Gravestone Quotes

I think they’ll probably put that on my gravestone. ‘He Was Heterosexual and Had Low Expectations.

Carve your name on hearts, not tombstones. A legacy is etched into the minds of others and the stories they share about you.

When I die of heart failure the next time you frighten me like that, you can put that on my gravestone—‘I didn’t mean to startle her.

I liked those ladies! They were helpers, and they danced.' These are the words I want on my gravestone: that I was a helper, and that I danced.

Why should death make a man truthful, or even clever? The dead are likely dull fellows, full of tedious complaints - the ground's too cold, my gravestone should be larger, why does he get more worms than I do...

What will be left of all the fearing and wanting associated with your problematic life situation that every day takes up most of your attention? A dash, one or two inches long, between the date of birth and date of death on your gravestone.

...if I die suddenly, my gravestone might appropriately offer this insight into my departure: "God got tired." I require lots of work.

Don't try.

If privacy had a gravestone it might read: 'Don't Worry. This Was for Your Own Good.

The past was but the cemetery of our illusions: one simply stubbed one's toes on the gravestones.

There is no such thing as a happy ending. Every culture has a maxim that makes this point, while nowhere in the Universe is there a single gravestone that reads 'He Loved Everything About His Life, Especially the Dying Bit at the End'.

Ivan had contrived somehow in the dark of night to replace every watermelon in the watermelon patch with a gravestone, and every gravestone in the engraver's lot with a watermelon

When a child dies, a parent loses a part of themselves,” he said. “Your whole world ceases to exist and you’re nothing but a shell of the person you once were. Your mom has dealt with it in her way, me in mine, and you in yours.” He lifted his hand off John’s gravestone and rose. “Your mom hates the world, I avoid it, and you try to save it.

The last to fall were the buildings, distant and solemn, the gravestones for an entire world.

These are the words I want on my gravestone: that I was a helper, and that I danced."

One of the gravestones in the cemetery near the earliest church has an anchor on it and an hourglass, and the words In Hope. In Hope. Why did they put that above a dead person? Was it the corpse hoping, or those still alive?

If we had happy endings, we’d all be under gravestones now.

They'll probably put that on my gravestone. 'He Was Heterosexul and Had Low Expectations.

People are curious. A few people are. ... They will put things together, knowing all along that they may be mistaken. You see them going around with notebooks, scraping the dirt off gravestones, reading microfilm, just in the hope of seeing this trickle in time, making a connection, rescuing one thing from the rubbish.

(On his gravestone): "I told you I was ill".

Here lies one from a distant star, but the soil is not alien to him, for in death he belongs to the universe.

Sometimes I dream--" "I'll put that on your gravestone.

They'll probably put that on my gravestone. 'He Was Heterosexual and Had Low Expectations.

Write on my gravestone: 'Infidel, Traitor.', infidel to every church that compromises with wrong; traitor to every government that oppresses the people.

Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster. This is the whole of the story and we might have left it at that had there not been profit and pleasure in the telling; and although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.

I've never written a quote I feel would be suitable for my gravestone. Wouldn't it be ironic if it were this one? Oh, and could you pull a few weeds while you're here?

In my life are many windows and many graves. Sometimes they exchange roles: then a window is closed forever, then by way of a gravestone I can see very far. (Hebrew-to-English translation by Rabbi Steven Sager)

Handcuffs weigh much more than gravestones. (from "Gratitude")

On my gravestone, I want it to say, "I told you I was sick.

Let love be the gravestone Lying on my life.

The story of a life can be as long or as short as the teller wishes. Whether the life is tragic or enlightened, the classic gravestone inscription marking simply the dates of birth and death has, in its brevity, much to recommend it.

Natalie was buried in the family plot, next to a gravestone that already bore her parents' names. I know the wisdom, that no parents should see their child die, that such an event is like nature spun backward. But it's the only way to truly keep your child. Kid grow up, they forge more potent allegiances. They find a spouse or a lover. They will not be buried with you. The Keenes, however, will remain the purest form of family. Underground.

Some people won't have kids, but I’m not going to have parents. I’m burning their birth certificates and defacing their gravestones tonight.

Would you like to hear my story, Bella? It doesn't have a happy ending - but which of ours does? If we had happy endings, we'd all be under gravestones now.

A young man left Beartown in silence and when he came home again it was too late for words. You can’t look a gravestone in the eye and ask its forgiveness.

Ron told Pippa that during the six years he had spent on the book, Valerie Chernow had developed a powerful identification with Hamilton’s wife. “She used to say, ‘Eliza is like me: She’s good, she’s true, she’s loyal, she’s not ambitious.’ There was a purity and a goodness about the character, and that was like Valerie,” he says. In 2006, after 27 years of marriage, Valerie passed away. For her gravestone, Ron chose a line from the letter that Hamilton wrote to Eliza on the night before the duel: “Best of wives and best of women.

One grave in every graveyard belongs to the ghouls. Wander any graveyard long enough and you will find it - water stained and bulging, with cracked or broken stone, scraggly grass or rank weeds about it, and a feeling, when you reach it, of abandonment. It may be colder than the other gravestones, too, and the name on the stone is all too often impossible to read. If there is a statue on the grave it will be headless or so scabbed with fungus and lichens as to look like fungus itself. If one grave in a graveyard looks like a target for petty vandals, that is the ghoul-gate. If the grave wants to make you be somewhere else, that is the ghoul-gate.

In the pale light of daybreak the gravestones looked like so many white sails that would never again be filled with wind, sails that, too long unused and heavily drooping, had been turned into stone just as they were. The boats' anchors had been thrust so deeply into the dark earth that they could never again be raised.

This is the whole of the story and we might have left it at that had there not been profit and pleasure in the telling; and although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.

There must have been a real mess on the tracks,’ Lorna said, ‘They shut down the F train line for a whole two hours for you. Two hours! And in rush hour!’ My final achievement. Man, I hoped Mom was getting that put on my gravestone. Here lies Charlotte Feldman. She pissed off commuters. A lot.

Maybe it’s not metaphysics. Maybe it’s existential. I’m talking about the individual US citizen’s deep fear, the same basic fear that you and I have and that everybody has except nobody ever talks about it except existentialists in convoluted French prose. Or Pascal. Our smallness, our insignificance and mortality, yours and mine, the thing that we all spend all our time not thinking about directly, that we are tiny and at the mercy of large forces and that time is always passing and that every day we’ve lost one more day that will never come back and our childhoods are over and our adolescence and the vigor of youth and soon our adulthood, that everything we see around us all the time is decaying and passing, it’s all passing away, and so are we, so am I, and given how fast the first forty-two years have shot by it’s not going to be long before I too pass away, whoever imagined that there was a more truthful way to put it than “die,” “pass away,” the very sound of it makes me feel the way I feel at dusk on a wintry Sunday—’ ‘And not only that, but everybody who knows me or even knows I exist will die, and then everybody who knows those people and might even conceivably have even heard of me will die, and so on, and the gravestones and monuments we spend money to have put in to make sure we’re remembered, these’ll last what—a hundred years? two hundred?—and they’ll crumble, and the grass and insects my decomposition will go to feed will die, and their offspring, or if I’m cremated the trees that are nourished by my windblown ash will die or get cut down and decay, and my urn will decay, and before maybe three or four generations it will be like I never existed, not only will I have passed away but it will be like I was never here, and people in 2104 or whatever will no more think of Stuart A. Nichols Jr. than you or I think of John T. Smith, 1790 to 1864, of Livingston, Virginia, or some such. That everything is on fire, slow fire, and we’re all less than a million breaths away from an oblivion more total than we can even bring ourselves to even try to imagine, in fact, probably that’s why the manic US obsession with production, produce, produce, impact the world, contribute, shape things, to help distract us from how little and totally insignificant and temporary we are.

The sunlight, penetrating the gaps in the tall trees, plays chess on the gravestones, shifting slowly and thoughtfully across the worn old stones. The wind, like a hundred violins, plays perpetually in the topmost branches of the deodars.

If you can see a thing whole," he said, "it seems that it's always beautiful. Planets, lives. . . . But close up, a world's all dirt and rocks. And day to day, life's a hard job, you get tired, you loose the pattern. You need distance, interval. The way to see how beautiful earth is, is to see it from the moon. The way to see how beautiful life is, is from the vantage point of death." "That's all right for Urras. Let it stay off there and be the moon-I don't want it! But I am not going to stand up on a gravestone and look down on life and say, 'O lovely!' I want to see it whole right in the middle of it, here, now. I don't give a hoot for eternity." "It's nothing to do with eternity," said Shevek, grinning, a thin shaggy man of silver and shadow. "All you have to do to see life as a whole is to see it as mortal. I'll die, you'll die; how could we love each other otherwise? The sun's going to burn out, what else keeps it shining?" "Ah! your talk, your damned philosophy!" "Talk? It's not talk. It's not reason. It's hand's touch. I touch the wholeness, I hold it. Which is moonlight, which is Takver? How shall I fear death? When I hold it, when I hold in my hands the light-" "Don't be propertarian," Takver muttered. "Dear heart, don't cry." "I'm not crying. You are. Those are your tears." "I'm cold. The moonlight's cold." "Lie down." A great shiver went through his body as she took him in her arms. "I'm afraid, Takver," he whispered.

Yes, she laid down her life taunting her tribute with a sandwich, thought Coriolanus. Maybe her gravestone could read, “Casualty of cheap laughs.

What will be left of all the fearing and wanting associated with your problematic life situation that every day takes up most of your attention? A dash — one or two inches long, between the date of birth and date of death on your gravestone. To the egoic self, this is a depressing thought. To you, it is liberating.

The Doctor: Amy, what are you doing? Amy: That gravestone, Rory's, there's room for one more name isn't there? The Doctor: What are you talking about? Back away from the Angel. Come back to the TARDIS, we'll figure something out. Amy: The Angel, would it send me back to the same time, to him? The Doctor: I don't know. Nobody knows. Amy: But it's my best shot, yeah? The Doctor: No! River: Doctor, shut up! Yes, yes, it is! The Doctor: Amy— Amy: Well then. I just have to blink, right? The Doctor: No! Amy: It'll be fine. I know it will. I'll be with him like I should be. Me and Rory together. {calling River over} Melody. The Doctor: Stop it! Just, just, stop it! Amy: You look after him. And you be a good girl and you look after him. The Doctor: You are creating fixed time. I will never be able to see you again. Amy: I'll be fine. I'll be with him. The Doctor: Amy. Please. Just come back into the TARDIS, Come along, Pond. Please. Amy: Raggedy Man, goodbye. -Doctor Who

I am highly suspicious of attempts to brightside human suffering, especially suffering that—as in the case of almost all infectious diseases—is unjustly distributed. I’m not here to criticize other people’s hope, but personally, whenever I hear someone waxing poetic about the silver linings to all these clouds, I think about a wonderful poem by Clint Smith called “When people say, ‘we have made it through worse before.’” The poem begins, “all I hear is the wind slapping against the gravestones / of those who did not make it.” As in Ibn Battuta’s Damascus, the only path forward is true solidarity—not only in hope, but also in lamentation.

Did Errol ever know that his life would be just a dash on a gravestone? That everything he did and all the food he ate and the car trips he took and the kisses he gave would all end up as a line on a rock? In a park with a whole lot of strangers?

Sure, he likes you," said Alec. "You're heterosexual and have low expectations of father figures." "I think they'll probably put that on my gravestone. 'He Was Heterosexual and Had Low Expectations.

I asked once, and the library assistant told me there were more than a hundred thousand books there, and more than sixty million pages of documents. It's a good number, I think: ten pages for every person who died. A kind of monument in paper for people who have no gravestones.

This is how I want to be remembered: In spite of everything, she really tried to be nice and believed other people did too. You can go ahead and put that on my gravestone.

Although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.

Who had chosen the line for her gravestone, “I have travel’d thro’ Perils & Darkness not unlike a Champion.

person did what a person could, whether it was setting up gravestones or trying to convince twenty-first-century men and women that there were monsters in the world, and their greatest advantage was the unwillingness of rational people to believe.

I tried and failed. I tried again and again and succeeded. [Epitaph from Gail Borden's gravestone.]

I labor grimly on these sentences, wondering all the while if prose is but the gravestone marking the forsaking of wildness

Look at that grave.... Think anyone comes to visit that person?" "Probably not," says Frank. "What's the point in having a gravestone then?" asks Audrey.

The moon was full, shining enough light down for Scarlet to make out the hundreds of gravestones lined up in the wet grass and the dozens of standing tombs that rose up in various places throughout the yard. Giant trees swayed in the winter wind, throwing shadows across the grounds and making it look like the darkness was alive. Graveyards were much more frightening at night than they were during the day. An owl hooted. A wolf howled. A bat flapped across the night sky before her, wings silhouetted by the giant moon. Are you kidding me? It was like the graveyard knew Scarlet had entered and wanted to make it the creepiest experience ever.

When she fell asleep, she dreamed of death-- not just for her, not just for her species, but for every living thing she had ever known. The earth was flat and brown, a field of dirt as barren as the moon, a single road stretching in the distance. the last to fall were the buildings, distant and solemn, the gravestones for an entire world. Then they disappeared, and there was nothing left but nothing.

When I die, put my ashes in the trash bag I don't care where they go Don't waste your money on my gravestone I'm more concerned about my soul Everybody's gon' die Don't everybody live though

I thought of the new stone, of my new wife, and of the newly buried white bones beneath us, and I felt that fate had made sport of us all.

He spake well who said that graves are the footprints of angels.

I think they’ll probably put that on my gravestone. ‘He Was Heterosexual and Had Low Expectations.’ 

The loss inside him kept piling—vertebrae shattered, finger bones lost, gravestone past and guillotine future, ghost woman and her ghost curls,

New York is nearly a grave. The Empire State Building is its gravestone.

We three just stared. I thought of Macbeth's witches huddled around their cauldron. How now, you secret, black, and midnight hags. What is't you do? A deed without a name. We were as quiet as the gravestones around us.

The start date and the end date are always the important bits on the gravestones, written in big letters. The dash in between is always so small you can barely see it. Surely the dash should be big and bright and amazing, or not, depending on how you had lived.

Αἰσχύλον Εὐφορίωνος Ἀθηναῖον τόδε κεύθει μνῆμα καταφθίμενον πυροφόροιο Γέλας· ἀλκὴν δ' εὐδόκιμον Μαραθώνιον ἄλσος ἂν εἴποι καὶ βαθυχαιτήεις Μῆδος ἐπιστάμενο This gravestone covers Aeschylus, son of Euphorion, from Athens, who died in fertile Gela. The field of Marathon will speak of his bravery, and so will the long haired Mede who knew it well.

Social media is basically standing at a bucket filled with other people’s vomit and you suck the vomit through a straw, and gag and wince at the unbearable taste of other people’s vomit. Yet strangely we continue to suck through the straw as if we’ve never tasted such lovely vomit. And then before you know it you’re old and you’re grey. And that’s the end of you. A lonely death. Your gravestone is marked with the six saddest words: Social Media Drained My Soul Away And they all mourn your loss at a budget funeral service while updating their social media statuses on mobile phones apps. And in years to come nobody remembers any of your updates; even those updates that you deep-down believed were going to bring about world peace. The Digital Age is more disposable than nappies and just as full of shit.

I stopped in St. Bernadette's Cemetery one of my favorite places... The trunks of six giant oaks rise like columns supporting a ceiling formed by their interlocking crowns. In the quiet space below, is laid out an aisle similar to those in any library. The gravestones are like rows of books bearing the names of those whose names have been blotted from the pages of life; who have been forgotten elsewhere but are remembered here.

You always have a lot going on Harper. It's like your thing. When you die in a hundred years, they'll probably write on your gravestone, 'Here lies Harper Price-Dang it, She Still had Stuff To Do!

The dead only knows their world.

Bad enough when the dead come walking,"he said (Dolorous Edd) to Jon, "now the Old Bear wants them talking as well? No good will come of that, I'll warrant. And who's to say the bones wouldn't lie? Why should death make a man truthful, or even clever? The dead are likely dull fellows, full of tedious complaints-the ground's too cold, my gravestone should be larger, why does he get more worms than I do. . . .

He remembered the gravestone of a woman parishioner in the churchyard of St. John's in the Grove. DEMURE AT LAST, it read. He thought that the single most definitive and amusing epitaph he'd ever come across.

As when astronaut Mike Mulhane was asked by a NASA psychiatrist what epitaph he'd like to have on his gravestone, Mulhane answered, "A loving husband and devoted father," though in reality, he jokes in "Riding Rockets," "I would have sold my wife and children into slavery for a ride into space.

He decides it is better to die in Ireland than in Paris because in Ireland the outdoors looks like the outdoors and gravestones are mossy and chipped, and the letters wear down with the wind and the rain so everyone gets forgotten in time, and life flies on.

I hear a phone ringing through the thick fuzzy air. It's Thunders, asking me to join the Heartbreakers. He says to come over to the rehearsal studios right now. I’m scared but I go anyway. That should be written on my gravestone. She was scared. But she went anyway.

Shit now is the color white folks are afraid of. Shit is the presence of death, not some abstract-arty character with a scythe but the stiff and rotting corpse inside the whiteman’s warm and private own asshole, which is getting pretty intimate. That’s what the toilet is for. You see many brown toilets? Nope, toilet’s the color of gravestones, classical columns of mausoleums, that white emblems the very emblem of Odorless and Official death.

Her father had died for her, with love in his heart, and Nesta held love in her own heart as she pulled the small, carved rose from her pocket and set it upon the gravestone. A permanent marker of the beauty and good he'd tried to bring into the world.

Sometimes I feel as if there's an explanation to my life that continues to escape me; that I've missed something noble, something sublime; that in some way I have cheated myself...life is so strange, so harsh.

Here’s what I’ve got, the reasons why our marriage might work: Because you wear pink but write poems about bullets and gravestones. Because you yell at your keys when you lose them, and laugh, loudly, at your own jokes. Because you can hold a pistol, gut a pig. Because you memorize songs, even commercials from thirty years back and sing them when vacuuming. You have soft hands. Because when we moved, the contents of what you packed were written inside the boxes. Because you think swans are overrated. Because you drove me to the train station. You drove me to Minneapolis. You drove me to Providence. Because you underline everything you read, and circle the things you think are important, and put stars next to the things you think I should think are important, and write notes in the margins about all the people you’re mad at and my name almost never appears there. Because you make that pork recipe you found in the Frida Khalo Cookbook. Because when you read that essay about Rilke, you underlined the whole thing except the part where Rilke says love means to deny the self and to be consumed in flames. Because when the lights are off, the curtains drawn, and an additional sheet is nailed over the windows, you still believe someone outside can see you. And one day five summers ago, when you couldn’t put gas in your car, when your fridge was so empty—not even leftovers or condiments— there was a single twenty-ounce bottle of Mountain Dew, which you paid for with your last damn dime because you once overheard me say that I liked it.

As I let my eyes lose their focus on what’s right in front of me, I realize that I am in a sea of gravestones. I am surrounded by other people’s loss. It has never been so clear to me that I am not alone in this. People die every day and other people move on. If everyone that loved all of these people has picked themselves up and moved on, I can do it too. I will one day wake up and see the sun shining and think, What a nice day.

The stones lay lumpish and cold under my bare feet. I thought longingly of the black shoes on the beach. A wave drew back, like a hand, then advanced and touched my foot. The drench seemed to come off the sea floor itself,where blind white fish ferried themselves by their own light through the great polar cold. I saw sharks' teeth and whales' earbones littered about down like gravestone. I waited, as if the sea could make my decision for me. A second wave collapsed over my feet, lipped with white froth, and the chill gripped my ankles with a mortal ache. My flesh winched, in cowardice, from such a death.

Without You" My Pillow gazes upon me at night Empty as a gravestone; I never thought it would be so bitter To be alone, Not to lie down asleep in your hair. I lie alone in a silent house, The hanging lamp darkened, And gently stretch out my hands To gather in yours, And softly press my warm mouth Toward you, and kiss myself, exhausted and weak- Then suddenly I'm awake And all around me the cold night grows still. The star in the window shines clearly- Where is your blond hair, Where your sweet mouth? Now I drink pain in every delight And poison in every wine; I never knew it would be so bitter To be alone, Alone, without you.

Rarely has a man been more comfortable with his own greatness. He spent much of his leisure time penning long and flattering portraits of himself, declaring that there had never ‘been a greater botanist or zoologist’, and that his system of classification was ‘the greatest achievement in the realm of science’. Modestly, he suggested that his gravestone should bear the inscription Princeps Botanicorum, ‘Prince of Botanists’. It was never wise to question his generous self-assessments. Those who did so were apt to find they had weeds named after them.

No sooner was I safely among the gravestones than a great feeling of warmth and calm contentment came sweeping over me. Life among the dead. This was where I was meant to be! What a revelation! And what a place to have it! I could succeed at whatever I chose. I could, for instance, become an undertaker. Or a pathologist. A detective, a gravedigger, a tombstone maker, or even the world's greatest murderer. Suddenly the world was my oyster—even if it was a dead one.

The dense fog manifests ever-living gravestones, the tunes of decadence, the hearts that were doomed to dance alone. Here lies untouched beauty, a brittle dream, an unseen sea-born nightmare, an isolated acheirous harf, fishbones without flesh, a face without letters, the hypnotic power o Apollonian destruction. Ashes kiss the grapefruit essential oil skin, the soul beats with eaten sons and daughters, soaking wet serpents with cuspid tongues lollop for legendary goddesses.

It is upon such stones that men attempt to permanently etch history so they will not exist in a vacuum; it is the final statement after a lifetime of scratching out divisions upon the ground, over ephemeral time itself, merely to give their short journeys meaning, to tell others “I was here – do not forget me, do not let my brief blast dissolve into nothingness.

THE BODY of BENJAMIN FRANKLIN Printer like the cover of an old book, its contents torn out, and stripped of its lettering and gilding lies here, food for worms; Yet the work itself shall not be lost, For it will (as he believed) appear once more, in a new, and more beautiful edition, corrected and amended By The AUTHOR

Death is only a launching into the region of the strange Untried; it is but the first salutation to the possibilities of the immense Remote, the Wild, the Watery, the Unshored; therefore, to the death-longing eyes of men, who still have left in them some interior compunctions against suicide, does the all-contributed and all-receptive ocean alluringly spread forth his whole plan of unimaginable, taking terrors, and wonderful, new-life adventures; and from the hearts of infinite Pacific's, the thousand mermaids sing to them--"Come hither, broken-hearted; here is another life without the guilt of intermediate death; here are wonders supernatural, without dying for them. Come hither! bury thyself in a life which, to your now equally abhorred and abhorring, landed world, is more oblivious than death. Come hither! put up thy gravestone, too, within the churchyard, and come hither, till we marry thee!" Hearkening to these voices, East and West, by early sun rise, and by fall of eve, the blacksmith's soul responded, Aye I come! And so Perth went a-whaling.

The church was simply the former chapel of the castle, fronting upon its grass-grown court, which, however, was of generous enough width to have given up its quaintest corner to a little graveyard. Here the very headstones themselves seemed to sleep, as they slanted into the grass.

Has there ever been a child like Eva? Yes, there have been ; but their names are always on gravestones, and their sweet smiles, their heavenly eyes, their singular words and ways, are among the buried treasures of yearning hearts. In how many families do you hear the legend that all the goodness and graces of the living are nothing to the peculiar charms of one who is not I It is as if Heaven had an especial band of angels, whose office it was to sojourn for a season here, and en dear to them the wayward human heart, that they might bear it upward with them in their homeward flight. When you see that deep, spiritual light in the eye — when the little soul reveals itself in words sweeter and wiser than the ordinary words of children — hope not to retain that child ; for the seal of Heaven is on it, and the light of immortality looks out from its eyes.

IT ALL BEGAN with the High Court case about the madman and the watermelons. The man in question, named Ivan, lived along the River Dell in an eastern section of the city near the merchant docks. To one side of his house resided a cutter and engraver of gravestones, and to the other side was a neighbor’s watermelon patch. Ivan had contrived somehow in the dark of night to replace every watermelon in the watermelon patch with a gravestone, and every gravestone in the engraver’s lot with a watermelon. He’d then shoved cryptic instructions under each neighbor’s door with the intention of setting each on a scavenger hunt to find his missing items, a move useless in one case and unnecessary in the other, as the watermelon-grower could not read and the gravestone-carver could see her gravestones from her doorstep quite plainly, planted in the watermelon patch two lots down. Both had guessed the culprit immediately, for Ivan’s antics were not uncommon. Only a month ago, Ivan had stolen a neighbor’s cow and perched her atop yet another neighbor’s candle shop, where she mooed mournfully until someone climbed the roof to milk her, and where she was compelled to live for several days, the kingdom’s most elevated and probably most mystified cow, while the few literate neighbors on the street worked through Ivan’s cryptic clues for how to build the rope and pulley device to bring her down.

Shadow inserted his coin. The drunk in the graveyard raised his bottle to his lips. One of the gravestones flipped over, revealing a grasping corpse; a headstone turned around, flowers replaced by a grinning skull. A wraith appeared on the right of the church, while on the left of the church something with a half-glimpsed, pointed, unsettlingly birdlike face, a pale, Boschian nightmare, glided smoothly from a headstone into the shadows and was gone. Then the church door opened, a priest came out, and the ghosts, haunts, and corpses vanished, and only the priest and the drunk were left alone in the graveyard. The priest looked down at the drunk disdainfully, and backed through the open door, which closed behind him, leaving the drunk on his own. The clockwork story was deeply unsettling. Much more unsettling, thought Shadow, than clockwork has any right to be. “You know why I show that to you?” asked Czernobog. “No.” “That is the world as it is. That is the real world. It is there, in that box.

Has there ever been a child like Eva? Yes, there have been; but their names are always on grave-stones, and their sweet smiles, their heavenly eyes, their singular words and ways, are among the buried treasures of yearning hearts. In how many families do you hear the legend that all the goodness and graces of the living are nothing to the peculiar charms of one who is not. It is as if heaven had an especial band of angels, whose office it was to sojourn for a season here, and endear to them the wayward human heart, that they might bear it upward with them in their homeward flight. When you see that deep, spiritual light in the eye,—when the little soul reveals itself in words sweeter and wiser than the ordinary words of children,—hope not to retain that child; for the seal of heaven is on it, and the light of immortality looks out from its eyes.

I pray where I am, sitting by the window, looking out through the curtain at the empty garden. I don't even close my eyes. Out there or inside my head, it's an equal darkness. Or light. My God. Who Art in the Kingdom of Heaven, which is within. I wish you would tell me Your Name, the real one I mean. But You will do as well as anything. I wish I knew what You were up to. But whatever it is, help me to get through it, please. Though maybe it's not our doing: I don't believe for an instant that what's going on out there is what You meant. I have enough daily bread, so I won't waste time on that. It isn't the main problem. The problem is getting it down without choking on it. Now we come to forgiveness. Don't worry about forgiving me right now. There are more important things. For instance: keep the others safe, if they are safe. Don't let them suffer too much. If they have to die, let it be fast. You might even provide a Heaven for them. We need You for that. Hell we can make for ourselves. I suppose I should say I forgive whoever did this, and whatever they're doing now. I'll try, but it isn't easy. Temptation comes next. At the Center, temptation was anything much more than eating and sleeping. Knowing was a temptation. What you don't know won't tempt you, Aunt Lydia used to say. Maybe I don't really want to know what's going on. Maybe I'd rather not know. Maybe I couldn't bear to know. The Fall was a fall from innocence to knowledge. I think about the chandelier too much, though it's gone now. But you could use a hook, in the closet. I've considered the possibilities. All you'd have to do, after attaching yourself, would be to lean your weight forward and not fight. Deliver us from evil. Then there's Kingdom, power, and glory. It takes a lot to believe in those right now. But I'll try it anyway. In Hope, as they say on the gravestones. You must feel pretty ripped off. I guess it's not the first time. If I were You I'd be fed up. I'd really be sick of it. I guess that's the difference between us. I feel very unreal talking to You like this. I fee as if I'm talking to a wall. I wish You'd answer. I feel so alone. All alone by the telephone. Except that I can't use the telephone. And if I could, who could I call? Oh God. It's no joke. Oh God oh God. How can I keep on living.

everybody who knows me or even knows I exist will die, and then everybody who knows those people and might even conceivably have even heard of me will die, and so on, and the gravestones and monuments we spend money to have put in to make sure we’re remembered, these’ll last what—a hundred years? two hundred?—and they’ll crumble, and the grass and insects my decomposition will go to feed will die, and their offspring, or if I’m cremated the trees that are nourished by my windblown ash will die or get cut down and decay, and my urn will decay, and before maybe three or four generations it will be like I never existed, not only will I have passed away but it will be like I was never here, and people in 2104 or whatever will no more think of Stuart A. Nichols Jr. than you or I think of John T. Smith, 1790 to 1864, of Livingston, Virginia, or some such. That everything is on fire, slow fire, and we’re all less than a million breaths away from an oblivion more total than we can even bring ourselves to even try to imagine, in fact, probably that’s why the manic US obsession with production, produce, produce, impact the world, contribute, shape things, to help distract us from how little and totally insignificant and temporary we are.’ ‘This is supposed to be news to us. News flash: We’re going to die.

Kerényi was as aware as anybody today of the territorial limits of Greek myths and of the non-importability of Hermes. He writes: “In his ‘such-ness,’ he is an historical fact that cannot, by strict and honest historical means, be reduced to something else: neither to a concept, to a ‘power,’ nor to a ‘spirit’ – a gravestone or signpost spirit – not even to an idea that would not contain in a nutshell everything that Hermes’ ‘such-ness’ constitutes.” … Working more in Hermes’ own sleight of hand way, Kerényi is soon saying things like this: “If a god is ‘idea’ and ‘world,’ he remains nonetheless in connection with the world that contains all such ‘worlds’; he can only be an ‘aspect of the world,’ while the world of which he is an aspect possesses such idea-aspects.” Now, if you will let Kerényi get away with a statement like that – and I hope you will – you will end up owning the Brooklyn Bridge. … Kerényi’s Hermes is the only one that is going to rob you or enrich you, enlighten you or screw you. … “Guide of Souls” is the usual translation given to the Hermes-epithet “Psychopompos” and it refers to his role as the god who leads souls into the underworld when they die. But πομπóς (still present in every French funeral store’s “Pompes funèbres” description of itself) is more than guide, and even more than guide to the underworld. It means to lead, but Hermes as leader is not quite right either. It means something more like to lead on. Hermes is the god who “leads you on.” … This means he is deceiving you, taking advantage of your gullibility, “taking you for a ride.” That, however, is how Hermes works, and how he gets your soul to move anywhere, how he gets you to budge even a hair off whatever you’re in … . … Go ahead and buy the Brooklyn Bridge from this man. Be had. Be incorrect. Be foolish. You pay with your soul for this kind of reading. And Hermes does not take plastic.

Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.