Chris

“I know these will all be stories some day, and our pictures will become old photographs. We all become somebody’s mom or dad. But right now, these moments are not stories. This is happening. I can see it. This one moment when you know you’re not a sad story. You are alive. And you stand up and see the lights on the buildings and everything that makes you wonder. And you’re listening to that song, and that drive with the people who you love most in this world. And in this moment, I swear, we are infinite.”
― Stephen Chbosky, The Perks Of Being A Wallflower

“No sooner had the warm liquid mixed with the crumbs touched my palate than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin. And at once the vicissitudes of life had become indifferent to me, its disasters innocuous, its brevity illusory – this new sensation having had on me the effect which love has of filling me with a precious essence; or rather this essence was not in me it was me. ... Whence did it come? What did it mean? How could I seize and apprehend it? ... And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings at Combray (because on those mornings I did not go out before mass), when I went to say good morning to her in her bedroom, my aunt Léonie used to give me, dipping it first in her own cup of tea or tisane. The sight of the little madeleine had recalled nothing to my mind before I tasted it. And all from my cup of tea.”
― Marcel Proust, In Search of Lost Time

“For even sheep do not vomit up their grass and show to the shepherds how much they have eaten; but when they have internally digested the pasture, they produce externally wool and milk. Do you also show not your theorems to the uninstructed, but show the acts which come from their digestion.”
― Epictetus

“Brutalist architecture was Modernism's angry underside, and was never, much as some would rather it were, a mere aesthetic style. It was a political aesthetic, an attitude, a weapon, dedicated to the precept that nothing was too good for ordinary people. Now, after decades of neglect, it's devided between 'eyesores' and 'icons'; fine for the Barbican's stockbrokers but unacceptable for the ordinary people who were always its intended clients.”
― Owen Hatherley, A Guide to the New Ruins of Great Britain