176 pages
Rating: (634 votes)
“Every man-made thing, be it a chair, a text, or a school, is thought made substance. It is the expression of someone's, or some groups, ideas and beliefs. The two-hundred year old double hung, six light sash window in the wall opposite my desk, out of which I am looking at this moment embodies ideas about houses and how we should live in them, tools, technologies, standards of craftsmanship, nature and much else. It is a material manifestation of the collective consciousness of its time and place channeled through the individuals who commissioned and made it".”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“When I look at a piece of furniture from across a room, I see form, style, scale, context, and intended use. As I approach it, I distinguish material, joinery, and proportions. When I get close enough to touch it, I take in details such as hardware, textures, finish, edge treatments, wood grain, quality, and comfort.”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“I was becoming aware that a good life was not some Shangri-La waiting to be stumbled upon. One constructed it from the materials at hand.”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“Only as I approached adulthood did I realize that life is a process of continual becoming.”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“there are three different contexts in which one can participate in a creative field. For shorthand, I call them the first-person, second-person, and third-person voices. You”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“skilled manual work offered spiritual rewards to which academic institutions and my parent’s social milieu were oblivious.”
― quote from Why We Make Things and Why It Matters: The Education of a Craftsman
“But at the end of the day, everything I do costs me. The only question is how much.”
― Tabitha McGowan, quote from The Tied Man
“You really believe that? He took a step toward her.' I'm risking Sin's life by putting off what I have to do to Kynan. I'm doing that for you. Not for Kynan or my brothers. I took a knife for you. I've kissed you over and over when I never kiss anyone. So why the hell would I want to see you suffer?”
― Larissa Ione, quote from Ecstasy Unveiled
“Clell, Gillman and I are joined by the wee chinky bird with the toff's English-Yank accent. It keeps fuckin well changing. Probably been tae posh schools all over the world. I hate those privileged cunts. They think that you're fuck all, that they can use you tae clean up their shite, and in fact, most of the time they are spot-on. What they don't know though, is that you're always lurking in the shadows. The opportunity to pounce usually never comes along but you're always lurking, always ready. Just in case.”
― Irvine Welsh, quote from Filth
“Defend the weak, protect both young and old, never desert your friends. Give justice to all, be fearless in battle and always ready to defend the right."
—The law of Badger Lords”
― Brian Jacques, quote from Lord Brocktree
“And she knew her defiance in escaping his grasp, even temporarily, had shown Jasu the depth of her strength. In the months afterward, though he behaved awkwardly, he had allowed her the time and space she needed. It was the first genuine show of respect he had made toward her in their four years of marriage. Jasu’s parents made no such concession, their latent disappointment growing into relentless criticism of her for failing to bear a son.Kavita walks outside and spreads her mat on the rough stone steps, where she sits facing the rising sun in the east
She lights the small ghee-soaked diya and thin stick of incense, and then closes her eyes in prayer. The wisp of fragrant smoke slowly circles its way up into the air and around her. She breathes deeply and thinks, as always, of the baby girls she has lost. She rings the small silver bell and chants softly. She sees their faces and their small bodies, she hears their cries and feels their tiny fingers wrap around hers. And always, she hears the sound of Usha’s desperate cry echoing behind the closed doors of the orphanage. She allows herself to get lost in the depths of her grief. After she has chanted and sung and wept for some time, she tries to envision the babies at peace, wherever they are. She pictures Usha as a little girl, her hair wound in two braids, each tied with a white ribbon. The image of the girl in her mind is perfectly clear: smiling, running, and playing with children, eating her meals and sleeping alongside the others in the orphanage.Every morning, Kavita sits in the same place outside her home with her eyes closed until the stormy feelings peak and then, very gradually, subside. She waits until she can breathe evenly again. By the time she opens her eyes, her face is wet and the incense has burned down to a small pile of soft ash. The sun is a glowing orange ball on the horizon, and the villagers are beginning to stir around her. She always ends her puja by touching her lips to the one remaining silver bangle on her wrist, reconciling herself to the only thing she has left of her daughters. These daily rituals have brought her comfort and, over time, some healing. She can carry herself through the rest of the day with these peaceful images of Usha in her mind. Each day becomes more bearable. As days turn to weeks, and weeks to months, Kavita feels her bitterness toward Jasu soften. After several months, she allows him to touch her and then, to reach for her at night.”
― Shilpi Somaya Gowda, quote from Secret Daughter
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