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Quote by Olivia Sudjic

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Sympathy

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Olivia Sudjic

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“There was a graduate student in my cohort, this guy I dated, who told me he came to realize that doing physics is like this: there's a concrete wall twenty feet thick, and you're on one side, and on the other side is everything worth knowing. And all you have is a spoon. So you just have to take a spoon and start scraping at the wall: no other way. He works in a bookstore now. But I think of it this way. There is a jigsaw puzzle. It's infinitely large, with no edges or corners to help you out. We have to put it together: it's our duty. We will never finish, but we have to find our satisfactions where we can: when we place two pieces together that suggest we may have found the place where the sky touches the sea, or when we discover a piece that is beautiful in and of itself, that has an unusual color or a glimpse of an unexpected pattern. And the pieces that do not join together also tell you something. If there are very few eureka moments, then at least there are a thousand little failures, that point the way toward a hundred little joys.”

ScienceWorkMetaphorPhysicsSimileNever EndingDexter PalmerVersion ControlRewarding
Book:Version Control
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“When she did walk, to the bathroom between the chairs and the customers leaning back in them, oblivious to her manoeuvres, the sight felt strangely moving and profound, like a baby, or a veteran getting out of a wheelchair, or a deer in snow. That is perhaps overdoing it. Maybe I didn't quite know that at the time, but it was striking. If you have not seen a deer in snow, I mean: moving with precision, but as if she might leap away in a completely different direction at any moment.”

DescriptionSympathySimileOlivia Sudjic
Book:Sympathy
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“In my art history degree course, we did a module on palimpsests—medieval sheets of parchment so costly that, once the text was no longer needed, the sheets were simply scraped clean and reused, leaving the old writing faintly visible through the new. Later, Renaissance artists used the word pentimenti, repentances, to describe mistakes or alterations that were covered with new paint, only to be revealed years or even centuries later as the paint thinned with time, leaving both the original and the revision on view. Sometimes I have a sense that this house—our relationship in it, with it, with each other—is like a palimpsest or pentimento, that however much we try to overpaint Emma Matthews, she keeps tiptoeing back: a faint image, an enigmatic smile, stealing its way into the corner of the frame.”

ArtHouseMetaphorSettingSimileCreepyArt HistoryJ P DelaneyReferencesThe Girl BeforeEmma Matthews
Book:The Girl Before
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