Places Museums Quotes

Do not fall in love with people like me. I will take you to museums, and parks, and monuments, and kiss you in every beautiful place, so that you can never go back to them without tasting me like blood in your mouth. I will destroy you in the most beautiful way possible. And when I leave you will finally understand, why storms are named after people.

Real museums are places where Time is transformed into Space.

Besides the alternate universe offered by a book, the quiet space of a museum was my favorite place to go. My mom said I was an escapist at heart . . . that I preferred imaginary worlds to the real one. It’s true that I’ve always been able to yank myself out of this world and plunge myself into another.

Do not fall in love with people like me we will take you to museums and parks and monuments and kiss you in every beautiful place so that you can never go back to them without tasting us like blood in your mouth.

Some of our greatest historical and artistic treasures we place with curators in museums; others we take for walks.

She looked out the window; in her eyes was the light that you see only in children arriving at a new place, or in young people still open to new influences, still curious about the world because they have not yet been scarred by life.

If we give what we treasure most to a Being we love with all our hearts, if we can do that without expecting anything in return, then the world becomes a beautiful place.

I feel like I’m a disappointment to mankind,” he remarked woefully as he placed the shirt through my arms and began to pull it down over my breasts. “Someone this gorgeous should be on display in a museum.

I was a ghost, wandering the rooms of a museum of the person I used to be, and Jason was like one of the living who could somehow see me and decided to wander the place with me.

Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.

...That's why we have the Museum, Matty, to remind us of how we came, and why: to start fresh, and begin a new place from what we had learned and carried from the old.

But there are some things, child, that you should steal. That you must steal, if you have enough love and courage in your heart. You must snatch freedom from the hands of the tyrant. You must spirit away innocent lives before they are destroyed. You must hide secret and sacred places.

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.

This was like no library I had ever seen because, well, there were no books. Actually, I take that back. There was one book, but it was the lobby of the building, encased in a heavy glass box like a museum exhibit. I figured this was a book that was here to remind people of the past and the way things used to be. As I walked over to it, I wondered what would be one book chosen to take this place of honor. Was it a dictionary? A Bible? Maybe the complete works of Shakespeare or some famous poet. "Green Eggs and Ham?" Gunny said with surprise. "What kind of doctor writes about green eggs and ham?" "Dr. Seuss," I answered with a big smile on my face. "It's my favorite book of all time." Patrick joined us and said, "We took a vote. It was pretty much everybody's favorite. Landslide victory. I'm partial to Horton Hears A Who, but this is okay too." The people of Third Earth still had a sense of humor.

Poverty does not belong in civilized human society. Its proper place is in a museum. That's where it will be.

If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then the next day you probably do much the same again—if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time.... [T]he proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us." —"The Carrier Bag Theory of Fiction

I can’t think of anything more depressing than to be an Egyptian high priest on display next to a set of vintage wagon wheels and a two-headed chicken.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

I've never been somewhere I belonged, but there are places where I think I could be happy. Like San Francisco. Well, do art museums count? Because I feel like I belong in them.

What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star… Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here,' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted,' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly,' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me,' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

Do not fall in love with people like me. We will take you to museums and parks and monuments and kiss you in every beautiful place so that you can never go back to them without tasting us like blood in your mouth.

If you cut out a rectangle of a perfectly blue sky, no clouds, no wind, no birds, frame it with a blue frame, place it faceup on the floor of an empty museum with an open atrium to the sky, that is grief.

A museum is an institution like a library where everything has a place, everything belongs.

That is the purpose of museums, of course. One does not go merely to collect facts and souvenirs and picture post cards, but to enlarge one's notion of all that has been, and all that is, and all that might be. In this way we begin to understand what part each of us was born to play in the marvelous tale of existence.

Most people either love or hate old libraries. To some, a room like this--dim, high-ceilinged, dusty, smelling of old paper and crumbling leather--would be oppressive, a place to flee from in search of sun and air. To others, like me, it was a wonderful cave filled with unimaginable treasures and unexpected treats. I always found myself inhaling deeply when I entered the stacks, as if trying to absorb part of them into my bloodstream.

A museum is a place where nothing was lost, just rediscovered…

Get out there and see your state. Go to museums and parks and historic sites. Get yourselves some culture so that when you do leave you can take it.

DO NOT FALL IN LOVE WITH PEOPLE LIKE ME Do not fall in love with people like me. People like me will love you so hard that you turn into stone, into a statue where people come to marvel at how long it must have taken to carve that faraway look into your eyes. Do not fall in love with people like me. We will take you to museums and parks and monuments and kiss you in every beautiful place so that you can never go back to them without tasting us like blood in your mouth. Do not come any closer. People like me are bombs. When our time is up, we will splatter loss all over your walls in angry colors that make you wish your doorway never learned our name. Do not fall in love with people like me. With the lonely ones. We will forget our own names if it means learning yours. We will make you think that hurricanes are gentle, that pain is a gift. You will get lost in the desperation, in the longing for something that is always reaching, but never able to hold. Do not fall in love with people like me. We will destroy your apartment. We will throw apologies at you that shatter on the floor and cut your feet. We will never learn how to be soft. We will leave. We always do.

When you get older, you notice your sheets are dirty. Sometimes, you do something about it. And sometimes, you read the front page of the newspaper and sometimes you floss and sometimes you stop biting your nails and sometimes you meet a friend for lunch. You still crave lemonade, but the taste doesn’t satisfy you as much as it used to. You still crave summer, but sometimes you mean summer, five years ago. You remember your umbrella, you check up on people to see if they got home, you leave places early to go home and make toast. You stand by the toaster in your underwear and a big t-shirt, wondering if you should just turn in or watch one more hour of television. You laugh at different things. You stop laughing at other things. You think about old loves almost like they are in a museum. The socks, you notice, aren’t organized into pairs and you mentally make a note of it. You cover your mouth when you sneeze, reaching for the box of tissues you bought, contains aloe. When you get older, you try different shampoos. You find one you like. You try sleeping early and spin class and jogging again. You try a book you almost read but couldn’t finish. You wrap yourself in the blankets of: familiar t-shirts, caffe au lait, dim tv light, texts with old friends or new people you really want to like and love you. You lose contact with friends from college, and only sometimes you think about it. When you do, it feels bad and almost bitter. You lose people, and when other people bring them up, you almost pretend like you know what they are doing. You try to stop touching your face and become invested in things like expensive salads and trying parsnips and saving up for a vacation you really want. You keep a spare pen in a drawer. You look at old pictures of yourself and they feel foreign and misleading. You forget things like: purchasing stamps, buying more butter, putting lotion on your elbows, calling your mother back. You learn things like balance: checkbooks, social life, work life, time to work out and time to enjoy yourself. When you get older, you find yourself more in control. You find your convictions appealing, you find you like your body more, you learn to take things in stride. You begin to crave respect and comfort and adventure, all at the same time. You lay in your bed, fearing death, just like you did. You pull lint off your shirt. You smile less and feel content more. You think about changing and then often, you do.

Do not fall in love with people like me we will take you to museums and parks and monuments and kiss you in every beautiful place so that you can never go back to them without tasting us like blood in your mouth

Suddenly, in the space of a moment, I realized what it was that I loved about Britain - which is to say, all of it. Every last bit of it, good and bad - Marmite, village fetes, country lanes, people saying 'mustn't grumble' and 'I'm terribly sorry but', people apologizing to me when I conk them with a nameless elbow, milk in bottles, beans on toast, haymaking in June, stinging nettles, seaside piers, Ordnance Survey maps, crumpets, hot-water bottles as a necessity, drizzly Sundays - every bit of it. What a wondrous place this was - crazy as fuck, of course, but adorable to the tiniest degree. What other country, after all, could possibly have come up with place names like Tooting Bec and Farleigh Wallop, or a game like cricket that goes on for three days and never seems to start? Who else would think it not the least odd to make their judges wear little mops on their heads, compel the Speaker of the House of Commons to sit on something called the Woolsack, or take pride in a military hero whose dying wish was to be kissed by a fellow named Hardy? ('Please Hardy, full on the lips, with just a bit of tongue.') What other nation in the world could possibly have given us William Shakespeare, pork pies, Christopher Wren, Windsor Great Park, the Open University, Gardners' Question Time and the chocolate digestive biscuit? None, of course. How easily we lose sight of all this. What an enigma Britain will seem to historians when they look back on the second half of the twentieth century. Here is a country that fought and won a noble war, dismantled a mighty empire in a generally benign and enlightened way, created a far-seeing welfare state - in short, did nearly everything right - and then spent the rest of the century looking on itself as a chronic failure. The fact is that this is still the best place in the world for most things - to post a letter, go for a walk, watch television, buy a book, venture out for a drink, go to a museum, use the bank, get lost, seek help, or stand on a hillside and take in a view. All of this came to me in the space of a lingering moment. I've said it before and I'll say it again. I like it here. I like it more than I can tell you.

Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.

When I was far from Füsun, the world troubled me; it was a puzzle whose pieces were all out of place. The moment I saw her, they all fit back together, reminding me that the world was a beautiful, meaningful whole where I could relax.

Не доверяй таким людям как я. Я буду водить тебя в музеи, парки, к памятникам, буду целовать тебя в самых красивых местах, так что ты никогда не сможешь туда вернуться не вспоминая меня, словно кровь во рту. Я уничтожу тебя самым прекрасным способом, который только возможен. А когда я покину тебя, ты поймешь, почему штормы называют человеческими именами. Do not fall in love with people like me. I will take you to museums, and parks, and monuments, and kiss you in every beautiful place, so that you can never go back to them without tasting me like blood in your mouth. I will destroy you in the most beautiful way possible. And when I leave you will finally understand, why storms are named after people.

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.

Are you all right, Sir?" asked Hezekiah. "Just fighting over old battles in my mind," said John. "It's the problem with age. You have all these rusty arguments, and no quarrel to use them in. My brain is a museum, but alas, I'm the only visitor, and even I am not terribly interested in the displays." Hezekiah laughed, but there was affection in it. "I would love nothing better than to visit there. But I'm afraid I'd be tempted to loot the place, and carry it all away with me.

Delivering the speech was a surreal experience. The delegates sat silent, almost frozen in place. It was like speaking to a wax museum.

So, you are not so much interested in exploring your feelings about Joy's betrayal. Or the failure of your relationship. You are merely giving me a tour of the museum.' 'The museum? ... I don't follow you.' 'Your museum of pain. Your sanctuary of justifiable indignation.' 'I, uh...' 'We all superintend such a place, I suppose,' she said, 'although some of us are more painstaking curators than others. That is the category in which I would certainly put you, Dominick. You are a meticulous steward of the pain and injustices people have visited upon you.

The people I love the best jump into work head first without dallying in the shallows and swim off with sure strokes almost out of sight. They seem to become natives of that element, the black sleek heads of seals bouncing like half submerged balls. I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck to move things forward, who do what has to be done, again and again. I want to be with people who submerge in the task, who go into the fields to harvest and work in a row and pass the bags along, who stand in the line and haul in their places, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. The work of the world is common as mud. Botched, it smears the hands, crumbles to dust. But the thing worth doing well done has a shape that satisfies, clean and evident. Greek amphoras for wine or oil, Hopi vases that held corn, are put in museums but you know they were made to be used. The pitcher cries for water to carry and a person for work that is real.

We know we are a species obsessed with itself and its own past and origins. We know we are capable of removing from the sanctuary of the earth shards and fragments, and gently placing them in museums. Great museums in great cities—the hallmarks of civilisation.

The university classroom is neither a shopping mall whose existence depends on disseminating the latest, sexiest critical approach, nor a museum, where ideas are valued because of tradition alone and where you can look but never touch. Instead, the classroom is a place of joy fueled by the quest for excellence and the productive fear generated by the awesomeness of our ignorance and our inability to transform human reason into wisdom on its own terms, when it is unhinged from a living God.

As we parted at the Natural History Museum in London, I asked Richard Fortey how science ensures that when one person goes there's someone ready to take his place. He chuckled rather heartily at my naiveté. 'I'm afraid it's not as if we have substitutes sitting on the bench somewhere waiting to be called in to play. When a specialist retires or, even more unfortunately, dies, that can bring a stop to things in that field, sometimes for a very long while.' And I suppose that's why you value someone who spends forty-two years studying a single species of plant, even if it doesn't produce anything terribly new?' 'Precisely,' he said, 'precisely.' And he really seemed to mean it.

The wrought-iron gate squeaked as Lucas opened it. He lowered the rented bike down the stone steps and onto the sidewalk. To his right was the most famous Globe Hotel in Paris, disguised under another name. In front of the entrance five Curukians sat on mopeds. Lu-cas and his eighteen-month-old friend then shot out across the street and through the invisible beam of an-other security camera. He rode diagonally across the place de la Concorde and headed toward the river. It seemed only natural. The motorcycles trailed him. He pedaled fast across the Alex-andre III bridge and zipped past Les Invalides hospital. He tried to turn left at the Rodin Museum, but Goper rode next to him, blocking his escape.

I don't like museums, I like labs.

Pig to pork,' Olive said. 'When does the change happen? At death, it's a dead pig. At the market, it's a pork product. But when does the grand transformation take place?

Museums are places of worship for those whose faith dwells in human stories.

I wished I could visit a Museum of Unnatural History, but, even so, I was glad there wasn't one. Werewolves were wonderful because they could be anything, I knew. If someone actually caught a werewolf, or a dragon, if they tamed a manticore or stabled a unicorn, put them in bottles, dissected them, then they could only be one thing, and they would no longer live in the shadowy places between the things I knew and the world of the impossible, which was, I was certain, the only place that mattered.

Majestatis naturæ by ingenium (Genius equal to the majesty of nature.) [Inscribed ordered by King Louis XV for the base of a statue of Buffon placed at Muséum National d’Histoire Naturelle de Paris.]

The city was a parade of places shut down, left early from, arrived late to, sat in front of, met to say goodbye at. This is how it was for everyone. If you wait long enough, anyplace will become a barracks of the romantic undead, a sprawling museum of personal bombs.

I've the run of the place, and so i spend some time exploring, climbing steep stairs into thin turrets whose windows give me a bird's-eye view of the land surrounding Spence. I flit past locked doors and dark, paneled rooms that seem more like museum exhibits than living, breathing places. I wander until it is dark and past the time when I should be in bed, not that I think anyone shall be searching for me.

Therefore, she decided that her leaving home would not be just running from somewhere but would be running to somewhere. To a large place, a comfortable place, an indoor place, and preferably a beautiful place. And that’s why she decided upon the Metropolitan Museum of Art in New York City.

There’s a simple reason for this. The more shots you get at the target, the more likely you’ll eventually score a bull’s-eye, but the more misses you’ll accrue as well. The bull’s-eyes end up in museums and on library shelves, not the misses. Which, when you think about it, is a shame. It feeds the myth that geniuses get it right the first time, that they don’t make mistakes, when, in fact, they make more mistakes than the rest of us. What

It wasn't exactly like I'd sold out on my life and dreams and all that other bullshit, because the truth was I'd never actually had anything to sell. It was more like I slowly froze in place, inside my little office at the museum; more like some part of me just fell asleep one day and never woke up.

Since I was in flight from religion, I assumed that my classmates had to be in flight from religion too, albeit in a quieter, savvier way than I had as yet been able to discover. Only today do I realize how mistaken I was. They were never in flight at all. Nor are their children in flight, or their grandchildren. By the time I reached by seventieth year, I used to predict, all the churches in the world would have been turned into barns or museums or potteries. But I was wrong. Behold, new churches spring up every day, all over the place, to say nothing of mosques. So Nietzsche's dictum needs to be amended: while it may be so that only the higher animals are capable of boredom, man proves himself highest of all by domesticating boredom, giving it a home.

Uncle Earl believes strongly in Jesus, Moses, the healing power of crystals, the Freemasons, the Illuminati, that aliens landed at Roswell but the government is suppressing it, secret histories, faith-healing, snake-handling, that there is an invention that will replace gasoline but the oil companies are suppressing it, chemtrails, demon-possession, the astonishing powers of Vicks VapoRub, and that there’s proof that aliens contacted the Mayans and the Aztecs and probably the Egyptians, but the scientists are suppressing it. He believes in Skunk Ape, Chupacabras, and he positively adores Mothman. He is not Catholic, but he believes in the miracle of Fatima, visions of Mary appearing on toast, and he is nearly positive that the end times are upon us, but seems to be okay with this, provided it does not interfere with museum hours.

If he really wanted to be happy in the world, Horst? To have any kind of joyful or happy life? He should pay twenty grand to go back to his rapid detox place and then come here and smoke Buddha Haze and stand in a museum all day long.

My best friend Zoe has a perfect rear end and stick legs, and long, silky black hair. She is obviously not descended from William Penn. There are no dowdy pilgrims in her ancestry. Whereas I am grounded and mired in this place, she's like milkweed fluff that will take off with the first strong breeze. Stronger than fluff, though. She's like a bullet just waiting for someone to pull the trigger.

The ancient Greeks worshipped the human capacity for insight. Scott Berkun, in examining the topic of innovation, pointed out that the Greek religious pantheon included nine goddesses who represented the creative spirit. Leading philosophers such as Socrates and Plato visited temples dedicated to these goddesses, these muses, who were a source of inspiration. We honor this tradition when we visit a museum, a “place of the muses,” and when we enjoy music, the “art of the muses

I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.

The bull’s-eyes end up in museums and on library shelves, not the misses. Which, when you think about it, is a shame. It feeds the myth that geniuses get it right the first time, that they don’t make mistakes, when, in fact, they make more mistakes than the rest of us.

...being socialized as a man for me, especially at fancy colleges, was being trained, over and over again, to hold power by criticizing things from a place of objectivity, instead of just saying my emotional intuition and not making up a reason for why it felt that way.

Takes a special kind to go another kind to stay here ........ Nowhere do such patriots so embrace the leaving of the place

The function of museums is to make art worthless again. They take the work out of the market and put it in a place where it becomes part of the common wealth.

The modern world is severely lacking in magic, and those who crave it are at a constant disadvantage because they are desperate and it’s in short supply. Some places—amusement parks, country fairs, museums, old bookstores—can temporarily fill the void, but there will always be people who check every armoire for a door to Narnia, every rabbit hole for a road to Wonderland.

Old men, old men, old men. Medals, medals, medals. Not a brow without a furrow, not a breast without a star. My brother and husband are uniquely-young here. The grouping of young Grand Dukes doesn't count because a grouping is just what they are: a marble bas-relief. Today the whole old-age of Russia seems to have flowed into this place in homage to the eternal youth of Greece. A living lesson of history and philosophy: this is what time does with people, this is what it does--with gods. This is what time does with a man, this is what (a glance at the statues) art does. And, the last lesson: this is what time does with a man; this is what a man does with time. But because of my youth I don't think about that, I feel only a cold shudder. ("The Opening of the Museum")

Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.

The Greeks were so committed to ideas as supernatural forces that they created an entire group of goddesses (not one but nine) to represent creative power; the opening lines of both The Iliad and The Odyssey begin with calls to them. These nine goddesses, or muses, were the recipients of prayers from writers, engineers, and musicians. Even the great minds of the time, like Socrates and Plato, built shrines and visited temples dedicated to their particular muse (or muses, for those who hedged their bets). Right now, under our very secular noses, we honor these beliefs in our language, as the etymology of words like museum ("place of the muses") and music ("art of the muses") come from the Greek heritage of ideas as superhuman forces.

Paris is a city that might well be spoken of in the plural, as the Greeks used to speak of Athens, for there are many Parises, and the tourists’ Paris is only superficially related to the Paris of the Parisians. The foreigner driving through Paris from one museum to another is quite oblivious to the presence of a world he brushes past without seeing. Until you have wasted time in a city, you cannot pretend to know it well. The soul of a big city is not to be grasped so easily; in order to make contact with it, you have to have been bored, you have to have suffered a bit in those places that contain it. Anyone can get hold of a guide and tick off all the monuments, but within the very confines of of Paris there is another city as difficult to access as Timbuktu once was.

The little group before her finally moved on and Sarah took its place, standing before Tom like he was a painting in a museum. And then his vacant eyes dropped from that point somewhere above her head and he looked at her—looked into her eyes and registered her presence. His eyes widened and his mouth opened wordlessly. For the space of six heartbeats they stared at one another and then Sarah simply said, “Come home.” She held her hand out to him. He gazed at it for a moment. “Come with me,” she said softly. Slowly he rose from his chair and walked toward her. He slipped his hand into hers and his palm was warm and callused. She stepped back and pulled him along with her. Suddenly his arms went around her, hugging her tight, his head dropped to her shoulder and his mouth pressed into her hair as he whispered, “I can’t believe you’re here.” Her hands slipped up the smooth, supple skin of his back to hook over his shoulders. She buried her face against his chest, breathing him in, forgetting time and place and circumstance and just holding him.

For cities are museums of time, and to live in them is to be haunted by the places they once were. The waterways that existed before the skyscrapers and freeways are a vanished world that beacons to us. When we catch glimpses of them, the city disappears. Its too-known streets dissolve into unfathomable terrain. It becomes innocent again. We want to unmake the city. To regain a lost paradise.

You're innocent, Casaubon. You ran away instead of throwing stones, you got your degree, you didn't shoot anybody. Yet a few years ago I felt you, too, were blackmailing me. Nothing personal, just generational cycles. And then last year, when I saw the Pendulum, I understood everything." "Everything?" "Almost everything. You see, Casaubon, even the Pendulum is a false prophet. You look at it, you think it's the only fixed point in the cosmos. but if you detach it from the ceiling of the Conservatoire and hang it in a brothel, it works just the same. And there are other pendulums: there's one in New York, in the UN building, there's one in the science museum in San Francisco, and God knows how many others. Wherever you put it, Foucault's Pendulum swings from a motionless point while the earth rotates beneath it. Every point of the universe is a fixed point: all you have to do is hang the Pendulum from it." "God is everywhere." "In a sense, yes. That's why the Pendulum disturbs me. It promises the infinite, but where to put the infinite is left to me. So it isn't enough to worship the Pendulum; you still have to make a decision, you have to find the best point for it. And yet..." "And yet?" "And yet... You're not taking me seriously by any chance, are you, Casaubon? No, I can rest easy; we're not the type to take things seriously.... Well, as I was saying, the feeling you have is that you've spent a lifetime hanging the Pendulum in many paces, and it's never worked, but there, in the Conservatoire, it works.... Do you think there are special places in the universe? On the ceiling of this room, for example? No, nobody would believe that. You need atmosphere. I don't know, maybe we're always looking for the right place, maybe it's within reach, but we don't recognize it. Maybe, to recognize it, we have to believe in it. Well, let's go see Signor Garamond." "To hang the Pendulum?" "Ah, human folly! Now we have to be serious. If you are going to be paid, the boss must see you, touch you, sniff you, and say you'll do. Come, let the boss touch you; the boss's touch heals scrofula.

No one in that city understands, Gil, because it doesn’t matter to them anymore. They’ve never learned to fear the steel and the men who carry it, and none of them ever will, because they don’t have to. Because in this place I’ve seen, men like that don’t exist anymore. We don’t exist anymore. Sounds like a beautiful fucking place. How do I get there? Ringil grinned fiercely up at the Kiriath clan captain. Oh wait — you’re going to tell me the rents are sky-high, right? And how am I going to earn a living if they keep their swords in a museum?

THE BARROW In this high field strewn with stones I walk by a green mound, Its edges sheared by the plough. Crumbs of animal bone Lie smashed and scattered round Under the clover leaves And slivers of flint seem to grow Like white leaves among green. In the wind, the chestnut heaves Where a man's grave has been. Whatever the barrow held Once, has been taken away: A hollow of nettles and dock Lies at the centre, filled With rain from a sky so grey It reflects nothing at all. I poke in the crumbled rock For something they left behind But after that funeral There is nothing at all to find. On the map in front of me The gothic letters pick out Dozens of tombs like this, Breached, plundered, left empty, No fragments littered about Of a dead and buried race In the margins of histories. No fragments: these splintered bones Construct no human face, These stones are simply stones. In museums their urns lie Behind glass, and their shaped flints Are labelled like butterflies. All that they did was die, And all that has happened since Means nothing to this place. Above long clouds, the skies Turn to a brilliant red And show in the water's face One living, and not these dead." — Anthony Thwaite, from The Owl In The Tree

Richard found himself, on otherwise sensible weekends, accompanying her to places like the National Gallery and the Tate Gallery, where he learned that walking around museums too long hurts your feet, that the great art treasures of the world all blur into each other after a while, and that it is almost beyond the human capacity for belief to accept how much museum cafeterias will brazenly charge for a slice of cake and a cup of tea.

Was it good? Nemecsek fixed his blue eyes on Gereb and replied: Yes, and quietly added: Much better than to be standing on the bank, laughing at me. I'd rather stay in the water neck-deep until New Year than be hand-in-hand with my friends' enemies. I don't mind having dipped in the water. The other day I fell in there by myself. I saw you then, too, with these strangers on the island. But you fellows can invite me as long as you like, you can flatter me and shower me with presents - yet I won't have a thing to do with you. And if you give me another ducking, if you throw me in the water a hundred times, or even a thousand times, I'll come here tomorrow and the day after just the same. I'll find a hiding place where you won't get me. I'm not afraid of anyone of you. And if you'll come to Paul Street, to take our ground away, we'll be on the spot! And don't you forget that either! I'll show you that with ten of us against your ten, you'll hear a different sort of talk from what I'm giving you now. It was easy enough to get the better of me! The one that's stronger always wins! The Pasztor boys stole my marbles in the Museum Garden because they were stronger. Now I got a ducking because you are stronger! Easy enough when ten are against one! But I don't care! You can even beat me up, if it'll do you good. I could have saved myself from the ducking, but I wouldn't join you. I'd rather be drowned or have my brains knocked out than be a traitor...like....somebody standing over...there....

First, recognize that children are not adults, and you usually cannot improve their behavior with a discussion. If your four-year-old is taking their shirt off in the museum, they will not respond to a reasoned discussion about how you actually do need to wear a shirt in public places. The flip side of this - more important - is that you shouldn't expect them to respond to adult reasoning. And as a result, you should not get angry the way you would if, say, your spouse was stripping in the museum and didn't stop after you explained why they shouldn't. Toddler discipline is, really, parental discipline. Breathe. Take a second.

People think I am being modest when I tell them I know absolutely nothing about art. But if they show me a piece of student work, I won't have the slightest idea whether it's art or even "good". What I do know is whether such things hang or stand in the houses of the rich - or in the museums where the rich allow their treasures to be seen. And when people understand this, they'll instantly agree with what I said in the first place, that I know absolutely nothing about art.

After Jericho's illness crippled him and his parents had abandoned him to the state, it was Will who'd stepped in as guardian. He had sheltered Jericho, fed and clothed him, and taught his ward what he could about running the museum and about Diviners. For that, Jericho supposed he owed him a debt. But Will hadn't given Jericho the parts that mattered most. He hadn't given himself. The two of them had never gone fishing in a cold stream early on a summer's day and shared their thoughts on love and life while they watched the sun draw the curling morning mist from the water. They'd never discussed how to find one's place in the world, never talked of fathers and sons, or what makes someone a man. No. He and Will spoke in newspaper articles about ghosts. They conversed through the careful curation of supernatural knickknacks. And Jericho couldn't help but feel cheated at how little he'd gotten when he'd needed so much more. Why was there so much silence between men?

The white woman across the aisle from me says 'Look, look at all the history, that house on the hill there is over two hundred years old, ' as she points out the window past me into what she has been taught. I have learned little more about American history during my few days back East than what I expected and far less of what we should all know of the tribal stories whose architecture is 15,000 years older than the corners of the house that sits museumed on the hill. 'Walden Pond, ' the woman on the train asks, 'Did you see Walden Pond? ' and I don't have a cruel enough heart to break her own by telling her there are five Walden Ponds on my little reservation out West and at least a hundred more surrounding Spokane, the city I pretended to call my home. 'Listen, ' I could have told her. 'I don't give a shit about Walden. I know the Indians were living stories around that pond before Walden's grandparents were born and before his grandparents' grandparents were born. I'm tired of hearing about Don-fucking-Henley saving it, too, because that's redundant. If Don Henley's brothers and sisters and mothers and father hadn't come here in the first place then nothing would need to be saved.' But I didn't say a word to the woman about Walden Pond because she smiled so much and seemed delighted that I thought to bring her an orange juice back from the food car. I respect elders of every color. All I really did was eat my tasteless sandwich, drink my Diet Pepsi and nod my head whenever the woman pointed out another little piece of her country's history while I, as all Indians have done since this war began, made plans for what I would do and say the next time somebody from the enemy thought I was one of their own.

Any historian of warfare knows that it is in good part a comedy of errors and a museum of incompetence; but if for every error and every act of incompetence one can substitute an act of treason, we can see how many points of fascinating interpretation are open to the paranoid imagination: treason in high places can be found at almost every turning -- and in the end the real mystery, for one who reads the primary works of paranoid scholarship, is not how the United States has been brought to its present dangerous position, but how it has managed to survive at all.

To day we made the grand experiment of burning the diamond and certainly the phenomena presented were extremely beautiful and interesting... The Duke's burning glass was the instrument used to apply heat to the diamond. It consists of two double convex lenses ... The instrument was placed in an upper room of the museum and having arranged it at the window the diamond was placed in the focus and anxiously watched. The heat was thus continued for 3/4 of an hour (it being necessary to cool the globe at times) and during that time it was thought that the diamond was slowly diminishing and becoming opaque ... On a sudden Sir H Davy observed the diamond to burn visibly, and when removed from the focus it was found to be in a state of active and rapid combustion. The diamond glowed brilliantly with a scarlet light, inclining to purple and, when placed in the dark, continued to burn for about four minutes. After cooling the glass heat was again applied to the diamond and it burned again though not for nearly so long as before. This was repeated twice more and soon after the diamond became all consumed. This phenomenon of actual and vivid combustion, which has never been observed before, was attributed by Sir H Davy to be the free access of air; it became more dull as carbonic acid gas formed and did not last so long.

It is not just bookstores and libraries that are disappearing but museums, theaters, performing arts centers, art and music schools— all those places where I felt at home have joined the list of endangered species. The San Francisco Chronicle, the Los Angeles Times, the Boston Globe and my own hometown paper, The Washington Post, have all closed their weekend book review sections, leaving books orphaned and stranded, poor cousins to television and the movies. In a sign of the times, the Bloomberg News website recently transferred its book coverage to the Luxury section, alongside yachts, sports clubs and wine, as if to signal that books are an idle indulgence of the super-rich. But if there is one thing that should not be denied to anyone rich or poor it is the opportunity to dream.

God knows that parents love to take any opportunity to strut around with their unbearable, intrusive spawns, every public place available. Parks, museums, theaters, hospital, cemeteries, unemployment offices, by pushing in front of them with a puffed chest those characatures of a sarcophagus that are their strollers or even by dangling under the noses of innocent bystanders, their shopping basket from which an ugly squealing head emerges, much to the delight of the makers, who benefit at little cost from their little siren who captures our attention and stimulates our repressed instinct for murder.

So, you are not so much interested in exploring your feelings about Joy’s betrayal. Or the failure of your relationship. You are merely giving me a tour of the museum.” “The museum? . . . I don’t follow you.” “Your museum of pain. Your sanctuary of justifiable indignation.” “I, uh . . .” “We all superintend such a place, I suppose,” she said, “although some of us are more painstaking curators than others. That is the category in which I would certainly put you, Dominick. You are a meticulous steward of the pain and injustices people have visited upon you. Or, if you prefer, we could call you a scrupulous coroner.

My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries. Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places. Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted.

[The Edwardian era] was a time of booming trade, of great prosperity and wealth in which the pageant of London Society took place year after year in a setting of traditional dignity and beauty. The great houses—Devonshire, Dorchester, Grosvenor, Stafford and Lansdowne House—had not yet been converted into museums, hotels and flats, and there we danced through the long summer nights till dawn. The great country-houses still flourished in their glory, and on their lawns in the green shade of trees the art of human intercourse was exquisitely practised by men and women not yet enslaved by household cares and chores who still had time to read, to talk, to listen and to think.

The Natural History Museum is open to the public on Tuesdays and Fridays. Elephant, rhinoceros, hippopotamus; extraordinary animals! Rubens rendered them marvelously. I had a feeling of happiness as soon as I entered the place and the further I went the stronger it grew. I felt my whole being rise above commonplaces and trivialities and the petty worries of my daily life. What an immense variety of animals and species of different shapes and functions!

 It’s weird being alone in the museum. It’s dark and eerily quiet: Only the after-hours lights are on—just enough to illuminate the hallways and stop you from tripping over your own feet—and the background music that normally plays all the time is shut off. I quickly organize the flashlights and check their batteries, and when I don’t hear Porter walking around, I stare at the phone sitting at the information desk. How many chances come along like this? I pick up the receiver, press the little red button next to the word ALL, and speak into the phone in a low voice. “Paging Porter Roth to the information desk,” I say formally, my voice crackling through the entire lobby and echoing down the corridors. Then I press the button again and add, “While you’re at it, check your shoes to make sure they’re a match, you bastard. By the way, I still haven’t quite forgiven you for humiliating me. It’s going to take a lot more than a kiss and a cookie to make me forget both that and the time you provoked me in the Hotbox.” I’m only teasing, which I hope he knows. I feel a little drunk on all my megaphone power, so I page one more thing: “PS—You look totally hot in those tight-fitting security guard pants tonight, and I plan to get very handsy with you at the movies, so we better sit in the back row.” I hang up the phone and cover my mouth, silently laughing at myself. Two seconds later, Porter’s footfalls pound down Jay’s corridor—Boom! Boom! Boom! Boom! He sounds like a T. rex running from Godzilla. He races into the lobby and slides in front of the information desk, grabbing onto the edge to stop himself, wild curls flying everywhere. His grin is enormous. “Whadidya say ’bout where you want to be puttin’ your hands on me?” he asks breathlessly. “I think you have me confused with someone else,” I tease. His head sags against the desk. I push his hair away from one of his eyes. He looks up at me and asks, “You really still haven’t forgiven me?” “Maybe if you put your hands onme, I might.” “Don’t go getting my hopes up like that.” “Oh, your hopes should be up. Way up.” “Dear God, woman,” he murmurs. “And here I was, thinking you were a classy dame.” “Pfft. You don’t know me at all.” “I aim to find out. What are we still doing here? Let’s blow this place and get to the theater, fast.

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

We drive northwest for an hour to Michigan. Michigan is pretty much like rural New Jersey, except it's flattened out and well planned and pristine. Michigan would be New Jersey if you ran over it with a steamroller, excavated everything, and then put it back in neat rows with lots of space for everyone to move around in. It is practical and pretty, and it's a place where nothing spontaneous happens. This is a place where nothing happens unless people sit around and have a meeting about it first. The people are mostly white, which is weird, and the squirrels are black, also weird.

What—in other words—would modern boredom be without terror? One of the most boring documents of all time is the thick volume of Hitler’s Table Talk. He too had people watching movies, eating pastries, and drinking coffee with Schlag while he bored them, while he discoursed theorized expounded. Everyone was perishing of staleness and fear, afraid to go to the toilet. This combination of power and boredom has never been properly examined. Boredom is an instrument of social control. Power is the power to impose boredom, to command stasis, to combine this stasis with anguish. The real tedium, deep tedium, is seasoned with terror and with death. There were even profounder questions. For instance, the history of the universe would be very boring if one tried to think of it in the ordinary way of human experience. All that time without events! Gases over and over again, and heat and particles of matter, the sun tides and winds, again this creeping development, bits added to bits, chemical accidents—whole ages in which almost nothing happens, lifeless seas, only a few crystals, a few protein compounds developing. The tardiness of evolution is so irritating to contemplate. The clumsy mistakes you see in museum fossils. How could such bones crawl, walk, run? It is agony to think of the groping of the species—all this fumbling, swamp-creeping, munching, preying, and reproduction, the boring slowness with which tissues, organs, and members developed. And then the boredom also of the emergence of the higher types and finally of mankind, the dull life of paleolithic forests, the long long incubation of intelligence, the slowness of invention, the idiocy of peasant ages. These are interesting only in review, in thought. No one could bear to experience this. The present demand is for a quick forward movement, for a summary, for life at the speed of intensest thought. As we approach, through technology, the phase of instantaneous realiza-tion, of the realization of eternal human desires or fantasies, of abolishing time and space the problem of boredom can only become more intense. The human being, more and more oppressed by the peculiar terms of his existence—one time around for each, no more than a single life per customer—has to think of the boredom of death. O those eternities of nonexistence! For people who crave continual interest and diversity, O! how boring death will be! To lie in the grave, in one place, how frightful!

Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country. I find that the district he named is in the extreme east of the country, just on the borders of three states, Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

Not all historians of philosophy have the same goals and attitudes, and I for one see no good reason for disqualifying any of the contenders. Some insist on placing their thinkers in the historical context in which they wrote, which means, for instance, learning a lot of seventeenth-century science if you really want to understand Descartes, and a lot of seventeenth- and eighteenth-century political history if you really want to understand Locke or Hume, and always, of course, a lot of the philosophy of their lesser contemporaries as well. Why bother with the also-rans? There’s a good reason. I found I never really appreciated many of the painters of the sixteenth and seventeenth centuries until I visited European museums where I could see room after room full of second-rate paintings of the same genres. If all you ever see is the good stuff—which is all you see in the introductory survey courses, and in the top museums—it’s very hard to see just how wonderful the good stuff is. Do you know the difference between a good library and a great library? A good library has all the good books. A great library has all the books. If you really want to understand a great philosopher, you have to spend some time looking at the less great contemporaries and predecessors that are left in the shadows of the masters.

My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. It was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries. These were fragrant, colorless alcohols served from cut-glass carafes in small glasses and whether they were quetsche, mirabelle or framboise they all tasted like the fruits they came from, converted into a controlled fire on your tongue that warmed you and loosened your tongue. Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern Italian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places.

Imagine that the brain and the genitals are a couple of friends on vacation together, wandering down the street deciding where to have dinner. If they're women, it goes like this: The genitals notice any restaurant they pass, whether it's Thai food or pub grub, fast food or gourmet (while ignoring all the museums and shops),and say, "This is a restaurant. We could eat here." She has no strong opinion, she's just good at spotting restaurants. Meanwhile, the brain is assessing all the contextual factors [...] to decide whether she wants to try a place. "This place isn't delicious smelling enough," or "This place isn't clean enough," or "I'm not in the mood for pizza." The genitals might even notice a pet store and say, "There's pet food in here, I guess..." and the brain rolls her eyes and keeps walking. [...] Now, if the friends are men, it goes like this: The genitals notice only specific restaurants -- diners, say -- and don't notice any restaurants that aren't diners. Once they find a diner, the brain says, "A diner! I love diners," and the genitals agree, "This is a restaurant, we could eat here," unless there's some pretty compelling reason not to, like a bunch of drunks brawling outside.

As a species we are a predominantly intelligent and exploratory animal, and beliefs harnessed to this fact will be the most beneficial for us. A belief in the validity of the acquisition of knowledge and a scientific understanding of the world we live in, the creation and appreciation of aesthetic phenomena in all their many forms, and the broadening and deepening of our range of experiences in day-to-day living, is rapidly becoming the 'religion' of our time. Experience and understanding are our rather abstract god-figures, and ignorance and stupidity will make them angry. Our schools and universities are our religious training centres, our libraries, museums, art galleries, theatres, concert halls and sports arenas are our places of communal worship. At home we worship with our books. newspapers. magazines, radios and television sets. In a sense, we still believe in an after-life, because part of the reward obtained from our creative works is the feeling that, through them, we will 'live on' after we are dead. Like all religions, this one has its dangers, but if we have to have one, and it seems that we do, then it certainly appears to be the one most suitable for the unique biological qualities of our species. Its adoption by an ever-growing majority of the world population can serve as a compensating and reassuring source of optimism to set against the pessimism (...) concerning our immediate future as a surviving species.

One day a boy asked his father, “What is the value of this life?” Instead of answering, the father told his son, “Take this rock and go offer it at a market, however do not accept any offer and bring the rock back to me. If anybody asks the price, raise two fingers and don’t say anything.”The boy then went to the market and a man asked,”How much is this rock? I want to put it in my garden.” The boy didn’t say anything and raised two fingers, so the man said… “$2? I’ll take it.” And the boy went home and told his father, “A man at the market wants to buy this rock for $2.” The father then said, “Son I want you to take this rock to the museum, and if you are asked the price, raise two fingers and don’t say a word.” The boy then went to the museum, and quickly a man wanted to buy the rock, The boy didn’t say anything and raised two fingers and the man said… “$200? I’ll take it.” The boy was shocked and went running home with the rock in hand, “Father a man wants to buy this rock for $200.” His father then said, “There is one last place I’d like you to offer this rock, take it to the precious stone store and show it only to the owner and don’t say a word, if he asks the price raise two fingers.” The son then went to the precious stone store and showed the rock to the owner. “Where did you find this?” The owner asked, “This is a most precious unpolished gem, one of the most valuable in the whole world, I must have it. What price would you take for it?” The boy didn’t say anything and raised two fingers to which the man replied “Two million dollars? That is a bargain, I’ll take it!” The boy not knowing what to say went breathlessly running home to his father anxiously clutching this now priceless gem, terrified that he might lose it, “Father there is a man who wants to buy this rock for two million dollars!!!” The father then said, “Son you have been carrying in your hands, one of the most precious objects of our people, it is truly priceless!” The father then said, “Son do you now know the value of your life?” To which the son replied… 'The value of my life, is much like this rock, it depends on who it is offered to. Some place a value of $2, others $200, and still others two million dollars. I must surround myself with other precious Souls who recognize the greatest value of my life, because it is my most precious possession, and I must not allow it to be under valued, it’s true value is priceless.' " In reply the father said, " Son you have actually held in your possession the TWO most precious things that our people have, one is the stone and the other is YOU, that is why I asked you to hold up TWO fingers" What is the value of this life??? Priceless!

The milk is long since out of date, the bread all has mold and I think you could start a bacterial plague with what’s in the crisper here…” “Order a pizza,” he suggested. “There’s a place down on the corner that still owes me ten pizzas, paid for in advance.” “You can’t eat pizza for breakfast!” “Why can’t I? I’ve been doing it for a week.” “You can cook,” she said accusingly. “When I’m sober,” he agreed. She glowered at him and went back to her chore. “Well, the eggs are still edible, barely, and there’s an unopened pound of bacon. I’ll make an omelet.” He collapsed into the chair at the kitchen table while she made a fresh pot of coffee and set about breaking eggs. “You look very domesticated like that,” he pointed out with a faint smile. “After we have breakfast, why don’t you come to bed with me?” She gave him a shocked glance. “I’m pregnant,” she reminded him. He nodded and laughed softly. “Yes, I know. It’s an incredible turn-on.” Her hand stopped, poised in midair with a spoon in it. “Wh…What?” “The eggs are burning,” he said pleasantly. She stirred them quickly and turned the bacon, which was frying in another pan. He thought her condition was sexy? She couldn’t believe he was serious. But apparently he was, because he watched her so intently over breakfast that she doubted if he knew what he was eating. “Mr. Hutton told the curator of the museum in Tennessee that I wasn’t coming back, and he paid off the rent on my house there,” she said. “I don’t even have a home to go to…” “Yes, you do,” he said quietly. “I’m your home. I always have been.” She averted her eyes to her plate and hated the quick tears that her condition prompted. Her fists clenched. “And here we are again,” she said huskily. “Where?” he asked. She drew in a harsh breath. “You’re taking responsibility for me, out of duty.” He leaned back in his chair. The robe came away from his broad, bronzed chest as he stared at her. “Not this time,” he replied with a voice so tender that it made ripples right through her heart. “This time, it’s out of love, Cecily.” Cecily doubted her own ears. She couldn’t have heard Tate saying that he wanted to take care of her because he loved her. He wasn’t teasing. His face was almost grim. “I know,” he said. “You don’t believe it. But it’s true, just the same.” He searched her soft, shocked green eyes. “I loved you when you were seventeen, Cecily, but I thought I had nothing to offer you except an affair.” He sighed heavily. “It was never completely for the reasons I told you, that I didn’t want to get married. It was my mother’s marriage. It warped me. It’s taken this whole scandal to make me realize that a good marriage is nothing like the one I grew up watching. I had to see my mother and Matt together before I understood what marriage could be.

I was certainly not the best mother. That goes without saying. I didn’t set out to be a bad mother, however. It just happened. As it was, being a bad mother was child’s play compared to being a good mother, which was an incessant struggle, a lose-lose situation 24 hours a day; long after the kids were in bed the torment of what I did or didn’t do during those hours we were trapped together would scourge my soul. Why did I allow Grace to make Mia cry? Why did I snap at Mia to stop just to silence the noise? Why did I sneak to a quiet place, whenever I could? Why did I rush the days—will them to hurry by—so I could be alone? Other mothers took their children to museums, the gardens, the beach. I kept mine indoors, as much as I could, so we wouldn’t cause a scene. I lie awake at night wondering: what if I never have a chance to make it up to Mia? What if I’m never able to show her the kind of mother I always longed to be? The kind who played endless hours of hide-and-seek, who gossiped side by side on their daughters’ beds about which boys in the junior high were cute. I always envisioned a friendship between my daughters and me. I imagined shopping together and sharing secrets, rather than the formal, obligatory relationship that now exists between myself and Grace and Mia. I list in my head all the things that I would tell Mia if I could. That I chose the name Mia for my great-grandmother, Amelia, vetoing James’s alternative: Abigail. That the Christmas she turned four, James stayed up until 3:00 a.m. assembling the dollhouse of her dreams. That even though her memories of her father are filled with nothing but malaise, there were split seconds of goodness: James teaching her how to swim, James helping her prepare for a fourth-grade spelling test. That I mourn each and every time I turned down an extra book before bed, desperate now for just five more minutes of laughing at Harry the Dirty Dog. That I go to the bookstore and purchase a copy after unsuccessfully ransacking the basement for the one that used to be hers. That I sit on the floor of her old bedroom and read it again and again and again. That I love her. That I’m sorry. Colin

sighed. “I can’t say that you weren’t expected.” “I’m just going to be walking around here and taking some measurements. It says here… you own eighty acres? That is one of the most gorgeous mansions I have ever seen,” he rambled on. “It must have cost you millions. I could never afford such a beauty. Well, heck, for that matter I couldn’t afford the millions of dollars in taxes a house like this would assess, let alone such a pricey property. Do you have an accountant?” Zo opened her mouth to respond, but he continued, “For an estate this size, I would definitely have one.” “I do have an accountant,” she cut in, with frustration. “Furthermore, I have invested a lot of money bringing this mansion up to speed. You can see my investment is great.” “Of course, it would be. The fact of the matter is, Mrs. Kane, a lot of people are in over their heads in property. You still have to pay up, or we take the place. Well, I’ll get busy now. Pay no mind to me.” He walked on, taking notes. “Clairrrrre!” Zo called as soon as she entered the house. “Bring your cell phone!” Two worry-filled months went by and many calls were made to lawyers, before Zoey finally picked one that made her feel confident. And then the letter came with the totals and the due date. “There is no way we can pay this, Mom, even if we sold off some of our treasures, because a lot of them are contracted to museums anyway. I am feeling awfully poor all of a sudden, and insecure.” “Yes, and I did some research, thinking I’d be forced to sell. It’s unlikely that anyone else around here can afford this place. It looks like they are going to get it all; they aren’t just charging for this year. What we have here is a value about equal to a little country. And all the new construction sites for housing developments suddenly popping up on this side of the river, does not help. Value is going up.” Zo put her head in her hands. “Ohhh, oh, oh, oh!” “Yeah, bring out the ice-cream and cake. I need comforting,” sighed Claire. The cell phone rang. “Yes, tonight? You guys have become pretty good to us, haven’t you?! You know, Bob, Mom and I thought we were just going to pig out on ice cream and cake. We found out we are losing this estate and are going to be poor again and we are bummed out.” There was a long pause. “No, that’s okay, I understand. Yeah, okay, bye.” “Well?” Zo ask dryly. “He was appropriately sorry, and he got off the phone fast, saying he remembered he had other business to take care of. Do you want to cry? I do…” “I’ll get the cake and dish the ice cream. You make our tea and we’ll cry together.” A pitter patter began to drum on the window. “Rain again. It seems softer though, dear.” “I thought you said this was going to be a softer rain!” It started to pour. “At least this is not a thunder storm… What was that?” “Thunder,” replied Claire, unmoved and resigned. An hour had gone by when there was a rapping at the door. “People rarely use the doorbell, ever notice that?” Zo asked on the way to the door. She opened it to reveal two wet guys holding a pizza, salad, soft drink, and giant chocolate chip cookies in a plastic container. In a plastic