Carolina Quotes

The 2000s

120 quotations.

Oh, those sanctified fields and vineyards, always heard of but never seen! Surely there, we thought, the starving could pluck and eat in peace, free of the pious prattle that we choked down with our meals in Rome. In this we were correct. As I rose higher in the church, the meals grew more substantial and the piety less burdensome. I saw the lame and the dying leaping like frogs around a finger bone that had been fondling a milkmaid not two weeks before.
Money talk tends to be confusing. When people talk money, they usually think “wealth”, “costs”, “profit”, “income”, “gold”, “greed”, “time” (as in “time is money”), or something like that. In everyday discourse money symbolises capitalism, for better or worse: money as the life or evil force of the economy. As Liza Minnelli sings to us in the classical musical Cabaret: “Money makes the world go round… ”. The tune resonates when people exclaim “money” in response to the question what they are after in life, or when they say that everything people do ultimately revolves around money. All this talk is clear enough. The confusion enters when we observe the very same people who are so enthused about money, stubbornly suppress any reference to money when it comes to goods like the love for their partner, parents and children, friendship, science (truth!) and art (beauty!).
Arjo KlamerArjo Klamer, and Harry van Dalen. "The double-sidedness of money." Etnofoor 13.2 (2000): 89-103.
Probably even more than the architecture I'd be drawn to landscape. That's my first love, landscape.. .All kinds of landscape, if it's not cluttered up and vandalised. Yesterday we went out to Blenheim, and I love the flatness and the trees. I like all kinds. And where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it.. .And I've always lived in the south of Italy, because it’s more excitable. It's volcanic. The land affects people naturally, that's part of the characteristics, for me, of a people, in a sense.
I've found when you get old you must return to certain things in the beginning, or things you have a sentiment for or something. Because your life closes up in so many ways or doesn't become as flexible or exciting or whatever you want to call it. You tend to be nostalgic. And I think about my boats. It's more complicated than that, but also it's going out and also there's a lot of references to crossing over. But the thing of the Nile boat in Winter's Passage: Luxor was about the wonderful thing, the lazy thing, of being two or three months in Luxor by the river. It was just that, it explains a winter passage. From a certain point to the other side: it's like the Greek boat that ferries you over to the other world. That sculpture didn't have it. But sometimes the large painting in Houston does have it. It's a passage through everything.
And I am very happy to have the boat motif because, when I grew up, in summer with my parents we were always in Massachusetts, and I was always by the sea. You know, sometimes little boys love cars, but I had a particular passion for boats, and now I live by the sea. For sure, it is a passage, but it's also very fascinating for lots of things. When you get interested in something you can find out a lot about things. You might meet people who are interested in one subject or another, like they collect palms. I've found people from all over the world who were fanatical about palms, which you wouldn't know unless you were interested in palms. And the sea: because, if you've noticed, the sea is white three quarters of the time, just white – early morning. Only in the fall does it get blue, because the haze is gone. The Mediterranean [where Twombly is living later in his life], at least – the Atlantic is brown – is just always white, white, white. And then, even when the sun comes up, it becomes a lighter white.. .Not because I paint it white; I'd have painted it white even if it wasn't, but I am always happy that I might have. It's something that has other consciousness behind it.
It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks.. .So I had to find things that I could use, like my hands or the paint sticks.. .And I did those charts, big palettes.. .two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task.
To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush.. .I cannot make a picture unless everything is working. It's like a state.
It's more like I'm having an experience than making a picture. So I've never had anyone around. I never have. People are different, but I have to really be with no interference. And it takes me hours. Painting a picture is a very short thing if it goes well, but the sitting and thinking.. .I usually go off on stories that have nothing to do with the painting, and sometimes I sit in the opposite room to where I work. If I can get a good hot story I can paint better, but sometimes I'm not thinking about the painting, I'm thinking about the subject. Lots of times I'll sit in another room and then I might just go in. It takes a lot of freedom. I'm working for two years on a subject now: ten paintings, and that can carry on for two years. I worked last summer and I started this summer and with just the simplest motif I just can't seem to do it. And everything slowed down.
For the first twenty years of my life I rocked myself to sleep. It was a harmless enough hobby, but eventually I had to give it up. Throughout the next twenty-two years I lay still and discovered that after a few minutes I could drop off with no problem. Follow seven beers with a couple of scotches and a thimble of good marijuana, and it's funny how sleep just sort of comes on its own. Often I never even make it to bed. I'd squat down to pet the cat and wake up on the floor eight hours later, having lost a perfectly good excuse to change my clothes. I'm now told that this is not called "going to sleep" but rather "passing out," a phrase that carries a distinct hint of judgment.
Why did I tolerate Braswell if he was such a loon? The answer is simple and tragic. I liked him. I knew he was crazy, but he was crazy in an engaging sort of way. Both Frank and Pat have a personal charm which tends to mask their character defects, and this charm has allowed them to pull the wool over many a White patriot's eyes for some time. In this way they have had the operational assistance of a number of enthusiastic proponents, including me. I am as much responsible as anyone else for the Braswells' inflated reputations in the Movement. I covered their flamboyant gunfights in NS publications, neglecting to mention that the assailants were not Israeli commandos or gin mad niggers but the irate relatives of Braswell's first wife and his daughter's jilted boyfriend. Many people, like me, found the image of "feudin', fightin', fussin' Nazi mountain folk" titillating, and so we built up a completely false image for these people as being the Hatfields in brown shirts when in fact they were dangerously unstable nut cases. A lot of people, not the least myself, were to pay dearly for that indulgence.
Harold Covington"Seigfried's Jabberwocky" (1980s?), quoted in Kaplan (2000), pp. 79–80
The real intent of my writing is not to say, you must think in this way. The real intent is: here are some of the many important facets of this extraordinary Kosmos; have you thought about including them in your own worldview? My work is an attempt to make room in the Kosmos for all of the dimensions, levels, domains, waves, memes, modes, individuals, cultures, and so on ad infinitum. I have one major rule: Everybody is right. More specifically, everybody—including me—has some important pieces of truth, and all of those pieces need to be honored, cherished, and included in a more gracious, spacious, and compassionate embrace. To Freudians I say, Have you looked at Buddhism? To Buddhists I say, Have you studied Freud? To liberals I say, Have you thought about how important some conservative ideas are? To conservatives I say, Can you perhaps include a more liberal perspective? And so on, and so on, and so on… At no point I have ever said: Freud is wrong, Buddha is wrong, liberals are wrong, conservatives are wrong. I have only suggested that they are true but partial. My critical writings have never attacked the central beliefs of any discipline, only the claims that the particular discipline has the only truth—and on those grounds I have often been harsh. But every approach, I honestly believe, is essentially true but partial, true but partial, true but partial. And on my own tombstone, I dearly hope that someday they will write: He was true but partial…
Ken WilberIntroduction, Collected Works of Ken Wilber, vol. VIII (2000)
In other words, all of my books are lies. They are simply maps of a territory, shadows of a reality, gray symbols dragging their bellies across the dead page, suffocated signs full of muffled sound and faded glory, signifying absolutely nothing. And it is the nothing, the Mystery, the Emptiness alone that needs to be realized: not known but felt, not thought but breathed, not an object but an atmosphere, not a lesson but a life.
Ken Wilber"Foreword" to Ken Wilber: Thought as Passion (2000) by Frank Visser, p. xv
Atlanta...holds a singular place as the political and economic leader of the New South; it served as the headquarters for a number of civil rights organizations; it has been a center of black higher education. Furthermore, Atlanta has hailed itself as the 'city too busy to hate' -- one of 'progressive' race relations...Central figures in civil rights history - such as W.E.B. Du Bois, Walter White, Martin Luther King, Sr. and Martin Luther King, Jr., Whitney Young, John Lewis, Andrew Young, Vernon Jordan, Ralph Abernathy, and Julian Bond - have lived inside its limits at one time or another...While Atlanta, like any other city, is unique in certain ways, I do not believe it is unique in regard to its struggles over race and rights.
I love Wisconsin, I love coming here. I've performed here a lot because I've discovered that you people apparently have some sort of federal grant for drinking. [audience cheers] It's–you're insane! You pay less for liquor than anybody I know anywhere in the country. Nobody pays any less for liquor than you. What're you–what're you–HOW?! I don't know if you're using that farm subsidy money, or if you're just hijacking liquor trucks, but this is fucking insane. [audience member shouts something] Is it volume? It's unbe–fucking–lievable, it's staggering! I come here because basically if I spend four days here drinking, and even with the plane ticket, it's cheaper than drinking in New York. How do you know when it's New Year's? That's the big mystery to me. What's the difference? I've been in bars here and it's like New Year's every fucking night! "Uh, New Year's, that's when we–we drink with hats on."
This [Wisconsin] is the only state that I can tell this story in because you're the only people who understand it. Uh, one night I was performing in Milwaukee and I finished my set, and it was late in the evening, and I got a, had a scotch, and two of the waitresses sat down and had a brandy Old-Fashioned, and−and you're the only fuckers who drink that. More brandies get drunk in Wisconsin over Christmas than was drunk during the entire Second World War. I actually had a cab driver who was driving me back one night, and he said, "Son of a bitch, I was in New York City, and they didn't know how to make a brandy Old-Fashioned; I had to jump over the bar!" You people are NUTS! So, I was sitting there, and at that point, they ordered a shot of Jager. 'Cause I guess, you know...[Audience cheers] I love you, you're the only people who applaud Jager. And I'm telling you, something is wrong with that. You don't even know what's in it! Okay? That's wrong! You know how they make Jager? They take all the bar rags in this country, and they wring them into a–that's how they do it. And−and then, even when you lack a response, I can hear half of you going, "So what's wrong with that?"
Al Roker was the weatherman in New York City, and three years ago we had a blizzard. We were supposed to have, according to Al, 4 to 12 inches of snow. That's his prediction. We had 36 inches. Giving him the benefit of the doubt, he was two feet off. THAT'S NOT EVEN IN THE BALLPARK! If you were a roofer and you built a roof and it was two feet off, you'd still be serving time. Al Roker makes 1.5 million dollars a year as a weather person, and he doesn’t know shit about the weather.
I called the police. I said, "They've stolen my rental car, a Plymouth Horizon." The policeman said, "I guess they took it for a joyride." I said, "You know, I don't think you're listening, asshole. The car is a Plymouth Horizon. It is not a joy to ride!" This is a car that goes forty-five miles an hour with the wind; if you actually turn off the air conditioner you can supercharge the little fucker to forty-eight. I got a nosebleed I was having so much fun in the car. I didn't even want the piece of shit, so I was staggered to find out somebody took it.
People go to Vegas, and they don't know what to do; here's what you do. You go to the casino in your hotel. On your arrival, you get $100 in quarters. Take that $100 back to your hotel room and stare at it for a long, long time. Why? Because you're never going to see them again. Then you take those quarters to the bathroom and you flush them, one by one by one. And the nice thing about that is that every so often the toilet will back up, and you'll feel like a WINNER!
Normally, in February, in Boston and in most of the country, the weather is gray, rainy, gray, sleet, snow, gray; every day it just gets grayer and grayer and grayer! You wake up one day and you go 'I'm not coming into work today!' Your boss goes, 'Why not? You sick?' 'No! Its too gray!' Then you wake up and its the grayest day you've ever seen! And the next day it's even grayer! And that's usually Valentine's Day, and that's the day you look at your wrists and go, 'Hey, maybe I should slit 'em to see color!
I love New York City. The reason I live in New York City is because it's the loudest city on the planet Earth. It's so loud I never have to listen to any of the shit that's going on in my own head. It's really loud. They literally have guys come with jackhammers and they drill the streets and just leave cones in front of your apartment; you don't even know why. Garbage men come; they don't pick up the garbage, they just bang the cans together. And if your block's too quiet, they actually hire a guy who wanders around going, "FUCK ME! FUCK ME! FUCK ME!" … That was the first job I ever had.
The people who told us about sun block were the same people who told us, when I was a kid, that eggs were good. So I ate a lot of eggs. Ten years later they said they were bad. I went, "Well, I just ate the eggs!" So I stopped eating eggs, and ten years later they said they were good again! Well, then I ate twice as many, and then they said they were bad. Well, now I'm really fucked! Then they said they're good, they're bad, they're good, the whites are good, th-the yellows - make up your mind! It's breakfast I've gotta eat!
The moment in time that I believe that we completely lost our minds occurred in January of 1998. I was watching CNN when it occurred. It was 9 o’clock in the morning and they announced that the President of the United States may or may not have had oral sex with a 21-year-old in the White House, and that that, and now I’m QUOTING, “wasn’t the bad news.” And I hadn’t had coffee but I thought, “That’s pretty bad news. How could that not be bad news? HOW COULD THAT NOT BE BAD NEWS? What else did he do? Did he break into the how and BLOW AN ELEPHANT?” And they said, “No, the President may have made the young girl lie.” “Oh! How horrible! Made her lie? That’s still not the bad news you idiots because in order to make her lie, first, he would’ve had to take his penis...OUT OF HER MOUTH!”
My favorite health club is the International House of Pancakes. No matter what your weight is, there will always be someone who weighs 150 pounds more than you will ever weigh. It's guaranteed; it's on the back of the menu, read it sometime. They don't give you a cup of coffee, they give you a hot aisle of coffee! It's coffee for 15 people. Even if you're alone, they bring you a big jug of coffee, which makes me feel good 'cause I think maybe somebody's coming and I don't know who. So I put in the sugar and the milk and I drink the whole thing and then I go, "BRING ME SOME GODDAMN PANCAKES!" Son of a bitch, that's too much coffee. What's the matter with you people?
And so they turned to the Republican Party and they said, “Come on, get the little prick!” And so the Republicans took out their rifles, got him in their sights, then turned the rifles around and went…BAM! You want to learn one thing from this whole fiasco? If you’re going to hire a lawyer to nail somebody, you don’t hire somebody like Ken Starr. If you want to get somebody, and he was an asshole, you don’t hire a BIGGER asshole! ’Cause then the bigger asshole makes the asshole look like it’s just a rectum.
Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance.
Well, it's New Year's now but I don't feel that way anymore. I wonder if you do either. Something's happening to me. It's like I'm shrinking smaller and smaller and I can't stop it. There's just so much wrong that I can't imagine the shame in admitting even the tiniest part of it. When you left it was like there was this huge gap to fill, but instead of spreading wide enough to do it I just fell right in, and I'm still falling. Like I'm half-asleep, and I can't wake up, can't wake up....

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