“No matter how dilapidated, scarred and mutilated your body, I have always found you beautiful, for it is the soul beneath I seek.”
― Susan Barker, quote from The Incarnations
“In the end, how much distance lies between the truth and what we believe to be true? Between the things we feel at one time and the things we end up doing?”
― Susan Barker, quote from The Incarnations
“I would have fallen down long ago and let the ground drink the blood of my slit throat, were it not for you. So long as you are by my side, I can endure. You ease the stoned-to-death feeling in my soul.”
― Susan Barker, quote from The Incarnations
“Why does she hate me so much?” I ask. I expect you to say it’s because Long March is a staunch Communist and vigilant with class enemies. But instead you say, “Long March is an unhappy person. People who are unhappy often hurt others.” I consider this, and then say dismally, “But I am unhappy. I don’t go around bullying people.” “That’s because you haven’t had the chance.” Then you are gone. Pedalling up Vinegar Makers Alley to catch up with your friends, leaving me with the pale wisps of your strange remark lingering in the freezing air. *”
― Susan Barker, quote from The Incarnations
“I clench my fist around your stiffness, and your breathing quickens as I draw it back and forth. After your warm, sticky release, I lick my hand clean. Then I bury my face in your wild, stinking hair and hold you. To hold you is to be at one with you. To be at one with the starry cosmos of ancient gods above. As I hold you I will the night never to end. For our oneness fades with the disappearing stars. And by daylight you are other again.”
― Susan Barker, quote from The Incarnations
“A news bulletin on the radio speaks of a public ban on spitting, swearing, smoking and queue-jumping during the Olympics. The Four Pests, the campaign has been called, after the Mao-era policy to eradicate sparrows, mosquitoes, flies and rats. Wang remembers Shuxiang telling him how, during her childhood, gangs of children chased sparrows from tree to tree, banging tin trays until the birds fell out of the sky, too exhausted to beat their wings and fly.”
― Susan Barker, quote from The Incarnations
“What's the good of one person clinging to his morals when everyone else is so corrupt? What's the good of that?”
― Susan Barker, quote from The Incarnations
Susan Barker
Born place: in London, The United Kingdom
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“I had to pretend you didn't exist. That's how much it hurt
She was still thinking if your safety p. 361”
― Jessica Grant, quote from Come, Thou Tortoise
“Yeah," I said, "but you're an artist. You don't believe in decency and honesty and gratitude. Where shall we eat?”
― William S. Burroughs, quote from And the Hippos Were Boiled in Their Tanks
“A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard.
The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol.
...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.”
― Roland Barthes, quote from Mythologies
“The number of people who believe a thing has no bearing upon its truth.”
― Marie Sexton, quote from Promises
“The dragonets found the carpenters to be even more fascinating than the furniture, and followed the poor men from pen to pen, crowding around to watch, tasting the wooden planks, trying to steal the tools. It made for an interesting day for everyone, as the boys tried to keep the dragonets away from the carpenters, and the dragonets tried to get at the carpenters, and the carpenters worked probably a great deal faster than they ever had in their lives, sure that the dragonets would go from tasting the wood to tasting them. ”
― Mercedes Lackey, quote from Alta
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