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Quote by Laura Wilkinson

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Public Battles, Private Wars

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Laura Wilkinson
Laura Wilkinson

Laura Wilkinson, born on November 17, 1977, is an accomplished Olympic athlete known for her remarkable achievements in swimming, particularly in the butterfly events. more

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“Beneath Albright’s office, the colliery sprawled across the hillside, red brick buildings scattered as though hurled from a great height, a hotchpotch of mismatched structures spattered on the valley floor. At the bottom stood the winding house, wheels motionless, above it, the engineering sheds and workshops, canteen and bath house. All lay empty. No buzz and hum of machinery. No voices raised in laughter or dispute. Gwyn found it unsettling: his lads had been out a month and a half and already the power had drained from the place. In the stillness, he caught the echo of footsteps. The crunch of boots on gravel. Generations of long-gone Pritchards clocking in and out. He was bound to Blackthorn by the coal that clogged his veins and by a bond of duty. The strike left him as diminished as his pit, day dragging after idle day.”

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Book:Until Our Blood is Dry
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“The vision of the Progressive has often been but to walk forward while facing backward; the business of the Reactionary, but that of walking backward while facing forward; henceforth the fallout is oftentimes, and obviously enough, but the formulation and the construction of obstacles in life and hurdles on-site, as long as there are cliffs on edge.”

PoliticsFearConservativeProgressiveBackwardsCliffsLiberalReactionaryHurdlesForwards
Book:Healology
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“Here is all the invisible world, caught, defined, and calculated. In these books the Devil stands stripped of all his brute disguises. Here are all your familiar spirits-your incubi and succubi; your witches that go by land, by air, and by sea; your wizards of the night and of the day. Have no fear now-we shall find him out and I mean to crush him utterly if he has shown his face!”

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Book:The Crucible
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“What appears in the former statue of Apollo, however, cannot simply be equated with the Olympian of the same name, who had to ensure light, contours, foreknowledge and security of form in his days of completeness. Rather, as the poem's title implies, he stands for something much older, something rising from prehistoric sources. He symbolizes a divine magma in which something of the first ordering force, as old as the world itself, becomes manifest. There is no doubt that memories of Rodin and his cyclopian work ethic had an effect on Rilke here. During his work with the great artist, he experienced what it means to work on the surfaces of bodies until they are nothing but a fabric of carefully shaped, luminous, almost seeing 'places'. A few years earlier, he had written of Rodin's sculptures that 'there were endless places, and none of them did not have something happening in them'. Each place is a point at which Apollo, the god of forms and surfaces, makes a visually intense and haptically palpable compromise with his older opponent Dionysus, the god of urges and currents. That this energized Apollo embodies a manifestation of Dionysus is indicated by the statement that the stone glistens 'like wild beasts' fur'.”

PoetrySculptureApolloDionysusRilkeRodinThing Poem
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“- Rodin'in Yaşlı Fahişe (La Belle qui fut heaulmière) heykeli için - Herkes güzel bir kıza bakıp güzel bir kız görebilir. Bir sanatçı o güzel kıza bakıp yaşlandığında nasıl biri olacağını görür. Daha da iyi bir sanatçı, yaşlı bir kadına bakıp gençliğinde nasıl güzel bir kız olduğunu görebilir. Ama büyük bir sanatçı -bir usta- ki Auguste Rodin de aynen öyleydi; yaşlı bir kadına bakıp onu aynen olduğu şekilde resmedebilir... ve izleyiciyi onun bir zamanlar nasıl güzel bir genç kız olduğunu görmeye zorlayabilir... üstelik, bir armadillo kadar hassas olan herkesin, hatta senin bile, bu güzel genç kızın hâlâ hayatta olduğunu, yaşlanıp çirkinleşmediğini, sadece çökmüş bedeninin içinde hapis kaldığını görmesini sağlayabilir. Senin, hiçbir kızın kendi kalbinde, geçen acımasız zaman ona ne yapmış olursa olsun on sekiz yaşından fazla büyümediğini hissetmeni, o sessiz, sonsuz trajediyi algılamanı sağlayabilir.”

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Book:Stranger in a Strange Land
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“As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say.”

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Book:Du mußt dein Leben ändern
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