Shana

“Curiously enough, one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do not have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and then can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous masterpiece of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is—a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed)—a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.”
― Vladimir Nabokov, Lectures on Literature

“I came to theory because I was hurting—the pain within me was so intense that I could not go on living. I came to theory desperate, wanting to comprehend—to grasp what was happening around and within me. Most importantly, I wanted to make the hurt go away. I saw in theory then a location for healing.”
― bell hooks, Teaching to Transgress: Education as the Practice of Freedom

“Isn't death the boundary we need? Doesn't it give a precious texture to life, a sense of definition? You have to ask yourself whether anything you do in this life would have beauty and meaning without the knowledge you carry of a final line, a border or limit.”
― Don DeLillo, White Noise

“Already at the turn of the twentieth century one analyst fretted in the Atlantic Monthly that images would eventually replace words and that visual symbols would become the primary form of discourse. Boorstin’s own concern was that the Graphic Revolution encouraged what he called image-thinking—thinking in terms of an “artificial imitation or representation of the external form of any object, especially of a person.” This came at the expense of what he called ideal-thinking—thinking in terms of some idea or value toward which one could strive.”
― Neal Gabler, Life: The Movie: How Entertainment Conquered Reality