Quotes about plaster

A collection of quotes on the topic of plaster, likeness, time, timing.

Quotes about plaster

“You're going to tell me that poverty's nothing to be ashamed of. It's not true, though. If you can't hide it, then it is something to be ashamed of. There's nothing you can do, you're ashamed just the same, the way you're ashamed when you leave a spot on somebody's table. No matter if it's deserved or not, honorable or not, poverty stinks. Yes, stinks, stinks like a ground-floor room off an airshaft, or clothes that need changing. You smell it yourself, as though you were made of sewage. It can't be wiped away. It doesn't help to put on a new hat, any more than rinsing your mouth helps when you're belching your guts out. It's around you and on you and everyone who brushes up against you or looks at you knows it. I know the way women look down on you when you're down at heels. I know it's embarrassing for other people, but the hell with that, it's a lot more embarrassing when it's you. You can't get out of it, you can't get past it, the best thing to do is get plastered, and here" (he reached for his glass and drained it in a deliberately uncouth gulp) "here's the great social problem, here's why the 'lower classes' indulge in alcohol so much more - that problem that countesses and matrons in women's groups rack their brains over at tea. For those few minutes, those few hours, you forget you're an affront to other and to yourself. It's no great distinction to be seen in the company of someone dressed lie this, I know, but it's no fun for me either.”

Stefan Zweig book The Post Office Girl

The Post Office Girl (published posthumously in 1982)

Women, People, Alcohol, Lie

“In any foreseeable future there are going to be thousands and thousands of people who detest and abominate Negroes, communists, Russians, Chinese, Jews, Catholics, beatniks, homosexuals, and "dope-fiends." These hatreds are not going to be healed, but only inflamed, by insulting those who feel them, and the abusive labels with which we plaster them—squares, fascists, rightists, know-nothings—may well become the proud badges and symbols around which they will rally and consolidate themselves. Nor will it do to confront the opposition in public with polite and nonviolent sit-ins and demonstrations, while boosting our collective ego by insulting them in private. If we want justice for minorities and cooled wars with our natural enemies, whether human or non-human, we must first come to terms with the minority and the enemy in ourselves and in our own hearts, for the rascal is there as much as anywhere in the "external" world—-especially when you realize that the world outside your skin is as much yourself as the world inside. For want of this awareness, no one can be more belligerent than a pacifist on the rampage, or more militantly nationalistic than an anti-imperialist.”

Alan Watts (1915–1973) British philosopher, writer and speaker

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 98

War, People, World, Justice

“Words can bruise and break hearts, and minds as well. There are no black and blue marks, no broken bones to put in plaster casts, and therefore no prison bars for the offender.”

Marlene Dietrich (1901–1992) German-American actress and singer

Heart

“Memory is like plaster: peel it back and you just might find a completely different picture.”

Jodi Picoult book Handle With Care

Source: Handle with Care

Memory

“Intoxicated? The word did not express it by a mile. He was oiled, boiled, fried, plastered, whiffled, sozzled, and blotto.”

P.G. Wodehouse (1881–1975) English author

Source: Meet Mr. Mulliner

“Oh, no, a leopard blew up and plastered itself all over everything, but hey, animal print was in this year.”

Laurell K. Hamilton book Incubus Dreams

Source: Incubus Dreams

Animals

“He'd felt like a jack-o-lantern for the past few days, as if his guts had been yanked out with a fork and dumped in a heap while a grinning smile stayed plastered on his face.”

Cassandra Clare book City of Ashes

Source: City of Ashes

Smile, Past

“Partition is after all only an old fortress of crumbled masonry — held together with the plaster of fiction.”

Éamon de Valera (1882–1975) 3rd President of Ireland

(January 1918).
I'm Glad You Asked Me That (2007)

“We lived in a large wooden house, with one room succeeding another [Zadkine, recalling in this quote his childhood's days in Smolensk, Russia]. The house was at the end of a blind alley. On one side were a beautiful garden and an orchard. In the summer there was an atmosphere of fragrance and peace. A large room with three windows looked out into the courtyard. Bookshelves along the walls with books and more books; a black table and six ugly Viennese chairs, also black, and in the center of the bare, inhospitable table, a sort of vase in coloured plaster representing a hand holding a goblet. It was the only piece of sculpture in the house!”

Ossip Zadkine (1890–1967) French sculptor

As quoted in: 'The artist, his life and his epoch' (excerpt), Ionel Jianou, 1964; for the Zadkine Research Center https://www.zadkine.com/writing 1960 - 1968

Books, Peace, Beauty, Quotes

“In particular, this question, to the sculptor:
If a drawing is traced, even with the greatest precision, from another drawing, you will perceive that the one is a copy. Although the differences may deviate less than half a hair, recognizable only by perceptual sensitivity, unanimously we rule the work of the intruder's hand as non-art.
But where is the line of true art—when the sculptor's process often introduces the hands of a plaster caster, the mold maker, the grinder and the polisher, and the patina applier, all these processes and foreign hands intruding deviations upon what was once the original work?”

David Smith (1906–1965) American visual artist (1906-1965)

1950s Source: 'Questions to Students', one from a long list of questions, in an undated typescript among the David Smith Papers; probably written c. 1953-54; as quoted at website David Smith State http://www.davidsmithestate.org/statements.html

Art, Question, Drawing

“I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.... wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art.”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 47 : in a letter to Käthe Steinitz (24 June 1945)

Life, People, Art, Waiting

“You put your bombers in, you put your conscience out,
You take the human being and you twist it all about
So scrub my skin with women
Chain my tongue with whisky
Stuff my nose with garlic
Coat my eyes with butter
Fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.”

Adrian Mitchell (1932–2008) British writer

"To Whom It May Concern", from Adrian Mitchell's Greatest Hits (1991).

Women

“At daybreak I found on my sculptor's turntable a little mischievous form [a small plaster form of Impish Form, Arp made in 1949], alert and somewhat obese, with a stomach like a lute. It seemed to me like an imp. I called it that. And all of a sudden one day this little character, this imp, through a Venezuelan medium, found itself to be the father of a giant [Arp enlarged it]. This giant son resembles its father like an egg resembles another egg, a fig another fig, a bell another bell.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 431

“There is no necessary connection between the important events of a life and the records of it that have been preserved in memory, in documents, in memorials, or in living testimony. The biographer must compose his life of what he has, just as the archeologist must restore his temple or his statue with such fragments as thieving time and careless men have left him; but fate often ironically leaves him a well-preserved leg and a dismembered torso, while the head, which would supply the main clue to the body, is missing. Hence, in addition to the purposive selection exercised by the subject himself and by the biographer in making use of such materials as are left, there exists a purely external selection dominated by chance, which cuts across the evidence in an arbitrary fashion. To correct for such distortions the biographer must be an anatomist of character: he must be able to restore the missing nose in plaster, even if he does not find the original marble.”

Lewis Mumford (1895–1990) American historian, sociologist, philosopher of technology, and literary critic

Source: My Works and Days (1979), Ch. 14

Life, Men, Fate, Exercises

“A builder. A rough and ready plasterer. A colour grinder. He Courbet is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!... His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish... His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 198 in: 'What he told me – II. The Louvre'

Nature, Tree, Painting, Sea

“The building itself is hostile: cracked plaster, broken windows, splintered doors and carved up desks, gloomy corridors and metal stairways, dingy cafeteria (they can eat sitting down only in 20 minute shifts) and an auditorium which has no windows. It does have murals, however, depicting mute, muscular harvesters, faded and immobile under a mustard sun.”

Bel Kaufmanová book Up the Down Staircase

Part I, ch. 5 (Sylvia Barrett)
Up the Down Staircase (1965)

Hostility, Sun

“These men traveling down to the City in the morning, reading their newspapers or staring at advertisements above the opposite seats, they have no doubt of who they are. Inscribe on the placard in place of the advertisement for corn-plasters, Elliot's lines: We are the hollow men”

Colin Wilson book The Outsider

The Outsider (1956)

Men, Travel, Reading

“A clear thought, a pure affection, a resolute act of a virtuous will, have a dignity of quite another kind, and far higher than accumulations of brick and granite and plaster and stucco, however cunningly put together.”

William Ellery Channing (1780–1842) United States Unitarian clergyman

Self-Culture (1838)

“What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat ik mij voorstel met de nieuwe cursus te doen is: 's morgens grootpleister en 's middags schilderen of naar de natuur teekenen. waarmede ik reeds eenige tijd bezig ben. en paarden in de Stadsrijschool. De Dir. daarvan is den Heer Krüger een alleraardigste duitscher, die nat. veel paarden gezien heeft en me dus de fouten weet te zeggen, die ik maak en die niet weinige zijn. early quote of Breitner in his letter to his Maecenas A.P. van Stolk, 11 April 1878; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/585 before 1890

School, Art, Nature, Time

“January, 14th, 1835: We came to anchor in the spacious bay of Santa Barbara. There was only one vessel in the port. Beside the vessel, there was no object to break the surface of the bay… directly opposite the anchoring ground, lie the mission and town of Santa Barbara, on a low plain, but little above the level of the sea, covered with grass, though entirely without trees, and surrounded on three sides by an amphitheater of mountains, which slant off to the distance of fifteen or twenty miles. The mission stands a little back of the town, and is a large building, or rather a collection of buildings, in the center of which is a high tower, with a belfry of five bells. The whole, being plastered, makes quite a show at a distance, and is the mark by which vessels come to anchor. The town lies a little nearer to the beach — about half a mile from it — and is composed of one-story houses built of sun-baked clay, or adobe, some of them whitewashed, with red tiles on the roof. I should judge that there was about a hundred of them… The town is finely situated, with a bay in front, and an amphitheater of hills behind.”

Richard Henry Dana Jr. book Two Years Before the Mast

Two Years Before the Mast (1840)

Lie, Mountain, Tree, Grass

“And I go down the stairs again
with the screeching of my worn out
soul

P. G. tunes instruments
for his golden arm
alchemy in a metropolitan shell

The squeak of time was
thrown back into the cracks
where the plaster has the form of a twisting branch

and my veins are sturdy trunks,
scaly, for drops of green sap
nourishment rising
from the bowels of the earth,
…”

Caterina Davinio (1957) Italian writer

The Book of Opium (1975 - 1990), (Heroin) P. G.'s Basement
Source: Caterina Davinio, Il libro dell'oppio 1975 – 1990 (The Book of Opium 1975 – 1990), Puntoacapo Editrice, Novi Ligure 2012. English translation by Caterina Davinio and David W. Seaman.

Soul, Time

“We aren't no thin red 'eroes, nor we aren't no blackguards too,
But single men in barricks, most remarkable like you;
An' if sometimes our conduck isn't all your fancy paints,
Why, single men in barricks don't grow into plaster saints.”

Rudyard Kipling book Barrack-Room Ballads

Tommy, Stanza 4.
Barrack-Room Ballads (1892, 1896)

Men, Painting

“It is a better and a wiser thing to be a starved apothecary than a starved poet; so back to the shop Mr. John, back to "plasters, pills, and ointment boxes," &c. But, for Heaven's sake, young Sangrado, be a little more sparing of extenuatives and soporifics in your practice than you have been in your poetry.”

John Gibson Lockhart (1794–1854) Scottish writer and editor

Blackwood's Edinburgh Magazine, August 1818, p. 524.
Reviewing Endymion.

Box

“The foundation of our religion is very strong. The material is strong as well, but the building itself was neglected for hundreds of years. As the plaster dropped down, none thought to replace it and none felt the need to reinforce the building. Quite the contrary: many foreign elements and interpretations, as well as empty beliefs, came along and damaged it still more.”

Mustafa Kemal Atatürk (1881–1938) Turkish army officer, revolutionary, and the first President of Turkey

As quoted in Kemalizm, Laiklik ve Demokrasi [Kemalism, Laicism and Democracy] (1994) by Ahmet Taner Kışlalı

Religion, Strong

“He was never in one spot for more than half a second, all my punches were aimed and timed properly but they always wound up hitting empty air. He'd jump in and out, slamming me with a left and whirling me around with his right or the other way around. My arms were plastered with leather and although I jabbed, hooked and crossed, it was like fighting an octopus.”

Gene Tunney (1897–1978) American boxer

On Harry Greb, as quoted in "Harry Greb, The Human Windmill...“A Perpetual Motion Machine.”" by Monte D. Cox http://coxscorner.tripod.com/greb.html

Way, Time, Fight

“What is going on here is a deliberate revision by Current not only of Lincoln but of himself in order to serve the saint in the 1980s as opposed to the saint at earlier times when black were still colored, having only just stopped being Negroes. In colored and Negro days the saint might have wanted them out of the country, as he did. But in the age of Martin Luther King even the most covertly racist of school boards must agree that a saint like Abraham Lincoln could never have wanted a single black person to leave freedom’s land much less bravery’s home. So all the hagiographers are redoing their plaster images and anyone who draws attention to the discrepancy between their own past crudities and their current falsities is a very bad person indeed, and not a scholar, and probably a communist as well.”

Gore Vidal (1925–2012) American writer

"Lincoln and the Priests of Academe"
1990s, United States - Essays 1952-1992 (1992)

Age, School, Color, Home

“It is all a matter of comparing one’s own life with something worse and consoling oneself with the relativity of human fortunes. When I was eight or nine I had an experience which came clearly to mind when I read your advice. I used to know a family in a little village near mine: father, mother and sons: they were small landowners and had an inn. Very energetic people, especially the woman. I knew (I had heard) that besides the sons we knew, this woman had another son nobody had seen, who was spoken of in whispers, as if he were a great disgrace for the mother, an idiot, a monster or worse. I remember that my mother referred to this woman often as a martyr, who made great sacrifices for this son, and put up with great sorrows. One Sunday morning about ten, I was sent to this woman’s: I had to deliver some crocheting and get the money. I found her shutting the door, dressed up to go out to mass, she had a hamper under her arm. On seeing me she hesitated then decided. She told me to accompany her to a certain place, and that she would take delivery and give me the money on our return. She took me out of the village, into an orchard filled with rubbish and plaster; in one corner there was a sort of pig sty, about four feet high, and windowless, with only a strong door. She opened the door and I could hear an animal-like howling. Inside was her son, a robust boy of 18, who couldn’t stand up and hence scraped along on his seat to the door, as far as he was permitted to move by a chain linked to his waist and attached to the ring in the wall. He was covered with filth, and his eyes shone red, like those of a nocturnal animal. His mother dumped the contents of her basket – a mixed mess of household leftovers – into a stone trough. She filled another trough with water, and we left. I said nothing to my mother about what I had seen, so great an impression it had made on me, and so convinced was I that nobody would believe me. Nor when I later heard of the misery which had befallen that poor mother, did I interrupt to talk of the misery of the poor human wreck who had such a mother.”

Antonio Gramsci (1891–1937) Italian writer, politician, theorist, sociologist and linguist

Gramsci, 1965, p. 737 cited in Davidson, 1977, p. 35.

Life, Money, People, Family

“Now listen, you queer, stop calling me a crypto-Nazi, or I'll nail you in the goddamn face and you'll stay plastered.”

William F. Buckley Jr. (1925–2008) American conservative author and commentator

Responding to Gore Vidal's baiting language during debate over the 1968 Democratic National Committee riots on ABC News - YouTube video http://www.youtube.com/watch?v=nYymnxoQnf8&t=50s

“Outside it had begun to rain, a fine mist of a rain: fall leaves were plastered to the walkway, and puddles filled with bits of hay and coal lay in the street. A nice bit to remember for the writing. Water Street! He loved to look at it.”

Patricia Reilly Giff (1935) American children's writer

Source: Water Street (2006), Chapters 11-20, p. 72

Love, Water

“Joined together with bones and sinews, having a plastering of skin and flesh, covered with hide, the body is not seen as it really is—full of intestines, full of stomach, of the lump of the liver, of bladder, of heart, of lungs, of kidneys and of spleen, of mucus, of saliva, and of sweat, and of lymph, of blood, of synovial fluid, of bile, and of fat, … and its hollow head is filled with brain. A fool, overwhelmed by ignorance, thinks of it as beautiful, but when it lies dead, swollen up and discoloured, cast away in a cemetery, relatives have no regard for it. Dogs devour it, and jackals, and wolves and worms. Crows and vultures devour it, and whatever other living creatures there are. The bhikkhu possessing knowledge here, having heard the Buddha's word, indeed understands it, for he sees the body as it really is.”

Gautama Buddha (-563–-483 BC) philosopher, reformer and the founder of Buddhism

§ 194-202
Pali Canon, Sutta Pitaka, Khuddaka Nikaya (Minor Collection), Sutta Nipata (Suttas falling down)

Beauty, Dogs, Fools, Understanding

“I am a Black revolutionary woman, and because of this i have been charged with and accused of every alleged crime in which a woman was believed to have participated. The alleged crimes in which only men were supposedly involved, i have been accused of planning. They have plastered pictures alleged to be me in post offices, airports, hotels, police cars, subways, banks, television, and newspapers. They have offered over fifty thousand dollars in rewards for my capture and they have issued orders to shoot on sight and shoot to kill.”

Assata Shakur (1947) American activist who was a member of the Black Panther Party and Black Liberation Army

To My People (July 4, 1973)

Men, Cars

“It really upsets me and I'm basically upset at myself for being so naive and gullible as I have been in the past as far as being intimidated by the stylists with the wardrobe and the hair-do's and the poses and the this and that and all that stuff that isn't me. What it does is it makes you an image, and they plaster you on all these magazines and sensationalize and they're all very nice and sweet and goody-goody but still, it's just false as far as, you know, the image that's portrayed; it's not me.”

River Phoenix (1970–1993) American actor, musician, and activist

E! Television (1988)

Past, Falseness

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Life, Truth, Way, Idea

Harry Greb (1894–1926) American boxer

Former boxing great Gene Tunneyhttp://coxscorner.tripod.com/greb.html

Way, Time, Fight

“Let me put it another way. Most people are what they sense and if all you see day after day is a mat on a floor that belongs to the rats and four walls with tiny piles of plaster at the bottom, and all you eat is starch, and all you hear is continuous music, you smell garbage and piss which drips through the walls continually, and all the people you know live like you, it's not horrible, it's just… Who they are.”

Kathy Acker book Blood and Guts in High School

Blood and Guts in High School (1978)

People, Music, Way, Sense

“The big fish tubs are completely lined
with layers of beautiful herring scales
and the wheelbarrows are similarly plastered
with creamy iridescent coats of mail,
with small iridescent flies crawling on them.”

Elizabeth Bishop (1911–1979) American poet

Poem: At the Fishhouses

Beauty, Fish

“I was with this guy who was a plasterer, and at lunchtime he was eating a stuffed heart… I was thinking, "I'm not like these guys. I'm an artist." And I saw a bee come over to some flowers and get all the pollen out. I was looking and thinking, "How does it do that?" And then the guy who was eating the stuffed heart said, "How does that bee do that?"”

Damien Hirst (1965) artist

Beckett, Andy. "Arts: A Strange Case" http://findarticles.com/p/articles/mi_qn4158/is_19951112/ai_n14017521/pg_5?tag=artBody;col1, The Independent, 12 November 1995 Talking about when he worked as a builder after college

Guy, Flowers, Thinking, Bee

“I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint, able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest.”

Berenice Abbott (1898–1991) American photographer

New Guide to Better Photography, 1953.

Business, Sense, Chance, Time

“It is my strict charge that after my decease no plaster cast, model, or likeness whatever be permitted to be taken.”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

'Tho. Gainsborough'. In a note of 15 June, 1788; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 305 1770 - 1788

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume II (1993)

Cars, Reading, Parting

“And the plaster dented from your fist
in the hall where you had your first kiss
reminds you that the memories will fade.”

Chris Carrabba (1975) American musician

The Brilliant Dance

Kiss, Memory

“At least I don't plaster on the makeup like a trollop, you cunt.”

John McCain (1936–2018) politician from the United States

Taken from The Real McCain by Cliff Schecter, referring to his wife, Cindy McCain. Overheard by three anonymous reporters during his 1992 senate bid. http://rawstory.com/news/2008/McCain_temper_boiled_over_in_92_0407.html Disputed

“. My materials often dictate my change of aims, and I choose to work in a different material much as a man may suddenly feel an appetite for a change of diet. After a steady diet of moulding plaster models for bronzes, I enjoy returning to a discipline of carving stone or wood, and the wood or the stone Inevitably suggests to me a shift of principles or of aims.”

Ossip Zadkine (1890–1967) French sculptor

As quoted in: 'The Work of Zadkine' (excerpt), Ionel Jianou, 1964; for the Zadkine Research Center https://www.zadkine.com/writing 1960 - 1968

Feeling, Change

“When the sun shouts and people abound
One thinks there were the ages of stone and the age of bronze
And the iron age; iron the unstable metal;
Steel made of iron, unstable as his mother; the towered-up cities
Will be stains of rust on mounds of plaster.
Roots will not pierce the heaps for a time, kind rains will cure them,
Then nothing will remain of the iron age
And all these people but a thigh-bone or so, a poem
Stuck in the world's thought, splinters of glass
In the rubbish dumps, a concrete dam far off in the mountain…”

Robinson Jeffers (1887–1962) American poet

"Summer Holiday"

People, Age, World, Mountain

“Even the discord of war is a detail on which the Abbey refuses to insist. Not till two centuries afterwards did the Mount take on the modern expression of war as a discord in God's providence. Then, in the early years of the fifteenth century, Abbot Pierre le Roy plastered the gate of the Châtelet as you now see it, over the sunny thirteenth-century entrance called Belle Chaise which had treated mere military construction with a sort of quiet contempt. You will know what a Châtelet is when you meet another; it frowns in a spirit quite alien to the twelfth century; it jars on the religion of the place; it forebodes wars of religion; dissolution of society; loss of unity; the end of a world. Nothing is sadder than the catastrophe of gothic art, religion and hope.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

God, War, World, Religion

“We have a patient. We put him in a plaster cast.”

Georgios Papadopoulos

Papadopoulos (1968:171), cited in: Emmi Mikedakis " Manipulating Language- Metaphors in the Political Discourse of Georgios Papadopoulos (1967-1973) http://dspace.flinders.edu.au/jspui/bitstream/2328/25577/1/Emmi%20Mikedakis%20.pdf]." In: E. Close, M. Tsianikas and G. Frazis (Eds.) Greek Research in Australia- Proceedings of the [3rd] Annual Conference of Greek Studies, Flinders University, 23-24 June 2000. Flinders University Department of Languages – Modern Greek- Adelaide, p. 76-86 With the patient Papadopoulos was referring to Greece Context: We have a patient. We put him in a plaster cast. We try to see whether he could walk without the cast. We break open the first cast, and we eventually put the new one on, where it is needed. […] Let us pray that he will not need a plaster cast again. If he needs it, then we shall put it on him. And the only thing that I can promise you, is to invite you also to see the leg without a plaster cast!

“My nighttime attitude is, anyone can run you down and get away with it. Why give some drunk the chance to plaster me against a car? That's why I don't even own a bike light, or one of those godawful reflective suits. Because if you've put yourself in a position where someone has to see you in order for you to be safe — to see you, and to give a fuck — you've already blown it.”

Neal Stephenson book Zodiac

Source: Zodiac (1988), Chapter 5 (Taylor on riding a bike at night)

Light, Chance, Cars