Primitive Wall Quotes

We've searched our database for all the quotes and captions related to Primitive Wall. Here they are! All 55 of them:

The paintings that laughed at him merrily from the walls were like nothing he had ever seen or dreamed of. Gone were the flat, thin surfaces. Gone was the sentimental sobriety. Gone was the brown gravy in which Europe had been bathing its pictures for centuries. Here were pictures riotously mad with the sun. With light and air and throbbing vivacity. Paintings of ballet girls backstage, done in primitive reds, greens, and blues thrown next to each other irreverantly. He looked at the signature. Degas.
Irving Stone (Lust for Life)
Only by forgetting this primitive world of metaphor can one live with any repose, security, and consistency: only by means of the petrification and coagulation of a mass of images which originally streamed from the primal faculty of human imagination like a fiery liquid, only in the invincible faith that this sun, this window, this table is a truth in itself, in short, only by forgetting that he himself is an artistically creating subject, does man live with any repose, security, and consistency. If but for an instant he could escape from the prison walls of this faith, his "self consciousness" would be immediately destroyed.
Friedrich Nietzsche
CG: ATTENTION WORTHLESS HUMAN. CG: THIS IS YOUR GOD SPEAKING. CG: IT IS A WRATHFUL GOD WHO DESPISES YOU MORE THAN YOU COULD HAVE POSSIBLY DARED TO FEAR. CG: I HAVE WATCHED YOUR ENTIRE PATHETIC LIFE UNFOLD. CG: I HAVE OBSERVED YOU WHILE YOU WOULD QUAKE AND TREMBLE IN PERSONAL PRAYERS OF SHAME. CG: WHILE YOU PLEADED FORGIVENESS FOR BEING SUCH A WRETCHED DISGUSTING FAILURE ON EVERY CONCEIVABLE LEVEL. CG: PROSTRATE BEFORE THE STUPID AND FALSE CLOWN GODS YOU HAVE SCRIBBLED ON THE WALLS OF YOUR BLOCK. CG: BOGUS DEITIES WORSHIPED BY A PRIMITIVE "PARADISE" PLANET. CG: BUT YOUR PRAYERS WILL NOT BE ANSWERED. CG: THERE ARE NO MIRACLES IN STORE FOR YOU, HUMAN. CG: ONLY MY HATE. CG: IT IS A HATE SO PURE AND HOT IT WOULD CONSUME YOUR SAD UNDERDEVELOPED HUMAN THINK PAN TO EVEN CONTEMPLATE. CG: IT IS A HATE THAT TO FATHOM MUST BE PUT INTO SONG. CG: SHRIEKED BY THE TEN THOUSAND ROWDY SHOUT SPHINCTERS PEPPERING THE GRUESOME UNDERBELLY OF THE MOST TRUCULENT GOD THE FURTHEST RING CAN MUSTER. CG: IT IS A HATE THAT MADE YOU AND WILL SURELY DESTROY YOU. CG: MY HATE IS THE LIFEBLOOD THAT PULSES THROUGH THE VEINS OF YOUR UNIVERSE. CG: IT IS MY GIFT TO YOU. CG: YOU'RE WELCOME FOR THAT. CG: YOU UNGRATEFUL PIECE OF SHIT. EB: hi karkat!
Andrew Hussie (Homestuck)
Jung asserts that when we come to perceive “the other” as someone to be feared and shunned, we risk the inner cohesion of our society, allowing our personal relationships to become undermined by a creeping mistrust. By walling ourselves off from a perceived other, we “flatter the primitive tendency in us to shut our eyes to evil and drive it over some frontier or other, like the Old Testament scapegoat, which was supposed to carry the evil into the wilderness.
Francisco Cantú (The Line Becomes a River: Dispatches from the Border)
Finally, when she was shaking so much that he staggered with the violence of her pleasure, he drove her back against the wall and took her as she stood, careless of the clothes that bunched between them, oblivious to everything but the primitive, driving force that had conquered him far more devastatingly than he had conquered her.
Susan Napier (Secret Admirer)
Cruelty links all three primitives [pleasure, pain, and desire]: Spinoza defines it as the desire to inflict pain on someone we love or pity. Financial speaking, cruelty is analogous to a convertible bond whose debt and equity depend on three economic underliers: the stock price, the level of interest rates, and the credit worthiness of the company's debt.
Emanuel Derman (Models.Behaving.Badly: Why Confusing Illusion with Reality Can Lead to Disaster, on Wall Street and in Life)
A human who is truly human won't be able to live within walls, they wouldn’t be able to breathe, only the primitives feel secure behind walls.
Abhijit Naskar (Time to End Democracy: The Meritocratic Manifesto)
All amphibians are tethered to the pond by their evolutionary history, the most primitive vertebrates to make the transition from the aquatic life of their ancestors to life on land.
Robin Wall Kimmerer (Gathering Moss: A Natural and Cultural History of Mosses)
on the head when it came up to take a nut out of his hand. I opened Safari. It was a lot more primitive than it is today, but it worked just fine. I poked Wall Street Journal into the Google
Stephen King (If It Bleeds)
In Antartica, The Wright and half a dozen other valleys in the Central Transantarctic Mountains are collectively referred to as the dry valleys. It has not rained here in two million years. No animal abides, no plant grows. A persistent, sometimes ferocious wind has stripped the country to stone and gravel, to streamers of sand. The huge valleys stand stark as empty fjords. You look in vain for any conventional sign of human history- the vestige of a protective wall, a bit of charcoal, a discarded arrowhead. Nothing. There is no history, until you bore into the layers of rock or until the balls of your fingertips run the rim of a partially exposed fossil. At the height of the austral summer, in December, you smell nothing but the sunbeaten stone. In a silence dense as water, your eye picks up no movement but the sloughing of sand, seeking its angle of repose. On the flight in from New Zealand it had occurred to me, from what I had read and heard, that Antarctica retained Earth’s primitive link, however tenuous, with space, with the void that stretched out to Jupiter and Uranus. At the seabird rookeries of the Canadian Arctic or on the grasslands of the Serengeti, you can feel the vitality of the original creation; in the dry valleys you sense sharply what came before. The Archeozoic is like fresh spoor here.
Barry Lopez (About This Life: Journeys on the Threshold of Memory)
Occasionally some people think more with their right brains than with their left.  They are often our greatest artists.  They are also often considered insane.  But the biggest difference is with age.  We forget how to listen to our right brains with time.  We imprison them with logic and prejudice until our greatest source of creativity and brilliance is locked behind a wall of assumption and primitive common sense, and then it is heard only as an echo.
Stephen Moss (Fear the Survivors (The Fear Saga, #2))
Assorted theories have been advanced to explain confirmation bias—why people rush to embrace information that supports their beliefs while rejecting information that disputes them: that first impressions are difficult to dislodge, that there’s a primitive instinct to defend one’s turf, that people tend to have emotional rather than intellectual responses to being challenged and are loath to carefully examine evidence. Group dynamics only exaggerate these tendencies, the author and legal scholar Cass Sunstein observed in his book Going to Extremes: insularity often means limited information input (and usually information that reinforces preexisting views) and a desire for peer approval; and if the group’s leader “does not encourage dissent and is inclined to an identifiable conclusion, it is highly likely that the group as a whole will move toward that conclusion.” Once the group has been psychologically walled off, Sunstein wrote, “the information and views of those outside the group can be discredited, and hence nothing will disturb the process of polarization as group members continue to talk.” In fact, groups of like-minded people can become breeding grounds for extreme movements. “Terrorists are made, not born,” Sunstein observed, “and terrorist networks often operate in just this way. As a result, they can move otherwise ordinary people to violent acts.
Michiko Kakutani (The Death of Truth: Notes on Falsehood in the Age of Trump)
I am embarrassed to admit (don’t tell anybody) that when I first saw the interior doors on the Enterprise slide open automatically as crew members walk up to them, I was certain that such a mechanism would not be invented during my years on Earth. Star Trek was taking place hundreds of years hence, and I was observing future technology. Same goes for those incredible pocket-size data disks they insert into talking computers. And those palm-size devices they use to talk to one another. And that square cavity in the wall that dispenses heated food in seconds. Not in my century, I thought. Not in my lifetime. Today, obviously, we have all those technologies, and we didn’t have to wait till the twenty-third century to get them. But I take pleasure in noting that our twenty-first-century communication and data-storage devices are smaller than those on Star Trek. And unlike their sliding doors, which make primitive whooshing sounds every time they move, our automatic doors are silent.
Neil deGrasse Tyson (Space Chronicles: Facing the Ultimate Frontier)
Promethea has awakened in me dreams extinguished for thousands of years; sometimes one catches on fire even through so many icy layers. Promethea has rekindled dreams of fire in me, dreams of abysses, they are terribly dangerous dreams: as long as they are dreams alone, as long as one dreams alone, one can fool around with dreaming, because afterward one forgets. But now, ever since I learned how Promethea brings the fire of all dreams up into reality, how she climbs back up through the shaft of the Red Cows, bearing the first fire, how she crosses the Chamber of the Mares, how she goes through every epoch of existence reawakening along the walls memories of times so fragile and so inflammable, and comes out in 1982 still carrying in her hands the primitive spark, I feel myself wavering between exultation and terror. Formerly, I too sucked satiny coals. Once I burned my tongue. (That only happens if someone makes you lose faith.) Ever since I have no longer dared suck real fire; for a long time I lived on electricity. But I have never forgotten the fiery taste of eternity. I just was sure that I could live with my tongue extinguished until the end of my days. I was not even tempted. I was calm. I had firm definitions. I called happiness the absence of unhappiness. I wrote in ink and I dedicated my dreams to the Moons.
Hélène Cixous (The Book of Promethea)
The company that employed me strived only to serve up the cheapest fare that its customers would tolerate, churn it out as fast as possible, and charge as much as they could get away with. If it were possible to do so, the company would sell what all businesses of its kind dream about selling, creating that which all our efforts were tacitly supposed to achieve: the ultimate product – Nothing. And for this product they would command the ultimate price – Everything. This market strategy would then go on until one day, among the world-wide ruins of derelict factories and warehouses and office buildings, there stood only a single, shining, windowless structure with no entrance and no exit. Inside would be – will be – only a dense network of computers calculating profits. Outside will be tribes of savage vagrants with no comprehension of the nature or purpose of the shining, windowless structure. Perhaps they will worship it as a god. Perhaps they will try to destroy it, their primitive armory proving wholly ineffectual against the smooth and impervious walls of the structure, upon which not even a scratch can be inflicted.
Thomas Ligotti (My Work is Not Yet Done: Three Tales of Corporate Horror)
No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!
Henry Miller (Black Spring)
You, the woman; I, the man; this, the world: And each is the work of all. There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many beautiful arms around us and the things we know. See how those stars tramp over the heavens on their sticks Of ancient light: with what simplicity that blue Takes eternity into the quiet cave of God, where Ceasar And Socrates, like primitive paintings on a wall, Look, with idiot eyes, on the world where we two are. You, the sought for; I, the seeker; this, the search: And each is the mission of all. For greatness is only the drayhorse that coaxes The built cart out; and where we go is reason. But genius is an enormous littleness, a trickling Of heart that covers alike the hare and the hunter. How smoothly, like the sleep of a flower, love, The grassy wind moves over night's tense meadow: See how the great wooden eyes of the forrest Stare upon the architecture of our innocence. You, the village; I, the stranger; this, the road: And each is the work of all. Then, not that man do more, or stop pity; but that he be Wider in living; that all his cities fly a clean flag... We have been alone too long, love; it is terribly late For the pierced feet on the water and we must not die now. Have you ever wondered why all the windows in heaven were broken? Have you seen the homeless in the open grave of God's hand? Do you want to aquaint the larks with the fatuous music of war? There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many desperate arms about us and the things we know.
Kenneth Patchen
The murals on the walls looked different. They loomed out of the darkness in fragments, most of them unfamiliar, even those that I passed several times each day. And when faced with the White Bull I simply gasped in astonishment. (...) The Bull was swaying forlornly on its slender stick legs, watching us with its human eyes and thinking about something sad. It was the most amazing bull in the whole world. It was drawn in an affectedly primitive, childish manner, and its expressiveness went straight for the heart. “Look at it,” I whispered.
Mariam Petrosyan (Дом, в котором...)
Mrs. Alingsby was tall and weird and intense, dressed rather like a bird-of-paradise that had been out in a high gale, but very well connected. She had long straight hair which fell over her forehead, and sometimes got in her eyes, and she wore on her head a scarlet jockey-cap with an immense cameo in front of it. She hated all art that was earlier than 1923, and a considerable lot of what was later. In music, on the other hand, she was primitive, and thought Bach decadent: in literature her taste was for stories without a story, and poems without metre or meaning. But she had collected round her a group of interesting outlaws, of whom the men looked like women, and the women like nothing at all, and though nobody ever knew what they were talking about, they themselves were talked about. Lucia had been to a party of hers, where they all sat in a room with black walls, and listened to early Italian music on a spinet while a charcoal brazier on a blue hearth was fed with incense… Lucia’s general opinion of her was that she might be useful up to a point, for she certainly excited interest.
E.F. Benson (Complete Mapp and Lucia (The Mapp & Lucia Novels, #1-6))
The widespread use of gold in religious artifacts may be of special significance. Gold is a useless metal. It is too soft to be used in tools or cookware. It is also rare and difficult to mine and extract, especially for primitive peoples. But from the earliest times gold was regarded as a sacred metal, and men who encountered gods were ordered to supply it. Over and over again the Bible tells us how men were instructed to create solid gold objects and leave them on mountaintops where the gods could get them. The gods were gold hungry. But why? Gold is an excellent conductor of electricity and is a heavy metal, ranking close to mercury and lead on the atomic scale. We could simplify things by saying that the atoms of gold, element 79, are packed closely together. If the ancient gods were real in some sense, they may have come from a space-time continuum so different from ours that their atomic structure was different. They could walk through walls because their atoms were able to pass through the atoms of stone. Gold was one of the few earthly substances dense enough for them to handle. If they sat in a wooden chair, they would sink through it. They needed gold furniture during their visits.
John A. Keel (THE EIGHTH TOWER: On Ultraterrestrials and the Superspectrum)
Tunnelling through the night, the trains pass in a splendour of power, with a sound like thunder shaking the orchards, waking the young from a dream, scattering like glass the old mens' sleep, laying a black trail over the still bloom of the orchards; the trains go north with guns. Strange primitive piece of flesh, the heart laid quiet hearing their cry pierce through its thin-walled cave recalls the forgotten tiger, and leaps awake in its old panic riot; and how shall mind be sober, since blood's red thread still binds us fast in history? Tiger, you walk through all our past and future, troubling the children's sleep'; laying a reeking trail across our dreams of orchards. Racing on iron errands, the trains go by, and over the white acres of our orchards hurl their wild summoning cry, their animal cry…. the trains go north with guns.
Judith A. Wright
The city of Gregoria was ahead. The boys were sleeping, and I was alone in my eternity at the wheel, and the road ran straight as an arrow. Not like driving across Carolina, or Texas, or Arizona, or Illinois; but like driving across the world and into the places where we would finally learn ourselves among the Fellahin Indians of the world, the essential strain of the basic primitive, wailing humanity that stretches in a belt around the equatorial belly of the world from Malaya (the long fingernail of China) to India the great subcontinent to Arabia to Morocco to the selfsame deserts and jungles of Mexico and over the waves to Polynesia to mystic Siam of the Yellow Robe and on around, on around, so that you hear the same mournful wail by the rotted walls of Cádiz, Spain, that you hear 12,000 miles around in the depths of Benares the Capital of the World.
Jack Kerouac (On the Road)
I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?
Jeanette Winterson (Art Objects: Essays on Ecstasy and Effrontery)
The unconscious no sooner touches us than we are it―we become unconscious of ourselves. That is the age-old danger, instinctively known and feared by primitive man, who himself stands so very close to this pleroma. His consciousness is still uncertain, wobbling on its feet. It is still childish, having just emerged from the primal waters. A wave of the unconscious may easily roll over it, and then he forgets who he was and does things that are strange to him. Hence primitives are afraid of uncontrolled emotions, because consciousness breaks down under them and gives way to possession. All man's strivings have therefore been directed towards the consolidation of consciousness. This was the purpose of rite and dogma; they were dams and walls to keep back the dangers of the unconscious, the "perils of the soul." Primitive rites consist accordingly in the exorcising of spirits, the lifting of spells, the averting of the evil omen, propitiation, purification, and the production by sympathetic magic of helpful occurrences.
C.G. Jung (The Archetypes and the Collective Unconscious (Collected Works 9i))
Nick tugged her head back, his tormented gaze raking over her face. His trembling fingertips traced the line of her cheek and jaw. “My God. Lottie…” As his panicked exploration continued, he discovered the bruises on her throat, and he uttered a cry of fury. “Holy hell! Your neck. He dared to… I’m going to slaughter that bastard—” Lottie placed her fingers over his mouth. “I’m all right,” she said gently. Feeling the way his large body shook, she drew her hand over his chest in a calming stroke. After the traumatic events of the past hours, it was so wonderful to be with him that her lips curved in a wobbly smile. She gazed into his dusty, sweat-streaked face with concern. “In fact, I believe I may be in better condition than you, my darling.” A primitive groan came from his throat, and he clutched her with his right arm, bending over her hungrily. “I love you,” he said in a low, shaken voice. “I love you so much, Lottie.” His lips covered hers in a fiercely ardent kiss. Clearly he was too unsettled to recall that there were others in the room. Lottie turned her face away with a muffled laugh. “I love you, too,” she whispered. “Not here, darling. Later, with more privacy, we can—” She was silenced as Nick seized her mouth once more. Suddenly she found herself pushed up against the wall by six feet of aroused, overwrought male. Realizing that there was no hope of subduing him, Lottie stroked his broad back in an effort to soothe him. He possessed her with deep, fervent kisses, while his lungs worked so violently that she could feel his rib cage expanding with each breath. She tried to comfort him, gently rubbing the back of his neck as his mouth worked roughly over hers. His breath came in ragged shivers, and in between kisses he breathed her name as if it were a prayer. “Lottie… Lottie…” Each time she tried to answer, he dove for her mouth again. “Sydney,” Sir Grant said after some prolonged throat-clearing had failed to capture his attention. “Ahem. Sydney…” After a long time, Nick finally lifted his head. Lottie pushed at his chest, making him loosen his grip on her. Red-faced and breathless, she saw that Sayer had developed a keenly absorbing interest in the weather outside the window, while Daniel had excused himself to wait outside.
Lisa Kleypas (Worth Any Price (Bow Street Runners, #3))
Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’ The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow. The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole. Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the far end, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap. That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself. I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time.
Jacques Yonnet (Paris Noir: The Secret History of a City)
The difference between a dictator and a true leader, is in intention. Given enough resources anybody can manipulate the minds of the masses and become their chosen authority, for the masses rarely look past the veil of the candidate's charm. And this is more evident today than ever, as a psychologically unfit misogynistic bully has swayed his way into the oval office with nothing but charm and charisma. So, basically we live in a society where a bully can become the authority of a great nation, the history of which is filled with true leaders who were the forerunners of humanitarian glory and real progress - these leaders were not simply the leaders of a country, or a party, but they were and still remain in the heart of the civilized humans as the leaders of humanity. They were the torch-bearers of egalitarianism and their light spread across the globe and touched countless lives with the warmth of humaneness. They lived among the masses but they didn't let the prejudices of the masses become their own, let alone infect the masses with more prejudices, unlike today's so-called leadership in America. They made America truly a great nation, by turning it into a symbol of liberty and acceptance, and today that very greatness is at stake, as the primitive evils of prejudices and discriminations have once again begun to creep into its backbone, through the words and actions of its very so-called leader. This is not a threat to democracy, for democracy itself at our current evolutionary stage, is a threat to our progress, rather it is a threat to the heritage of every single act of kindness, reasoning and acceptance ever committed in the history of humanity. The masses are existentially allowed to talk nonsense and advocate prejudices, but when an authority of the masses begins to talk nonsense and advocate prejudice and bigotry, it is an existential crisis for not just those masses but all humans around the world, with implications of catastrophic proportions. A leader is to take away prejudices from the psychological edifice of a country - a leader is to uplift a country, that is, a people, while warming their minds with the gentle flames of love, acceptance and reasoning. In fact, that's the only kind of true leadership there is, rest are just uncivilized tribalism that brings along more and more conflicts in the heart of the people within a country as well as outside of it.
Abhijit Naskar (Build Bridges not Walls: In the name of Americana)
The masses of dense foliage all round became prison walls, impassable circular green ice-walls, surging towards her; just before they closed in, I caught the terrified glint of her eyes. On a winter day she was in the studio, posing for him in the nude, her arms raised in a graceful position. To hold it for any length of time must have been a strain, I wondered how she managed to keep so still; until I saw the cords attached to her wrists and ankles. Instead of the darkness, she faced a stupendous sky-conflagration, an incredible glacial dream-scene. Cold coruscations of rainbow fire pulsed overhead, shot through by shafts of pure incandescence thrown out by mountains of solid ice towering all round. Closer, the trees round the house, sheathed in ice, dripped and sparkled with weird prismatic jewels, reflecting the vivid changing cascades above. Instead of the familiar night sky, the aurora borealis formed a blazing, vibrating roof of intense cold and colour, beneath which the earth was trapped with all its inhabitants, walled in by those impassable glittering ice-cliffs. The world had become an arctic prison from which no escape was possible, all its creatures trapped as securely as were the trees, already lifeless inside their deadly resplendent armour. Frozen by the deathly cold emanating from the ice, dazzled by the blaze of crystalline ice-light, she felt herself becoming part of the polar vision, her structure becoming one with the structure of ice and snow. As her fate, she accepted the world of ice, shining, shimmering, dead; she resigned herself to the triumph of glaciers and the death of her world. Fear was the climate she lived in; if she had ever known kindness it would have been different. The trees seemed to obstruct her with deliberate malice. All her life she had thought of herself as a foredoomed victim, and now the forest had become the malign force that would destroy her. In desperation she tried to run, but a hidden root tripped her, she almost fell. Branches caught in her hair, tugged her back, lashed out viciously when they were disentangled. The silver hairs torn from her head glittered among black needles; they were the clues her pursuers would follow, leading them to their victim. She escaped from the forest at length only to see the fjord waiting for her. An evil effluence rose from the water, something primitive, savage, demanding victims, hungry for a human victim. It had been night overhead all along, but below it was still daylight. There were no clouds. I saw islands scattered over the sea, a normal aerial view. Then something extraordinary, out of this world: a wall of rainbow ice jutting up from the sea, cutting right across, pushing a ridge of water ahead of it as it moved, as if the flat pale surface of sea was a carpet being rolled up. It was a sinister, fascinating sight, which did not seem intended for human eyes. I stared down at it, seeing other things at the same time. The ice world spreading over our world. Mountainous walls of ice surrounding the girl. Her moonwhite skin, her hair sparkling with diamond prisms under the moon. The moon’s dead eye watching the death of our world.
Anna Kavan (Ice)
No one knows how old E. coli is precisely, but estimates hover between three and four billion years. The organism has no nucleus and reproduces by the primitive but extremely efficient process known as asexual binary fission (in other words, by splitting in two). Imagine a cell filled, essentially, with DNA, that can take in nutrients (usually from other cells that it attacks and absorbs) directly through its cellular wall. Then imagine that it can simultaneously copy several
Eben Alexander (Proof of Heaven: A Neurosurgeon's Journey into the Afterlife)
From the data presented in the preceding chapters and in this comparison of the primitive and modernized dietaries it is obvious that there is great need that the grains eaten shall contain all the minerals and vitamins which Nature has provided that they carry. Important data might be presented to illustrate this phase in a practical way. In Fig. 95 will be seen three rats all of which received the same diet, except for the type of bread. The first rat (at the left) received whole-wheat products freshly ground, the center one received a white flour product and the third (at the right) a bran and middlings product. The amounts of each ash, of calcium as the oxide, and of phosphorus as the pentoxide; and the amounts of iron and copper present in the diet of each group are shown by the height of the columns beneath the rats. Clinically it will be seen that there is a marked difference in the physical development Qf these rats. Several rats of the same age were in each cage. The feeding was started after weaning at about twenty-three days of age. The rat at the left was on the entire grain product. It was fully developed. The rats in this cage reproduced normally at three months of age. The rats in this first cage had very mild dispositions and could be picked up by the ear or tail without danger of their biting. The rats represented by the one in the center cage using white flour were markedly undersized. Their hair came out in large patches and they had very ugly dispositions, so ugly that they threatened to spring through the cage wall at us when we came to look at them. These rats had tooth decay and they were not able to reproduce. The rats in the next cage (illustrated by the rat to the right) which were on the bran and middlings mixture did not show tooth decay, but were considerably undersized, and they lacked energy. The flour and middlings for the rats in cages two and three were purchased from the miller and hence were not freshly ground. The wheat given to the first group was obtained whole and ground while fresh in a hand mill. It is of interest that notwithstanding the great increase in ash, calcium, phosphorus, iron and copper present in the foods of the last group, the rats did not mature normally, as did those in the first group. This may have been
Anonymous
There is still another test that demonstrates Nature's protective mechanisms. Ordinarily, when the pulp of a tooth is exposed by dental caries, the pulp becomes not only infected, but dies opening up a highway of infection direct from the infected mouth to the inside of the fort at the end of the root. One expression of this is a dental abscess, the existence of which is usually unknown to the individual for sometime and the infecting germs pass more or less freely throughout the body by way of the blood stream and lymph channels. This infection may start the degeneration of organs and tissues of other parts of the body. Among some of the primitive races, whose nutritional programs provided a very high factor of safety, even though the teeth were worn down to the gum line and into what was formerly the pulp chamber, the pulp was not exposed. Nature had built a protecting zone, not in the cavity of the tooth in this case, but within the pulp chamber. This entirely blocked off a threatened exposure and kept the walls of the fort sealed against bacteria. This process does not occur in many instances in people of our modern civilization. Pulp chambers that are opened by wear provide exposed pulp which becomes infected with subsequent abscess formation. If a reinforced nutrition as efficient as that of many of the primitive races, is adopted, the pulp tissue will seal up the opening made by decalcification of the dentine, by building in a new layer of normal dentine which is vital and quite unlike the petrified decay exposed to the saliva, thus completely walling off the impending danger.
Anonymous
the American journalist Martha Gellhorn wrote after trekking across much of China in 1940. No worse luck could befall a human being than to be born and live there, unless by some golden chance you happened to be born one of the .00000099 percent who had power, money, privilege (and even then, even then). I pitied them all, I saw no tolerable future for them, and I longed to escape away from what I had escaped into: the age-old misery, filth, hopelessness and my own claustrophobia inside that enormous country. Skinny, sweaty rickshaw pullers strained at their large-wheeled contraptions to provide transportation to the rich. The scenes of nearly naked coolies towing barges up canals and rivers, leaning so far against their harnesses as to be almost horizontal to the ground, were an emblem, picturesque and horrible at the same time, of the unrelenting strain of everyday life in China, as were such other standard images as the women with leathery skin barefoot in the muck planting and weeding, the farmers covered in sweat at the foot pumps along fetid canals or carrying their loads of brick or straw on balancing poles slung over their shoulders or moving slowly and patiently behind water buffalo pulling primitive plows. The fly-specked hospitals, the skinny, crippled beggars, the thousands and thousands of villages made of baked mud whose houses, as one visitor described them, were “smoky, with gray walls and black tiled roofs; the inhabitants, wearing the invariable indigo-dyed cloth … moving about their business in an inextricable confusion of scraggy chickens, pigs, dogs, and babies.
Richard Bernstein (China 1945: Mao's Revolution and America's Fateful Choice)
We have been dreaming of robots since Homer. In Book 18 of the Iliad , Achilles’ mother, the nymph Thetis, wants to order a new suit of armor for her son, and so she pays a visit to the Olympian atelier of the blacksmith-god Hephaestus, whom she finds hard at work on a series of automata: . . . He was crafting twenty tripods to stand along the walls of his well-built manse, affixing golden wheels to the bottom of each one so they might wheel down on their own [automatoi] to the gods’ assembly and then return to his house anon: an amazing sight to see. These are not the only animate household objects to appear in the Homeric epics. In Book 5 of the Iliad we hear that the gates of Olympus swivel on their hinges of their own accord, automatai , to let gods in their chariots in or out, thus anticipating by nearly thirty centuries the automatic garage door. In Book 7 of the Odyssey , Odysseus finds himself the guest of a fabulously wealthy king whose palace includes such conveniences as gold and silver watchdogs, ever alert, never aging. To this class of lifelike but intellectually inert household helpers we might ascribe other automata in the classical tradition. In the Argonautica of Apollonius of Rhodes, a third-century-BC epic about Jason and the Argonauts, a bronze giant called Talos runs three times around the island of Crete each day, protecting Zeus’s beloved Europa: a primitive home alarm system.
Anonymous
It did not fear any god the people constructed from marble and stone. It thrived on demoralizing the frightened prayers of the weak that clung to sanctuary walls. Its intoxication found in the terror, the superstition, and worship that fed its merciless existence. The night sky provided the nocturnal shelter where it walked freely. The festivals of the changing seasons, reminding the mere mortals their time upon its fields were short. Brief in comparison to the thousands of years that it casually passed. It ruled the Earth, long before the human animals learned to conquer shelter and formulate abstract thoughts. In the cave paintings of the most primitive, they feared to paint its imagery on stone.
Jaime Allison Parker (Storms In the Distant North)
So the Chapter of Perfection, under the leadership of Johannes Kelpius, both a Rosicrucian magus and a magister of the University of Altdorf, set out for Pennsylvania to prepare for the coming of the Lord and to seek that state of personal perfection that was free of all sensuous temptations and beyond all rational understanding. Quickly upon their arrival they built a log-walled monastery of perfect proportions: forty feet by forty feet. It had a common room for communal worship and also cells where the celibate brethren could search for personal perfection by contemplating their magic numbers and their esoteric symbols. In a primitive laboratory they conducted alchemical and pharmaceutical experiments aimed at eliminating disease and prolonging life indefinitely. And on the roof they placed a telescope, which they manned from dusk till dawn, so that in case the Bridegroom came in the middle of the night they would be prepared to receive him.
Bernard Bailyn (Sometimes an Art: Nine Essays on History)
They’d made the bricks from the local earth, processed through some of the mining equipment and fired in a kiln powered by combustion. It could only have been more primitive if they’d dug a cave and painted bison on the walls.
James S.A. Corey (Cibola Burn (Expanse, #4))
Well?” The SS had flown into a rage and was striking my father on the head: “Be quiet, old man! Be quiet!” My father no longer felt the club’s blows; I did. And yet I did not react. I let the SS beat my father, I left him alone in the clutches of death. Worse: I was angry with him for having been noisy, for having cried, for provoking the wrath of the SS. “Eliezer! Eliezer! Come, don’t leave me alone …” His voice had reached me from so far away, from so close. But I had not moved. I shall never forgive myself. Nor shall I ever forgive the world for having pushed me against the wall, for having turned me into a stranger, for having awakened in me the basest, most primitive instincts. His last
Elie Wiesel (Night)
Three generations later, viewed from the standpoint of the digital age, a structure such as Hoover can appear to suffer from a kind of vulgarity of size—a thing so enormous and monolithic as to seem preindustrial, almost primitive. Like fascist architecture, that soaring wall of concrete, for all its Art Deco adornments, can strike the postmodern eye as embarrassingly elephantine and childishly simplistic. Yet one only need page through the dam’s elegant blueprints to realize that this is a machine that, in its own way, is as sophisticated as a Boeing 747—a marvel of engineering, of mathematics, of human thinking, of vision, and, yes, of art. For all these reasons, Hoover is regarded by many civil engineers as one of America’s most impressive achievements. It may not be much of an overstatement to say that, along with splitting the atom and sending the Voyager spacecraft beyond the solar system, Hoover is the most remarkable thing this country has ever pulled off. Unlike
Kevin Fedarko (The Emerald Mile: The Epic Story of the Fastest Ride in History Through the Heart of the Grand Canyon)
Benoit began life in the year 1889, with the coming of the Yazoo and Mississippi Valley Railroad. There was never any plan to run track through the plantations south of Rosedale, but James Richardson, the largest individual cotton grower in the world at that time, offered the railroad free use of his land if, in turn, the company built him a station. James was the eldest son of Edmund Richardson, a planter whose holdings at one time included banks, steamboats, and railroads. He owned three-dozen cotton plantations and had a controlling interest in Mississippi Mills, the largest textile plant in the Lower South. His New Orleans-based brokerage house, Richardson and May, handled more than 250,000 bales of cotton every year. Edmund Richardson was not always so prosperous. By the end of the Civil War, he had lost almost his entire net worth, close to $1 million. So in 1868, Richardson struck a deal with the federal authorities in Mississippi to contract labor from the state penitentiary, which was overflowing with ex-slaves, and work the men outside prison walls. He promised to feed and clothe the prisoners, and in return, the government agreed to pay him $18,000 a year for their maintenance. The contract struck between Richardson and the State of Mississippi began an era of convict leasing that would spread throughout the South. Before it was over, a generation of black prisoners would suffer and die under conditions that were in many cases worse than anything they had ever experienced as slaves. Confining his laborers to primitive camps, Richardson forced the convicts to clear hundreds of acres of dense woodland throughout the Yazoo Delta. When the land was cleared, he put prisoners to work raising and picking cotton on the plowed gound. Through this new system, Richardson regained his fortune. By 1880 he had built a mansion in New Orleans, another in Jackson, and a sprawling plantation house known as Refuge in the Yazoo Delta. When he died in 1886, he left his holdings to his eldest son, James. As an inveterate gambler and drunk, James decided to spend his inheritance building a new town, developed solely as a center for sport. He bought racehorses and designed a racetrack. He built five brick stores and four homes. In 1889, when the station stop was finally completed for his new city, James told the railroad to call the town Benoit, after the family auditor. James’s sudden death in 1898 put an end to his ambitions for the town. But decades later, a Richardson Street still ran through Benoit, westward toward the river, in crumbling tribute to the man.
Adrienne Berard (Water Tossing Boulders: How a Family of Chinese Immigrants Led the First Fight to Desegregate Schools in the Jim Crow South)
The shadow resolves into a big spotted salamander, Ambystoma maculata, black and yellow like the road. The shape is so primitive, with right-angle limbs jutting from the side and moving with a jerky, mechanical motion across the road, dragging a thick tail in a sinuous side-to-side wave behind it.
Robin Wall Kimmerer (Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants)
Kynes had assumed that when he finally found a hidden Fremen settlement, it would be primitive, almost shameful in its lack of amenities. But here, in this walled-off grotto with side caves and lava tubes and tunnels extending like a warren throughout the mountain, Kynes saw that the desert people lived in an austere yet comfortable style. Quarters here rivaled anything Harkonnen functionaries enjoyed in the city of Carthag. And it was much more natural.
Brian Herbert (House Atreides (Prelude to Dune, #1))
In Jung’s view, “the mass State”—his term for government and its structures—has “no intention of promoting mutual understanding and the relationship of man to man; it strives, rather, for atomization, for the psychic isolation of the individual.” Jung asserts that when we come to perceive “the other” as someone to be feared and shunned, we risk the inner cohesion of our society, allowing our personal relationships to become undermined by a creeping mistrust. By walling ourselves off from a perceived other, we “flatter the primitive tendency in us to shut our eyes to evil and drive it over some frontier or other, like the Old Testament scapegoat, which was supposed to carry the evil into the wilderness.
Francisco Cantú (The Line Becomes a River: Dispatches from the Border)
I shall never forgive myself. Nor shall I ever forgive the world for having pushed me against the wall, for having turned me into a stranger, for having awakened in me the basest, most primitive instincts.
Elie Wiesel (Night)
The Biochemistry Sonnet Chemicals breed prejudice, Chemicals breed love. Chemicals breed hate and rage, Chemicals breed the atoning dove. Chemicals breed walls of divide, Chemicals breed the bridge to unite. Chemicals breed death and disease, In those very chemicals we find sight. Chemicals are us, we are the chemicals, In this mortal world there is nothing else. While most are run by the whim of chemicals, Some bend chemicals at will, as true sapiens. Chemicals are the cause, chemicals are the result. Awareness of chemicals is awareness of the world.
Abhijit Naskar (Amantes Assemble: 100 Sonnets of Servant Sultans)
The word “moss” is commonly applied to plants which are not actually mosses. Reindeer “moss” is a lichen, Spanish “moss” is a flowering plant, sea “moss” is an alga, and club “moss” is a lycophyte. So what is a moss? A true moss or bryophyte is the most primitive of land plants. Mosses are often described by what they lack, in comparison to the more familiar higher plants. They lack flowers, fruits, and seeds and have no roots. They have no vascular system, no xylem and phloem to conduct water internally. They are the most simple of plants, and in their simplicity, elegant. With just a few rudimentary components of stem and leaf, evolution has produced some 22,000 species of moss worldwide. Each one is a variation on a theme, a unique creation designed for success in tiny niches in virtually every ecosystem.
Robin Wall Kimmerer (Gathering Moss: A Natural and Cultural History of Mosses)
When we, as small children, experienced our safety or security being threatened, our bodies reacted by erecting defenses. These unconscious defenses then become our default, orienting our attention toward what’s difficult or unsettling, instead of registering what’s comforting. It’s as though our positive memories live on the other side of a wall just out of our reach. Only able to reside on one side of the wall, we truly believe nothing good ever happened to us. It’s as though we have rewritten history, keeping only those memories that support our primitive defensive structure, defenses that have been with us so long, they become us.
Mark Wolynn (It Didn't Start with You: How Inherited Family Trauma Shapes Who We Are and How to End the Cycle)
There’s something buried deep within our DNA as humans that makes us respond to certain storytelling elements told in a certain order. We’ve been responding to them since our primitive ancestors drew on walls and tribes told stories around campfires.
Jessica Brody (Save the Cat! Writes a Novel: The Last Book On Novel Writing You'll Ever Need)
I remember that night, the most horrendous of my life: “ … Eliezer, my son, come here … I want to tell you something … Only to you … Come, don’t leave me alone … Eliezer …” I heard his voice, grasped the meaning of his words and the tragic dimension of the moment, yet I did not move. It had been his last wish to have me next to him in his agony, at the moment when his soul was tearing itself from his lacerated body—yet I did not let him have his wish. I was afraid. Afraid of the blows. That was why I remained deaf to his cries. Instead of sacrificing my miserable life and rushing to his side, taking his hand, reassuring him, showing him that he was not abandoned, that I was near him, that I felt his sorrow, instead of all that, I remained flat on my back, asking God to make my father stop calling my name, to make him stop crying. So afraid was I to incur the wrath of the SS. In fact, my father was no longer conscious. Yet his plaintive, harrowing voice went on piercing the silence and calling me, nobody but me. “Well?” The SS had flown into a rage and was striking my father on the head: “Be quiet, old man! Be quiet!” My father no longer felt the club’s blows; I did. And yet I did not react. I let the SS beat my father, I left him alone in the clutches of death. Worse: I was angry with him for having been noisy, for having cried, for provoking the wrath of the SS. “Eliezer! Eliezer! Come, don’t leave me alone …” His voice had reached me from so far away, from so close. But I had not moved. I shall never forgive myself. Nor shall I ever forgive the world for having pushed me against the wall, for having turned me into a stranger, for having awakened in me the basest, most primitive instincts. His last word had been my name. A summons. And I had not responded.
Elie Wiesel (Night)
The bailouts, the Fed’s frenzied money printing, the embrace of primitive Keynesian tax stimulus by a Republican White House amounted to something terrible: a de facto coup d’état by Wall Street, resulting in Washington’s embrace of any expedient necessary to keep the financial bubble going—and no matter how offensive it was to every historic principle of free markets, sound money, and fiscal rectitude.
David A. Stockman (The Great Deformation: The Corruption of Capitalism in America)
Dr. Wall. ‘France seems to have been the first country in the world, where baptism by affusion was used ordinarily to persons of health, and in the public way of administering it.—It being allowed to weak children (in the reign of Queen Elizabeth) to be baptized by aspersion, many fond ladies and gentlewomen first, and then by degrees, the common people, would obtain the favor of the priest, to have their children, too tender to endure dipping in the water. As for sprinkling, properly called, it seems it was at sixteen hundred and forty-five, just then beginning, and used by very few. It must have begun in the disorderly times after forty-one. They (the assembly of divines in Westminster) reformed the font into a basin. This learned assembly could not remember, that fonts to baptize in had been always used by primitive Christians, long before the beginning of popery, and ever since churches were built; but that sprinkling, for the common use of baptizing, was really introduced (in France first, and then in other popish countries) in times of popery: And that, accordingly, all those countries, in which the usurped power of the pope is, or has formerly been owned, have left off dipping of children in the font; but that all other countries in the world, which had never regarded his authority, do still use it; and that basins, except in cases of necessity, were never used by papists, or any other Christians whosoever, till by themselves.’90 ‘The way
Adoniram Judson (Christian Baptism)
David Hockney, among other historians and advocates of the Hockney–Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects. The often-discussed sparkling pearly highlights in Vermeer’s paintings have been linked to this possible use of a camera obscura, the primitive lens of which would produce halation. Exaggerated perspective can be seen in Lady at the Virginals with a Gentleman (London, Royal Collection). Vermeer’s interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals. However, the extent of Vermeer’s dependence upon the camera obscura is disputed by historians. There is no historical evidence. The detailed inventory of the artist’s belongings drawn up after his death does not include a camera obscura or any similar device. Scientific evidence is limited to inference. Philip Steadman has found six Vermeer paintings that are precisely the right size if they were inside a camera obscura where the back wall of his studio was where the images were projected.
Johannes Vermeer (Masters of Art: Johannes Vermeer)
When a nation's people willingly or unwillingly make a mistake and give authority of their lives in the hands of a leader who represents neither hope nor humanity, instead keeps thriving on and indeed advocating for, the primitive elements of human character, it becomes the utmost civilized responsibility of those very people to either make a true leader out of him if possible, or dethrone him for good.
Abhijit Naskar (Build Bridges not Walls: In the name of Americana)
Salvation is no supernatural or extraterrestrial phenomenon, though, throughout history it is seen mostly as something supernatural and mystical. Salvation simply means to be not bounded by the chains of primitiveness. Salvation means to see no human as the "other" person, but simply as a reflection oneself.
Abhijit Naskar (Build Bridges not Walls: In the name of Americana)
Self-interest is healthy to a certain extent, but beyond that it only brings conflicts and primitiveness in the world.
Abhijit Naskar (Build Bridges not Walls: In the name of Americana)
More precisely, it is a question of dissolving contradictions in the fires of love and desire and of demolishing the walls of death. Magic rites, primitive or naïve civilizations, alchemy, the language of flowers, fire, or sleepless nights, are so many miraculous stages on the way to unity and the philosophers’ stone. If surrealism did not change the world, it furnished it with a few strange myths which partly justified Nietzsche’s announcement of the return of the Greeks. Only partly, because he was referring to unenlightened Greece, the Greece of mysteries and dark gods. Finally, just as Nietzsche’s experience culminated in the acceptance of the light of day, surrealist experience culminates in the exaltation of the darkness of night, the agonized and obstinate cult of the tempest. Breton, according to his own statements, understood that, despite everything, life was a gift. But his compliance could never shed the full light of day, the light that all of us need.
Albert Camus (The Rebel)