Casting Forward Book Quotes

Cast light to all you would touch.

This book is a love letter. I want you to look past the carnage and pain, my talk of trauma and its aftermath. Listen, pain is inevitable. You may be hurting right now, maybe you’re dealing with some pain from your past. Know this, pain, both physical and emotional, is unavoidable in life. But you are alive right now, here reading this, and you have the chance to move forward. Stay alive.

He wouldn’t let himself be imprisoned by fear; fear of failing, fear of rejection. That was no way to live; frozen in place, unable to move forward or backward. He would choose instead to step out in faith and rely on the One whose love had the power to cast out his fears – even the darkest of them.

I want to be clear that when I used terms such as “pretense” and “intellectual dishonesty” when we first met, I wasn’t casting judgment on you personally. Simply living with the moderate’s dilemma may be the only way forward, because the alternative would be to radically edit these books. I’m not such an idealist as to imagine that will happen. We can’t say, “Listen, you barbarians: These holy books of yours are filled with murderous nonsense. In the interests of getting you to behave like civilized human beings, we’re going to redact them and give you back something that reads like Kahlil Gibran. There you go … Don’t you feel better now that you no longer hate homosexuals?” However, that’s really what one should be able to do in any intellectual tradition in the twenty-first century. Again, this problem confronts religious moderates everywhere, but it’s an excruciating problem for Muslims.

So when you say that no religion is intrinsically peaceful or warlike, and that every scripture must be interpreted, I think you run into problems, because many of these texts aren’t all that elastic. They aren’t susceptible to just any interpretation, and they commit their adherents to specific beliefs and practices. You can’t say, for instance, that Islam recommends eating bacon and drinking alcohol. And even if you could find some way of reading the Qur’an that would permit those things, you can’t say that its central message is that a devout Muslim should consume as much bacon and alcohol as humanly possible. Nor can one say that the central message of Islam is pacifism. (However, one can say that about Jainism. All religions are not the same.) One simply cannot say that the central message of the Qur’an is respect for women as the moral and political equals of men. To the contrary, one can say that under Islam, the central message is that women are second-class citizens and the property of the men in their lives. I want to be clear that when I used terms such as “pretense” and “intellectual dishonesty” when we first met, I wasn’t casting judgment on you personally. Simply living with the moderate’s dilemma may be the only way forward, because the alternative would be to radically edit these books. I’m not such an idealist as to imagine that will happen.

Dawn was casting spun-gold threads across a rosy sky over Sawubona Game Reserve as Martine Allen took a last look around to ensure there weren’t any witnesses, leaned forward like a jockey on the track, wound her fingers through a tangle of silver mane, and cried, ‘Go, Jemmy, go!’ The white giraffe sprang forward so suddenly that she was almost unseated, but she recovered and, wrapping her arms around his neck, quickly adjusted to the familiar rhythm of Jemmy’s rocking-horse stride.

Writers allow us to see ourselves more clearly, they express spiritual signposts that assist us find ourselves. Writers’ self-revelations allow us to grasp personal reflections that remain unrealized and indistinct within ourselves. Nuggets of personal perception remain veiled, until we read carefully chosen words sharing the author’s crystallized perceptions. Provocative authors resolutely tap into that robust vein of common yearning and assiduously engineer their way through humankind’s rampant library of collective neurosis. Reading a master’s scintillating prose allows our own inchoate thoughts to shape up under the splendid beam of sunlight that they cast onto pages bearing their soul’s freshly minted words. Their astutely crafted pages conveying everlasting imagery immunizes their work from the harshness of time’s relentless march forward.

Although Daisy was the mildest-tempered of all the Bowmans, she was by no means a coward. And she would not accept defeat without a fight. “You’re forcing me to take desperate measures,” she said. His reply was very soft. “There’s nothing you can do.” He had left her no choice. Daisy turned the key in the lock and carefully withdrew it. The decisive click was abnormally loud in the silence of the room. Calmly Daisy tugged the top edge of her bodice away from her chest. She held the key above the narrow gap. Matthew’s eyes widened as he understood what she intended. “You wouldn’t.” As he started around the dresser, Daisy dropped the key into her bodice, making certain it slipped beneath her corset. She sucked in her stomach and midriff until she felt the cold metal slide to her navel. “Damn it!” Matthew reached her with startling speed. He reached out to touch her, then jerked his hands back as if he had just encountered open flame. “Take it out,” he commanded, his face dark with outrage. “I can’t.” “I mean it, Daisy!” “It’s fallen too far down. I’ll have to take my dress off.” It was obvious he wanted to kill her. But she could also feel the force of his longing. His lungs were working like bellows, and scorching heat radiated from his body. His whisper contained the ferocity of a roar. “Don’t do this to me.” Daisy waited patiently. The next move was his. He turned his back to her, the seams of his coat straining over bunched muscles. His fists clenched as he struggled to master himself. He took a shuddering breath, and another, and when he spoke his voice sounded thick, as if he had just awakened from a heavy sleep. “Take off your gown.” Trying not to antagonize him any more than was necessary, Daisy replied in an apologetic tone. “I can’t do it by myself. It buttons up the back.” Matthew said something in a muffled voice that sounded very foul. After an eternity of silence he turned to face her. His jaw could have been cast in iron. “I’m not going to fall apart that easily. I can resist you, Daisy. I’ve had years of practice. Turn around.” Daisy obeyed. As she bent her head forward, she could actually feel his gaze travel over the endless row of pearl buttons. “How do you ever get undressed?” he muttered. “I’ve never seen so many blasted buttons on one garment.” “It’s fashionable.” “It’s ridiculous.” “You can send a letter of protest to Godey’s Lady’s Book,” she suggested. Giving a scornful snort, Matthew began on the top button. He tried to unfasten it while avoiding contact with her body. “It helps if you slide your fingers beneath the placket,” Daisy said. “And then you can pop the button through the—” “Quiet,” he snapped. She closed her mouth.

It may be conjectured that a soul in which the type of 'free spirit' can attain maturity and completeness had its decisive and deciding event in the form of a great emancipation or unbinding, and that prior to that event it seemed only the more firmly and forever chained to its place and pillar. What binds strongest? What cords seem almost unbreakable? In the case of mortals of a choice and lofty nature they will be those of duty: that reverence, which in youth is most typical, that timidity and tenderness in the presence of the traditionally honored and the worthy, that gratitude to the soil from which we sprung, for the hand that guided us, for the relic before which we were taught to pray — their sublimest moments will themselves bind these souls most strongly. The great liberation comes suddenly to such prisoners, like an earthquake: the young soul is all at once shaken, torn apart, cast forth — it comprehends not itself what is taking place. An involuntary onward impulse rules them with the mastery of command; a will, a wish are developed to go forward, anywhere, at any price; a strong, dangerous curiosity regarding an undiscovered world flames and flashes in all their being. 'Better to die than live here'— so sounds the tempting voice: and this 'here,' this 'at home' constitutes all they have hitherto loved. A sudden dread and distrust of that which they loved, a flash of contempt for that which is called their 'duty,' a mutinous, wilful, volcanic-like longing for a far away journey, strange scenes and people, annihilation, petrifaction, a hatred surmounting love, perhaps a sacrilegious impulse and look backwards, to where they so long prayed and loved, perhaps a flush of shame for what they did and at the same time an exultation at having done it, an inner, intoxicating, delightful tremor in which is betrayed the sense of victory—

How has Mark’s fear about what happened to him during college governed his life? How will the events of the book change the way he lives going forward, if at all? Why do you think Nancy kept Pupkin? Do you think she understood the danger he posed to her children? Do you think even understanding that danger would have made her give up her last link to her brother? Did you see the twist about Freddie coming? Haunted house novels and movies often revolve around family issues (family secrets, family curses, family dysfunction). Do you think that’s the case here? And can you think of any books and movies about hauntings where that’s not the case? Which actors would you cast in a tv show or movie based on the book?