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  • #151
    “Once dogmatism turns out the lights, you might as well close up shop as a civilization and pull up the covers as a sentient life form. You get nowhere with unquestioning certainty. It's thinking with your mind wide shut.”
    Bob Altemeyer

  • #152
    “On the morning of November 22nd, a Friday, it became clear the gap between living and dying was closing. Realizing that Aldous [Huxley] might not survive the day, Laura [Huxley's wife] sent a telegram to his son, Matthew, urging him to come at once. At ten in the morning, an almost inaudible Aldous asked for paper and scribbled "If I go" and then some directions about his will. It was his first admission that he might die ...

    Around noon he asked for a pad of paper and scribbled

    LSD-try it
    intermuscular
    100mm

    In a letter circulated to Aldous's friends, Laura Huxley described what followed: 'You know very well the uneasiness in the medical mind about this drug. But no 'authority', not even an army of authorities, could have stopped me then. I went into Aldous's room with the vial of LSD and prepared a syringe. The doctor asked me if I wanted him to give the shot- maybe because he saw that my hands were trembling. His asking me that made me conscious of my hands, and I said, 'No, I must do this.'

    An hour later she gave Huxley a second 100mm. Then she began to talk, bending close to his ear, whispering, 'light and free you let go, darling; forward and up. You are going forward and up; you are going toward the light. Willingly and consciously you are going, willingly and consciously, and you are doing this beautifully — you are going toward the light — you are going toward a greater love … You are going toward Maria's [Huxley's first wife, who had died many years earlier] love with my love. You are going toward a greater love than you have ever known. You are going toward the best, the greatest love, and it is easy, it is so easy, and you are doing it so beautifully.'

    All struggle ceased. The breathing became slower and slower and slower until, 'like a piece of music just finishing so gently in sempre piu piano, dolcamente,' at twenty past five in the afternoon, Aldous Huxley died.”
    Jay Stevens

  • #153
    Marcel Proust
    “Love is a striking example of how little reality means to us.”
    Marcel Proust, In Search of Lost Time
    tags: love

  • #154
    Albert Camus
    “The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience.”
    Albert Camus

  • #155
    Thich Nhat Hanh
    “When you plant lettuce, if it does not grow well, you
    don't blame the lettuce. You look for reasons it is not
    doing well. It may need fertilizer, or more water, or
    less sun. You never blame the lettuce. Yet if we have
    problems with our friends or family, we blame the other
    person. But if we know how to take care of them, they will
    grow well, like the lettuce. Blaming has no positive
    effect at all, nor does trying to persuade using reason
    and argument. That is my experience. No blame, no
    reasoning, no argument, just understanding. If you
    understand, and you show that you understand, you can
    love, and the situation will change”
    Thich Nhat Hanh

  • #156
    Thich Nhat Hanh
    “By eating meat we share the responsibility of climate change, the destruction of our forests, and the poisoning of our air and water. The simple act of becoming a vegetarian will make a difference in the health of our planet.”
    Thich Nhat Hanh, The World We Have: A Buddhist Approach to Peace and Ecology

  • #157
    Rex Stout
    “Chili is one of the great peasant foods. It is one of the few contributions America has made to world cuisine. Eaten with corn bread, sweet onion, sour cream, it contains all five of the elements deemed essential by the sages of the Orient: sweet, sour, salty, pungent, and bitter.”
    Rex Stout

  • #158
    Margaret Atwood
    “Mushrooms were the roses in the garden of that unseen world, because the real mushroom plant was underground. The parts you could see - what most people called a mushroom - was just a brief apparition. A cloud flower.”
    Margaret Atwood, The Year of the Flood

  • #159
    “वक़्त की शाख़ पर
    टिका है वो लम्हा
    आज भी जस का तस ।।”
    Pushpindra Chagti Bhandari, Wo Lamha

  • #160
    “What’s it going to be? A life of time, or the time of your life? You decide.”
    Broms The Poet, Feast

  • #161
    Jean-Paul Sartre
    “J’ai voulu que les moments de ma vie se suivent et s’ordonnent comme ceux d’une vie qu’on se rappelle. Autant vaudrait tenter d’attraper le temps par la queue.”
    Jean-Paul Sartre

  • #162
    “Everyone can kill time, but not everyone can reanimate it”
    Tamerlan Kuzgov

  • #163
    Socrates
    “Education is the kindling of a flame, not the filling of a vessel.”
    Socrates

  • #164
    Johann Wolfgang von Goethe
    “Daring ideas are like chessmen moved forward. They may be beaten, but they may start a winning game.”
    Johann Wolfgang von Goethe

  • #165
    Vladimir Nabokov
    “For I do not exist: there exist but the thousands of mirrors that reflect me. With every acquaintance I make, the population of phantoms resembling me increases. Somewhere they live, somewhere they multiply. I alone do not exist.”
    Vladimir Nabokov

  • #166
    Helena Petrovna Blavatsky
    “The matter of the Eastern philosophers is not the "matter" of the Western metaphysicians.”
    H.P. Blavatsky, The Secret Doctrine, Vol. 1 of 4

  • #167
    Pablo Picasso
    “The world doesn't make sense, so why should I paint pictures that do?”
    Pablo Picasso

  • #168
    Miles Davis
    “It’s like, how did Columbus discover America when the Indians were already here? What kind of shit is that, but white people’s shit?”
    Miles Davis, Miles: The Autobiography

  • #169
    Miles Davis
    “Good music is good no matter what kind of music it is.”
    Miles Davis

  • #170
    Miles Davis
    “If you don't know what to play, play nothing.”
    Miles Davis

  • #171
    John Steinbeck
    “Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down.
    Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.”
    John Steinbeck, Cannery Row

  • #172
    “I wish I could convey the perfection of a seal slipping into water or a spider monkey swinging from point to point or a lion merely turning its head. But language founders in such seas. Better to picture it in your head if you want to feel it...I spent more hours than I can count a quiet witness to the highly mannered, manifold expressions of life that grace our planet. It is something so bright, loud, weird and delicate as to stupefy the senses.”
    Yann Martel, Life of Pi

  • #173
    James Joyce
    “Beauty: it curves, curves are beauty. Shapely goddesses, Venus, Juno: curves the world admires.”
    James Joyce, Ulysses

  • #174
    Tom Robbins
    “Louisiana in September was like an obscene phone call from nature. The air--moist, sultry, secretive, and far from fresh--felt as if it were being exhaled into one's face. Sometimes it even sounded like heavy breathing. Honeysuckle, swamp flowers, magnolia, and the mystery smell of the river scented the atmosphere, amplifying the intrusion of organic sleaze. It was aphrodisiac and repressive, soft and violent at the same time. In New Orleans, in the French Quarter, miles from the barking lungs of alligators, the air maintained this quality of breath, although here it acquired a tinge of metallic halitosis, due to fumes expelled by tourist buses, trucks delivering Dixie beer, and, on Decatur Street, a mass-transit motor coach named Desire.”
    Tom Robbins, Jitterbug Perfume

  • #175
    Ludwig Wittgenstein
    “If we take eternity to mean not infinite temporal duration but timelessness, then eternal life belongs to those who live in the present.”
    Wittgenstein Ludwig

  • #176
    David  Lynch
    “A poet could write volumes about diners, because they're so beautiful. They're brightly lit, with chrome and booths and Naugahyde and great waitresses. Now, it might not be so great in the health department, but I think diner food is really worth experiencing periodically.”
    David Lynch
    tags: diner

  • #177
    Claude Monet
    “I would like to paint the way a bird sings.”
    Claude Monet

  • #178
    Karen Joy Fowler
    “Owls hoot in B flat, cuckoos in D, but the water ousel sings in the voice of the stream. She builds her nest back of the waterfalls so the water is a lullaby to the little ones. Must be where they learn it.”
    Karen Joy Fowler, Sarah Canary

  • #179
    David  Lynch
    “Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure.They’re huge and abstract. And they’re very beautiful.”
    David Lynch, Catching the Big Fish: Meditation, Consciousness, and Creativity

  • #181
    Cormac McCarthy
    “Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.”
    Cormac McCarthy, The Road



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