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On Freedom: Four Songs of Care and Constraint
Maggie Nelson
Top 10 Best Quotes
“{Freedom} is certainly not the right to own the economic, social, political, or cultural capital in order to dominate others and trade their happiness in a monopolistic market. Freedom is the process by which you develop a practice for being unavailable for servitude. -Avery F Gordon paraphrasing Toni Cade Bambara p.42”
“…the world doesn’t exist to amplify or exemplify our own preexisting tastes, values, or predilections. It simply exists. We don’t have to like all of it, or remain mute in the face of our discontent. But there’s a difference between going to art with the hope that it will reify a belief or value we already hold, and feeling angry or punitive when it doesn’t, and going to art to see what it’s doing, what’s going on, treating it as a place to get “the real and irregular news of how others around [us] think and feel,” as Eileen Myles once put it.”
“We live, after all, in the present: the present is inevitably the context for our reaction and response, and it matters. Yet one of art’s most compelling features is how it showcases the disjuncts between the time of composition, the time of dissemination, and the time of consideration—disjuncts that can summon us to humility and wonder. Such temporal amplitude understandably falls out of favor in politically polarized times, in which the pressure to make clear “which side you’re on” can be intense. New attentional technologies (aka the internet, social media) that feed on and foster speed, immediacy, reductiveness, reach, and negative affect (such as paranoia, anger, disgust, distress, fear, and humiliation) exacerbate this pressure.”
“This is one of the things I’ve learned about happiness: when you feel it, it’s good to say so. That way, if and when you say later in depression or despair, “I’ve just never been happy,” there will be a trail of audible testimony in your wake indicating otherwise.”
“The reparative turn, as applied to art, is in many ways a continuation of the orthopedic aesthetic, with the difference being that the twentieth-century model imagined the audience as numb, constricted, and in need of being awakened and freed (hence, an aesthetics of shock), whereas the twenty-first-century model presumes the audience to be damaged, in need of healing, aid, and protection (hence, an aesthetics of care).”
“Philosophers of freedom were mainly, and understandably, concerned with how humans would escape the injustice, oppression, inequality, or even uniformity foisted on them by other humans or human-made systems. Geological time and the chronology of human histories remained unrelated. This distance between the two calendars, as we have seen, is what climate scientists now claim has collapsed. The period I have mentioned, from 1750 to now, is also the time when human beings switched from wood and other renewable fuels to large-scale use of fossil fuel—first coal and then oil and gas. The mansion of modern freedoms stands on an ever-expanding base of fossil-fuel use.”
“Nothing stays avant-garde forever; you have to keep moving.”
“Nearly every time we go to Travel Town together, I think, I've never been happier in all my life. Sometimes I say this aloud, be it to him or myself or the uncaring air. This is one of the things I've learned about happiness: when you feel it, it's good to say so. That way, if and when you say later in depression or despair, "I've just never been happy," there will be a trail of audible testimony in your wake indicating otherwise.”
“I’ve long had reservations about the emancipatory rhetoric of past eras, especially the kind that treats liberation as a one-time event or event horizon. Nostalgia for prior notions of liberation—many of which depend heavily upon mythologies of revelation, violent upheaval, revolutionary machismo, and teleological progress—often strikes me as not useful or worse in the face of certain present challenges, such as global warming.”
“Is what my son and I are doing part of that ending, even if it feels like a beginning to both of us? Is there any new beginning that doesn't already contain the seeds of its end? "When you give birth to a child, if you really want to cling to life, you should not cut the umbilical cord as he is born," writes Trungpa. "Either you are going to witness your child's death or the child is going to witness your death. Perhaps this is a very grim way of looking at life, but still it is true." Utterly unbearable, utterly ordinary.”
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