We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.
Tom RobbinsRead
In Seattle, I soon found that my radical ideas and aesthetic explorations - ideas and explorations that in Richmond, Virginia, might have gotten me stoned to death with hush puppies - were not only accepted but occasionally applauded.
Interpretation
The quote reflects the acceptance of diverse and unconventional ideas in a different cultural context.
Tom Robbins highlights the contrast between the restrictive cultural norms in Richmond, Virginia, and the vibrant, accepting atmosphere in Seattle, where his radical ideas and artistic pursuits are celebrated. This emphasizes the importance of finding environments that nurture creativity and individuality, suggesting that one's ideas can flourish when placed in the right context.
In practice
During an art gallery opening, one might quote this to highlight the importance of innovative ideas in the creative community.
We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.
There are many things worth living for, a few things worth dying for, and nothing worth killing for.
The unhappy person resents it when you try to cheer him up, because that means he has to stop dwelling on himself and start paying attention to the universe. Unhappiness is the ultimate form of self-indulgence. When you're unhappy, you get to pay a lot of attention to yourself. You get to take yourself oh so very seriously.
I'm an outlaw, not a philosopher, but I know this much: there's meaning in everything, all things are connected, and a good champagne is a drink.' Bernard began to sing again. Timidly, Leigh-Cheri joined in. Between verses, they opened another bottle. The popping of its cork echoed throughout the great stone chamber. Of the three billion people on earth, only Bernard and Leigh-Cheri heard the popping of the cork and its echoes. Only Bernard and Leigh-Cheri passed out under the tablecloth.
The Divine was beyond description, beyond knowing, beyond comprehension. To say that the Divine was Creation divided by Destruction was as close as one could come to definition. But the puny of soul, the dull of wit, weren't content with that. They wanted to hang a face on the Divine. They went so far as to attribute petty human emotions - anger, jealousy, etc - to it, not stopping to realize that if God were a being, even a supreme being, our prayers would have bored him to death long ago.
On their sofas of spice and feathers, the concubines also slept fretfully. In those days the Earth was still flat, and people dreamed often of falling over edges.
All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
I'm not trying to be sexy. It's just my way of expressing myself when I move around.
To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.
It would be beautiful to photograph the winners of everything from Nobel to booby prize, clutching trophy, or money or certificate, solemn or smiling or tear stained or bloody, on the precarious pinnacle of the human landscape.
The long path from material through function to creative work has only one goal: to create order out of the desperate confusion of our time.
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