Rorschach Quotes

Stood in firelight, sweltering. Bloodstain on chest like map of violent new continent. Felt cleansed. Felt dark planet turn under my feet and knew what cats know that makes them scream like babies in night. Looked at sky through smoke heavy with human fat and God was not there. The cold, suffocating dark goes on forever and we are alone. Live our lives, lacking anything better to do. Devise reason later. Born from oblivion; bear children, hell-bound as ourselves, go into oblivion. There is nothing else. Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It’s us. Only us. Streets stank of fire. The void breathed hard on my heart, turning its illusions to ice, shattering them. Was reborn then, free to scrawl own design on this morally blank world. Was Rorschach. Does that answer your Questions, Doctor?

Rorschach's Journal: October 12th, 1985 Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood and when the drains finally scab over, all the vermin will drown. The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout "Save us!"... and I'll look down and whisper "No.

History is a Rorschach test, people. What you see when you look at it tells you as much about yourself as it does about the past.

No, my friend. We are lunatics from the hospital up the highway, psycho-ceramics, the cracked pots of mankind. Would you like me to decipher a Rorschach for you?

But my dear man, reality is only a Rorschach ink-blot, you know.

I live my life free of compromise, and step into the shadows without complaint or regret.

I sat on the bed. I looked at the Rorschach blot. I tried to make it look like a spreading tree, shadows pooled beneath it, but it didn't. It looked more like a dead cat I once found, the fat, glistening grubs writhing blindly, squirming over each other, frantically tunneling away from the light. But even that isn't the real horror. The horror is this: in the end, it is simply a picture of empty meaningless blackness.

You see, Doctor, God didn't kill that little girl. Fate didn't butcher her and destiny didn't feed her to those dogs. If God saw what any of us did that night he didn't seem to mind. From then on I knew... God doesn't make the world this way. We do.

I'm no superhero. If anything I'm Rorschach from Watchmen. I'm Grendel. I'm the survivor in Silent Hill.

Dan: We're looking at World War Three within the WEEK! I mean, what do we DO? The stakes are so high and humanity is so close to the edge... Rorschach: Some of us have always lived on edge, Daniel. It is possible to survive there if you observe rules: Just hang on by fingernails... and never look down.

It was Kovacs who said "Mother" then, muffled under latex. It was Kovacs who closed his eyes. It was Rorschach who opened them again.

... and all the whores and politicians will look up and shout: 'Save us!'. And I'll look down and whisper: 'No.

Nite-Owl: Rorschach...? Rorschach, wait! Where are you going? This is too big to be hard-assed about! We have to compromise! Rorschach: No. Not even in the face of Armageddon. Never compromise.

Rorschach: Used to come here often, back when we were partners. Dreiberg: Oh. Uh, yeah... yeah, those were great times, Rorschach. Great times. Whatever happened to them? Rorschach: [exiting] You quit.

For my own part, regret nothing. Have lived life, free from compromise...and step into the shadow now without complaint. -Rorschach

Never compromise. Not even in the face of Armageddon.

Born from oblivion; bear children, hell-bound as ourselves; go into oblivion. There is nothing else. Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It's us. Only us.

My left hand is a Rorschach blotch all its own, a six-fingered, skin-blood-and-bone ink splatter. People see it and fly their worst fears and secret fetishes at full mast when they think they’re being discreet. They see it as strange, fascinating, ugly, beautiful, disgusting or erotic depending on what’s behind their eyes.

I heard joke once: Man goes to doctor. Says he's depressed. Life seems harsh, and cruel. Says he feels all alone in threatening world. Doctor says: "Treatment is simple. The great clown - Pagliacci - is in town. Go see him. That should pick you up." Man bursts into tears. "But doctor..." he says "I am Pagliacci." Good joke. Everybody laugh. Roll on snare drum. Curtains.

We’re different, you and I. I am a Rorschach Test, and you, you are a butterfly. No, wait, you are a bat. Actually, you are the Galapagos Islands. Or perhaps you are a failed Pollack painting.

When it's done, only our enemies leave roses.

I am fond of reminding my yoga students of the saying “It takes one to know one” when they become lost I condemnation and judgment of others. The world that we perceive is a reflection of our own states of mind and reveals our own level of consciousness. The world is little more than a Rorschach blot in which we see our own desire systems projected. We see what we want to see. (116)

This conference was worse than a Rorschach test: There’s a meaningless inkblot, and the others ask you what you think you see, but when you tell them, they start arguing with you!

...weddings are giant Rorschach tests onto which everyone around you projects their fears, fantasies, and expectations -- many of which they've been cultivating since the day you were born.

Dr. Malcolm Long: Walter, is what happened to Kitty Genovese really proof that the whole of mankind is rotten? I think you've been conditioned with a negative worldview. There are good people, too, like... Rorschach: Like you? Dr. Malcolm Long: Me? Oh, well, I wouldn't say that. I... Rorschach: No. You just think it. Think you're 'good people'. Why are you spending so much time with me, Doctor? Dr. Malcolm Long: Uh...well, because I care about you, and because I want to make you well... Rorschach: Other people, down in cells. Behavior more extreme than mine. You don't spend any time with them...but then, they're not famous. Won't get your name in the journals. You don't want to make me well. Just want to know what makes me sick. You'll find out. Have patience, Doctor. You'll find out.

I wanted to kind of make this like, 'Yeah, this is what Batman would be in the real world'. But I had forgotten that actually to a lot of comic fans, that smelling, not having a girlfriend—these are actually kind of heroic! So actually, sort of, Rorschach became the most popular character in Watchmen. I meant him to be a bad example. But I have people come up to me in the street saying, "I am Rorschach! That is my story!' And I'll be thinking: 'Yeah, great, can you just keep away from me, never come anywhere near me again as long as I live'?

Without my face, nobody knows. Nobody knows who I am.

Si algo soy, entonces soy Rorschach de Watchmen. Soy Grendel. Soy el sobreviviente de Silent Hill

Now I think of memories as haphazard blots of ink in a Rorschach test that we assemble along the spine of the story we are told about who we are.

Looked at sky through smoke heavy with human fat and God was not there. The cold, suffocating dark goes on forever and we are alone. Live our lives, lacking anything better to do. Devise reason later. Born from oblivion; bear children, hell-bound as ourselves, go into oblivion. There is nothing else. Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It’s us. Only us." -Rorschach.

Give me twenty minutes alone in a room with him,” Brian agreed, in a ravenous, juicy way that churned my stomach. This became something of a Rorschach test over the years. There were men who cracked their knuckles while divulging to me what they would do to The Defendant if they got the chance, thinking this was somehow reassuring for me to hear. But all it did was make me realize that there wasn’t so big a difference between the man who’d brutalized Denise and half the men I passed every day on the street.

…After all, each story is a Rorschach Test, isn't it? And if people find beasties and bedbugs in my ink-splotches, I cannot prevent it, can I? They will insist on seeing them, anyway, and that is their privilege. Still, I wish people, quasi-intellectuals, did not try so hard to find the man under the old maid's bed. More often than not, as we know, he simply isn't there.

Far from being a truly independent guide to moral conducts, the…[holy books are]… like a Rorschach Test: which passages people choose to emphasize reflects as much as it shapes their moral character and interests.

I flip through the book, one of his top three, without question, to the last horrifying chapter: ‘A Stronger Loving World'. To the only panel he's circled. Oscar-who never defaced a book in his life-circled one panel three times in the same emphatic pen he used to write his last letters home. The panel where Adrian Veidt and Dr. Manhattan are having their last convo. After the mutant brain has destroyed New York City; after Dr. Manhattan has murdered Rorschach; after Veidt's plan has succeeded in ‘saving the world'. Veidt says: ‘I did the right thing, didn't I? It all worked out in the end'. And Manhattan, before fading from our Universe, replies: ‘In the end? Nothing ends, Adrian. Nothing ever ends'.

Rorschach: You know we can't let you do that Adrian Veidt: Do? Do what Rorschach? I'm not a comic book villain. Do you seriously think I would explain my master stroke to you if there were even the slightest possibility you could affect the outcome? I triggered it 35 minutes ago.

Insanity as an absence of common characteristics is also demonstrated by the Rorschach ink-blot test for schizophrenia. In this test, randomly formed ink splotches are shown to the patient and he is asked what he sees. If he says, 'I see a pretty lady with a flowering hat,' that is not a sign of schizophrenia. But if he says, 'All I see is an ink-blot,' he is showing signs of schizophrenia. The person who responds with the most elaborate lie gets the highest score for sanity. The person who tells the absolute truth does not. Sanity is not truth. Sanity is conformity to what is socially expected. Truth is sometimes in conformity, sometimes not.

Everyone knows my sexuality is like a Rorschach test.” “What does that even mean?” “What you see when you look at me says a lot more about you than it does about me.

We see what we want to see… -Rorschach ink-blot

Pop music is like fast food. It's always available quickly and might even taste good while you're eating it...but eventually you're going to shit it out and see it for what it really is--all the packaging in the world can't cover up the fact that it's excrement.

There was, Katherine speculated, no possible way of concealing his Englishness, or any English person's Englishness for that matter. You could spot them immediately - pasty white; muffin bellied; Rorschached with quasi-Celtic tattoos.

Good joke. Everybody laugh. Roll on snare drum. Curtains...

[L]et them be their own Rorschach tests[.]

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

Books are just like Rorschach tests. The patterns we find in a book’s ink reveal far more about us than they do about them. Our feelings, reviews, perceptions, and understandings of a book — as well as the meaning, value, and patterns we find within them — always say more about us than they do about the book.

Nite-Owl: Look, I just meant we took enough unnecessary risks retrieving your outfit this morning... Rorschach: Unnecessary? Cowering down here in sludge and pollution, conjuring names on screens, learning nothing: that is unnecessary. Give me smallest finger on man's hand. I'll produce information. Computer unnecessary. This face, all that's necessary... all I need.

as she slept, her period came because bodies know nothing about timing, bodies, awful bodies. They put a Rorschach between your thighs and stain your sheets to remind you that all you’re doing is bleeding and dying if you’re not making more life. That

And yet there are other days, when I’m downtrodden or morose, when I find myself at my desk late at night, unable to sleep, flipping through (of all things) Oscar’s dog-eared copy of Watchmen. One of the few things that he took with him on the Final Voyage that we recovered. The original trade. I flip through the book, one of his top three, without question, to the last horrifying chapter: “A Stronger Loving World.” To the only panel he’s circled. Oscar—who never defaced a book in his life—circled one panel three times in the same emphatic pen he used to write his last letters home. The panel where Adrian Veidt and Dr. Manhattan are having their last convo. After the mutant brain has destroyed New York City; after Dr. Manhattan has murdered Rorschach; after Veidt’s plan has succeded in “saving the world.” Veidt says: “I did the right thing, didn’t I? It all worked out in the end.” And Manhattan, before fading from our Universe, replies: “In the end? Nothing ends, Adrian. Nothing ever ends.

I'd said to them that when we read fiction, we pour our own paricular store of emotions - say, the sense of loss we feel for those disappeared from our lives - into the characters set before us. We take the few words with which the writer sketches these characters, the thing he said, the pain she felt, where they were, and our own emotional stockpile magically creates people. As the human eye fleshes out the pixilated image. Fictional characters are highly sophiticated Rorschach blots, and we, along with their author, are their authors. When you read a fictional character, you too are creating her.

Honor Is Like the Hawk . . . For my own part, regret nothing. Have lived life, free from compromise . . . and step into the shadow now without complaint. —Rorschach’s journal,

The blinding colors on his tie resembled a Rorschach test and prompted Jazz to slip on her sunglasses.

Weather is a kind of Rorschach test. We see in it what we need to see, or what we feel is missing from our lives.

My photograph represents me as a person, but not as a personality. My personality is best represented by a Rorschach test.

la vida no se trata de dar sentido, sino de encontrar sentido. La vida no es ningún test de Rorschach, sino un cuadro enigmático. El sentido de la vida no puede idearse, hay que descubrirlo.

Rorschach knew Binet’s work and was familiar with Binet’s own inspiration—Leonardo da Vinci, who in his “Treatise on Painting” described throwing paint at a wall and looking at the stains for inspiration.

All of Moore’s emphasis on the psychology of super-heroes in Watchmen wasn’t about making Rorschach crazy for the sake of craziness, nor to inject new levels of violence into the super-hero.  (If only Zach Snyder, for all his fidelity, had understood that!)  It was about making the super-hero realistic, because the practice of taking to the streets in costume would, in the real world, attract people prone to psychopathology. 

The “inkblot” test devised by the Swiss psychiatrist Hermann Rorschach. The shape of the blot can serve as a stimulus for free association; in fact, almost any irregular free shape can spark off the associative process. Leonardo da Vinci wrote in his Notebooks: “It should not be hard for you to stop sometimes and look into the stains of walls, or ashes of a fire, or clouds, or mud or like places in which … you may find really marvelous ideas.

It also comes as a surprise that the term was invented not to talk about altruism or acts of kindness, but to explain how we can enjoy a sonata or a sunset. Empathy, for Vischer, was creative seeing, reshaping the world so as to find ourselves reflected in it. In

Rorschach did not seek death; he didn’t commit suicide by Manhattan. But he understood what the others did not. “It is better to sacrifice life than to forfeit morality. It is not necessary to live, but it is necessary that, so long as we live, we do so honourably.”18

All great, simple images reveal a psychic state. The house, even more than the landscape, is a "psychic state," and even when reproduced as it appears from the outside, it bespeaks intimacy. Psychologists generally, and Francoise Minkowska in particular, together with those whom she has succeeded interesting in the subject, have studied the drawing of houses made by children, and even used them for testing. Indeed, the house-test has the advantage of welcoming spontaneity, for many children draw a house spontaneously while dreaming over their paper and pencil. To quote Anne Balif: "Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. If he is happy, he will succeed in drawing a snug, protected house which is well built on deeply-rooted foundations." It will have the right shape, and nearly always there will be some indication of its inner strength. In certain drawings, quite obviously, to quote Mme. Balif, "it is warm indoors, and there is a fire burning, such a big fire, in fact, that it can be seen coming out of the chimney." When the house is happy, soft smoke rises in gay rings above the roof. If the child is unhappy, however, the house bears traces of his distress. In this connection, I recall that Francoise Minkowska organized an unusually moving exhibition of drawings by Polish and Jewish children who had suffered the cruelties of the German occupation during the last war. One child, who had been hidden in a closet every time there was an alert, continued to draw narrow, cold, closed houses long after those evil times were over. These are what Mme. Minkowska calls "motionless" houses, houses that have become motionless in their rigidity. "This rigidity and motionlessness are present in the smoke as well as in the window curtains. The surrounding trees are quite straight and give the impression of standing guard over the house". Mme. Minkowska knows that a live house is not really "motionless," that, particularly, it integrates the movements by means of which one accedes to the door. Thus the path that leads to the house is often a climbing one. At times, even, it is inviting. In any case, it always possesses certain kinesthetic features. If we were making a Rorschach test, we should say that the house has "K." Often a simple detail suffices for Mme. Minkowska, a distinguished psychologist, to recognize the way the house functions. In one house, drawn by an eight-year-old child, she notes that there is " a knob on the door; people go in the house, they live there." It is not merely a constructed house, it is also a house that is "lived-in." Quite obviously the door-knob has a functional significance. This is the kinesthetic sign, so frequently forgotten in the drawings of "tense" children. Naturally, too, the door-knob could hardly be drawn in scale with the house, its function taking precedence over any question of size. For it expresses the function of opening, and only a logical mind could object that it is used to close as well as to open the door. In the domain of values, on the other hand, a key closes more often than it opens, whereas the door-knob opens more often than it closes. And the gesture of closing is always sharper, firmer, and briefer than that of opening. It is by weighing such fine points as these that, like Francoise Minkowska, one becomes a psychologist of houses.

Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not steered by vague, metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It’s us. Only us.

His feet went banging down some stairs. He closed his eyes. They went through cinders and dirt, his heels gathering small windrows of trash. A dim world receded above his upturned toes, shapes of skewed shacks erupted bluely in the niggard lamplight. The rusting carcass of an automobile passed slowly on his right. Dim scenes pooling in the summer night, wan ink wash of junks tilting against a paper sky, rorschach boatmen poling mutely over a mooncobbled sea. He lay with his head on the moldy upholstery of an old car seat among packingcrates and broken shoes and suncrazed rubber toys in the dark. Something warm was running on his chest. He put up a hand. I am bleeding. Unto my death.

Where do nations begin? In airport lounges, of course. You see them arriving, soul by soul, in pre-activation mode. They step into no man's land, with only their passports to hold onto, and follow the signs to the departure gate. There, among the impersonal plastic chairs and despite themselves, they coalesce into the murky Rorschach stain of nationhood.

Using chemicals is like wetting your pants. It feels real good while you're doing it, but sooner or later you've got to clean up the mess.

It's funny, I've decided 'Hallelujah' is a kind of Rorschach test for people, because everyone has a different reaction to it and to what I'm doing. I just sang it, and whatever came out was just natural and spontaneous and maybe that's the best thing, because there's a kind of enigma, both in the meaning of the words and the way Leonard Cohen said them, that catches people's attention.

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Give me twenty minutes alone in a room with him," Brian agreed, in a ravenous, juicy way that churned my stomach. This became something of a Rorschach test over the years. There were men who cracked their knuckles while divulging to me what they would do to The Defendant if they got the chance, thinking this was somehow reassuring for me to hear. But all it did was make me realize that there wasn't so big a difference between the man who'd brutalized Denise and half the men I passed every day on the street.

Pareidolia describes the human tendency to find meaning where there is none. Take the man in the moon, for example; we raise our eyes, and there, in lifeless markings of bedrock and basalt, we find a human face. We’re hardwired to look for patterns in the Rorschach of the natural world: a woman’s reclining form in the curve of a mountain range, the Virgin Mary in a water stain on a concrete wall. We want the world to be both known and mysterious. We’re looking for evidence of God, or maybe just for company. (53)

Clearly she’d figured out a way to hook him, captivate him with some high-level question about group dynamics or a detail mined from his own papers that served as the magic key to Open Sesame the close connection, the meeting of like minds. When they finally emerged, Beloroda—an elfin man with a turned-up nose and an overmanicured inky beard like a Rorschach test—was beaming at Martha (now hauling a pile of textbooks he’d given her, as well as a legal pad covered with notes), bewitched by the sudden appearance of such an engaging new student.

At this point tears begin to fall from my eyes, not because I am sad or angry, but because I have never had these dueling aspects of my personality mirrored back to me in such a matter-of-fact way. I have, at so many times in my life, felt unknowable, but here I am having me explained to me as it feels to be me. One three-hour test and I finally have objective words to demystify a tumultuous and ambivalent life experience. “We will leave it here, but I have one last thing I would like to say. The Rorschach and image testing reveal evidence of trauma associated with very early childhood development. I see a preoccupation with blood, morbidity, dismissal, and power struggles. There is a way in which you present as very sturdy to the world, yet inside you are carrying an incredibly heavy weight. There is a you inside who feels invisible to those looking at you from the outside. I feel an incredible amount of compassion for how hard each day feels for you.” “Thank you,” I say, my voice quiet and quivering with emotion. “I really appreciate this.” “Yes,” he says, “I believe you really do.

You know that blindsight we get sometimes, in Rorschach?” I nodded, and wondered what Jukka had said. “Apparently the same thing can happen to the other senses, too,” she told me. “You can have blindtouch, and blindsmell, and blindhearing…” “That would be deafness.” She shook her head. “But it isn’t really, is it? Any more than blindsight is really blindness. Something in your head is still taking it all in. Something in the brain is still seeing, and hearing, even if you’re not—aware of it. Unless someone forces you to guess, or there’s some threat. You just get a really strong feeling you should move out of the way, and five seconds later a bus drives over the spot you were standing. You knew it was coming, somehow. You just don’t know how you knew.” “It’s wild,” I agreed.

This is the cardinal virtue of an Objective narrative. Given its timeless nature, there is no need to assemble it with rackets and ruses. With the envy of eunuchs and ingenuity fanned by resentment, men incapable of profound insights deny the Objective nature of the written word in the despairing hope of dissuading those who know the Truth and have the courage to write it. I, Petronius Jablonski, hereby forbid any and all Freudian, structural, post-structural, post-post-structural, post-colonial, post-anything analysis or deconstruction of my annals and condemn any and all such enterprises. All theorizing based on class, gender, and ethnicity is strictly prohibited. An Objective narrative is not a Rorschach blot for one to project his pathologies and sundry whines. If the Reader insists on “reading into” the narrative, he should fill the margins with sketches of penises, vaginas, and stick-figures engaged in coitus.

And yet there are other days, when I’m downtrodden or morose, when I find myself at my desk late at night, unable to sleep, flipping through (of all things) Oscar’s dog-eared copy of Watchmen. One of the few things that he took with him on the Final Voyage that we recovered. The original trade. I flip through the book, one of his top three, without question, to the last horrifying chapter: “A Stronger Loving World.” To the only panel he’s circled. Oscar—who never defaced a book in his life—circled one panel three times in the same emphatic pen he used to write his last letters home. The panel where Adrian Veidt and Dr. Manhattan are having their last convo. After the mutant brain has destroyed New York City; after Dr. Manhattan has murdered Rorschach; after Veidt’s plan has succeded in “saving the world.” Veidt says: “I did the right thing, didn’t I? It all worked out in the end.” And Manhattan, before fading from our Universe, replies: “In

He's right,you know," Edward was saying almost before I'd made it into my room. I had crept through the house unnecessarily. No one was home. "Your assertions have lost a bit of their value these days, Mr. Willing." "You know," he repeated. I tossed my coat onto the bed. The stark black and white of my quilt was broken by a purple stain now, the result of a peaceful interlude with grape juice turning into a gentle wrestling match.The stain was the size of my palm and shaked like, I thought, an alligator. Alex insisted it was a map of Italy. Later, we'd dripped the rest of the juice onto the thick pages of my drawing pad, finding pictures in the splotches like the Rorschach inkblots used in psychology. "Well," he'd said in response to my pagoda, antheater, and Viking, "verdict's in.You're nuts." The pictures were tacked to my wall, unaccustomed spots of color. I'd penciled in our choices. Viking (E), pineapple (A). Lantern (E), cheese (A). Crown (E), birthday cake (A) were over my desk, over Edward. I turned on my computer. It binged cheerfully at me. I had mail. From: abainbr@thewillingschool.org To: fmarino@thewillingschool.org Date: December 15, 3:50 p.m. Subect: Should you choose to accept... Tuesday. I'll pick you up at 10:00 a.m. Ask no questions. Tell no one. -Alex "Ah, subterfuge" came from over the desk. "Shut up, Edward," I said.

Vischer’s idea of a back and forth between projecting the self and internalizing the world—what he called a “direct continuation of the external sensation into an internal one”—influenced generations of philosophers, psychologists, and aesthetic theorists. To describe his radical new concept, he used the German word Einfühlung, literally “feeling-in.” When psychological works influenced by Vischer began to be translated into English in the early twentieth century, the language needed a new term for this new idea, and translators invented the word empathy. It is pretty shocking to realize that empathy is barely a hundred years old, about the same age as X-rays and lie-detector tests.

Engkau adalah penggemar matematika dan aku adalah pecinta biologi. Kau menyandarkan hidupmu semata mata pada logika sedang aku lebih suka bermain fakta dan persepsi. Sebab menurutku, kita tidak dapat memastikan segala sesuatu hanya dari sebuah gejala atau fenomena belaka. Sementara, kau memainkan angka angka itu lebih sebagai bagian dari realitas keseharianmu. Namun sesungguhnya kita hampir memiliki begitu banyak persamaan sebagai seorang Pareidolia, meskipun mungkin saling bertolak belakang. Kau seorang kolektor tanaman langka dan aku pecinta kaktus yang unik. Pong Kdor Moha Tep adalah tanaman karnivora dari Kamboja yang jadi favoritku. Loofah adalah tanaman sayur dari Vietnam yang jadi kegemaranmu. Kita saling berbagi kesukaan sebagai pengumpul aneka jenis tanaman yang menarik dan eksotis. Kau beri aku kaktus Echinopsis Lageniformis Monstrose dan jamur mabuk Psilocybe Cubensis yang kutukar dengan sepasang kaktus Myrtillocactus Geometrizans dan bunga parasit Hydnora Africana yang aku peroleh dari daerah pesisir barat Namibia. Itu adalah sebuah pemberian yang katamu adalah hadiah terbaik yang pernah kau terima dariku. Sebab aku terbiasa membaca isyarat lewat gambar atau penampakan. Sebagaimana aku sering melihat dirimu menjelma sebagai Rorschach. Sudah berpuluh kali kulihat engkau muncul begitu rupa di antara mega mega, atau di antara kerlip bintang di malam hari. Bayangan wajahmu mengeras di permukaan bulan, timbul tenggelam di antara bebatuan di sungai atau serupa tetesan tinta di atas kertas putih. Entah sudah berapa kali kudengar pesan yang menyerupai suaramu nyelonong begitu saja di radio atau di dalam dialog sebuah film yang kutonton di televisi. Namun kita tetap saja saling membenci dan menyukai dengan cara kita masing masing. Sebagaimana logika bengkokmu memberikan alasan alasan delusional yang tak masuk akal; yang seakan mengharuskan dirimu menanam kaktus yang menyerupai penis itu di dalam sanctuary-ku. Dan sebagaimana balasan yang aku sampaikan dalam bahasa nenek moyang Paolo Maldini; aku bukanlah truffatore atau imbroglione. Seorang penyemu yang dengan mudah termakan oleh tipu daya dan muslihatmu.  

As in Rorschach ink blots, an unlikely formation, such as a human head and shoulders, made itself privately known to the viewer.

Will there be no more irises in your garden tomorrow morning, or perhaps any rainbows that covet your roof will melt into Rorschach pastels in your gutters and birdsongs in your windows turn into shrill shriekings as you recall how, for one moment, you were as brave and equal to beauty as that which you feel? Can’t a world end gloriously?

But such subtle things that you could basically read it into any normal person’s behaviour – mild depression, anxiety, insomnia, fatigue. All of which I had, by the way.’‘What were the more specific signs?’‘There was one that always stuck in my mind. It was a bit like a Rorschach blot, only with words. The person was asked to name the similarities between an apple and a banana. A healthy person would say they were both fruit, but in people prone to psychosis, they wouldn’t say the obvious . They’d say something like “They both have skin”.

Laurie: Ti ricordi di quel tipo che faceva finta di essere un supercriminale solo per farsi malmenare? Dreiberg: Parli di Capitan Carnage? Ah ah ah! Era incredibile! Laurie: Lo dici a me? Una volta lo avevo beccato fuori da una gioielleria. Non sapevo ancora che ci marciava. Comincio a picchiarlo e penso: "Senti che respiro pesante, non avrà mica l'asma?". Dreiberg: Ci ha provato anche con me, ma lo conoscevo di fama e non me lo sono filato. Mi ha seguito per strada... in pieno giorno, per di più! E diceva: "Puniscimi!". E io: "No! Lasciami in pace!". Laurie: Che ne è stato di lui? Dreiberg: Ci ha provato con Rorschach e lui l'ha buttato giù dal pozzo di un ascensore.

Az ágyon ültem. A Rorschach-ábrát néztem. Próbáltam azt képzelni, hogy egy terebélyes fát látok, mely árnyékot vet a földre, de nem sikerült. Inkább hasonlított egy régi döglött macskára. Kövér, fényes giliszták tekergőztek rajta és egymáson is, amint fejvesztve próbáltak menekülni a fény elől. De még ez is távol van az igazi rettenettől. Az igazi rettenet ez: végül is az ábra csupán egy üres, értelmetlen, fekete tintafolt. Egyedül vagyunk. És ennyi az egész.

Death (or at least the social meaning of death) could be counted and recounted with other gauges, often resulting in vastly different conclusions. The appraisal of diseases depends, Breslow argued, on our self-appraisal. Society and illness often encounter each other in parallel mirrors, each holding up a Rorschach test for the other.

The brains left inside of his cloven skull splatter across the blacktop like some garish Rorschach painting made from oatmeal.

Vischer had the same kind of experiences, likewise anticipating Rorschach’s. “When I observe a stationary object,” Vischer wrote, “I can without difficulty place myself within its inner structure, at its center of gravity. I can think my way into it,” feel “compressed and modest” when I see a star or flower, and “experience a feeling of mental grandeur and breadth” from a building, water, or air. “We can often observe in ourselves the curious fact that a visual stimulus is experienced not so much with our eyes as with a different sense in another part of our body.

Rorschach’s dissertation, which he finished in 1912, set out to define the physiological pathways that make empathy in Vischer’s sense possible. “On ‘Reflex Hallucinations’ and Related Phenomena” may be a brain-numbing title in English, but the subject was nothing less than the connection between what we see and how we feel. Reflexhalluzination was a technical psychiatric

it is important to recognize that the behavior of the two antagonists mirrors each other, like a Rorschach inkblot. The value of a Rorschach test lies in what it tells us about ourselves. It

made his words something of a Rorschach test, and I might be reading too many of my own emotions into it. 

Rorschach’s body could activate his vision: “When, for example, I am unable to call up Schwind’s painting Falkenstein’s Ride as a memory image but I know how the knight is holding his right arm (‘knowing’ here as a nonperceptual mental image), I can voluntarily copy the position of this arm, in my imagination or in reality, and this immediately gives me a visual memory of the picture that is much better than without this aid.” This was, he reiterated, precisely the same as what happened in his schizophrenic patients: by holding his arm the right way, he had “hallucinatorily called forth, so to speak, the perceptual components of the visual image.

The psychology of the unconscious and abstract art, two groundbreaking ideas of the early twentieth century, were actually close cousins, with a common ancestor in philosopher Karl Albert Scherner, whom both Vischer and Freud credited as the source of their key idea. Vischer called Scherner’s 1861 book The Life of the Dream a “profound work, feverishly probing hidden depths…from which I derived the notion that I call ‘empathy’ or ‘feeling-into’ ”; in The Interpretation of Dreams, Freud cited Scherner at length, praising the “essential correctness” of his ideas and describing his book as “the most original and far-reaching attempt to explain dreaming as a special activity of the mind.” Vischer led to abstract art via Wilhelm Worringer (1881–1965), whose 1906 art history dissertation Abstraction and Empathy had an argument as simple as its title: empathy is only half the story.

From Binet, the idea of measuring imagination with inkblots spread to a string of American intelligence-testing pioneers and educators—Dearborn, Sharp, Whipple, Kirkpatrick. It reached Russia as well, where a psychology professor named Fyodor Rybakov, unaware of the Americans’ work, included a series of eight blots in his Atlas of the Experimental-Psychology Study of Personality (1910). It was an American, Guy Montrose Whipple, who called his version an “ink-blot test” in his Manual of Mental and Physical Tests (also 1910)—this is why the Rorschach cards would come to be called “inkblots” when American psychologists took them

Now that you’ve agreed to testing, why don’t we start with a Rorschach? To break the ice.” I sighed. “You’re familiar with the concept?” He wagged the first picture at me. “You tell me what each of a series of inkblot images looks like to you—” “I know what the test is.” I’d seen it on a television before the murders. “It looks like Batman.” Frowning, the human traced the edge of the cardstock with the tip of his finger. “I haven’t showed you the inkblot yet, Nox.” I nodded. “Batman.” He showed me the picture. “This is Batman,” he said, deadpan. I squinted at the thing. It sort of looked like a bat and that was good enough for me. “Yep.” All of the pictures would be Batman if I had any say about it, and sadly for Dr. Bennet, I did.

The TAT is a so-called projective test, which uses a set of cards to discover how people’s inner reality shapes their view of the world. Unlike the Rorschach cards we used with the veterans, the TAT cards depict realistic but ambiguous and somewhat troubling scenes: a man and a woman gloomily staring away from each other, a boy looking at a broken violin. Subjects are asked to tell stories about what is going on in the photo, what has happened previously, and what happens next. In most cases their interpretations quickly reveal the themes that preoccupy them.

I will say that in the course of my work ... I began to suspect that the "letter from the stars" was, for us who attempted to decipher it, a kind of psychological association test, a particularly complex Rorschach test. For as a subject, believing he sees in the colored blotches angels or birds of ill omen, in reality fills in the vagueness of the thing shown with what is "on his mind," so did we attempt, behind the veil of incomprehensible signs, to discern the presence of what lay, first and foremost, within ourselves.

Rorschach tests that traumatized people have a tendency to superimpose their trauma on everything around them and have trouble deciphering whatever is going on around them. There appeared to be little in between. We also learned that trauma affects the imagination

The truth is the whole world is a giant Rorschach test. The world is a flow of atoms unfolding in front of you. It’s no more personal than the inkblots. But it’s hitting your samskaras, and that stimulates stored mental and emotional reactions. Now, instead of experiencing what is passing by outside, you are experiencing the likes, dislikes, beliefs, and judgments stored inside. These impressions are so strong that you actually think they are what is really out there, just like the inkblots. The personal mind has taken over your entire life. You are no longer free to enjoy the experiences that are actually happening—you are forced to deal with what your mind says is happening.

Rorschach test, created by the Swiss psychologist who gave them his name. Hermann Rorschach never intended his blots to be used to assess personalities, but as a way to diagnose schizophrenia, and first published them under the unassuming title Psychodiagnostik in 1921. He never lived to see his namesake travel across the globe as he died the following year.

...I wanted to be more than a Rorschach, more legible than a symbol, more vivid and musical, at least to the kid, than even the most laureled statue could ever be. I wanted to be real in a way that history wasn't...

Go, get drunk, my friend! Get so drunk with a vision unseen, even monsoon begins to cry! Get so drunk with an unbent cause, even bosons bow to thy might! Get so drunk with incorruptibility, you emerge a walking Wardencliffe. Get so drunk with accountability, no Rorschach can analyze your spirit. Get so drunk with uncontaminated justice, every government keeps a file on you! Get so drunk with untainted love, conclaves convene to decipher you!

Poetry is an Ink-Blot [10w] Poetry's a Rorschach ink-blot, inviting the reader to read in.

As Rorschach so poetically put it, “This rudderless world is not shaped by vague metaphysical forces. It is not god who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It’s us. Only us.”12

The stars, are they not confetti? There is a direct relation between the number of them and the triviality of you. Squint your eyes. The constellation of a long slender hound appears, marking the heavens more objectively than dippers or crabs or bowmen. Trace it with your finger. The dog glares as if perturbed by your discovery. Heaven is not a Rorschach after all. Perhaps the ancients didn’t name him for a reason, or only spoke the name during ceremonies where his guidance was sought, his wrath placated. They looked to the stars and the stars looked back. What became of them? Survival was not among the blessings from this deity. His ferocity makes him more humanlike than one of love. Close your eyes and seize the earth. So solid. So flat and stationary. Your senses are liars and fools. “What about those other universes he was talking about?” you whisper, assuming the fetal position. It worked once. “Screw it. All politics is local. As long as they aren’t connected they don’t dilute the significance of this one.” The hound in the sky continues to scowl, as he did before you were born, before all men were born.