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It is not enough for journalists to see themselves as mere messengers without understanding the hidden agendas of the message and the myths that surround it. ↗
Perhaps a creature of so much ingenuity and deep memory is almost bound to grow alienated from his world, his fellows, and the objects around him. He suffers from a nostalgia for which there is no remedy upon earth except as it is to be found in the enlightenment of the spirit--some ability to have a perceptive rather than an exploitive relationship with his fellow creatures. ↗
Not till your thoughts cease all their branching here and there, not till you abandon all thoughts of seeking for something, not till your mind is motionless as wood or stone, will you be on the right road to the Gate. ↗
Once again, we are reminded that awakening, or enlightenment is not the property of Buddhism, any more than Truth is the property of Christianity. Neither the Buddha nor the Christ belongs exclusively to the communities that were founded in their names. They belong to all people of goodwill, all who are attentive to the secret which lives in the depths of their breath and their consciousness. (14) ↗
Exercise the writing muscle every day, even if it is only a letter, notes, a title list, a character sketch, a journal entry. Writers are like dancers, like athletes. Without that exercise, the muscles seize up. ↗
Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair. ↗
