“Loss is like a shrapnel wound, I said, where the piece of metal's got stuck in a place where the surgeons daren't go, so they decide to leave it. It is painful at first, horribly painful, so that you wonder you can live with it. But then the body grows around it, until it doesn't hurt anymore. Not like it used to be. But every now and again there are these twinges when you are not ready for them, and you realize it is still there, and it's always going to be there. It is a part of you. A still, hard point inside.”
“They crossed the Mondego and Dao rivers to Viseu and headed south to Coimbra and Leiria.”
“The chinese character for "strife" is represented by two women under the same roof.”
“The portuguese never put anything behind them except a chair to eat lunch.”
“Eva was a between-the-lines talker. She left the sayable unsaid and said what she meant without saying it.”
“Boldly fruity, but clean and dry. The spice holding from the top to the bottom, as long as an Atlantic cruise.”
“I also took up smoking Marlboro Reds and model-scowling at everyone to ensure that I would have no unwanted interactions. It worked, thank God.”
“Let’s explore this by considering two related themes that arise from the same Christian root. The first is Paul’s statement above. Here Paul in a single phrase repudiates an entire tradition of classical philosophy founded in Plato. For Plato, the problem of evil is a problem of knowledge. People do wrong because they do not know what is right. If they knew what was right, obviously, they would do it. But Paul denies that this is so. His claim is that even though he knows something is wrong, he still does it. Why? Because the human will is corrupt. The problem of evil is not a problem of knowledge but a problem of will.”
“Although Pirahã nouns are simple, Pirahã verbs are much more complicated. Each verb can have as many as sixteen suffixes—that is, up to sixteen suffixes in a row. Not all suffixes are always required, however. Since a suffix can be present or absent, this gives us two possibilities for each of the sixteen suffixes—216, or 65,536, possible forms for any Pirahã verb.”
“Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.
Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.)
The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have. ”
“It is always hard to believe that the courageous step is so close to us, that it is closer than we ever could imagine, that in fact, we already know what it is, and that the step is simpler, more radical than we had thought: which is why we so often prefer the story to be more elaborate, our identities clouded by fear, the horizon safely in the distance, the essay longer than it needs to be and the answer safely in the realm of impossibility.”
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