Visiting Museums Quotes

What is love?” “I don’t know.” “Love is the name given to the bond Kemal feels with Füsun whenever they travel along highways or sidewalks; visit houses, gardens, or rooms; or whenever he watches her sitting in tea gardens and restaurants, and at dinner tables.” “Hmmm … that’s a lovely answer,~ But isn’t love what you feel when you can’t see me?” “Under those circumstances, it becomes a terrible obsession, an illness.

Being alone is not the most awful thing in the world. You visit your museums and cultivate your interests and remind yourself how lucky you are not to be one of those spindly Sudanese children with flies beading their mouths. You make out To Do lists - reorganise linen cupboard, learn two sonnets. You dole out little treats to yourself - slices of ice-cream cake, concerts at Wigmore Hall. And then, every once in a while, you wake up and gaze out of the window at another bloody daybreak, and think, I cannot do this anymore. I cannot pull myself together again and spend the next fifteen hours of wakefulness fending off the fact of my own misery. People like Sheba think that they know what it's like to be lonely. They cast their minds back to the time they broke up with a boyfriend in 1975 and endured a whole month before meeting someone new. Or the week they spent in a Bavarian steel town when they were fifteen years old, visiting their greasy-haired German pen pal and discovering that her hand-writing was the best thing about her. But about the drip drip of long-haul, no-end-in-sight solitude, they know nothing. They don't know what it is to construct an entire weekend around a visit to the laundrette. Or to sit in a darkened flat on Halloween night, because you can't bear to expose your bleak evening to a crowd of jeering trick-or-treaters. Or to have the librarian smile pityingly and say, ‘Goodness, you're a quick reader!’ when you bring back seven books, read from cover to cover, a week after taking them out. They don't know what it is to be so chronically untouched that the accidental brush of a bus conductor's hand on your shoulder sends a jolt of longing straight to your groin. I have sat on park benches and trains and schoolroom chairs, feeling the great store of unused, objectless love sitting in my belly like a stone until I was sure I would cry out and fall, flailing, to the ground. About all of this, Sheba and her like have no clue.

When he was a boy he'd read books about great military campaigns, and visited the museums and looked with patriotic pride at the paintings of famous cavalry charges, last stands and glorious victories. It had come as rather a shock, when he later began to participate in some of these, to find that the painters had unaccountably left out the intestines. Perhaps they just weren't very good at them.

I sleep during the day. I still dream about drinking and drugs. Sometimes I wake to a hang-over, sometimes I wake to a trickle of blood from my nose, sometimes I wake scared and shaking. I read, go to museums and visit Lilly in the afternoon. Sometimes I read to her, sometimes I talk to her, sometimes I just sit and remember the times, remember the times, remember the times." (James Frey, pg.119)

To visit a museum is fine, to be a museum piece is terrible! - Gioconda and Si-Ya-U

Children whose families take them to museums and zoos, who visit historic sites, who travel abroad, or who camp in remote areas accumulate huge chunks of background knowledge without even studying. For the impoverished child lacking the travel portfolio of affluence, the best way to accumulate background knowledge is by either reading or being read to.

I love to draw—pencil, ink pen—I love art. When I go on tour and visit museums in Holland, Germany or England—you know those huge paintings?—I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.

In the following days the twins went all over the city; they visited more museums, particularly the avant-garde ones. Whenever Magda spotted a Van Gogh her eyes would fill with tears, remembering the aberrational agony this great artist had gone through. The work that stirred her most was one of those many self-portraits of the artist in a sober and tormented mood; a painting built by many heavy brushstrokes of dense undiluted paint applied spirally giving the impression that the image was materializing from a turquoise background. Magda spent a full ten minutes before one such portrait. When she returned back to earth she noticed a young man beside her, as absorbed with the painting as she was and whose face looked familiar.

Veneration for the past has always seemed to me reactionary. The right chooses to talk about the past because it prefers dead people: a quiet world, a quiet time. The powerful who legitimize their privileges by heredity cultivate nostalgia. History is studied as if we are visiting a museum; but this collection of mummies is a swindle. They lie to us about the past as they lie to us about the present: they mask the face of reality. They force the oppressed victims to absorb an alien, desiccated, sterile memory fabricated by the oppressor, so that they will resign themselves to a life that isn’t theirs as if it were the only one possible.

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

Museums have a simple way to love their story and i enjoy greatly to visit it

Busman’s holiday” is an expression which refers to when people do the same thing on vacation that they do in their everyday lives, such as plumbers who visit the Museum of Sinks, or villains who disguise themselves even on their days off.

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

After the opera house, we toured our way through a couple of churches and visited the Mark Twain museum. My personal highlight was the toilet labeled "Mark Twain sat here.

Happiness is Grandad saving links to cat videos in a Word document so he can share them when she visits.

Love is art. Some people shut their eyes and refuse to see it. Others visit every museum in the world.

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

In the last eight weeks I had experienced two of the three best times of my adult life, assuming all visits to the Museum of Natural History were treated as one event. They had both been with Rosie. Was there a correlation? It was critical to find out.

The mere exposure to masterworks does not suffice. Too many persons visit museums and collect picture books without ever gaining access to art. The inborn capacity to understand through the eyes has been put to sleep and must be reawakened. This is best accomplished by handling pencils, brushes, chisels and perhaps cameras.

Every year, humanity produces some 30,000 films, 2 million books and 100,000 albums, and 95 million people visit a museum or art gallery.

But I knew how to visit the creatures who would never be sighted in the zoos or the museum or the woods. They were waiting for me in books and in stories.

Learn to enjoy things without owning them. Ownership is nothing, access is everything. Visit a library, a park, or a museum.

I am reading Ian Rankins book Doors Open and am enjoying his dark Edinburgh narrative will rate soon once I have read it. I am also a fan of Jane Austen and have visited her Museum House in Chawton, Hampshire every year for the last three years. My Favourite book is Sense and Sensibility.

In this privatized world, what sort of "cultural" conversation can there be? What can one of us possibly say to another about our experience except "Today I visited the museum of me, and I liked it.

Every year, Bailey, Angie, and Mike head to Philadelphia for the Fourth of July. They visit the Museum of Art, and Mike carries Bailey up those 72 steps and they do the Rocky reenactment. Angie helps Bailey raise his arms and they all yell, 'one more year!' Bailey loves Rocky. Does that suprise you?

We visited Mao's old house, which had been turned into a museum-cum-shrine. It was rather grand––quite different from my idea of a lodging for exploited peasants, as I had expected it to be. A caption underneath an enormous photograph of Mao's mother said that she had been a very kind person and, because her family was relatively well off, had often given food to the poor. So our Great Leader's parents had been rich peasants! But rich peasants were class enemies! Why were Chairman Mao's parents heroes when other class enemies were objects of hate? The question frightened me so much that I immediately suppressed it.

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

A few whiskies in dull bars, a visit or tow to the Empire promenade, a little whoring on the Q.T.; the sort of dingy, drabby fornications that you can imagine happening between Egyptian mummies after the museum is closed for the night.

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

My grandparents’ stories are my inheritance; each one is an heirloom I carry. Each one is a monument to an era that still courses through my grandfather’s veins. Each story is a memorial that still sits in my grandmother’s bones. My grandparents’ voices are a museum I am still learning how to visit, each conversation with them a new exhibit worthy of my time.

When he was a boy, he’d read books about great military campaigns, and visited the museums and had looked with patriotic pride at the paintings of famous cavalry charges, last stands, and glorious victories. It had come as rather a shock, when he later began to participate in some of these, to find that the painters had unaccountably left out the intestines. Perhaps they just weren’t very good at them.

At its very core, the story of Jack the Ripper is a narrative of a killer’s deep, abiding hatred of women, and our culture’s obsession with the mythology serves only to normalize its particular brand of misogyny. We have grown so comfortable with the notion of “Jack the Ripper,” the unfathomable, invincible male killer, that we have failed to recognize that he continues to walk among us. In his top hat and cape, wielding his blood-drenched knife, he can be spotted regularly in London on posters, in ads, on the sides of buses. Bartenders have named drinks after him, shops use his moniker on their signs, tourists from around the world make pilgrimages to Whitechapel to walk in his footsteps and visit a museum dedicated to his violence. The world has learned to dress up in his costume at Halloween, to imagine being him, to honor his genius, to laugh at a murderer of women. By embracing him, we embrace the set of values that surrounded him in 1888, which teaches women that they are of a lesser value and can expect to be dishonored and abused.

I spend most of the day psyching myself up to do one thing—visit a museum, perhaps—and the rest of the day recovering from the only event on my itinerary.

That museum visit was disturbing, but it didn’t surprise me. I’d seen Athena steal before. She probably didn’t even think of it as theft.

Our visits to museums, to gaze on such human remains, are a form of ancestor worship.

Memories separated in time are often recalled side by side-there's an emotional connection that has nothing to do with the diary dates and everything to do with the feeling. Remembering isn't like visiting a museum: Look! There's the long-gone object in a glass case. Memory isn't an archive. Even a simple memory is a cluster. Something that seemed so insignificant at the time suddenly becomes the key when we remember it at a particular time later. We're not liars or self-deceivers-OK, we are all liars and self-deceivers, but it's a fact that our memories change as we do. Some memories, though, don't seem to change a all. They are sticky with pain. And even when we are not, consciously, remembering our memories, they seem to remember us. We can't shake free of their effect. There's a great-term for that-the old present. These things happened in the past, but they're riding right up front with us every day. (245-6)

I suspect if we were as familiar with our bones as with our skin, we'd never bury dead but shrine them in their rooms, arranged as we might like to find them on a visit; and our enemies, if we could steal their bodies from the battle sites, would be museumed as they died, the steel still eloquent in their sides, their metal hats askew, the protective toes of their shoes unworn, and friend and enemy would be so wondrously historical that in a hundred years we'd find the jaws still hung for the same speech and all the parts we spent our life with titled as they always were - rib cage, collar, skull - still repetitious, still defiant, angel light, still worthy of memorial and affection. After all, what does it mean to say that when our cat has bitten through the shell and put confusion in the pulp, the life goes out of them? Alas for us, I want to cry, our bones are secret, showing last, so we must love what perishes: the muscles and the waters and the fats.

Background knowledge is one reason children who read the most bring the largest amount of information to the learning table and thus understand more of what the teacher or the textbook is teaching. Children whose families take them to museums and zoos, who visit historic sites, who travel abroad, or who camp in remote areas accumulate huge chunks of background knowledge without even studying.

Umi didn’t know that I had cut school to visit the art museum downtown I had cut school to sit in the park on a bench with my sketch pad drawing trees and leaves and sky and birds just to get my skills up just to understand the rules of line and texture and shading and black and white Just so I can break those rules And I didn’t need Ms. Rinaldi to tell me that I wasn’t advanced or I didn’t have history

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

This is quite different from my style of traveling, wherein I spend most of the day psyching myself up to do one thing—visit a museum, perhaps—and the rest of the day recovering from the only event on my itinerary.

the young Romantics began to feel a deep sense of connection to the world around them. They wanted to see the world through the lens of their own selves. Instead of just visiting museums and cities, this new generation scrambled into caves, slept in forests and hiked up mountains to be in nature. They wanted to feel rather than observe what they were seeing. They wanted to discover themselves in nature and ‘to be one with everything living’,

Comey assured the ADL that the FBI would continue to “require every new FBI special agent and intelligence analyst in training to visit the Holocaust Museum” because “we want them to learn about abuse of power on a breathtaking scale.

Ah, but thinking became morbid, sentimental, directly one began conjuring up doctors, dead bodies; a little glow of pleasure, a sort of lust, too, over the visual impression warned one not to go on with that sort of thing any more - fatal to art, fatal to friendship. True. And yet, thought Peter Walsh, as the ambulance turned the corner, though the light high bell could be heard down the next street and still farther as it crossed the Tottenham Court Road, chiming constantly, it is the privilege of loneliness; in privacy one may do as one chooses. One might weep if no one saw. It had been his undoing - this susceptibility - in Anglo-Indian society; not weeping at the right time, or laughing either. I have that in me, he thought, standing by the pillar box, which could now dissolve in tears. Why heaven knows. Beauty of some sort probably, and the weight of the day, which, beginning with that visit to Clarissa, had exhausted him with its heat, its intensity, and the drip, drip of one impression after another down into that cellar where they stood, deep, dark, and no one would ever know. Partly for that reason, its secrecy, complete and inviolable, he had found life like an unknown garden, full of turns and corners, surprising, yes; really it took one's breath away, these moments; there coming to him by the pillar-box opposite the British Museum one of them, a moment, in which things came together; this ambulance; and life and death.

Pay to go inside Neruda's home A body lies there with no dome. But right there in the front hall Lean a fairy against the icy wall. Oh Endless enigmas had the bard! Nice and large and calm backyard Ends In the middle of a rare room Rare portrait of revelishing gloom. Up climbing at the weird snail stair Does make you grasp for some air. And there's a room with bric-a-brac: Old and precious books all in a pack. Dare saying what I liked most of all? Enjoyed seeing visitors having a ball!

Dan, who was writing a book on the radical activity of the twenties and thirties, took the occasion of our trip to ask me about them. The whole thing seems to me so stale that I can't imagine anybody's now wanting to write about it, but we ran over the personalities and I told him a lot of stories. It seemed to me like that grisly museum of the early 1900's that I had had him visit at Niagara Falls: old stuffed two-headed calves, motheaten panthers attacking a stag, dried-up corpses from Indian graves, big bags made of rubber tires in which people had tried to shoot the falls--and around it all-powerful industrial life that no show of resistance could stop, which had ruined the landscape of the river and was crowding out everything else.

She continued talking enthusiastically about the story until I promised to visit the museum as soon as I could. I refrained from explaining that I was too busy working on the case of an innocent black man the community was trying to execute after a racially biased prosecution.

chairman of the Washington Post Company, in a one-word e-mail I received the morning after the story appeared. A German filmmaker, who happened to be visiting Washington’s Holocaust Memorial Museum on the day the story was published, decided to make a documentary about Shin’s life.

...and I knew we were cut from the same cloth in some way, that she was telling me that she too had an altar to suicide that she had visited, or a river of suicidality in which she waded. Even when I don't go to the altar daily, I do pay my respects, periodically, with little offerings.

Like a lot of small town bookworms, she was too well-read to be a true country bumpkin, but too country to be anything but mesmerized by Manhattan. She had enough books to read, and movies to see, and museums to visit to last her several lifetimes. The city overwhelmed and delighted her.

[There is an] immense advantage to be gained by ample space and appropriate surroundings in aiding the formation of a just idea of the beauty and interest of each specimen... Nothing detracts so much from the enjoyment ... from a visit to a museum as the overcrowding of the specimens exhibited.

I wouldn’t want to live there, but Washington was a nice place to visit, and that’s what I intended to do: see every single monument and museum, just like the rest of the tourists, marveling at our history and taking pride in the miracle of our democracy, just like the rest of my countrymen. I couldn’t wait.

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

In the museums we used to visit on family vacations when I was a kid, I used to love those rooms which displayed collections of minerals in a kind of closet or chamber which would, at the push of a button, darken. Then ultraviolet lights would begin to glow and the minerals would seem to come alive, new colors, new possibilities, and architectures revealed. Plain stones became fantastic, “futuristic…” Of course there wasn’t any black light in the center of the earth, in the caves where they were quarried; how strange that these stones should have to be brought here, bathed with this unnatural light in order for their transcendent characters to emerge. Irradiation revealed a secret aspect of the world. Imagine illness as this light; demanding, torturous, punitive, it nonetheless reveals more of what things are. A certain glow of being appears. I think this is what is meant when we speculate that death is what makes love possible.

He loved the energy of the place, though he barely ever visited without getting shoved around or having his pockets picked. The slam of the city, the assault of neon and electric light, the roiling mass of people, made up of mixed elements: sailors, tourists, cops, hookers, hustlers and dealers. He wandered through the crowds, fascinated; a skinny boy with big teeth and glasses, his ribs sticking out. At the same time he was drawn to quieter, more inward pursuits. He liked to draw, liked going to the movies on his own or wandering round the dioramas in the Natural History Museum; the dusty smell, the long unpopulated corridors.

It was the Church, they told me, that had kept alive the Latin and Greek of the classical world in the benighted Middle Ages, until it could be picked up again by the wider world in the Renaissance. On holidays, we would visit museums and libraries where the same point was made. As a young child, I looked at the glowing gold of the illuminated manuscripts and believed in a more metaphorical illumination in ages of intellectual darkness. And, in a way, my parents were right to believe this, for it is true. Monasteries did preserve a lot of classical knowledge. But it is far from the whole truth. In fact, this appealing narrative has almost entirely obscured an earlier, less glorious story. For before it preserved, the Church destroyed. In a spasm of destruction never seen before—and one that appalled many non-Christians watching it—during the fourth and fifth centuries, the Christian Church demolished, vandalized and melted down a simply staggering quantity of art. Classical statues were knocked from their plinths, defaced, defiled and torn limb from limb. Temples were razed to their foundations and mutilated. A temple widely considered to be the most magnificent in the entire empire was leveled. Many of the Parthenon sculptures were attacked, faces were mutilated, hands and limbs were hacked off, and gods were decapitated. Some of the finest statues on the whole building were almost certainly smashed off then ground into rubble that was then used to build churches. Books—which were often stored in temples—suffered terribly. The remains of the greatest library in the ancient world, a library that had once held perhaps 700,000 volumes, were destroyed in this way by Christians. It was over a millennium before any other library would even come close to its holdings. Works by censured philosophers were forbidden and bonfires blazed across the empire as outlawed books went up in flames.

Getting old is the second-biggest surprise of my life, but the first, by a mile, is our unceasing need for deep attachment and intimate love. We oldies yearn daily and hourly for conversation and a renewed domesticity, for company at the movies or while visiting a museum, for someone close by in the car when coming home at night.

There's more to Philadelphia than Cheesesteaks and Wawa Hoagies, Here is a list of 1 places you will love in Philadelphia: The Betsy Ross House Reading Terminal Market Boat House Row/Kelly Drive National Constitution Center Delaware River waterfront The Liberty Bell Benjamin Franklin Parkway Franklin Institute Philadelphia Museum of Art City Hall and it's Observation deck

One day, I’d stop twisting my hair, and wearing running shoes all the time, and eating exactly the same food every day. I’d remember my friends’ birthdays, I’d learn Photoshop, I wouldn’t let my daughter watch TV during breakfast. I’d read Shakespeare. I’d spend more time laughing and having fun, I’d be more polite, I’d visit museums more often, I wouldn’t be scared to drive.

Anna imagines that, were she able to visit the caves in which people first dwelled, she would find scrawled drawings that have been omitted from museums and history books. There would be scenes of ritual aggression and submission, painted in blood, caked with dried seminal fluid. They are the very antithesis of fresh, the rites between men and women; age-old and rotten to the core.

It opens the mind toward an understanding of human nature and destiny. It increases wisdom. It is the very essence of that much misinterpreted concept, a liberal education. It is the foremost approach to humanism, the lore of the specifically human concerns that distinguish man from other living beings. . . . Personal culture is more than mere familiarity with the present state of science, technology, and civic affairs. It is more than acquaintance with books and paintings and the experience of travel and of visits to museums. It is the assimilation of the ideas that roused mankind from the inert routine of a merely animal existence to a life of reasoning and speculating. It is the individual’s effort to humanize himself by partaking in the tradition of all the best that earlier generations have bequeathed.

Many tourists visit Athens without ever venturing beyond the Plaka (Old Town) and the ancient zone. With limited time, this is not a bad plan, as greater Athens offers few sights (other than the excellent National Archaeological Museum). But for a more authentic taste of the city, check out the trendy Psyrri district—right next door to the Plaka—with its dilapidated-chic hipster dining and nightlife scene.

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

When Michael Cremo visited Ukraine’s Dnepropetrovsk Historical Museum, the head of the archaeology collection, Dr Larisa Churilova, showed him artefacts that indicated an early Stone Age belief in reincarnation. Her reason for not publishing her findings was that the editors of journals are uncomfortable with cultural interpretations. They just want to print things like ‘a stone flake two centimetres long was found at a depth of one metre in the excavation.

You don’t get it just like you don’t get yourself. Sometimes the simple beauty of a woman is more powerful than anything. It doesn’t need to be a massive painting, it doesn’t need to be filled with a lot of things going on in the canvas space, and it doesn’t need a lot of fancy art techniques. It’s just her. Her beauty. Her in her raw form with those intangible attributes that drove men crazy. Those intangible qualities that could topple kings. Those made Leonardo paint her. Those are still bringing people here to look at her and ponder over. It’s real love. An unfiltered and non-romanticized version. It’s real because it doesn’t need to be anything more. Just like you don’t need to be anything more. You’ve got those intangible qualities to bring millions of people to visit a museum to see you every year. You in your raw form have that power. People don’t forget someone like that. They’re etched into your bones and molded into your core.

In the Whole Wide World Museum, Grover visits "The Things You See in the Sky Room", and the room full of "Long Thin Things You Can Write With", where a carrot has mistakingly wound up, so he returns it to an elegant marble pedestal in the middle of the otherwise empty "Carrot Room". As Grover reaches the end of the exhibit, he wonders: "Where did they put everything else?" That's when he reaches the wooden door marked: "Everything Else". When he opens it, of course, it's just the exit.

Growing up in Burbank, there wasn’t much of a museum culture. I never visited one until I was a teenager (unless you count the Hollywood Wax Museum). I occupied my time going to see monster movies, watching tv, drawing, and playing in the local cemetery. Later, when I did start frequenting museums, I was struck by home similar the vibe was to the cemetery. Not in a morbid way, but both have a quiet, introspective, yet electrifying atmosphere. Excitement, mystery, discovery, life, and death all in one place.

What I felt at that moment wasn’t sorrow for the 9/11 victims, but mortification. Tiny Ecuador gave precious pottery as a token of its heritage. My nation, the hemisphere’s richest, offered only this: Share our fear and feel our pain. In a venue designed to promote global amity and understanding, the United States chose to emphasize how divided and troubled the world remained. It was a minor thing, really, a display in a little-visited Dominican museum. But still, the exhibit rankled: my own small wall of shame.

if Japan’s prime minister were to visit Nanking, fall on his knees before Chinese spectators, and beg forgiveness for Japan’s wartime massacres at Nanking; if throughout Japan there were museums and monuments and former POW camps with photos and detailed explanations of Japanese wartime atrocities; if Japanese schoolchildren were routinely brought on school outings to such sites in Japan, and to sites outside Japan such as Nanking, Sandakan, Bataan, and Saipan; and if Japan devoted much more effort to depicting wartime non-Japanese victims of Japanese atrocities than to depicting Japanese victims of the war.

We couldn't afford to go inside. On other days, we would visit art museums. There was only enough money for one ticket, so one of us would go in, look at the exhibits, and report back to the other. On one such occasion, we went to the relatively new Whitney Museum on the Upper East Side. It was my turn to go in, and I reluctantly entered without him. I no longer remember the exhibit, but I do recall peering through on of the museum's unique trapezoidal windows, seeing Robert across the street, leaning against a parking meter, smoking a cigarette. He waited for me, and as we headed toward the subway he said, "One day we'll go in together, and the work will be ours.

Not only are we drawn to beauty, we are the only creatures who engage in certain behaviors purely for the sake of encountering beauty. We use vacation days to drive to places where we can see the sun come up over the ocean. We visit art museums, theaters, and symphonies. We look at the moon and the stars. We climb to high mountain lakes to put our feet in the frigid water to feel the rush and see the reflection of the summit in the ripples we have made. No other creature stops to behold something beautiful for no other reason than that it has stirred something in their souls. When we do these things, are we not like Moses and David, hungering to see the glory of God?

The bus here because they lost Rosa Parks's bus." "Who lost Rosa Parks's bus?" "White people. Who the fuck else? Supposedly, every February when schoolkids visit the Rosa Parks Museum, or wherever the fuck the bus is at, the bus they tell the kids is the birthplace of the civil rights movement is a phony. Just some old Birmingham city bus they found in some junkyard. That's what my sister says, anyway." "I don't know." Cuz took two deep swallows of gin. "What you mean, 'You don't know'? You think that after Rosa Parks bitch-slapped white America, some white rednecks going to go out of their way to save the original bus? That'd be like the Celtics hanging Magic Johnson's jersey in the rafters of the Boston Garden. No fucking way.

Albertine’s taste for these pretty things was much sharper than the Duchesse’s, because, like any obstacle placed in the way of possession (like my illness, which made travel so difficult and so desirable for me), poverty, more generous in this than riches, gives women something more than the clothes they cannot buy: the desire for these clothes, which is the true way, detailed, thorough, of getting to know them. She, because she could not afford to buy these things herself, and I, because by having them made for her I was trying to please her, were like students who know every detail of the pictures they long to go and see in Dresden or Vienna. Meanwhile rich women, surrounded by their countless hats and dresses, are like people who, having had no desire to visit a museum, find there only sensations of dizziness, fatigue and boredom.

But for those like us, our fate is to face the world as orphans, chasing through long years the shadows of vanished parents. There is nothing for it but to try and see through our missions to the end, as best we can, for until we do so, we will be permitted no calm. I do not wish to appear smug; but drifting through my days here in London, I believe I can indeed own up to a certain contentment. I enjoy my walks in the parks, I visit the galleries; and increasingly of late, I have come to take a foolish pride in sifting through old newspaper reports of my cases in the Reading Room at the British Museum. This city, in other words, has come to be my home, and I should not mind if I had to live out the rest of my days here. Nevertheless, there are those times when a sort of emptiness fills my hours, and I shall continue to give Jennifer's invitation serious thought.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

But in the Petit Palais, which Daphne had not visited in thirty years, Roland had what she liked to call ‘a moment’. He retired early from the paintings and waited in the main hall. After she had joined him and they were walking away he let rip. He said that if he ever had to look at one more Madonna and Child, Crucifixion, Assumption, Annunciation and all the rest he would ‘throw up’. Historically, he announced, Christianity had been the cold dead hand on the European imagination. What a gift, that its tyranny had expired. What looked like piety was enforced conformity within a totalitarian mind-state. To question or defy it in the sixteenth century would have been to take your life in your hands. Like protesting against Socialist Realism in Stalin’s Soviet Union. It was not only science that Christianity had obstructed for fifty generations, it was nearly all of culture, nearly all of free expression and enquiry. It buried the open-minded philosophies of classical antiquity for an age, it sent thousands of brilliant minds down irrelevant rabbit holes of pettifogging theology. It had spread its so-called Word by horrific violence and it maintained itself by torture, persecution and death. Gentle Jesus, ha! Within the totality of human experience of the world there was an infinity of subject matter and yet all over Europe the big museums were stuffed with the same lurid trash. Worse than pop music. It was the Eurovision Song Contest in oils and gilt frames. Even as he spoke he was amazed by the strength of his feelings and the pleasure of release. He was talking – exploding – about something else. What a relief it was, he said as he began to cool down, to see a representation of a bourgeois interior, of a loaf of bread on a board beside a knife, of a couple skating on a frozen canal hand in hand, trying to seize a moment of fun ‘while the fucking priest wasn’t looking. Thank God for the Dutch!

During the war in the Persian Gulf, massive bombing attacks became "efforts." Thousands of "weapons systems" or "force packages" "visited a site." These "weapons systems" "hit" "hard" and "soft targets." During their "visits," these "weapons systems" "degraded," "neutralized," "attrited," "suppressed," "eliminated," "cleansed," "sanitized," "impacted," "decapitated" or "took out" targets. A "healthy day of bombing" was achieved when more enemy "assets" were destroyed than expected. If the "weapons systems" didn't achieve "effective results" during their first "visit," a "damage assessment study" determined whether the "weapons systems" would "revisit the site." Women, children or other civilians killed or wounded during these "visits," and any schools, hospitals, museums, houses or other "non-military" targets that were blown up, were "collateral damage," which is the undesired damage or casualties produced by the effects from "incontinent ordnance" or "accidental delivery of ordnance equipment.

The church was locked. In the back, by the graveyard, stood a cottage with a sign that read CARETAKER, SZEKERES JÁNOS. Béla banged on the door and windows, until Szekeres János came out, rubbing his eyes. Unlocking the church, he proceeded to talk for an hour about pillars and naves and Cain and Abel. Part of a great king’s body might have been buried in the crypt at some point. The king had originally been buried in Budapest, then canonized, then exhumed and dispatched, in pieces, to reliquaries across the country. The remains of the remains were reinterred. During the Ottoman invasion, they were dug up again and sent away for safekeeping—maybe to this very crypt, although then again maybe not; the caretaker meticulously weighed the evidence pro and con. In any case, nothing was here now, it had all been sent back to Budapest after the Ottomans left. I expected the crypt to be dark and gloomy, but it was pale and light, with yellow vaulted ceilings and archways, so maybe death would be that way, too. • • • We visited a folklore museum.

After my return to Paris, one thing seemed obvious: To see Manhattan again, to feel as good about New York as Liza Minnelli sounded singing about it at Giants Stadium in 1986 (Google it), I had to start treating it as if it were a foreign city; to bring a reporter's eye and habits, care, and attention to daily life. But as that was the sort of vague self-directive easily ignored, I gave myself a specific assignment: Once a week, during routine errands, I would try something new or go someplace I hadn't been in a long while. It could be as quick as a walk past the supposedly haunted brownstone at 14 West 10th Street, where former resident Mark Twain is said to be among the ghosts. It could a stroll on the High Line, the elevated park with birch trees and long grasses growing where freight trains used to roll. Or it could be a snowy evening visit to the New York Public Library's Beaux-Arts flagship on Fifth Avenue, where Pamuk wrote the first sentence of The Museum of Innocence. There I wandered past white marble walls and candelabras, under chandeliers and ornate ceiling murals, through the room with more than ten thousand maps of my city, eventually taking a seat at a communal wood table to read a translation of Petrarch's Life of Solitude, to rare to be lent out. Tourist Tuesdays I called these outings, to no one but myself.

The Netherlands capital of Amsterdam amsterdam cruise is a thriving metropolis and one from the world's popular cities. If you are planning a trip to the metropolis, but are unclear about what you should do presently there, why not possess a little fun and spend time learning about how it's stereotypically known for? How come they put on clogs? When was the wind mill first utilised there? In addition, be sure to include all your feels on your journey and taste the phenomenal cheeses along with smell the stunning tulips. It's really recommended that you stay in a city motel, Amsterdam is quite spread out and residing in hotels close to the city-centre allows for the easiest access to public transportation. Beyond the clichés So that you can know precisely why a stereotype exists it usually is important to discover its source. Clogs: The Dutch have already been wearing solid wood shoes, as well as "Klompen" as they are referred to, for approximately 700 years. They were originally made out of a timber sole along with a leather top or band tacked for the wood. Nevertheless, the shoes had been eventually created completely from wood to safeguard the whole base. Wooden shoe wearers state the shoes are usually warm during the cold months and cool during the warm months. The first guild associated with clog designers dates back to a number exceeding 1570 in Holland. When making blockages, both shoes of a set must be created from the same kind of timber, even the same side of a tree, in order that the wood will certainly shrink in the same charge. While most blocks today are produced by equipment, a few shoemakers are left and they normally set up store in vacationer areas near any city hotel. Amsterdam also offers a clog-making museum, Klompenmakerij De Zaanse Schans, that highlights your shoe's history and significance. Windmills: The first windmills have been demonstrated to have existed in Netherlands from about the year 1200. Today, there are eight leftover windmills in the capital. The most effective to visit is De Gooyer, which has been built in 1725 over the Nieuwevaart Canal. Their location in the east involving city's downtown area signifies it is readily available from any metropolis hotel. Amsterdam enjoys its beer and it actually has a brewery right on the doorstep to the wind generator. So if you are enjoying a historic site it's also possible to enjoy a scrumptious ice-cold beer - what more would you ask for? Mozerella: It's impossible to vacation to Amsterdam without sampling several of its wonderful cheeses. In accordance with the locals, probably the most flavourful cheeses are available at the Wegewijs Emporium. With over 50 international cheese and A hundred domestic parmesan cheesse, you will surely have a wide-variety to pick from.

Evidently Nehru, though a nationalist at the political level, was intellectually and emotionally drawn to the Indus civilization by his regard for internationalism, secularism, art, technology and modernity. By contrast, Nehru’s political rival, Muhammad Ali Jinnah, the founder of Pakistan, neither visited Mohenjo-daro nor commented on the significance of the Indus civilization. Nor did Nehru’s mentor, Mohandas Karamchand Gandhi, India’s greatest nationalist leader. In Jinnah’s case, this silence is puzzling, given that the Indus valley lies in Pakistan and, moreover, Jinnah himself was born in Karachi, in the province of Sindh, not so far from Mohenjo-daro. In Gandhi’s case, the silence is even more puzzling. Not only was Gandhi, too, an Indus dweller, so to speak, having been born in Gujarat, in Saurashtra, but he must surely also have become aware in the 1930s of the Indus civilization as the potential origin of Hinduism, plus the astonishing revelation that it apparently functioned without resort to military violence. Yet, there is not a single comment on the Indus civilization in the one hundred large volumes of the Collected Works of Mahatma Gandhi. The nearest he comes to commenting is a touching remark recorded by the Mahatma’s secretary when the two of them visited the site of Marshall’s famous excavations at Taxila, in northern Punjab, in 1938. On being shown a pair of heavy silver ancient anklets by the curator of the Taxila archaeological museum, ‘Gandhiji with a deep sigh remarked: “Just like what my mother used to wear.

Japan is obsessed with French pastry. Yes, I know everyone who has access to French pastry is obsessed with it, but in Tokyo they've taken it another level. When a patissier becomes sufficiently famous in Paris, they open a shop in Tokyo; the department store food halls feature Pierre Herme, Henri Charpentier, and Sadaharu Aoki, who was born in Tokyo but became famous for his Japanese-influenced pastries in Paris before opening shops in his hometown. And don't forget the famous Mister Donut, which I just made up. Our favorite French pastry shop is run by a Japanese chef, Terai Norihiko, who studied in France and Belgium and opened a small shop called Aigre-Douce, in the Mejiro neighborhood. Aigre-Douce is a pastry museum, the kind of place where everything looks too beautiful to eat. On her first couple of visits, Iris chose a gooey caramel brownie concoction, but she and Laurie soon sparred over the affections of Wallace, a round two-layer cake with lime cream atop chocolate, separated by a paper-thin square chocolate wafer. "Wallace is a one-woman man," said Laurie. Iris giggled in the way eight-year-olds do at anything that smacks of romance. We never figured out why they named a cake Wallace. I blame IKEA. I've always been more interested in chocolate than fruit desserts, but for some reason, perhaps because it was summer and the fruit desserts looked so good and I was not quite myself the whole month, I gravitated toward the blackberry and raspberry items, like a cup of raspberry puree with chantilly cream and a layer of sponge cake.

Not long ago I was in Istanbul, Turkey. While there I toured the Topkapi Palace—the former royal palace of the Ottoman sultans and center of the Ottoman Empire. Among the many artifacts collected throughout the centuries and on display was an item I found quite remarkable—the sword of the prophet Muhammad. There, under protective glass and illuminated by high-tech lighting, was the fourteen-hundred-year-old sword of the founder of Islam. As I looked at the sword with its curved handle and jeweled scabbard, I thought how significant it is that no one will ever visit a museum and be shown a weapon that belonged to Jesus. Jesus brings freedom to the world in a way different from Pharaoh, Alexander, Caesar, Muhammad, Napoleon, and Patton. Jesus sets us free not by killing enemies but by being killed by enemies and forgiving them … by whom I mean us. Forgiveness and cosuffering love is the truth that sets us free—free from the false freedom inflicted by swords ancient and modern. Muhammad could fight a war in the name of freedom to liberate his followers from Meccan oppression, but Jesus had a radically different understanding of freedom. And lest this sound like crass Christian triumphalism, my real question is this: Do we Christians secretly wish that Jesus were more like Muhammad? It’s not an idle question. The moment the church took to the Crusades in order to fight Muslims, it had already surrendered its vision of Jesus to the model of Muhammad. Muhammad may have thought freedom could be found at the end of a sword, but Jesus never did. So are Christians who most enthusiastically support US-led wars against Muslim nations actually trying to turn Jesus into some version of Muhammad? It’s a serious question.

On a sloping promontory on its wooded north shore was a modestly sized building called the National Capital Exhibition, and I called there first, more in the hope of drying off a little than from any expectation of extending my education significantly. It was quite busy. In the front entrance, two friendly women were seated at a table handing out free visitors' packs - big, bright yellow plastic bags - and these were accepted with expressions of gratitude and rapture by everyone who passed. "Care for a visitors' pack, sir?" called one of the women to me. "Oh, yes, please," I said, more thrilled than I wish to admit. The visitors' pack was a weighty offering, but on inspection it proved to contain nothing but a mass of brochures - the complete works, it appeared, of the visitors' center I had visited the day before. The bag was so heavy that it stretched the handles until it was touching the floor. I dragged it around for a while and then thought to abandon it behind a potted plant. A here's the thing. There wasn't room behind the potted plant for another yellow bag! There must have been ninety of them there. I looked around and noticed that almost no one in the room still had a plastic bag. I leaned mine up against the wall beside the plant and as I straightened up I saw that a man was advancing toward me. "Is this where the bags go?" he asked gravely. "Yes, it is." I replied with equal gravity. In my momentary capacity as director of internal operations I watched him lean the bag carefully against the wall. Then we stood for a moment together and regarded it judiciously, pleased to have contributed to the important work of moving hundreds of yellow bags from the foyer to a mustering station in the next room. As we stood, two more people came along, "Put them just there," we suggested, almost in unison, and indicated where we were sandbagging the wall. Then we exchanged satisfied nods and moved off into the museum.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Not long after coming to Detroit, I heard of a museum of machinery in Dearborn which had been set up by Henry Ford but which, at that time, had not acquired its present popularity. The well-to-do people of fashionable Grosse Pointe and the Detroit workers as well ignored Greenfield Village, as this museum area was called. Almost nobody had any use for it, and I found out about it only through hearing people laugh at "old man Ford" for "wasting" millions on his "pile of scrap iron." These gibes excited my curiosity, and I asked my friends how I could arrange a visit and what was the earliest time I might go. "Any time you like," they answered, not troubling to conceal their disdain.

He [my cousin] was by profession manger of a museum in the days when a museum meant a great deal to the general public. I had some idea of what a city museum was: staid, stuffy, and wearisome, visited by everybody that was anybody and all the nobodies as well. But this museum was a novelty, a 'floating palace of curiosities' on the Ohio and Mississippi rivers.

Staten Island      Best for: Views of Manhattan from the ferry      What you won’t find: Notable museums, nightlife, hotels, theaters, truly great restaurants, interesting architecture      And I’ll again be blunt: Except for the fun and free ferry ride here, there’s no reason a tourist should visit here. Yes, there are a handful of cultural and historic sites, but none that justify the commute.

During our last year at Harding University, we spent the summer in a study-abroad program in Florence, Italy. It was an unbelievable experience and was our first time really being away together. We traveled all over Europe on a Eurail pass. We didn’t have any money for hotel rooms, so we would just sleep on trains and wake up the next morning in a new country. It was so exciting. As part of our studies, we had to visit certain museums and write essays on the art we saw. I was an art education major, so I loved every bit of this part of our trip, but it was a totally new experience for Willie. By the end of the trip, he said he had more culture than the yogurt section of the grocery store!

He has always been a silent gargoyle sitting at the head of our family table. I've pieced together his story from what little my relatives have shared in hushed disclosures and from reading other soldiers' biographies, visiting museums, and watching the documentary channel. I've adopted historic facts collected by experts and academics as my heritage. I've learned about my grandfather the way many of us (Generation Xers) learn about their elders, whose voices have been muted by dissociation, depression, alcoholism, trauma, and denial.

Tipped, their legs have fallen shut, and the more I look at them the less I believe my eyes. Corruption, in these bugs, is splendid. I've a collection now I keep in typewriter-ribbon tins, and though, in time, their bodies dry and the interior flesh decays, their features hold, as I suppose they held in life, an Egyptian determination, for their protective plates are strong and death must break bones to get in. Now that the heavy soul is gone, the case is light. I suspect if we were as familiar with our bones as with our skin, we'd never bury dead but shrine them in their rooms, arranged as we might like to find them on a visit; and our enemies, if we could steal their bodies from the battle sites, would be museumed as they died, the steel still eloquent in their sides, their metal hats askew, the protective toes of their shoes unworn, and friend and enemy would be so wondrously historical that in a hundred years we'd find the jaws still hung for the same speech and all the parts we spent our life with tilted as they always were—rib cage collar skull—still repetitious, still defiant, angel light, still worthy of memorial and affection. After all, what does it mean to say that when our cat has bitten through the shell and put confusion in the pulp, the life goes out of them? Alas for us, I want to cry, our bones are secret, so we must love what perishes: the muscles and the waters and the fats.

The importance of visiting the Boyhood Home of Former President Ronald Reagan to your personal life is clear and unchallenged. Touring the Home will give you a powerful feeling: You will realize that, though none of us are destined for the greatness that awaited 9-year-old Ronald Reagan, we all have a manner of greatness within us, untapped perhaps for many years, but held there in the heart, like a secret.

However, the Glory of GOD can be experienced everywhere on the Earthly Plane: I remember when I went to see the Phantom of the Opera in Los Angeles, I thought it was one of the most profound Spiritual experiences of my life! I felt like I was lifted up into the fifth dimension for three hours! Traveling in Europe to visit the Sistine Chapel, Louvre Museum, the Acropolis, the Holy Land, and other sacred sites! Watching the birds, rabbits, butterflies, chipmunks from my window where I work in the mornings! Watering the garden and tuning into the plant spirits and devas! Communing with nature! GOD is everywhere!

But here in Norvelt we had one of those librarians who collected the tiniest books of human history. Mrs. Hamsby, who died yesterday at age seventy-seven, was the first postmistress of Norvelt and she saved all the lost letters, those scraps of history that ended up as undeliverable in a quiet corner of Norvelt. But they were not unwanted. Mrs. Hamsby carefully pinned each envelope to the wall, so that the rooms of her house were lined from floor to ceiling with letter upon letter, and when you arrived for tea it appeared as if the walls were papered with the overlapping scales of an ancient fish. You were always welcome to unpin any envelope and read the orphaned letter, as if you were browsing in a library full of abandoned histories. Each room has its own mosif of stamps, so that the parlor room is papered with huamn stamps as if people such as Lincoln, or Queen Elizabeth, or Joan of Arc had come to visit. The bedroom has the stamps of lovely landscapes you might discover in your dreams, and the bathroom has stamps with oceans and rivers and rain. Each stamp is a snapshot of a story, of one thin slice of history captured like an ant in amber. there is history in every blink of an eye, and Mrs. Hamsby knew well that within the lost letter was the folded soul of the writer wrapped in the body of the envelope and mailed into the unknown. And for this tiny museum of lost hisotry we citizens of Norvelt thank her.

Damien arrived home after his usual Saturday afternoon visit to the Botolph Museum. He lay down on the living room couch before supper. Just as he was about to slip into a doze, a key rattled in the front door. He sat up, alert and eager, sleepiness gone, “What did the doctor say?” “More tests,” his wife Adita replied. “And more waiting,” Damien sighed as she stooped to embrace him. He lay back down afterwards. “We’ll get through it.” He had a few minutes before supper and went to the third floor study of the house they rented from his father when they moved to Botolph. Old Professor Higginbotham was now living in Florida, Damien ran a hand along a half-shelf of books his father wrote or edited about Prabashtan, an ancient mountainous country in Central Asia. His great-grandfather, a merchant trader, had many contacts there. Adita’s parents left the country for Canada after a war started. These family connections, along with the fact that he and Adita had spent a two week holiday there earlier in the year, inspired Damien to visit the Prabashtan galleries at Botolph’s art museum on Saturday afternoons and whenever he felt adrift. The only thing that came of his gallery-haunting so far was a hundred or so unformed notes he meant as a present for Adita that he based on items in the exhibits. He sat at his father’s old desk and wrote another: Winsome Lady Well-proportioned figure at rest. Leafy fan, lark headdress, A smile that’s fading. Green and ochre, brown. He watched, pleased, Deceived by scenes He imagined taking place In a distant court.

Hodgkin had just returned from his second visit to Paris, where he had learned to prepare and dissect cadaveric specimens. He was promptly recruited to collect specimens for Guy’s new museum. The job’s most inventive academic perk, perhaps, was his new title: the Curator of the Museum and the Inspector of the Dead. Hodgkin

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

time. A new interdisciplinary community of scientists, environmentalists, health researchers, therapists, and artists is coalescing around an idea: neuroconservation. Embracing the notion that we treasure what we love, those concerned with water and the future of the planet now suggest that, as we understand our emotional well-being and its relationship to water, we are more motivated to repair, restore, and renew waterways and watersheds. Indeed, even as water is threatened, or perhaps because of the threat, public interest in water is very high. We treasure it—or, perhaps more accurately, we spend our treasure to access water for pleasure, recreation, and healing. Wealthy people pay a premium for houses on water, and the not so wealthy pay extra for rentals and hotel rooms sited at the oceanfront, on rivers, or at lakes. Those into outdoor sports, especially fishers and hunters, are fiercely protective of it and have founded numerous environmental organizations designed to protect water habitats for fish, birds, and animals. Over the last two decades, spas have become a sort of modern equivalent to ancient healing wells. As an industry, spas are a global business worth about $60 billion, and they generate another $200 billion in tourism. In 2013, there were 20,000 (up from 4,000 in 1999) spas in the United States producing an annual revenue of over $14 billion (a figure that has grown every year for fifteen years, including those of the recession), and tallying 164 million spa visits by clients.12 Ecotourism provides water adventures and guided trips, often in kayaks, rafts, or canoes. Ocean and river cruises are big business. Cities are creating urban architectures focused on waterscapes, happiness, and sustainability. Museums and public memorials of all sorts often feature water to foster reflection and meditation. And many communities are working to transform industrialized and polluted waterfronts into spaces that are pleasant, environmentally sound, and livable.

Visit art galleries and museums Read history books and texts Devour autobiographies and biographies of people I admire who exhibit the character traits I value Take classes on anything that takes my fancy (I recently signed up for a stand-up comedy class. What?) Keep up to date on current affairs Study finance, the markets and business in general Hang out with old folks who have done stuff with their lives Go to watch opera, plays and dramas Study philosophy and some of the great thinkers of our time and past times Travel to fucking weird places where I can’t speak the language and hang out with the locals Watch documentaries on some of the weirdest subjects you can imagine

So my exploration continued, up dark stairwells and down dim passages. I came across a room full of antelope and deer trophies, the walls lined with dozens of ribbed or twisted horns, as if it were the entrance lobby to some stately home owned by a bloodthirsty monomaniac. On another occasion I found my way into one of the towers that flanked the main entrance to the Museum- only to find that to get there one had to take a path that led over the roof. I came across a taxidermist's lair, where a man with an eye patch was reconstructing a badger. I failed to find the Department of Mineralogy altogether, apart from meeting some meteorite experts in their redoubt at the end of the minerals gallery. There seemed to be no end to it. Even now, after more than thirty years of exploration, there are corners I have never visited. It was a place... labyrinthine and almost endless, where some forgotten specialist might be secreted in a room so hard to find that his very existence might be called into question. I felt that somebody might go quietly mad in a distant compartment and never be called to account. I was to discover that this was no less than the truth.