Individual Quotes - page 79
The host of specifically religious suggestions and images, in a story that until now has been devoid of such concern, suggests very strongly that Peake is here referring to the Christian religion as a debasing influence. Peake's treatment of Gormenghast's ritual shows that he dislikes any system of values imposed on the individual from outside, offering him nothing directly relevant for himself and encouraging him in whatever weakness he possesses. So, here, the Lamb can break down but not build; despite his worshipper's praise, he does not really understand how to keep his creatures alive. Still the Lamb glories in his power. True, in changing men he has destroyed them, denying them freedom to develop for themselves; to the Lamb, however, that is incidental to his own gratification.
Mervyn Peake
In 1948 the Democrats had little choice but to nominate President Truman, under the banner HE'S GOING TO LOSE. Everybody felt this way: the politicians, the press, the pollsters, the piccolo players, Peter Piper, everybody. The Republicans were so confident that they nominated an individual named Thomas Dewey, whose lone accomplishment was inventing the decimal system. Truman campaigned doggedly around the nation, but his cause appeared to be hopeless. A Dewey victory seemed so inevitable that on election night, the Chicago Tribune printed the famous front-page headline DEWEY DEFEATS TRUMAN. This was because Dewey had defeated Truman, who immediately threatened to drop an atomic bomb on Chicago, so everybody went ha-ha-ha-ha, just kidding, and wisely elected to have the feisty ex-haberdasher have another term.
Dave Barry
...the real origin and essence of the hypnotic condition, is the induction of a habit of abstraction or mental concentration, in which, as in reverie or spontaneous abstraction, the powers of the mind are so much engrossed with a single idea or train of thought, as, for the nonce, to render the individual unconscious of, or indifferently conscious to, all other ideas, impressions, or trains of thought. The hypnotic sleep, therefore, is the very antithesis or opposite mental and physical condition to that which precedes and accompanies common sleep...
James Braid
In a culture whose media extols thinness as the great panacea that will bring happiness, sexuality, self-respect and social acceptance, they are blind to the insidious lies of the false goddess. Possessed by their own damaged instincts, and ironically driven by the same desire for power that their parents used in raising them, some children wolf down food, or reject it, or vomit it out. Whether that rejection of life is concretized in 200 pounds of armor, or 90 pounds of bone, or vomit in the toilet, the surest way out of the neurosis is to try to understand what food symbolizes in the individual psyche and why the energy is pulled in that direction.
Marion Woodman
...the position of the body significantly influences the emotions and sensations during the desired stage of hypnotism; also, whatever the passion which one wants to express by the attitude of the patient, when the muscles necessary to this expression are brought into play, the passion itself bursts forth suddenly and the whole organism responds accordingly. The upright body, the expanded chest, the contracted extensors, all that suggests the feeling of self-esteem, self-determination, resolve and unconquerable pride. As soon as one decreases the contraction of these muscles, that gives to the patient a depressed attitude, with a sunken chest, the expression of the features changes in a very manifest way, the voice and the whole manner of being of the individual now express humility, abasement and pity.
James Braid
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It's a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.... I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.... you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.... it was as if you had to prove to yourself that truly the act of creation was still possible.... I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.
Phillip Guston