Artist Child Quotes

Every child is an artist. The problem is how to remain an artist once he grows up.

So many people will tell you ”no”, and you need to find something you believe in so hard that you just smile and tell them ”watch me”. Learn to take rejection as motivation to prove people wrong. Be unstoppable. Refuse to give up, no matter what. It’s the best skill you can ever learn.

A woman told me her child was autistic, and I thought she said artistic. So I said, 'Oh great. I'd like to see some of the things he's done.

I dreamed I saw my maternal grandmother sitting by the bank of a swimming pool, that was also a river. In real life, she had been a victim of Alzheimer’s disease, and had regressed, before her death, to a semi-conscious state. In the dream, as well, she had lost her capacity for self-control. Her genital region was exposed, dimly; it had the appearance of a thick mat of hair. She was stroking herself, absent-mindedly. She walked over to me, with a handful of pubic hair, compacted into something resembling a large artist’s paint-brush. She pushed this at my face. I raised my arm, several times, to deflect her hand; finally, unwilling to hurt her, or interfere with her any farther, I let her have her way. She stroked my face with the brush, gently, and said, like a child, “isn’t it soft?” I looked at her ruined face and said, “yes, Grandma, it’s soft.

And this is what being an artist means, being a poet? To sacrifice yourself for your art, sacrifice your heart for your art, because it’s only through something broken that something beautiful can grow.

Ever since I was very young, as far back as I can remember, I have loved making pictures. I knew even as a child that, when I grew up, I would be an artist of some kind. The lovely feeling of my pencil touching paper, a crayon making a star shape in my sketchbook, or my brush dipping into bright and colorful paints — these things affect me as joyfully today as they did all those years ago.

Find what makes you happy and go for it with all your heart. It will be hard, but I promise it will be worth it.

When you forget about the how, go back to the why.

The real wonders of life lie in the depths. Exploring the depths for truths is the real wonder which the child and the artist know: magic and power lie in truth.

It will not always be easy, but it will always be beautiful.

Every mother should be a true artist, who knows how to weave into her child's life images of grace and beauty, the true poet capable of writing on the soul of childhood the harmony of love and truth, and teaching it how to produce the grandest of all poems - the poetry of a true and noble life.

Some people majored in English to prepare for law school. Others became journalists. The smartest guy in the honors program, Adam Vogel, a child of academics, was planning on getting a Ph.D. and becoming an academic himself. That left a large contingent of people majoring in English by default. Because they weren't left-brained enough for science, because history was too try, philosophy too difficult, geology too petroleum-oriented, and math too mathematical - because they weren't musical, artistic, financially motivated, or really all that smart, these people were pursuing university degrees doing something no different from what they'd done in first grade: reading stories. English was what people who didn't know what to major in majored in.

There is no mode of action, no form of emotion, that we do not share with the lower animals. It is only by language that we rise above them, or above each other - by language, which is the parent, and not the child, of thought.

We are, not metaphorically but in very truth, a Divine work of art, something that God is making, and therefore something with which He will not be satisfied until it has a certain character. Here again we come up against what I have called the “intolerable compliment.” Over a sketch made idly to amuse a child, an artist may not take much trouble: he may be content to let it go even though it is not exactly as he meant it to be. But over the great picture of his life—the work which he loves, though in a different fashion, as intensely as a man loves a woman or a mother a child—he will take endless trouble—and would doubtless, thereby give endless trouble to the picture if it were sentient. One can imagine a sentient picture, after being rubbed and scraped and re-commenced for the tenth time, wishing that it were only a thumb-nail sketch whose making was over in a minute. In the same way, it is natural for us to wish that God had designed for us a less glorious and less arduous destiny; but then we are wishing not for more love but for less.

The burden God places on each of us is to become who we are meant to be. We are most fully ourselves when Christ most fully lives in us and through us. The mother shines brightest with her child in her arms, the father when he forgives his wandering son, and the artist when he or she is drawing attention to grace, by showing the pinprick of light overcoming the darkness in the painting, or the story, or the song. The world knows darkness. Christ came into the world to show us light. I have seen it, have been blinded by it, invaded by it. I will tell its story.

I was free with every road as my home. No limitations and no commitments. But then summer passed and winter came and I fell short for safety. I fell for its spell, slowly humming me to sleep, because I was tired and small, too weak to take or handle those opinions and views, attacking me from every angle. Against my art, against my self, against my very way of living. I collected my thoughts, my few possessions and built isolated walls around my values and character. I protected my own definition of beauty and success like a treasure at the bottom of the sea, for no one saw what I saw, or felt the same as I did, and so I wanted to keep to myself. You hide to protect yourself.

You cannot trade the courage needed to live every moment for immunity from life's sorrows. We may say we know this but ours is the culture of the deal-making mind. From infancy, we have breathed in the belief that there is always a deal to be made, a bargain to be struck. Eventually, we believe, if we do the right thing, if we are good enough, clever enough, sincere enough, work hard enough, we will be rewarded. There are different verses to this song - if you are sorry for your sins and try hard not to sin again, you will go to heaven; if you do your daily practise, clean up your diet, heal your inner child, ferret out all your emotional issue's, focus your intent, come into alignment with the world around you, hone your affirmations, find and listen to the voice of your higher self, you will be rewarded with vibrant health, abundant prosperity, loving relations and inner peace - in other words, heaven! We know that what we do and how we think affects the quality of our lives. Many things are clearly up to us. And many others are not. I can see no evidence that the universe works on a simple meritocratic system of cause and effect. Bad things happen to good people - all the time. Monetary success does come to some who do not do what they love, as well as to some who are unwilling or unable to see the harm they do to the planet or others. Illness and misfortune come to some who follow their soul's desire. Many great artist's have been poor. Great teachers have lived in obscurity. My invitation, my challenge to you here, is to journey into a deeper intimacy with the world and your life without any promise of safety or guarantee of reward beyond the intrinsic value of full participation.

Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourself and let your very existence be your song, your poem, your story. Let your very identity be your book. Let the way people say your name sound like the sweetest melody.

Want the change. Be inspired by the flame where everything shines as it disappears. The artist, when sketching, loves nothing so much as the curve of the body as it turns away. What locks itself in sameness has congealed. Is it safer to be gray and numb? What turns hard becomes rigid and is easily shattered. Pour yourself like a fountain. Flow into the knowledge that what you are seeking finishes often at the start, and, with ending, begins. Every happiness is the child of a separation it did not think it could survive. And Daphne, becoming a laurel, dares you to become the wind. - Sonnets To Orpheus, Part Two, XII

The artist is a servant who is willing to be a birthgiver. In a very real sense the artist (male or female) should be like Mary who, when the angel told her that she was to bear the Messiah, was obedient to the command. ...I believe that each work of art, whether it is a work of great genius, or something very small, comes to the artist and says, "Here I am. Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary. As for Mary, she was little more than a child when the angel came to her; she had not lost her child's creative acceptance of the realities moving on the other side of the everyday world. We lose our ability to see angels as we grow older, and that is a tragic loss.

Being passionate about something is the most beautiful characteristic you can develop.

My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.

You might say “no, you will never do that, that’s not you, not who I know, not who I thought you were”, and I will say "watch me".

While Catholics usually paint the Savior suffering, Mormon artists tend to depict Him as a rugged Idaho mountain man – the kind of Jesus you wouldn’t mind dating. In this particular picture he was healing a blonde child, because blondes were big in Jerusalen in 33 A.D. (131)

The reward for attention is always healing. It may begin as the healing of a particular pain—the lost lover, the sickly child, the shattered dream. But what is healed, finally, is the pain that underlies all pain: the pain that we are all, as Rilke phrases it, “unutterably alone.” More than anything else, attention is an act of connection.

A man who seeks only the light, while shirking his responsibilities, will never find illumination. And one who keep his eyes fixed upon the sun ends up blind..." "It doesn't matter what others think -because that's what they will think, in any case. So, relax. Let the universe move about. Discover the joy of surprising yourself." "The master says: “Make use of every blessing that God gave you today. A blessing cannot be saved. There is no bank where we can deposit blessings received, to use them when we see fit. If you do not use them, they will be irretrievably lost. God knows that we are creative artists when it comes to our lives. On one day, he gives us clay for sculpting, on another, brushes and canvas, or a pen. But we can never use clay on our canvas, nor pens in sculpture. Each day has its own miracle. Accept the blessings, work, and create your minor works of art today. Tomorrow you will receive others.” “You are together because a forest is always stronger than a solitary tree,” the master answered. "The forest conserves humidity, resists the hurricane and helps the soil to be fertile. But what makes a tree strong is its roots. And the roots of a plant cannot help another plant to grow. To be joined together in the same purpose is to allow each person to grow in his own fashion, and that is the path of those who wish to commune with God.” “If you must cry, cry like a child. You were once a child, and one of the first things you learned in life was to cry, because crying is a part of life. Never forget that you are free, and that to show your emotions is not shameful. Scream, sob loudly, make as much noise as you like. Because that is how children cry, and they know the fastest way to put their hearts at ease. Have you ever noticed how children stop crying? They stop because something distracts them. Something calls them to the next adventure. Children stop crying very quickly. And that's how it will be for you. But only if you can cry as children do.” “If you are traveling the road of your dreams, be committed to it. Do not leave an open door to be used as an excuse such as, 'Well, this isn't exactly what I wanted. ' Therein are contained the seeds of defeat. “Walk your path. Even if your steps have to be uncertain, even if you know that you could be doing it better. If you accept your possibilities in the present, there is no doubt that you will improve in the future. But if you deny that you have limitations, you will never be rid of them. “Confront your path with courage, and don't be afraid of the criticism of others. And, above all, don't allow yourself to become paralyzed by self-criticism. “God will be with you on your sleepless nights, and will dry your tears with His love. God is for the valiant.” "Certain things in life simply have to be experienced -and never explained. Love is such a thing." "There is a moment in every day when it is difficult to see clearly: evening time. Light and darkness blend, and nothing is completely clear nor completely dark." "But it's not important what we think, or what we do or what we believe in: each of us will die one day. Better to do as the old Yaqui Indians did: regard death as an advisor. Always ask: 'Since I'm going to die, what should I be doing now?'” "When we follow our dreams, we may give the impression to others that we are miserable and unhappy. But what others think is not important. What is important is the joy in our heart.” “There is a work of art each of us was destined to create. That is the central point of our life, and -no matter how we try to deceive ourselves -we know how important it is to our happiness. Usually, that work of art is covered by years of fears, guilt and indecision. But, if we decide to remove those things that do not belong, if we have no doubt as to our capability, we are capable of going forward with the mission that is our destiny. That is the only way to live with honor.

A scientist, an artist, a citizen is not like a child who needs papa methodology and mama rationality to give him security and direction; he can take care of himself, for he is the inventor not only of laws, theories, pictures, plays, forms of music, ways of dealing with his fellow man, institutions but also of entire world views, he is the inventor of entire forms of life.

If there's anything I'm proud of in my work--it's not that I draw better; there's so many better graphic artists than me--or that I write better, no. It's--and I'm not saying I know the truth, because what the hell is that? But what I got from Ruth and Dave, a kind of fierce honesty, to not let the kid down, to not let the kid get punished, to not suffer the child to be dealt with in a boring, simpering, crushing-of-the-spirit kind of way.

The myth of 'You have to be a tortured artist' is a myth," says Lin. "You can have a happy, healthy life and still go to all these crazy dark places in your writing, and then go play with your child and hug your wife.

Perfect love is rare indeed - for to be a lover will require that you continually have the subtlety of the very wise, the flexibility of the child, the sensitivity of the artist, the understanding of the philosopher, the acceptance of the saint, the tolerance of the scholar and the fortitude of the certain.

My writing, it’s my way of making sense of everything. My way to feel whole. May I never be complete and may I never feel content – please, let me always have the need, always have the urge to write. 

But when you talk about Nabokov and Coover, you’re talking about real geniuses, the writers who weathered real shock and invented this stuff in contemporary fiction. But after the pioneers always come the crank turners, the little gray people who take the machines others have built and just turn the crank, and little pellets of metafiction come out the other end. The crank-turners capitalize for a while on sheer fashion, and they get their plaudits and grants and buy their IRAs and retire to the Hamptons well out of range of the eventual blast radius. There are some interesting parallels between postmodern crank-turners and what’s happened since post-structural theory took off here in the U.S., why there’s such a big backlash against post-structuralism going on now. It’s the crank-turners fault. I think the crank-turners replaced the critic as the real angel of death as far as literary movements are concerned, now. You get some bona fide artists who come along and really divide by zero and weather some serious shit-storms of shock and ridicule in order to promulgate some really important ideas. Once they triumph, though, and their ideas become legitimate and accepted, the crank-turners and wannabes come running to the machine, and out pour the gray pellets and now the whole thing’s become a hollow form, just another institution of fashion. Take a look at some of the critical-theory Ph.D. dissertations being written now. They’re like de Man and Foucault in the mouth of a dull child. Academia and commercial culture have somehow become these gigantic mechanisms of commodification that drain the weight and color out of even the most radical new advances. It’s a surreal inversion of the death-by-neglect that used to kill off prescient art. Now prescient art suffers death-by acceptance. We love things to death, now. Then we retire to the Hamptons.

... because one day, maybe one day, if I learned how to write clear enough, sing loud enough, be strong enough, I could explain myself in a way that made sense and then maybe one day, one day, someone out there would hear and recognise her or himself and I could let them know that they are not alone. Just like that song I had on repeat for several nights as I walked lonely on empty streets, let me know that I was not alone and that’s how it starts.

I discovered that when one follows the artist's eye one sees unexpected treasures in so many seemingly ordinary scenes.

What must it be, then, to bear the manifold tortures of hell forever? Forever! For all eternity! Not for a year or an age but forever. Try to imagine the awful meaning of this. You have often seen the sand on the seashore. How fine are its tiny grains! And how many of those tiny grains go to make up the small handful which a child grasps in its play. Now imagine a mountain of that sand, a million miles high, reaching from the earth to the farthest heavens, and a million miles broad, extending to remotest space, and a million miles in thickness, and imagine such an enormous mass of countless particles of sand multiplied as often as there are leaves in the forest, drops of water in the mighty ocean, feathers on birds, scales on fish, hairs on animals, atoms in the vast expanse of air. And imagine that at the end of every million years a little bird came to that mountain and carried away in its beak a tiny grain of that sand. How many millions upon millions of centuries would pass before that bird had carried away even a square foot of that mountain, how many eons upon eons of ages before it had carried away all. Yet at the end of that immense stretch time not even one instant of eternity could be said to have ended. At the end of all those billions and trillions of years eternity would have scarcely begun. And if that mountain rose again after it had been carried all away again grain by grain, and if it so rose and sank as many times as there are stars in the sky, atoms in the air, drops of water in the sea, leaves on the trees, feathers upon birds, scales upon fish, hairs upon animals – at the end of all those innumerable risings and sinkings of that immeasurably vast mountain not even one single instant of eternity could be said to have ended; even then, at the end of such a period, after that eon of time, the mere thought of which makes our very brain reel dizzily, eternity would have scarcely begun.

An artist must be passionately in love with her art. Obsessed or possessed ― go mad for what you believe in.

It’s called ”being an artist” for a reason; it’s something YOU ARE. It’s how you live. It’s WHO you are. How you spend your life and what you leave behind.

Ending a novel is almost like putting a child to sleep – it can't be done abruptly." [Colm Tóibín, Novelist – Portrait of the Artist, The Guardian, 19 February 2013]

Freedom can choke you if you don't know how to handle it.

The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.

I’d stumbled upon the inner sanctuary of a woman who loved the world. Loved the faces of people she saw. Loved the way a hand looked when it was relaxed. Loved the way a woman looked when she touched her own face. The way a man looked when he opened himself to her. Loved the way wind changed a tree or a field or a child’s hair. The beauty of a neck meeting a shoulder. The softness of a smile that wasn’t forced.

You asked for a loving God: you have one... The consuming fire Himself, the Love that made the worlds, persistent as the artist's love for his work and despotic as a man's love for a dog, provident and venerable as a father's love for a child, jealous, inexorable, exacting as love between the sexes. How this should be, I do not know: it passes reason to explain why any creatures, not to say creatures such as we, should have a value so prodigious in their Creator's eyes.

You see a child play, and it is so close to seeing an artist paint, for in play a child says things without uttering a word. You can see how he solves his problems. You can also see what's wrong. Young children, especially, have enormous creativity, and whatever's in them rises to the surface in free play.

An I Q cannot measure artistic ability. A potential Picasso may be a flop at objective vocabulary or number tests. An I Q does not measure a capacity for love...How do we teach a child - our own, or those in a classroom to have compassion: to allow people to be different; to understand that like is not equal; to experiment; to laugh: to love.

Every child is an artist. The problem is how to remain an artist once he grows up. PABLO PICASSO

Anybody with artistic ambitions is always trying to reconnect with the way they saw things as a child.

When I see individuals so passionate for their chosen field, I feel a very strong sense of belonging. Passion unites us – not just every writer and every chef but every musician, every artist, every man, woman and child who throws themselves into an activity not for money or fame or because it makes any sense at all but because they love it and they must.

THEORY OF MEMORY Long, long ago, before I was a tormented artist, afflicted with longing yet incapable of forming durable attachments, long before this, I was a glorious ruler uniting all of a divided country—so I was told by the fortune-teller who examined my palm. Great things, she said, are ahead of you, or perhaps behind you; it is difficult to be sure. And yet, she added, what is the difference? Right now you are a child holding hands with a fortune-teller. All the rest is hypothesis and dream.

Once in an endless meadow, just able to peer through the tawny haze of the grass tops, the child who was myself had watched a young fox catching mice, an elegant newly minted fox, straight from the hand of God, brilliantly ruddy, with black stockings and a white-tipped brush. The fox heard and turned. I saw its intense vivid mask, its liquid amber eyes. Then it was gone. An image of such beauty and such mysterious sense. The child wept and knew himself an artist.

If I could remove one thing from the world and replace it with something else, I would erase politics and put art in its place. That way, art teachers would rule the world. And since art is the most supreme form of love, beautiful colors and imagery would weave bridges for peace wherever there are walls. Artists, who are naturally heart-driven, would decorate the world with their love, and in that love — poverty, hunger, lines of division, and wars would vanish from the earth forever. Children of the earth would then be free to play, imagine, create, build and grow without bloodshed, terror and fear.

When I was a child, my artist mom told me that there was no such thing as bad art. I know now that this was a complete lie. Yet it was a lie I needed to hear. It informed me that the goal of art was the creative process of discovery, experimentation, and fun. To this day, I cling to this lie as truth—especially when my pictures don’t turn out right.

Being single is like being an artist, not because creating a functional single life is an art form, but because it requires the same close attention to one's singular needs, as well as the will and focus to fulfill them. Just as the artist arranges her life around her creativity, sacrificing conventional comforts and even social acceptance, sleeping and eating according to her own rhythms, so that her talent thrives above all else, nurtured the way a child might be, so a single person has to think hard to decipher what makes her happiest and most fulfilled.

Song of myself I am of old and young, of the foolish as much as the wise, Regardless of others, ever regardful of others, Maternal as well as paternal, a child as well as a man, Stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine, One of the Nation of many nations, the smallest the same and the largest the same, A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live, A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth, A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian, A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye; At home on Kanadian snow-shoes or up in the bush, or with fishermen off Newfoundland, At home in the fleet of ice-boats, sailing with the rest and tacking, At home on the hills of Vermont or in the woods of Maine, or the Texan ranch, Comrade of Californians, comrade of free North-Westerners, (loving their big proportions,) Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat, A learner with the simplest, a teacher of the thoughtfullest, A novice beginning yet experient of myriads of seasons, Of every hue and caste am I, of every rank and religion, A farmer, mechanic, artist, gentleman, sailor, quaker, Prisoner, fancy-man, rowdy, lawyer, physician, priest. I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place.

The worst feature of the Common Core is its anti-humanistic, utilitarian approach to education. It mistakes what a child is and what a human being is for. That is why it has no use for poetry, and why it boils the study of literature down to the scrambling up of some marketable "skill" [...] you don't read good books to learn about what literary artists do...you learn about literary art so that you can read more good books and learn more from them. It is as if Thomas Gradgrind had gotten hold of the humanities and turned them into factory robotics.

Stay Stupid The three dumbest guys I can think of: Charles Lindbergh, Steve Jobs, Winston Churchill. Why? Because any smart person who understood how impossibly arduous were the tasks they had set themselves would have pulled the plug before he even began. Ignorance and arrogance are the artist and entrepreneur’s indispensable allies. She must be clueless enough to have no idea how difficult her enterprise is going to be—and cocky enough to believe she can pull it off anyway. How do we achieve this state of mind? By staying stupid. By not allowing ourselves to think. A child has no trouble believing the unbelievable, nor does the genius or the madman. It’s only you and I, with our big brains and our tiny hearts, who doubt and overthink and hesitate. Don’t think. Act.

There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness. The very language about magic seems to be talking as much about writing or art as it is about supernatural events. A grimmoir for example, the book of spells is simply a fancy way of saying grammar. Indeed, to cast a spell, is simply to spell, to manipulate words, to change people's consciousness. And I believe that this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a Shaman. I believe that all culture must have arisen from cult. Originally, all of the faucets of our culture, whether they be in the arts or sciences were the province of the Shaman. The fact that in present times, this magical power has degenerated to the level of cheap entertainment and manipulation, is, I think a tragedy. At the moment the people who are using Shamanism and magic to shape our culture are advertisers. Rather than try to wake people up, their Shamanism is used as an opiate to tranquilize people, to make people more manipulable. Their magic box of television, and by their magic words, their jingles can cause everyone in the country to be thinking the same words and have the same banal thoughts all at exactly the same moment. In all of magic there is an incredibly large linguistic component. The Bardic tradition of magic would place a bard as being much higher and more fearsome than a magician. A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a Bard were to place not a curse upon you, but a satire, then that could destroy you. If it was a clever satire, it might not just destroy you in the eyes of your associates; it would destroy you in the eyes of your family. It would destroy you in your own eyes. And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries. Then years after you were dead people still might be reading it and laughing at you and your wretchedness and your absurdity. Writers and people who had command of words were respected and feared as people who manipulated magic. In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art and writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being; that can change a society. They are seen as simple entertainment; things with which we can fill 20 minutes, half an hour, while we’re waiting to die. It’s not the job of the artist to give the audience what the audience wants. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artists. It is the job of artists to give the audience what they need.

Grief needs an outlet. Creativity offers one. Some psychiatrists see mourning and creativity as the perfect marriage, the thought processes of one neatly complementing the other. A child’s contradictory impulses to both acknowledge and deny a parent’s death represents precisely the type of rich ambiguity that inspires artistic expression.

This is how talents weave from generation to generation, how the shadow stretches, and how an artist born nearly a hundred years earlier begins to fill the soul of a child who shares his name.

Without solitude, Love will not stay long by your side. Because Love needs to rest, so that it can journey through the heavens and reveal itself in other forms. Without solitude, no plant or animal can survive, no soil can remain productive, no child can learn about life, no artist can create, no work can grow and be transformed. Solitude is not the absence of Love, but its complement. Solitude is not the absence of company, but the moment when our soul is free to speak to us and help us decide what to do with our life. Therefore, blessed are those who do not fear solitude, who are not afraid of their own company, who are not always desperately looking for something to do, something to amuse themselves with, something to judge. If you are never alone, you cannot know yourself. And if you do not know yourself, you will begin to fear the void.

My first thought, as a child, was that the artist brings something into the world that didn't exist before, and that he does it without destroying something else. A kind of refutation of the conservation of matter. That still seems to me its central magic, its core of joy.

It is said that children do not distinguish between living and inanimate objects; I believe they do. A child imparts a doll or tin soldier with magical life-breath. The artist animates his work as the child his toys.

Even when in the deepest distress, the actor ultimately cannot cease to think of the impression he and the whole scenic effect is making, even for example at the burial of his own child; he will weep over his own distress and the ways in which it expresses itself, as his own audience. The hypocrite who always plays one and the same role finally ceases to be a hypocrite; for example priests, who as young men are usually conscious or unconscious hypocrites, finally become natural and then really are priests without any affectation; or if the father fails to get that far then perhaps the son does so, employing his father's start and inheriting his habits. If someone obstinately and for a long time wants to appear something it is int he end hard for him to be anything else. The profession of almost every man, even that of the artist, begins with hypocrisy, with an imitation from without, with a copying of what is most effective. He who is always wearing a mask of a friendly countenance must finally acquire a power over benevolent moods without which the impression of friendliness cannot be obtained - and finally these acquire power over him, he is benevolent.

The houses looked like something a child might draw, a row of shaky squares with triangles on top. Add a door, add two windows. Think of putting a tree in the front yard, and then decide against it because branches aren't worth the trouble.

So perhaps the reason I shuddered at the idea of writing something about 'Christian art' is that to paint a picture or to write a story or to compose a song is an incarnational activity. The artist is a servant who is willing to be a birth-giver. In a very real sense the artist (male or female) should be like Mary, who, when the angel told her that she was to bear the Messiah, was obedient to the command. Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says 'Here I am. Enflesh me. Give birth to me.' And the artist either says 'My soul doth magnify the Lord' and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessicarily a conscious one, and not everyone has the humble, courageous obedience of Mary.

Long, long ago, before I was a tormented artist, afflicted with longing yet incapable of forming durable attachments, long before this, I was a glorious ruler uniting all of a divided country—so I was told by the fortune-teller who examined my palm. Great things, she said, are ahead of you, or perhaps behind you; it is difficult to be sure. And yet, she added, what is the difference? Right now you are a child holding hands with a fortune-teller. All the rest is hypothesis and dream.

Was I the rebel kid? The lost college student who just wanted to be accepted? The legalistic man who battled self-righteousness? Was I a husband or a father or a hip-hop artist? Like a tree trunk, all those people were a part of me. They are a part of me. But more than anything, Lecrae is a child who is unconditionally loved by God. I’m a sinner who has been rescued by God from my brokenness and called to glorify the One who has never left my side. That’s who Lecrae is, and that’s who I’ll always be.

unalert yet sometimes suffused through and through by an inward light, is characteristic of the primitive and of the child (and also of those moments of religious and artistic inspiration that occur ever less and less often as a Culture grows older) right

She had set out to break him, as if, unable to equal his value, she could surpass it by destroying it, as if the measure of his greatness would thus become the measure of hers, as if…the vandal who smashed a statue were greater than the artist who made it, as if the murderer who killed a child were greater than the mother who had given it birth.

As regards the artists themselves, most of them gave up their freedom quite lightly, placing their art at the service of someone or something. As a rule, their concerns and their ambitions are those of any old careerist. I thus acquired a total distrust of art and artists, whether they were officially recognised or were endeavouring to become so, and I felt that I had nothing in common with this guild. I had a point of reference which held me elsewhere, namely that magic within art which I had encountered as a child.

But tell me, Taro, don’t you worry at times we might be a little too hasty in following the Americans? I would be the first to agree many of the old ways must now be erased for ever, but don’t you think sometimes some good things are being thrown out with the bad? Indeed, sometimes Japan has come to look like a small child learning from a strange adult.

Artists and artisans both demonstrate with perfect clarity that a person is least able to appropriate for himself those things which are most peculiarly his. His works leave him as birds do the best in which they were hatched. In this respect an architect's fate is the strangest of all. How often he employs his whole intellect and warmth of feeling in the creation of rooms from which he must exclude himself. Royal halls owe their splendor to him, and he may not share in the enjoyment of their finest effects. In temples he draws the line between himself and the holy of holies; the steps he built to ceremonies that lift up the heady, he may no longer climb; just as the goldsmith worships only from afar the monstrance which he wrought in the fire and set with jewels. With the keys of the palace the architect hands over all it's comforts to the wealthy man, and has not the least part in them. Surely in this way art must little by little grow away from the artist, if the work, like a child provided for, no longer teaches back to touch its father.

The reward for attention is always healing. It may begin as the healing of a particular pain—the lost lover, the sickly child, the shattered dream. But what is healed, finally, is the pain that underlies all pain: the pain that we are all, as Rilke phrases it, “unutterably alone.” More than anything else, attention is an act of connection. I learned this the way I have learned most things—quite

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

If one were to list all the cruelties and maltreatments, both physical and emotional, that parents and adults inflict on children under the guise of love, the list would be a long one. But, going beyond such sinister examples, even kissing and hugging may or may not convey to a child that he is loved. Love is a feeling, an emotional state. Artists, writers, philosophers, poets have tried to define it. Marcel Proust says, "Love is space and time measured by the heart." What is space and time? It is the here and now. It is you. As unfortunately I am no poet, I will try to recall from my own experience how it feels to be truly loved by someone. It makes me feel good, it opens me up, it gives me strength, I feel less vulnerable, less lonely, less helpless, less confused, more honest, more rich; it fills me with hope, trust, creative energy and it refuels me. How do I perceive the other person who gives me these feelings? As honest, as one who sees and accepts me for what I really am, who objectively responds without being critical, whose authenticity and values I respect and who respects mine, who is available when needed, who listens and hears, who looks and sees me, who shares herself - who cares. Cares. To care is to put love in action. The way we care for our babies is then how they experience our love.

underneath perfectionism is always an emotion regulation struggle. Underneath “I am the worst artist in the world!” is a child who could envision the picture they wanted to paint and is disappointed in their final product; underneath “I stink at math” is a child who wants to feel capable and instead feels confused; underneath “I let down my team” is a child who can’t access all the moments they played well and is mired in their missed layup. In each case, that disappointment—or the mismatch between what a child wanted to happen and what actually happened—manifests as perfectionism. And, because perfectionism is a sign of an emotion regulation struggle, logic won’t help—we can’t convince a child that her art is great or that math concepts are hard for everyone or that one missed shot doesn’t define an athlete.

Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says, "Here I am, Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary.

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

And yet sometimes she worried about what those musty old books were doing to her. Some people majored in English to prepare for law school. Others became journalists. The smartest guy in the honors program, Adam Vogel, a child of academics, was planning on getting a Ph.D. and becoming an academic himself. That left a large contingent of people majoring in English by default. Because they weren't left-brained enough for science, because history was too dry, philosophy too difficult, geology too petroleum-oriented, and math too mathematical--because they weren't musical, artistic, financially motivated, or really all that smart, these people were pursuing university degrees doing something no different from what they'd done in first grade: reading stories. English was what people who didn't know what to major in majored in.

It showed a tiny baby girl floating in a clear glass vessel. The baby held a silver rose in one hand, a golden rose in the other. On its feet were tiny wings, and drops of red liquid showered down on the baby’s long black hair. Underneath the image was a label written in thick black ink indicating that it was a depiction of the philosophical child—an allegorical representation of a crucial step in creating the philosopher’s stone, the chemical substance that promised to make its owner healthy, wealthy, and wise. The colors were luminous and strikingly well preserved. Artists had once mixed crushed stone and gems into their paints to produce such powerful colors. And the image itself had been drawn by someone with real artistic skill. I had to sit on my hands to keep them from trying to learn more from a touch here and there.

Among us English-speaking peoples especially do the praises of poverty need once more to be boldly sung. We have grown literally afraid to be poor. We despise any one who elects to be poor in order to simplify and save his inner life. If he does not join the general scramble and pant with the money-making street, we deem him spiritless and lacking in ambition. We have lost the power even of imagining what the ancient idealization of poverty could have meant: the liberation from material attachments, the unbribed soul, the manlier indifference, the paying our way by what we are or do and not by what we have, the right to fling away our life at any moment irresponsibly—the more athletic trim, in short, the moral fighting shape. When we of the so-called better classes are scared as men were never scared in history at material ugliness and hardship; when we put off marriage until our house can be artistic, and quake at the thought of having a child without a bank-account and doomed to manual labor, it is time for thinking men to protest against so unmanly and irreligious a state of opinion. It is true that so far as wealth gives time for ideal ends and exercise to ideal energies, wealth is better than poverty and ought to be chosen. But wealth does this in only a portion of the actual cases. Elsewhere the desire to gain wealth and the fear to lose it are our chief breeders of cowardice and propagators of corruption. There are thousands of conjunctures in which a wealth-bound man must be a slave, whilst a man for whom poverty has no terrors becomes a freeman. Think of the strength which personal indifference to poverty would give us if we were devoted to unpopular causes. We need no longer hold our tongues or fear to vote the revolutionary or reformatory ticket. Our stocks might fall, our hopes of promotion vanish, our salaries stop, our club doors close in our faces; yet, while we lived, we would imperturbably bear witness to the spirit, and our example would help to set free our generation. The cause would need its funds, but we its servants would be potent in proportion as we personally were contented with our poverty. I recommend this matter to your serious pondering, for it is certain that the prevalent fear of poverty among the educated classes is the worst moral disease from which our civilization suffers.

By the way, a Bulgarian I met lately in Moscow," Ivan went on, seeming not to hear his brother's words, "told me about the crimes committed by Turks and Circassians in all parts of Bulgaria through fear of a general rising of the Slavs. They burn villages, murder, outrage women and children, they nail their prisoners by the ears to the fences, leave them so till morning, and in the morning they hang them- all sorts of things you can't imagine. People talk sometimes of bestial cruelty, but that's a great injustice and insult to the beasts; a beast can never be so cruel as a man, so artistically cruel. The tiger only tears and gnaws, that's all he can do. He would never think of nailing people by the ears, even if he were able to do it. These Turks took a pleasure in torturing children, -too; cutting the unborn child from the mothers womb, and tossing babies up in the air and catching them on the points of their bayonets before their mothers' eyes. Doing it before the mothers' eyes was what gave zest to the amusement. Here is another scene that I thought very interesting. Imagine a trembling mother with her baby in her arms, a circle of invading Turks around her. They've planned a diversion: they pet the baby, laugh to make it laugh. They succeed, the baby laughs. At that moment a Turk points a pistol four inches from the baby's face. The baby laughs with glee, holds out its little hands to the pistol, and he pulls the trigger in the baby's face and blows out its brains. Artistic, wasn't it? By the way, Turks are particularly fond of sweet things, they say.

Style is not how you write. It is how you do not write like anyone else. * * * How do you know if you're a writer? Write something everyday for two weeks, then stop, if you can. If you can't, you're a writer. And no one, no matter how hard they may try, will ever be able to stop you from following your writing dreams. * * * You can find your writer's voice by simply listening to that little Muse inside that says in a low, soft whisper, "Listen to this... * * * Enter the writing process with a childlike sense of wonder and discovery. Let it surprise you. * * * Poems for children help them celebrate the joy and wonder of their world. Humorous poems tickle the funny bone of their imaginations. * * * There are many fine poets writing for children today. The greatest reward for each of us is in knowing that our efforts might stir the minds and hearts of young readers with a vision and wonder of the world and themselves that may be new to them or reveal something already familiar in new and enlightening ways. * * * The path to inspiration starts Beyond the trails we’ve known; Each writer’s block is not a rock, But just a stepping stone. * * * When you write for children, don't write for children. Write from the child in you. * * * Poems look at the world from the inside out. * * * The act of writing brings with it a sense of discovery, of discovering on the page something you didn't know you knew until you wrote it. * * * The answer to the artist Comes quicker than a blink Though initial inspiration Is not what you might think. The Muse is full of magic, Though her vision’s sometimes dim; The artist does not choose the work, It is the work that chooses him. * * * Poem-Making 101. Poetry shows. Prose tells. Choose precise, concrete words. Remove prose from your poems. Use images that evoke the senses. Avoid the abstract, the verbose, the overstated. Trust the poem to take you where it wants to go. Follow it closely, recording its path with imagery. * * * What's a Poem? A whisper, a shout, thoughts turned inside out. A laugh, a sigh, an echo passing by. A rhythm, a rhyme, a moment caught in time. A moon, a star, a glimpse of who you are. * * * A poem is a little path That leads you through the trees. It takes you to the cliffs and shores, To anywhere you please. Follow it and trust your way With mind and heart as one, And when the journey’s over, You’ll find you’ve just begun. * * * A poem is a spider web Spun with words of wonder, Woven lace held in place By whispers made of thunder. * * * A poem is a busy bee Buzzing in your head. His hive is full of hidden thoughts Waiting to be said. His honey comes from your ideas That he makes into rhyme. He flies around looking for What goes on in your mind. When it is time to let him out To make some poetry, He gathers up your secret thoughts And then he sets them free.

My mother died at eighty-three, of cancer, in pain, her spleen enlarged so that her body was misshapen. Is that the person I see when I think of her? Sometimes. I wish it were not. It is a true image, yet it blurs, it clouds, a truer image. It is one memory among fifty years of memories of my mother. It is the last in time. Beneath it, behind it is a deeper, complex, ever-changing image, made from imagination, hearsay, photographs, memories. I see a little red-haired child in the mountains of Colorado, a sad-faced, delicate college girl, a kind, smiling young mother, a brilliantly intellectual woman, a peerless flirt, a serious artist, a splendid cook—I see her rocking, weeding, writing, laughing — I see the turquoise bracelets on her delicate, freckled arm — I see, for a moment, all that at once, I glimpse what no mirror can reflect, the spirit flashing out across the years, beautiful. That must be what the great artists see and paint. That must be why the tired, aged faces in Rembrandt’s portraits give us such delight: they show us beauty not skin-deep but life-deep.

No purer artist exists or has ever existed than a child freed to imagine. [...] To drive children into labour is to slaughter artists, to scour deathly all wonder, the flickering dart of imagination eager as finches flitting from branch to branch – all crushed to serve grown-up needs and heartless expectations. The adult who demands such a thing is dead inside, devoid of nostalgia's bright dancing colours, so smooth, so delicious, so replete with longing both sweet and bitter – dead inside, yes, and dead outside, too. Corpses in motion, cold with the resentment the undead bear towards all things still alive, all things still warm, still breathing. Pity these ones? Nay, never, never so long as they drive on hordes of children into grisly labour, then sup languid of air upon the myriad rewards.

May you, son, daughter, image of the very Creator God, fearfully and wonderfully made, knit together in your mother’s womb, fully seen, fully known, and fully loved, see with eyes that are open wide. Hear the Voice that speaks from inside of you with ears attuned and mind unshackled. Taste and see the goodness of the One who shall be all and in all. May your heart be opened to the love that formed you and everything else, the love that holds all things together and shall make all things new in the end, and may that love that was broken and poured out for you impel you into the world to break your own self open to be poured out for the world that God so loves. Poured out in acts of justice and mercy, poured out in good and hard work that brings order rather than disorder. Poured out in songs and liturgies, business plans and water colors, child-rearing and policy-making. May your life be a brush in the very hand of God—painting new creation into every nook and cranny of reality that your shadow graces. Be courageous. Be free. Prune that which needs pruning, and water that which thirsts for righteousness. You are the body of Christ, the light of the world. Pick up your hammer. Your brush. Your trumpet. Your skillet. Your pen. Lift up your head. And walk. Run. Dance. Fly. The great Artist, the future God, calls you into being. So go into your world, your valley, your garden, and create with His grace and in His peace. Amen. ________________________

Art is central to all our lives, not just the better-off and educated. . . I know that from my own story, and from the evidence of every child ever born — they all want to hear and to tell stories, to sing, to make music, to act out little dramas, to paint pictures, to make sculptures. This is born in and we breed it out. And then, when we have bred it out, we say that art is elitist, and at the same time we either fetishize art — the high prices, the jargon, the inaccessibility — or we ignore it. The truth is, artist or not, we are all born on the creative continuum, and that is a heritage and a birthright of all of our lives.

The golden rule of fictional prose is that there are no rules - except the ones that each writer sets for him or herself. Repetition and simplicity worked (usually) for Hemingway's artistic purposes. Variation and decoration worked for Nabokov's, especially in Lolita. This novel takes the form of a brilliant piece of special pleading by a man whose attraction to a certain type of pubescent girl, whom he calls a "nymphet", leads him to commit evil deeds. The book aroused controversy on its first publication, and still disturbs, because it gives a seductive eloquence to a child-abuser and murderer. As Humbert Humbert himself says, "You can always count on a murderer for a fancy prose style.

It was obvious that a substance with such fantastic effects on mental perception and on the experience of the outer and inner world would also arouse interest outside medical science, but I had not expected that LSD, with its unfathomably uncanny, profound effects, so unlike the character of a recreational drug, would ever find worldwide use as an inebriant. I had expected curiosity and interest on the part of artists outside of medicine—performers, painters, and writers—but not among people in general. After the scientific publications around the turn of the century on mescaline—which, as already mentioned, evokes psychic effects quite like those of LSD—the use of this compound remained confined to medicine and to experiments within artistic and literary circles. I had expected the same fate for LSD. And indeed, the first non-medicinal self-experiments with LSD were carried out by writers, painters, musicians, and other intellectuals.

As more and more norms disappear from social praxis, literature faces ever-growing difficulties. Its predicament is beginning to resemble that of a child who has discovered that his incredibly understanding parents will let him break with impunity all his toys, indeed everything in the house. The artist cannot create specific prohibitions for himself in order to attack them later in his work; the prohibitions must be real, and hence independent of the writer's choices. And since the relativization of cultural norms has not so far been able to disturb the given characteristics of human biology, that is where writers today seek the still perceptible points of resistance--which is why literature is preoccupied with the theme of sex.

I find that most people serve practical needs. They have an understanding of the difference between meaning and relevance. And at some level my mind is more interested in meaning than in relevance. That is similar to the mind of an artist. The arts are not life. They are not serving life. The arts are the cuckoo child of life. Because the meaning of life is to eat. You know, life is evolution and evolution is about eating. It's pretty gross if you think about it. Evolution is about getting eaten by monsters. Don't go into the desert and perish there, because it's going to be a waste. If you're lucky the monsters that eat you are your own children. And eventually the search for evolution will, if evolution reaches its global optimum, it will be the perfect devourer. The thing that is able to digest anything and turn it into structure to sustain and perpetuate itself, for long as the local puddle of negentropy is available. And in a way we are yeast. Everything we do, all the complexity that we create, all the structures we build, is to erect some surfaces on which to out compete other kinds of yeast. And if you realize this you can try to get behind this and I think the solution to this is fascism. Fascism is a mode of organization of society in which the individual is a cell in the superorganism and the value of the individual is exactly the contribution to the superorganism. And when the contribution is negative then the superorganism kills it in order to be fitter in the competition against other superorganisms. And it's totally brutal. I don't like fascism because it's going to kill a lot of minds I like. And the arts is slightly different. It's a mutation that is arguably not completely adaptive. It's one where people fall in love with the loss function. Where you think that your mental representation is the intrinsically important thing. That you try to capture a conscious state for its own sake, because you think that matters. The true artist in my view is somebody who captures conscious states and that's the only reason why they eat. So you eat to make art. And another person makes art to eat. And these are of course the ends of a spectrum and the truth is often somewhere in the middle, but in a way there is this fundamental distinction. And there are in some sense the true scientists which are trying to figure out something about the universe. They are trying to reflect it. And it's an artistic process in a way. It's an attempt to be a reflection to this universe. You see there is this amazing vast darkness which is the universe. There's all these iterations of patterns, but mostly there is nothing interesting happening in these patterns. It's a giant fractal and most of it is just boring. And at a brief moment in the evolution of the universe there are planetary surfaces and negentropy gradients that allow for the creation of structure and then there are some brief flashes of consciousness in all this vast darkness. And these brief flashes of consciousness can reflect the universe and maybe even figure out what it is. It's the only chance that we have. Right? This is amazing. Why not do this? Life is short. This is the thing we can do.

Last and crowning torture of all the tortures of that awful place is the eternity of hell. Eternity! O, dread and dire word. Eternity! What mind of man can understand it? And remember, it is an eternity of pain. Even though the pain of hell were not so terrible as they are, yet they would become infinite, as they are destined to last for ever. But while they are everlasting they are at the some times, as you know, intolerably intense, unbearably extensive. To bear even the sting of an insect for all eternity would be a dreadful torment. What must it be, then, to bear the manifold tortures of hell for ever? For ever! For all eternity! Not for a year or for an age but for ever. Try to imagine the awful meaning of this. You have often seen the sand on the seashore. How fine are its tiny grains! And how many of those tiny little grains go to make up the small handful which a child grasps in its play. Now imagine a mountain of that sand, a million miles high, reaching from earth to the farthest heavens, and a million miles broad, extending to remotest space, and a million miles in thickness; and imagine such an enormous mass of countless particles of sand multiplies as often as there are leaves in the forest, drops of water in the mighty ocean, feathers on birds, scales on fish, hairs on animals, atoms in the vast expanse of the air: and imagine that at the end of every million years a little bird came to that mountain and carried away in its beak a tiny grain of that sand. How many million upon millions of centuries would pass before that bird had carried away even a square foot of that mountain, how many eons upon eons of ages before it had carried away all? Yet at the end of that immense stretch of time not even one instant of eternity could be said to have ended. At the end of all those billions and trillions of years eternity would have scarcely begun. And if that mountain rose again after it had been all carried away, and i f the bird came again and carried it all away again grain by grain, and if it sop rose and sank as many times as there are stars in the sky, atoms in the air, drops of water in the sea, leaves on the trees, feathers upon birds, scales upon fish, hairs upon animals, at the end of all those innumerable risings and sinkings of that immeasurably vast mountain not one single instant of eternity could be said to have ended; even then, at the end of such a period, after that eon of time the mere thought of which makes our very brain reel dizzily, eternity would scarcely have begun.

For a moment, disconnected by the stitch in his side, he listened not to the sense but to the interplay of the two flexible voices, one masculine and light, one mellow and feminine, unreeling their story, faintly affronted amid mounting hysteria. He opened his eyes. He knew, because his memories of Francis Crawford went back further than those of anyone there, that Lymond was rather drunk, although he could still disguise it. The quick-wittedness, the invention, the faultless comedy timing were present at the price of a little concentration which had closed his outer consciousness for the moment. Jerott, no longer laughing, sat in the shadows and watched the dazzling performance and both the players, blond and brown, artist and acolyte. Acolyte. But Philippa was a child no longer: he had known that since that single evening in Lyon. The severe, clear-skinned profile turned towards Francis might have belonged to any great lady. The brown and brilliant gaze only quizzed him at intervals: she seemed able, Jerott saw, to sense by instinct the course of his fantasy; and as with Lymond, what she was doing at present occupied all her awareness. Then Francis surged to his feet, leaving his robe, and launched into Jason’s querulous tour de force, fractured by interruptions and a mounting fury of incoherent resentment, and finally disintegrating in chaos.

Let us suppose you give your three-year-old daughter a coloring book and a box of crayons for her birthday. The following day, with the proud smile only a little once can muster, she presents her first pictures for inspection. She has colored the sun black, the grass purple, and the sky green. In the lower right-hand corner, she has added woozy wonders of floating slabs and hovering rings; on the left, a panoply of colorful, carefree squiggles. You marvel at her bold strokes and intuit that her psyche is railing against its own cosmic puniness in the face of a big, ugly world. Later at the office, you share with your staff your daughter's first artistic effort and you make veiled references to the early work of van Gogh. A little child can not do a bad coloring; nor can a child of God do bad prayer. "A father is delighted when his little one, leaving off her toys and friends, runs to him and climbs into his arms. As he holds hi little one close to him, he cared little whether the child is looking around, her attention flittering from one thing to another or just settling down to sleep. Essentially the child is choosing to be with the father, confident of the love, the care, the security that is hers in those arms. Our prayer is much like that. We settle down in our Father's arms, in his loving hands. Our minds, our thoughts, our imagination may flit about here and there; we might even fall asleep; but essentially we are choosing for this time to remain intimately with our Father, giving ourselves to him, receiving his love and care, letting him enjoy us as he will. It is very simple prayer. It is very childlike prayer. It is prayer that opens us out to all the delights of the kingdom.

The model stripped down naked and stood with her arms out to her sides while genderless cohorts sprayed her body with large silver canisters of foundation. They wore masks over there faces and sprayed her from head to toe like they were putting out a fire. They airbrushed her into a mono-toned six-foot-two column of a human being with no visible veins, nipples, nails, lips, or eyelashes. When every single thing that was real about the model was gone, the make up artist fug through a suite case of brushes and plowed through hundreds of tubes of flesh colored colors and began to draw human features onto her face. At the same time, the hair stylist meticulously sewed with a needle and thread strand after strand of long blond hairs onto her thin light brown locks, creating a thick full mane of shimmering gold. The model had brought her own chef, who cooked her spinach soup from scratch. The soup was fed to her by one of her lackeys, who existed solely for this purpose. The blond boy stood in front of her, blowing on the soup and then feeding it to her from a small silver child's spoon, just big enough to fit between her lips. the model's mouth was barely open, maybe a quarter of an inch wide, so that she would not crack the flesh colored paint.

No purer artist exists or has ever existed than a child freed to imagine. This scattering of sticks in the dust, that any adult might kick through without a moment’s thought, is in truth the bones of a vast world, clothed, fleshed, a fortress, a forest, a great wall against which terrible hordes surge and are thrown back by a handful of grim heroes. A nest for dragons, and these shiny smooth pebbles are their eggs, each one home to a furious, glorious future. No creation was ever raised as fulfilled, as brimming, as joyously triumphant, and all the machinations and manipulations of adults are the ghostly recollections of childhood and its wonders, the awkward mating to cogent function, reasonable purpose; and each façade has a tale to recount, a legend to behold in stylized propriety. Statues in alcoves fix sombre expressions, indifferent to every passer-by. Regimentation rules these creaking, stiff minds so settled in habit and fear.

I fancy my father thought me an odd child, and had little fondness for me; though he was very careful in fulfilling what he regarded as a parent's duties. But he was already past the middle of life, and I was not his only son. My mother had been his second wife, and he was five-and-forty when he married her. He was a firm, unbending, intensely orderly man, in root and stem a banker, but with a flourishing graft of the active landholder, aspiring to county influence: one of those people who are always like themselves from day to day, who are uninfluenced by the weather, and neither know melancholy nor high spirits. I held him in great awe, and appeared more timid and sensitive in his presence than at other times; a circumstance which, perhaps, helped to confirm him in the intention to educate me on a different plan from the prescriptive one with which he had complied in the case of my elder brother, already a tall youth at Eton. My brother was to be his representative and successor; he must go to Eton and Oxford, for the sake of making connexions, of course: my father was not a man to underrate the bearing of Latin satirists or Greek dramatists on the attainment of an aristocratic position. But intrinsically, he had slight esteem for "those dead but sceptred spirits"; having qualified himself for forming an independent opinion by reading Potter's Aeschylus, and dipping into Francis's Horace. To this negative view he added a positive one, derived from a recent connexion with mining speculations; namely, that scientific education was the really useful training for a younger son. Moreover, it was clear that a shy, sensitive boy like me was not fit to encounter the rough experience of a public school. Mr. Letherall had said so very decidedly. Mr. Letherall was a large man in spectacles, who one day took my small head between his large hands, and pressed it here and there in an exploratory, suspicious manner - then placed each of his great thumbs on my temples, and pushed me a little way from him, and stared at me with glittering spectacles. The contemplation appeared to displease him, for he frowned sternly, and said to my father, drawing his thumbs across my eyebrows - 'The deficiency is there, sir-there; and here,' he added, touching the upper sides of my head, 'here is the excess. That must be brought out, sir, and this must be laid to sleep.' I was in a state of tremor, partly at the vague idea that I was the object of reprobation, partly in the agitation of my first hatred - hatred of this big, spectacled man, who pulled my head about as if he wanted to buy and cheapen it. ("The Lifted Veil")

There's a theme that appears in much of your work," I say to Maurice on my last visit to Connecticut, "and I can only hint at it because it's difficult to formulate or describe. It has something to do with the lines: 'As I went over the water/the water went over me' [from As I Went over the Water] or 'I'm in the milk and the milk's in me' [from Night Kitchen]." "Obviously I have one theme, and it's even in the book I'm working on right now. It's not that I have such original ideas, just that I'm good at doing variations on the same idea over and over again. You can't imagine how relieved I was to find out that Henry James admitted he had only a couple of themes and that all of his books were based on them. That's all we need as artists - one power-driven fantasy or obsession, then to be clever enough to do variations… like a series of variations by Mozart. They're so good that you forget they're based on one theme. The same things draw me, the same images…" "What is this one obsession?" "I'm not about to tell you - not because it's a secret, but because I can't verbalize it." "There's a line by Bob Dylan in 'Just Like a Woman' which talks about being 'inside the rain.'" "Inside the rain?" "When it's raining outside," I explain, "I often feel inside myself, as if I were inside the rain… as if the rain were my self. That's the sense I get from Dylan's image and from your books as well." "It's strange you say that," Maurice answers, "because rain has become one of the potent images of my new book. It sort of scares me that you mentioned that line. Maybe that's what rain means. It's such an important ingredient in this new work, and I've never understood what it meant. There was a thing about me and rain when I was a child: if I could summon it up in one sentence, I'd be happy to. It's such connected tissue…

He was the most astonishing contradiction of components I’d ever encountered. Shy yet fiercely communicative when putting an idea into your head. Vocally astringent regarding his own abilities but not to the point that he couldn’t produce—he was as prolific an artist (yes, an artist, and I never use the term, especially regarding people I like) I’ve ever seen. But I could feel it. Everything he sketched, penciled, inked, made—was a payment, one he could scarcely afford; as if it physically hurt him to put pencil to paper. Yet that only seemed to spur him on, to live far beyond his means. He was unable not to. For Sketch, to draw was to breath, and so the air became lead—silvery in the right light, dark soot in the wrong; heavy, slick and malleable—into shapes he brought together in glorious orchestration, with a child’s eye and a rocket scientist’s precision, all fortified by a furious melancholy, a quiet engine of sourceless shame and humility. When it came to another’s work, he longed to praise it but then couldn’t resist critiquing it all within an inch of its life, analyzing deficiencies with uncontrollable abandon and laser accuracy. He was sharp as his Radio 914 pen nibs, and as pointed. And then he’d apologize. Oh, he would apologize: Oh my GOD, forgive me, please don’t hate me, I’m SORRY, don’t listen to me, why am I saying things, what do I know, I don’t know anything, why do you listen to me you should just tell me to shut UP, I’m awful, forgive me, you hate me, don’t you? Tell the truth. Please don’t hate me. Please don’t. Please.

Most people live in almost total darkness…people, millions of people whom you will never see, who don’t know you, never will know you, people who may try to kill you in the morning, live in a darkness which...if you have that funny terrible thing which every artist can recognize and no artist can define...you are responsible to those people to lighten, and it does not matter what happens to you. You are being used in the way a crab is useful, the way sand certainly has some function. It is impersonal. This force which you didn’t ask for, and this destiny which you must accept, is also your responsibility. And if you survive it, if you don’t cheat, if you don’t lie, it is not only, you know, your glory, your achievement, it is almost our only hope... Because only an artist can tell, and only artists have told since we have heard of man, what it is like for anyone who gets to this planet to survive it. What it is like to die, or to have somebody die; what it is like to be glad... The trouble is that although the artist can do it, the price that he has to pay himself and that you, the audience, must also pay, is a willingness to give up everything, to realize that although you spent twenty-seven years acquiring this house, this furniture, this position, although you spent forty years raising this child, these children, nothing, none of it belongs to you. You can only have it by letting it go. You can only take if you are prepared to give...It is a total risk of everything, of you and who you think you are, who you think you’d like to be, where you think you’d like to go...everything, and this forever, forever.

and confused if someone does not appreciate their niceness. Others often sense this and avoid giving them feedback not only, effectively blocking the nice person’s emotional growth, but preventing risks from being taken. You never know with a nice person if the relationship would survive a conflict or angry confrontation. This greatly limits the depths of intimacy. And would you really trust a nice person to back you up if confrontation were needed? 3. With nice people you never know where you really stand. The nice person allows others to accidentally oppress him. The “nice” person might be resenting you just for talking to him, because really he is needing to pee. But instead of saying so he stands there nodding and smiling, with legs tightly crossed, pretending to listen. 4. Often people in relationship with nice people turn their irritation toward themselves, because they are puzzled as to how they could be so upset with someone so nice. In intimate relationships this leads to guilt, self-hate and depression. 5. Nice people frequently keep all their anger inside until they find a safe place to dump it. This might be by screaming at a child, blowing up a federal building, or hitting a helpless, dependent mate. (Timothy McVeigh, executed for the Oklahoma City bombing, was described by acquaintances as a very, very nice guy, one who would give you the shirt off his back.) Success in keeping the anger in will often manifest as psychosomatic illnesses, including arthritis, ulcers, back problems, and heart disease. Proper Peachy Parents In my work as a psychotherapist, I have found that those who had peachy keen “Nice Parents” or proper “Rigidly Religious Parents” (as opposed to spiritual parents), are often the most stuck in chronic, lowgrade depression. They have a difficult time accessing or expressing any negative feelings towards their parents. They sometimes say to me “After all my parents did for me, seldom saying a harsh word to me, I would feel terribly guilty complaining. Besides, it would break their hearts.” Psychologist Rollo May suggested that it is less crazy-making to a child to cope with overt withdrawal or harshness than to try to understand the facade of the always-nice parent. When everyone agrees that your parents are so nice and giving, and you still feel dissatisfied, then a child may conclude that there must be something wrong with his or her ability to receive love. -§ Emotionally starving children are easier to control, well fed children don’t need to be. -§ I remember a family of fundamentalists who came to my office to help little Matthew with his anger problem. The parents wanted me to teach little Matthew how to “express his anger nicely.” Now if that is not a formula making someone crazy I do not know what would be. Another woman told me that after her stinking drunk husband tore the house up after a Christmas party, breaking most of the dishes in the kitchen, she meekly told him, “Dear, I think you need a breath mint.” Many families I work with go through great anxiety around the holidays because they are going to be forced to be with each other and are scared of resuming their covert war. They are scared that they might not keep the nice garbage can lid on, and all the rotting resentments and hopeless hurts will be exposed. In the words to the following song, artist David Wilcox explains to his parents why he will not be coming home this Thanksgiving: Covert War by David Wilcox