Digging Old Pictures Quotes

Mistakes don't just hang on the wall like ugly pictures. Mistakes are seeds." He thumbed his chest. "In here. They grow. They take over. You make a mistake, you gotta make it right. Dig that seed out. Old Wiz used to say, 'Fruit rots, wood rots, but lazy-ass boys rot the fastest.

It is very easy to grow tired at collecting; the period of a low tide is about all men can endure. At first the rocks are bright and every moving animal makes his mark on the attention. The picture is wide and colored and beautiful. But after an hour and a half the attention centers weary, the color fades, and the field is likely to narrow to an individual animal. Here one may observe his own world narrowed down until interest and, with it, observation, flicker and go out. And what if with age this weariness becomes permanent and observation dim out and not recover? Can this be what happens to so many men of science? Enthusiasm, interest, sharpness, dulled with a weariness until finally they retire into easy didacticism? With this weariness, this stultification of attention centers, perhaps there comes the pained and sad memory of what the old excitement was like, and regret might turn to envy of the men who still have it. Then out of the shell of didacticism, such a used-up man might attack the unwearied, and he would have in his hands proper weapons of attack. It does seem certain that to a wearied man an error in a mass of correct data wipes out all the correctness and is a focus for attack; whereas the unwearied man, in his energy and receptivity, might consider the little dross of error a by-product of his effort. These two may balance and produce a purer thing than either in the end. These two may be the stresses which hold up the structure, but it is a sad thing to see the interest in interested men thin out and weaken and die. We have known so many professors who once carried their listeners high on their single enthusiasm, and have seen these same men finally settle back comfortably into lectures prepared years before and never vary them again. Perhaps this is the same narrowing we observe in relation to ourselves and the tide pool—a man looking at reality brings his own limitations to the world. If he has strength and energy of mind the tide pool stretches both ways, digs back to electrons and leaps space into the universe and fights out of the moment into non-conceptual time. Then ecology has a synonym which is ALL.

...Not yet dry behind the ears, not old enough to buy a beer, but old enough to die for his country. He can recite to you the nomenclature of a machine gun or grenade launcher and use either one effectively if he must. He digs foxholes and latrines and can apply first aid like a professional. He can march until he is told to stop, or stop until he is told to march. He obeys orders instantly and without hesitation, but he is not without spirit or individual dignity. He is self-sufficient. ...He sometimes forgets to brush his teeth, but never to clean his rifle. He can cook his own meals, mend his own clothes, and fix his own hurts. If you're thirsty, he'll share his water with you; if you are hungry, food. He'll even split his ammunition with you in the midst of battle when you run low. He has learned to use his hands like weapons and weapons like they were his hands. He can save your life-or take it, because that is his job. He will often do twice the work of a civilian, draw half the pay, and still find ironic humor in it all. He has seen more suffering and death than he should have in his short lifetime. He has wept in public and in private, for friends who have fallen in combat and is unashamed. He feels every note of the National Anthem vibrate through his body while at rigid attention, while tempering the burning desire to "square-away" those around him who haven't bothered to stand, remove their hat, or even stop talking. ...Just as did his father, grandfather, and great-grandfather, he is paying the price for our freedom. Beardless or not, he is not a boy. He is the American Fighting Man that has kept this country free for over two hundred years. He has asked nothing in return, except our friendship and understanding. Remember him, always, for he has earned our respect and admiration with his blood. And now we have women over there in danger, doing their part in this tradition of going to war when our nation calls us to do so. As you go to bed tonight, remember this. A short lull, a little shade, and a picture of loved ones in their helmets.

My mother has followed us into the house. My mother is the name I’ve given his grief. She was gone long before I knew what death was so, for me, she is an abstract loss, a game of guessing at the life I might have lived. My mother is a collection of stories and inanimate objects. She is a wedding ring in my father’s bedside drawer, a rosehips-flavored tea bag in the back of our kitchen cupboard that we both refuse to use or throw out. She is a picture of someone standing on the rims too far away to see. She is a book underlined only to page seven. She is a pair of burnt rosebushes in the yard that Pop won’t dig up. She is the line between his eyebrows, the groove where his smile would be. She is a feeling in the gut I can’t name or move.

What would have happened, I wondered, if Clover and Jotter never ran the river—if they had listened to the critics and doomsayers, or to their own doubts? They brought knowledge, energy, and passion to their botanical work, but also a new perspective. Before them, men had gone down the Colorado to sketch dams, plot railroads, dig gold, and daydream little Swiss chalets stuck up on the cliffs. They saw the river for what it could be, harnessed for human use. Clover and Jotter saw it as it was, a living system made up of flower, leaf, and thorn, lovely in its fierceness, worthy of study for its own sake. They knew every saltbush twig and stickery cactus was, in its own way, as much a marvel as Boulder Dam—shaped to survive against all the odds. In the United States, half of all bachelor’s degrees in science, engineering, and mathematics go to women, yet these women go on to earn only 74 percent of a man’s salary in those fields. A recent study found that it will be another two decades before women and men publish papers at equal rates in the field of botany, a field traditionally welcoming to women. It may take four decades for chemistry, and three centuries for physics. Stereotypes linger of scientists as white-coated, wild-haired men, and they limit the ways in which young people envision their futures. In a famous, oft-replicated study, 70 percent of six-year-old girls, asked to draw a picture of a scientist, draw a woman, but only 25 percent do so at the age of sixteen.

There, at the top of the stairs, was the world: acres and miles of open land, an arc of the planet, curving off and lighted in the distance under the morning sky. The building we had just passed through was, it turned out, only the entrance to an open dig, where Chinese archaeologists were in the years-long process of excavating a buried army of life-sized clay soldiers. I saw what looked like human bodies coming out of the earth. Straight trenches cut the bare soil into deep corridors or long pits. From the trench walls emerged an elbow here, a leg and foot there, a head and neck. Everything was the same color, the terra-cotta earth and the people: the color of plant pots. Seeing the broad earth under the open sky, and a patch of it sliced into deep corridors from which bodies emerge, surprises many people to tears. Who would not weep from shock? I seemed to see our lives from the aspect of eternity. I seemed long dead and looking down. For it is in our lifetimes alone that people can witness the unearthing of the deep-dwelling army of Emperor Qin—the seven thousand or the ten thousand soldiers, their real crossbows and swords, their horses and chariots, bared to the light for the first time in 2,200 years. “In the pictures of the old masters,” Max Picard wrote in The World of Silence, “people seem as though they had just come out of the opening in a wall; as if they had wriggled their way out with difficulty. They seem unsafe and hesitant because they have come out too far and still belong more to silence than themselves.

But Glass, in her research, discovered that if you dig a little deeper into people's infidelities, you can almost always see how the affair started long before the first stolen kiss. Most affairs begin, Glass wrote, when a husband or wife makes a new friend, and an apparently harmless intimacy is born. You don't sense the danger as it's happening, because what's wrong with friendship? Why can't we have friends of the opposite sex--or of the same sex, for that matter--even if we are married? The answer, as Dr. Glass explained, is that nothing is wrong with a married person launching a friendship outside of matrimony--so long as the "walls and windows" of the relationship remain in the correct places. It was Glass's theory that every healthy marriage is composed of walls and windows. The windows are the aspects of your relationship that are open to the world--that is, the necessary gaps through which you interact with family and friends; the walls are the barriers of trust behind which you guard the most intimate secrets of your marriage. What often happens, though, during so-called harmless friendships, is that you begin sharing intimacies with your new friend that belong hidden within your marriage. You reveal secrets about yourself--your deepest yearnings and frustrations--and it feels good to be so exposed. You throw open a window where there really ought to be a solid, weight-bearing wall, and soon you find yourself spilling your secret heart with this new person. Not wanting your spouse to feel jealous, you keep the details of your new friendship hidden. In so doing, you have now created a problem: You have just built a wall between you and your spouse where there really ought to be free circulation of air and light. The entire architecture of your matrimonial intimacy has therefore been rearranged. Every old wall is now a giant picture window; every old window is now boarded up like a crack house. You have just established the perfect blueprint for infidelity without even noticing.

Heartened up by this story, I began to draw upon his more comprehensive knowledge as to the ages of the pictures and as to certain of the stories connected with them, upon which I was not clear; and I likewise inquired into the causes of the decadence of the present age, in which the most refined arts had perished, and among them painting, which had not left even the faintest trace of itself behind. "Greed of money," he replied, "has brought about these unaccountable changes. In the good old times, when virtue was her own reward, the fine arts flourished, and there was the keenest rivalry among men for fear that anything which could be of benefit to future generations should remain long undiscovered. Then it was that Democritus expressed the juices of all plants and spent his whole life in experiments, in order that no curative property should lurk unknown in stone or shrub. That he might understand the movements of heaven and the stars, Eudoxus grew old upon the summit of a lofty mountain: three times did Chrysippus purge his brain with hellebore, that his faculties might be equal to invention. Turn to the sculptors if you will; Lysippus perished from hunger while in profound meditation upon the lines of a single statue, and Myron, who almost embodied the souls of men and beasts in bronze, could not find an heir. And we, sodden with wine and women, cannot even appreciate the arts already practiced, we only criticise the past! We learn only vice, and teach it, too. What has become of logic? of astronomy? Where is the exquisite road to wisdom? Who even goes into a temple to make a vow, that he may achieve eloquence or bathe in the fountain of wisdom? And they do not pray for good health and a sound mind; before they even set foot upon the threshold of the temple, one promises a gift if only he may bury a rich relative; another, if he can but dig up a treasure, and still another, if he is permitted to amass thirty millions of sesterces in safety! The Senate itself, the exponent of all that should be right and just, is in the habit of promising a thousand pounds of gold to the capitol, and that no one may question the propriety of praying for money, it even decorates Jupiter himself with spoils'. Do not hesitate, therefore, at expressing your surprise at the deterioration of painting, since, by all the gods and men alike, a lump of gold is held to be more beautiful than anything ever created by those crazy little Greek fellows, Apelles and Phydias!

Do you want to be a professor too?” He shrugs. “Maybe one day. I’d like to travel more first though, work on dig sites in places like Greece or Central America. Ancient civilizations are buried everywhere. It’s, like, no matter where you walk, you never know what could be under your feet. I want a job that lets me see all the things I want to see before I get stuck behind a desk.” “I know what you mean. I can’t wait to see the world and document it, photojournalist style.” An image of the two of us traveling together pops into my mind: him digging up the world and me taking pictures of it. I squash those butterflies too. “Yeah?” he asks, his smile finally revealing teeth. “I can see you doing that, like for National Geographic or something.” “You haven’t even seen any of my pictures,” I scoff. “ Besides, can you imagine how competitive a job that would be? Those photographers are incredible. They have years of experience under their belts. I’m not even eighteen years old yet.” “Doesn’t matter. You’ve got time,” he says. “You know what someone said to me once? Figure out what you love doing, then figure out how to make money doing it.” I turn the thought over in my head. “I like that.” He smiles, plunging his hands into his pockets. “So tell me about you. Who is Pippa, in the broad scheme of things?” He winks. I return the smile. “Well, I’m an only child, born and raised in Chicago--” “Ah, Chicago. That’s the accent.” “I told you before, I don’t have an accent.” “To your ears you don’t.” He laughs. “But it’s definitely there to the rest of us.” “Is that a bad thing?” “No,” he says. “It’s cute.” Oh, I might die. A boy used the word “cute.” And when describing something about me. I can’t look at him.

I think about the Old Ones, that they have a past but no history. I think about the inevitability of death, and whether it’s not that very inevitability that inspires us to take photographs and make scrapbooks and tell stories. That that’s how we humans find our way to immortality. This is not a new thought; I’ve had such thoughts before. But I have a new thought now. That that’s how we find our way toward meaning. Meaning. If you’re going to die, you want to find meaning in life. You want to connect the dots. The Old Ones are born immortal. They’ve lived hundreds upon hundreds of years. But they’re going to die. Someday soon—in five days, or five months, or five years—we humans will come up with a cure for the swamp cough. Then Mr. Clayborne will light the illuminating gas and set the machines going and drain the water from the swamp. I look about the Flats, I try to imagine it. Men will dig up the ancient trees. They’ll shrivel the Flats into a toothless granny. They’ll drain the swamp into a scab. The Old Ones will have nowhere to live. And if that doesn’t kill them, industry will. The factories and hospitals and shipyards that are sure to come. The Old Ones can’t survive a world filled with metal. They can’t survive the clatter and growl of machinery. I leave the Flats. The fields are not too far now. Just down the road. But the road looks long and I feel the prickle of tears again. It’s because I’ve been ill, I know. That’s all it is. And when the bog-holes are puckered shut, where will the Boggy Mun go? Will he go to the sea? And if he does, what then? Is the sea too big to drain? Probably not. Look what mankind can create. Now you can photograph a person moving, and when you look at the photograph, you’ll actually see him moving, which is why it’s called a moving picture. This is hard to believe, I know, but still, we humans are inventing such astonishing things. I shouldn’t be surprised if, in time, we’ll be able to drain the sea. And what of the Old Ones? Only the stories will remain

I’m Captain Florida, the state history pimp Gatherin’ more data than a DEA blimp West Palm, Tampa Bay, Miami-Dade Cruisin’ the coasts till Johnny Vegas gets laid Developer ho’s, and the politician bitches Smackin’ ’em down, while I’m takin’ lots of pictures Hurricanes, sinkholes, natural disaster ’Scuse me while I kick back, with my View-Master (S:) I’m Captain Florida, obscure facts are all legit (C:) I’m Coleman, the sidekick, with a big bong hit (S:) I’m Captain Florida, staying literate (C:) Coleman sees a book and says, “Fuck that shit” Ain’t never been caught, slippin’ nooses down the Keys Got more buoyancy than Elián González Knockin’ off the parasites, and takin’ all their moola Recruiting my apostles for the Church of Don Shula I’m an old-school gangster with a psycho ex-wife Molly Packin’ Glocks, a shotgun and my 7-Eleven coffee Trippin’ the theme parks, the malls, the time-shares Bustin’ my rhymes through all the red-tide scares (S:) I’m the surge in the storms, don’t believe the hype (C:) I’m his stoned number two, where’d I put my hash pipe? (S:) Florida, no appointments and a tank of gas (C:) Tequila, no employment and a bag of grass Think you’ve seen it all? I beg to differ Mosquitoes like bats and a peg-leg stripper The scammers, the schemers, the real estate liars Birthday-party clowns in a meth-lab fire But dig us, don’t diss us, pay a visit, don’t be late And statistics always lie, so ignore the murder rate Beaches, palm trees and golfing is our curse Our residents won’t bite, but a few will shoot first Everglades, orange groves, alligators, Buffett Scarface, Hemingway, an Andrew Jackson to suck it Solarcaine, Rogaine, eight balls of cocaine See the hall of fame for the criminally insane Artifacts, folklore, roadside attractions Crackers, Haitians, Cuban-exile factions The early-bird specials, drivin’ like molasses Condo-meeting fistfights in cataract glasses (S:) I’m the native tourist, with the rants that can’t be beat (C:) Serge, I think I put my shoes on the wrong feet (S:) A stack of old postcards in another dingy room (C:) A cold Bud forty and a magic mushroom Can’t stop, turnpike, keep ridin’ like the wind Gotta make a detour for a souvenir pin But if you like to litter, you’re just liable to get hurt Do ya like the MAC-10 under my tropical shirt? I just keep meeting jerks, I’m a human land-filler But it’s totally unfair, this term “serial killer” The police never rest, always breakin’ in my pad But sunshine is my bling, and I’m hangin’ like a chad (S:) Serge has got to roll and drop the mike on this rap . . . (C:) Coleman’s climbin’ in the tub, to take a little nap . . . (S:) . . . Disappearin’ in the swamp—and goin’ tangent, tangent, tangent . . . (C:) He’s goin’ tangent, tangent . . . (Fade-out) (S:) I’m goin’ tangent, tangent . . . (C:) Fuck goin’ platinum, he’s goin’ tangent, tangent . . . (S:) . . . Wikipedia all up and down your ass . . . (C:) Wikity-Wikity-Wikity . . .

old—about 2300 B.C.—the poets and scholars of Sumeria tried to reconstruct its ancient history. The poets wrote legends of a creation, a primitive Paradise and a terrible flood that engulfed and destroyed it because of the sin of an ancient king.11 This flood passed down into Babylonian and Hebrew tradition, and became part of the Christian creed. In 1929 Professor Woolley, digging into the ruins of Ur, discovered, at considerable depth, an eight-foot layer of silt and clay; this, if we are to believe him, was deposited during a catastrophic overflow of the Euphrates, which lingered in later memory as the Flood. Beneath that layer were the remains of a prediluvian culture that would later be pictured by the poets as a Golden Age.

I will change my expression, and smile.” —Job 9:27 (NIV) When I was arranging a meeting with a woman I’d never met to talk about my nonprofit organization, I sent her a link that had a thumbnail picture of me smiling big. I typed, “I’ll smile, so you’ll recognize me!” On our meeting day, I arrived at the restaurant/bakery fifteen minutes early. I sat down in a seat facing the door. As the door swung open, I tried to gauge the likelihood that the person coming in was the woman I was meeting. This person seemed too old. This one was dressed like she’d just come from the gym. After a while the second-guessing became exhausting, so I gave up and smiled at every stranger who glanced in my direction. They, in turn, smiled back at me. The more I smiled in those fifteen minutes, the more I became aware once again that we're all God's beloved children, deserving of a smile from a stranger. At long last someone asked, “Are you Karen?” I nodded in relief. My fifteen-minute experiment in smiling showed me that it takes more energy to mentally separate people into categories of potential friend versus stranger than it does to briefly acknowledge everyone—all deserving---with a welcoming smile. Dear heavenly Father, may my deliberate act of smiling renew my awareness that we’re all beloved children of Yours. Amen. —Karen Barber Digging Deeper: 2 Cor 6:17--18

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