Flora > Flora's Quotes

“I had the epiphany that laughter was light, and light was laughter, and that this was the secret of the universe.”
― Donna Tartt, The Goldfinch

“A great sorrow, and one that I am only beginning to understand: we don’t get to choose our own hearts. We can’t make ourselves want what’s good for us or what’s good for other people. We don’t get to choose the people we are.”
― Donna Tartt, The Goldfinch

“That life - whatever else it is - is short. That fate is cruel but maybe not random. That Nature (meaning Death) always wins but that doesn’t mean we have to bow and grovel to it. That maybe even if we’re not always so glad to be here, it’s our task to immerse ourselves anyway: wade straight through it, right through the cesspool, while keeping eyes and hearts open. And in the midst of our dying, as we rise from the organic and sink back ignominiously into the organic, it is a glory and a privilege to love what Death doesn’t touch.”
― Donna Tartt, The Goldfinch

“Stay away from the ones you love too much. Those are the ones who will kill you.”
― Donna Tartt, The Goldfinch

“I look at the blanked-out faces of the other passengers--hoisting their briefcases, their backpacks, shuffling to disembark--and I think of what Hobie said: beauty alters the grain of reality. And I keep thinking too of the more conventional wisdom: namely, that the pursuit of pure beauty is a trap, a fast track to bitterness and sorrow, that beauty has to be wedded to something more meaningful.

Only what is that thing? Why am I made the way I am? Why do I care about all the wrong things, and nothing at all for the right ones? Or, to tip it another way: how can I see so clearly that everything I love or care about is illusion, and yet--for me, anyway--all that's worth living for lies in that charm?

A great sorrow, and one that I am only beginning to understand: we don't get to choose our own hearts. We can't make ourselves want what's good for us or what's good for other people. We don't get to choose the people we are.

Because--isn't it drilled into us constantly, from childhood on, an unquestioned platitude in the culture--? From William Blake to Lady Gaga, from Rousseau to Rumi to Tosca to Mister Rogers, it's a curiously uniform message, accepted from high to low: when in doubt, what to do? How do we know what's right for us? Every shrink, every career counselor, every Disney princess knows the answer: "Be yourself." "Follow your heart."

Only here's what I really, really want someone to explain to me. What if one happens to be possessed of a heart that can't be trusted--? What if the heart, for its own unfathomable reasons, leads one willfully and in a cloud of unspeakable radiance away from health, domesticity, civic responsibility and strong social connections and all the blandly-held common virtues and instead straight toward a beautiful flare of ruin, self-immolation, disaster?...If your deepest self is singing and coaxing you straight toward the bonfire, is it better to turn away? Stop your ears with wax? Ignore all the perverse glory your heart is screaming at you? Set yourself on the course that will lead you dutifully towards the norm, reasonable hours and regular medical check-ups, stable relationships and steady career advancement the New York Times and brunch on Sunday, all with the promise of being somehow a better person? Or...is it better to throw yourself head first and laughing into the holy rage calling your name?”
― Donna Tartt, The Goldfinch

“Sometimes we want what we want even if we know it’s going to kill us.”
― Donna Tartt, The Goldfinch

“When you feel homesick,’ he said, ‘just look up. Because the moon is the same wherever you go.”
― Donna Tartt, The Goldfinch

“—if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you.”
― Donna Tartt, The Goldfinch

“It’s how I fill the time when nothing’s happening. Thinking too much, flirting with melancholy.”
― Tim Winton, Breath

“It's the pointless things that give your life meaning. Friendship, compassion, art, love. All of them pointless. But they're what keeps life from being meaningless.”
― Tim Winton

“Writing a book is a bit like surfing," he said. "Most of the time you're waiting. And it's quite pleasant, sitting in the water waiting. But you are expecting that the result of a storm over the horizon, in another time zone, usually, days old, will radiate out in the form of waves. And eventually, when they show up, you turn around and ride that energy to the shore. It's a lovely thing, feeling that momentum. If you're lucky, it's also about grace. As a writer, you roll up to the desk every day, and then you sit there, waiting, in the hope that something will come over the horizon. And then you turn around and ride it, in the form of a story.”
― Tim Winton

“It's funny, but you never really think much about breathing. Until it's all you ever think about.”
― Tim Winton, Breath

“We rise to a challenge and set a course. We take a decision. You put your mind to something. Just deciding to do it gets you halfway there. Daring to try. ”
― Tim Winton, Breath

“Being afreaid proves you're alive and awake.”
― Tim Winton, Breath

“ And as an artist, as someone who writes stories and tries to make words into beautiful forms, it's vitally important to me, especially in a culture that's forgotten the value of beauty. It's a primary source or inspiration, I guess, when so much of what goes on around you is only about money and big swinging dick capitalism. It's important for blokes to be able to do beautiful stuff, impractical stuff, that adds to life. That's an early life-lesson from surfing.


”
― Tim Winton

“I came home at dusk with my ears ringing from the quiet.”
― Tim Winton, Breath

“Be silent and listen: have you recognized your madness and do you admit it? Have you noticed that all your foundations are completely mired in madness? Do you not want to recognize your madness and welcome it in a friendly manner? You wanted to accept everything. So accept madness too. Let the light of your madness shine, and it will suddenly dawn on you. Madness is not to be despised and not to be feared, but instead you should give it life...If you want to find paths, you should also not spurn madness, since it makes up such a great part of your nature...Be glad that you can recognize it, for you will thus avoid becoming its victim. Madness is a special form of the spirit and clings to all teachings and philosophies, but even more to daily life, since life itself is full of craziness and at bottom utterly illogical. Man strives toward reason only so that he can make rules for himself. Life itself has no rules. That is its mystery and its unknown law. What you call knowledge is an attempt to impose something comprehensible on life.”
― C.G. Jung, The Red Book: A Reader's Edition

“One does not become enlightened by imagining figures of light, but by making the darkness conscious.”
― Carl Gustav Jung

“Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.)

The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have. ”
― Susan Sontag, Against Interpretation and Other Essays

“The ideal or the dream would be to arrive at a language that heals as much as it separates.”
― Susan Sontag, Against Interpretation and Other Essays

“It was from a weekly visit to the cinema that you learned (or tried to learn) how to strut, to smoke, to kiss, to fight, to grieve. Movies gave you tips about how to be attractive (...). But whatever you took home from the movies was only part of the larger experience of losing yourself in faces, in lives that were not yours - which is the more inclusive form of desire embodied in the movie experience. The strongest experience was simply to surrender to, to be transported by, what was on the screen”
― Susan Sontag, Against Interpretation and Other Essays

“Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment. Once the question that haunts post-mythic consciousness—that of the seemliness of religious symbols—had been asked, the ancient texts were, in their pristine form, no longer acceptable. Then interpretation was summoned, to reconcile the ancient texts to “modern” demands. Thus, the Stoics, to accord with their view that the gods had to be moral, allegorized away the rude features of Zeus and his boisterous clan in Homer’s epics. What Homer really designated by the adultery of Zeus with Leto, they explained, was the union between power and wisdom. In the same vein, Philo of Alexandria interpreted the literal historical narratives of the Hebrew Bible as spiritual paradigms. The story of the exodus from Egypt, the wandering in the desert for forty years, and the entry into the promised land, said Philo, was really an allegory of the individual soul’s emancipation, tribulations, and final deliverance. Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning. However far the interpreters alter the text (another notorious example is the Rabbinic and Christian “spiritual” interpretations of the clearly erotic Song of Songs), they must claim to be reading off a sense that is already there.”
― Susan Sontag, Against Interpretation and Other Essays

“Interpretation takes the sensory experience of the work of art for granted, and proceeds from there. This cannot be taken for granted, now. Think of the sheer multiplication of works of art available to every one of us, superadded to the conflicting tastes and odors and sights of the urban environment that bombard our senses. Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. (...) And it is in the light of the condition of our senses, our capacities, that the task of the critic must be assessed. What is important now is to recover our senses. We must learn to See more, to Hear more, to Feel more.”
― Susan Sontag, Against Interpretation and Other Essays

“Everybody must have a fantasy.”
― Andy Warhol, The Philosophy of Andy Warhol

“I can never get over when you're on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own.”
― Andy Warhol, The Philosophy of Andy Warhol

“People's fantasies are what give them problems. If you didn't have fantasies you wouldn't have problems because you'd just take whatever was there.”
― Andy Warhol

“I suppose I have a really loose interpretation of 'work,' because I think that just being alive is so much work at something you don't always want to do.”
― Andy Warhol, The Philosophy of Andy Warhol

“The biggest price you pay for love is that you have to have somebody around, you can't be on your own, wich is always so much better.”
― Andy Warhol, The Philosophy of Andy Warhol

“You can never predict what little things in the way somebody looks or talks or acts will set off peculiar emotional reactions in other people.”
― Andy Warhol, The Philosophy of Andy Warhol

“Romance is finding your fantasy in people who don't have it.”
― Andy Warhol, The Philosophy of Andy Warhol