“The human heart, no matter what age, will only open to the heart that opens in return.”
― Julie Klassen, quote from The Apothecary's Daughter
“I have no longing for great wealth. For great adventure, yes, to travel widely and love deeply these things I value more than profits. Though certainly one needs enough of those to finance the former things.”
― Julie Klassen, quote from The Apothecary's Daughter
“Yes, sometimes we must lose something...someone...before we realize its worth.”
― Julie Klassen, quote from The Apothecary's Daughter
“The human heart, at whatever age, opens only to the heart that opens in return.
MARIA EDGEWORTH, 19T" CENTURY NOVELIST”
― Julie Klassen, quote from The Apothecary's Daughter
“The apothecary of this country is qualified by education to attend at the bedside of the sick, and, being in general better acquainted with pharmacy than the physicians of English universities ... is often the most successful practitioner.
JEREMIAH JENKINS, OBSERVATIONS ON THE PRESENT STATE OF THE PROFESSION AND TRADE OF MEDICINE, 1810
For”
― Julie Klassen, quote from The Apothecary's Daughter
“You may be small in the attic, but you have a big heart.”
― Julie Klassen, quote from The Apothecary's Daughter
“My father was a North Somerset fisherman. He always said if the apostles needed the Lord to tell them where to cast their nets, then he could do no better than to ask the Almighty for direction as well.”
― Julie Klassen, quote from The Apothecary's Daughter
Julie Klassen
Born place: The United States
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“Lena's real mom, Emily, knew that this was not the truth, but she also knew that Vaclav was not lying.
Vaclav knew that he was telling the truth.
Lena knew that it was a lie, but she loved it and believed it, like a fairy tale, like a song, like a bedtime story, like a magic trick.
She loved Vaclav until it became the truth and so it was.”
― Haley Tanner, quote from Vaclav and Lena
“September is a changeable sort of month. One foot in summer and the other in autumn.”
― Cameron Dokey, quote from Before Midnight: A Retelling of "Cinderella"
“All great, simple images reveal a psychic state. The house, even more than the landscape, is a "psychic state," and even when reproduced as it appears from the outside, it bespeaks intimacy. Psychologists generally, and Francoise Minkowska in particular, together with those whom she has succeeded interesting in the subject, have studied the drawing of houses made by children, and even used them for testing. Indeed, the house-test has the advantage of welcoming spontaneity, for many children draw a house spontaneously while dreaming over their paper and pencil. To quote Anne Balif: "Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. If he is happy, he will succeed in drawing a snug, protected house which is well built on deeply-rooted foundations." It will have the right shape, and nearly always there will be some indication of its inner strength. In certain drawings, quite obviously, to quote Mme. Balif, "it is warm indoors, and there is a fire burning, such a big fire, in fact, that it can be seen coming out of the chimney." When the house is happy, soft smoke rises in gay rings above the roof.
If the child is unhappy, however, the house bears traces of his distress. In this connection, I recall that Francoise Minkowska organized an unusually moving exhibition of drawings by Polish and Jewish children who had suffered the cruelties of the German occupation during the last war. One child, who had been hidden in a closet every time there was an alert, continued to draw narrow, cold, closed houses long after those evil times were over. These are what Mme. Minkowska calls "motionless" houses, houses that have become motionless in their rigidity. "This rigidity and motionlessness are present in the smoke as well as in the window curtains. The surrounding trees are quite straight and give the impression of standing guard over the house". Mme. Minkowska knows that a live house is not really "motionless," that, particularly, it integrates the movements by means of which one accedes to the door. Thus the path that leads to the house is often a climbing one. At times, even, it is inviting. In any case, it always possesses certain kinesthetic features. If we were making a Rorschach test, we should say that the house has "K."
Often a simple detail suffices for Mme. Minkowska, a distinguished psychologist, to recognize the way the house functions. In one house, drawn by an eight-year-old child, she notes that there is " a knob on the door; people go in the house, they live there." It is not merely a constructed house, it is also a house that is "lived-in." Quite obviously the door-knob has a functional significance. This is the kinesthetic sign, so frequently forgotten in the drawings of "tense" children.
Naturally, too, the door-knob could hardly be drawn in scale with the house, its function taking precedence over any question of size. For it expresses the function of opening, and only a logical mind could object that it is used to close as well as to open the door. In the domain of values, on the other hand, a key closes more often than it opens, whereas the door-knob opens more often than it closes. And the gesture of closing is always sharper, firmer, and briefer than that of opening. It is by weighing such fine points as these that, like Francoise Minkowska, one becomes a psychologist of houses.”
― Gaston Bachelard, quote from The Poetics of Space
“like insects on a rubber sheet, we live in a universe whose true form is hidden from direct view.”
― Lawrence M. Krauss, quote from The Physics of Star Trek
“In all things essential, unity; in all things nonessential, liberty; and in all things, love.”
― Thabiti M. Anyabwile, quote from What Is a Healthy Church Member?
The Analects
Plum Lucky
Farewell Summer
More Than Human
Make Me, Sir
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