom literature was a drug, each complex plot line delivering a new high, suspending them above reality, allowing them a magical crossover...They had spoken often, with rueful honesty, of how the books they read represented escape, offered pathways to literary landscapes that intrigued and engrossed...From childhood on, books had been the hot air balloons that carried them above the angry mutterings of quarreling parents, schoolyard rejections, academic boredom...They were of a kind, readers from birth.
Structurally, by reason of their smaller numbers and greater resources, virtually all ruling classes enjoy an advantage over the ruled in their capacity for collective action. Their internal lines of communication are more compact; their wealth offers an all-purpose medium of power, convertible into any number of forms of domination; their intelligence systems scan the political landscape from a greater height. More numerous and more dispersed, less equipped materially, less armed culturally, subordinate classes always tend, in the sociologist Michael Mann’s phrase, to be ‘organisationally outflanked
For the developing world, the past half-century has been a time of recurring hope and frequent disappointment. Great waves of change have washed over the landscape, from the crumbling of colonial hegemonies in mid-century to the recent collapse of Communist empires. But too often, what rushed in to replace the old order were empty hopes-not only in the false allure of state socialism, non-alignment and single-party rule, but also the false glories of romantic nationalism and narrow tribalism, and the false dawn of runaway individualism.
Author:A common gadabout who freely wanders over the landscape, picking up free words and squirreling them away for later use. Subsequently, (days, months or years later)working by candlelight and hidden away in his dank, musty secluded lair, the rogue simply rearranges the collected words on yellowed bond with a sharpened quill ink pen fashioned from the tail feather of a bald-headed vulture.Once finished, the dastardly cur audaciously attempts to sell those assembled pages for fleeting fame and profit.
On the Rules of PerspectiveA bad trick. Mistake. Dishonesty. These are the views of Braque. Why? Braque rejected perspective. Why? Someone who spends his life drawing profiles will end up believing that man has one eye, Braque felt. Braque wanted to take full possession of objects. He said as much in published interviews. Watching the small shiny planes of the landscape recede out of his grasp filled Braque with loss so he smashed them. Nature morte, said Braque.
Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.
“For the machine meant the conquest of horizontal space. It also meant a sense of that space which few people had experienced before – the succession and superimposition of views, the unfolding of landscape in flickering surfaces as one was carried swiftly past it, and an exaggerated feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time. Conversely, it left less time in which to dwell on any one thing.”