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Those who refuse His mercy satisfy His justice in another way. Without His mercy, they cannot love Him. Without love for Him they cannot be 'justified' or 'made just'. That is to say: they cannot conform to Him Who is love. Those who have not received His mercy are in a state of injustice with regard to Him. It is their own injustice that is condemned by His justice. And in what does their injustice consist? In the refusal of His mercy. We come, in the end, to this basic paradox: that we owe it to God to receive from Him the mercy that is offered to us in Christ, and that to refuse this mercy is the summation of our 'injustice'. Clearly, then, only the mercy of God can make us just, in this supernatural sense, since the primary demand of God's justice upon us is that we receive His mercy. ↗
A local phrase book, entitled Speak in Korean, has the following handy expressions. In the section 'On the Way to the Hotel': 'Let's Mutilate US Imperialism!' In the section 'Word Order': 'Yankees are wolves in human shape—Yankees / in human shape / wolves / are.' In the section 'Farewell Talk': 'The US Imperialists are the sworn enemy of the Korean people.' Not that the book is all like this—the section 'At the Hospital' has the term solsaga ('I have loose bowels'), and the section 'Our Foreign Friends Say' contains the Korean for 'President Kim Il Sung is the sun of mankind.' I wanted a spare copy of this phrase book to give to a friend, but found it was hard to come by. Perhaps this was a sign of a new rapprochement with the United States, or perhaps it was because, on page 46, in the section on the seasons, appear the words: haemada pungnyoni dumnida ('We have a bumper harvest every year'). ↗
#famine #imperialism #kim-il-sung #korean-language #language
The period of general neglect of Eliot's poetry was one in which a revolution was occurring in the theory of interpretation. Existentialist, phenomenologist, structuralist, psychoanalytic, feminist, and poststructuralist theories appeared and stimulated dazzling conversations about how texts mean. Bloom, Miller, Poulet, Gadamer, Foucault, Lacan, Kristeva, and Derrida are just a few of the critics who have contributed to these conversations. These studies have enormous value for critics interested in Eliot. In the first place, they have popularized insights about language which are central in Eliot poetry from "The Love Song of J. Alfred Prufrock" to Four Quartets. Anyone who doubts this should read Derrida "Structure, Sign, and Play in the Discourse of the Human Sciences" and follow up with a reading of part 5 of each of Four Quartets. In the second place, the studies in theory have created an audience that will be able to appreciate Eliot's dissertation and early philosophical work, an audience unthinkable a generation ago. ↗
#love
A sixteenth-century poet, especially one who knew that he ought to be a curious and universal scholar, would possess some notions, perhaps not strictly philosophical, about the origin of the world and its end, the eduction of forms from matter, and the relation of such forms to the higher forms which are the model of the world and have their being in the mind of God. He might well be a poet to brood on those great complementary opposites: the earthly and heavenly cities, unity and multiplicity, light and dark, equity and justice, continuity--as triumphantly exhibited in his own Empress--and ends--as sadly exhibited in his own Empress. Like St. Augustine he will see mutability as the condition of all created things, which are immersed in time. Time, he knows, will have a stop--perhaps, on some of the evidence, quite soon. Yet there is other evidence to suggest that this is not so. It will seem to him, at any rate, that his poem should in part rest on some poetic generalization-some fiction--which reconciles these opposites, and helps to make sense of the discords, ethical, political, legal, and so forth, which, in its completeness, it had to contain. This may stand as a rough account of Spenser's mood when he worked out the sections of his poem which treat of the Garden of Adonis and the trial of Mutability, the first dealing with the sempiternity of earthly forms, and the second with the dilation of being in these forms under the shadow of a final end. Perhaps the refinements upon, and the substitutes for, Augustine's explanations of the first matter and its potentialities, do not directly concern him; as an allegorist he may think most readily of these potentialities in a quasi-Augustinian way as seeds, seminal reasons, plants tended in a seminarium. But he will distinguish, as his commentators often fail to do, these forms or formulae from the heavenly forms, and allow them the kind of immortality that is open to them, that of athanasia rather than of aei einai. And an obvious place to talk about them would be in the discussion of love, since without the agency represented by Venus there would be no eduction of forms from the prime matter. Elsewhere he would have to confront the problem of Plato's two kinds of eternity; the answer to Mutability is that the creation is deathless, but the last stanzas explain that this is not to grant them the condition of being-for-ever. ↗
#love
Of course, I should have known the kids would pop out in the atmosphere of Roberta's office. That's what they do when Alice is under stress. They see a gap in the space-time continuum and slip through like beams of light through a prism changing form and direction. We had got into the habit in recent weeks of starting our sessions with that marble and stick game called Ker-Plunk, which Billy liked. There were times when I caught myself entering the office with a teddy that Samuel had taken from the toy cupboard outside. Roberta told me that on a couple of occasions I had shot her with the plastic gun and once, as Samuel, I had climbed down from the high-tech chairs, rolled into a ball in the corner and just cried. 'This is embarrassing,' I admitted. 'It doesn't have to be.' 'It doesn't have to be, but it is,' I said. The thing is. I never knew when the 'others' were going to come out. I only discovered that one had been out when I lost time or found myself in the midst of some wacky occupation — finger-painting like a five-year-old, cutting my arms, wandering from shops with unwanted, unpaid-for clutter. In her reserved way, Roberta described the kids as an elaborate defence mechanism. As a child, I had blocked out my memories in order not to dwell on anything painful or uncertain. Even as a teenager, I had allowed the bizarre and terrifying to seem normal because the alternative would have upset the fiction of my loving little nuclear family. I made a mental note to look up defence mechanisms, something we had touched on in psychology. ↗
#alters #dissociation #dissociative #dissociative-identity-disorder #embarrassment
We in the West regard the universe as a creation of God; like an invention or a product. After he created the universe, God set himself to oversee it and manage it. We see God as our boss. He created the universe, he is present in it, he manages every part of it, but he is still separate from it. It's like he installed video cameras all over the universe, so he can see everything that happens, and he can cause this or that to happen, but he is not a part of what happens. The Eastern view is very different. To the Hindu, for example, God didn't create the universe, but God became the universe. Then he forgot that he became the universe. Why would God do this? Basically, for entertainment. You create a universe, and that in itself is very exciting. But then what? Should you sit back and watch this universe of yours having all the fun? No, you should have all the fun yourself. To accomplish this, God transformed into the whole universe. God is the Universe, and everything in it. But the universe doesn't know that because that would ruin the suspense. The universe is God's great drama, and God is the stage, the actors, and the audience all at once. The title of this epic drama is "The Great Unknown Outcome." Throw in potent elements like passion, love, hate, good, evil, free will; and who knows what will happen? No one knows, and that is what keeps the universe interesting. But everyone will have a good time. And there is never really any danger, because everyone is really God, and God is really just playing around. ↗
#mysticism #pandeism #philosophy-of-religion #religion #spirituality
If something on the inside is telling you that someone isn’t right for you, they’re NOT right for you, no matter how great they might look on paper. When it’s right for you, you will know. And when it’s not – it’s time to go. ↗
#gut-feeling #holding-out-for-the-best #inner-voice #intuition #not-settling
I never knew the difference between loving someone and being in love,” he began. “I don’t know why, because now it seems so obvious. I mean, it’s in the name: in love. When you love someone that just means you care; but when you’re in love, that means you’re a part of it.” He scanned the audience and landed on Paxton and Jade holding hands in the third row. “The feeling consumes you,” he continued. “And when you’re surrounded by that want and that need to make that other person happy, you can’t see anything else. You’re blind to all of the hate and the hurt that’s waiting on the outside. None of it matters, because in here – in love – nothing hurts.” Larson watched as a drop of his own tears fell onto the surface in front of him. “I don’t care if I’m blind for the rest of my life. I loved Owen. I’m in love with him. And even though he’s gone, I’ll never leave this place we made. ↗
The difference between Marilyn’s and Jayne’s approach to intellectual pursuits is that Marilyn carried big heavy books around and hung out with brainy people to absorb their intellect, while Jayne really had a thirst for knowledge. Jayne was very proud of the fact that if she like something enough she would commit it to memory. At that time, The Satanic Bible was still in monograph form, and Jayne had pored over those pages until she knew most of it by heart...Marilyn gave me a copy of Stendhal’s On Love, and I still have a copy of Walter Benton’s This is My Beloved, which we bought together on Sunset Boulevard. Marilyn turned me on to it—wanted me to read it and write something in it for her. I got as far as writing her name in it, but I ended up with the book. It meant a lot to me during a particularly dark period in my life after I left L.A. Jayne kept insisting I read The Story of O and I, Jan Cremer. She gave me a dog-eared copy of each. It seems a distinctly feminine trait to want to share books with people they care deeply about. ↗
#jan-cremer #jayne-mansfield #marilyn-monroe #on-love #pauline-réage
The show doesn’t go on because it’s ready; it goes on because it’s 11:30. This is something Lorne [Michaels] has said often about Saturday Night Live, but I think it’s a great lesson about not being too precious about your writing. You have to try your hardest to be at the top of your game and improve every joke you can until the last possible second, and then you have to let it go. You can’t be that kid standing at the top of the waterslide, overthinking it. You have to go down the chute. (And I’m from a generation where a lot of people died on waterslides, so this was an important lesson for me to learn.) You have to let people see what you wrote. It will never be perfect, but perfect is overrated. Perfect is boring on live TV. What I learned about ‘bombing’ as an improviser at Second City was that bombing is painful, but it doesn’t kill you. No matter how badly an improv set goes, you will still be physically alive when it’s over. What I learned about bombing as a writer at Saturday Night is that you can’t be too worried about your ‘permanent record.’ Yes, you’re going to write some sketches that you love and are proud of forever—your golden nuggets. But you’re also going to write some real shit nuggets. And unfortunately, sometimes the shit nuggets will make it onto the air. You can’t worry about it. As long as you know the difference, you can go back to panning for gold on Monday. ↗
