Dutch Quotes

Everything with me is either worship and passion or pity and understanding. I hate rarely, though when I hate, I hate murderously. For example now, I hate the bank and everything connected with it. I also hate Dutch paintings, penis-sucking, parties, and cold rainy weather. But I am much more preoccupied with loving.

As the tide washed in, the Dutch Tulip Man faced the Ocean: "Conjoiner rejoinder poisoner concealer revelator. Look at it, rising up and rising down, taking everything with it." "What’s that?" Anna asked. "Water," the Dutchman said. "Well, and time.

I like this world. I like drinking champagne. I like not smoking. I like Dutch people speaking Dutch.

I'm half-Irish, half-Dutch, and I was born in Belgium. If I was a dog, I'd be in a hell of a mess!

Just the other day, I was in my neighborhood Starbucks, waiting for the post office to open. I was enjoying a chocolatey cafe mocha when it occurred to me that to drink a mocha is to gulp down the entire history of the New World. From the Spanish exportation of Aztec cacao, and the Dutch invention of the chemical process for making cocoa, on down to the capitalist empire of Hershey, PA, and the lifestyle marketing of Seattle's Starbucks, the modern mocha is a bittersweet concoction of imperialism, genocide, invention, and consumerism served with whipped cream on top.

What do you want?" "You," he said, his voice lowering an octave. "I want you, Dutch, body and soul. I want you in my bed every night. I want you there when I wake up in the morning. I want your clothes strung across my apartment and your scent on my skin.

There are a few times in life when you leap up and the past that you'd been standing on falls away behind you, and the future you mean to land on is not yet in place, and for a moment you're suspended knowing nothing and no one, not even yourself.

There is a Dutch word, uitwaaien, “to walk against the wind for pleasure.

I see the past as it actually was," Maeve said. She was looking at the trees. "But we overlay the present onto the past. We look back through the lens of what we know now, so we're not seeing it as the people we were, we're seeing it as the people we are, and that means the past has been radically altered.

I will be the first to admit that I am a pessimist by nature. It is, after all, the wisest way to be. We pessimists have everything to gain, whereas optimists have a fifty-fifty chance of being disappointed.

Willem tsk-tsks. "You Americans are so violent. I'm Dutch. The worst I will do is run her over with a bicycle.

The book is almost always better than the movie. You could have no better case in point than FROM HELL, Alan Moore's best graphic novel to date, brilliantly illustrated by Eddie Campbell. It's hard to describe just how much better the book is. It's like, "If the movie was an episode of Battlestar Galactica with a guest appearance by the Smurfs and everyone spoke Dutch, the graphic novel is Citizen Kane with added sex scenes and music by your favourite ten bands and everyone in the world you ever hated dies at the end." That's how much better it is.

It is the middle of December now, and we are about to travel to Switzerland - where we plan to ski a little, relax a little, and shoot a Dutch politician a little.

I said it in Hebrew—I said it in Dutch— I said it in German and Greek; But I wholly forgot (and it vexes me much) That English is what you speak!

We had made a fetish out of our misfortune, fallen in love with it.

Actually, we’re with the United States Army stationed in Germany. My friend Paul comes here about every two to three weeks to visit his Dutch girlfriend.

As the tide washed in, the Dutch Tulip Man faced the ocean: "Conjoiner rejoinder poisoner concealor revelator. Look at it rising up and rising down, taking everything with it." "What's that," I asked. "Water," the Dutchman said. "Well, and time.

Surely there is no more wretched sight that the human body unloved and uncared for.

He took a bite, swallowed. "God. If asparagus tasted like that all the time, I'd be vegetarian, too." Some people in a lacquered wooden boat approached us on the canal below. One of them, a woman with curly blond hair, maybe thirty, drank from a beer then raised her glass towards us and shouted something. "We don't speak Dutch," Gus shouted back. One of the others shouted a translation: "The beautiful couple is beautiful.

And so I made the decision to change. It might seem like change was impossible, given my nature and my age, but I understood exactly what there was to lose. It was chemistry all over again. The point wasn’t whether or not I liked it. The point was it had to be done.

But we overlay the present onto the past. We look back through the lens of what we know now, so we’re not seeing it as the people we were, we’re seeing it as the people we are, and that means the past has been radically altered.

If I could just stay alive for a week, I’d know the unwritten secrets of Anna’s mom and the Dutch Tulip Guy.

The dinner was a huge production, with kids stashed in the den to eat off card tables like a collection of understudies who dreamed of one day breaking into the dining room.

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.

Do you think it’s possible to ever see the past as it actually was?

One of the others shouted a translation: "The beautiful couple is beautiful.

There's only two things I hate in this world. People who are intolerant of other people's cultures and the Dutch.

It was awful to be Negro and have no control over my life. It was brutal to be young and already trained to sit quietly and listen to charges brought against my color with no chance of defense. We should all be dead. I thought I should like to see us all dead, one on top of the other. A pyramid of flesh with the whitefolks on the bottom, as the broad base, then the Indians with their silly tomahawks and teepees and wigwams and treaties, the Negroes with their mops and recipes and cotton sacks and spirituals sticking out of their mouths. The Dutch children should all stumble in their wooden shoes and break their necks. The French should choke to death on the Louisiana Purchase (1803) while silkworms ate all the Chinese with their stupid pigtails. As a species, we were an abomination. All of us.

He had been thinking of how landscape moulds a language. It was impossible to imagine these hills giving forth anything but the soft syllables of Irish, just as only certain forms of German could be spoken on the high crags of Europe; or Dutch in the muddy, guttural, phlegmish lowlands.

I like this world. I like drinking champagne. I like not smoking. I like the sound of Dutch people speaking Dutch. And now...I don't even get a battle. I don't get a fight.

Cooking is an art and patience a virtue... Careful shopping, fresh ingredients and an unhurried approach are nearly all you need. There is one more thing - love. Love for food and love for those you invite to your table. With a combination of these things you can be an artist - not perhaps in the representational style of a Dutch master, but rather more like Gauguin, the naïve, or Van Gogh, the impressionist. Plates or pictures of sunshine taste of happiness and love.

Dutch is not so much a language as an ailment of the throat.

Disappointment comes from expectation,

I would like a cappuccino," says Linus politely. "Thank you." "Your name?" "I'll spell it for you," he says. "Z-W-P-A-E-N--" "What?" She stares at him, Sharpie in hand. "Wait, I haven't finished. Double F-hyphen-T-J-U-S. It's an unusual name, Linus adds gravely. "It's Dutch.

You have to serve those who need to be served, not just the ones who make you feel good about yourself.

Communism was born from a beautiful dream, the likes of which there will never be again on the face of this earth: that there would no longer be lazy men who eat their fill while others work hard and starve.

There would never been an end to all the things I wished I'd asked my father. After so many years I thought less about his unwillingness to disclose and more about how stupid I'd been not to try harder.

Fluffy always said there was no greater luxury for a woman than to have a window over the sink.

Unfortunately, Childermass's French was so strongly accented by his native Yorkshire that Minervois did not understand and asked Strange if Childermass was Dutch.

Thinking about the past impeded my efforts to be decent in the present.

Annabel was, like the writer, of mixed parentage: half-English, half-Dutch, in her case. I remember her features far less distinctly today than I did a few years ago, before I knew Lolita. There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

LINSCOTT: Well, life certainly treats you fine. CONNIE: No, Tom. Life and I go Dutch.

Oh, I usually pray in Spanish, speak French to my boyfriend, curse in Dutch, and talk German to my German Shepherd

We were all so young, you know. We were still our best selves.

Others said May was best, that sweet green time when lilacs bloomed and gardens along Main Street were filled with sugary pink peonies and Dutch tulips.

We had stepped into the river that takes you forward.

The Dutch customs once thought my pictures were photos. Where on earth did they think I could have photographed my subjects? In Hell, perhaps?

I pay more tax registered in Holland than I would in the USA, but better gieing to the Dutch to build dams than the Yanks to build bombs.

Our childhood was a fire. There had been four children in the house and only two of them had gotten out.

My Dutch grandfather used to say, ‘If you don’t know what to do, do nothing for eight days.’ ” Dean asked, “Why eight?” “Less than eight is haste. More than eight is procrastination. Eight days is long enough for the world to shuffle the deck and deal you another hand.

Everything seemed to flood over him then. It was as though he’d been the little Dutch boy with his finger in the dike, refusing to let the sea of reason in.

And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors' eyes--a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.

We had made a fetish out of our misfortune, fallen in love with it. I was sickened to realize we’d kept it going for so long, not that we had decided to stop.

Ik voel me vandaag beroerd. Maar laat ons om ons heen zien. Sommige mensen worden reeds bij het begin van hun leven zwaar gestraft: zij worden als vrouw geboren.

There would never been an end to all the things I wished I'd asked my father.

I wish that in order to secure his party’s nomination, a presidential candidate would be required to point at the sky and name all the stars; have the periodic table of the elements memorized; rattle off the kings and queens of Spain; define the significance of the Gatling gun; joke around in Latin; interpret the symbolism in seventeenth-century Dutch painting; explain photosynthesis to a six-year-old; recite Emily Dickenson; bake a perfect popover; build a shortwave radio out of a coconut; and know all the words to Hoagy Carmichael’s “Two Sleepy People”, Johnny Cash’s “Five Feet High and Rising”, and “You Got the Silver” by the Rolling Stones...What we need is a president who is at least twelve kinds of nerd, a nerd messiah to come along every four years, acquire the Secret Service code name Poindexter, install a Revenge of the Nerds screen saver on the Oval Office computer, and one by one decrypt our woes.

Oh, my god, I don't know. What do you want?" "You," he said, his voice lowering an octave. "I want you, Dutch, body and soul. I want you in my bed every night. I want you there when I wake up in the morning. I want your clothes strung across my apartment and your scent on my skin.

Maeve, speak up. Don't expect that anyone will do you the favor of listening if you don't trouble yourself to use your voice.

A destiny that leads the English to the Dutch is strange enough; but one that leads from Epsom into Pennsylvania, and thence into the hills that shut in Altamont over the proud coral cry of the cock, and the soft stone smile of an angel, is touched by that dark miracle of chance which makes new magic in a dusty world. Each of us is all the sums he has not counted: subtract us into nakedness and night again, and you shall see begin in Crete four thousand years ago the love that ended yesterday in Texas. The seed of our destruction will blossom in the desert, the alexin of our cure grows by a mountain rock, and our lives are haunted by a Georgia slattern, because a London cutpurse went unhung. Each moment is the fruit of forty thousand years. The minute-winning days, like flies, buzz home to death, and every moment is a window on all time. This is a moment:

When my father-in-law, Jan Vuijst, a Dutch Reformed minister, was on his deathbed, I had a deeply intimate conversation with him - as it turned out, my last conversation with him. He said to me, 'It was a privilege to have lived.' The soulful gratitude of that simple statement will never leave me.

But miracles still happen, even if we don't think they do.

I miss you when you’re not around,’ he said. ‘I can’t sleep when you’re not next to me, and I worry a lot about what you’re up to.

Even for the most excitable preacher, there was nothing inherently sinful about a waffle.

As the tide washed in,the Dutch Tulip man face the ocean: "Conjoiner,rejoinder poisoner concealer revelator.Look at it,raising up and raising down,taking everything with it." "What's that",I asked. "Water",the Dutchman said"Well,and time".

The biggest lie in business is that it takes money to make money, remember that. You gotta be smart, have a plan, pay attention to what's going on around you. None of that costs a dime.

That night in my sister’s bed I stared at the ceiling and felt the true loss of our father. Not his money or his house, but the man I sat next to in the car. He had protected me from the world so completely that I had no idea what the world was capable of. I had never thought about him as a child. I had never asked him about the war. I had only seen him as my father, and as my father I had judged him. There was nothing to do about that now but add it to the catalog of my mistakes.

What did he say? You can't always pick your friends. Well, he's damn right there. I have two friends here: a fifteen year old who sees people in colours and a salsa-mad Dutch woman. I didn't pick them, they just turned up in my life, and I'm really glad.

The best place for this kind of training is Holland where people, convinced of their utter innocence, do not use curtains. After dusk the windows turn into little stages on which actors act out their evenings. Sequences of images bathed in yellow, warm light are the individual acts of the same production entitled 'Life'. Dutch painting. Moving lives.

Yang terburuk dari adegan-adegan di panggung itu adalah orang menjadi begitu terbiasa dengan kebohongan sehingga mereka terbiasa melontarkan kekaguman dan bertepuk tangan.

Vooruitgang bestaat niet, en dat is maar goed ook, want zoals het is, is het al erg genoeg.

He is asking to be treated like an American. A real american. Cuz honestly, when you think about American, what color do you see? white? black? We (the Chinese) have been here 200 years....the German, the Dutch, the Italian, they came here in the turn of century; they are Americans. Why doesn't this face ("yellow") register as American? Is it because we make the story too complicated?

Like swallows, like salmon, we were the helpless captives of our migratory patterns. We pretended that what we has lost was the house, not our mother, not our father. We pretended that what we had lost has been taken from us by the person who still lived inside…

I'd been too intent on the room to hear her coming up the stairs. Leslie said that the capacity not to notice a traditional Dutch folk dancing band walk up behind you was not a survival characteristic in the complex, fast-paced world of the modern policing environment. I'd like to point out that I was trying to give directions to a slightly deaf tourist at the time, and anyway it was a Swedish dance troupe.

It’s like you don’t want to be dislodged from your suffering.

You realize that by summoning me here, you signed your own death warrant.” Demons were nothing to take lightly. I’d seen what they were capable of, but I also knew they were no match against the light that shone inside me. “I do,” it said, and I fought to place the language we were speaking. I knew it was ancient. Possibly the first language ever spoken in the universe. “Unless we sign yours first.” “Is that what you think will happen here?” “Dutch,” Reyes said into my ear, “stop playing with your dinner.

Sir," returned Mrs. Sparsit, " I cannot say that i have heard him precisely snore, and therefore must not make that statement. But on winter evenings, when he has fallen asleep at his table, I have heard him, what I should prefer to describe as partially choke. I have heard him on such occasions produce sounds of a nature similar to what may be heard in dutch clocks. Not," said Mrs. Sparsit, with a lofty sense of giving strict evidence, " That I would convey any imputation on his moral character. Far from it.

There are a few times in life when you leap up and the past that you'd been standing on falls away behind you, and the future you mean to lean on is not yet in place, and for a moment you are suspended, knowing nothing and no one, not even yourself.

Thanks anyway,' Vanderdecker repeated, and wandered off to have a stare at the sea. It was his equivalent to beating his head repeatedly against a wall.

She was a magnificent child, and the whole world was laid out in front of her, covered in stars.

I felt peace, even though I was still scared to death. I thought that, whatever would happen to me - I could still be killed. I didn't know - and in what I'd already been through, God was in control.

RATATOUILLE PROVENÇALE 8 servings Served on a platter that shows off its contrasting colors, this dish looks like a colorful Cubist still life. Heat in a large skillet or Dutch oven over medium heat: ¼ cup olive oil Add and cook, stirring, until golden and just tender, 10 to 12 minutes: 1 medium eggplant (about 1 pound), peeled and cut into 1-inch chunks 2 large zucchini (about 1 pound), cut into 1-inch chunks

Because I was fifteen and generally an idiot, I thought that the feeling of home I was experiencing had to do with the car and where it was parked, instead of attributing it wholly and gratefully to my sister.

Alles wat leuk is in het leven is godverdomme dodelijk. En weet je wat het allergevaarlijkst is? Leven. Van leven ga je dood.

I had a mother who left when I was a child. I didn’t miss her. Maeve was there, with her red coat and her black hair, standing at the bottom of the stairs, the white marble floor with the little black squares, the snow coming down in glittering sheets in the windows behind her, the windows as wide as a movie screen, the ship in the waves of the grandfather clock rocking the minutes away.

The fact that I had never wanted to be a doctor was nothing more than a footnote to a story that interested no one. You wouldn’t think a person could succeed in something as difficult as medicine without wanting to do it, but it turned out I was part of a long and noble tradition of self-subjugation.

Celeste and I had made a few halfhearted attempts to get the kids to church when they were young, and then we gave up and left them in bed. In the city of constant stimulation, we had failed to give them the opportunity to develop strong inner lives for those occasions when they would find themselves sitting through the second act of The Nutcracker.

I’M LOSING FAITH IN MY FAVORITE COUNTRY Throughout my life, the United States has been my favorite country, save and except for Canada, where I was born, raised, educated, and still live for six months each year. As a child growing up in Waterloo, Ontario, Canada, I aggressively bought and saved baseball cards of American and National League players, spent hours watching snowy images of American baseball and football games on black and white television and longed for the day when I could travel to that great country. Every Saturday afternoon, me and the boys would pay twelve cents to go the show and watch U.S. made movies, and particularly, the Superman serial. Then I got my chance. My father, who worked for B.F. Goodrich, took my brother and me to watch the Cleveland Indians play baseball in the Mistake on the Lake in Cleveland. At last I had made it to the big time. I thought it was an amazing stadium and it was certainly not a mistake. Amazingly, the Americans thought we were Americans. I loved the United States, and everything about the country: its people, its movies, its comic books, its sports, and a great deal more. The country was alive and growing. No, exploding. It was the golden age of life, liberty, and the pursuit of happiness. The American dream was alive and well, but demanded hard work, honesty, and frugality. Everyone understood that. Even the politicians. Then everything changed. Partly because of its proximity to the United States and a shared heritage, Canadians also aspired to what was commonly referred to as the American dream. I fall neatly into that category. For as long as I can remember I wanted a better life, but because I was born with a cardboard spoon in my mouth, and wasn’t a member of the golden gene club, I knew I would have to make it the old fashioned way: work hard and save. After university graduation I spent the first half of my career working for the two largest oil companies in the world: Exxon and Royal Dutch Shell. The second half was spent with one of the smallest oil companies in the world: my own. Then I sold my company and retired into obscurity. In my case obscurity was spending summers in our cottage on Lake Rosseau in Muskoka, Ontario, and winters in our home in Port St. Lucie, Florida. My wife, Ann, and I, (and our three sons when they can find the time), have been enjoying that “obscurity” for a long time. During that long time we have been fortunate to meet and befriend a large number of Americans, many from Tom Brokaw’s “Greatest Generation.” One was a military policeman in Tokyo in 1945. After a very successful business carer in the U.S. he’s retired and living the dream. Another American friend, also a member of the “Greatest Generation”, survived The Battle of the Bulge and lived to drink Hitler’s booze at Berchtesgaden in 1945. He too is happily retired and living the dream. Both of these individuals got to where they are by working hard, saving, and living within their means. Both also remember when their Federal Government did the same thing. One of my younger American friends recently sent me a You Tube video, featuring an impassioned speech by Marco Rubio, Republican senator from Florida. In the speech, Rubio blasts the spending habits of his Federal Government and deeply laments his country’s future. He is outraged that the U.S. Government spends three hundred billion dollars, each and every month. He is even more outraged that one hundred and twenty billion of that three hundred billion dollars is borrowed. In other words, Rubio states that for every dollar the U.S. Government spends, forty cents is borrowed. I don’t blame him for being upset. If I had run my business using that arithmetic, I would be in the soup kitchens. If individual American families had applied that arithmetic to their finances, none of them would be in a position to pay a thin dime of taxes.

That she held herself well was true; and had nice hands and feet; and dressed well, considering that she spent little. But often now this body she wore (she stopped to look at a Dutch picture), this body, with all its capacities, seemed nothing - nothing at all. She had the oddest sense of being herself invisible; unseen; unknown; there being no more marrying, no more having of children now, but only this astonishing and rather solemn progress with the rest of them, up Bond Street, this being Mrs. Dalloway, not even Clarissa any more; this being Mrs. Richard Dalloway.

The morning after the 9/11 attacks...we began talking about the Twin Towers attack. Ruud shook his head sadly about it all. He said, "It's so weird, isn't it, all these people saying this has to do with Islam?" I couldn't help myself...I blurted out, "But it *is* about Islam. This is based in belief. This is Islam." Ruud said, "Ayaan, of course these people may have been Muslims, but they are a lunatic fringe. We have extremist Christians, too, who interpret the bible literally. Most Muslims do not believe these things. To say so is to disparage a faith which is the second largest religion in the world, and which is civilized, and peaceful." I walked into the office thinking, "I have to wake these people up."...The Dutch had forgotten that it was possible for people to stand up and wage war, destroy property, imprison, kill, impose laws of virtue because of the call of God. That kind of religion hadn't been present in Holland for centuries. It was not a lunatic fringe who felt this way about America and the West. I knew that a vast mass of Muslims would see the attacks as justified retaliation against the infidel enemies of Islam.

To grow up with a mother who had run off to India, never to be heard from again, that was one thing — there was closure in that, its own kind of death. But to find out she was fifteen stops away on the Number One train to Canal and had failed to be in touch was barbaric. Whatever romantic notions I might have harbored, whatever excuses or allowances my heart had ever made on her behalf, blew out like a match.

You risked your life for me." He took my shoulders into his hands. "When are you going to learn, Dutch: No one matters but you and the baby. You keep risking your life--" He threw one hand out to indicate our surroundings. "--on things that are not the least bit important." He stepped even closer. "On people who committed suicide and crazy chicks in cemeteries and--" He stopped and dropped a heated gaze on me. His voice cracked when he said in a hushed tone, "I can't lose you." "And I can lose you?" I asked, almost screaming at him. He lowered his head and pinched the bridge of his nose with his thumb and index finger. Then he admitted what was probably his greatest fear. "I don't know how to win. I don't have the faintest idea of how to kill the Twelve. And when I saw your name on that wall." His breath hitched in his chest. Then he focused his coffee-colored gaze on me. "If you die," he said with a savage vehemence in his voice, "I will go straight to hell and kill every demon there. Or I'll perish in the attempt.

I wish it were different. I wish that we privileged knowledge in politicians, that the ones who know things didn't have to hide it behind brown pants, and that the know-not-enoughs were laughed all the way to the Maine border on their first New Hampshire meet and greet. I wish that in order to secure his party's nomination, a presidential candidate would be required to point at the sky and name all the stars; have the periodic table of the elements memorized; rattle off the kings and queens of Spain; define the significance of the Gatling gun; joke around in Latin; interpret the symbolism in seventeenth-century Dutch painting; explain photosynthesis to a six-year-old; recite Emily Dickinson; bake a perfect popover; build a shortwave radio out of a coconut; and know all the words to Hoagy Carmichael's "Two Sleepy People," Johnny Cash's "Five Feet High and Rising," and "You Got the Silver" by the Rolling Stones. After all, the United States is the greatest country on earth dealing with the most complicated problems in the history of the world--poverty, pollution, justice, Jerusalem. What we need is a president who is at least twelve kinds of nerd, a nerd messiah to come along every four years, acquire the Secret Service code name Poindexter, install a Revenge of the Nerds screen saver on the Oval Office computer, and one by one decrypt our woes.

The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one's country: a longing for country, for home. What in English is called "homesickness." Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe ("I yearn for you," "I'm nostalgic for you"; "I cannot bear the pain of your absence"). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m'ennuie de toi (I miss you), but the word s'ennuyer is weak, cold -- anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).

On the other hand it is probably safe to assume that Rembrandt and Spinoza surely would have at least passed on the street, now and again. Or even run into each other quite frequently, if only at some neighborhood shop or other. And certainly they would have exchanged amenities as well, after a time. Good morning, Rembrandt. Good morning to you, Spinoza. I was extremely sorry to hear about your bankruptcy, Rembrandt. I was extremely sorry to hear about your excommunication, Spinoza. Do have a good day, Rembrandt. Do have the same, Spinoza. All of this would have been said in Dutch, incidentally. I mention that simply because it is known that Rembrandt did not speak any other language except Dutch. Even if Spinoza may have preferred Latin. Or Jewish.

Dear Mr. Peter Van Houten (c/o Lidewij Vliegenthart), My name is Hazel Grace Lancaster. My friend Augustus Waters, who read An Imperial Affliction at my recommendationtion, just received an email from you at this address. I hope you will not mind that Augustus shared that email with me. Mr. Van Houten, I understand from your email to Augustus that you are not planning to publish any more books. In a way, I am disappointed, but I'm also relieved: I never have to worry whether your next book will live up to the magnificent perfection of the original. As a three-year survivor of Stage IV cancer, I can tell you that you got everything right in An Imperial Affliction. Or at least you got me right. Your book has a way of telling me what I'm feeling before I even feel it, and I've reread it dozens of times. I wonder, though, if you would mind answering a couple questions I have about what happens after the end of the novel. I understand the book ends because Anna dies or becomes too ill to continue writing it, but I would really like to mom-wether she married the Dutch Tulip Man, whether she ever has another child, and whether she stays at 917 W. Temple etc. Also, is the Dutch Tulip Man a fraud or does he really love them? What happens to Anna's friends-particularly Claire and Jake? Do they stay that this is the kind of deep and thoughtful question you always hoped your readers would ask-what becomes of Sisyphus the Hamster? These questions have haunted me for years-and I don't know long I have left to get answers to them. I know these are not important literary questions and that your book is full of important literally questions, but I would just really like to know. And of course, if you ever do decide to write anything else, even if you don't want to publish it. I'd love to read it. Frankly, I'd read your grocery lists. Yours with great admiration, Hazel Grace Lancaster (age 16)

Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes — a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder. And as I sat there brooding on the old, unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter — to-morrow we will run faster, stretch out our arms farther… . And one fine morning —— So we beat on, boats against the current, borne back ceaselessly into the past.

And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

Yes,' he said. 'That's it. They'd kick him and beat him with a switch. Then if the youngster was really bad, they'd put him in a sack and take him back to Spain.' 'Saint Nicholas would kick you?' 'Well, not anymore,' Oscar said. 'Now he just pretends to kick you.' He considered this to be progressive, but in a way I think it's almost more preverse than the original punishment.'I'm going to hurt you but not really.' How many times have we fallen for that line? The fake slap invariably makes contact, adding the elements of shock and betrayal to what had previously been plain old-fashioned fear. What kind of a Santa spends his time pretending to kick people before stuffing them into a canvas sack? Then, of course, you've got the six to eight former slaves who could potentially go off at any moment. This, I think, is the greatest difference between us and the Dutch. While a certain segment of our population might be perfectly happy with the arrangement, if you told the average white American that six to eight nameless black men would be sneaking into his house in the middle of the night, he would barricade the doors and arm himself with whatever he could get his hands on. 'Six to eight, did you say?

As I pass through my incarnations in every age and race, I make my proper prostrations to the Gods of the Market Place. Peering through reverent fingers I watch them flourish and fall, And the Gods of the Copybook Headings, I notice, outlast them all. We were living in trees when they met us. They showed us each in turn That Water would certainly wet us, as Fire would certainly burn: But we found them lacking in Uplift, Vision and Breadth of Mind, So we left them to teach the Gorillas while we followed the March of Mankind. We moved as the Spirit listed. They never altered their pace, Being neither cloud nor wind-borne like the Gods of the Market Place, But they always caught up with our progress, and presently word would come That a tribe had been wiped off its icefield, or the lights had gone out in Rome. With the Hopes that our World is built on they were utterly out of touch, They denied that the Moon was Stilton; they denied she was even Dutch; They denied that Wishes were Horses; they denied that a Pig had Wings; So we worshipped the Gods of the Market Who promised these beautiful things. When the Cambrian measures were forming, They promised perpetual peace. They swore, if we gave them our weapons, that the wars of the tribes would cease. But when we disarmed They sold us and delivered us bound to our foe, And the Gods of the Copybook Headings said: "Stick to the Devil you know." On the first Feminian Sandstones we were promised the Fuller Life (Which started by loving our neighbour and ended by loving his wife) Till our women had no more children and the men lost reason and faith, And the Gods of the Copybook Headings said: "The Wages of Sin is Death." In the Carboniferous Epoch we were promised abundance for all, By robbing selected Peter to pay for collective Paul; But, though we had plenty of money, there was nothing our money could buy, And the Gods of the Copybook Headings said: "If you don't work you die." Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew And the hearts of the meanest were humbled and began to believe it was true That All is not Gold that Glitters, and Two and Two make Four And the Gods of the Copybook Headings limped up to explain it once more. As it will be in the future, it was at the birth of Man There are only four things certain since Social Progress began. That the Dog returns to his Vomit and the Sow returns to her Mire, And the burnt Fool's bandaged finger goes wabbling back to the Fire; And that after this is accomplished, and the brave new world begins When all men are paid for existing and no man must pay for his sins, As surely as Water will wet us, as surely as Fire will burn, The Gods of the Copybook Headings with terror and slaughter return!

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?