When you start tuning in to winter, you realise that we live through a thousand winters in our lives — some big, some small… Some winters creep up on us so slowly that they have infiltrated every part of our lives before we truly feel them. […] To get better at wintering, we need to address our very notion of time. We tend to imagine that our lives are linear, but they are in fact cyclical…(…) This is a brutal untruth. Life meanders like a path through the woods. We have seasons when we flourish and seasons when the leaves fall from us, revealing our bare bones. Given time, they grow again.
“Some people use language as a mask. And some want to create designed language that appears to reveal them but does not.”
“The creation of language is the creation of a fiction. The minute we speak we are in that fiction. It’s a fiction designed, we hope, to reveal a truth. There is no “pure” language. The only “pure language” is the initial sounds of a baby. All of us lose that purity, and as we get more “of” the world, we even lose sometimes the capacity to keep that breath moving in our language…(…) We can learn a lot about a person in the very moment that language fails them. In the very moment that they have to be more creative than they would have imagined in order to communicate. It’s the very moment that they have to dig deeper than the surface to find words, and at the same time, it’s a moment when they want to communicate very badly. They’re digging deep and projecting out at the same time…(…)Speaking calls for risk, speaking calls for a sense of what one has to lose. Not just what one has to gain.”Anna Deavere Smith
“if you wanted to drown you could, but you don’t because finally after all this struggle and all these years you simply don’t want to any more, you’ve simply had enough of drowning and you want to live and you want to love” David Whyte
The world is blue at its edges and in its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colorless, shallow water appears to be the color of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance. This light that does not touch us, does not travel the whole distance, the light that gets lost, gives us the beauty of the world, so much of which is in the color blue.
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go. For the blue is not in the place those miles away at the horizon, but in the atmospheric distance between you and the mountains. “Longing,” says the poet Robert Hass, “because desire is full of endless distances.” Blue is the color of longing for the distances you never arrive in, for the blue world. Rebecca SOLNIT.
My travel, my experience ,nothing I have ever done has given me nearly as much satisfaction as this bit of land . I take deep pleasure in going out every morning and seeing the miraculous changes which have happened, and which are happening, and which will go on happening until the end of our lives.
”“I’m not comfortable with words. I love images, and I love sounds, and I love feelings. I like the idea of intuition. I think a lot of things in life are understood that way. But you internalize these things; they don’t really pop out. Certain things are built inside – little areas of understanding. I feel that I live in darkness and confusion, and I’m trying, like we all are, to make some sort of sense of it.” ~ David Lynch
”After this era of great pilots is gone, as the era of great sea captains has gone — each nudged aside by the march of inventive genius, by steel cogs and copper discs and hair-thin wires on white faces that are dumb, but speak — it will be found, I think, that all the science of flying has been captured in the breadth of an instrument board, but not the religion of it. One day the stars will be as familiar to each man as the landmarks, the curves, and the hills on the road that leads to his door, and one day this will be an airborne life. But by then men will have forgotten how to fly; they will be passengers on machines whose conductors are carefully promoted to familiarity with labelled buttons, and in whose minds the knowledge of the sky and the wind and the way of weather will be extraneous as passing fiction.” Beryl Markham
On the upper right, a model of an antique Alfa Romeo. To the left of the alpha, John Efron’s ” book about German Jewry, placed on Pinchas Sade’s “Diaries”, placed on a collection of one hundred poems published by Helikon, placed on my Mac. To the left of that, a piece of a face that I tore out from Caravaggio book and next to it an ashtray with touches of gold, inside of it a seashell. Above the ashtray, a small basalt stone that I carried from the Golan Heights and above it, a box containing a cycle of works by the composer and bass player William Parker. Born with a pen name. To his left, a wooden cube by Joseph Beuys, on which are placed three tiny bottles of cognac, in case you notice. Below it, stones I collected. To the left of the stones rests the mass in B by Bach and under it some paperwork, a book by Avraham Halfi and the last Odyssey magazine in the pile, as a solid foundation. In the center of the picture below, lies Begaon. The book of Micah Ullman’s works is open.
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