I was learning to accept that I was not crucial to the turning of the world, or the turning of his world, and often not even to my own.
Candra Mandala, the mandala of Moon God, nepali painting
The (presumptive) source page has more spectacular mandalas
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Throughout Western society there tends to be one informal or backstage language of behaviour, and another language of behaviour for occasions when a performance is being presented. The backstage language consists of reciprocal first-naming, cooperative decision-making, profanity, open sexual remarks, elaborate griping, smoking, rough informal dress, ‘sloppy’ sitting and standing posture, use of dialect or sub-standard speech, mumbling and shouting, playful aggressivity and ‘kidding’, inconsiderateness for the other in minor but potentially symbolic acts, minor physical self-involvements such as humming, whistling, chewing, belching, and flatulence. The frontstage behaviour language can be taken as the absence (and in some sense the opposite) of this.
Erving Goffman, The Presentation of Self in Everyday Life (1959)
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Storytelling […] sustains your life so that you never succumb to the terrible despair of someone who cannot see beyond today’s happenings.
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A list of words, some of them Yorkshire dialectal, used in Ross Raisin’s novel God’s Own Country:
Collywobbles, hubbleshoo, daffled, trunklements, unsnecked, nithering, snickleway, nazzart, powfagged, aflunters, choiled, glegged, jarped, rigwelted, druft, skiffled, blashy, glishy, grum, mawnging, scraffled, frammled, fratchen, tantled, heart-sluffened, claggy, munk, hagmist, bloach, mardy, shuftied, mafted, bluthering, idleback, sluffened, flackering, crozzled, crammocky, slummery, slubbery, slutherment, dafflement, betwaddled, lugger-buggers, barmpots, gozzle.
Kugel thought specifically about the experience of dying. He thought about the pain, about the fear. Most of all, he thought about what he would say at the final moment; his ultima verba; his last words. They should be wise, he decided, which is not to say morose or obtuse; simply that they should mean something, amount to something. They should reveal, illuminate. He didn’t want to be caught by surprise, speechless, gasping, not knowing at the very last moment what to say.
No, wait, I oof.
I haven’t really given it much splat.
If I could just ka-blammo.
Shalom Auslander, Hope: A Tragedy (2012)
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Only if dreams are made public through art can they affect the nightmares we enact in everyday life.
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