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Borges is particularly stimulating to a man who works in the cinema, because the unusual thing about his writing is that it is like a dream, extraordinarily farsighted in calling up from the unconscious complete images in which the thing itself, and its meaning, coexist - exactly as happens in a film. And, just as happens in dreams, in Borges the incongruous, the absurd, the contradictory, the arcane and the repetitive, although as powerfully imaginative as ever, are at the same time illumined like the careful details of something larger, something unknown, and are the faultless elements of a cruelly perfect, indifferent mosaic. Even the fact that Borges's work is strangely fragmentary makes me think of a broken dreamlike flow; and the heterogeneous quality of his work - stories, essays, poems - I prefer to see not as the union of the multiple threads in a greedy, impatient talent, but as a mysterious sign of unending change. ↗
I woke up dead. Not only dead...but in hell. I had always been somewhat sketchy on what the afterlife - were there actually such a thing - would be like for a person such as I. From all accounts and all my imaginings, I figured it would be one of two things. Either I would be surrounded by great, burning masses that were endlessly immolating souls in torment... or else I would find myself trapped within my own mind as a helpless bystander, condemned to watching me live out my life over and over again and powerless to do anything to change any of it. When idle speculation prompted me to dwell on these two options, I would find myself drawn invariably to the former, since the later was just too hideous to contemplate. ... I was almost afraid to open my eyes, because once I did, I would know one way or the other. Perhaps I could have just lain there forever. Perhaps I was supposed to. Perhaps that was my true condemnation: to simply reside in hell with my eyes closed afraid of opening them lest matters deteriorate even further than they already had. This, in turn, made me dwell on the fact that every time I had believed things couldn’t get worse, they promptly had done so with almost gleeful enthusiasm . ↗
Animals are divine messengers of miracles that go far beyond emotional comfort and practical assistance. Talk to those who have been transported to a heavenly place by the gentle purring of a kitten or whose broken hearts, burdened by worry and pain, have been mended by a dog licking their hand. They will tell you that animals connect them with the River of Life in ways poets imagine and mystics contemplate. They will tell you that their deepest and most sincere relationships with animals are spiritual partnerships. ↗
My heart filled with Nick's smile, with the look of sheer adoration he gave me as he lugged the bucket. In the space of an instant, I felt it again—the crumbling of an old part of me, the growth of something new. The changing of my heart into a mother's heart. It happened at the strangest times, in the most unexpected ways. Nick looked at me, and the love I felt for him was almost painful in its intensity. I'd never known I had it in me, the capacity to love this way. ... But when Nick looked at me, my mind tumbled through nights and mornings, seasons and years in the future. ... I saw a future like none I'd ever imagined. I wanted it, every minute of it. ↗
Novels, says Sartre, are not life, but they owe our power upon us, as upon himself as an infant, to the fact that they are somehow like life. In life, he once remarked, 'all ways are barred and nevertheless we must act. So we try to change the world; that is, to live as if the relations between things and their potentialities were governed not by deterministic processes but by magic.' The as if of the novel consists in a similar negation of determinism, the establishment of an accepted freedom by magic. We make up aventures, invent and ascribe the significance of temporal concords to those 'privileged moments' to which we alone award their prestige, make our own human clocks tick in a clockless world. And we take a man who is by definition de trop, and create a context in which he isn't. The novel is a lie only as our quotidian inventions are lies. The power which goes to its making--the imagination --is a function of man's inescapable freedom. This freedom, in Mary Warnock's words, 'expresses itself in his ability to see things which are not.' It is by his fiction that we know he is free. It is not surprising that Sartre as ontologist, having to describe many kinds of fictive behaviour, invents stories to do so, thus moving into a middle ground between life and novel. .... ↗
I jetset around and play these songs and get to hang with some pretty amazing people, then I go home to a really great farm, though actually it's a disaster area of a farm at the moment. But it's certainly a blast. I wouldn't trade lives with anyone right now. ↗
Anger ... it's a paralyzing emotion ... you can't get anything done. People sort of think it's an interesting, passionate, and igniting feeling — I don't think it's any of that — it's helpless ... it's absence of control — and I need all of my skills, all of the control, all of my powers ... and anger doesn't provide any of that — I have no use for it whatsoever." [Interview with CBS radio host Don Swaim, September 15, 1987.] ↗
Sesungguhnya, terlalu perhatiannya orangtua kita adalah gangguan terindah yang pernah bisa kita terima ↗
