Quotes


Vintage book edition, 1959I was rearranging some bookshelves and — in a dusty back corner, behind a framed Buddha —  I found a small paperback copy of The Immense Journey, by Loren Eiseley. I read the book over twenty years ago and I remember enjoying it, but haven’t seen it since.

When I opened the book, it became obvious that it was published before acid-free paper: the pages looked frangible, with yellow-brown discoloration at the outer edges.

I’ve always been a compulsive note-jotter, and there were quite a few passages marked in the book, including the author’s thoughts about a theoretical ancestor of Homo sapiens…

“It began as such things always begin — in the ooze of unnoticed swamps, in the darkness of eclipsed moons. It began with a strangled gasping for air.
The pond was a place of reek and corruption, of fetid smells and oxygen-starved fish breathing through laboring gills. At times the slowly contracting circle of the water left little windrows of minnows who skittered desperately to escape the sun, but who died, nevertheless, in the fat, warm mud. It was a place of low life. In it the human brain began.
There were strange snouts in those waters, strange barbels nuzzling the bottom ooze, and there was time — three hundred million years of it — but mostly, I think, it was the ooze. By day the temperature in the world outside the pond rose to a frightful intensity; at night the sun went down in smoking red. Dust storms marched in incessant progression across a wilderness whose plants were the plants of long ago. Leafless and weird and stiff they lingered by the water, while over vast areas of grassless uplands the winds blew until red stones took on the polish of reflecting mirrors. There was nothing to hold the land in place. Winds howled, dust clouds rolled, and brief erratic torrents choked with silt ran down to the sea. It was a time of dizzying contrasts, a time of change.
On the oily surface of the pond, from time to time a snout thrust upward, took in air with a queer grunting inspiration, and swirled back to the bottom. The pond was doomed, the water was foul, and the oxygen almost gone, but the creature would not die. It could breathe air direct through a little accessory lung, and it could walk. In all that weird and lifeless landscape, it was the only thing that could. It walked rarely and under protest, but that was not surprising. The creature was a fish.
In the passage of days, the pond became a puddle, but the Snout survived. There was dew one dark night and a coolness in the empty stream bed. When the sun rose next morning the pond was an empty place of cracked mud, but the Snout did not lie there. He had gone. Down stream there were other ponds. He breathed air for a few hours and hobbled slowly along on the stumps of heavy fins.
It was an uncanny business if there had been anyone there to see. It was a journey best not observed in daylight, it was something that needed swamps and shadows and the touch of the night dew. It was a monstrous penetration of a forbidden element, and the Snout kept his face from the light. It was just as well, though the face should not be mocked. In three hundred million years it would be our own.”

from The Snout, in The Immense Journey (p.49 – 51)

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Surface_Detail_CoverI just finished Surface Detail, by Iain M. Banks: one of his Culture novels (2010). I’ve read and reviewed several of his novels in this series before, so I’ll be brief (note: although the Culture novels are a ‘series’, each novel is a stand-alone story).

I thought this was one of the better Culture novels, with an interesting idea of a virtual-reality hell, which is used by certain societies as a punishment system to purportedly maintain a moral civilization. The virtual hells are only a part of the novel’s story, but I found it difficult to slog through these sections (it is an interesting idea, but I could have done with fewer pages devoted to the depictions of hell).

As usual, Mr. Banks provides some interesting characters with differing motivations that move the plot along quite successfully.

My favourite quote (p. 540):

“They set off, whirling down the steps so fast it was almost falling.” (my emphasis on the last two words, which were the key to my enjoyment)

Recommended.

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My daughter, Brynne, wanted to watch a movie last night, and I suggested an old classic: Harvey (1950), a favorite of mine.

The movie is based on the Pulitzer-winning play by Mary Chase.

James Stewart portrayed mild-mannered Elwood P. Dowd, who enjoys whisky and martinis and  has an invisible friend; a pooka (from Celtic mythology: a benign, but mischievous creature), who resembles a six-foot, three and a half-inch rabbit.

James Stewart was nominated for an Oscar for his performance, and Josephine Hull won the Best Supporting Actress Oscar for her portrayal of  Elwood’s Aunt, Veta Louise Simmons.

There is a wonderful message running through the movie, and my favorite line comes from Elwood P. Dowd:

“Years ago my mother used to say to me, she’d say, ‘In this world, Elwood, you must be’ – she always called me Elwood – ‘In this world, Elwood, you must be oh so smart or oh so pleasant.’ Well, for years I was smart. I recommend pleasant. You may quote me.”

I highly recommend this charming, lighthearted movie.

P.S.: Brynne loved it.

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My initiation to Pink Floyd was in 1971, the days when music could only be purchased on 12 inch ‘records,’  which are now called vinyl. I hear that ‘vinyl’ has made a bit of a comeback: go figure. In 1971 I was barely into my teenage years, trying to be cool, and managed to scrape together enough change to purchase a record. I walked down to the music store (I did a lot more walking in those days: it probably took me forty minutes to walk there). There was an album, Meddle (by …the progressive rock band Pink Floyd), displayed in a rack by the entrance. The cover looked cool (apparently it’s a representation of an ear underwater, gathering ‘ripples’ of sound), so I bought it, took it home, and listened to it in my bedroom (my parents couldn’t stand my musical taste, so I’d found a way to beg and borrow old stereo equipment; for example, a friend of my Dad’s gave me a set of woofers, tweeters and associated equipment, and I built speaker enclosures out of particle board: I wish I still had the speakers; they sounded fantastic). Man, I loved that album! Especially the song Echoes, a twenty-three minute opus that took up the entire side two of the record. I’d never heard anything like it. I backtracked through their catalogue and found many more songs that I enjoyed, but Meddle was the album that seemed the most cohesive and lyrical (although I could have done without the song Seamus, but nothing is perfect).

My friends didn’t enjoy Meddle nearly as much as I did, but when The Dark Side of the Moon was released in 1973, almost everybody agreed that Pink Floyd was pretty darn cool. And I kept buying their albums, but stopped after The Wall.

The Wall was released in 1979 and many point to this album as Pink Floyd’s crowning achievement. It was a fine album, with some glimmers of genius (e.g.: Comfortably Numb), but it has always felt a little too over-produced to me, and I would rank The Dark Side of the Moon as the nadir of the band’s achievements; it was created at just the right time, and spoke to the soul of the youth of that moment. Still, it is another album — Wish You Were Here (1975) — that I think contains the best music that Pink Floyd ever created (and at least two band members — Richard Wright and David Gilmore — have named it as their favorite Floyd album). I dearly wanted to go to the Wish You Were Here concert  when it came to Vancouver, but I couldn’t afford the $10.75 ticket, which seemed a small fortune in those days.

Much of the content of Wish you Were Here was inspired by Syd Barrett, who’d had a mental breakdown and left the band in the late 60s. The album is also an outlet for the band’s criticism of the music business, particularly the songs Welcome to the Machine and Have a Cigar (my least favourite track on the album, especially after I heard a disco version on the radio late one night; many years ago, but the memory haunts me).

For me, the Floyd piece that has aged the best is Shine On You Crazy Diamond, a nine part composition that is split in half to bookend the other songs on Wish You Were Here (Parts I-V start the album, and Parts VI - IX end the album). Shine On was surely inspired by Syd Barrett, who even showed up one day in the recording studio; ironically, the band members didn’t recognize him at first; he had gained a lot of weight, and shaved his head and eyebrows. When he was finally recognized, his old friends had difficulty communicating with him and it was the last time any of them saw Syd.

Roger Keith ‘SydBarrett passed from this world in 2006

Shine On you Crazy Diamond is a hauntingly beautiful piece; some of the opening sounds were produced by rubbing wet fingers on the rims of wine glasses filled with differing levels of liquid; somehow this, together with the circumstances of the recording session with Sid Barrett, helps to create a meditative mood that pervades my being and remains long after the song is over.

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Remember when you were young, you shone like the sun.

Shine on you crazy diamond.

Now there’s a look in your eyes, like black holes in the sky.

Shine on you crazy diamond.

You were caught in the crossfire of childhood and stardom

Blown on the steel breeze.

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Come on you target for faraway laughter,

come on you stranger, you legend, you martyr, and shine!

You reached for the secret too soon, you cried for the moon

Shine on you crazy diamond.

Threatened by shadows at night, and exposed in the light.

Shine on you crazy diamond.

Well you wore out your welcome with random precision,

rode on the steel breeze.

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Come on you raver, you seer of visions,

come on you painter, you piper, you prisoner, and shine!

 

Lyrics by Roger Waters

I’m not sure what is is about autumn; but, for me, there is an enchantment that pervades the world. I was walking on our street and noticed the lovely yellow plumage of the trees in front of our condominium complex, which reminded me of Van Morrison’s song Moondance. Interestingly, as the song ran through my mind, it was the arrangement of leaves on the ground that brought  the romance of the season into focus…

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And all the leaves on the trees are falling

To the sound of the breezes that blow

And I’m trying to please to the calling

Of your heart-strings that play soft and low

You know the night’s magic

Seems to whisper and hush

And all the soft moonlight

Seems to shine, in your blush…

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(from Moonlight, by Van Morrison)

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“Mister!”, he said with a sawdusty sneeze,
“I am the Lorax, I speak for the trees.
I speak for the trees, for the trees have no tongues…

“I am the Lorax, I speak for the trees
Which you seem to be chopping as fast as you please;
But I also speak for the brown Barbaloots,
Who frolicked and played in their Barbaloot suits,
Happily eating Truffula fruits.
Now, since you’ve chopped the trees to the ground
There’s not enough Truffula fruit to go ’round!

“Unless someone like you cares a whole awful lot,
nothing is going to get better. It’s not.”

 

from The Lorax, an excellent book by Dr. Seuss

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Quotes regarding poetry:

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If I feel physically as if the top of my head were taken off, I know that is poetry. Emily Dickinson

Perhaps no person can be a poet, or can even enjoy poetry, without a certain unsoundness of mind.  Thomas Babington Macaulay

Poetry is an echo, asking a shadow to dance.  Carl Sandburg

Genuine poetry can communicate before it is understood. T.S. Eliot

It is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it. W.H. Auden

To be a poet is a condition, not a profession.  Robert Frost

Well, write poetry, for god’s sake, it’s the only thing that matters. e.e. cummings

To break the pentameter, that was the first heave. Ezra Pound (from the The Pisan Cantos)

The poem reveals itself only to the ignorant man. Wallace Stevens

Everywhere I go I find a poet has been there before me. Sigmund Freud

Science is for those who learn; poetry, for those who know. Joseph Roux (from Meditations of a Parish Priest)

A poet must leave traces of his passage, not proof. Rene Char

Who can tell the dancer from the dance? William Butler Yeats

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so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
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William Carlos Williams
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1969 was the year of Woodstock, Led Zeppelin’s first album, the Boeing 747’s inaugural flight, the election of Israel’s first female Prime Minister (Golda Meir), the Beatles final live performance (an impromptu concert on the roof of Apple Records, which was broken up by police), the first confirmed case of HIV/AIDS in North America (and it took the life of  a teenager, Robert R.), the beginning of the US gay rights movement (sparked by the Stonewall riots in NY City), the first withdrawal of US troops from Vietnam, the killing of two Black Panther Party Members (who were asleep at the time) during a Chicago police officers’ raid, and many more notable stories and events.

But it is an event on July 20th, 1969, that I recall without consulting Wikipedia or other historic information sites. I was on summer holidays — between grades six and seven — watching the first human step onto the moon. It was almost unimaginable, and the fact that I watched the event on our grainy black-and-white TV made it all the more surreal. It was an achievement that stunned me, and changed me; an event that ignited my imagination and altered my reading preference to science fiction. I wanted to be an astronaut (at one point I even sent an application to NASA; sadly, I never received a reply). Above all it was an event that made me realize how small I was in relation to the universe.

Photo by NASA/NewsmakersThe three men who manned the first moon-mission are locked in my memory: Michael Collins (surely, for several moments, the loneliest man ever: he was off of his home planet and on the other side of the moon; no visual contact with Earth, nobody for company, and nothing but static to listen to — see Of a Fire on the Moon, by Norman Mailer for more details); Buzz Aldrin, the second man to step on the Moon’s surface; and last, but not least, the mission Commander, Neil Armstrong, the first human being to set foot on another celestial body.

I’m sure everyone has heard by now that Neil Armstrong passed away on Saturday, a little over forty-three years since his historic accomplishment. It is a sad day, but a good day to reflect on a positive accomplishment of the human spirit (interestingly, Neil Armstrong’s famous quote, “That’s one small step for man, one giant leap for mankind,” was, he said, slightly misquoted: what he actually said was, “That’s one small step for a man, one giant leap for mankind.”).

Those first astronauts left a plaque on the moon that states: “We came in peace for all Mankind.” And during Armstrong’s first walk on the surface, he paused and put a patch on the surface to commemorate the Soviet cosmonauts and NASA astronauts who had died performing their duties. These acts took place during the Cold War, and were lovely gestures. The words on the plaque were encouraging, but human strife between antagonists continues to this day.

Someday, a human will place a plaque on Mars to commemorate the further adventures of humankind. It would be wonderful if we could learn to embody peace as a species while we continue our voyage of discovery.

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The Selfish Gene, by Richard Dawkinsis an intriguing, popular-science book; as I was crawling my way through it yesterday, I came across a brief blurb concerning the female greenfly; a species that can produce asexually:

“Female greenflies can bear live, fatherless, female offspring, each one containing all the genes of its mother … … an embryo in the mother’s ‘womb’ may have an even smaller embryo inside her own womb. So a female greenfly may give birth to a daughter and a grand-daughter simultaneously, both of them being equivalent to her own identical twins…” (from Chapter 3; Immortal coils, p. 43 in the 30th anniversary issue).

For any and all ultra-feminists out there, you may want to delve into a book cited by Dawkins (in his excellent Endnotes, on p. 275): The Redundant Male, by Jeremy Cherfas and John Gribbin.

 

 

 

 

 

 

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