The Museum Of Extraordinary Things Quotes

The quality of the Neues Museum's construction is extraordinary even by German standards, and people can smell that quality. The concept would not have been so convincing without it. ~ David Chipperfield

OLD GRIZZLY ADAMS. [37-*] James C. Adams, or "Grizzly Adams," as he was generally termed, from the fact of his having captured so many grizzly bears, and encountered such fearful perils by his unexampled daring, was an extraordinary character. For many years a hunter and trapper in the Rocky and Sierra Nevada Mountains, he acquired a recklessness which, added to his natural invincible courage, rendered him truly one of the most striking men of the age. He was emphatically what the English call a man of "pluck." In 1860, he arrived in New York with his famous collection of California animals, captured by himself, consisting of twenty or thirty immense grizzly bears, at the head of which stood "Old Sampson" - now in the American Museum - wolves, half a dozen other species of bear, California lions, tigers, buffalo, elk, etc., and Old Neptune, the great sea-lion, from the Pacific. ~ P.T. Barnum

It may have been due to the effect of the gordo blanco on my cognitive functions, but I was suddenly overwhelmed by an extraordinary feeling - not of satisfaction but of absolute joy. It was the feeling I had in the Museum of Natural History and when I was making cocktails. We started dancing again, and this time I allowed myself to focus on the sensations of my body moving to the beat of the song from my childhood and of Rosie moving to the same rhythm. ~ Graeme Simsion

I was dissatisfied with my 1967 manuscript and decided to rewrite the book. It was the first of September, and I said to myself, "If I do not have the finished manuscript in Faber's hands by September 10, I shall have to kill myself." And under this threat, I started writing. Within a day or so, the feeling of threat had disappeared, and the joy of writing took over. I was no longer using drugs, but it was a time of extraordinary elation and energy. It seemed to me almost as though the book were being dictated, everything organizing itself swiftly and automatically. I would sleep for just a couple of hours a night. And a day ahead of schedule, on September 9, I took the book to Faber & Faber. Their offices were in Great Russell Street, near the British Museum, and after dropping off the manuscript, I walked over to the museum. Looking at artifacts there - pottery, sculptures, tools, and especially books and manuscripts, which had long outlived their creators - I had the feeling that I, too, had produced something. Something modest, perhaps, but with a reality and existence of its own, something that might live on after I was gone.

I have never had such a strong feeling, a feeling of having made something real and of some value, as I did with that first book, which was written in the face of such threats from Friedman and, for that matter, from myself. Returning to New York, I felt a sense of joyousness and almost blessedness. I wanted to shout, "Hallelujah! ~ Oliver Sacks

It was now autumn, and I made up my mind to make, before winter set in, an excursion across Normandy, a country with which I was not acquainted. It must be borne in mind that I began with Rouen, and for a week I wandered about enthusiastic with admiration, in that picturesque town of the Middle Ages, in that veritable museum of extraordinary Gothic monuments.

Well, one afternoon, somewhere about four o'clock, as I happened to be passing down an out-of-the-way by-street, in the middle of which flowed a deep river, black as ink, named the Eau de Robec, my attention wholly directed to examining the bizarre and antique physiognomy of the houses, was all of a sudden attracted by the sight of a series of shops of furniture brokers, one after the other, from door to door along the street. Ah! these second-hand brokers had well chosen their locality, these sordid old traffickers of bric-a-brac, in this fantastic alley leading up from stream of that sinister dark water, under the steep pointed overhanging gables of tiled roofs and projecting shingle eaves, where the weathercocks of the past still creaked overhead. ("Who Knows?") ~ Guy De Maupassant