Quotes of All Topics . Occasions . Authors
How shall we define occultism? The word is derived from the Latin occultus, hidden; so that it is the study of the hidden laws of nature. Since all the great laws of nature are in fact working in the invisible world far more than in the visible, occultism involves the acceptance of a much wider view of nature than that which is ordinarily taken. The occultist, then, is a man who studies all the laws of nature that he can reach or of which he can hear, and as a result of his study he identifies himself with these laws and devotes his life to the service of evolution.
Courage is a heart word. The root of the word courage is cor - the Latin word for heart. In one of its earliest forms, the word courage meant "To speak one's mind by telling all one's heart." Over time, this definition has changed, and today, we typically associate courage with heroic and brave deeds. But in my opinion, this definition fails to recognize the inner strength and level of commitment required for us to actually speak honestly and openly about who we are and about our experiences -- good and bad. Speaking from our hearts is what I think of as "ordinary courage.
Art and poetry cannot do without one another. Yet the two words are far from being synonymous. By Art I mean the creative or producing, work-making activity of the human mind. By Poetry I mean, not the particular art which consists in writing verses, but a process both more general and more primary: that intercommunication between the inner being of things and the inner being of the human Self which is a kind of divination (as was realized in ancient times; the Latin vates was both a poet and a diviner). Poetry, in this sense, is the secret life of each and all of the arts.
Paris, hours in the café, a certain spirit of rebellion, one side a bit too stubborn, the sea, the true, in Bretagne, the walking in Provence, the taste, the passion for literature, the libraries, the beautiful editions, remaking the world in a set of hours around a table and a bottle of wine. Talking without really saying nothing, just for the pleasure of talking. The museums, the theatres, the elegance, the delicacy, the heritage of the Illustration, a humanistic philosophy. The balance we got between a nordic rigor and a latin savoir-vivre, the insolence and the freedom.
"True science has no belief," says Dr. Fenwick, in Bulwer-Lytton's 'Strange Story;' "true science knows but three states of mind: denial, conviction, and the vast interval between the two, which is not belief, but the suspension of judgment." Such, perhaps, was true science in Dr. Fenwick's days. But the true science of our modern times proceeds otherwise; it either denies point-blank, without any preliminary investigation, or sits in the interim, between denial and conviction, and, dictionary in hand, invents new Graeco-Latin appellations for non-existing kinds of hysteria!
Oh my, I've just discovered what science shows us about our humble but spectacular place in the universe, and I have to say: it is thrilling and mind-boggling beyond all imaginings! It makes the Bible so puny and uninspired, and certainly less poetic, by comparison. I'm terribly sorry. I sincerely misunderstood so much. I almost wish there were a God so I could be punished for all the suffering I have obliviously caused in the world. But since there will be no cosmic punishment for me, I will spend what time I have left working in a family planning clinic in Latin America. Good day.
Taking the continent as a whole, this religious tension may be responsible for the revival of the commonest racial feeling. Africa is divided into Black and White, and the names that are substituted- Africa south of the Sahara, Africa north of the Sahara- do not manage to hide this latent racism. Here, it is affirmed that White Africa has a thousand-year-old tradition of culture; that she is Mediterranean, that she is a continuation of Europe and that she shares in Graeco-Latin civilization. Black Africa is looked on as a region that is inert, brutal, uncivilized - in a word, savage.
Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury. The Argentine literary tradition was believed by many, including many Argentines, to be concerned with a national imaginary in which the gauchos and the pampas and the tango were fundamental tropes. Borges, in part to legitimize his own Europhilia, correctly pointed out that expecting writers to engage with these romantic nationalist tropes was arbitrary and limiting, a genre that was demonstrative of its own artificiality.
Migration is an opportunity, not a problem. And in the sense that it is an opportunity, it goes on to a bilateral agreement, between Mexico and the US, the US and the Dominican Republic, whatever you wish, and it has to be a multilateral, international event. I am in favor of an international union of migrant workers that really takes on the problems that affect Europe, with the migrants coming from Africa, and the US with the migrants coming from Latin America. It has to be considered an international question, with international solutions, and with no problems national or international.
When I was a little kid wanting to play music, it was because of people like Pete Johnson, Huey Smith, Allen Toussaint, Professor Longhair, James Booker, Art Neville ... there was so many piano players I loved in New Orleans. Then there was guys from out of town that would come cut there a lot. There was so many great bebop piano players, so many great jazz piano players, so many great Latin piano players, so many great blues piano players. Some of those Afro-Cuban bands had some killer piano players. There was so many different things going on musically, and it was all of interest to me.
It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing.
I wish more fantasy, especially the dominant fantasy that draws heavily on British and Christian lore, would wrestle with its own ethnospecific nature and what that means when the story is set somewhere where more than one belief system is in operation. If all you do is pay lip service to it, you can get the kind of thing where the writer has thrown one Hindu god into a Christianist fantasy (rendering said god by default a demon or otherwise inferior to the dominant religious system of the story, which is such an insult), and the hero is able to vanquish it by chanting a spell in church Latin.
With what moral authority can they speak of human rights - the rulers of a nation in which the millionaire and beggar coexist; the Indian is exterminated; the black man is discriminated against; the woman is prostituted; and the great masses of Chicanos, Puerto Ricans, and Latin Americans are scorned, exploited, and humiliated? How can they do this - the bosses of an empire where the mafia, gambling, and child prostitution are imposed; where the CIA organizes plans of global subversion and espionage, and the Pentagon creates neutron bombs capable of preserving material assets and wiping out human beings.
