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Romanticism Quotes

“Romanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals.”

SpiritPassionGoalRomanticismYearing
Book:The Roots of Romanticism
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“The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.”

UnityRevivalRomanticismBachFragmentism
Book:The Social History of Art Volume 3: Rococo, Classicism and Romanticism
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“But at the same time it inaugurates an æsthetic which is still valid in our world, an æsthetic of solitary creators, who are obstinate rivals of a God they condemn. From romanticism onward, the artist’s task will not only be to create a world, or to exalt beauty for its own sake, but also to define an attitude. Thus the artist becomes a model and offers himself as an example: art is his ethic. With him begins the age of the directors of conscience. When the dandies fail to commit suicide or do not go mad, they make a career and pursue prosperity.”

RebelRomanticismRomantic Hero
Book:The Rebel
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“The art academies had offered a story of art as the conquest, loss, and finally reconquest of nature through the mastery of illusionistic technology, improved by a grasp of ideal beauty. Romanticism replaced this with the story of art as an acquisition and then loss of wisdom, warning us not to mistake naturalism or technical skill for such wisdom. Historicism proposed that each period expresses its view of the world through its own forms; no art form can be preferred for they are all true registrations of the evolving mind. Materialism, finally, a version of historicism, told the story of art as a series of local responses to conditions, materials, tools, and functions. The immediate purpose of Riegl's teleology was to counter the crass reductionism of the materialist version. He did this by insinuating that there was something animating the history of form, a ghost in the machine, a will to form that overrode pragmatic needs. There is a tension in Riegl's art history between the anthropomorphic concept of Kunstwollen, which locates the motor of history in the individual, and the teleological shape of history, the inexorable dematerialization and intellectualization of art, a schema inherited from Hegel and never justified philosophically by Riegl. For Riegl, all art is naturalistic; it is simply that each epoch sees nature differently. What they see is the true object of art. This transforms art history into a history of seeing, and therefore of thinking.”

MaterialismRomanticismHistoricismRiegl
Book:A History of Art History
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“...it was only natural that this mutual connection between sea and observer be forged: they were kindred spirits. The same, however, could not be done with the implacable moon: that imperious stalwart, which agitated the currents and spurned its beholder. This aloof satellite was formidable, yet neurotic, and so in spite of its ferocity, its movements were simple to predict, thereby granting this fearsome creature a veil of placidity. Its magnitude of torque was easily outmatched by that forceful heave of fear portending any misalignment with its anticipated schedule of phases. It cycled through these on time and without hesitation, experiencing, all the while, a wide array of emotions in response to the dissatisfied countenance of the Master it served. And yet, these changes in mood remained prosaic and careful, dutiful to its Patron; thusly, betraying nothing of its own resentments or intentionality either to its dismissed observer or to its demanding Patron, divulging nothing even of the influence which it potentially wielded over the Patron Planet, but which, in its lunar insecurity, never reached full expression save for the idle touslings of liquid fur. Perhaps it was diffident or bashful—otherwise, it was simple and had little prevailing ambition. Its motives were immaterial, in fact, for its aspirations were easily eclipsed and often countermanded and so one could not help but anticipate in its withered mien a certain resignation, a retreat to introspection away from the gazes of those who mistook its surrender to deterministic forces as a duty held most solemn. To be sure, it was a specter oft-romanticized by dullard poets and priests who admired it for its calming reserve, its gentle wisdom in juxtaposition with the histrionic impatience of the sea: like a tired guardian and a screaming toddler with primacy afforded counterintuitively to the guardian. What mattered more, in fact, was the subject of its influence: the willful and disobedient medium which spurned that hands that molded it. The moldings were more like jostles really and for a time they felt just and reasonable, but soon they came to confine and until verily there was no movement available that was not otherwise preordained by the will of the master. The accursed moon!”

ControlRomanticismDisillusionmentIdealizationMoon And Sea
Book:Inward and Toward
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“I have dwelt at length with this poem because it epitomizes and transforms much eighteenth-century criticism of Spenser and because, like any other imitation, it acts as an implicit criticism of the original. The Minstrel takes up major themes in mid-century poetics and criticism - speculative interest in origins, natural descriptions, humble life, the supernatural, education, political corruption - and merges them, awkwardly it must be said - into something recalling a Spenserian romance. The celebrity of Beattie's poem has more to do with its intellectual than its poetic achievements. The Minstrel demonstated that romance could take on the serious social business hitherto treated in epic and georgic, epistle and satire; it proved to an age obsessed with originality that a poet might imitate wihout copying, and emulate Spenser in a way that avoided objections to archaism, allegory, and the use of stanzas in a long poem. Beattie did all these things but did them imperfectly. For the next fifty years, romantic Spenserians would retain beattie's doctrines while refining his poetics.”

PoetryRomanticismEdmund SpenserJames BeattieThe Minstrel1771
Book:Edmund Spenser: A Reception History
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“As a people, we have been tolled farther and farther away from the facts of what we have done by the romanticizers, whose bait is nothing more than the wishful insinuation that we have done no harm. Speaking a public language of propaganda, uninfluenced by the real content of our history which we know only in a deep and guarded privacy, we are still in the throes of the paradox of the “gentleman and soldier.” However conscious it may have been, there is no doubt in my mind that all this moral and verbal obfuscation is intentional. Nor do I doubt that its purpose is to shelter us from the moral anguish implicit in our racism—an anguish that began, deep and mute, in the minds of Christian democratic freedom-loving owners of slaves.”

ChristianityHistorySlaveryPropagandaRacism In AmericaRomanticismWoundednessWendell Berry
Book:The Hidden Wound
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“When it comes to love, narcissists are sprinters and not marathoners. It is often a rather grandiose experience, with numerous references to “falling in love at first sight,” and a “once-ina-lifetime” love story.”

LoveRelationshipsPsychologyFalling In LoveEngagementNarcissismRomanticismSprintGrandiosity
Book:Should I Stay or Should I Go?: Surviving a Relationship with a Narcissist
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“Traffic slowed as they entered Fort Washakie with everyone rubbernecking the spirited powwow taking place in an empty field just off the main road. Most of the audience gathered round was non-native. But everyone there was stomping and clapping and surrendering themselves to the rhythmic spell of the drums, much like the performers themselves, and the dust of the earth which coalesced with their smoky breath to envelope them together in a billowing cone of palpitation. And Joshua sat there at the stop sign a little too long because he couldn’t bring himself to look away. But no one inside the VW or in the other cars cared, or even noticed, because they were doing the same.”

IdealismRomanticismNative American FictionNative SpiritualityNative American RitualismNative American SpiritualismNative American SpiritualityNative SpiritualismRitualism
Book:The Subtle Cause
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“In our resistance to the business mentality, we are still Spanish, stubbornly Spanish. Also, we have not stopped being Catholic, nor have we stopped being romantic, and we cannot conceive of private life without love, nor of public life without chivalry, or of our children’s education without ideals. If you want to be our friends, you will have to accept us as we are. Do not attempt to remodel us after your image. Mechanical civilization, material progress, industrial techniques, wealth, comfort, hobbies—all these figure in our programs of work and enjoyment of life. But, for us, the essence of human life does not lie in such things.”

RevolutionaryRomanticismLatinoaméricaRomanticismoPostcolonialRevolucionario
Book:The Shark and the Sardines
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“Plato’s heirs—armed with his methods, but unchained from his wistful predilections—abstracted away the faces of the pagan gods: the marbles that in Homer’s day were warm Olympian flesh were philosophized into dust and that dust into theology. Consequently, the labor of keeping beauty and goodness yoked became moot as their separation in the realm of experience, in art and religion—their correspondent spheres of human activity—became so obviously distinct. Christianity supplanted paganism and the art of yore, which had formerly been principally confined to civil and religious expression, was gradually supplanted by an art that was its own unique means by which humanity understood itself. In due course, following the birth of Romanticism, art stood on the field of history its own inexorable self.”

PhilosophyChristianityTheologyPlatoPaganismRomanticismOlympianHomer
Author:Michael Shindler
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“Dreams, always dreams! and the more ambitious and delicate is the soul, the more its dreams bear it away from possibility. Each man carries in himself his dose of natural opium, incessantly secreted and renewed. From birth to death, how many hours can we count that are filled by positive enjoyment, by successful and decisive action? Shall we ever live, shall we ever pass into this picture which my soul has painted, this picture which resembles you? These treasures, this furniture, this luxury, this order, these perfumes, these miraculous flowers, they are you. Still you, these mighty rivers and these calm canals! These enormous ships that ride upon them, freighted with wealth, whence rise the monotonous songs of their handling: these are my thoughts that sleep or that roll upon your breast. You lead them softly towards that sea which is the Infinite; ever reflecting the depths of heaven in the limpidity of your fair soul; and when, tired by the ocean's swell and gorged with the treasures of the East, they return to their port of departure, these are still my thoughts enriched which return from the Infinite - towards you.”

RomanticismTranslationWorld LiteratureFrench PoetryAleister Crowley19th Century PoetryCharles BaudelairePoetry In Translation
Author:Charles Baudelaire, Aleister Crowley
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“Las conclusiones más significativas se refieren a la necesidad de que cada individuo se forme por sí mismo su propia opinión de la realidad sin aceptar acríticamente la autoridad de los maestros occidentales, el deber moral de usar los propios dones o bienes (inteligencia, poder, dinero) teniendo siempre presente una proyección social, la obligación de respetar la libertad de los demás al tiempo que se defiende la propia o la posibilidad de cohonestar la (prioritaria) autoexigencia personal con otros valores respetables como el servicio a la nación. Al final, el discurso se transforma, a partir de una advertencia a los jóvenes japoneses de 1914, en un alegato a favor de la independencia personal, de la libertad y de la tolerancia, es decir, en una afirmación de valores humanistas de significado universal.”

ExistentialismJapanIndividualismRomanticismCollectivismPsycheMeijiWesternization
Book:My Individualism & The Philosophical Foundations of Literature
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“Depending on which flavor of academic scholarship you prefer, that age had its roots in the Renaissance or Mannerist periods in Germany, England, and Italy. It first bloomed in France in the garden of Jean-Jacques Rousseau in the 1780s. Others point to François-René de Chateaubriand’s château circa 1800 or Victor Hugo’s Paris apartments in the 1820s and ’30s. The time frame depends on who you ask. All agree Romanticism reached its apogee in Paris in the 1820s to 1840s before fading, according to some circa 1850 to make way for the anti-Romantic Napoléon III and the Second Empire, according to others in the 1880s when the late Romantic Decadents took over. Yet others say the period stretched until 1914—conveniently enduring through the debauched Belle Époque before expiring in time for World War I and the arrival of that other perennial of the pigeonhole specialists, modernism. There are those, however, who look beyond dates and tags and believe the Romantic spirit never died, that it overflowed, spread, fractured, came back together again like the Seine around its islands, morphed into other isms, changed its name and address dozens of times as Nadar and Balzac did and, like a phantom or vampire or other supernatural invention of the Romantic Age, it thrives today in billions of brains and hearts. The mother ship, the source, the living shrine of Romanticism remains the city of Paris.”

ParisRomanticismRomantic Age
Book:A Passion for Paris: Romanticism and Romance in the City of Light
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“Между поэтом жалким, что грустно, словно четки, Слова перебирает, чтоб были рифмы четки, И офицером с саблей, спесивым и надменным, Какой быть может выбор? Здесь выбор несомненный! Он женщин восхищает осанкой и мундиром, И дева выбирает его своим кумиром. ИКОНА И ОКЛАД”

ArtistSoldierRomanticismRomanian Literature
Book:Стихотворения. М. Эминеску. Стихотворения. Д. Кошбук. Стихотворения. И. Л. Караджале. Потерянное письмо. Рассказы. И. Славич. Счастливая мельница
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“Rousseau's constant influence on later generations is indubitable (though not always positive). He can be seen as father of the Romantic movement (and even a great-grandfather of the Green movement). The Romantics were inspired by his confirmation of the worth of each and every one of us, however ordinary, by his emphasis on equality, on knowledge of the inner self, and on a spiritual connection with nature, as well as by his imagination and the depth of his feelings.”

RomanticismRousseauGreen MovementRousseaueanism
Book:Rousseau's Dog: Two Great Thinkers at War in the Age of Enlightenment – An Intellectual History of Treachery and Shattered Friendship
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“By 1938, Scotland had for nearly 200 years lived within a classic peripheral identity assigned to it by the artists and ideologues of the great European core cultures through the mode of Romanticism and their control of the means of (ideological) production. However, the brute fact of subsequent uneven economic development compelled the Scots to bring into collision with that historically assigned identity a new-fashioned identity more appropriate to a dynamic modern nation. Great national moments of self-presentation, such as the Glasgow Empire Exhibition of 1938, were the occasions when the ongoing dialectic of modern/urban against rural/ancient emerged in its most public and delirious form. Such occasions therefore hold a political lesson. The process of speaking with two voices - the fissures; the uncertainties; the grating shifts of gear from one discourse to another - assert once more, the fluid, unstable character of national identity. Such occasions proclaim that national identity is not a set of inborn, natural characteristic in a people, but the product of that people's history. With the realisation of instability comes the realisation of the possibility of change.”

ScotlandRomanticismNational Identity1938Uneven DevelopmentGlasgow Empire ExhibitionPeripherality
Book:Popular Culture and Social Relations
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“Time changed for the Romantics. Whether from the rise of industrialism that made visible the accelerating edge of the Anthropocene, from the contrasting awareness of geological time, the effects of accurate time-keeping, or the collapse of time and space made possible by steam travel, their period's momentum seemed resolutely forward, while at the same time operating 'in widely varying scales, paces and planes'. That change came early for Scots, who numbered among them Watt, of the steam engine (1765), and Hutton, who published the seminal Theory of the Earth (1788). For Walter Scott, who belonged to the Royal Society of Edinburgh from 1810 and served as its President from 1820, that society having published Hutton's theory, and who knew Watt personally, time's many turns would have been particularly evident.”

TimeRomanticismGeological TimeWalter ScottAnthropoceneJames WattJames Hutton
Book:The International Companion to the Scottish Novel
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“انگار هر کلمه مستقیما از روح او تراوش می کرد و با حرارت ایمانش مشتعل می شد. رودین از راز بسیار والایی آگاهی داشت، از موسیقی کلام. می توانست با تارهای دل شنونده بازی کند و آن ها را بلرزاند و زنگ وجودش را به صدا درآورد. ممکن بود شنونده خوب نفهمد که او از چه صحبت می کند، ولی بی اختیار نفس عمیق می کشید. پرده هایی از جلو چشم هایش کنار می رفت و چیزی نظیر روشنایی سحرگاهی در برابرش نمایان می شد.”

RomanticismSelf ScrutinyرمانتیسمRussian Aristocracyخودشناسیطبقه ی اشراف روسیه
Book:Rudin
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“when the great intolerance of faith was lost, the secular robe of office had to supplant the sacred one, and society had to separate itself into secular hierarchies with secular uniforms and invest these with the absolute authority of a creed. And because, when the secular exalts itself as the absolute, the result is always romanticism, so the real and characteristic romanticism of that age was the cult of the uniform, which implied, as it were, a superterrestrial and supertemporal idea of uniform, an idea which did not really exist and yet was so powerful that it took hold of men far more completely than any secular vocation could, a non-existent and yet so potent idea that it transformed the man in uniform into the property of his uniform, and never into a professional man in the civilian sense; and this perhaps simply because the man who wears the uniform is content to feel that he is fulfilling the most essential function of his age and therefore guaranteeing the security of his own life.”

SecuritySacredCertaintySecularRomanticismSymbolSignUniformPasenowThe Romantic
Book:The Sleepwalkers
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“Perhaps the most significant intellectual trend of the eighteenth century was that towards what we now label 'Romanticism'. Within this often rather monstrous historical figment of retrospective definition, one of the commonest of theoretical concerns was to speculate on the nature of society, and on the nature of social development. Theories of Man's primitive nature blossomed, and the Romantics looked both to nature and to this primal human essence for their poetic and intellectual inspiration. At the same time as British intellectuals were becoming more and more interested in the nature of primitive man and primitive society, they had within their own national boundaries a fitting subject for their attention. The Scottish Gael fulfilled this role of the 'primitive', albeit one quickly and savagely tamed, at a time when every thinking man was turning towards such subjects. The Highlands of Scotland provided a location for this role that was distant enough to be exotic (in customs and language) but close enough to be noticed; that was near enough to visit, but had not been drawn so far into the calm waters of civilisation as to lose all its interest.”

CivilisationRomanticismSocial DevelopmentPrimitive ManGaelic CultureHighland Romance
Book:The Gaelic Vision in Scottish Culture
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“The ordinary modes of human thinking are magical, religious, social, and personal. We want our wishes to come true; we want the universe to care about us; we want the approval of those around us; we want to get even with that s.o.b. who insulted us at the last tribal council. For most people, wanting to know the cold truth about the world is way, way down the list.”

RealityRomanticism
Book:We Are Doomed: Reclaiming Conservative Pessimism
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“There was a bill that he would pay with a real two shilling piece, and it was real, all real, he assured himself, fingering the coin in his pocket, real to everyone except to him and to her; even to him it began to seem real; and then–but it was too exciting to stand and think any longer, and he pulled the parasol out of the earth with a jerk and was impatient to find the place where one had tea with other people, like other people.”

RealityDreamsInventionRomanticism
Book:Kew Gardens
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“Your memory feels like home to me. So whenever my mind wanders, it always finds it’s way back to you.”

LoveFeelingsBeautifulRomanceDesireQuotesPassionLostMemoriesLossLove QuotesGriefSadnessSadHeartbreakQuoteLongingDistanceMemoryLove Quotes And SayingsLustDevotionGrievingBreakupBroken HeartGrief And LossLove QuoteLost LoveUnrequited LoveLove QuotationsHeartbrokenRemindersDeep ThoughtsSad QuotesWithout YouFeelings And EmotionsGrief QuotesMissing SomeoneDeep LoveRomanticismAmourThe PastBreakup QuotesUnrequitedHeartbreak QuotesLoss Of LoveSecret LoveDistance RelationshipMemories QuotesMemory QuoteBreak UpsLoss QuotesFeelings Of LoveBeautiful QuoteI Miss YouLost Love QuotesReminiscingSad QuoteMissing You QuotesReminiscenceHeartbroken QuotesThe One That Got AwayBreakup QuoteRanata SuzukiRanata Suzuki QuoteBreak Up QuoteLoss QuoteDeep Love QuotesThe Only OneReminisceAlways YoursParamourFrom A Distance
Author:Ranata Suzuki
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“Siphonophores do not convey the message a favorite theme of unthinking romanticism that nature is but one gigantic whole, all its parts intimately connected and interacting in some higher, ineffable harmony. Nature revels in boundaries and distinctions; we inhabit a universe of structure. But since our universe of structure has evolved historically, it must present us with fuzzy boundaries, where one kind of thing grades into another.”

KindWholeUniverseHigherMessagesHarmonyStructureConnectedBoundariesThemeDistinctionGradesRomanticismInteractingIneffableFuzzy
Book:The Flamingo's Smile: Reflections in Natural History
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“What is noble, lyrical, tender in the upper level shown is also with the servants, scoundrels, and scamps, as in a distorting mirror. This contrast seems to me a most appealing musical theme--to show love in its noble and crude forms, romanticism and crass realism mixed as in everyday life.”

ShowsSeemsFormLevelsMirrorsEverydayMusicalNobleServantThemeContrastRealismEveryday LifeRomanticismCrudeLyricalScoundrelsCrass
Book:A Confidential Matter: The Letters of Richard Strauss and Stefan Zweig, 1931-1935
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“Modern" poetry is, essentially, an extension of romanticism; it is what romantic poetry wishes or finds it necessary to become. It is the end product of romanticism, all past and no future; it is impossible to go further by any extrapolation of the process by which we have arrived, and certainly it is impossible to remain where we are who could endure a century of transition ?”

EndsPastWishProcessImpossibleModernCenturyProductsEndurePoetry IsTransitionExtensionsRomanticismRomantic PoetryModern Poetry
Author:Randall Jarrell
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“Imagism was a reductio ad absurdum of one or two tendencies of romanticism, such a beautifully and finally absurd one that it is hard to believe it existed as anything but a logical construction; and what imagist found it possible to go on writing imagist poetry? A number of poets have stopped writing entirely; others, like recurring decimals, repeat the novelties they commeced with, each time less valuably than before. And there are surrealist poetry, and political poetry, and all the othe refuges of the indigent.”

WritingBelieveTwoHardPoliticalFoundNumbersPoetGoes OnAbsurdTendenciesRepeatsLogicalAdsConstructionRefugeNoveltyRomanticismHard To BelieveRecurringSurrealistDecimals
Author:Randall Jarrell
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“Dynamic ecstasy is absolute romanticism , absolute heroism . And here I return to my point. From my point of view, after the catastrophe which we feel and think is universal, a catastrophe resulting from an excess of useless dynamism of useless progress, of useless realism, of useless technology, after this an unattainable democracy is to be reached through the conception and realization of a new romanticism.”

ThinkingFeelsViewsTechnologyDemocracyProgressReturnUniversalAbsolutesPoint Of ViewRealizationUselessConceptionEcstasyExcessHeroismRealismCatastropheRomanticismUnattainableDynamism
Author:Juan Ramon Jimenez
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“I don't like the definition 'war correspondent'. It is history, not journalism, that has condemned the Middle East to war. I think 'war correspondent' smells a bit, reeks of false romanticism: it has too much of the whiff of Victorian reporters who would view battles from hilltops in the company of ladies, immune to suffering, only occasionally glancing towards the distant pop-pop of cannon fire.”

ThinkingWarSufferingBitsViewsCompanyFireToo MuchMiddleBattleDefinitionsPopsSmellEastJournalismMiddle EastReportersImmuneRomanticismVictorianCannons
Author:Robert Fisk
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“Utilitarianism had found [in Samuel Smiles' Self-Help] its portrait gallery of heroes, inscribed with a vigorous exhortation to all men to strive in their image; this philistine romanticism established the bourgeois hero-prototype the penniless office-boy who works his way to economic fortune and this wins his way into the mercantile plutocracy.”

MenWaySelfHelpingFoundWinningBoysEconomicSelf HelpHeroOfficeFortuneStrivePortraitsGalleryBourgeoisVigorousRomanticismPrototypePhilistinesUtilitarianismPlutocracy
Author:John Carroll
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“If modern design moved the stage picture away from the specific, tangible, illusionistic world of Romanticism and Realism into a generalized, theatrical, and poetic realm in which the pictorial image functioned as an extension of the playwright's themes and structures (a metanarrative), then postmodern design is a dissonant reminder that no single point of view can predominate, even within a single image.”

IfsWorldViewsModernStageDesignMovedStructurePoint Of ViewRealmsThemePoeticRealismExtensionsRemindersPlaywrightTangibleTheatricalRomanticismPostmodernPictorial
Book:Looking Into the Abyss: Essays on Scenography
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“Louisville is a place with no labels. It’s not the South, it’s not Chicago, and you don’t think of it as you think of New York or LA. It has some Southern romanticism to it, but also a Northern progressivism, this weird urban island in the middle of the state of Kentucky that has always provided a fertile, often dark, bed. For us, Louisville and the surrounding areas are the center of massive creativity and massive weirdness. The place has its flaws: You move away, but you’re always going to come back.”

ThinkingStatesMovingDarkCreativityMiddleNew YorkBedAreasSouthLabelsIslandsMassiveFlawsChicagoSouthernUrbanRomanticismFertileWeirdnessKentuckyProgressivismLouisville
Author:Jim James
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