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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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Book Cover Four Inhabit Reading Roof Wall

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.
JOHN BERGER

Dwelling Home Hostile Language Men Place Potentially
The essence of songs is neither vocal nor cerebral but organic.
JOHN BERGER

Celebrate Essence Order Organic Song Vocal
For those who are behind the curtain, landmarks are no longer only geographic but also biographical and personal
JOHN BERGER

Behind Biographical Curtain Geographical Landmark Longer Personal
If every event which occurred could be given a name, there would be no need for stories.
JOHN BERGER

Event Given Name Need Occurred Story
I use charcoal a lot. Partly because it has such a fantastic range but also because it is very easy to erase.
JOHN BERGER

Charcoal Drawing Erase Fantastic Partly Range Use White Wrase
There’s the artist’s intimacy and truthfulness to himself, but an equal intimacy to the Other [the one drawn].
JOHN BERGER

Artist Drawing Drawn Equal Intimacy Other Truthfulness
Ours is the century of enforced travel of disappearances.
JOHN BERGER

Century Disappearance Enforce Horizon Our People Travel
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
Tracing an imaginary line between a cluster of stars gave them an image and an identity.
JOHN BERGER

Between Cluster Gave Identity Image Imaginary Star Trace
What do drawings mean to me? I really don’t know. The activity absorbs me. I forget everything else in a way that I don’t think happens with any other activity.
JOHN BERGER

Absorb Activity Draw Else Everything Forget Happen Mean Think Thinking
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
It is not usually possible in a poem or a story to make the relationship between particular and universal fully explicit. Those who try to do so end up writing parables.
JOHN BERGER

Between Explicit Fully Make Relationship Stories Trying Universal Usually Writing
The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
JOHN BERGER

Before Century Poverty Priorities Result Scarcity Set World
We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.
JOHN BERGER

Earth Explanation Knowledge Quite Sight Yet
Pleasure and pain need to be considered together; they are inseparable. Yet the space filled by each is perhaps different. Pleasure, defined as a sense of gratification, is essential for nature
JOHN BERGER

Consider Essential Inseparable Nature Need Pain Pleasure Sense Space Together
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

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