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Quote by Ocean Vuong

“I let the mirror hold those flaws—because for once, drying, they were not wrong to me but something that was wanted, that was sought and found among a landscape as enormous as the one I had been lost in all this time.”

Quote by Ocean Vuong

Book:On Earth We're Briefly Gorgeous
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On Earth We're Briefly Gorgeous

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Ocean Vuong

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“I’m well aware that this—that I—am the first man to ever do this to her. And yes, as a guy, that fact makes it even better. You know who Neil Armstrong is, don’t you? Now tell me who the second guy was. Hell, tell me any other guy you know who made it to the moon after him. You can’t, can you? That’s why this is such a rush. She’ll never forget this. She’ll always remember…me. Maybe that’s chauvinistic and egotistical, but it’s the truth. -Drew Evans”

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“While she waited there she forgot the prospect of untoward change. The bray of a lazy burro broke the afternoon quiet, and it was comfortingly suggestive of the drowsy farmyard, and the open corrals, and the green alfalfa fields. Her clear sight intensified the purple sage-slope as it rolled before her. Low swells of prairie-like ground sloped up to the west. Dark, lonely cedar trees, few and far between, stood out strikingly, and at long distances ruins of red rocks. Farther on, up the gradual slope, rose a broken wall, a huge monument, looming dark purple and stretching its solitary, mystic way, a wavering line that faded in the north. Here to the westward was the light and color and beauty. Northward the slope descended to a dim line of canyons from which rose an up-flinging of the earth, not mountainous, but a vast heave of purple uplands, with ribbed and fan-shaped walls, castle-crowned cliffs, and gray escarpments. Over it all crept the lengthening, waning afternoon shadows.”

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“The beautiful in nature is a question of the form of the object, and it consists in limitation, whereas the sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence evokes, a representation of limitlessness, yet with a super-added thought of its totality. Accordingly the beautiful seems to be regarded as a presentation of an indeterminate concept of the understanding , the sublime as a presentation of an indeterminate concept of reason, Hence, the delight is in the former case coupled with the representation of quality, but in this case with that of quantity. Moreover, the former delight is very different from the latter in kind. For the beautiful is directly attended with a feeling of the furtherance of life, and thus is compatible with charms and a playful imagination. On the other hand, the feeling of the sublime is a pleasure that only arrises indirectly, being brought about by the feeling of a momentary check of the vital forces followed all at once by discharge all the more powerful, and so it is an emotion that seems to be no play, but a serious matter of the imagination. Hence charms are also incompatible with it; and, since the mind is not simply attracted by the object, but is also alternately repelled thereby, the delight in the sublime does not show how much involve positive pleasure as admiration or respect, i.e. merits the name of a negative pleasure.”

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Book:Critique of Judgment
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