“Science explains laws by means of theories, or rather the erecting of theoretical models. Consequently, the student should not be satisfied with a mere nodding acquaintance with the particular laws governing vocal mechanism but should strive to gain a scientific insight into their meaning and working, and so attain an intelligent grasp of the organic whole. Then, and then only, will he be in a position to expound these laws to himself as well as to others, with benefit to himself, his fellow students, and the art as a whole.”—Herbert-Caesari, Edgar. The Voice of the Mind. Great Britain: Antony Rowe Ltd, 2002. Print. pp. 31-32, Chapter I: Prospect & Perspective (via voiceofthemind)
“[The reality of vocal mechanism] is not incomprehensible; it does not lie beyond the sphere of sense nor beyond the grasp of anyone seeking the truth.”—p. 29-30, Chapter I: Prospect & Perspective (via voiceofthemind)
“Well may the student of singing, as he stands bewildered amidst the chaos of conflicting vocal systems, ask himself if there exists anywhere an ultimate goal to reach.”—E.F. Herbert-Caesari. p. 29. Chapter 1: Prospect and Perspective (via voiceofthemind)
“Style … is a totality, a dizzyingly complex confabulation of language patterns, a sui generic collection of tendencies and defaults which has over time crystallized into an expressive mode as singular as a fingerprint … — the myriad choices of perspective, cadence, diction, and syntactical orchestration that create in their sum an authorial personality. … It’s not enough to say something well, I must say it well in the way that is uniquely mine.”—Sven Birkerts, “The Pump You Pump the Water From” (via proseprunings)
“I have not yet found the neuropsychological explanation that would do justice to the uncanny synthesis of sound and sense, music and meaning, the compositional experience of which is at least as gratifying as any result it generates. … There are moments when the act of writing is at one and the same time an intuitive heeding, a listening-in on oneself, and an action, a pressure of thinking. The process is active and passive, though I would hasten to qualify passivity as itself active, a most heightened sort of reception.”—Sven Birkerts, “The Pump You Pump the Water From” (via proseprunings)
On our way back from a day spent lining up at the DFA for renewal of passport, Lola Gie suffered an accident that resulted in a head trauma. A week of observation yielded positive results in that nothing seemed to be amiss (i.e., no dizziness, vomiting, etc.).
But on Sunday, April 1, 2012, at about 12mn, we rushed Lola Gie to the hospital due to a day of what we later learned to be vertigo. Tests were done to make sure dizziness isn’t caused by damage that earlier tests were not able to show that could be from her accident. We spent 4 days at the hospital.
Finally, on April 5, 2012, we were able to get discharge orders so we were home by 1:00 PM. Only to find that dad had fever and his left leg was swollen. We suspected it was some sort of infection. By 3:00 PM, we have decided to have my sister bring my dad to the hospital and byu 5:00 PM, Dad had been admitted.
As if those weren’t enough, by 7:30 PM, my grandmother alerted me to her feeling nauseous and subsequently vomiting. I wanted to bring her back to the hospital immediately but she wouldn’t budge. In the end I had to compromise with bringing her tomorrow if she’s still feeling ill.
Well. All I can say is, it’s strange and difficult but I have hope that all will be well.
“I’d like to emphasize that when a reader finishes a great novel, he will immediately begin looking for another. If someone loves your book, it increases the chance that he or she will look at mine. So there is no competition between writers. Another writer’s success helps build a larger readership for all of us.”—