Tagged: quotation

Meret Oppenheim. Object. Paris, 1936

This Surrealist object was inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. Admiring Oppenheim’s fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, ‘Even this cup and saucer.’ Soon after, when asked by André Breton, Surrealism’s leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle. In so doing, she transformed genteel items traditionally associated with feminine decorum into sensuous, sexually punning tableware.

reading robert frost

Into My Own
ONE of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as ’twere, the merest mask of gloom,
But stretched away unto the edge of doom.
I should not be withheld but that some day         5
Into their vastness I should steal away,
Fearless of ever finding open land,
Or highway where the slow wheel pours the sand.
I do not see why I should e’er turn back,
Or those should not set forth upon my track         10
To overtake me, who should miss me here
And long to know if still I held them dear.
They would not find me changed from him they knew—
Only more sure of all I thought was true.

perception of the natural world and exposure to other circles and other perspectives allow for him to ground his belief, and as this boy leaves home, he becomes more certain of himself and his convictions. what he knows to be true will only be more true to him. it is not a matter of a change in personality, one merely becomes more aware and more particular. you grow into yourself.

sabrina (1954): hepburn’s character, upon returning from a sojourn in paris, charmingly defines her refinement,

“I have learned how to live: how to be in the world and of the world.”

in short, travel is more than the seeing of sights; it is a change that goes on, deep and permanent, in the ideas of living.


AMONG the men and women the multitude,

I perceive one picking me out by secret and divine signs,
Acknowledging none else,
          not parent, wife, husband, brother, child, any nearer than I am,
Some are baffled, but that one is not–that one knows me.
Ah lover and perfect equal,
I meant that you should discover me so by faint indirections,
And I when I meet you mean to discover you by the like in you.

Walt Whitman (1819-1892)

L’Étranger (1942) – Albert Camus

As the narrator grudgingly helps to carry his mother’s casket to the church, the literal issue at hand is the dilemma of the weather: the heat’s influence is stifling. The sun’s rays beat down on members of the procession. In the metaphorical interpretation of the scene, however, the reader is presented with a commentary on the human condition. A man is born into a life that can only end in death, that central, inescapable fact of life. It is an unavoidable truth.

“If you go too slowly there’s the risk of a heatstroke. 
But, if you go too fast, you perspire, 
and the cold air in the church gives you a chill.’ 
I saw her point; either way one was in for it.”


Henri Cartier-Bresson: Albert Camus, Paris, 1947