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Quote by Abhijit Naskar

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When Humans Unite: Making A World Without Borders

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Abhijit Naskar

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“At first the social worker may become too emotionally involved with his clients, so that when they fail he suffers, both because they are unhappy and because their failure is his failure, too. It’s hard to spend his days confronting devastating problems that he cannot fix—the misery and helplessness rub off on him. It may seem to him that to feel happy or spend money on himself is to betray the people he knows who are still suffering; or it may seem that his own unhappiness is a sign of his devotion. Perhaps he becomes angry, blaming systems and society for what he cannot fix himself. Gradually, he learns to be more detached. He realizes that he needs to be tough, and to develop a thick skin. But if he becomes too detached, he stops caring about his clients at all. Perhaps he withdraws into cynicism and self-defense, as he feels his ideals and his sense of potency wither. Longer-serving people in the office notice the waning of his enthusiasm, and welcome him to their gallows-humor fellowship. He retreats into apathy and jokes and drinks after work. But even with his fellow apathetics to keep him company, the situation is depressing, and he looks for a way out.”

Social Worker
Book:Strangers Drowning: Grappling with Impossible Idealism, Drastic Choices, and the Overpowering Urge to Help
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“May 1976. I have had some manure delivered for the garden and, since the manure heap is not far from the van, Miss S. is concerned that people passing might think the smell is coming from there. She wants me to put a notice on the gate to the effect that the smell is the manure, not her. I say no, without adding, as I could, that the manure actually smells much nicer. I am working in the garden when Miss B., the social worker, comes with a boxful of clothes. Miss S. is reluctant to open the van door, as she is listening to 'Any Answers', but eventually she slides on her bottom to the door of the van and examines the clothes. She is unimpressed. MISS S.: I only asked for one coat. MISS B.: Well, I brought three just in case you wanted a change. MISS S.: I haven't got room for three. Besides, I was planning to wash this coat in the near future. That makes four. MISS B.: This is my old nursing mac. MISS S.: I have a mac. Besides, green doesn't suit me. Have you got the stick? MISS B.: No. That's being sent down. It made to be made specially. MISS S.: Will it be long enough? MISS B.: Yes. It's a special stick. MISS S.: I don't want a special stick. I want an ordinary stick. Does it have a rubber thing on?”

ClothesSocial WorkerVan
Book:The Lady in the Van
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“The tragic style of Aeschylus (I use the word "style" in the sense it receives in sculpture, and not in the exclusive signification of the manner of writing,) is grand, severe, and not unfrequently hard: that of Sophocles is marked by the most finished symmetry and harmonious gracefulness: that of Euripides is soft and luxuriant; overflowing in his easy copiousness, he often sacrifices the general effect to brilliant passages. The analogies which the undisturbed development of the fine arts among the Greeks everywhere furnishes, will enable us, throughout to compare the epochs of tragic art with those of sculpture. Aeschylus is the Phidias of Tragedy, Sophocles her Polycletus, and Euripides her Lysippus. Phidias formed sublime images of the gods, but lent them an extrinsic magnificence of material, and surrounded their majestic repose with images of the most violent struggles in strong relief. Polycletus carried his art to perfection of proportion, and hence one of his statues was called the Standard of Beauty. Lysippus distinguished himself by the fire of his works; but in his time Sculpture had deviated from its original destination, and was much more desirous of expressing the charm of motion and life than of adhering to ideality of form.”

SculptureSophoclesEuripidesStylesAeschylusPhidiasLysipposPolykleitos
Book:Lectures on Dramatic Art and Literature
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“Serena and Jimena walked into the crowd, strides long and seductive. Jimena wore a silver bustier and capris with matching sandals. Her hair was rolled on top of her head with glitter and jewels. Curls bounced with each step. Her face gleamed; her full lips sparkled. The tattoos on her arms seemed iridescent. She whooped and squealed and gave Serena a high five. Serena had moussed her hair so it stood on end. Streaks of orange glitter shot from her temples into her hair. She wore a yellow tulle skirt over a sheer, clingy red dress and looked like a walking flame.”

RedSilverGlitterGoddessesSerena KillingsworthJimena CastilloStyles
Book:Goddess of the Night
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