John Berger

Perspective is not a science but a hope.

Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.

At times failure is very necessary for the artist. It reminds him that failure is not the ultimate disaster. And this reminder liberates him from the mean fussing of perfectionism.

You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting __anity,_ thus morally condemning the woman whose nakedness you had depicted for you own pleasure.

The real question is: to whom does the meaning of the art of the past properly belong ? To those who can app|y it to their own lives, or to a cultural hierarchy of relic specialtsts?

Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.

The happiness of being envied is glamour.Being envied is a solitary form of reassurance. It depends precisely upon not sharing your experience with those who envy you. You are observed with interest but you do not observe with interest - if you do, you will become less enviable. In this respect the envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power. The power of the glamorous resides in their supposed happiness: the power of the bureaucrat in his supposed authority.

My heart born nakedwas swaddled in lullabies.Later alone it worepoems for clothes.Like a shirtI carried on my backthe poetry I had read.So I lived for half a centuryuntil wordlessly we met.From my shirt on the back of the chairI learn tonighthow many yearsof learning by heartI waited for you.

I propose a conspiracy of orphans. We exchange winks. We reject hierarchies. All hierarchies. We take the shit of the world for granted and we exchange stories about how we nevertheless get by. We are impertinent. More than half the stars in the universe are orphan-stars belonging to no constellation. And they give off more light than all the constellation stars.

A man's death makes everything certain about him. Of course, secrets may die with him. And of course, a hundred years later somebody looking through some papers may discover a fact which throws a totally different light on his life and of which all the people who attended his funeral were ignorant. Death changes the facts qualitatively but not quantitatively. One does not know more facts about a man because he is dead. But what one already knows hardens and becomes definite. We cannot hope for ambiguities to be clarified, we cannot hope for further change, we cannot hope for more. We are now the protagonists and we have to make up our minds.

Both agreed that to find any sense in life it was pointless to search in the places where people were instructed to look. Sense was only to be found in secrets.

The spectator-buyer is meant to envy herself as she will become if she buys the product. She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself.

But for the overcrowded, for those who have little or nothing except, sometimes, courage and love, hope works differently. Hope is then something to bite on, to put between the teeth. Don't forget this. Be a realist. With hope between the teeth comes the strength to carry on even when fatigue never lets up, comes strength, when necessary, to choose not to shout at the wrong moment, comes the strength above all not to howl. A person, with hope between her or his teeth, is a brother or sister who commands respect.

Poems, even when narrative, do not resemble stories. All stories are about battles, of one kind or another, which end in victory or defeat. Everything moves towards the end, when the outcome will be known.Poems, regardless of any outcome, cross the battlefields, tending the wounded, listening to the wild monologues of the triumphant or the fearful. They bring a kind of peace. Not by anaesthesia or easy reassurance, but by recognition and the promise that what has been experienced cannot disappear as if it had never been. Yet the promise is not of a monument. (Who, still on a battlefield, wants monuments?) The promise is that language has acknowledged, has given shelter, to the experience which demanded, which cried out.

If every event which occurred could be given a name, there would be no need for stories.

Your lips, beloved, are like a honeycomb: honey and milk are under the tongue. And the smell of your clothes is like the smell of my home.

A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another....One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object -- and most particularly an object of vision: a sight.

We read and reread the words of the original text in order to penetrate through them, to reach, to touch the vision or experience which prompted them. We then gather up what we have found there and take this quivering almost wordless 'thing' and place it behind the language into which it needs to be translated. And now the principal task is to persuade the host language to take in and welcome the 'thing' which is waiting to be articulated.