"John Berger"の名言

Autobiography begins with a sense of being alone. It is an orphan form.

My heart born naked was swaddled in lullabies. Later alone it wore poems for clothes. Like a shirt I carried on my back the poetry I had read. So I lived for half a century until wordlessly we met. From my shirt on the back of the chair I learn tonight how many years of learning by heart I waited for you.

This is written in the night. In war the dark is on nobody's side, in love the dark confirms that we are together.

Most people, she said, can't stand the truth. It's too bad but there it is, most people can't stand it.

The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

Fanaticism comes from any form of chosen blindness accompanying the pursuit of a single dogma.

A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it.

In Degas's compositions with several dancers, their steps, postures and gestures often resemble the almost geometric, formal letters of an alphabet, whereas their bodies and heads are recalcitrant, sinuous and individual.

The Cro-Magnons lived with fear and amazement in a culture of Arrival, facing many mysteries. Their culture lasted for some 20,000 years.

A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. It's like a proscenium arch for a dialogue.

'Fahrenheit 9/11' is astounding. Not so much as a film - although it is cunning and moving - but as an event.

The autobiographical doesn't interest me. I could think of few things less interesting than rooting about in my life.

A drawing is an autobiographical record of one's discovery of an event - either seen, remembered or imagined. A 'finished' work is an attempt to construct an event in itself.

The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.

Boycott is not a principle. When it becomes one, it itself risks becoming exclusive and racist. No boycott, in our sense of the term, should be directed against an individual, a people, or a nation as such.

A boycott is directed against a policy and the institutions which support that policy either actively or tacitly. Its aim is not to reject, but to bring about change.

As Nelson Mandela has pointed out, boycott is not a principle, it is a tactic depending upon circumstances. A tactic which allows people, as distinct from their elected but often craven governments, to apply a certain pressure on those wielding power in what they, the boycotters, consider to be an unjust or immoral way.

In drawing after drawing, pastel after pastel, painting after painting, the contours of Degas's dancing figures become, at a certain point, darkly insistent, tangled and dusky. It may be around an elbow, a heel, an armpit, a calf muscle, the nape of a neck.

We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries.