Annie Fisher
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in Dublin, Ireland
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October 2016
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“There is a whole generation of young people just like us wandering around Europe and the rest of the world, trying to find some meaning for why they are alive and what they should choose to do with their time. When Martha leaves and we sit in front of the fire in the living room, I look to Lily until she turns to me and I can see the grief that hides just under the surface of her expression. We are, or at least were, two of those lost souls: wanderers, backpackers, season workers, Wwoofers, Workawayers, travellers: searching the world for something or someplace to hold on to. And we have come home not because we have retired from trying to find answers and are ready to settle into adulthood, but because my death has come upon us fast and unexpected. I am not the first person of this generation of travellers- or any person who lives in this godless, superficial society- to die. But I think that it feels to Lily and to me, my mother too perhaps, that I may very well be.”
― The Greater Picture
― The Greater Picture
“I do not know what inspires the image of a fish but it comes to me, wide eyed, open mouthed and gaping, glimmering, swimming towards me as though a creature of the darkness come to claim me. I imagine it in a twinkling blue pool. It swims through the dark currents of the sea, gliding above sea weed, beneath sunlight, augmenting and shying away from the surface. It belongs to this element between land and sky, sifts through it, a creature of the deep. My mind drifts, fades, but then comes back to the fish: its glimmering scales, its strange beady eyes. Its body is contained within the water. It opens its mouth, moving it open and closed as though it’s trying to speak a language I never learned. I think about the fish’s lungs, full of water. Is not the sea contained within the fish, too?”
― The Greater Picture
― The Greater Picture
“I would say she’s in the place where the river of time runs into, where the holograms go when they disappear into the air, she is neither completely dreaming, nor fully awake,”
― The Greater Picture
― The Greater Picture
“You live like this, sheltered, in a delicate world, and you believe you are living. Then you read a book… or you take a trip… and you discover that you are not living, that you are hibernating. The symptoms of hibernating are easily detectable: first, restlessness. The second symptom (when hibernating becomes dangerous and might degenerate into death): absence of pleasure. That is all. It appears like an innocuous illness. Monotony, boredom, death. Millions live like this (or die like this) without knowing it. They work in offices. They drive a car. They picnic with their families. They raise children. And then some shock treatment takes place, a person, a book, a song, and it awakens them and saves them from death. Some never awaken.”
― The Diary of Anaïs Nin, Vol. 1: 1931-1934
― The Diary of Anaïs Nin, Vol. 1: 1931-1934
“Man can never know the loneliness a woman knows. Man lies in the woman's womb only to gather strength, he nourishes himself from this fusion, and then he rises and goes into the world, into his work, into battle, into art. He is not lonely. He is busy. The memory of the swim in amniotic fluid gives him energy, completion. Woman may be busy too, but she feels empty. Sensuality for her is not only a wave of pleasure in which she is bathed, and a charge of electric joy at contact with another. When man lies in her womb, she is fulfilled, each act of love a taking of man within her, an act of birth and rebirth, of child rearing and man bearing. Man lies in her womb and is reborn each time anew with a desire to act, to be. But for woman, the climax is not in the birth, but in the moment man rests inside of her.”
― The Diary of Anaïs Nin, Vol. 1: 1931-1934
― The Diary of Anaïs Nin, Vol. 1: 1931-1934
“All we have to decide is what to do with the time that is given us.”
― The Fellowship of the Ring
― The Fellowship of the Ring
“Maybe...you'll fall in love with me all over again."
"Hell," I said, "I love you enough now. What do you want to do? Ruin me?"
"Yes. I want to ruin you."
"Good," I said. "That's what I want too.”
― A Farewell to Arms
"Hell," I said, "I love you enough now. What do you want to do? Ruin me?"
"Yes. I want to ruin you."
"Good," I said. "That's what I want too.”
― A Farewell to Arms










