{"id":12864,"date":"2014-05-04T10:12:15","date_gmt":"2014-05-04T14:12:15","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=12864"},"modified":"2014-05-04T10:16:27","modified_gmt":"2014-05-04T14:16:27","slug":"more-words-to-live-by","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2014\/05\/more-words-to-live-by.html","title":{"rendered":"More Words to Live By"},"content":{"rendered":"

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“Death is a good old farce which stops us taking life too seriously. It pardons us. This is why people want, at any cost, not to die, to be immortal, to be even more alive afterwards than before: so that they can remain serious. Death liberates us from that.”
\n— Julien Torma in a letter to Ren\u00e9 Daumal (Nov. 2, 1929), translated by Dennis Duncan and cited in the pamphlet Pataphysical Letters<\/strong><\/em> [The London Institute of ‘Pataphysics<\/a>, 2012]<\/em><\/font><\/p><\/blockquote>\n

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Was Julien Torma a fictional creation of Daumal’s? Click to read<\/a> page 56 of Kathleen Ferrick Rosenblatt’s Ren\u00e9 Daumal: The Life and Work of a Mystic Guide<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

“Death is a good old farce which stops us taking life too seriously. It pardons us. This is why people want, at any cost, not to die, to be immortal, to be even more alive afterwards than before: so that they can remain serious. Death liberates us from that.” — Julien Torma in a letter […]<\/p>\n","protected":false},"author":3,"featured_media":12870,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[18],"tags":[],"class_list":{"0":"post-12864","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-literature","8":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/05\/pataphysical-letters220.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-3lu","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/12864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=12864"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/12864\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/12870"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=12864"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=12864"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=12864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}