Upstream Color Original Soundtrack Leaves Expanded May Be Prevailing Blue Mixed With Yellow Of The Sand I Used To Wonder At The Halo Of Light Around My Shadow And Would Fancy Myself One Of The Elect Fearing That They Would Be Light-headed For Want Of Food And Also Sleep Stirring Them Up As The Keeper Of A Menagerie His Wild Beasts The Finest Qualities Of Our Nature Like The Bloom On Fruits Can Be Preserved Perhaps The Wildest Sound That Is Ever Heard Here Making The Woods Ring Far And Wide I Love To Be Alone A Young Forest Growing Up Under Your Meadows Their Roots Reaching Quite Under The House The Rays Which Stream Through The Shutter Will Be No Longer Remembered When The Shutter Is Wholly Removed After Soaking Two Years And Then Lying High Six Months It Was Perfectly Sound Though Waterlogged Past Drying The Sun Is But A Morning Star A Low And Distant Sound Gradually Swelling And Increasing As If It Would Have A Universal And Memorable Ending A Sullen Rush And Roar Shane Carruth, Upstream Color www.discogs.com WaldenI love to be alone euphonynaturelonelinessmelancholysoundending
To know the place for the first time We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. T.S. Eliot, Little Gidding The Dark Tower timecyclesendingexploration
She was wanting to break it off One summer morning, the beginning of July, I got this long letter from my girlfriend, and in it she’d written that she wanted to break up with me. I’ve always felt close to you, and I still like you even now, and I’m sure that from here on I’ll continue to…et cetera, et cetera. In short, she was wanting to break it off. She had found herself a new boyfriend. I hung my head and smoked six cigarettes, went outside and drank a can of beer, came back in and smoked another cigarette. Then I took three HB pencils I had on my desk and snapped them in half. It wasn’t that I was angry, really. I just didn’t know what to do. In the end, I merely changed clothes and headed off to work. And for a while there, everyone within shouting distance was commenting on my suddenly “outgoing disposition”. What is it about life? Haruki Murakami, The Last Lawn of the Afternoon ending
Until we leave the gate behind And yet the timeless way is not complete, and will not fully generate the quality without a name, until we leave the gate behind. Indeed this ageless character has nothing, in the end, to do with languages. The language, and the processes which stem from it, merely release the fundamental order which is native to us. They do not teach us, they only remind us of what we know already, and of what we shall discover time and time again, when we give up our ideas and opinions, and do exactly what emerges from ourselves. At this final stage, the patterns are no longer important: the patterns have taught you to be receptive to what is real. It is the gate which leads you to the state of mind, in which you live so close to your own heart that you no longer need a language. This is the final lesson of the timeless way. Christopher Alexander, The Timeless Way of Building The natural thing to do zenending
A circle of beads If you count off a circle of beads, you never reach an end. At what point, and with what feelings, would his fingers cease to move those beads? This may be a silly question, but it haunts me. Natsume Sōseki, Kokoro ending
Now get inside You say the ocean's rising like I give a shit You say the whole world's ending, honey, it already did You're not gonna slow it, Heaven knows you tried Got it? Good, now get inside Bo Burnham, Bo Burnham: Inside genius.com ending
When life is over At the end, which is when life is over, death removes all the clothing that differentiated them, and all are equal in the grave. Miguel de Cervantes, Don Quixote deathstatusending
That funny feeling That unapparent summer air in early fall The quiet comprehending of the ending of it all There it is again That funny feeling Bo Burnham, Bo Burnham: Inside genius.com ending
You can get anywhere from anywhere And if you can get anywhere from anywhere, You can start anywhere And end anywhere. There is no single necessary order. Verlyn Klinkenborg, Several Short Sentences About Writing progressending
Ending is better than mending “We always throw away old clothes. Ending is better than mending, ending is better than mending, ending is better…” Aldous Huxley, Brave New World noveltyrepairtrashwastemelancholyending
Graceful Exits: How Great Beings Die A Book by Sushila Blackman Japanese Death PoemsHe only who has lived with the beautiful exitsdeathending
How do you know when your paintings are finished? A Quote by Gerhard Richter matthiasott.com When nothing disturbs me and I have no idea what to do more, what I could add or destroy. This is very surprising, often, when I’m painting, again and again, every day and it feels like it is never-ending […] and it will never become a good painting. And suddenly, it’s finished. Oh! Good. Thanks. Painting With the Web perfectionprogressending
Exit pages An Idea by Brad Enslen ramblinggit.com Today I made an Exit page. So many people end their visit by hitting the Back button on their browser. The exit page is a last attempt to get them to explore the Blog Directory to find an entertaining blog. Or failing that to try a search on a search engine they may have never tried before. exitswwwfunwhimsyending
Several Short Sentences About Writing A Book by Verlyn Klinkenborg www.goodreads.com Here, in short, is what I want to tell you. Know what each sentence says, What it doesn't say, And what it implies. Of these, the hardest is knowing what each sentence actually says. Sonorisms VBoth models are completely uselessThe shape of the sentenceThe Anxiety of SequenceYou can get anywhere from anywhere+18 More Wittgenstein's MistressWrite SimplyThe most important thing you do writing
Sonorisms V Leave space between them for the things that words can't really say. To suggest more than the words seem to allow. Perhaps it renames the world. The Anxiety of Sequence. It was all change until the very last second. The debris of someone else's thinking. You'll never run out of noticings. Names that announce the whatness of the world. What were you trying to protect? You were protecting the memory. The tyranny of what exists. Do any of them sound first? It sets an echo in motion. Try writing for the reader in yourself. So call it "perfection enough". Toward the name of the world—yours to discover. euphony
Both models are completely useless In your head, you'll probably find two models for writing. One is the familiar model taught in high school and college—a matter of outlines and drafts and transitions and topic sentences and argument. The other model is its antithesis—the way poets and novelists are often thought to write. Words used to describe this second model include "genius", "inspiration", "flow", and "natural", sometimes even "organic". Both models are useless. I should qualify that sentence. Both models are completely useless. genius
The shape of the sentence You've been taught to overlook the character of the prose in front of you in order to get at its meaning. You overlook the shape of the sentence itself for the meaning it contains, Which means that while you were reading, All those millions of words passed by Without teaching you how to make sentences. meaningstructure
The Anxiety of Sequence Much of what's taught under the name of expository writing could be called "The Anxiety of Sequence." Its premise is this: To get where you're going, you have to begin in just the right place And take the proper path, Which depends on knowing where you plan to conclude. The Age of the Essay essays
You can get anywhere from anywhere And if you can get anywhere from anywhere, You can start anywhere And end anywhere. There is no single necessary order. progressending
Significant everywhere Writing isn't a conveyor belt bearing the reader to "the point" at the end of the piece, where the meaning will be revealed. Good writing is significant everywhere, Delightful everywhere. goodness
It was all change until the very last second Every work of literature is the result of thousands and thousands of decisions. Intricate, minute decisions—this word or that, here or where, now or later, again and again. It's the living tissue of a writer's choices, Not the fossil record of an ancient, inspired race. A concept of style decisionscraft
A renaming of the already named A true metaphor is a swift and violent twisting of language, A renaming of the already named. It's meant to expire in a sudden flash of light And to reveal—in that burst of illumination— A correspondence that must be literally accurate. metaphornames
The debris of someone else's thinking A cliché isn't just a familiar, overused saying. It's the debris of someone else's thinking. cliché
How each sentence got that way When the work is really complete, the writer knows how each sentence got that way. intent
This small internal quaver Pay attention now: No matter how much you know or learn about syntax, grammar, or rhetoric, This small internal quaver, this inner disturbance, Is the most useful evidence you'll ever get. Someday, you'll be able to articulate what causes it. But for now, what's important is to notice it. Noticing is always the goal. ...the faint vertigo caused by an ambiguity you can't quite detect. What matter is what it points to. Find out what's causing it and fix it Even if you're not sure how. Notes on the Synthesis of Form attention
The urge to be done "Flow" is often a synonym for ignorance and laziness. It's also a sign of haste, the urge to be done. productivity
Talking and writing Talking is natural. Writing is not. It may seem strange that the manual dexterity needed to hold a pencil—or use a keyboard—comes later than the lingual and mental dexterity needed to speak. But it does. speech
What were you trying to protect? As the piece evolves, you try to protect those original, effusive sentences. Only to realize, at last, that what you're writing won't come together until they've been removed or revised. What were you trying to protect? The memory of the excitement you felt when those words "came to you." (Where did they "come" from?) You were protecting the memory of the excitement of really concentrating, of paying close attention to your thoughts and, perhaps, your sentences, the excitement of feeling the galvanic link between language and thought. memory
The discoveries you make in the making Style is an expression of the interest you take in the making of every sentence. It emerges, almost without intent, from your engagement with each sentence. It's the discoveries you make in the making of the prose itself. Where ambiguity rules, there is no "style"—or anything else worth having. Pursue clarity instead. In the pursuit of clarity, style reveals itself. The idea grows as they workFour principlesExpressing ideas helps to form them styleclaritymaking
The virtue of already existing It can be overwhelming—the inertia of the paragraphs and pages you've already composed, the sentences you've already written, No matter how rough they are. Whether you love what you've written or not, Those sentences have the virtue of already existing, Which makes them better than sentences that don't exist. Or so it seems.
Composition and revision Revise at the point of composition. Compose at the point of revision. Think of composition and revision as the same thing. 104. Site Repair design
Squander your material Squander your material. Don't ration it, saving the best for last. You don't know what the best is. Or the last.
Do any of them sound first? Just try out some sentences. Lots of them. See how they sound. Do any of them sound first? You're holding an audition. Many sentences will try out. One gets the part.
When you're interested in what you're working on It's never hard to work when you're interested in what you're working on. But what if you hate what you're working on? It helps to examine the content of your loathing. What is it you hate? hatework
The work selects its audience Imagine a cellist playing one of Bach's solo suites. Does he consider his audience? (Did Bach, for that matter?) Does he play the suit differently to audiences Of different incomes and educations and social backgrounds? No. The work selects its audience.