- "Well, the Dutch invented the microscope," she said. "They were jewelers, grinders of lenses. They want it all as detailed as possible because even the tiniest things mean something. Whenever you see flies or insects in a still life—a wilted petal, a black spot on the apple—the painter is giving you a secret message. He's telling you that living things don't last—it's all temporary. Death in life. That's why they're called natures mortes. Maybe you don't see it at first with all the beauty and bloom, the little speck of rot. But if you look closer—there it is."
- When we are sad—at least I am like this—it can be comforting to cling to familiar objects, to the things that don't change.
- For in the deepest, most unshakable part of myself reason was useless. She was the missing kingdom, the unbruised part of myself I'd lost with my mother. Everything about her was a snowstorm of fascination, from the antique valentines and embroiders Chinese coats she collected to her tiny scented bottles from Neil's Yard Remedies; threw had always been something bright and magical about her unknown faraway life: Vaud Suisse, 23 rue de Tombouctou, Blenheim Crescent W11 2EE, furnished rooms in countries I had never seen.
- She was the golden thread running through everything, a lens that magnified beauty so that the whole world stood transfigured in relation to her, and her alone.
- And yet it was remarkable too how his world limped on without him. Strange, I thought, as I jumped a sheet of water at the curb, how a few hours could change everything—or rather, how strange to find that the present contained such a bright shard of the living past, damaged and eroded but not destroyed.
- Here is my experience. Stay away from the ones you love too much. Those are the ones who will kill you.
- You can look at a picture for a week and never think of it again. You can also look at a picture for a second and think of it all your life
- First rule of restorations. Never do what you can't undo.
- Maybe the one had to be lost for the others to be found?
- We looked at each other. And it occurred to me that despite his faults, which were numerous and spectacular, the reason I'd liked Boris and felt happy around him from almost the moment I'd met him was that he was never afraid. You didn't meet many people who moved freely through the world with such a vigorous contempt for it and at the same time such oddball and unthwartable faith in what, in childhood, he had liked to call "the Planet of Earth."
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- "And—" he'd gotten up to make some coffee—"I suppose it's ignoble to spend your life caring so much for objects—"
- "Who says?"
- "Well—" turning from the stove—"it's not as if we're running a hospital for sick children down here, let's put it that way. WHere's the nobility in patching up a bunch of old tables and chairs? Corrosive to the soul, quite possibly. I've seen too many estates not to know that. Idolatry! Caring too much for objects can destroy you. Only—if you care for a thing enough, it takes on a life of its own, doesn't it? And isn't the whole point of things—beautiful things—that they connect you to some larger beauty? Those first images that crack your heart wide open and you spend the rest of your life chasing, or trying to recapture, in one way or another? Because, I mean—mending old things, preserving them, looking after them—on some level there's no rational grounds for it—"
- "There's no 'rational grounds' for anything I care about."
- "Well, no, nor me either," he said reasonably. "But"—peering nearsightedly into the coffee jar, spooning ground coffee into the pot—"well, sorry to maunder on, but from here, from where I'm standing, it looks like a bit of a fix, doesn't it?"
- "What?"
- He laughed. "What's to say? Great paintings—people flock to see them, they draw crowds, they're reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But—"crossing back to the table to sit again"—if a painting really works down in your heart and changes the way you see, and think, and feel, you don't think, 'oh, I love this picture because it's universal.' 'I love this painting because it speaks to all mankind.' That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes you." Fingertip gliding over the faded-out photo—the conservator's touch, a touch-without-touching, a communion wafer's space between the surface and his forefinger. "An individual heart-shock. Your dream, Welty's dream, Vermeer's dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that's not even to mention the people separated from us by time—four hundred years before us, four hundred years after we're gone—it'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you And—oh, I don't know, stop me if I'm rambling..." passing a hand over his forehead..."but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn't be an object. It'd be a city, a color, a time of day. The nail where your fate is liable to catch and snag."
- "You sound like my dad."
- "Well—let's put it another way. Who was it said that coincidence was just God's way of remaining anonymous?"
- "Now you really sound like my dad."
- "Who's to say that gamblers don't really understand it better than anyone else? Isn't everything worthwhile a gamble? Can't good come around sometimes through some strange back doors?"
- A great sorrow, and one that I am only beginning to understand: we don't get to choose our own hearts. We can't make ourselves want what's good for us or what's good for other people. We don't get to choose the people we are.
- Because I don't care what anyone says or how often or winningly they say it: no one will ever, ever be able to persuade me that life is some awesome, rewarding treat. Because, here's the truth: life is catastrophe. The basic fact of existence—of walking around trying to feed ourselves and find friends and whatever else we do—is catastrophe.
- And as terrible as this is, I get it. We can't choose what we want and don't want and that's the hard lonely truth. Sometimes we want what we want even if we know it's going to kill us. We can't escape who we are.
- And as much as I'd like to believe there's a truth beyond illusion, I've come to believe that there's o truth beyond illusion. Because, between 'reality' on the one hand, and the point where the mind strikes reality, there's a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.
sep 24 2015 ∞
nov 13 2015 +
nov 13 2015 +