Paul Shepard > Quotes

“To the desert go prophets and hermits; through desert go pilgrims and exiles. Here the leaders of the great religions have sought the therapeutic and spiritual values of retreat, not to escape but to find reality.”
― Paul Shepard, Man in the Landscape a Historic View of the Esthetics of Nature

“Who would want to live in a world that is just not quite fatal?”
― Paul Shepard

“To the desert go profits and hermits, through deserts go pilgrims and exiles. Here the leaders of the great religions have sought the therapeutic and spiritual values of retreat, not to escape but to find reality.”
― Paul Shepard

“But it was probably long before anyone thought of pottery that the river was first perceived as a metaphor of destiny, the "clan river" of eternity connecting the three worlds. The bear signaled--perhaps seemed even to oversee--the arrival of the salmon. The salmon were human food too, which made the first link in the man-bear-river-salmon system a tangible reality. We can only guess how the river's eternal flow, the upstream movement of the miraculous fish from the depths of a watery matrix toward the almost ethereal spring at the headwaters, or their fate in the stomach of the bear might have stimulated the concept of reincarnation. In time, the spiritual forces represented by the physical realities could be grappled with by a shaman, who would travel the river to the ancestral downstream and the immortal upstream in a trance instead of a boat.”
― Paul Shepard, The Sacred Paw: The Bear in Nature, Myth, and Literature

“The health of a society is a measure of its freedom from stress, individual suffering, psychopathology, tyranny, and ecological dysfunction as a result of straying from that basic ancestral form.”
― Paul Shepard, Coming Home to the Pleistocene

“The desert sky is encircling, majestic, terrible.”
― Paul Shepard

“Die Wüste ist die Landschaft der Offenbarung. Sie ist uns sowohl genetisch als auch physiologisch fremd, sie ist karg, ästhetisch abstrakt und seit jeher feindseliges Gebiet… In Form und Gestalt ist sie kühn und von erregender Wirkung auf die Phantasie. Die Sinne werden von Licht- und Raumeindrücken überwältigt, von dem kinästhetischen Novum der Leblosigkeit, den hohen Temperaturen und dem Wind. Der Wüstenhimmel ist allumfassend, majestätisch und grauenerregend zugleich. In allen anderen Lebensräumen ist der blaue Rand über dem Horizont stets durchbrochen oder verschleiert; hier dagegen zeigt er sich in seiner ganzen unermesslichen Weite, unendlich viel weiter als in hügeligen Landschaften und bewaldeten Regionen… In einem unverstellten Himmel wirken die Wolken mächtiger, plastischer, so als spiegele sich an ihrer konkaven Unterseite die Rundung des Erdballs selbst. Die kantige Klarheit der Wüste verleiht den Wolken ebenso wie der Landschaft das Antlitz einer monumentalen Architektur…
Propheten und Eremiten ziehen in die Wüste, Pilger und Verbannte ziehen durch sie. Hier haben die Gründer der großen Religionen ihr therapeutisches und spirituelles Refugium gesucht, nicht als Zuflucht vor der Wirklichkeit, sondern, im Gegenteil, um sie zu finden.”
― Paul Shepard, Man in the Landscape: A Historic View of the Esthetics of Nature

“How are we to become native to this land?"

(as quoted in Trespass: Living at the Edge of the Promised Land by Amy Irvine)”
― Paul Shepard, The Only World We've Got: A Paul Shepard Reader

“Sliding through professions and geography, minimizing race and class, the yearning for androgyny and psychological environmentalism are all unsatisfying because they neglect or deny the category-making nature of cognition itself. The fashionable ideal that everyone should be free of imposed definition in order to be whatever he wants, to choose and change identity in spite of the accidents of birth, and to define self according to ideology and personal taste is very appealing, though in some grievously frustrating way appallingly inadequate and wrong.

The adolescent, caught between the modern world's chronic shortage of order and the chic psychology of identity by assertion, is on queasy ground. The ideal conflicts with the thrust of his mental development, which is to distinguish, define, and classify. The central task of his first twelve years is to develop his powers of discrimination, linking them to speech, and to master the art of conceptualizing and abstracting by searching out the commonalities and differences among plants and animals—traits given, not chosen.”
― Paul Shepard, Thinking Animals: Animals and the Development of Human Intelligence

“Animals embody every quality found in the human personality. In the whole range of human temperament and character there is nothing unique, nothing not found as some aspect of another species. It is the only other place they are found. What men do that may be unique or is at least unusual is to know this. Man is capable, to a limited degree and with great effort, of stepping out of the stream of events for a moment, even of his skin, and looking at the whole fauna and flora as a composite of his own possibilities.

By "possibilities" is not meant another bouquet to humanistic autonomy or another claim that all things are possible and that man can be whatever he chooses. "Possibilities" is a reference to the total context of living phenomena within which the human species has its own forms and limitations. This is why recognition of limitations is the essential step in achieving the freedom implicit in intelligence; it increasingly identifies one's kind of being to one's self. It goes beyond this defining and narrowing of our species sense to a widening within that frame. The same faunal ream within which humanity is but one point among many provides a patterned model for discovering and allocating the positions and quality spaces within society.”
― Paul Shepard, Thinking Animals: Animals and the Development of Human Intelligence

“It took me more than a decade to work my way through the landscape. I owe my liberation from it to the work of geographer David Lowenthal and social critic Marshall McLuhan. Their writing convinced me that the world-as-picture was, on one hand, geared to the superficiality of taste and, on the other, an outcome of a Renaissance mathematical perspective that tended to separate rather than join. Walter Ong's essay "The World as View and the World as Event" convinced me that this distinction between the visual and the tactile was more than ideological. The landscape was an inadequate nexus. It was only a twist in the idea of the co-option of the earth. Indeed, such ideas depended as much on unconscious perception as on intellectual or artistic formulations. I began to feel that something still more biogenic, yet common to humankind, which yet might take partic­ular social or aesthetic expression, held the key to an adequate human ecology.

“Over the next decade I read anthropology and child psychology. During that time a meeting of anthropologists took place in Chicago that resulted in the publication of Man the Hunter. I began to think that the appropriate model for human society in its earth habitat may have existed for several million years. If Claude Levi-Strauss were to be believed, nothing had been gained by the onset of civilization except technical mastery, while what had been lost or distorted was a way of interpreting in which nature was an unlimited but essential poetic and intellectual instrument in the achieve­ment of human self-consciousness, both in evolution and in every genera­ tion and individual human life. I knew such an idea would be ridiculed as a throwback to the discredited figure of the noble savage, but when it was considered in light of Erik Erikson's concept of individual development as an identity-shaping sequence I found it irresistible.”
― Paul Shepard

“Our world does not make us; nor do we make ourselves; we are the continuing creation of the interaction between our organic structure and the way we shape the world around us. It’s possible to do it badly. It’s also possible to do it well. We are an epigenetic phenomenon: our development is elaborated continuously during our entire lifetimes as it has been down through the ages.”
― Paul Shepard, Coming Home to the Pleistocene

“Idealizes life with only its head out of water, inches above the limit of toleration of the corruption of its own environment… Why should we tolerate a diet of weak poisons, a home in insipid surroundings, a circle of acquaintances who are not quite our enemies, the noise of motors with just enough relief to prevent insanity? Who would want to live in a world which is just not quite fatal”
― Paul Shepard

“Art should return to its roots, to cosmology, to rite, and to ceremony. The religious nature of art is its true meaning. Modern art's commitment to "emotion" and "feeling" or to abstract principles of design is, by Pleistocene standards, a sacrilegious act, just as narcotics belong not in a recreational but in a religious setting. In most small-scale societies there is regular dialogue on divinatory and dream experience that gets translated into art.”
― Paul Shepard, Coming Home to the Pleistocene