"Imagine life without death. Every day you’d want to kill yourself from despair."

Jules Renard

"Time is Eternity’s way of showing us mercy."

Zbigniew Herbert

"Is it splendid, or stupid, to take life seriously?"

Gustave Flaubert

"People will do anything, no matter how absurd, in order to avoid facing their own soul. One does not become enlightened by imagining figures of light, but by making the darkness conscious."

Carl Jung 

(Source: likeafieldmouse, via fuckyeahexistentialism)

ratak-monodosico:

An Atlas of Anatomy. Mrs. Fenwick Miller. 1879.

ratak-monodosico:

An Atlas of Anatomy. Mrs. Fenwick Miller. 1879.

(Source: openlibrary.org)

"There comes a time when you look into the mirror and you realize that what you see is all that you will ever be. And then you accept it. Or you kill yourself. Or you stop looking in mirrors."

Tennessee Williams (via human-voices)

Reblog forever

(Source: fables-of-the-reconstruction, via human-voices)

Steve Paulson: I have to ask you something about the very end of the last episode. You said that you don’t believe in god, you don’t believe in an afterlife, but it sure seems like Rust Cohle is describing a near-death experience he’s had with some contact with the beyond. 

Nic Pizzolatto: Absolutely. But I don’t think he’s having contact with the beyond. I mean, everything Rust Cohle says happens to him could happen within the confines of his own brain, inside of a coma. Because technically what he’s describing is a darkness where he still had a sense of self and he could feel his sense of self fading. And what was taking its place for a short time was the remembrance of love. Then in that remembrance of love he could still feel himself and the love fading away until there was nothingness. He says, “I disappeared. I was gone. And then I woke up.” So I think he definitely had a near-death experience, but it didn’t involve contact with anything supernatural. What it involved was the emotional memory of love that, on top of everything he had been through, allowed Cohle for the first time to access the very deep grief that sat at the heart of all his hardness, and that had been there since he was a child. If you pay attention to Rust’s origin story, he was the unwanted child of a single mother who dumped him off on a survivalist Vietnam vet who took him to Alaska to live off the land. Joins the army as soon as he gets a chance, goes from there to law enforcement. This is before he lost his daughter and things went really bad. This is a man who probably in most ways has never really known love. So he hasn’t been converted at all. I believe he’s had his perception widened maybe 5% to admit that the hardline pessimism he was taking was no more definitive than anyone else’s narrative, perhaps. And the optimism he expresses is a very cautious one because I don’t think there’s anything to suggest that Cohle’s optimism is more valid than his pessimism. Just that they’re both narratives. And the stars are fading at the end. 

A discussion with Nic Pizzolatto about True Detective on To The Best Of Our Knowledge

"Human beings often attach ourselves to the wrong things because we’re subject of so many whims and desires that we don’t always know what to want. A fear you’re getting older and you can actually see the end of the tunnel now might lead someone to step outside their marriage, or act rationally in a way they wouldn’t, because suddenly their motivations have changed, the narrative has changed for them. So you need to be careful what stories you tell yourself."

Nic Pizzolatto, discussing True Detective on To The Best Of Our Knowledge

"

Growing up in these areas, I always felt the landscape was almost oppressive to me. It was so flat, and all the trees had been cut down and the only thing on the horizon was a refinery pumping smoke into the sky. These things were as much a part of me as my personal tastes. Henry James said, “landscape is character,” and I’ve always felt that way.


We’re all trapped, and the first thing that traps us is our ego, which separates us from the rest of the world and makes us think that we’re all a bunch of different things instead of one thing. And the cages just multiply from there. You have a series of personal cages, defenses, illusions, predilections, narratives. And then you lay on top of that the narratives of family, the narratives of God and country, and this is before you even get to the landscape, mind you. And then the landscape, with its economic depression and its lack of upward mobility and its lack of opportunities, can be oppressive.

"

Nic Pizzolatto, discussing True Detective on To The Best Of Our Knowledge

"As much as we might try to strip ourselves of illusions, what you’re ultimately left with is the exact poverty of your knowledge, that you know very little about your situation as a human being on the planet Earth. And what you do know sounds like a noir story: you’re doomed."

Nic Pizzolatto, discussing True Detective on To The Best Of Our Knowledge