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WHO AM I: Author Hari Krishnan Nair

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Hari krishnan Nair

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“Poizat says opera lovers cry because they dimly sense that singing is an attempt to escape from words. Language is like a prison house, he thinks, and the singing voice is like a dove trapped inside: the voice wants to float free, without having to mean anything. In every great aria, Poizat observes, there is a moment when the voice—especially a woman’s voice, especially a soprano— begins to do amazing things, warbling and trilling, flying up to impossibly high pitches, falling through cascades of arpeggios and grace notes. The words that are sung are under incredible tension: a single syllable can be pulled and stretched so that it seems to go on forever.”

“Devotional images require devotion: that is the bottom line. Without the patience to live with such a painting, it remains silent. And what is art history in this respect, if not a typically impatient academic pursuit? Its practitioners are constantly fluttering from one image to the next, anxious for intellectual nourishment. The flood of tears that swept over central and western European painting in the fourteenth and fifteenth centuries will probably always be a desert for people who move too fast. These are slow paintings, suffused with dull, slow-acting passions.”

“These pearls are said to be rare, precious and beautiful, yet when I look at them now I see only bloodshed, greed and death. There are many creatures lying dead because of them, from the family of Grath down to countless searats and corsairs. But one touched our own lives deeply, a young Abbeymaid who was friend to us all. Piknim was slain because of these six pearls. Truly they are called the Tears of all Oceans. We have no need for things such as these at Redwall Abbey, life is a far more precious and beautiful thing. I give back to the oceans these six tears, so that they will never cause grief or sorrow to any living creature!”