I made a wish on this tree years ago," Marco says. "What did you wish for?" Bailey asks. Marco leans forward and whispers in Bailey's ear. "I wished for her.
Erin MorgensternRead
There is so much that glows in the circus, from flames to lanterns to stars. I have heard the expression “trick of the light” applied to sights within Le Cirque des Reves so frequently that I sometimes suspect the entirety of the circus is itself a complex illusion of illumination” .
Interpretation
This quote reflects the enchanting and illusory nature of experiences, particularly in the context of a circus setting.
In this quote, Erin Morgenstern describes the circus as a place filled with captivating lights and illusions, suggesting that beauty and wonder often stem from our perception of reality. It highlights how experiences can be both magical and deceptive, evoking a sense of awe while leaving us questioning the authenticity of what we see and feel.
In practice
Sharing this quote during a discussion about art and illusion at a gallery opening.
I made a wish on this tree years ago," Marco says. "What did you wish for?" Bailey asks. Marco leans forward and whispers in Bailey's ear. "I wished for her.
I worry hope will crush me, the way love has so many times before. Are they so different, hope and love? O & E in the same place, half of the other in each word. Both swimming in unknowns. I’ve been through the big changes. These ones should seem easier in comparison, I should be more prepared, but they don’t and I’m not. Sometimes I feel like a broken-wing butterfly, clinging to a window screen. Afraid to let go. Afraid to stay. Wondering how much wing is enough to fly.
Good and evil are a great deal more complex than a princess and a dragon . . . is not the dragon the hero of his own story?
Trapped in silence, Marco traces apologies and adorations across Celia's body with his tongue. Mutely expressing all the things he cannot speak aloud. He finds other ways to tell her, his fingers leaving faint trails of ink in their wake. He savors every sound he elicits from her. The entire room trembles as they come together. And though there are a great many fragile objects contained within it, nothing breaks.
It is perhaps both a blessing and a curse that fictional worlds spring into my mind nearly fully formed and it takes quite a while to sift through everything to find the story.
Widge can see the past." Poppet says suddenly. "That's why his stories are so good." "The past is easier," Widget says. "It's already there." "In the stars?" Bailey asks. "No." Widget says. "On people. The past stays on you the way powdered sugar stays on fingers. Some people can get rid of it but it's still there, the events and t hings that pushed you to where you are now.
I love to go to the studio and stay there 10 or 12 hours a day. I love it. What is it? I don't know. It's life.
Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you.
I like touring extensively because I think the more hours you spend onstage, the more you know who you are onstage.
I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.
Creating is living doubly. The groping, anxious quest of a Proust, his meticulous collecting of flowers, of wallpapers, and of anxieties, signifies nothing else.
From the very beginning, I was very interested just in light, and art seemed to be a way to work with it.
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