“The oceans are the planet's last great living wilderness, man's only remaining frontier on Earth, and perhaps his last chance to prove himself a rational species.”
―
John L. Culliney
“Plans to protect air and water, wilderness and wildlife, are in fact plans to protect man.” ― Stewart L. Udall
“Love doesn’t hide. It stays and fights. It goes the distance. That’s why God made love so strong. So it can carry you all the way home. Franking P. Jones” ― L. Wilder, Consumed
“While I am alive, I intend to live. (Everett Ruess to his friend Bill, Mar 9, 1931, p 31)” ― W.L. Rusho, Everett Ruess: A Vagabond for Beauty & Wilderness Journals
“You know, everyone has a past. Sometimes, it’s what makes us who we are, but sometimes, it lets us know who we don’t ever want to be. I’m not sure what your past has been like, but I do know it doesn’t have to be your future.” ― L. Wilder, Smolder
“And that was the way it was in the old days before the country grew up and men put their guns away. Someday, and I hope it never comes, there may be a time when the Western hills are empty again and the land will go back to wilderness and the old, hard ways. Enemies may come into our country and times will have changed, but then the boys will come down from the old high hills and belt on their guns again. They can do it if they have to. The guns are hung up, the cows roam fat and lazy, but the old spirit is still there, just as it was when the longhorns came up the trail from Texas, and the boys washed the creeks for gold.” ― Louis L'Amour, To Tame a Land
“Hardy had learned in a hard school, where the tests are given by savage Indians, by bitter cold, by hunger. These were tests where the result was not just a bad mark if one failed. The result was a starved or frozen body somewhere, forgotten in the wilderness.” ― Louis L'Amour, Down the Long Hills
“She was silent; the great wings almost stopped moving; only a delicate stirring seemed to keep them aloft. "Listen, then," Mrs. Whatsit said. The resonant voice rose and the words seemed to be all around them so that Meg felt that she could almost reach out and touch them: "Sing unto the Lord a new song, and His praise from the end of the earth, ye that go down to the sea, and all that there is therein; the isles, and the inhabitants thereof. Let the wilderness and the cities thereof lift their voice; let the inhabitants of the rock sing, let them shout from the top of the mountains. Let them give glory unto the Lord!” ― Madeleine L'Engle, A Wrinkle in Time
“If wisdom's ways you wisely seek, five things observe with care: to whom you speak, of whom you speak, and how and when and where. Your loving mother, C. L. Ingalls.” ― Laura Ingalls Wilder, Little Town On The Prairie
“Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.” ― Richard Rayner, A Bright and Guilty Place: Murder, Corruption, and L.A.'s Scandalous Coming of Age
“...ma presto moriremo e ogni ricordo di quei cinque lascerà la terra, e noi stessi saremo amati per qualche tempo ancora e poi dimenticati. Ma l'amore sarà bastato; e tutti gli impulsi dell'amore ritornano all'amore da cui sono venuti. Nemmeno i ricordi sono necessari all'amore. C'è una terra dei vivi e una terra dei morti, e il ponte è l'amore, la sola sopravvivenza, il solo significato".” ― Thornton Wilder, The Bridge of San Luis Rey
“The vampire was the third theological concoction made for the culture to drink from the mixologists of religion and the main ingredient of rabies. The vampire throughout the world arose concurrently with the werewolf and its origin again stemmed from the tortures of being “zombies” tied down in the wilderness.” ― L.B. Ó Ceallaigh, Revenants, Retroviruses, and Religion: How Viruses and Disease Created Cultural Mythology and Shaped Religious Perspectives
“In many ways, the vampire was spared the gross suffering of the werewolf but that is only because they suffered in many other ways at the hands of the supernatural doctrines of religion. They, however, were connected to the hyperbolic voice crying in the wilderness.” ― L.B. Ó Ceallaigh, Revenants, Retroviruses, and Religion: How Viruses and Disease Created Cultural Mythology and Shaped Religious Perspectives
“It’s love that does it to you,” Jane would reply, in the resigned, ponderous voice of her mother. “You wait and see, my girl. One of these days you’ll come down off your devil-may-care high horse.” As Jane said this, and even though she was making fun, she could picture love, with a capital L, descending out of the sky towards her like a huge foot. Her mother’s life had been a disaster, but in her own view an inevitable disaster, as in songs and movies. It was Love that was responsible, and in the face of Love, what could be done? Love was like a steamroller. There was no avoiding it, it went over you and you came out flat.” ― Margaret Atwood, Wilderness Tips
“I'm falling for you. Actually, I've already fallen for you. I want this. I want you, and I'd hate to have to cut a ho, but I will.” ― L. Wilder, Smokey
“I’m a spiritual mutt. The road is my church. It was on the road that I discovered the landscape god. My journals tell of the perpetual midnight mass held on the highways and byways of the American West. Every so often, climbing out of the driver’s seat with a journal and a camera, seeking the sacrament of the wild silence found in the unsullied sanctuaries of intact wilderness.” ― L.M. Browning, Drive Through the Night
“The voice of the LORD is over e the waters; the God of glory f thunders, the LORD, over many waters. 4 The voice of the LORD is g powerful; the voice of the LORD is full of majesty. 5 The voice of the LORD breaks the cedars; the LORD breaks h the cedars of Lebanon. 6 He makes Lebanon to i skip like a calf, and j Sirion like a young k wild ox. 7 The voice of the LORD flashes forth flames of fire. 8 The voice of the LORD shakes the wilderness; the LORD shakes the wilderness of l Kadesh. 9 The voice of the LORD makes m the deer give birth [3] and strips the forests bare, and in his temple all cry, “Glory!” 10 The LORD sits enthroned over n the flood;” ― Anonymous, The Holy Bible: English Standard Version
“l the kingdom of heaven is at hand.” 3For this is he who was spoken of by the prophet Isaiah when he said, m “The voice of one crying in the wilderness: n ‘Prepare [1] the way of the Lord; make his paths straight.” ― Anonymous, The Holy Bible: English Standard Version
“Repent, for l the kingdom of heaven is at hand.” 3For this is he who was spoken of by the prophet Isaiah when he said, m “The voice of one crying in the wilderness: n ‘Prepare [1] the way of the Lord; make his paths straight.” ― Anonymous, The Holy Bible: English Standard Version
“Plans to protect air and water, wilderness and wildlife, are in fact plans to protect man.” ― Stewart L. Udall
“Love doesn’t hide. It stays and fights. It goes the distance. That’s why God made love so strong. So it can carry you all the way home. Franking P. Jones” ― L. Wilder, Consumed
“While I am alive, I intend to live. (Everett Ruess to his friend Bill, Mar 9, 1931, p 31)” ― W.L. Rusho, Everett Ruess: A Vagabond for Beauty & Wilderness Journals
“You know, everyone has a past. Sometimes, it’s what makes us who we are, but sometimes, it lets us know who we don’t ever want to be. I’m not sure what your past has been like, but I do know it doesn’t have to be your future.” ― L. Wilder, Smolder
“And that was the way it was in the old days before the country grew up and men put their guns away. Someday, and I hope it never comes, there may be a time when the Western hills are empty again and the land will go back to wilderness and the old, hard ways. Enemies may come into our country and times will have changed, but then the boys will come down from the old high hills and belt on their guns again. They can do it if they have to. The guns are hung up, the cows roam fat and lazy, but the old spirit is still there, just as it was when the longhorns came up the trail from Texas, and the boys washed the creeks for gold.” ― Louis L'Amour, To Tame a Land
“Hardy had learned in a hard school, where the tests are given by savage Indians, by bitter cold, by hunger. These were tests where the result was not just a bad mark if one failed. The result was a starved or frozen body somewhere, forgotten in the wilderness.” ― Louis L'Amour, Down the Long Hills
“She was silent; the great wings almost stopped moving; only a delicate stirring seemed to keep them aloft. "Listen, then," Mrs. Whatsit said. The resonant voice rose and the words seemed to be all around them so that Meg felt that she could almost reach out and touch them: "Sing unto the Lord a new song, and His praise from the end of the earth, ye that go down to the sea, and all that there is therein; the isles, and the inhabitants thereof. Let the wilderness and the cities thereof lift their voice; let the inhabitants of the rock sing, let them shout from the top of the mountains. Let them give glory unto the Lord!” ― Madeleine L'Engle, A Wrinkle in Time
“If wisdom's ways you wisely seek, five things observe with care: to whom you speak, of whom you speak, and how and when and where. Your loving mother, C. L. Ingalls.” ― Laura Ingalls Wilder, Little Town On The Prairie
“Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.” ― Richard Rayner, A Bright and Guilty Place: Murder, Corruption, and L.A.'s Scandalous Coming of Age
“...ma presto moriremo e ogni ricordo di quei cinque lascerà la terra, e noi stessi saremo amati per qualche tempo ancora e poi dimenticati. Ma l'amore sarà bastato; e tutti gli impulsi dell'amore ritornano all'amore da cui sono venuti. Nemmeno i ricordi sono necessari all'amore. C'è una terra dei vivi e una terra dei morti, e il ponte è l'amore, la sola sopravvivenza, il solo significato".” ― Thornton Wilder, The Bridge of San Luis Rey
“The vampire was the third theological concoction made for the culture to drink from the mixologists of religion and the main ingredient of rabies. The vampire throughout the world arose concurrently with the werewolf and its origin again stemmed from the tortures of being “zombies” tied down in the wilderness.” ― L.B. Ó Ceallaigh, Revenants, Retroviruses, and Religion: How Viruses and Disease Created Cultural Mythology and Shaped Religious Perspectives
“In many ways, the vampire was spared the gross suffering of the werewolf but that is only because they suffered in many other ways at the hands of the supernatural doctrines of religion. They, however, were connected to the hyperbolic voice crying in the wilderness.” ― L.B. Ó Ceallaigh, Revenants, Retroviruses, and Religion: How Viruses and Disease Created Cultural Mythology and Shaped Religious Perspectives
“It’s love that does it to you,” Jane would reply, in the resigned, ponderous voice of her mother. “You wait and see, my girl. One of these days you’ll come down off your devil-may-care high horse.” As Jane said this, and even though she was making fun, she could picture love, with a capital L, descending out of the sky towards her like a huge foot. Her mother’s life had been a disaster, but in her own view an inevitable disaster, as in songs and movies. It was Love that was responsible, and in the face of Love, what could be done? Love was like a steamroller. There was no avoiding it, it went over you and you came out flat.” ― Margaret Atwood, Wilderness Tips
“I'm falling for you. Actually, I've already fallen for you. I want this. I want you, and I'd hate to have to cut a ho, but I will.” ― L. Wilder, Smokey
“I’m a spiritual mutt. The road is my church. It was on the road that I discovered the landscape god. My journals tell of the perpetual midnight mass held on the highways and byways of the American West. Every so often, climbing out of the driver’s seat with a journal and a camera, seeking the sacrament of the wild silence found in the unsullied sanctuaries of intact wilderness.” ― L.M. Browning, Drive Through the Night
“The voice of the LORD is over e the waters; the God of glory f thunders, the LORD, over many waters. 4 The voice of the LORD is g powerful; the voice of the LORD is full of majesty. 5 The voice of the LORD breaks the cedars; the LORD breaks h the cedars of Lebanon. 6 He makes Lebanon to i skip like a calf, and j Sirion like a young k wild ox. 7 The voice of the LORD flashes forth flames of fire. 8 The voice of the LORD shakes the wilderness; the LORD shakes the wilderness of l Kadesh. 9 The voice of the LORD makes m the deer give birth [3] and strips the forests bare, and in his temple all cry, “Glory!” 10 The LORD sits enthroned over n the flood;” ― Anonymous, The Holy Bible: English Standard Version
“l the kingdom of heaven is at hand.” 3For this is he who was spoken of by the prophet Isaiah when he said, m “The voice of one crying in the wilderness: n ‘Prepare [1] the way of the Lord; make his paths straight.” ― Anonymous, The Holy Bible: English Standard Version
“Repent, for l the kingdom of heaven is at hand.” 3For this is he who was spoken of by the prophet Isaiah when he said, m “The voice of one crying in the wilderness: n ‘Prepare [1] the way of the Lord; make his paths straight.” ― Anonymous, The Holy Bible: English Standard Version
