“The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.”
— Kurt Vonnegut, A Man Without a Country, 2005
Burns: "Smithers! Fetch the amnesia ray."
Smithers: "You mean the revolver?"
Burns: "Yes. And then use it on yourself when you're done."
Found this gorgeous poem on Paulo Coelho’s blog. If only we could always speak like this to each other.
Nothing can ever happen twice.
In consequence, the sorry fact is
that we arrive here improvised
and leave without the chance to practice.
Even if there is no one dumber,
if you’re the planet’s biggest dunce,
you can’t repeat the class in summer:
this course is only offered once.
No day copies yesterday,
no two nights will teach what bliss is
in precisely the same way,
with precisely the same kisses.
One day, perhaps some idle tongue
mentions your name by accident:
I feel as if a rose were flung
into the room, all hue and scent.
The next day, though you’re here with me,
I can’t help looking at the clock:
A rose? A rose? What could that be?
Is it a flower or a rock?
Why do we treat the fleeting day
with so much needless fear and sorrow?
It’s in its nature not to stay:
Today is always gone tomorrow.
With smiles and kisses, we prefer
to seek accord beneath our star,
although we’re different (we concur)
just as two drops of water are.
Posted from Tamarack Song’s new blog.
The small size of villages means that girls approaching puberty have few, if any, peers to compare themselves to. Thus they do not develop to maturity in a context of intense comparison and competition. Each young girl is likely to be the center of attention for a number of years. As a girl begins to mature, the men of the village offer running commentaries on the changes in her body—obvious in a culture where the breasts are not covered—and joke about wanting to marry her or to run away with her. It is unlikely that the attention will have to be shared.
This experience seems to inspire self-esteem, as shown in the following sharing I had with a twelve-year-old girl. Her breasts were just starting to develop, and I saw her admiring herself. She was a lovely girl, although not outstanding in any way except by being in the full health and beauty of youth. She saw me watching. I teased in the !Kung manner I had by then thoroughly learned, “So ugly! How is such a young girl already so ugly?” She laughed. I asked, “You don’t agree?” She beamed, “No, not at all. I’m beautiful!” I said, “Beautiful? Perhaps my eyes have become broken with age that I can’t see where it is?” She said, “Everywhere—my face, my body. There’s no ugliness at all.” These remarks were said easily, with a broad smile, but without arrogance. The pleasure she felt in her changing body was as evident as the absence of conflict about it.
From pages 269-70 of Nisa, The Life and Words of a !Kung Woman (NY: Random House, 1983) by Marjorie Shostak.
“Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it’s the way things happen in life that’s unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it’s like watching television – you don’t feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it’s all television.”
— Andy Warhol, 1968