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The colonel dwelt in a vortex of specialists who were still specializing in trying to determine what was troubling him. They hurled lights in his eyes to see if he could see, rammed needles into nerves to hear if he could feel. There was a urologist for his urine, a lymphologist for his lymph, an endocrinologist for his endocrines, a psychologist for his psyche, a dermatologist for his derma; there was a pathologist for his pathos, a cystologist for his cysts, and a bald and pendantic cetologist from the zoology department at Harvard who had been shanghaied ruthlessly into the Medical Corps by a faulty anode in an I.B.M. machine and spent his sessions with the dying colonel trying to discuss Moby Dick with him. ↗
For her, this was one of the happiest things on earth--to be in love with someone who is more in love with you. ↗
Happiness was useless to me. It was heartache that filled my purse. What happy man has need of Shakespeare? ↗
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. ↗
Every form of happiness if one, every desire is driven by the same motor--by our love for a single value, for the highest potentiality of our own existence--and every achievement is an expression of it. ↗
Ish #1 "It's not your mama's macaroni and cheese if you used spaghetti noodles. ↗
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Ish #109 "If MapQuest says make a right, go straight. You'll get there quicker. ↗
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