The Paris Review interview (1994)
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope.
Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.
“For me all is in the conception. I must therefore have a clear vision of the whole from the beginning.”
1905 - 1910, Notes of a Painter' (1908)
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Henri Matisse 60
French artist 1869–1954Related quotes
1960s, Freedom From The Known (1969)
Context: It is important to understand from the very beginning that I am not formulating any philosophy or any theological structure of ideas or theological concepts. It seems to me that all ideologies are utterly idiotic. What is important is not a philosophy of life but to observe what is actually taking place in our daily life, inwardly and outwardly. If you observe very closely what is taking place and examine it, you will see that it is based on an intellectual conception, and the intellect is not the whole field of existence; it is a fragment, and a fragment, however cleverly put together, however ancient and traditional, is still a small part of existence whereas we have to deal with the totality of life.
"The Headmaster" in Boy: Tales of Childhood (1984)
Discussion with Ela Bhatt, Founder, Self-Employed Women's Association (SEWA)
The Principles of Success in Literature (1865)
Context: If clear Vision be indispensable to success in Art, all means of securing that clearness should be sought. Now one means is that of detaining an image long enough before the mind to allow of its being seen in all its characteristics. The explanation Newton gave of his discovery of the great law, points in this direction; it was by always thinking of the subject, by keeping it constantly before his mind, that he finally saw the truth. Artists brood over the chaos of their suggestions, and thus shape them into creations.
“We must begin to send out ideological visions rather than be the consumers of them.”
Psychedelic Society (1984)
Context: !-- 30m21s -->We must begin to send out ideological visions rather than be the consumers of them. We need to turn off the metaphorical televisions which are hooking us into the network of cultural assumptions dictated from the Pentagon and Madison Avenue and what-have-you. We need, instead, to turn on our terminals, and to begin to interact with like-minded people throughout the world and establish this new intellectual order, which will be then the salvation of mankind, I firmly believe– because it is a collectivity, and people will then feel the interrelatedness of their fates, feel the interrelatedness as a thing which transcends national divisions, ideological divisions, feel the primacy of being part of the human family.<!-- 31m22s
Music, Mind, and Meaning (1981)
Context: How do both music and vision build things in our minds? Eye motions show us real objects; phrases show us musical objects. We "learn" a room with bodily motions; large musical sections show us musical "places." Walks and climbs move us from room to room; so do transitions between musical sections. Looking back in vision is like recapitulation in music; both give us time, at certain points, to reconfirm or change our conceptions of the whole.
The Confession (c. 452?)
Context: In a vision of the night, I saw a man whose name was Victoricus coming as it from Ireland with innumerable letters, and he gave me one of them, and I read the beginning of the letter: "The Voice of the Irish", and as I was reading the beginning of the letter I seemed at that moment to hear the voice of those who were beside the forest of Foclut which is near the western sea, and the were crying as if with one voice: "'We beg you, holy youth, that you shall come and shall walk again among us." And I was stung intensely in my heart so that I could read no more, and thus I awoke. Thanks be to God, because after so many ears the Lord bestowed on them according to their cry.
c. 1910; as quoted in: Der Blick auf Fränzi und Marcella: Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, Norbert Nobis; Sprengel Museum Hannover und Stiftung Moritzburg, 2011, p 17
1905 - 1915
Quote (Bern, April 1902), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 442
1895 - 1902