Quotes about van
page 2

“We had no sooner taken our seats in the railway carriage and the train was beginning to move slowly out of the station when the guard came along the corridor and presented me with my viola! The porter had spotted it, reclining in its case all alone on the platform seat where Lillian and I had been busily engaged in conversation, run along the platform, and thrust it into the hands of the guard through the luggage van window as the train was moving off. Such was my absorption in Lillian that I could even forget the existence of my beloved and precious viola which had meant so much to me for so many years.”

Lionel Tertis (1876–1975) British musician

Lionel Tertis: "My Viola and I" http://www.erinartscentre.com/archive/galleries/tertis_gallery.html

Training, Forgetting

“Oh Baudelaire... He used to be enormously important to me. It's thanks to him that I was able to get through the war [in Paris, during 1940 – 1945 Van Velde had a long and painful break, with only a few paintings he finished]. A true loyal mind without hypocrisy. The most universal spirit. The greatest Frenchman. I have always been much less interested in painters”

Bram van Velde (1895–1981) Dutch painter

than Baudelaire - a great surprise to hear for Charles Juliet the interviewer
14 September 1967; p. 66
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Pain, War, Universe, Painting

“Well, I think it just goes back to the values that I grew up with in the punk rock world because it was this decentralised world, and so we just made our own way— like we'd be antigovernment or, you know— but we really didn't complain a lot; we were more action-oriented, like, people were publishing fanzines, we were setting up shows, we were getting in vans and touring around, and we were associating with other people, so…y'know, I just like that idea.”

Krist Novoselic (1965) Croatian-American rock musician

11:43–15:10, about the value of decentralisation "Nirvana's Krist Novoselic on Punk, Politics, & Why He Dumped the Dems" https://www.youtube.com/watch?v=k4TPRH2uK9w

People, World, Way, Idea

“I do not pretend to be a man who knows no fear, but when I heard about van Gogh's murder I can honestly say I felt anger, not fear. I defiantly proclaimed to the journalists that I would not allow anyone to intimidate me into silence. I was angry at the assassin and his accomplices, I was angry at Islam—this doctrine that has people murdered for their opinions—and I was angry at the naive politicians, journalists, and so-called intellectuals in the West who refuse to admit how dangerous Islam is and how fundamentally incompatible it is with our Western values and ideals.”

Geert Wilders (1963) Dutch politician

Source: 2010s, Marked for Death (2012), Ch. 2: "On Freedom", pp. 10–11

People, Fear, Silence, Anger

“That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!”

Joni Mitchell (1943) Canadian musician

You know? He painted it and that was it.
Miles of Aisles (1974)

Art, Joy, Painting, Night

“Vieta was the first algebraist after Ferrari to make any noteworthy advance in the solution of the biquadratic. He began with the type x^4 + 2gx^2 + bx = c, wrote it as x^4 + 2gx^2 = c - bx, added gx^2 + \frac{1}{4}y^2 + yx^2 + gy to both sides, and then made the right side a square after the manner of Ferrari. This method… requires the solution of a cubic resolvent.
Descartes (1637) next took up the question and succeeded in effecting a simple solution… a method considerably improved (1649) by his commentator Van Schooten. The method was brought to its final form by Simpson”

David Eugene Smith (1860–1944) American mathematician

1745
Source: History of Mathematics (1925) Vol.2, p.469

Question

“I really was keen on not doing his as a heinous arch-villain. But as person who was, at some state, a complex psychological being and a warrior on par with Van Helsing, and in fact a sort of brother in arms to Van Helsing. So one thing I attached myself to quite early was a kind of… because they come from the foothills of the Carpathians and nobody knows what the hell people looked like or spoke like back then, you know, 500 years ago. One thing that I kind of attached myself to was a sort of gypsy look. There's always been Romany going through that area. There's a look that's drawn from that history and apart from that, there are sound psychological reasons for why Dracula does the things that he does in this story, and I like that.”

Richard Roxburgh (1962) Australian actor

The Van Helsing Interviews: Richard Roxburgh http://www.horror.com/php/article-442-1.html (April 8, 2004)

People, History, Hell, Personality

“He was reminded of a Dutch book whose moral he often returned to: De Schoonheid van hoogspanningslijnen in het Hollandse landschap, written by a couple of academics in Rotterdam University, Anne Kieke Backer and Arij de Boode. The Beauty of Electricity Pylons in the Dutch Landscape was a defence of the contribution of transmission engineering to the visual appeal of Holland, referencing the often ignored grandeur of the towers on their march from power stations to cities. Its particular interest for Ian, however, lay in its thesis about the history of the Dutch relationship to windmills, for it emphasised that these early industrial objects had originally been felt to have all the pylons’ threateningly alien qualities, rather than the air of enchantment and playfulness now routinely associated with them. They had been denounced from pulpits and occasionally burnt to the ground by suspicious villagers. The re-evaluation of the windmills had in large part been the work of the great painters of the Dutch Golden Age, who, moved by their country’s dependence on the rotating utilitarian objects, gave them pride of place in their canvases, taking care to throw their finest aspect into relief, like their resilience during storms and the glint of their sails in the late afternoon sun. … It would perhaps be left to artists of our own day to teach us to discern the virtues of the furniture of contemporary technology.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), p. 212.

Books, Age, Beauty, History

“Truth of it is,’ said Commander Haydock, steering rather erratically round a one-way island and narrowly missing collision with a large van, ‘when the beggars are right, one remembers it, and when they’re wrong you forget it.”

Agatha Christie book N or M?

N or M? (1941)

Truth, Way, Forgetting

“The potato seems like a Romantic (organic) object.... you can watch it growing if you don’t eat it. It is going to change – grow, rot, disappear. A pebble is like a Classical thing – it changes little if any... If it was big you could keep the dead down with it.... The Classical idea is not around much anymore. [Der Koning is comparing the Potatoes of Vincent Van Gogh to the Pebbles of Jean Arp.”

Willem de Kooning (1904–1997) Dutch painter

Artist Club, 22 February 1952, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 102
1950's

Idea, Change, Dead

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women, Men, People, Books

“[Severini characterized his approach to the importance of Divisionism for Futurism as].. a consequence of Neo-Impressionism (Seurat, Signac) and Van Gogh, Toulouse Lautrec, Degas.. [compared to that of his Milanese colleagues who works were] influenced by Jugendstil [and] a continuation of the Lombardian tradition of Segantini, Previati..”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 37; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 31

Future

“When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had been given our mailing list. At the same time I learned of Van Doesburg's death in Davos. The first issue of 'Abstraction-Création' came off the press just a year later, printed in the same dusty small shop that had brought out 'Cercle et Carré' and where I had earned a meagre living as a non-union proof-reader and make-up man. 'Abstraction-Création' had a much wider influence than its predecessor. From 1932 to 1936 an annual cahier presented reproductions and statements by painters.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 100-101

Death, Learning, Time

“Van and Schenck put their songs over so skillfully that it isn’t until their act is all done that you realize what extremely indifferent songs they are. Now, when John Steel is singing, on the other hand, you are never fooled for a moment. p.153”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

Dorothy Parker: Complete Broadway, 1918–1923 (2014) https://openlibrary.org/books/OL25758762M/Dorothy_Parker_Complete_Broadway_1918-1923, Chapter 3: 1920

Fools, Singing, Indifference

“After his final fight: "I felt like I was 120 years old. I feel like Rip Van Winkle right now."”

Mike Tyson (1966) American boxer

http://www.abc.net.au/news/stories/2005/06/12/1390287.htm
On boxing

Feeling, Fight

“My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art, Time

“His [ Vincent van Gogh's] line is new and yet very old, and happily not a purely European affair. It is more a question of reform than of revolution.”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 899; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html speaking in positive terms of Van Gogh and his way of using the line in painting 1911 - 1914

Question

“I venerate van Gogh. He was a remarkable human being, a man who knew about love. His work reflects a spirit filled with light, even though his life was a tragedy in many ways.”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love, Life, Way, Light

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World, Art, Reality, Painting

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

Effort, Science, Future

“We don't allow any prick teasing bimbos on our program. If they don't put out they're thrown out of the van at sixty miles an hour. And they can turn some tricks at the truck stop. That's the best place to find wimmen and that's the best place to leave wimmen.”

Steve Broy (1958) American musician

El Duce, The Man, The Myth, The Video (1993) by Reverend Cuntbag

““The Outsider wants to cease to be an Outsider. He wants to be ‘balanced'. He would like to achieve a vividness of sense-perception (Lawrence, Van Gogh, Hemingway) He would also like to understand the human soul and its working and, be ‘possessed’ by a Will topower, to more life. (Barbusse and Mitya Karamazov) He would like to escape triviality forever. Above all, he would like to know how to express himself because that is the means by which he can get to know himself and hi unknown possibilities.””

Colin Wilson book The Outsider

Source: The Outsider (1956), Chapter Seven, The Great Synthesis...

Life, Soul, Understanding, Sense

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

Smile, History, Idea, Tree

“As a schoolboy drawing-lessons became my favorite, and that pleasure was not ignited a little when, by the time of my twelfth year, the cityscape-painter B. J. van Hove became our neighbor. Since then I began to long for the moment that I would be allowed to change the school bench for a place in his studio. That desire was already satisfied in the autumn of [18]31.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: Als schoolknaap was de teekenles mij de liefste geworden en die lust werd niet weinig aangewakkerd, toen, omstreeks mijn twaalfde jaar, de stadsgezichtschilder B. J. van Hove onze buurman werd. Sinds dien tijd begon ik sterk te verlangen naar het oogenblik, waarop ik de schoolbank tegen een plaatsje in zijn atelier zou mogen verwisselen. Dat verlangen werd reeds bevredigd in het najaar van [18]31.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 7

Pleasure, School, Autumn, Change

“Recently I dreamed of you [of the artist Herman van der Weele and his wife] and that you two were very rich and lived in a beautiful place and that I sat in your room with you and Herman, with beautiful fabrics and wallpapers that I couldn't stop looking to them and you wore black glasses, just like me now [to protect his eyes], but they [black glasses] were so amazingly beautiful and they suited you so well, as is only possible in a dream, and your dress was beautifully deep red blue black with exotic figures woven into it and the walls were yellow and pink. Anyway it was all a miracle of beauty and I wished that.... my eyes were healthy again and that we each could spent hundred thousand guilders a week, then we had built a beautiful yacht and we all sailed to the country of the Mikado [Japan], to have a look there.”

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

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch / citaat uit de brief van Breitner, in het Nederlands: Laatst heb ik van jelui [de kunstenaar Herman van der Weele en zijn vrouw] gedroomd en dat jelui heel rijk waren en prachtig woonden en dat ik met U en Herman in een vertrek daarvan zat, met zulke prachtige stoffen en behangen, dat ik mij niet kan verzadigen er naar te kijken en gij hadt een zwarte bril op net als ik nu, maar die was zo verbazend mooi en stond U zoo goed, als dat alleen maar in een droom mogelijk is en uw costuum was prachtig diep rood blauw zwart met exotische figuren daarin geweven en de wanden waren geel en rose, enfin het was een wonder van pracht en ik wou dat.. ..mijn oogen weer heel waren en dat we ieder honderdduizend gld in de week te verteren hadden, dan lieten we een mooi jacht bouwen en zeilden allemaal naar het land van den Mikado, om daar eens te kijken.
Quote of Breitner, in a letter to Herman van der Weele, c. 1892-96; as cited in Meisjes in kimono. Schilderijen, tekeningen en foto's van George Hendrik Breitner (1857-1923) en zijn Japanse tijdgenoten, J.H.G. Bergsma & H. Shimoyama; Hotei Publishing, Leiden 2001, pp. 15-16
1890 - 1900

Beauty, Dreams, Country

“.. Besides of all things I hated and detested was painting. They told me I had a talent for it, and was a clever chap and could make as much money as I liked. Money always the principal thing and so it happens that I got forced into it. Being considered a very clever talented chap, after the war or siege of Paris [1870-71], a young fellow of the name of Vincent van Gogh [not painting yet, but still art-seller at Goupil in Paris] came around asking me for advice... The law of the pocket: 'full' signifies 'rich'; empty 'poor', all the world over the same; black, brown, yellow or white skinned. Heathen, barbarians, Mahommetans; pocket full, 'power”

Matthijs Maris (1839–1917) Dutch painter

empty, 'helpless'. in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxxxviii

Money, Hate, War, World

“Anyone got a van?[Silence]That's right, you never see them any more, do you, vans. Trying to spoil my DVD?”

Harry Hill (1964) English comedian, doctor

"Hooves" Live

Silence

“With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned... A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote about the growing controversy between Mondrian and Van Doesburg. concerning the use of diagonal lines
Source: quote from a letter of Mondrian to Theo van Doesburg, undated, c. May 1918; as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 120

Idea, Nature, Appearance

“That which van Gogh attained later in life.... a brushstroke of unprecedented lightness, which unfortunately seems to have a distinctly pathological side, I have attained already..”

Charlotte Salomon (1917–1943) German painter

Quote, 1942-43; as cited by Judith C. E. Belinfante; as cited in note on Wikicommons: Charlotte Salomon https://commons.wikimedia.org/wiki/File:Charlotte_Salomon_-_JHM_4351.jpg JHM 4351 https://commons.wikimedia.org/wiki/Category:Charlotte_Salomon#/media/File:Charlotte_Salomon_-_JHM_4351.jpg Judith Belinfante noted that Salomon scribbled this comment in pencil (at JHM 4918?)

Life, Light

“The Armenians had a fair warning of what would happen to them in case they joined our enemies. Three months ago I sent for the Armenian Patriarch and I told him that if the Armenians attempted to start a revolution or to assist the Russians, I would be unable to prevent mischief from happening to them. My warning produced no effect and the Armenians started a revolution and helped the Russians. You know what happened at Van. They obtained control of the city, used bombs against government buildings, and killed a large number of Moslems. We knew that they were planning uprisings in other places. You must understand that we are now fighting for our lives at the Dardanelles and that we are sacrificing thousands of men. While we are engaged in such a struggle as this, we cannot permit people in our own country to attack us in the back. We have got to prevent this no matter what means we have to resort to. It is absolutely true that I am not opposed to the Armenians as a people. I have the greatest admiration for their intelligence and industry, and I should like nothing better than to see them become a real part of our nation. But if they ally themselves with our enemies, as they did in the Van district, they will have to be destroyed. I have taken pains to see that no injustice is done; only recently I gave orders to have three Armenians who had been deported returned to their homes, when I found that they were innocent. Russia, France, Great Britain, and America are doing the Armenians no kindness by sympathizing with and encouraging them. I know what such encouragement means to a people who are inclined to revolution. When our Union and Progress Party attacked Abdul Hamid, we received all our moral encouragement from the outside world. This encouragement was of great help to us and had much to do with our success. It might similarly now help the Armenians and their revolutionary programme. I am sure that if these outside countries did not encourage them, they would give up all their efforts to oppose the present government and become law-abiding citizens. We now have this country in our absolute control and we can easily revenge ourselves on any revolutionists.”

İsmail Enver (1881–1922) Turkish military officer and a leader of the Young Turk revolution

Quoted in "Immigration and Asylum: From 1900 to the Present" - Page 188 - by Matthew J. Gibney, Randall Hansen - Social Science - 2005.

Men, Pain, People, World

“And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Theo van Doesburg, 18 April 1919; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, pp. 125-6
1910's

Nature, Sense

“I put Huong, I put Duong Van Minh like uh…chief of state. I put Huong, I put Quat, Quat on the prime minister role. Anytime we feel that they do not answer, I mean, deal with the situation we change them. They are not a coup. Either Quat, either Huong, or Minh does not come in office with election with the power, with the population, you know. The people give him the mandate to be prime minister, or to be, to be uh chief state. The mandate it coming from the armed forces at that time before we have any constitution, you know, uh set up later on. So, when we change a government it's not a coup. We just change somebody what we just want to put in. That's all.”

Nguyen Khanh (1927–2013) South Vietnamese soldier

Role of the Buddhists as political force in 1964-1965
1980s, Interview with Nguyen Khanh (1981)

People, Feeling, Change, Time

“Molly Notkin often confides on the phone to Joelle van Dyne about the one tormented love of Notkin's life thus far, an erotically circumscribed G. W. Pabst scholar at New York University tortured by the neurotic conviction that there are only a finite number of erections possible in the world at any one time and that his tumescence means e. g. the detumescence of some perhaps more deserving or tortured Third World sorghum farmer or something, so that whenever he tumifies he'll suffer the same order of guilt that your less eccentrically tortured Ph. D.-type person will suffer at the idea of, say, wearing baby-seal fur. Molly still takes the high-speed rail down to visit him every couple of weeks, to be there for him in case by some selfish mischance he happens to harden, prompting black waves of self-disgust and an extreme neediness for understanding and nonjudgmental love.”

David Foster Wallace book Infinite Jest

Infinite Jest (1996)

Love, Life, World, Confidence

“I staged the coup because uh…the leaders in Saigon at that time did not keep their word. Uh, you know, by example, not killing Diem. Uh, they killed Diem. Uh… secondly, by example… to try to do something better in the fight, in fighting the Communists. But, you remember, I mean uh, at that time, everybody remember that they are a good time in Saigon, you know uh…uh, just enjoy the victory over Diem. And also, the main thing is leader at that time, we feel, was for the French solution of Indochina, for DeGaulle at that time, you know, he want to neutralize South Vietnam and to impose a French solution for the whole Indochina. And leaders at that time were in Saigon, we feel, it was true later on, like by example, Duong Van Minh, you know, who surrender to the Communists at '75 and we know that now we tory we know that Minh was one of the men of the policemen in Saigon who took, took over. So, I think we were ah, ah right, we were right at that time to change the leadership in Saigon.”

Nguyen Khanh (1927–2013) South Vietnamese soldier

Nguyen Khanh stages the 1946 coup: On the 1964 South Vietnamese coup
1980s, Interview with Nguyen Khanh (1981)

Men, Feeling, Thinking, Change

“Rembrandt's comments on his drawing of 'The Rest on the Flight into Egypt', as remembered by his former pupil Samuel van Hoogstraten c. 1643 (translation from the original Dutch: Anne Porcelijn)”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

Dresden museum, Kupferstichkabinett - author: Rembrandt Harmensz. van Rijn - Object: 'The Rest on the Flight into Egypt', Inventory number: C 1443 [document/remdoc/e4525]
1640 - 1670

Drawing

“I have fixed my eyes on the spaces that heaven’s light illuminates, that I may not lay too heavy a strain on the indulgence with which you have accompanied me over the dreary and heartbreaking course by which men have passed to freedom; and because the light that has guided us is still unquenched, and the causes that have carried us so far in the van of free nations have not spent their power; because the story of the future is written in the past, and that which hath been is the same thing that shall be.”

John Dalberg-Acton, 1st Baron Acton (1834–1902) British politician and historian

The History of Freedom in Christianity (1877)

Men, Freedom, Light, Past

“Van Gogh... In this world of petty calculations, he was too intense. He frightened people. They cast him out.”

Bram van Velde (1895–1981) Dutch painter

two quotes, 16 July 1970; p. 77
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

People, World

“But whether on the scaffold high
Or in the battle's van,
The fittest place where man can die
Is where he dies for man!”

Michael Joseph Barry (1817–1889) Irish poet and political figure

The Dublin Nation, Sept. 28, 1844, Vol. ii. p. 809, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

“(Devil describes Hell) It's like you go to a Van Halen concert and you're the oldest one there, and there's a mix-up in the tickets, and you have to stand for the whole thing and it's hot and the kid next to you loses his lunch on your shoe.... I know.”

Nicole Hollander (1939) Cartoonist

You thought it was going to be witty and Noel Cowardish.
Source: Sylvia cartoon strip, p. 133

Shoe, Hell

“I met Beckett at my brother’s [ w:Geert van Velde, also an abstract painter] place. That was a Big meeting [circa 1938, in Paris], in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head… This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings.”

Bram van Velde (1895–1981) Dutch painter

About his contact with Beckett in Paris, before and during World War 2.
1970's
Source: article "Schilder Bram van Velde in Dordrecht," in: NRC Handelsblad by Paul Groot, 1979 (English translation: Charlotte Burgmans)

Life, Friendship, War, Way

“And now about architects in general – I have to say it, Does [= Theo van Doesburg ], when 'De Stijl' was founded I left it up to you, but I never did agree with you when you ranked the architects alongside us, alongside our 'N. B.' ( / Neo-Plasticism) I knew then that it would lead to conflict… I cannot write about architecture, because I'm not an architect. I mean, I cannot write about the way I write about painting. Later on, though, I will put forward a few ideas.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Theo van Doesburg, Paris 9 July 1918; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 139
1910's

Way, Idea, Painting

“I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed..”

Matthijs Maris (1839–1917) Dutch painter

in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxvii

Money, War, School, Fools

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Color, Painting

“Quote in Rembrandt's letter to Constantijn Huygens (Amsterdam, 12 January 1639) on 3 paintings commissioned (in 1635 and started by Rembrandt already in 1635/36) by the imperial court, as cited in Painters on Painting (1963) by Eric Protter, p. 78 / Dutch original text in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 161.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Door die grooten lust ende geneegenheijt die ick gepleecght hebbe int wel wtvoeren van die twe/ stuckens die sijn Hoocheijt mijn heeft doen maeken weesende het een daer dat doode lichaem Chrisstij/ in den graeve gelecht werd ende dat ander/ daer Chrisstus van den doode opstaet dat met/ grooten verschrickinge des wachters. Dees selvij/ twe stuckens sijn door stuijdiose vlijt nu meede/ afgedaen soodat ick nu oock geneegen ben om die/ selvijge te leeveren om sijn Hoocheijt daer meede/ te vermaeken want deesen twe sijnt daer die meeste/ ende die naetuereelste beweechgelickheijt . in/ geopserveert is dat oock de grooste oorsaeck is dat/ die selvijge soo lang onder handen sij geweest. in margin: deessen 12 Januwarij 1639, Mijn heer ik woon op die binnenemster, thuijs is genaemt die suijckerbackerrij [in Amsterdam]. http://remdoc.huygens.knaw.nl/#/document/remdoc/e4458 What Rembrandt meant in his phrase "die meeste ende di naetuereelste beweechgelickheijt" has been the subject of dispute. Variant translations have been proposed: For in these two paintings "the greatest and most innate emotion has been expressed", which is also the main reason why they have taken so long to execute (c. 3 years!). The "deepest and most lifelike emotion has been expressed", and that's the reason they have taken so long to execute. 1630 - 1640

Books, Quotes, Painting

“Roger: On a single tour.. Hmm.. Probably more than five. Cause when we first started, we had a really old van. It was a '79 Chevy. It was like the kind of thing where we'd pull over and get gas and it'd need two quarts of oil every time. That kind of thing. It'd break down pretty frequently. We have bad luck with vans. It's some sort of curse. But, then we got another one after that and that one was good to us for many years.”

Roger Manganelli (1973) American musician

Bad luck, Time

“"If Ryan Giggs is worth 20 million, Dennis Bergkamp is worth 100 million." — Marco van Basten.”

Dennis Bergkamp (1969) Dutch footballer

About

“Van Gogh writing his brother for paints
Hemingway testing his shotgun
Celine going broke as a doctor of medicine
the impossibility of being human
Shakespeare a plagiarist
Beethoven with a horn stuck into his head against deafness
the impossibility the impossibility
Nietzsche gone totally mad
the impossibility of being human
all too human
this breathing
in and out
out and in
these punks
these cowards
these champions
these mad dogs of glory
moving this little bit of light toward us
impossibly.”

Charles Bukowski (1920–1994) American writer

"Beasts Bounding Through Time" (1986)

Dogs, Light, Painting, Madness

“the cluekey to a worldroom beyond the roomwhorld, for scarce one, or pathetically few of his dode canal sammenlivers cared seriously or for long to doubt with Kurt Iuld van Dijke (the gravitational pull perceived by certain fixed residents and the capture of uncertain comets chancedrifting through our system suggesting the authenticitatem of his aliquitudinis) he canonicity of his existence as a tesseract. Be still, O quick! Speak him dumb! Hush ye fronds of Ulma!”

James Joyce book Finnegans Wake

Source: Finnegans Wake (1939), p. 100

“And he (Andy Van Dam) put his arm around my shoulders and we went for a little walk and he said, Randy, it's such a shame that people perceive you as so arrogant. Because it's going to limit what you're going to be able to accomplish in life. What a hell of a way to word "you're being a jerk." [laughter] Right? He doesn't say you're a jerk. He says people are perceiving you this way and he says the downside is it's going to limit what you're going to be able to accomplish.”

Randy Pausch book The Last Lecture

The Last Lecture (2008)
Variant: And he put his arm around my shoulders and we went for a little walk and he said, Randy, it’s such a shame that people perceive you as so arrogant. Because it’s going to limit what you’re going to be able to accomplish in life. What a hell of a way to word “you’re being a jerk.” [laughter] Right? He doesn’t say you’re a jerk. He says people are perceiving you this way and he says the downside is it’s going to limit what you’re going to be able to accomplish.

Life, People, Jerk, Way

“In [18]35, I made a study trip about Utrecht and Nijmegen to Dusseldorf, Cologne and [w:Koblenz|Coblentz]], together with Samuel Verveer, who had already left the studio of van Hove. My painting 'View of the Moselle Bridge in Coblentz' – exhibited in the same year here - was bought by Schelfhout and, in addition to the satisfaction it gave me, I was allowed to find a counselor in him from then on; he became and remained my friend since then.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: In [18]35 maakte ik met gekocht en, behalve de voldoening, die daarin voor mij was gelegen, mocht ik van toen af een raadsman in hem vinden, die mij sinds ook een vriend is geworden en gebleven.
p. 9
1880's, Een en ander betrekkelijk mijn loopbaan als schilder

Study, Painting

“I loved moustaches. I used to draw myself with one. When I was 14, I was really into war and Van Gogh.”

Billy Childish (1959) British musician

Tim Teeman, "The importance of being Childish", http://www.timesonline.co.uk/article/0,,22876-2475809.html The Times, 2006-12-02

Love, War, Drawing

“How should one approach the person of van Gogh in order to be able to build a statue of him? How can one place him outside of himself, separate him from the tragic character of his life? How can one build a statue in the open air which simultaneously evokes the rare and the new person who was van Gogh, as also the enormity of the new aspect of the current and future art of painting?”

Ossip Zadkine (1890–1967) French sculptor

Quote in: 'Le Maillet et le Ciseau', (early 1956); as quoted in Zadkine and Van Gogh, ed. Garance Schabert and Ron Dirven (transl. Anne Porcelijn), Vincent van Goghhuis, Zundert & Scriptum Art, Schiedam 2008, p.29
1940 - 1960

Life, Art, Future, Painting

“If these gouaches [Bram van Velde recently made] live at all, it is because they are true, they derive from life. They are born of the unknown – and not of habit or know-how, or intention, or of some recipe.... there comes a time when serious work is no longer an effort. When demanding work of that kind no longer tires you.”

Bram van Velde (1895–1981) Dutch painter

1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Life, Effort, Time

“Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.”

Colin Wilson book The Outsider

Source: The Outsider (1956), p. 103

Life, Mood, Painting

“It was during this early period of experiment that I first went to Paris. The time was around 1910 when Cubism was in its beginnings. I admired Matisse, Van Dongen and the other Fauves, but I was immediately drawn to the Cubists, especially to Picasso and Léger. Of all the abstractionists (Kandinsky and the Futurists) I felt that only the Cubists had discovered the right path; and, for a time, I was much influenced by them.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about 1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 41

Time

“quote, c. 1960; from the documentary De werkelijkheid van Karel Appel, by Dutch filmer Jan Vrijman, 1962”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quotes

“Piet van Oostrum: I find this a nice feature but it is not according to the documentation. Or is it a BUG?
Larry Wall: Let's call it an accidental feature.”

Larry Wall (1954) American computer programmer and author, creator of Perl

[6909@jpl-devvax.JPL.NASA.GOV, 1990]
Usenet postings, 1990

“In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:
Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Ché la diritta via era smarrita.
In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.
One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.”

William Styron book Darkness Visible

Source: Darkness Visible (1990), X

Life, Death, Women, Men

“.. that my drawings which offer - also by variety of genre - a greater variety [compared to his paintings], especially after 1863, when my late friend jr. CCA Ridder van Rappard urged me to reserve especially for him all the new works I would make and such including the freedom not to limit myself exclusively to my main genre [churches]. In the environment around his estate in the Sticht where he stayed, it became therefore the treshing-floors of the farms and the house-interiors which immediately attracted and inspired me to achieve a new personal interpretation of these subjects.”

Johannes Bosboom (1817–1891) Dutch painter

citaat van Johannes Bosboom, in origineel Nederlands: ..dat mijner teekeningen, die ook door verscheidenheid van genre een grooter afwisseling aanbieden [dan zijn schilderijen] vooral na 1863, toen wijlen mijn vriend jhr. C. C. A. Ridder van Rappard er bij mij op aandrong om wat ik verder zou leveren voor hem te bestemmen en zulks met de vrijheid mij niet uitsluitend te houden bij mijn hoofdgenre [de kerken]. In den omtrek van het door hem betrokken landgoed in het Sticht waren het dan ook de boerendeelen en binnenhuizen, die mij dadelijk aantrokken en inspireerden tot een nieuwe eigen opvatting daarvan.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 13-14

Freedom, Drawing, Painting, Housing

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890 From Delacroix to Neo-Impressionism, 1899

Art, Light, Reading

“I'm gonna do four or five of these movies, and it's going to become my career. I'll have to keep expanding the bat suit, because I get fatter every year. I'll be bankrupt. I'll be out opening shopping malls, going from appearance to appearance in a cheesy van.”

Michael Keaton (1951) American actor

Reported in Bill Zehme, " Michael Keaton's Batman http://www.rollingstone.com/movies/features/batman-19890629", Rolling Stone (June 29, 1989).

Appearance

“How about the judgment, on 9/11, to keep reading to schoolchildren, when you are told, "The country is under attack"? I mean, talk about being non-partisan; how much of a partisan pretzel do you have to twist yourself into to work backwards to, "Yes, when a president is told the country is under attack, the proper thing to do is to freeze. To choke. To sit there like Forrest Gump." Really. That takes a lot of working backwards to that. …I know Republicans pride themselves on being loyal, and they are, but loyal to what? To a person? Or to a principle? Because if you defend a president for sitting there for even one second after he's told "America is under attack", you are loyal to a person more than you are to the truth, to a principle, or to your country. If you defend that, you have drunk the Kool-Aid. You are part of a cult. Because any president of any party would have gotten up; Democrat, Republican, Whig -- doesn't matter. "President Van Buren, America is under attack." Would have gotten up. "President Reagan, America is under attack."”

Bill Maher (1956) American stand-up comedian

Would have gotten up. FDR would have gotten up, he couldn't even get up!
I'm Swiss (2005)

Truth, Reading, Parting, Personality

“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

Piet Mondrian (1872–1944) Peintre Néerlandais

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts. Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp. 44-45 published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931 1930's

Pleasure, Art, Idea, Nature

“When I first saw the work of the Impressionists, Van Gogh, Van Dongen and the Fauves, I admired it. But I had to seek the true way alone.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about his 1890' years; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

Way

“Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Idea, Reality, Country

“I took one of my kids to the dentist one time when he was about six or seven years old. The dentist said, "Mr. Hovind, this kid has a cavity." I said, "Yes sir, I know about that. Are you talking about the big one in his head or the one in his tooth?" He said, "Well, just the one in his tooth. That's the one we are going to fix today." I said, "Okay, let's fix it Doc." Then I said, "Now son, you've got to sit still. The dentist has to give you a shot." He says, "A SHOT! A SHOT!" I said, "Yes, he's going to give you a shot. Calm down; I've had one before." I showed him where I had mine. I said, "It's no problem. When he gives you the shot, your mouth will go numb so he can drill out the bad part and fill the hole with silver." He says, "Daddy, he's going to give me a SHOT!" I said, "Yes son, he's going to give you a shot. Now, listen carefully. SIT STILL! If you wiggle, I'm going to have to take you outside and spank you, so, don't -- wiggle!" He did his best. He tried to sit still, but when the doctor pulled out that giant needle about twelve feet long, and poured in about eighteen gallons of Novocain, and said, "Okay kid, open up," he freaked. [….. ] We tried to hold him still, but we couldn't hold him still enough for that kind of operation. [….. ] Finally, after a few minutes the doctor gave up and said, "I can't work on this kid. I'm sorry, I just can't do it." I said, "Doc, let me take him outside and talk to him for a few minutes." We went out to the parking lot, got in the old Chevy van and sat in the back seat. I said, "Son, listen carefully. You know that I love you." He said, "I know daddy." I said, "Now son, I told you to sit still. You did not sit still. What happens when you disobey daddy?" He said, "Sniff, sniff… I get a spanking?" I said, "Correct, bend over." Boy, did I give him a spanking, and it was a doozy. A few minutes later, smoke was rising off his hind end, tears were coming out of his eyes, and pearls were coming out of his nostrils -- the whole thing. I said, "Okay son, listen carefully. We are going to go back into the dentist office, and you are going to sit in that chair. If you wiggle one time, I'm not going to yell at you and I'm not going to scream at you. I'm going to calmly take you back out here to the van, and I'm going to give you two spankings just like the one you just received. Then, we are going to go back into the dentist office, and you are going to sit in the chair. If you wiggle, we are going to come back out to the van, and you are going to get three spankings just like the one you just got. Son, we are going to go back and forth all day long until I get tired, and I have played tennis for years. I have a wonderful forehand smash. I don't believe I'll get tired for a long time, son." I believe that he knew that, and I knew that. We went back into the dentist office. That kid sat in the chair. The dentist said, "Open your mouth." He opened his mouth. The dentist said, "Open it wider." He held it open real wide, and I said, "Son, sit still." He looked over at me, then he looked at that dentist with that giant needle. He started to shake; then he looked at me again. As he gripped the chair, he did not move a muscle. I don't think the kid even breathed for twenty minutes. The doctor gave him the shot; drilled it out; filled the tooth full of silver; and we were on our way out the door in fifteen or twenty minutes. It wasn't long at all. The doctor then said, "Mr. Hovind, come here." I said, "Yes sir?" He said, "Look, I don't know what you said to that kid while you were outside, but I would like for you to work for me."”

Kent Hovind (1953) American young Earth creationist

I said, "No sir, you don't want me to work for you, the Child Welfare would have me in jail in a flash."
Unmasking the False Religion of Evolution (1996)

Love, Way, Boy, Problem

“The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929… However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 97-98:

Water, Patience

“I'm one of the more pessimistic cats on the planet. I make Van Gogh look like a rodeo clown.”

Dennis Miller (1953) American stand-up comedian, television host, and actor

The Rants

Cats

“I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the late Rembrandt [paintings] is not that it's satisfying but on the contrary that it is disturbing and frustrating. Because really, what he [Rembrandt] has done is to eliminate any plane - anything between that image and you. The Van Dyck [portrait] hasn't. It says [only] I'm a painting. The Rembrandt says: I am not a painting, I am a real man. But he is not a real man either. What is it then, that you are looking at?”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), p. 97

Thinking, Painting

“I was really into sci-fi books as a kid. My dad is a physicist and he used to take my brothers and I into his lab when we were little. We played games with liquid nitrogen and Van de Graaff generators. He had the keys to the observatory at St Andrew's University and he'd get us up in the middle of the night to show us Halley's Comet. That's partly why the album is called Eye To The Telescope.”

KT Tunstall (1975) Scottish singer-songwriter and guitarist

KTTunstall.com

Books, Game, Universe, Night

“We were considering him (Ruud van Nistelrooy) and Francis Jeffers and, in the end, we went for Jeffers.”

Arsène Wenger (1949) French footballer and manager

About Francis Jeffers (2001) http://www.laughfc.co.uk/stories/story.php?id=324

“Susan [Silver] gives me a huge amount of room to be that recluse, and also the incentive to not be. It’s worth a lot to see her be excited about being around someone who’s not afraid of his shadow. It’s good for her. She digs it. But we’re becoming more alike. When she comes home to me from a day at the office, where she’s talking to people from all over the world about all sorts of important things… well, I probably haven’t answered the phone in seventy-two hours. She knows that when she comes home she’s going to get privacy, because I’m not like ‘These are my South American friends and… honey, have you ever really listened to that first Van Halen album?’ She’s the best roommate I’ve ever had. People are sort of perplexed, as to how this could possibly work in this grunge-music, super-druggy era where everybody is so emotionally screwed up. Not only is Soundgarden not OD’ing on heroin, but the singer’s wife manages the band, there’s no weird Yoko Ono trip, and she’s not trying to make us dress up like lions and unicorns.”

Chris Cornell (1964–2017) American singer-songwriter, musician

When asked if intimacy is an issue in his marriage to Soundgarden's manager Susan Silver ** Interview with Details Magazine, December 1996 https://pitchfork.com/features/article/10081-chris-cornell-searching-for-solitude/, Soundgarden Era

People, World, Music, Home

“Through all these researches into an art that would lead to immaterialisation, Werner Ruhnau [German architect] and I came together in the architecture of the air. He was hindered by the last obstacle that even a w:Mies van der Rohe [also a German architect, famous for his reflecting glass skyscrapers in the U. S. ] hadn’t been able to overcome: the roof, the screen that separates us from the sky, from the blue sky. And I was hindered by the screen that the tangible blue on the canvas constitutes, which deprives man of a constant vision of the horizon.”

Yves Klein (1928–1962) French artist

In 1958; p. 45
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

Art

“Joni uses a lot of alternate tunings; that is, instead of tuning the guitar in the customary way, she tunes the strings to pitches of her own choosing. …Joni will talk compellingly and passionately about alternate tunings for hours, comparing them to different colors that van Gogh used in his paintings.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

Color, Way, Passion, Painting

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters (1887–1948) German artist

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

War, World, Art, Color

“I have a panic room in my house, where I am supposed to take refuge if one of the adherents of the "religion of peace" makes it past my permanent security detail and into my home. In fact, it's not really my home at all—I live in a government safe house, heavily protected and bulletproof. Since November 2004, when a Muslim murdered Dutch filmmaker Theo van Gogh for the crime of offending Islam, I have been surrounded by police guards and stripped of nearly all personal privacy. I am driven every day from the safe house to my office in the Dutch Parliament building in armored police cars with sirens and flashing blue lights. I wear a bulletproof jacket when I speak in public. Always surrounded by plainclothes police officers, I have not walked the streets on my own in more than seven years.”

Geert Wilders (1963) Dutch politician

Source: 2010s, Marked for Death (2012), Ch. 1: "The Axe Versus the Pen", pp. 4–5

Peace, Religion, Cars, Home

“Those who delight in bad movies and enjoy producing their own unfilmed versions of Mystery Science Theater 3000 may gain a measure of semi-masochistic enjoyment out of Van Helsing. There are quite a few unintentionally funny moments, although the overall experience was too intensely painful for me to be able to advocate it as being "so bad, it's good."”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/v/van_helsing.html of Van Helsing (2004). Half-star reviews

Pain, Science

“During my youth, I was fascinated by the colors of Van Goth's paintings”

Joseph Pisani (1971) American artist and photographer

As quoted in "Ein Nomade mit satändigem Sitz in Zürich" by Natalie Isenring Tages Anzeiger (January 24, 2008), p. 58

Youth, Color, Painting

“Nothing has happened since two or three days.... nothing special, only the Ladies van Loon have visited me this morning, I have shown them a few of my studies, and talked a lot about [Huis] 't Velde and {[w|nl:Vorden|Vorden}}. Now I could tell you further, how little I still feel at home, how a certain nostalgia or quiet sorrow plunges me down, and how an indefinite hurry for an even more uncertain future dominates my whole [being? ]; but why should I bother You by telling You my inner life..”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

translation from Dutch, Fons Heijnsbroek version in original Dutch (citaat van Johannes Warnardus Bilders' brief, in het Nederlands): Er is sedert de twee of drie dagen.. ..niets bijzonders voorgevallen, alleen de freules van Loon zijn heden morgen bij mij geweest, ik heb paar mijn studies laten zien, en verder veel over 't Velde en Vorden met hen gesproken; nu zou ik UE nog verder kunnen zeggen, hoe weinig ik mij nog te huis gevoel, hoe een zeker heimwee, of stil verdriet mij ter nederdrukt, en, hoe een onbestemd jagen, naar een nog onbestemder toekomst mijn gehele [aanschijn[?] beheerst; maar waar om zou ik UE vermoeijen; door UE mijn innerlijk leven mede te delen.. J.W. Bilders, in his letter [including a pencil-sketch of trees along a water] to Georgina van Dijk van 't Velde, from Castle Voorst in Warnsveld, 22 Oct. 1868; from an excerpt of the letter https://rkd.nl/nl/explore/excerpts/751208 in the RKD-Archive, The Hague In 1868 Bilders traveled to the North of The Netherlands, to make sketches 1860's + 1870's

Life, Feeling, Home, Nostalgia

“I'm not worrying about my Irish past. What has my Celtic blood ever done for me but give me a restless and unstable mind that gives me no rest in anything I do? Damn the Shan Van Vocht, and the ancestors that went to Sassenach gallows for her, and damn the Irish and damn the black Milesian blood in my veins that makes me like drift-wood fighting the waves and gives me no peace or rest waking or sleeping or riding or dreaming or traveling or wooing, drunken or sober, with hunger or slumber on me.”

Robert E. Howard (1906–1936) American author

From a letter to Harold Preece (1929)
Letters

Hunger, Peace, Dreams, Travel

“The other morning, I woke up. I was frightened – I’m always frightened in the morning, I don’t know where I am. But I heard this beautiful reassuring sound, it sounded like my childhood. I thought, what’s that? Is it? Church bells behind the hill? Or, no – it’s an ice cream van, in the rain. It was me, BREATHING!”

Dylan Moran (1971) Irish actor and comedian

What It Is (2009)

Beauty, Childhood

“Weissenbruch to Vincent van Gogh:.. now that I have seen your work, I will take sides for you. They call me 'the sword without mercy', and I am - and I would not have said anything like that to Anton Mauve about you if I had not found any good in your sketches.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch: Weissenbruch tegen Vincent van Gogh: ..nu ik je werk gezien heb zal ik partij voor je trekken. Zij noemen mij ‘het zwaard zonder genade’, en dat ben ik ook, en ik zou zoo iets niet tegen Mauve over je gezegd hebben, als ik geen goeds gevonden had in je studies.
Source: J. H. Weissenbruch', (n.d.), p. 44, note 1

“Alfie was an organizer. He would telephone the other kids a week before that first practice session (which he euphemistically called spring training), and he would knock on their doors the morning of, and they would look out the windows and say, "Hey, it's snowing," and he would say, "It's not snowing all that hard. See you in a half-hour." So we would gather our tired, cold bodies together, throw on our baseball clothes—old shirts, old pants, sneakers, old baseball gloves—and grab a couple of bats and scuffed-up balls, and we would pile onto the subway and ride to Van Cortland Park. We would run to make sure we'd be first to claim a ball field. Of course we were first. Nobody else was that crazy. My brother would direct practice for a couple of hours, batting practice, catching fungoes, fielding, practicing our curves and drops on the sidelines, fingers aching from contact with batted or thrown baseballs. We threw ourselves across that hard bone of a field so we would be ready when the spring suns finally thawed the ground at our feet. If the still-awake dreams of hunting lions in Africa were the peak moments of my night life, those frozen ball fields of February were the highlights of my days.”

Arnold Hano (1922) American writer

Recalling his late brother, from "Life with Alfie," https://books.google.com/books?id=PWEEAAAAMBAJ&pg=PA233&dq=%22Alfie+was+an+organizer%22&hl=en&sa=X&ved=0CBQQ6AEwAGoVChMIiqWJ2oHaxwIVipANCh2Utw2g#v=onepage&q=%22Alfie%20was%20an%20organizer%22&f=false in Orange Coast Magazine (November 1990), pp. 233–234 Other Topics

Life, Dreams, Spring, Sun

“I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies…”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), pp. 109-110

Art, Way, Thinking, Painting

“What fascinates me about Van Gogh is that his sun dries up everything. Maybe he was melodramatic but my point really is.... if you are a painter you have to face that self-consciousness. You get dirty and pathetic; very miserable. It makes me self-conscious to talk about it. There is something corrupt on art. Nothing do with any 'ism' but a thing in nature loses its innocence and becomes a grotesque thing.... maybe this difficulty is personal with me, and maybe it is something that other painters have in common. Perhaps it is also something of today.”

Willem de Kooning (1904–1997) Dutch painter

in conversation with W.C. Seitz
Quote from Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 121.
1980's

Art, Nature, Sun, Personality

“Van Jones got fired because he became the Scary Negro of the Week on Fox News, where, let's be honest, they still feel threatened by Harry Belafonte.”

Bill Maher (1956) American stand-up comedian

New Rule: Float Like Obama, Sting Like Ali (2009)

Feeling

“How will it be with my work a year hence? Well, Mauve [van Gogh's cousin and art-teacher, in The Hague] understands all this and he will give me as much technical advice as he can, - that which fills my head and my heart must be expressed in drawing or pictures.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to brother Theo, from The Hague, The Netherlands in December 1881; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, p. 20 (letter 166) 1880s, 1881

Art, Understanding, Teachers, Heart

“The last jobs I had were fixing cars and covering football games for a local access TV station. As in driving the mobile van to the field, setting up 3 cameras, teaching depressed grownups and interns how to use them and directing the game from the van and then wanting to kill myself.”

Louis C.K. (1967) American comedian and actor

http://www.reddit.com/r/IAmA/comments/n9tef/hi_im_louis_ck_and_this_is_a_thing/

Cars, Game, Football

“I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a. o. with Theo van Doesburg ] and draw commercial art for newspapers.”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, January 1926; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 34.
1920s

Art, Drawing, Painting

“Basically, Herman van Rompuy wants the European Union to become a debt union, which may be acceptable to some of the southern countries who are effectively bust. To the northern countries, it is not.”

Nigel Farage (1964) British politician and former commodity broker

Segment from an article on the UKIP website, 29 June 2012. Welcome to the D€bt Union http://www.ukip.org/content/latest-news/2703-welcome-to-the-deurobt-union 2012

Country

“The case is a good example of what Van Vogt came to call "the violent man" or the "Right Man." He is a man driven by a manic need for self-esteem — to feel that he is a "somebody." He is obsessed by the question of "losing face," so will never, under any circumstances, admit that he might be in the wrong.”

Colin Wilson (1931–2013) author

Source: The Essential Colin Wilson (1985), p. 211

Feeling, Question

“Quote from Rembrandt's 5th letter to Constantijn Huygens (Amsterdam, 27 January 1639), as cited in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 167.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

What Rembrandt is referring to is a little painting he sent Huygens as a gift together with his letter. This quote clarifies Rembrandt's option about the light and distance, necessary for showing his painting and its colors in the right way.
1630 - 1640

Books, Quotes

“It gives me great confidence and pride to think that, had the Israelites been influenced by German engineering, Paul and Timothy might have journeyed in an old Volkswagen camping van.”

Donald Miller (1971) American writer

Prayer and the Art of Volkswagen Maintenance (2000, Harvest House Publishers)

Confidence, Thinking

“For the time being I am enjoying my chance to enjoy civilian life off the road. If I combined all the months that I have lived out of a van or tour bus it would amount to twelve solid years. That would be twelve years of driving or flying an average of 100 to 400 miles per day and sleeping in a different city every night. It was a very unique lifestyle that I adapted to and even enjoyed with it’s surreal pace. It’s also a lifestyle that can take a toll on the body and relationships with the people that you are constantly leaving behind.”

Natalie Merchant (1963) American singer-songwriter

Quotes from NatalieMerchant.com

Life, People, Sleep, Chance

“All the trouble began in 1652 when Jan van Riebeeck landed in the Cape.”

Jacob Zuma (1942) 4th President of South Africa

At an ANC fundraiser on 9 January 2015, Jan van Riebeeck Statement Lands Zuma in Hot Soup http://www.ehowzit.co.za/news/south-africa/president-zuma-all-the-trouble-began-with-jan-van-riebeeck/, by Oliver Ngwenya, 17 January 2015

“Van Morrison remains a singer who can be compared to no other in the history of modern popular music.”

Greil Marcus (1945) American historian

When That Rough God Goes Riding: Listening to Van Morrison (2010).

Music, History

“Alfred E. van Vogt, since the appearance of his first two stories — "Black Destroyer" and "Discord in Scarlet" (Astounding Science Fiction, July and December 1939) the most memorable debut in the long history of the genre — has been a giant.”

Harlan Ellison (1934–2018) American writer

In his introduction "Van is Here, But Van is Gone" to Futures Past: The Best Short Fiction of A. E. van Vogt (July 1999) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm Context: Alfred E. van Vogt, since the appearance of his first two stories — "Black Destroyer" and "Discord in Scarlet" (Astounding Science Fiction, July and December 1939) the most memorable debut in the long history of the genre — has been a giant. The words seminal and germinal leap to mind. Sadly, at this juncture. the words tragedy and farewell also insinuate themselves. … Van is still with us, as I write this, in June of 1999, slightly less than fifty years since I first encountered van Vogt prose in a January 1950 issue of Startling Stories, but Van is gone. He is no longer with us. … Because the great and fecund mind of A. E. van Vogt has fallen into the clutches of that pulp thriller demon, Alzheimer's. Van is gone. … Anyone's demise or vanishment is in some small way tragic but the word "tragedy" requires greater measure for its use. … Van' s great mind now gone. Tragedy. The ultimate tragic impropriety visited on as good a man as ever lived. A gentle. soft spoken man who was filled with ideas and humor and courtesy and kindness. Not even those who were not aficionados of Van's writing could muster a harsh word about him as a human being. He was as he remains now, quietly and purposefully, a gentleman. But make no mistake about this: the last few decades for him were marred by the perfidious and even mean spirited and sometimes criminal acts of poltroons and self-aggrandizing mountebanks and piss-ants into whose clutches he fell just before the thug Alzheimer got him. … I came late to the friendship with Van and Lydia. Perhaps only twenty-five or so years. But the friendship continues, and at least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough understand that finally, as last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, fessed up to his importance. Naturally, others took credit for his getting the award. They postured and spewed all the right platitudes. Some of them were the same ones who had said to me — during the five years it took to get them to act honorably — "we'd have given it to him sooner if you hadn't made such a fuss." Yeah. Sure. And pandas'll fly out of my ass.

History, Appearance, Science

“Were we in 1946 or even 1956, van Vogt would have already been able to hold the award aloft.”

Harlan Ellison (1934–2018) American writer

In recognition of van Vogt receiving the Grand Master designation in 1996, in The Nebula Awards Vol. 31, as quoted in SF Authors Remember A.E. van Vogt (2000) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm#SF%20Authors%20Remeber%20A.E.%20van%20Vogt Context: Even the brightest star shines dimly when observed-from too far away. And human memory is notoriously unreliable. And we live in ugly times when all respect for that which has gone before suffers crib death beneath the weight of youthful arrogance and ignorance. But a great nobility has at last, been recognized and lauded. Someone less charitable than I might suggest the honor could have been better appreciated had it not been so tardy, naming its race with a foe that blots joy and destroys short-term memory. But I sing the Talent Electric, and like aft the dark smudges of history, everything but the honor and die achievement remains for the myth-makers. Alfred E. van Vogt has been awarded the Grand Master trophy of the Science Fiction and Fantasy Writers of America. He is not the to first person to receive this singular accolade…given only to those whose right to possess it is beyond argument or mitigation. Were we in 1946 or even 1956, van Vogt would have already been able to hold the award aloft. Had SFWA existed then and had the greatest living sf authors been polled as to who was the most fecund, the most intriguing, the mast innovative the most influential of their number, Isaac and Arthur and Cyril and Hank Kuttner and Ron Hubbard would all have pointed to the same man, and Bob Heinlein would've given him a thumbs-up. Van Vogt was the pinnacle, the source of power and ideas; the writer to beat. Because he embodied in his astonishing novels and assorted stories what we always say is of prime importance to us in this genre-the much vaunted Sense of Wonder. Van Vogt was the wellspring of wonder. … That's how important he was. … And then came the dark years during which the man was shamefully agented and overlooked; and even the brightest star loses its piercing light if observed through the thickening mists of time and flawed memory. Now it is lifetimes later, and the great award has, at last, been presented. To some, less charitable than I, something could be said about a day late and a dollar short, but not I. I am here to sing the Talent Electric, and it is better now than never. He is the Grand Master, A. E. can Vogt, weaver of a thousand ideas per plot-line, creator of alien thoughts and impossible dreams that rival the best ever built by our kind. This dear, gentlemanly writer whose stories can still kill you with a concept or warm you with a character, now joins the special pantheon.

“Anyone's demise or vanishment is in some small way tragic but the word "tragedy" requires greater measure for its use. … Van' s great mind now gone. Tragedy.”

Harlan Ellison (1934–2018) American writer

Way

“Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.”

Philip K. Dick (1928–1982) American author

As quoted in "Vertex Interviews Philip K. Dick" by Arthur Byron Cover, in Vertex, Vol. 1, no. 6 (February 1974) http://2010philipkdickfans.philipkdickfans.com/frank/vertexin.htm Context: I started reading SF when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction. … reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.

Fear, Universe

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Quotes about van
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