Probably there are few women who have not had some first friendship, as delicious and almost as passionate as first love. It may not last…but at the same time it is one of the purest, most self-forgetful and self-denying attachments that the human heart can experience: with many, the nearest approximation to that feeling called love – I mean love in its highest form, apart from the selfishness and sensuousness – which in all their after-life they will ever know. This girlish friendship, however fleeting in its character, and romantic, even silly, in its manifestiations, let us take heed how make light of, lest we be mocking at things more sacred than we are aware.
And yet it is not the real thing – not friendship, but rather a kind of foreshadowing of love; as jealous, as exacting, as unreasoning – as wildly happy and supremely miserable; ridiculously so to a looker-on, but to the parties concerned, as vivid and sincere as any after-passion into which the girl may fall; for the time being, perhaps long after, colouring all her world. Yet it is but a dream, to melt away like a dream when love appears…— Dinah Craik, A Woman’s Thoughts About Women, 1857
From the index of Mrs Beeton’s Book of Household Management
Pig, Guinea .. .. .. ..
How roast pig was discovered
„ to silence a.. .. ..
Novel way of recovering a stolen
Suckling, to carve a .. ..
„ roast .. .. ..
„ to scald.. .. ..
The learned .. .. ..
Pig’s cheeks, to dry .. .. ..
Face, collared .. .. ..
Fry, to dress .. .. ..
Liver .. .. .. ..
Pettitoes .. .. .. ..
Pigs, Austrian mode of herding ..
English mode of hunting and
Indian sticking .. ..
How pastured and fed formerly
From To the Lighthouse, by Virginia Woolf
(via Rebecca Solnit’s wonderful essay, “Woolf’s Darkness: Embracing the Inexplicable,” New Yorker)
No story is like a wheeled vehicle whose contact with the road is continuous. Stories walk, like animals or men. And their steps are not only between narrated events but between each sentence, sometimes each word. Every step is a stride over something not said.
The suspense story is a modern invention…and consequently today one may tend to overestimate the role of suspense, the waiting-for-the-end, in story-telling. The essential tension in a story lies elsewhere. Not so much in the mystery of its destination as in the mystery of the spaces between its steps towards that destination.
All stories are discontinuous and are based on a tacit agreement about what is not said, about what connects the discontinuities. The question then arises: Who makes this agreement with whom? One is tempted to reply: The teller and the listener. Yet neither teller nor listener is at the centre of the story: they are at its periphery. Those whom the story is about are at the centre. It is between their actions and attributes and reactions that the unstated connections are being made.— From Another Way of Telling, by John Berger and Jean Mohr
I’m Nobody! Who are you? (260), by Emily Dickinson
I’m Nobody! Who are you?
Are you – Nobody – too?
Then there’s a pair of us!
Don’t tell! they’d advertise – you know!
How dreary – to be – Somebody!
How public – like a Frog –
To tell one’s name – the livelong June –
To an admiring Bog!
The best and most important news: You already have the skills you need to build a beautiful, sustainable life.
The secret of artists who make it work: they use the skills, resourcefulness, and creativity of their art practice in all aspects of their lives. Artists are over-skilled and work incredibly hard. We see value where others do not. We are brilliant problem-solvers and tool-users. We have the meta-skill of learning new skills.
If I said to you, “I want to make a performance that involves two hot-air balloons, a children’s chorus, and some trained cats.” You would say, “OK, let’s figure it out.” Because you are an artist and because you believe fundamentally that things can be figured out, transformed, adapted, and solved.
You have experience making the impossible happen. All too often, we don’t use those skills outside the studio. When it’s time to make a budget or do our taxes or have a meeting with a fancy funder, we say: “Oh, no I can’t do that. I’m an artist.”— From Making Your Life As An Artist, by Andrew Simonet. This is a guide to “building a balanced, sustainable artistic life,” and is full of good, practical advice and #quotesabouthardwork. You can download it for yourself, for free, here. ”Don’t starve. Make art.”