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Quote by Toni Morrison

“Like a lighthouse keeper drawn to his window to gaze once again at the sea, or a prisoner automatically searching for the sun we he steps into the yard for his hour of exercise, Ruth looked for the water mark several times during the day. She knew it was there, would always be there, but she needed to confirm its presence. Like the keeper of the lighthouse and the prisoner, she regarded it as a mooring, a checkpoint, some stable visual object that assured her that the world was still there; that this was life and not a dream. That she was alive somewhere, inside, which she acknowledged to be true only because a thing she knew intimately was out there, outside herself.”

Quote by Toni Morrison

Book:Song Of Solomon
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Work

Song Of Solomon

This novel delves into complex relationships and societal issues through the lens of a romantic narrative. more

Author

Toni Morrison
Toni Morrison

Toni Morrison is an American novelist known for her profound portrayal of the history and culture of African Americans. Her works often explore issues of race, gender, and identity, with her most famous novels being 'The Bluest Eye' and 'Sula'. more

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“Art is fundamentally serious; it cannot rest content with the gratification of fantasy, nor can it dwell on what fascinates us while avoiding altogether the question of its meaning. As Freud put it in another context, art provides the oath from fantasy back to reality. By creating a representation of something unreal, it persuades us to consider again those aspects of reality which, in the urgency of everyday existence, we have such strong motives for avoiding.”

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Book:The Aesthetic Understanding: Essays in the Philosophy of Art and Culture
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“There is a common instinct that fantasy, even when gratified, does not contribute to, but is in fact more likely to detract from, personal satisfaction. I here offer a semi-philosophical reason for thinking that this instinct might have sound. It seems to me that the fantasy-ridden soul will tend to have a diminished sense of the objectivity of his world, and a diminished sense of his own agency within it. The habit of pursuing the realized unreal seems to conflict with the habit, which we all, I believe, have reason to acquire, of pursuing what is real. There is no expenditure of effort involved in the gratification of fantasy, and hence the fantasist is engaged in no transformation of his world. On the contrary his desires invade and permeate his world, which ceases to have any independent meaning. The nature of the fantasy object is dictated by the passion which seeks to realize it; and the world therefore has no power either to control or resist the passion. Normal passions are founded on the sense of the independent reality of their object. They do not invade, but on the contrary, are disciplined by, the world. The change as understanding changes, and come, in time, to bear the imprint both of the subject’s agency and of the world’s reality. Thus it is with the greatest of human benefits- love between equals. In love, all my fantasy is destroyed just so soon as it is erected, by the deeper desire to understand and respond to a being whose essence resides in his independence, in his freedom from me. It seems to be no accident that people have repeatedly described sexual fantasy as ‘loveless’.”

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Book:The Aesthetic Understanding: Essays in the Philosophy of Art and Culture
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