In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side.
Rachel Aranda works in Madhattan, lives in Queens, and worries her radio always needs new batteries.
One very amusing Oasis documentary, and a short stop in Amsterdam later, voila, I landed in Brussels, finding it a puzzling Southern California-esque 85 and sunny. I napped for four hours as everyone advises you not to, then rose a la Lazarus to wander around in aimless circles. Getting lost was OK, then awesome, then scary, then fine, then fun, then alarming, then I stopped caring. Time didn’t stand still so much as flopped around in a haze of cafes, cathedrals, splendidness, garbage, beggars, tourists (U.S., China, India, U.K. most represented), squares, cobblestones, statues of that peeing kid, ornate windows, waffles, and chocolate shops. Euros are pretty. So nice to hear French. Dutch is hilarious. The youths are as tattooed and bearded as they are yonder U.S.
Art museums should have beds that lovers can climb into and nuzzle. Art museums should have choices of spectacles with colored lenses, red, purple, kaleidoscopic. Once an hour or so, or it could be once a day or week, art museums should play, loudly, a piece of music that people can dance to. Art museums with tall ceilings should offer bungee jumps to their patrons. This may be a perk of membership. Museums should have pits of foam so that we can look at a work of art and then fall backward safely and softly. Trampolines?