will become way less concerned with what other people think of you when you realise how seldom they do.
wallace, d. f. (2005) infinite jest
she is very modest about her work, and seemed surprised that any one should remember her except her individual clients. a few years ago when the royal institute of irish architects had arranged an exhibition of her work in dublin, people had been amazed to see the dates on things that looked as if they were much more modern. she said she got a few letters from irish architects and artists, which pleased her very much, she had them in a little file still called “Irlande” and she hoped that she had remembered to reply to them all.
yes, she had been back to Ireland a few times, but very briefly, and once by chance when she found that a plane was going to stop over there. she decided to get off and go and look at her old home, and she thought she would have again all those lovely feelings of peace and innocence like she had as a child. but it had changed, and nothing was the same. it wasn’t just that everything – the lawns, the fields, the river – were smaller; she knew that would happen. it was all knocked down and built again, in a most unimaginative style. it made her sad. she never went back again.
and she lives in comfort but not in idleness with a marvellous woman called madame dany who is a breton housekeeper/ companion/dragon. madame dany sees that she eats enough and rests enough and doesn’t get weary talking to journalists for too long.
so eileen gray got up and said that she must finish those chairs, because, my dear, I am nearly100 you know, and it would be foolish to think that I will have unlimited time to finish them the way I want them to be.
interviewed by binchy, m. (1976) paris
no varnish can hide the grain of the wood; and that the more varnish you put on, the more the grain will express itself.
dickens, c. (1860) great expectations
when you are at the end of your rope, tie a knot and hold on.
to see is to enter a universe of beings which display themselves, and they would not do this if they could not be hidden behind each other or behind me. in other words: to look at an object is to inhabit it, and from this habitation to grasp all things in terms of the aspect which they present to it. but in so far as i see those things too, they remain abodes open to my gaze, and being potentially lodged in them, i already perceive from various angles the central object of my present vision. thus every object is the mirror of all others.
merleau-ponty, m. (1945) the phenomenology of perception