“Even though it can be hopeless, or unhealthy, or just stupid, we love anyway. Because that’s what love is. Choosing to give it, especially when you shouldn’t.”
― Kelsey Sutton, quote from Where Silence Gathers
“I keep staring, and I wonder why we push people away. There are a thousands reasons, really, but I think the biggest one - the most important one - is if we don’t, they get close. And then they can see.”
― Kelsey Sutton, quote from Where Silence Gathers
“There’s no point, I want to shout back. Let me go.
But that’s what love is; holding on and holding tight no matter what. Through death, through pain, through everything. There’s a part of me that wants to turn back and be worthy of it.
I’m standing on the edge of that bridge, though, and I’m tilting forward. Falling. There is no turning back.”
― Kelsey Sutton, quote from Where Silence Gathers
“If I listen hard enough, I can almost hear the stars whispering to each other. Cruel, biting whispers.”
― Kelsey Sutton, quote from Where Silence Gathers
“The most painful emotions are better than none at all. Ironically, we make you human.”
― Kelsey Sutton, quote from Where Silence Gathers
“As infuriating as he was, I found Forgiveness ... interesting. It's been impossible to forget, the way he looked at me. Not like I'm a dealer selling the drug he wants, or just another duty to be carried though. No, Forgiveness stared at me as if I'm someone.
And that's a drug all its own.”
― Kelsey Sutton, quote from Where Silence Gathers
“With the taste of rum in my mouth and the sting of remembrance in my heart, I set my sights on the man who killed my family.”
― Kelsey Sutton, quote from Where Silence Gathers
“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
“No matter where you go, there you are.”
― Lawrence M. Krauss, quote from The Physics of Star Trek
“A new commandment I give you, that you love one another: just as I have loved you, you also are to love one another. By this all people will know that you are my disciples, if you have love for one another. (John 13:34–35)”
― Thabiti M. Anyabwile, quote from What Is a Healthy Church Member?
“Whether we’re standing on the shores of the Pacific or the Atlantic, the water is the same. Love”
― Sarah McCoy, quote from The Baker's Daughter
“I was beginning to understand how the Irish mentality worked. The more foolish, illogical or surreal one's actions were perceived t be (and mine surely fell into one of these categories), the wider the arms of hospitality were opened in salutation.”
― Tony Hawks, quote from Round Ireland with a Fridge
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