Imagery In Into The Wild Quotes

The brain had its own food on which it battened, and the imagination, made grotesque by terror, twisted and distorted as a living thing by pain, danced like some foul puppet on a stand and grinned through moving masks.

It was winter, and a night of bitter cold. The snow lay thick upon the ground, and upon the branches of the trees: the frost kept snapping the little twigs on either side of them, as they passed: and when they came to the Mountain-Torrent she was hanging motionless in air, for the Ice-King had kissed her.

Alf Todd," said Ukridge, soaring to an impressive burst of imagery, "has about as much chance as a one-armed blind man in a dark room trying to shove a pound of melted butter into a wild cat's left ear with a red-hot needle.

The purple butterflies fluttered about with gold dust on their wings, visiting each flower in turn; the little lizards crept out of the crevices of the wall, and lay basking in the white glare; and the pomegranates split and cracked with the heat, and showed their bleeding red hearts. Even the pale yellow lemons, that hung in such profusion from the mouldering trellis and along the dim arcades, seemed to have caught a richer colour from the wonderful sunlight, and the magnolia trees opened their great globe-like blossoms of folded ivory, and filled the air with a sweet heavy perfume.

And after that they had gone through many streets they came to a little door that was set in a wall that was covered with a pomegranate tree. And the old man touched the door with a ring of graved jaspar and it opened, and they went down five steps of brass into a garden filled with black poppies and green jars of burnt clay.

Bronze-limbed and well-knit, like a statue wrought by a Grecian, he stood on the sand with his back to the moon, and out of the foam came white arms that beckoned to him, and out of the waves rose dim forms that did him homage. Before him lay his shadow, which was the body of his Soul, and behind him hung the moon in the honey-coloured air.

He is a scrawny broomstick of a boy in dusky shalwar kameez with holes - filthy wild hair, bruised lips, skulking face.

When you can’t run and deliver like you used to, make sure your letters still bleed with imagery under the stampede of your wild thoughts and the untamed nature of your signature energy.

I was running, as fast as I could, carrying you, Carnation, shaking and scared ... She was there, waiting for me. Standing surrounded by a meadow of lavender, her arms opened wide for me to run into and cry and cry ...

...All without any more sound than flipping over a playing card. And sitting in this limo, compared to my fifteen-year-old Volkswagen Beetle I'd bought off a friend, was as quiet as sitting at the bottom of a lake wearing earplugs.

The term ‘female’ is derogatory not because it emphasises woman’s animality, but because it imprisons her in her sex; and if this sex seems to man to be contemptible and inimical even in harmless dumb animals, it is evidently because of the uneasy hostility stirred up in him by woman. Nevertheless he wishes to find in biology a justification for this sentiment. The word female brings up in his mind a saraband of imagery – a vast, round ovum engulfs and castrates the agile spermatozoan; the monstrous and swollen termite queen rules over the enslaved males; the female praying mantis and the spider, satiated with love, crush and devour their partners; the bitch in heat runs through the alleys, trailing behind her a wake of depraved odours; the she-monkey presents posterior immodestly and then steals away with hypocritical coquetry; and the most superb wild beasts – the tigress, the lioness, the panther – bed down slavishly under the imperial embrace of the male. Females sluggish, eager, artful, stupid, callous, lustful, ferocious, abased – man projects them all at once upon woman.

THERE WAS A BOY" THERE was a Boy; ye knew him well, ye cliffs And islands of Winander!--many a time, At evening, when the earliest stars began To move along the edges of the hills, Rising or setting, would he stand alone, Beneath the trees, or by the glimmering lake; And there, with fingers interwoven, both hands Pressed closely palm to palm and to his mouth Uplifted, he, as through an instrument, Blew mimic hootings to the silent owls, 10 That they might answer him.--And they would shout Across the watery vale, and shout again, Responsive to his call,--with quivering peals, And long halloos, and screams, and echoes loud Redoubled and redoubled; concourse wild Of jocund din! And, when there came a pause Of silence such as baffled his best skill: Then, sometimes, in that silence, while he hung Listening, a gentle shock of mild surprise Has carried far into his heart the voice 20 Of mountain-torrents; or the visible scene Would enter unawares into his mind With all its solemn imagery, its rocks, Its woods, and that uncertain heaven received Into the bosom of the steady lake. This boy was taken from his mates, and died In childhood, ere he was full twelve years old. Pre-eminent in beauty is the vale Where he was born and bred: the churchyard hangs Upon a slope above the village-school; 30 And, through that church-yard when my way has led On summer-evenings, I believe, that there A long half-hour together I have stood Mute--looking at the grave in which he lies!

It is challenging to honor the descent in a culture that primary values the ascent. We like things rising—stock markets, the GDP, profit margins. We get anxious when things go down. Even within psychology, there is a premise that is biased toward improvement, always getting better, rising above our troubles. We hold dear concepts like progress and integration. These are fine in and of themselves, but it is not the way psyche works. Psyche, we must remember, was shaped by and is rooted in the foundations of nature. As such, psyche also experiences times of decay and death, of stopping, regression, and being still. Much happens in these times that deepen the soul. When all we are shown is the imagery of ascent, we are left to interpret the times of descent as pathological; we feel that we are somehow failing. As poet and author Robert Bly wryly noted, “How can we get a look at the cinders side of things when the society is determined to create a world of shopping malls and entertainment complexes in which we are made to believe that there is no death, disfigurement, illness, insanity, lethargy, or misery? Disneyland means ‘no ashes.’ 

It was a sight full of quick wonder and awe! The vast swells of the omnipotent sea; the surging, hollow roar they made, as they rolled along the eight gunwales, like gigantic bowls in a boundless bowling-green; the brief suspended agony of the boat, as it would tip for an instant on the knife-like edge of the sharper waves, that almost seemed threatening to cut it in two; the sudden profound dip into the watery glens and hollows; the keen spurring and goadings to gain the top of the opposite hill; the headlong, sled-like slide down its other side;--all these, with the cries of the headsmen and harpooners, and the shuddering gasps of the oarsmen, with the wondrous sight of the ivory Pequod bearing down upon her boats with outstretched sails, like a wild hen after her screaming brood;--all this was thrilling. Not the raw recruit, marching from the bosom of his wife into the fever heat of his first battle; not the dead man's ghost encountering the first unknown phantom in the other world;--neither of these can feel stranger and stronger emotions than that man does, who for the first time finds himself pulling into the charmed, churned circle of the hunted sperm whale.

The hatch, removed from the top of the works, now afforded a wide hearth in front of them. Standing on this were the Tartarean shapes of the pagan harpooneers, always the whale-ship’s stokers. With huge pronged poles they pitched hissing masses of blubber into the scalding pots, or stirred up the fires beneath, till the snaky flames darted, curling, out of the doors to catch them by the feet. The smoke rolled away in sullen heaps. To every pitch of the ship there was a pitch of the boiling oil, which seemed all eagerness to leap into their faces. Opposite the mouth of the works, on the further side of the wide wooden hearth, was the windlass. This served for a sea-sofa. Here lounged the watch, when not otherwise employed, looking into the red heat of the fire, till their eyes felt scorched in their heads. Their tawny features, now all begrimed with smoke and sweat, their matted beards, and the contrasting barbaric brilliancy of their teeth, all these were strangely revealed in the capricious emblazonings of the works. As they narrated to each other their unholy adventures, their tales of terror told in words of mirth; as their uncivilized laughter forked upwards out of them, like the flames from the furnace; as to and fro, in their front, the harpooneers wildly gesticulated with their huge pronged forks and dippers; as the wind howled on, and the sea leaped, and the ship groaned and dived, and yet steadfastly shot her red hell further and further into the blackness of the sea and the night, and scornfully champed the white bone in her mouth, and viciously spat round her on all sides; then the rushing Pequod, freighted with savages, and laden with fire, and burning a corpse, and plunging into that blackness of darkness, seemed the material counterpart of her monomaniac commander’s soul.

From cave paintings depicting hunting grounds to the Babylonian tablets capturing the "whole world" (as they experienced it). Through the advancements of the Middle Ages, especially from Islamic scholars and Chinese cartographers. Massive strides came about with the Renaissance, as exploration and expansion abounded. Then on to the massive leaps to modern surveying and satellite imagery. The journey has been astonishing! I cannot help but think that this mirrors the path of our understanding of God and the world They created. Our sincere, yet limited perspectives began to expand as our experience and understanding grew. The reality of that which we sought to "map out" was (and is) often our best efforts, complicated by ignorance, limitations, bias, and more. We imperfectly stumble towards better, more honest representations. Even then, our growing understanding helps us see the limitations of our own attempts to bring meaning to that which is so much bigger than our capacity to fully understand. Just as we know that the Mercator projection map is deeply problematic and, in many ways, wildly incorrect, so too do so many of our understandings of the Divine often fail to meet our own standards. And in the same way, we also hold on to them because they are familiar and we are so deeply invested in them. And in the end, no matter how good and accurate and true our "maps" are, they will always and only ever be mere representations- pale reflections of a much grander, complex, and ever-changing reality.

Cleopatra the Alchemist, who is believed to have lived in Alexandria around the third or fourth centuries CE, is one of four female alchemists who were thought to have been able to produce the rare and much-sought-after philosopher’s stone. She is a foundational figure in alchemy, and made great use of original imagery which reflects conception and birth — representing the renewal and transformation of life. She also experimented with practical alchemy (the forerunner of modern chemistry) and is credited by some with having invented the alembic, an apparatus used for distillation. Her mentor was Maria the Jewess, who lived in Alexandria sometime between the first and third centuries CE; she is similarly credited with the invention of several kinds of chemical apparatuses and is considered to be the first true alchemist of the Western world. In 1964, the great surrealist artist Leonora Carrington painted Maria, depicting her as a woman-lion chimera with breasts exposed and hair wildly flailing around her, as she weaves magical gold-summoning spells. Actually, female alchemists in Greco-Roman Egypt weren’t uncommon, though they were mostly preoccupied with concocting fragrances and cosmetics. In fact, it was a collective of female alchemists in ancient Egypt who invented beer, setting up an unsurprisingly booming business by the Nile. This is all a far cry from the popular image of an alchemist: that of a lavishly dressed and usually bearded man in a medieval laboratory, bending over a fire and surrounded by all manner of arcane contraptions, trying to turn lead into gold.

It had nothing to do with the gear or footwear or the backpacking fads or philosophies of any particular era. It had only to do with how it felt to be in th wild. With what it was like to walk for miles for no reason other than to witness the accumulation of trees and meadows, mountains and desserts, streams and rocks, rivers and grasses, sunrises and sunsets.

as a futurist in my college days, the pretense of consistent literalism was challenged by Revelation’s wild imagery. In any given verse, we might pivot from literal to figurative interpretations and back again. Using the Church in Revelation again as our example, it was easy to discern that the collective billions who constitute the Bride of Christ are not one literal female colossus in a humongous wedding dress waiting to consummate union with Jesus in actual lovemaking. We knew this was symbolic. Yet in the very same verse, we stumbled over our literalism into the New Jerusalem. Some of the popular futurist commentaries of the day quibbled over the Holy City’s dimensions—whether it will be a pyramid or a cube and what the rooms, streets, and transportation will be like.4 I tried to picture a city that was fifteen hundred miles tall and wondered what that would do to the earth’s rotation. I also wondered what kind of oysters could produce pearls large enough to become the city’s twelve gates (Rev 21:21).

What are words but an humble representation of the rich and subtle array of imagery that color our dreams, that play along the pathway of the mind.

So overjoyed were they at their deliverance that they laughed aloud, and the Earth seemed to them like a flower of silver, and the Moon like a flower of gold.

Strange imagined shapes of things, wild distortions of the familiar, like the galaxies, pinpoints, of the imagined; until the polished multiple eyes of lofted telescopes — while buffeted by cosmic dust and plasma — passed down bit by bit the great glass marble of the universe.