Quotes about mud
page 2

Ayn Rand photo
Camille Paglia photo

“American feminism’s nose dive began when Kate Millet, that imploding beanbag of poisonous self-pity, declared Freud a sexist. Trying to build a sex theory without studying Freud, women have made nothing but mud pies.”

Camille Paglia (1947) American writer

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 243

Nick Cave photo
Gerd von Rundstedt photo
Bernard Malamud photo
James K. Morrow photo
Joseph Conrad photo

“This stretch of the Thames from London Bridge to the Albert Docks is to other watersides of river ports what a virgin forest would be to a garden. It is a thing grown up, not made. It recalls a jungle by the confused, varied, and impenetrable aspect of the buildings that line the shore, not according to a planned purpose, but as if sprung up by accident from scattered seeds. Like the matted growth of bushes and creepers veiling the silent depths of an unexplored wilderness, they hide the depths of London’s infinitely varied, vigorous, seething life. In other river ports it is not so. They lie open to their stream, with quays like broad clearings, with streets like avenues cut through thick timber for the convenience of trade… But London, the oldest and greatest of river ports, does not possess as much as a hundred yards of open quays upon its river front. Dark and impenetrable at night, like the face of a forest, is the London waterside. It is the waterside of watersides, where only one aspect of the world’s life can be seen, and only one kind of men toils on the edge of the stream. The lightless walls seem to spring from the very mud upon which the stranded barges lie; and the narrow lanes coming down to the foreshore resemble the paths of smashed bushes and crumbled earth where big game comes to drink on the banks of tropical streams.Behind the growth of the London waterside the docks of London spread out unsuspected, smooth, and placid, lost amongst the buildings like dark lagoons hidden in a thick forest. They lie concealed in the intricate growth of houses with a few stalks of mastheads here and there overtopping the roof of some four-story warehouse.”

London Bridge to the Royal Albert Dock
The Mirror of the Sea (1906), On the River Thames, Ch. 16

François Bernier photo

“Most towns in Hindustan are made up of earth, mud, and other wretched material; that there is no city or town (that) does not bear evident marks of approaching decay.”

François Bernier (1620–1688) French physician and traveller

Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan.
Travels in the Mogul Empire (1656-1668)

John Derbyshire photo

“Jesus is offering us a holiday at the sea, but we must be willing to abandon our mud pies in the slums.”

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

KT Tunstall photo

“It's lovely to get to say hello to people you've always admired from afar, but the fun really starts out front with people going commando whilst wearing daring mud suits.”

KT Tunstall (1975) Scottish singer-songwriter and guitarist

On attending the Glastonbury Festival of Contemporary Performing Arts, in a Glastonbury Festival site interview (22 June 2007) http://www.glastonburyfestivals.co.uk/news.aspx?id=589.

Beck photo
Thomas Wolfe photo
Thomas Henry Huxley photo
A.E. Housman photo
Thomas Carlyle photo
Jopie Huisman photo

“Father was a beautiful person, Otherwise I couldn't have paint him like that [Jopie points to the portrait of his father in the living-room, hanging next to his mother's]. Painted in seven hours. On a Saturday. About three months before my mother had died. Three times [during the painting-session] he stood up: 'Are you getting ready, finally?' The way I am talking about them is just how you see them here. He was a skipper of mud, afterwards a farmer.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Vader was ook een juweel van een mannetje. Anders kun je 'm toch ook niet zo schilderen. [Jopie wijst naar het portret van zijn vader dat in de huiskamer hangt, naast dat van zijn moeder] In zeven uren gemaakt. Op een zaterdag. Toen was m'n moeder een maand of drie dood. Drie keer is ie overeind geweest: 'Ben je al 'ns een keer klaar?' Zoals ik over ze praat, zo zie je ze daar hangen. Het was een modderschippertje, later boer.
Mens & Gevoelens: Jopie Huisman', 1993

Franklin D. Roosevelt photo
Henry Adams photo
Thomas Eakins photo
Joseph Conrad photo

“Though the sun beat all day upon the mud,
Still foul the mud remains and bright the sun.”

Guido Guinizzelli (1230–1276) Italian poet

Fere lo sol lo fango tutto ’l giorno;
Vil riman, ne il sol perde colore.
Canzone. (Poeti del Primo Secolo, Firenze, 1816, p. 92).
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 302.

Primo Levi photo
George Raymond Richard Martin photo
Charles Baudelaire photo

“You gave me your mud and I have turned it to gold.”

Tu m’as donné ta boue et j’en ai fait de l’or.
"Ébauche d’un épilogue pour la 2e édition," Les Fleurs du Mal (1861), Appendice II: Autres pièces http://fr.wikisource.org/wiki/Les_Fleurs_du_mal_-_Ebauche_d'un_%C3%A9pilogue_pour_la_2e_%C3%A9dition

Mickey Spillane photo
Nathaniel Hawthorne photo

“Life is made up of marble and mud.”

Source: The House of the Seven Gables (1851), Ch. II : The Little Shop-Window

Joseph Joubert photo
Eddie Vedder photo
Willem Maris photo

“At Heyser [a pub in The Hague] came the venerable old guys [painters]: Smit-Cranz, Coelman a. o. Those were the bigwigs, you see. We were the revolutionaries. And an opposition that we got! - In 't Kurhaus they hang a poster against us during our first exhibition; they named us 'mud painters'. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

version in original Dutch / citaat van Willem Maris, in het Nederlands: Bij Heyser [een café in Den Haag] kwamen de eerbiedwaardige ouden [schilders]: Smit-Cranz, Coelman e.a. Dat waren de hooge oomes, zie je. Wij waren de revolutionairen. En tegenwerking dat we hebben gehad! - In heeft tijdens onze eerste tentoonstelling een pamflet gelegen tegen ons. We werden uitgescholden voor 'modderschilders'.
Quote of Willem Maris; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, pp. 36-37

Ben Stein photo

“Well, the first cause is not…it's lightning striking a mud puddle. See, and this is what the evolutionists say. And by the way, they may be right -- you know, I'm not a scientist, they could be right.”

Ben Stein (1944) actor, writer, commentator, lawyer, teacher, humorist

Youtube: Ben Stein on Glenn Beck's show about Intelligent Design, Ben Stein on Glenn Beck's show about Intelligent Design, 13 November 2007, 2008-04-18 http://www.youtube.com/watch?v=DHbdMbSLfb4,

Donald Barthelme photo

“Who among us is not thinking about divorce, except for a few tiny-minded stick-in-the-muds who don’t count?”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Heliotrope”, p. 106.
The Teachings of Don. B: Satires, Parodies, Fables, Illustrated Stories, and Plays of Donald Barthelme (1992)

Michael Chabon photo
Al Gore photo
Joseph Conrad photo

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Andy Partridge photo
Dane Cook photo
Tom DeLay photo

“Our school systems teach the children that they are nothing but glorified apes who are evolutionized out of some primordial soup of mud.”

Tom DeLay (1947) American Republican politician

on floor of House of Representatives, quoted in [Capitol Sketchbook; In a Bitter Cultural War, An Ardent Call to Arms, The New York Times, 1999-06-17, http://www.nytimes.com/1999/06/17/us/capitol-sketchbook-in-a-bitter-cultural-war-an-ardent-call-to-arms.html?pagewanted=2, 2011-10-10]
Words originally written by Addison Dawson, read into the Congressional Record http://www.gpo.gov/fdsys/pkg/CREC-1999-06-16/html/CREC-1999-06-16-pt1-PgH4364-2.htm by DeLay (June 16, 1999).
1990s

Bill Mollison photo
Alicia Silverstone photo
Cao Xueqin photo
China Miéville photo
Adlai Stevenson photo

“He who slings mud generally loses ground.”

Adlai Stevenson (1900–1965) mid-20th-century Governor of Illinois and Ambassador to the UN

Statement quoted in news summaries (11 January 1954); as quoted in Best Quotes of '54, '55, '56 (1957) edited by James Beasley Simpson, p. 58

George Raymond Richard Martin photo
Yukteswar Giri photo
Vitruvius photo
R. A. Salvatore photo
Swami Vivekananda photo
Revilo P. Oliver photo
Rousas John Rushdoony photo

“The University of Timbuktu never existed. The only thing that existed in Timbuktu was a small mud hut.”

Rousas John Rushdoony (1916–2001) American theologian

Writings, The Institutes of Biblical Law (1973)

Herbert Hoover photo
James Joyce photo
Katherine Paterson photo
Donald Barthelme photo
Stephen Crane photo
Morrissey photo

“[Pelsaert laments] “the utter subjection and poverty of the common people-poverty so great and miserable that the life of the people can be depicted or accurately described only as the home of stark want and the dwelling place of bitter woe.” He continues: “There are three classes of people who are indeed nominally free, but whose status differs very little from voluntary slavery-workmen, peons or servants and shopkeepers. For the workmen there are two scourges, the first of which is low wages. Goldsmiths, painters (of cloth or chintz), embroiderers, carpet makers, cotton or silk weavers, black-smiths, copper-smiths, tailors, masons, builders, stone-cutters, a hundred crafts in all-any of these working from morning to night can earn only 5 or 6 tackas (tankahs), that is 4 or 5 strivers in wages. The second (scourge) is (the oppression of) the Governor, the nobles, the Diwan, the Kotwal, the Bakshi, and other royal officers. If any of these wants a workman, the man is not asked if he is willing to come, but is seized in the house or in the street, well beaten if he should dare to raise any objection, and in the evening paid half his wages, or nothing at all. From these facts the nature of their food can be easily inferred… For their monotonous daily food they have nothing but a little khichri… in the day time, they munch a little parched pulse or other grain, which they say suffices for their lean stomachs… Their houses are built of mud with thatched roofs. Furniture there is little or none, except some earthenware pots to hold water and for cooking… Their bedclothes are scanty, merely a sheet or perhaps two… this is sufficient in the hot weather, but the bitter cold nights are miserable indeed, and they try to keep warm over little cowdung fires… the smoke from these fires all over the city is so great that the eyes run, and the throat seems to be choked.””

Francisco Pelsaert (1591–1630) Dutch merchant, commander of the ship Batavia

Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7
Jahangir’s India

Joanna Newsom photo
Jopie Huisman photo

“As far as transience is concerned... You see the whole story in those shoes, that's why I paint them so accurate. The physical attitude; crooked legs, a lump. Those shoes were talking to me, and then I thought: I can see that you were so and so big, but did you also had a wife? Children? What were you doing? And what really mattered to me is my own place between them. Between those stories, that mystery. That pitch-black background [in Jopie's paintings, till c.1979-80] - I had found it. A cry for attention. Those pants, that shirt, that background, that was: here I am. But then it become mannerism. So I carried on realistically but avoiding the black background at all costs. It is as Rutger Kopland says: Whoever found it did not look well. Now I want to paint people like this, like they are made of colored mud. Color spiritualizes.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Wat de vergankelijkheid betreft.. .Je ziet het hele verhaal in die schoenen, daarom schilder ik ze zo scherp. De lichamelijke houding; kromme poten, een knobbel. Die schoenen praatten tegen me, en dan dacht ik: ik kan zien dat je zo en zo groot was, maar had je ook een vrouw? Kinderen? Wat deed je? En waar het me in wezen dan om ging is mijn plekkie daartussen. Tussen die verhalen, dat mysterie. Die pikzwarte achtergrond [in zijn schilderijen, tot c. 1979-80]; ik had het gevonden. Een schreeuw om aandacht. Die broek, dat hemd, die achtergrond, dat was: hier ben ik. Maar dan word je een maniërist. Dus ik ben realistisch doorgegaan, maar koste wat het kost die zwarte achtergrond vermijdend. Het is zoals nl:Rutger Kopland zegt: Wie het gevonden heeft, heeft niet goed gezocht. Nu wil ik de mensen zo schilderen, als zijn ze van gekleurde modder. De kleur die vergeestelijkt.
Mens & Gevoelens: Jopie Huisman', 1993

Jack Vance photo

“Your thoughts move with the deft precision of worm-tracks in the mud.”

Source: The Languages of Pao (1958), Chapter 14 (p. 149)

Alfred Denning, Baron Denning photo

“In June 1970, a big earth-moving machine got stuck in the mud. It sank so far as to be out of sight. It cost much money to get it out. Who is to pay the cost?”

Alfred Denning, Baron Denning (1899–1999) British judge

British Crane Hire Corporation Ltd v. Ipswich Plant Hire Ltd [1970] 1 All ER 1059.
Judgments

Sri Aurobindo photo
Glen Cook photo
Muhammad photo
Ben Stein photo
José Ortega Y Gasset photo
Margaret Atwood photo
Charles Dudley Warner photo

“Mud-pies gratify one of our first and best instincts. So long as we are dirty, we are pure.”

Charles Dudley Warner (1829–1900) American writer

Preliminary.
My Summer in a Garden (1870)

T.S. Eliot photo
Luther Burbank photo
Swami Vivekananda photo

“If all India stands up and takes all the mud that is at the bottom of the Indian Ocean and throws it up against the Western countries, it will not be doing an infinitesimal part of that which you are doing to us.”

Swami Vivekananda (1863–1902) Indian Hindu monk and phylosopher

Hindus and Christians http://www.ramakrishnavivekananda.info/vivekananda/volume_8/notes_of_class_talks_and_lectures/hindus_and_christians.htm (Detroit, February 21, 1894) Quoted from Goel, S. R. (1996). History of Hindu-Christian encounters, AD 304 to 1996. Ch. 13

Sri Aurobindo photo

“I find it difficult to take these psycho-analysts at all seriously when they try to scrutinise spiritual experience by the flicker of their torch-lights,'yet perhaps one ought to, for half-knowledge is a powerful thing and can be a great obstacle to the coming in front of the true Truth. This new psychology looks to me very much like children learning some summary and not very adequate alphabet, exulting in putting their a-b-c-d of the subconscient and the mysterious underground super-ego together and imagining that their first book of obscure beginnings (c-a-t cat, t-r-e-e tree) is the very heart of the real knowledge. They look from down up and explain the higher lights by the lower obscurities; but the foundation of these things is above and not below, upari budhna esam [Rig-Veda, 1.24.7]. The superconscient, not the subconscient, is the true foundation of things. The significance of the lotus is not to be found by analysing the secrets of the mud from which it grows here; its secret is to be found in the heavenly archetype of the lotus that blooms for ever in the Light above. The self-chosen field of these psychologists is besides poor, dark and limited; you must know the whole before you can know the part and the highest before you can truly understand the lowest. That is the promise of the greater psychology awaiting its hour before which these poor gropings will disappear and come to nothing…. Wanton waste, careless spoiling of physical things in an incredibly short time, loose disorder, misuse of service and materials due either to vital grasping or to tamasic inertia are baneful to prosperity and tend to drive away or discourage the Wealth-Power. These things have long been rampant in the society and, if that continues, an increase in our means might well mean a proportionate increase in the wastage and disorder and neutralise the material advantage. This must be remedied if there is to be any sound progress…. Asceticism for its own sake is not the ideal of this yoga, but self-control in the vital and right order in the material are a very important part of it… and even an ascetic discipline is better for our purpose than a loose absence of true control. Mastery of the material does not mean having plenty and profusely throwing it out or spoiling it as fast as it comes or faster. Mastery implies in it the right and careful utilisation of things and also a self-control in their use…. There is a consciousness in [things], a life which is not the life and consciousness of man and animal which we know, but still secret and real. That is why we must have a respect for physical things and use them rightly, not misuse and waste, ill-treat or handle with a careless roughness. This feeling of all being consciousness or alive comes when our own physical consciousness'and not the mind only'awakes out of its obscurity and becomes aware of the One in all things, the Divine everywhere.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

Undated
India's Rebirth

P.G. Wodehouse photo

“He vanished abruptly, like an eel going into mud.”

Joy in the Morning (1947)

James Burke (science historian) photo

“Small wonder that centuries afterwards the Greeks and Romans came here and gawked like peasants at a civilisation that made their efforts look like well-dressed mud huts. It still has that effect today. You come here from the great modern cities, full of the immense power of modern technology at your finger tips, press a button, turn a switch. And this place… stops you dead.”

James Burke (science historian) (1936) British broadcaster, science historian, author, and television producer

Connections (1979), 1 - The Trigger Effect
Context: These are the great ancient temples of Karnak, on the edge of the Nile about 450 miles south of Cairo. They were the center of Egyptian religion, built in the imperial city of Thebes, when the Egyptian empire was at its height, the greatest power in the world. This was the New York of its time. The temples were built over a period of 2,000 years, each pharaoh adding his bit, leaving his name in stone, to last forever. Inside the temple domain, there were 65 towns, 433 gardens & orchards, 400,000 animals, and it took 80,000 people just to run the place. Small wonder that centuries afterwards the Greeks and Romans came here and gawked like peasants at a civilisation that made their efforts look like well-dressed mud huts. It still has that effect today. You come here from the great modern cities, full of the immense power of modern technology at your finger tips, press a button, turn a switch. And this place... stops you dead.

Alfred, Lord Tennyson photo

“Evolution ever climbing after some ideal good
And Reversion ever dragging Evolution in the mud.”

Alfred, Lord Tennyson (1809–1892) British poet laureate

Source: Locksley Hall Sixty Years After (1886), Line 200

Samuel Butler photo

“As a general rule philosophy is like stirring mud or not letting a sleeping dog lie.”

Samuel Butler (1835–1902) novelist

Philosophy
The Note-Books of Samuel Butler (1912), Part XX - First Principles
Context: As a general rule philosophy is like stirring mud or not letting a sleeping dog lie. It is an attempt to deny, circumvent or otherwise escape from the consequences of the interlacing of the roots of things with one another.

Sergei Lukyanenko photo

“The soldier will fight in mud and hail, snow and ice, drought and flood. It is rare that a warrior gets to fight in comfort”

Source: Drenai series, Quest for Lost Heroes, Ch. 1
Context: Gentlemen, you are in sorry condition. But war will render you yet more sorry. The soldier will fight in mud and hail, snow and ice, drought and flood. It is rare that a warrior gets to fight in comfort.

Mark W. Clark photo
Robert Graves photo

“Down on his knees he sinks, the stiff-necked King,
Stoops and kneels and grovels, chin to the mud.”

Robert Graves (1895–1985) English poet and novelist

"Nebuchadnezzar's Fall"
Country Sentiment (1920)
Context: Down on his knees he sinks, the stiff-necked King,
Stoops and kneels and grovels, chin to the mud.
Out from his changed heart flutter on startled wing
The fancy birds of his Pride, Honour, Kinglihood.
He crawls, he grunts, he is beast-like, frogs and snails
His diet, and grass, and water with hand for cup.
He herds with brutes that have hooves and horns and tails,
He roars in his anger, he scratches, he looks not up.

Robert Graves photo

“Violent disorders call for violent remedies.
Yet I am, I must remember, Old King Log.
I shall float inertly in the stagnant pool.
Let all the poisons that lurk in the mud hatch out.”

Robert Graves (1895–1985) English poet and novelist

Source: Claudius the God (1935), Ch. 30.
Context: The frog-pool wanted a king.
Jove sent them Old King Log.
I have been as deaf and blind and wooden as a log.
The frog-pool wanted a king.
Let Jove now send them Young King Stork.
Caligula's chief fault: his stork-reign was too brief.
My chief fault: I have been far too benevolent.
I repaired the ruin my predecessors spread.
I reconciled Rome and the world to monarchy again.
Rome is fated to bow to another Caesar.
Let him be mad, bloody, capricious, wasteful, lustful.
King Stork shall prove again the nature of kings.
By dulling the blade of tyranny I fell into great error.
By whetting the same blade I might redeem that error.
Violent disorders call for violent remedies.
Yet I am, I must remember, Old King Log.
I shall float inertly in the stagnant pool.
Let all the poisons that lurk in the mud hatch out.

Maxfield Parrish photo

“Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing.”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Clive Staples Lewis photo

“We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The Weight of Glory (1949)
Context: Indeed, if we consider the unblushing promises of reward and the staggering nature of the rewards promised in the Gospels, it would seem that Our Lord finds our desires, not too strong, but too weak. We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.

Koenraad Elst photo
Hariprasad Chaurasia photo

“In my past there is Krishna. In my dreams I dream of recreating a huge college of flutists, a veritable Vrindaban in which students will arrive to learn and study with satchels full of flutes, live in mud huts, eat at a common langar.”

Hariprasad Chaurasia (1938) Indian bansuri player

A modern Vrindaban from which a thousand flutes will ring out each day. For what else is there? When my breath is gone and I can not play anymore what do I leave behind? Some dedicated students! When you leave nothing behind, you cry at the point of death, but I still dream, I dare to dream that through my students my flute will be left behind as the memory of Krishna.
In "Discography".

Don DeLillo photo