Victoria Brockfield > Victoria's Quotes

“The Poem About Taking out the Trash

In the vast emptiness of darkness,
Stars are being born and are burning out;
Galaxies expand, into what I have no idea,
And dark matter fills the infinite space
That has no bounds and no limits.
In the middle of all this, I stand
In a single moment and know how small I am.
A group of atoms, the size of nothing in comparison.
I am the observer of the play on a tiny stage.
The onlooker who watches the painting
Of a picture that few stop to see.
The listener of a song where I hear only a fraction
Of a fraction of a note in a song that will be forever sung
And that has been being sung for eternity upon eternity,
Before I knew breath and sound.
I am but dust, stardust, a breath of a life, smoke
Rising into oblivion, here then gone as quickly.
Under all of this, I take out the trash.”
― Eric Overby, Senses

“You should date a girl who reads.
Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve.

Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn.

She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book.

Buy her another cup of coffee.

Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice.

It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does.

She has to give it a shot somehow.

Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world.

Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two.

Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series.

If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are.

You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype.

You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots.

Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads.

Or better yet, date a girl who writes.”
― Rosemarie Urquico

“For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow.

Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life.

A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail.

A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live.

When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. Let God speak within you, and your thoughts will grow silent. You are anxious because your path leads away from mother and home. But every step and every day lead you back again to the mother. Home is neither here nor there. Home is within you, or home is nowhere at all.

A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one's suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother.

So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.”
― Herman Hesse, Bäume: Betrachtungen und Gedichte

“On Hayao Miyazaki

I told Miyazaki I love the "gratuitous motion" in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

"We have a word for that in Japanese," he said, "It's called ma. Emptiness. It's there intentionally."

Is that like the "pillow words" that separate phrases in Japanese poetry?

"I don't think it's like the "pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, but if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”
― Roger Ebert

“It is a common belief that we breathe with our lungs alone, but in point of fact, the work of breathing is done by the whole body. The lungs play a passive role in the respiratory process. Their expansion is produced by an enlargement, mostly downward, of the thoracic cavity and they collapse when that cavity is reduced. Proper breathing involves the muscles of the head, neck, thorax, and abdomen. It can be shown that chronic tension in any part of the body's musculature interferes with the natural respiratory movements.
Breathing is a rhythmic activity. Normally a person at rest makes approximately 16 to 17 respiratory incursions a minute. The rate is higher in infants and in states of excitation. It is lower in sleep and in depressed persons. The depth of the respiratory wave is another factor which varies with emotional states. Breathing becomes shallow when we are frightened or anxious. It deepens with relaxation, pleasure and sleep. But above all, it is the quality of the respiratory movements that determines whether breathing is pleasurable or not. With each breath a wave can be seen to ascend and descend through the body. The inspiratory wave begins deep in the abdomen with a backward movement of the pelvis. This allows the belly to expand outward. The wave then moves upward as the rest of the body expands. The head moves very slightly forward to suck in the air while the nostrils dilate or the mouth opens. The expiratory wave begins in the upper part of the body and moves downward: the head drops back, the chest and abdomen collapse, and the pelvis rocks forward.
Breathing easily and fully is one of the basic pleasures of being alive. The pleasure is clearly experienced at the end of expiration when the descending wave fills the pelvis with a delicious sensation. In adults this sensation has a sexual quality, though it does not induce any genital feeling. The slight backward and forward movements of the pelvis, similar to the sexual movements, add to the pleasure. Though the rhythm of breathing is pronounced in the pelvic area, it is at the same time experienced by the total body as a feeling of fluidity, softness, lightness and excitement.
The importance of breathing need hardly be stressed. It provides the oxygen for the metabolic processes; literally it supports the fires of life. But breath as "pneuma" is also the spirit or soul. We live in an ocean of air like fish in a body of water. By our breathing we are attuned to our atmosphere. If we inhibit our breathing we isolate ourselves from the medium in which we exist. In all Oriental and mystic philosophies, the breath holds the secret to the highest bliss. That is why breathing is the dominant factor in the practice of Yoga.”
― Alexander Lowen, The Voice of the Body

“Nothing has changed.
The body is susceptible to pain,
It must eat and breath air and sleep,
It has thin skin and blood right underneath,
An adequate stock of teeth and nails,
Its bones are breakable, its joints are stretchable.
In tortures all this is taken into account.

Nothing has changed.
The body shudders as it is shuddered
Before the founding of Rome and after,
In the twentieth century before and after Christ.
Tortures are as they were, it’s just the earth that’s grown smaller,
And whatever happens seems on the other side of the wall.

Nothing has changed.
It’s just that there are more people,
Besides the old offenses, new ones have appeared,
Real, imaginary, temporary, and none,
But the howl with which the body responds to them,
Was, and is, and ever will be a howl of innocence
According to the time-honored scale and tonality.

Nothing has changed.
Maybe just the manners, ceremonies, dances,
Yet the movement of the hands in protecting the head is the same.
The body writhes, jerks, and tries to pull away
Its legs give out, it falls, the knees fly up,
It turns blue, swells, salivates, and bleeds.

Nothing has changed.
Except of course for the course of boundaries,
The lines of forests, coasts, deserts, and glaciers.
Amid these landscapes traipses the soul,
Disappears, comes back, draws nearer, moves away,
Alien to itself, elusive
At times certain, at others uncertain of its own existence,
While the body is and is and is
And has no place of its own.”
― Wislawa Szymborska

“Sometimes she’d just walk around the city alone. Watch the people, smell the food, the bus exhaust, the smoke coming up through the grating. She’d feel protected somehow, found a sense of belonging in the hectic sprawl. And the next minute she’d feel like the one who couldn’t break the code, hit the right stride, catch the wave. Potholes and traffic and bums, oh my. With all the honking and the hum of movement, the living, breathing blur of noise gently pressing in on her, the great purr of the Metropolitan Cat turning into a dull roar. She’d feel so silent on the inside, her head as quiet as a stretch of sand, a cathedral silently worshipping the life that was all around her, storing it up for later when she needed some 'too much' to draw upon.”
― Carrie Fisher, Surrender the Pink

“When we practice asanas from an interior perspective, we bring our minds back into the body. Instead of directing the body as a separate entity, we relocate our minds within our body and begin to listen to the nonverbal, nonmental information contained within the soma. As we give our full attention to every breath, movement, and the subtlest of sensations, the body becomes mindful, and the mind becomes embodied.”
― Donna Farhi, Bringing Yoga to Life: The Everyday Practice of Enlightened Living

“Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor.”
― Thich Nhat Hang, Stepping into Freedom: An Introduction to Buddhist Monastic Training

“Breath is the bridge which connects life to consciousness, which unites your body to your thoughts. Whenever your mind becomes scattered, use your breath as the means to take hold of your mind again.”
― Thich Nhat Hanh, The Miracle of Mindfulness: An Introduction to the Practice of Meditation

“I want you to tell me about every person you’ve ever been in love with.
Tell me why you loved them,
then tell me why they loved you.

Tell me about a day in your life you didn’t think you’d live through.
Tell me what the word home means to you
and tell me in a way that I’ll know your mother’s name
just by the way you describe your bedroom
when you were eight.

See, I want to know the first time you felt the weight of hate,
and if that day still trembles beneath your bones.

Do you prefer to play in puddles of rain
or bounce in the bellies of snow?
And if you were to build a snowman,
would you rip two branches from a tree to build your snowman arms
or would leave your snowman armless
for the sake of being harmless to the tree?
And if you would,
would you notice how that tree weeps for you
because your snowman has no arms to hug you
every time you kiss him on the cheek?

Do you kiss your friends on the cheek?
Do you sleep beside them when they’re sad
even if it makes your lover mad?
Do you think that anger is a sincere emotion
or just the timid motion of a fragile heart trying to beat away its pain?

See, I wanna know what you think of your first name,
and if you often lie awake at night and imagine your mother’s joy
when she spoke it for the very first time.

I want you to tell me all the ways you’ve been unkind.
Tell me all the ways you’ve been cruel.
Tell me, knowing I often picture Gandhi at ten years old
beating up little boys at school.

If you were walking by a chemical plant
where smokestacks were filling the sky with dark black clouds
would you holler “Poison! Poison! Poison!” really loud
or would you whisper
“That cloud looks like a fish,
and that cloud looks like a fairy!”

Do you believe that Mary was really a virgin?
Do you believe that Moses really parted the sea?
And if you don’t believe in miracles, tell me —
how would you explain the miracle of my life to me?

See, I wanna know if you believe in any god
or if you believe in many gods
or better yet
what gods believe in you.
And for all the times that you’ve knelt before the temple of yourself,
have the prayers you asked come true?
And if they didn’t, did you feel denied?
And if you felt denied,
denied by who?

I wanna know what you see when you look in the mirror
on a day you’re feeling good.
I wanna know what you see when you look in the mirror
on a day you’re feeling bad.
I wanna know the first person who taught you your beauty
could ever be reflected on a lousy piece of glass.

If you ever reach enlightenment
will you remember how to laugh?

Have you ever been a song?
Would you think less of me
if I told you I’ve lived my entire life a little off-key?
And I’m not nearly as smart as my poetry
I just plagiarize the thoughts of the people around me
who have learned the wisdom of silence.

Do you believe that concrete perpetuates violence?
And if you do —
I want you to tell me of a meadow
where my skateboard will soar.

See, I wanna know more than what you do for a living.
I wanna know how much of your life you spend just giving,
and if you love yourself enough to also receive sometimes.
I wanna know if you bleed sometimes
from other people’s wounds,
and if you dream sometimes
that this life is just a balloon —
that if you wanted to, you could pop,
but you never would
‘cause you’d never want it to stop.

If a tree fell in the forest
and you were the only one there to hear —
if its fall to the ground didn’t make a sound,
would you panic in fear that you didn’t exist,
or would you bask in the bliss of your nothingness?

And lastly, let me ask you this:

If you and I went for a walk
and the entire walk, we didn’t talk —
do you think eventually, we’d… kiss?

No, wait.
That’s asking too much —
after all,
this is only our first date.”
― Andrea Gibson

“How I go to the wood

Ordinarily, I go to the woods alone, with not a single
friend, for they are all smilers and talkers and therefore
unsuitable.

I don’t really want to be witnessed talking to the catbirds
or hugging the old black oak tree. I have my way of
praying, as you no doubt have yours.

Besides, when I am alone I can become invisible. I can sit
on the top of a dune as motionless as an uprise of weeds,
until the foxes run by unconcerned. I can hear the almost
unhearable sound of the roses singing.

If you have ever gone to the woods with me, I must love
you very much.”
― Mary Oliver, Swan: Poems and Prose Poems

“The Peace of Wild Things

When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.”
― Wendell Berry, The Selected Poems of Wendell Berry

“The bridge will only take you halfway there, to those mysterious lands you long to see. Through gypsy camps and swirling Arab fair, and moonlit woods where unicorns run free. So come and walk awhile with me and share the twisting trails and wondrous worlds I've known. But this bridge will only take you halfway there. The last few steps you have to take alone.”
― Shel Silverstein

“The whole time I was hoping my silence would fit yours and exclamation marks would gently float across time and space so that boundaries would be crossed; the whole time I was praying you would read my eyes and understand what I was never able to understand. See, we were never about butterflies. We’ve always been about burning stars. All about us is unearthly and radiant.”
― Anna Akhmatova

“This land, although not my native land,
Will be remembered forever.
And the sea's lightly iced,
Unsalty water.

The sand on the bottom is whiter than chalk,
The air is heady, like wine,
And the rosy body of the pines
Is naked in the sunset hour.

And the sunset itself on such waves of ether
That I just can't comprehend
Whether it is the end of the day, the end of the world,
Or the mystery of mysteries in me again.”
― Anna Akhmatova, The Complete Poems of Anna Akhmatova

“I've learned to live simply, wisely

I've learned to live simply, wisely,
To look at the sky and pray to God,
And to take long walks before evening
To wear out this useless anxiety.


When the burdocks rustle in the ravine
And the yellow-red clusters of rowan nod,
I compose happy verses
About mortal life, mortal and beautiful life.

I return. The fluffy cat
Licks my palm and sweetly purrs.
And on the turret of the sawmill by the lake
A bright flame flares.

The quiet is cut, occasionally,
By the cry of a stork landing on the roof.
And if you were to knock at my door,
It seems to me I wouldn't even hear.
(English version by Judith Hemschemeyer
Original Language Russian)”
― Anna Akhmatova

“As a drop in the ocean you take part in the current, ebb and flow. You swell slowly on the land and slowly sink back again in interminably slow breaths. You wander vast distances in blurred currents and wash up on strange shores, not knowing how you got there. You mount the billows of huge storms and are swept back again into the depths. And you do not know how this happens to you. You had thought that your movement came from you and that it needed your decisions and efforts, so that you could get going and make progress. But with every conceivable effort you would never have achieved that movement and reached those areas to which the sea and the great wind of the world brought you.

From endless blue plains you sink into black depths; luminous fish draw you, marvellous branches twine around you from above. You slip through columns and twisting, wavering, dark-leaved plants, and the sea takes you up again in bright green water to white, sandy coasts, and a wave foams you ashore and swallows you back again, and a wide smooth swell lifts you softly and leads you again to new regions, to twisting plants, to slowly creeping slimy polyps, and to green water and white sand and breaking surf.

But from far off your heights shine to you above the sea in a golden light, like the moon emerging from the tide, and you become aware of yourself from afar. And longing seizes you and the will for your own movement. You want to cross over from being to becoming, since you have recognized the breath of the sea, and its flowing, that leads you here and there without your ever adhering; you have also recognized its surge that bears you to alien shores and carries you back, and gargles you up and down.

You saw that was the life of the whole and the death of each individual. You felt yourself entwined in the collective death, from death to the earth’s deepest place, from death in your own strangely breathing depths. Oh – you long to be beyond; despair and mortal fear seize you in this death that breathes slowly and streams back and forth eternally. All this light and dark, warm, tepid, and cold water, all these wavy, swaying, twisting plantlike animals and bestial plants, all these nightly wonders become a horror to you, and you long for the sun, for light dry air, for firm stones, for a fixed place and straight lines, for the motionless and firmly held, for rules and preconceived purpose, for singleness and your own intent.”
― C.G. Jung, The Red Book: Liber Novus

“You love the sea, don’t you, Captain?”“Yes, I love it! The sea is everything. It covers seven-tenths of the globe. Its breath is pure and healthy. It is an immense desert where a man is never alone, for he can feel life quivering all about him. The sea is only a receptacle for all the prodigious, supernatural things that exist inside it; it is only movement and love; it is the living infinite, as one of your poets has said. And in fact, Professor, it contains the three kingdoms of nature—mineral, vegetable and animal. This last is well represented by the four groups of zoophytes, by the three classes of articulata, by the five classes of mollusks, by three classes of vertebrates, mammals and reptiles, and those innumerable legions of fish, that infinite order of animals which includes more than thirteen thousand species, only one-tenth of which live in fresh water. The sea is a vast reservoir of nature. The world, so to speak, began with the sea, and who knows but that it will also end in the sea! There lies supreme tranquillity. The sea does not belong to tyrants. On its surface, they can still exercise their iniquitous rights, fighting, destroying one another and indulging in their other earthly horrors. But thirty feet below its surface their power ceases, their influence dies out and their domination disappears! Ah, Monsieur, one must live—live within the ocean! Only there can one be independent! Only there do I have no master! There I am free!”
― Jules Verne, 20,000 Leagues Under the Sea and other Classic Novels