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When we read a story, we inhabit it. The covers of the book are like a roof and four walls.

John Berger

The strange power of art is sometimes it can show that what people have in common is more urgent than what differentiates them. It seems to me it’s something that theatre can do, but it’s rare; it’s very rare.
JOHN BERGER

Art Common Differentiate More People Power Rare Sometimes Strange Theatre Urgent
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.
JOHN BERGER

Alive Cicadas Legend Poem Poet Quiet Soul
You cant draw it for others. You can try, of course, but it doesn’t work. People obeying rules laid down my somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line.
JOHN BERGER

Course Else Life Line Obey Other People Respect Somebody
Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.
JOHN BERGER

Add All Cutting Daily Future Mean Media Modernism Past Presently
Seeing comes before words. The child looks and recognizes before it can speak.
JOHN BERGER

Children Looks Speak Recognize Word
To live and die amongst foreigners may seem less absurd than to live persecuted or tortured by one’s fellow countrymen….
JOHN BERGER

Amouingest Countrymen Die Fellow Foreigner Less Live May Moving Persecuted Seem Torture World
It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it
JOHN BERGER

Establish Explain Fact Facts Place Seeing Surround Undo Word World
For me, drawing is a lot to do with taking out, with returning to the white of the paper.
JOHN BERGER

Lot Me Out Paper Returning Take White
Buildings become furniture, courtyards become carpets and arrases, the streets are like galleries, the boulevards conservatories. It is a house, one or two centuries old, rich, bourgeois, distinguished. The only way of going out, or shutting the door behind you, is to leave the centre.
JOHN BERGER

Behind Bourgeois Building Conservatories Door Furniture Galleries Go House Shutting Street Way
The extreme proposition on which Giacometti based all his mature work was that no reality… could ever be shared. This is why he believed it impossible for a work to be finished. This is why the content of any work is not the nature of the figure or head portrayed but the incomplete history of him staring at it.
JOHN BERGER

Bases Extreme Finishing Giacometti History Impossible Incomplete Portrayed Proposition Reality Share Staring
Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.
JOHN BERGER

Almost Being Certainly Certainty Need Painting Pianist Something
Writers who have neither product utopian trash.
JOHN BERGER

Neither Product Truth Utopian Writer
These contradictions both hide and increase the natural ambiguity of the photographic image.
JOHN BERGER

Ambiguity Contradiction Image Increase Natural Photo Photograph
The heart of Paris is like nothing so much as the unending interior of a house.
JOHN BERGER

Country Doors Heart House Interior Two Unending
Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
JOHN BERGER

Audience Cinema Deep Individually Nature Ritual Theatre Transport Unknown
If the public photograph contributes to a memory, it is to the memory of an unknowable and total stranger.
JOHN BERGER

Contribute Memories Photograph Stranger Unknowable

When we read a story, we inhabit it. The covers of the book are like a roof and four walls.

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When we read a story, we inhabit it. The covers of the book are like a roof and four walls.

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Popular Authors

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