Arts And Culture Quotes

It was culture as class performance, literature fetishised for its ability to take educated people on false emotional journeys, so that they might afterwards feel superior to the uneducated people whose emotional journeys they liked to read about.

The first step - especially for young people with energy and drive and talent, but not money - the first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.

Life is painful. It has thorns, like the stem of a rose. Culture and art are the roses that bloom on the stem. The flower is yourself, your humanity. Art is the liberation of the humanity inside yourself.

There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations - these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub and exploit - immortal horrors or everlasting splendors. This does not mean that we are to be perpetually solemn. We must play. But our merriment must be of that kind (and it is, in fact, the merriest kind) which exists between people who have, from the outset, taken each other seriously - no flippancy, no superiority, no presumption.

We cannot have a world where everyone is a victim. "I'm this way because my father made me this way. I'm this way because my husband made me this way." Yes, we are indeed formed by traumas that happen to us. But then you must take charge, you must take over, you are responsible.

Yoga is the art work of awareness on the canvas of body, mind, and soul.

Without culture, and the relative freedom it implies, society, even when perfect, is but a jungle. This is why any authentic creation is a gift to the future.

There's no such thing as civilization. The word just means the art of living in cities.

Travel is a fantastic self-development tool, because it extricates you from the values of your culture and shows you that another society can live with entirely different values and still function and not hate themselves. This exposure to different cultural values and metrics then forces you to reexamine what seems obvious in your own life and to consider that perhaps it’s not necessarily the best way to live.

It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest most uninteresting person you can talk to may one day be a creature which,if you saw it now, you would be strongly tempted to worship, or else a horror and a corruption such as you now meet, if at all, only in a nightmare. All day long we are, in some degree helping each other to one or the other of these destinations. It is in the light of these overwhelming possibilities, it is with the awe and the circumspection proper to them, that we should conduct all of our dealings with one another, all friendships, all loves, all play, all politics. There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations - these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub, and exploit - immortal horrors or everlasting splendors.

As a culture worker who belongs to an oppressed people my job is to make revolution irresistible.

Most people write me off when they see me. They do not know my story. They say I am just an African. They judge me before they get to know me. What they do not know is The pride I have in the blood that runs through my veins; The pride I have in my rich culture and the history of my people; The pride I have in my strong family ties and the deep connection to my community; The pride I have in the African music, African art, and African dance; The pride I have in my name and the meaning behind it. Just as my name has meaning, I too will live my life with meaning. So you think I am nothing? Don’t worry about what I am now, For what I will be, I am gradually becoming. I will raise my head high wherever I go Because of my African pride, And nobody will take that away from me.

The five marks of the Roman decaying culture: Concern with displaying affluence instead of building wealth; Obsession with sex and perversions of sex; Art becomes freakish and sensationalistic instead of creative and original; Widening disparity between very rich and very poor; Increased demand to live off the state.

The good qualities in our soul are most successfully and forcefully awakened by the power of art. Just as science is the intellect of the world, art is its soul.

To encourage literature and the arts is a duty which every good citizen owes to his country.

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

You can’t enjoy art or books in a hurry.

Your goodness must have some edge to it -- else it is none.

Romeo and Juliet is synonymous with “romance” in our culture today. It is seen as the love story in English-speaking culture, an emotional ideal to live up to. Yet when you really get down to what happens in the story, these kids are absolutely out of their fucking minds. And they just killed themselves to prove it!

Ours is a culture and a time immensely rich in trash as it is in treasures.

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond! I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive. Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial! I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers. I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail. But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant. I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn. I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity. I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

Diversity is an aspect of human existence that cannot be eradicated by terrorism or war or self-consuming hatred. It can only be conquered by recognizing and claiming the wealth of values it represents for all.

We can't make death fun, but we can make learning about it fun. Death is science and history, art and literature. It bridges every culture and unites the whole of humanity!

They sit for hours in the "cafes" warming their precious behinds, and talk without stopping about "culture" "art" "revolution" and so on and so forth, thinking themselves the gods of the world, dreaming the most fantastic nonsenses and poisoning the air with theories and theories that never come true.

What's one more meaningless act of violence on that zoo of a planet? It would be appropriate. When in Rome; burn it.

In art it is hard to say anything as good as saying nothing.

The only interesting ideas are heresies.

We do treat books surprisingly lightly in contemporary culture. We’d never expect to understand a piece of music on one listen, but we tend to believe we’ve read a book after reading it just once.

The guardians of high culture will try to convince you that the arts belong only to a chosen few, but they are wrong and they are also annoying.

Everybody should read fiction… I don’t think serious fiction is written for a few people. I think we live in a stupid culture that won’t educate its people to read these things. It would be a much more interesting place if it would. And it’s not just that mechanics and plumbers don’t read literary fiction, it’s that doctors and lawyers don’t read literary fiction. It has nothing to do with class, it has to do with an anti-intellectual culture that doesn’t trust art.

Democracy is not simply a license to indulge individual whims and proclivities. It is also holding oneself accountable to some reasonable degree for the conditions of peace and chaos that impact the lives of those who inhabit one’s beloved extended community.

Don't forget that in the midst of all your pain and heartache, you are surrounded by beauty, the wonder of creation, art, your music and culture, the sounds of laughter and love, of whispered hopes and celebrations, of new life and transformation, of reconciliation and forgiveness.

Individual cultures and ideologies have their appropriate uses but none of them erase or replace the universal experiences, like love and weeping and laughter, common to all human beings.

All false art, all vain wisdom, lasts its time but finally destroys itself, and its highest culture is also the epoch of its decay.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

Books are, let's face it, better than everything else. If we played Cultural Fantasy Boxing League, and made books go fifteen rounds in the ring against the best that any other art form had to offer, then books would win pretty much every time.

If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.

It is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it.

It is the duty of the United Nations, is to make every international border a garden, a place of art and cultural festival.

The Nobodies Fleas dream of buying themselves a dog, and nobodies dream of escaping poverty: that one magical day good luck will suddenly rain down on them---will rain down in buckets. But good luck doesn't rain down yesterday, today, tomorrow, or ever. Good luck doesn't even fall in a fine drizzle, no matter how hard the nobodies summon it, even if their left hand is tickling, or if they begin the new day with their right foot, or start the new year with a change of brooms. The nobodies: nobody's children, owners of nothing. The nobodies: the no ones, the nobodied, running like rabbits, dying through life, screwed every which way. Who are not, but could be. Who don't speak languages, but dialects. Who don't have religions, but superstitions. Who don't create art, but handicrafts. Who don't have culture, but folklore. Who are not human beings, but human resources. Who do not have faces, but arms. Who do not have names, but numbers. Who do not appear in the history of the world, but in the police blotter of the local paper. The nobodies, who are not worth the bullet that kills them.

No more cars in national parks. Let the people walk. Or ride horses, bicycles, mules, wild pigs--anything--but keep the automobiles and the motorcycles and all their motorized relatives out. We have agreed not to drive our automobiles into cathedrals, concert halls, art museums, legislative assemblies, private bedrooms and the other sanctums of our culture; we should treat our national parks with the same deference, for they, too, are holy places. An increasingly pagan and hedonistic people (thank God!), we are learning finally that the forests and mountains and desert canyons are holier than our churches. Therefore let us behave accordingly.

Books are, let's face it, better than everything else. If we played cultural Fantasy Boxing League, and made books go 15 rounds in the ring against the best that any other art form had to offer, then books would win pretty much every time. Go on, try it. “The Magic Flute” v. Middlemarch? Middlemarch in six. “The Last Supper” v. Crime and Punishment? Fyodor on points. See? I mean, I don’t know how scientific this is, but it feels like the novels are walking it. You might get the occasional exception -– “Blonde on Blonde” might mash up The Old Curiosity Shop, say, and I wouldn’t give much for Pale Fire’s chance against Citizen Kane. And every now and again you'd get a shock, because that happens in sport, so Back to the Future III might land a lucky punch on Rabbit, Run; but I'm still backing literature 29 times out of 30.

Many well-meaning Dutch people have told me in all earnestness that nothing in Islamic culture incites abuse of women, that this is just a terrible misunderstanding. Men all over the world beat their women, I am constantly informed. In reality, these Westerners are the ones who misunderstand Islam. The Quaran mandates these punishments. It gives a legitimate basis for abuse, so that the perpetrators feel no shame and are not hounded by their conscience of their community. I wanted my art exhibit to make it difficult for people to look away from this problem. I wanted secular, non-Muslim people to stop kidding themselves that "Islam is peace and tolerance.

If it is true that love is the pursuit in another of qualities we lack in ourselves, then in our love of someone from another culture, one ambition may be to weld ourselves more closely to values missing from our own culture.

What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained to its inhabitants.

The alternative to appropriation is a world in which artists only reference their own cultures." "That's an oversimplification of the issue." "The alternative to appropriation is a world where white European people make art about white European people with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world don't you? I'm terrified of that world and I don't want to live in a that world, and as a mixed race person, I literally don't exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Korea Town Los Angeles and as any mixed race person will tell you-- to be half of two things is to be whole of nothing.

Most people see the problem of love primarily as that of being loved , rather than that of loving , of one's capacity to love. Hence the problem to them is how to be loved, how to be lovable. In pursuit of this aim they follow several paths. One, which is especially used by men, is to be successful, to be as powerful and rich as the social margin of one's position permits. Another, used especially by women, is to make oneself attractive, by cultivating one's body, dress, etc. .... Many of the ways to make oneself lovable are the same as those used to make oneself successful, to 'win friends and influence people'. As a matter of fact, what most people in our culture mean by being lovable is essentially a mixture between being popular and having sex appeal.

Our culture today is obsessively focused on unrealistically positive expectations: Be happier. Be healthier. Be the best, better than the rest. Be smarter, faster, richer, sexier, more popular, more productive, more envied, and more admired. Be perfect and amazing and crap out twelve-karat-gold nuggets before breakfast each morning while kissing your selfie-ready spouse and two and a half kids goodbye. Then fly your helicopter to your wonderfully fulfilling job, where you spend your days doing incredibly meaningful work that’s likely to save the planet one day. But

To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That’s what lasts. That’s what continues to feed people and give them an idea of something better.

Our task as image-bearing, God-loving, Christ-shaped, Spirit-filled Christians, following Christ and shaping our world, is to announce redemption to a world that has discovered its fallenness, to announce healing to a world that has discovered its brokenness, to proclaim love and trust to a world that knows only exploitation, fear and suspicion...The gospel of Jesus points us and indeed urges us to be at the leading edge of the whole culture, articulating in story and music and art and philosophy and education and poetry and politics and theology and even--heaven help us--Biblical studies, a worldview that will mount the historically-rooted Christian challenge to both modernity and postmodernity, leading the way...with joy and humor and gentleness and good judgment and true wisdom. I believe if we face the question, "if not now, then when?" if we are grasped by this vision we may also hear the question, "if not us, then who?" And if the gospel of Jesus is not the key to this task, then what is?

Ironically, I believe Picasso was right. I believe we could paint a better world if we learned to see it from all perspectives, as many perspectives as we possibly could. Because diversity is strength. Difference is a teacher. Fear difference, you learn nothing. Picasso’s mistake was his arrogance. He assumed he could represent all of the perspectives. And our mistake was to invalidate the perspective of a 17-year-old girl because we believed her potential would never equal his. Hindsight is a gift. Stop wasting my time. A 17-year-old girl is just never, ever, ever in her prime! Ever. I am in my prime. Would you test your strength out on me? There is no way anyone would dare test their strength out on me because you all know there is nothing stronger than a broken woman who has rebuilt herself.

It may be possible for each to think too much of his own potential glory hereafter; it is hardly possible for him to think too often or too deeply about that of his neighbor. The load, or weight, or burden of my neighbor's glory should be laid daily on my back, a load so heavy that only humility can carry it, and the backs of the proud will be broken. ... "It is in light of these overwhelming possibilities, it is with the awe and the circumspection proper to them, that we should conduct all our dealings with one another, all friendships, all loves, all play, all politics. There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations -- these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub and exploit. ... Next to the Blessed Sacrament itself, your neighbor is the holiest object presented to your senses.

We should free ourselves from the narrowness of being related only to those familiar to us, either by the fact that they are blood relations or, in a larger sense, that we eat the same food, speak the same language, and have the same “ common sense.” Knowing men in the sense of compassionate and empathetic knowledge requires that we get rid of the narrowing ties of a given society, race or culture and penetrate to the depth of that human reality in which we are all nothing but human. True compassion and knowledge of man has been largely underrated as a revolutionary factor in the development of man, just as art has been. It is a noteworthy phenomenon that in the development of capitalism and its ethics, compassion (or mercy) ceases to be a virtue.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

...you are surrounded by beauty, the wonder of Creation, art, your music and culture, the sounds of laughter and love, of whispered hopes and celebrations, of new life and transformation, of reconciliation and forgiveness. These also are the results of your choices and every choice matters, even the hidden ones.

Scholars have argued that without humanism the Reformation could not have succeeded, and it is certainly difficult to imagine the Reformation occurring without the knowledge of languages, the critical handling of sources, the satirical attacks on clerics and scholastics, and the new national feeling that a generation of humanists provided. On the other hand, the long-term success of the humanists owed something to the Reformation. In Protestant schools and universities classical culture found a permanent home. The humanist curriculum, with its stress on languages and history, became a lasting model for the arts curriculum.

Its culture: the fruit of its life, the product of its own efforts in thought and art. This culture is not international. It is the expression of the national genius, of the blood. The culture is international in its brilliance but national in origin. Someone made a fine comparison: bread and wheat may be internationally consumed, but they always bear the imprint of the soil from which they came.

People today are trying to hang on to the dignity of man, but they do not know how to, because they have lost the truth that man is made in the image of God. . . . We are watching our culture put into effect the fact that when you tell men long enough that they are machines, it soon begins to show in their actions. You see it in our whole culture -- in the theater of cruelty, in the violence in the streets, in the death of man in art and life.

If you want to understand what’s most important to a society, don’t examine its art or literature, simply look at its biggest buildings.” In medieval societies, the biggest buildings were its churches and palaces; using Campbell’s method, we can assume these were feudal cultures that revered their leaders and worshipped God. In modern Western cities, the biggest buildings are the banks—bloody great towers that dominate the docklands—and the shopping centers, which architecturally ape the cathedrals they’ve replaced: domes, spires, eerie celestial calm, fountains for fonts, food courts for pews.

Could it be that God was an extra-terrestrial? What do we mean when we say that heaven is in the clouds? From Jesus Christ to Elvis Presley, every culture tells us of high-flying bird men who zoom around the world creating magnificent works of art and choosing willing followers to share in the eternal glory from beyond the stars. Can all these related phenomena merely be dismissed as coincidence?

The Nobodies Who are not, but could be. Who don't speak languages, but dialects. Who don't have religions, but superstitions. Who don't create art, but handicrafts. Who don't have culture, but folklore. Who are not human beings, but human resources. Who do not have faces, but arms. Who do not have names, but numbers. Who do not appear in the history of the world, but in the police blotter of the local paper. The nobodies, who are not worth the bullet that kills them.

Art, literature, and philosophy are attempts to found the world anew on a human freedom: that of the creator; to foster such an aim, one must first unequivocally posit oneself as a freedom. The restrictions that education and custom impose on a woman limit her grasp of the universe...Indeed, for one to become a creator, it is not enough to be cultivated, that is, to make going to shows and meeting people part of one's life; culture must be apprehended through the free movement of a transcendence; the spirit with all its riches must project itself in an empty sky that is its to fill; but if a thousand fine bonds tie it to the earth, its surge is broken. The girl today can certainly go out alone, stroll in the Tuileries; but I have already said how hostile the street is: eyes everywhere, hands waiting: if she wanders absentmindedly, her thoughts elsewhere, if she lights a cigarette in a cafe, if she goes to the cinema alone, an unpleasant incident can quickly occur; she must inspire respect by the way she dresses and behaves: this concern rivets her to the ground and self. "Her wings are clipped." At eighteen, T.E. Lawrence went on a grand tour through France by bicycle; a young girl would never be permitted to take on such an adventure...Yet such experiences have an inestimable impact: this is how an individual in the headiness of freedom and discovery learns to look at the entire world as his fief...[The girl] may feel alone within the world: she never stands up in front of it, unique and sovereign.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

The beauty myth sets it up this way: A high rating as an art object is the most valuable tribute a woman can exact from her lover. If he appreciates her face and body because it is hers, that is next to worthless. It is very neat: The myth contrives to make women offend men by scrutinizing honest appreciation when they give it; it can make men offend women merely by giving them honest appreciation. It can manage to contaminate the sentence "You're beautiful," which is next to "I love you" in expressing a bond of regard between a woman and a man. A man cannot tell a woman that he loves to look at her without risking making her unhappy. If he never tells her, she is destined to be unhappy. And the "luckiest" woman of all, told she is loved because she's "beautiful," is often tormented because she lacks the security of being desired because she looks like who she lovably is.

The shared meal is no small thing. It is a foundation of family life, the place where our children learn the art of conversation and acquire the habits of civilization: sharing, listening, taking turns, navigating differences, arguing without offending. What have been called the “cultural contradictions of capitalism”—its tendency to undermine the stabilizing social forms it depends on—are on vivid display today at the modern American dinner table, along with all the brightly colored packages that the food industry has managed to plant there.

A child's reading is guided by pleasure, but his pleasure is undifferentiated; he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydreaming. In adolescence we realize that there are different kinds of pleasure, some of which cannot be enjoyed simultaneously, but we need help from others in defining them. Whether it be a matter of taste in food or taste in literature, the adolescent looks for a mentor in whose authority he can believe. He eats or reads what his mentor recommends and, inevitably, there are occasions when he has to deceive himself a little; he has to pretend that he enjoys olives or War and Peace a little more than he actually does. Between the ages of twenty and forty we are engaged in the process of discovering who we are, which involves learning the difference between accidental limitations which it is our duty to outgrow and the necessary limitations of our nature beyond which we cannot trespass with impunity. Few of us can learn this without making mistakes, without trying to become a little more of a universal man than we are permitted to be. It is during this period that a writer can most easily be led astray by another writer or by some ideology. When someone between twenty and forty says, apropos of a work of art, 'I know what I like,'he is really saying 'I have no taste of my own but accept the taste of my cultural milieu', because, between twenty and forty, the surest sign that a man has a genuine taste of his own is that he is uncertain of it. After forty, if we have not lost our authentic selves altogether, pleasure can again become what it was when we were children, the proper guide to what we should read.

No settled family or community has ever called its home place an “environment.” None has ever called its feeling for its home place “biocentric” or “anthropocentric.” None has ever thought of its connection to its home place as “ecological,” deep or shallow. The concepts and insights of the ecologists are of great usefulness in our predicament, and we can hardly escape the need to speak of “ecology” and “ecosystems.” But the terms themselves are culturally sterile. They come from the juiceless, abstract intellectuality of the universities which was invented to disconnect, displace, and disembody the mind. The real names of the environment are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodlands, lanes roads, creatures, and people. And the real name of our connection to this everywhere different and differently named earth is “work.” We are connected by work even to the places where we don’t work, for all places are connected; it is clear by now that we cannot exempt one place from our ruin of another. The name of our proper connection to the earth is “good work,” for good work involves much giving of honor. It honors the source of its materials; it honors the place where it is done; it honors the art by which it is done; it honors the thing that it makes and the user of the made thing. Good work is always modestly scaled, for it cannot ignore either the nature of individual places or the differences between places, and it always involves a sort of religious humility, for not everything is known. Good work can be defined only in particularity, for it must be defined a little differently for every one of the places and every one of the workers on the earth. The name of our present society’s connection to the earth is “bad work” – work that is only generally and crudely defined, that enacts a dependence that is ill understood, that enacts no affection and gives no honor. Every one of us is to some extent guilty of this bad work. This guilt does not mean that we must indulge in a lot of breast-beating and confession; it means only that there is much good work to be done by every one of us and that we must begin to do it.

American culture in particular has instilled in us the bizarre notion that to ask for help amounts to an admission of failure. But some of the most powerful, successful, admired people in the world seem, to me, to have something in common: they ask constantly, creatively, compassionately, and gracefully. And to be sure: when you ask, there’s always the possibility of a no on the other side of the request. If we don’t allow for that no, we’re not actually asking, we’re either begging or demanding. But it is the fear of the no that keeps so many of our mouths sewn tightly shut.

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.

But how can we be free to look and learn when our minds from the moment we are born to the moment we die are shaped by a particular culture in the narrow pattern of the ‘me’? For centuries we have been conditioned by nationality, caste, class, tradition, religion, language, education, literature, art, custom, convention, propaganda of all kinds, economic pressure, the food we eat, the climate we live in, our family, our friends, our experiences – every influence you can think of – and therefore our responses to every problem are conditioned.

That so many of us find it entirely plausible that a vast network of researchers and health officials and doctors worldwide would willfully harm children for money is evidence of what capitalism is really taking from us. Capitalism has already impoverished the working people who generate wealth for others. And capitalism has already impoverished us culturally, robbing unmarketable art of its value. But when we begin to see the pressures of capitalism as innate laws of human motivation, when we begin to believe that everyone is owned, then we are truly impoverished.

One student asks: Why should I live? Steven Pinker answers: In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you. And there are so many reasons to live! As a sentient being, you have the potential to flourish. You can refine your faculty of reason itself by learning and debating. You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities. You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist. You can appreciate the beauty and richness of the natural and cultural world. As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn. You have been endowed with a sense of sympathy—the ability to like, love, respect, help, and show kindness—and you can enjoy the gift of mutual benevolence with friends, family, and colleagues. And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself. You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace. History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.

If there is such a thing as being conditioned by climate and geography, and I think there is, it is the West that has conditioned me. It has the forms and lights and colors that I respond to in nature and in art. If there is a western speech, I speak it; if there is a western character or personality, I am some variant of it; if there is a western culture in the small-c , anthropological sense, I have not escaped it. It has to have shaped me. I may even have contributed to it in minor ways, for culture is a pyramid to which each of us brings a stone.

But the truth is it’s hard for me to know what I really think about any of the stuff I’ve written. It’s always tempting to sit back and make finger-steeples and invent impressive sounding theoretical justifications for what one does, but in my case most of it’d be horseshit. As time passes I get less and less nuts about anything I’ve published, and it gets harder to know for sure when its antagonistic elements are in there because they serve a useful purpose and when their just covert manifestations of this "look-at-me-please-love-me-I-hate you" syndrome I still sometimes catch myself falling into. Anyway, but what I think I meant by "antagonize" or "aggravate" has to do with the stuff in the TV essay about the younger writer trying to struggle against the cultural hegemony of TV. One thing TV does is help us deny that we’re lonely. With televised images, we can have the facsimile of a relationship without the work of a real relationship. It’s an anesthesia of "form." The interesting thing is why we’re so desperate for this anesthetic against loneliness. You don’t have to think very hard to realize that our dread of both relationships and loneliness, both of which are like sub-dreads of our dread of being trapped inside a self (a psychic self, not just a physical self), has to do with angst about death, the recognition that I’m going to die, and die very much alone, and the rest of the world is going to go merrily on without me. I’m not sure I could give you a steeple-fingered theoretical justification, but I strongly suspect a big part of real art fiction’s job is to aggravate this sense of entrapment and loneliness and death in people, to move people to countenance it, since any possible human redemption requires us first to face what’s dreadful, what we want to deny.

When did the body first set out on its own adventures? Snowman thinks; after having ditched its old travelling companions, the mind and the soul, for whom it had once been considered a mere corrupt vessel or else a puppet acting out their dramas for them, or else bad company, leading the other two astray. it must have got tired of the soul’s constant nagging and whining and the anxiety-driven intellectual web-spinning of the mind, distracting it whenever it was getting its teeth into something juicy or its fingers into something good. It had dumped the other two back there somewhere, leaving them stranded in some damp sanctuary or stuffy lecture hall while it made a beeline for the topless bars, and it had dumped culture along with them: music and painting and poetry and plays. Sublimation, all of it; nothing but sublimation, according to the body. Why not cut to the chase? But the body had its own cultural forms. It had its own art. Executions were its tragedies, pornography was its romance.

Enough already of Lacan, Derrida, and Foucault poured like ketchup over everything. Lacan: the French fog machine; a grey-flannel worry-bone for toothless academic pups; a twerpy, cape-twirling Dracula dragging his flocking stooges to the crypt. Lacan is a Freud T-shirt shrunk down to the teeny-weeny Saussure torso. The entire school of Saussure, inluding Levi-Strauss, write their muffled prose of people with cotton wool wrapped around their heads; they're like walking Q-tips. Derrida: a Gloomy Gus one-trick pony, stuck on a rhetorical trope already available in the varied armory of New Criticism. Derrida's method: masturbating without pleasure. It's a birdbrain game for birdseed stakes. Neo-Foucaldian New Historicism: a high-wax bowling alley where you score points just by knockng down the pins.

We do not need to plan or devise a "world of the future"; if we take care of the world of the present, the future will have received full justice from us. A good future is implicit in the soils, forests, grasslands, marshes, deserts, mountains, rivers, lakes, and oceans that we have now, and in the good things of human culture that we have now; the only valid "futurology" available to us is to take care of those things. We have no need to contrive and dabble at "the future of the human race"; we have the same pressing need that we have always had - to love, care for, and teach our children. (pg. 73, "Feminism, the Body, and the Machine")

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

A crude way to put the whole thing is that our presence culture is, both develeopmentally and historically, adolescent. And since adolescence is acknowledged to be the single most stressful and frightening period of human development – the stage when adulthood we claim to crave begins to present itself as a real and narrowing system of responsibilities and limitation (taxes, death) and when we yearn inside for a return to the same childish oblivion we pretend to scorn – it’s not difficult to see why we as a culture are so susceptible to art and entertainment whose primary function is escape, i. e. fantasy, adrenaline, spectacle, romance, etc.

Great works of art in all cultures succeed in capturing within the constraints of their form both the pathos of anguish and a vision of its resolution. Take, for example, the languorous sentences of Proust or the haiku of Basho, the late quartets and sonatas of Beethoven, the tragicomic brushwork of Sengai or the daunting canvases of Rothko, the luminous self-portraits of Rembrandt and Hakuin. Such works achieve their resolution not through consoling or romantic images whereby anguish is transcended. They accept anguish without being overwhelmed by it. They reveal anguish as that which gives beauty its dignity and depth.

There are very few men and women, I suspect, who cooked and marketed their way through the past war without losing forever some of the nonchalant extravagance of the Twenties. They will feel, until their final days on earth, a kind of culinary caution: butter, no matter how unlimited, is a precious substance not lightly to be wasted; meats, too, and eggs, and all the far-brought spices of the world, take on a new significance, having once been so rare. And that is good, for there can be no more shameful carelessness than with the food we eat for life itself When we exist without thought or thanksgiving we are not men, but beasts.

In a sense, fear is the daughter of God, redeemed on Good Friday. She is not beautiful, mocked, cursed or disowned by all. But don’t be mistaken, she watches over all mortal agony, she intercedes for mankind; for there is a rule and an exception. Culture is the rule, and art is the exception. Everybody speaks the rule; cigarette, computer, t-shirt, television, tourism, war. Nobody speaks the exception. It isn’t spoken, it is written; Flaubert, Dostoyevsky. It is composed; Gershwin, Mozart. It is painted; Cézanne, Vermeer. It is filmed; Antonioni, Vigo. Or it is lived, then it is the art of living; Srebrenica, Mostar, Sarajevo. The rule is to want the death of the exception. So the rule for cultural Europe is to organise the death of the art of living, which still flourishes.

Rank asked why the artist so often avoids clinical neurosis when he is so much a candidate for it because of his vivid imagination, his openness to the finest and broadest aspects of experience, his isolation from the cultural world-view that satisfies everyone else. The answer is that he takes in the world, but instead of being oppressed by it he reworks it in his own personality and recreates it in the work of art. The neurotic is precisely the one who cannot create—the “artiste-manque,” as Rank so aptly called him. We might say that both the artist and the neurotic bite off more than they can chew, but the artist spews it back out again and chews it over in an objectified way, as an ex­ternal, active, work project. The neurotic can’t marshal this creative response embodied in a specific work, and so he chokes on his in­troversions. The artist has similar large-scale introversions, but he uses them as material.

Unless we have the courage to fight for a revival of wholesome reserve between man and man, we shall perish in an anarchy of human values… . Socially it means the renunciation of all place-hunting, a break with the cult of the “star,” an open eye both upwards and downwards, especially in the choice of one’s more intimate friends, and pleasure in private life as well as courage to enter public life. Culturally it means a return from the newspaper and the radio to the book, from feverish activity to unhurried leisure, from dispersion to concentration, from sensationalism to reflection, from virtuosity to art, from snobbery to modesty, from extravagance to moderation.

The word agriculture, after all, does not mean "agriscience," much less "agribusiness." It means "cultivation of land." And cultivation is at the root of the sense both of culture and of cult. The ideas of tillage and worship are thus joined in culture. And these words all come from an Indo-European root meaning both "to revolve" and "to dwell." To live, to survive on the earth, to care for the soil, and to worship, all are bound at the root to the idea of a cycle. It is only by understanding the cultural complexity and largeness of the concept of agriculture that we can see the threatening diminishments implied by the term "agribusiness." (pg. 285, The Use of Energy)

Understanding knowledge as an essential element of love is vital because we are bombarded daily with messages that tell us love is about mystery, about that which cannot be known. We see movies in which people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. Indeed, the message is received from the mass media is that knowledge makes love less compelling; that it is ignorance that gives love its erotic and transgressive edge. These messages are brought to us by profiteering producers who have no clue about the art of loving, who substitute their mystified visions because they do not really know how to genuinely portray loving interaction.

As in the political sphere, the child is taught that he is free, a democrat, with a free will and a free mind, lives in a free country, makes his own decisions. At the same time he is a prisoner of the assumptions and dogmas of his time, which he does not question, because he has never been told they exist. By the time a young person has reached the age when he has to choose (we still take it for granted that a choice is inevitable) between the arts and the sciences, he often chooses the arts because he feels that here is humanity, freedom, choice. He does not know that he is already moulded by a system: he does not know that the choice itself is the result of a false dichotomy rooted in the heart of our culture. Those who do sense this, and who don't wish to subject themselves to further moulding, tend to leave, in a half-unconscious, instinctive attempt to find work where they won't be divided against themselves. With all our institutions, from the police force to academia, from medicine to politics, we give little attention to the people who leave—that process of elimination that goes on all the time and which excludes, very early, those likely to be original and reforming, leaving those attracted to a thing because that is what they are already like. A young policeman leaves the Force saying he doesn't like what he has to do. A young teacher leaves teaching, here idealism snubbed. This social mechanism goes almost unnoticed—yet it is as powerful as any in keeping our institutions rigid and oppressive.

How we perceive the world and how we act in it are products of how and what we remember...No lasting joke, invention, insight, or work of art was ever produced by an external memory...Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character. Competing to see who can memorize more pages of poetry might seem beside the point, but it's about taking a stand against forgetfulness, and embracing primal capacities from which too many of us have became estranged...memory training is not just for the sake of performing party tricks; it's about nurturing something profoundly and essentially human.

Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can’t be quantified and calculated, then it can’t be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn’t how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness.

This poem is very long So long, in fact, that your attention span May be stretched to its very limits But that’s okay It’s what’s so special about poetry See, poetry takes time We live in a time Call it our culture or society It doesn’t matter to me cause neither one rhymes A time where most people don’t want to listen Our throats wait like matchsticks waiting to catch fire Waiting until we can speak No patience to listen But this poem is long It’s so long, in fact, that during the time of this poem You could’ve done any number of other wonderful things You could’ve called your father Call your father You could be writing a postcard right now Write a postcard When was the last time you wrote a postcard? You could be outside You’re probably not too far away from a sunrise or a sunset Watch the sun rise Maybe you could’ve written your own poem A better poem You could have played a tune or sung a song You could have met your neighbor And memorized their name Memorize the name of your neighbor You could’ve drawn a picture (Or, at least, colored one in) You could’ve started a book Or finished a prayer You could’ve talked to God Pray When was the last time you prayed? Really prayed? This is a long poem So long, in fact, that you’ve already spent a minute with it When was the last time you hugged a friend for a minute? Or told them that you love them? Tell your friends you love them …no, I mean it, tell them Say, I love you Say, you make life worth living Because that, is what friends do Of all of the wonderful things that you could’ve done During this very, very long poem You could have connected Maybe you are connecting Maybe we’re connecting See, I believe that the only things that really matter In the grand scheme of life are God and people And if people are made in the image of God Then when you spend your time with people It’s never wasted And in this very long poem I’m trying to let a poem do what a poem does: Make things simpler We don’t need poems to make things more complicated We have each other for that We need poems to remind ourselves of the things that really matter To take time A long time To be alive for the sake of someone else for a single moment Or for many moments Cause we need each other To hold the hands of a broken person All you have to do is meet a person Shake their hand Look in their eyes They are you We are all broken together But these shattered pieces of our existence don’t have to be a mess We just have to care enough to hold our tongues sometimes To sit and listen to a very long poem A story of a life The joy of a friend and the grief of friend To hold and be held And be quiet So, pray Write a postcard Call your parents and forgive them and then thank them Turn off the TV Create art as best as you can Share as much as possible, especially money Tell someone about a very long poem you once heard And how afterward it brought you to them

As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life? Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. […] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? […] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal.

What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.

There is no remedy against this reversal of the natural order. Man cannot escape from his own achievement. He cannot but adopt the conditions of his own life. No longer in a merely physical universe, man lives in a symbolic universe. Language, myth, art, and religion are parts of this universe. They are the varied threads which weave the symbolic net, the tangled web of human experience. All human progress in thought and experience refines and strengthens this net. No longer can man confront reality immediately; he cannot see it, as it were, face to face. Physical reality seems to recede in proportion as man's symbolic activity advances. Instead of dealing with the things themselves man is in a sense constantly conversing with himself. He has so enveloped himself in linguistic forms, in artistic images, in mythical symbols or religious rites that he cannot see or know anything except by the interposition of this artificial medium. His situation is the same in the theoretical as in the practical sphere. Even here man does not live in a world of hard facts, or according to his immediate needs and desires. He lives rather in the midst of imaginary emotions, in hopes and fears, in illusions and disillusions, in his fantasies and dreams. 'What disturbs and alarms man,' said Epictetus, 'are not the things, but his opinions and fantasies about the things.

Homer, in the second book of the Iliad says with fine enthusiasm, "Give me masturbation or give me death." Caesar, in his Commentaries, says, "To the lonely it is company; to the forsaken it is a friend; to the aged and to the impotent it is a benefactor. They that are penniless are yet rich, in that they still have this majestic diversion." In another place this experienced observer has said, "There are times when I prefer it to sodomy." Robinson Crusoe says, "I cannot describe what I owe to this gentle art." Queen Elizabeth said, "It is the bulwark of virginity." Cetewayo, the Zulu hero, remarked, "A jerk in the hand is worth two in the bush." The immortal Franklin has said, "Masturbation is the best policy." Michelangelo and all of the other old masters--"old masters," I will remark, is an abbreviation, a contraction--have used similar language. Michelangelo said to Pope Julius II, "Self-negation is noble, self-culture beneficent, self-possession is manly, but to the truly great and inspiring soul they are poor and tame compared with self-abuse." Mr. Brown, here, in one of his latest and most graceful poems, refers to it in an eloquent line which is destined to live to the end of time--"None knows it but to love it; none name it but to praise.

And so we know the satisfaction of hate. We know the sweet joy of revenge. How it feels good to get even. Oh, that was a nice idea Jesus had. That was a pretty notion, but you can't love people who do evil. It's neither sensible or practical. It's not wise to the world to love people who do such terrible wrong. There is no way on earth we can love our enemies. They'll only do wickedness and hatefulness again. And worse, they'll think they can get away with this wickedness and evil, because they'll think we're weak and afraid. What would the world come to? But I want to say to you here on this hot July morning in Holt, what if Jesus wasn't kidding? What if he wasn't talking about some never-never land? What if he really did mean what he said two thousand years ago? What if he was thoroughly wise to the world and knew firsthand cruelty and wickedness and evil and hate? Knew it all so well from personal firsthand experience? And what if in spite of all that he knew, he still said love your enemies? Turn your cheek. Pray for those who misuse you. What if he meant every word of what he said? What then would the world come to? And what if we tried it? What if we said to our enemies: We are the most powerful nation on earth. We can destroy you. We can kill your children. We can make ruins of your cities and villages and when we're finished you won't even know how to look for the places where they used to be. We have the power to take away your water and to scorch your earth, to rob you of the very fundamentals of life. We can change the actual day into actual night. We can do these things to you. And more. But what if we say, Listen: Instead of any of these, we are going to give willingly and generously to you. We are going to spend the great American national treasure and the will and the human lives that we would have spent on destruction, and instead we are going to turn them all toward creation. We'll mend your roads and highways, expand your schools, modernize your wells and water supplies, save your ancient artifacts and art and culture, preserve your temples and mosques. In fact, we are going to love you. And again we say, no matter what has gone before, no matter what you've done: We are going to love you. We have set our hearts to it. We will treat you like brothers and sisters. We are going to turn our collective national cheek and present it to be stricken a second time, if need be, and offer it to you. Listen, we-- But then he was abruptly halted.

I remember discussing this dynamic with my Russian teacher one day, and he had an interesting theory. Having lived under communism for so many generations, with little to no economic opportunity and caged by a culture of fear, Russian society found the most valuable currency to be trust. And to build trust you have to be honest. That means when things suck, you say so openly and without apology. People’s displays of unpleasant honesty were rewarded for the simple fact that they were necessary for survival—you had to know whom you could rely on and whom you couldn’t, and you needed to know quickly. But, in the “free” West, my Russian teacher continued, there existed an abundance of economic opportunity—so much economic opportunity that it became far more valuable to present yourself in a certain way, even if it was false, than to actually be that way. Trust lost its value. Appearances and salesmanship became more advantageous forms of expression. Knowing a lot of people superficially was more beneficial than knowing a few people closely. This is why it became the norm in Western cultures to smile and say polite things even when you don’t feel like it, to tell little white lies and agree with someone whom you don’t actually agree with. This is why people learn to pretend to be friends with people they don’t actually like, to buy things they don’t actually want. The economic system promotes such deception. The downside of this is that you never know, in the West, if you can completely trust the person you’re talking to. Sometimes this is the case even among good friends or family members. There is such pressure in the West to be likable that people often reconfigure their entire personality depending on the person they’re dealing with. Rejection

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

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.

Some years ago I had a conversation with a man who thought that writing and editing fantasy books was a rather frivolous job for a grown woman like me. He wasn’t trying to be contentious, but he himself was a probation officer, working with troubled kids from the Indian reservation where he’d been raised. Day in, day out, he dealt in a concrete way with very concrete problems, well aware that his words and deeds could change young lives for good or ill. I argued that certain stories are also capable of changing lives, addressing some of the same problems and issues he confronted in his daily work: problems of poverty, violence, and alienation, issues of culture, race, gender, and class... “Stories aren’t real,” he told me shortly. “They don’t feed a kid left home in an empty house. Or keep an abusive relative at bay. Or prevent an unloved child from finding ‘family’ in the nearest gang.” Sometimes they do, I tried to argue. The right stories, read at the right time, can be as important as shelter or food. They can help us to escape calamity, and heal us in its aftermath. He frowned, dismissing this foolishness, but his wife was more conciliatory. “Write down the names of some books,” she said. “Maybe we’ll read them.” I wrote some titles on a scrap of paper, and the top three were by Charles de lint – for these are precisely the kind of tales that Charles tells better than anyone. The vital, necessary stories. The ones that can change and heal young lives. Stories that use the power of myth to speak truth to the human heart. Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going. Recently I saw that parole officer again, and I asked after his work. “Gets harder every year,” he said. “Or maybe I’m just getting old.” He stopped me as I turned to go. “That writer? That Charles de Lint? My wife got me to read them books…. Sometimes I pass them to the kids.” “Do they like them?” I asked him curiously. “If I can get them to read, they do. I tell them: Stories are important.” And then he looked at me and smiled.

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.