Hannah Coulter Quotes

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Love is what carries you, for it is always there, even in the dark, or most in the dark, but shining out at times like gold stitches in a piece of embroidery.
Wendell Berry (Hannah Coulter)
You mustn’t wish for another life. You mustn’t want to be somebody else. What you must do is this: “Rejoice evermore. Pray without ceasing. In everything give thanks.” I am not all the way capable of so much, but those are the right instructions.
Wendell Berry (Hannah Coulter)
Want of imagination makes things unreal enough to be destroyed. By imagination I mean knowledge and love. I mean compassion. People of power kill children, the old send the young to die, because they have no imagination. They have power. Can you have power and imagination at the same time? Can you kill people you don’t know and have compassion for them at the same time?
Wendell Berry (Hannah Coulter)
The chance you had is the life you've got. You can make complaints about what people, including you, make of their lives after they have got them, and about what people make of other people's lives, ...but you mustn't wish for another life. You mustn't want to be somebody else.
Wendell Berry (Hannah Coulter)
I began to trust the world again, not to give me what I wanted, for I saw that it could not be trusted to do that, but to give unforeseen goods and pleasures that I had not thought to want.
Wendell Berry (Hannah Coulter)
I took her into bed with me and propped myself up with pillows against the headboard to let her nurse. As she nursed and the milk came, she began a little low contented sort of singing. I would feel milk and love flowing from me to her as once it had flowed to me. It emptied me. As the baby fed, I seemed slowly to grow empty of myself, as if in the presence of that long flow of love even grief could not stand.
Wendell Berry (Hannah Coulter)
We weren't allowing our hopes to become expectations. Expectations are tempting, pleasant, maybe necessary. They are scary too, once you have had some experience. They are not necessarily and not always a bucket of smoke, but they can be and are even likely to be.
Wendell Berry (Hannah Coulter)
Time doesn't stop. Your life doesn't stop and wait until you get ready to start living it.
Wendell Berry (Hannah Coulter)
The way of education leads away from home. That is what we learned from our children’s education.
Wendell Berry (Hannah Coulter)
The living can't quit living because the world has turned terrible and people they love and need are killed. They can't because they don't. The light that shines into darkness and never goes out calls them on into life. It calls them back again into the great room. It calls them into their bodies and into the world, into whatever the world will require. It calls them into work and pleasure, goodness and beauty, and the company of other loved ones.
Wendell Berry (Hannah Coulter)
You think winter will never end, and then, when you don't expect it, when you have almost forgotten it, warmth comes and a different light.
Wendell Berry (Hannah Coulter)
Living without expectations is hard but, when you can do it, good. Living without hope is harder, and that is bad. You have got to have hope, and you mustn’t shirk it. Love, after all, 'hopeth all things.' But maybe you must learn, and it is hard learning, not to hope out loud, especially for other people. You must not let your hope turn into expectation.
Wendell Berry (Hannah Coulter)
We had, you could say, everything but money -- Grandmam and I did, anyhow. We had each other and our work, and not much time to think of what we didn't have.
Wendell Berry (Hannah Coulter)
You think you will never forget any of this, you will remember it always just the way it was. But you can't remember it the way it was. To know it, you have to be living in the presence of it right as it is happening. It can return only by surprise. Speaking of these things tells you that there are no words for them that are equal to them or that can restore them to your mind. And so you have a life that you are living only now, now and now and now, gone before you can speak of it, and you must be thankful for living day by day, moment by moment, in this presence. But you have a life too that you remember. It stays with you. YOu have lived a life in the breath and pulse and living light of the present, and your memories of it, remember now, are of a different life in a different world and time. When you remember the past, you are not remembering it as it was. You are remembering it as it is. It is a vision or a dream, present with you in the present, alive with you in the only time you are alive.
Wendell Berry (Hannah Coulter)
When you are old you can look back and see yourself when you are young. It is almost like looking down from heaven. And you see yourself as a young woman, just a big girl really, half awake to the world. You see yourself happy, holding in your arms a good, decent, gentle, beloved young man with the blood keen in his veins, who before long is going to disappear, just disappear, into a storm of hate and flying metal and fire. And you just don't know it.
Wendell Berry (Hannah Coulter)
One of the attractions of moving away into te life of employment, I think, is being disconnected and free, unbothered by membership. It is a life of beginnings without memories, but i is a life too that ends without being remembered.
Wendell Berry (Hannah Coulter)
Sometimes...I wander about in this house that Nathan and I renewed, that is now aged and worn by our life in it. How many steps, wearing the thresholds? I look at it all again. Sometimes it fills to the brim with sorrow, which signifies the joy that has been here, and the love. It is entirely a gift." (158)
Wendell Berry (Hannah Coulter)
I have this love for Mattie. It was formed in me as he himself was formed. It has his shape, you might say. He fits it. He fits into it as he fits into his clothes. He will always fit into it. When he gets out of the car and I meet him and hug him, there he is, him himself, something of my very own forever, and my love for him goes all around him just as it did when he was a baby and a little boy and a young man grown.
Wendell Berry (Hannah Coulter)
It is hard to say what it means to be at work and thinking of a person you loved and love still who did that same work before you and who taught you to do it. It is a comfort ever and always, like hearing the rhyme come when you are singing a song.
Wendell Berry (Hannah Coulter)
I realized that the story of even so small a place can never be completely told and can never be finished. It is eternal, always here and now, and going on forever.
Wendell Berry (Hannah Coulter)
Living right on called for nothing out of the ordinary. We made no changes. We only accepted the changes as they came.
Wendell Berry (Hannah Coulter)
When you have gone too far, as I think he did, the only mending is to come home.
Wendell Berry (Hannah Coulter)
I began to know my story then. Like everybody's, it was going to be the story of living in the absence of the dead. What is the thread that holds it all together? Grief, I thought for a while. And grief is there sure enough, just about all the way through. From the time I was a girl I have never been far from it. But grief is not a force that has not power to hold. You only bear it. Love is what carries you, for it is always there, even in the dark, or most in the dark, but shining out at times like gold stitches in a piece of embroidery.
Wendell Berry (Hannah Coulter)
He was a humorous, good-natured man, maybe because he hoped for little and expected less and took his satisfactions where he found them.
Wendell Berry (Hannah Coulter)
Books were a dependable pleasure. I read more then than I ever was able to read again until now when I am too old to work much and am mostly alone.
Wendell Berry (Hannah Coulter)
To know that I was known by a new living being, who had not existed until she was made in my body by my desire and brought forth into the world by my pain and strength—that changed me. My heart, which seemed to have had only loss and grief in it before, now had joy in it also.
Wendell Berry (Hannah Coulter)
The room of love is another world. You go there wearing no watch, watching no clock. It is the world without end, so small that two people can hold it in their arms, and yet it is bigger than world on world, for it contains the longing of all things to be together, and to be at rest together. You come together to the day's end, weary and sore, troubled and afraid. You take it all in your arms, it goes away, and there you are where giving and taking are the same, and you live a little while entirely in a gift. The words have all been said, all permissions given, and you free in the place that is the two of you together. What could be more heavenly than to have desire and satisfaction in the same room?
Wendell Berry (Hannah Coulter)
To be the mother of a grown-up child means that you don’t have a child anymore, and that is sad. When the grown-up child leaves home, that is sadder. I wanted Margaret to go to college, but when she actually went away it broke my heart. Maybe if you had enough children you could get used to those departures, but, having only three, I never did. I felt them like amputations. Something I needed was missing. Sometimes, even now, when I come into this house and it sounds empty, before I think I will wonder, “Where are they?
Wendell Berry (Hannah Coulter)
Love in this world doesn't come out of thin air. It is not something thought up. Like ourselves, it grows out of the ground. It has a body and a place.
Wendell Berry (Hannah Coulter)
She would do a mans work when she needed to, but she lived and died without ever putting on a pair of pants. She wore dresses. Being a widow, she wore them black. Being a woman of her time she wore them long. the girls of her day I think must have been like well wrapped gifts to be opened by their husbands on their wedding night, a complete surprise. 'Well! What's this!?
Wendell Berry
Happiness had a way of coming to you and making you sad. You would think, 'There seems to have been a time when I deserved such a happiness and needed it, like a day's pay, and now I have no use for it at all.' How can you be happy, how can you live, when all the things that make you happy grieve you nearly to death?
Wendell Berry (Hannah Coulter)
Most people now are looking for a better place, which means that a lot of them will end up in a worse one. I think this is what Nathan learned from his time in the army and the war. He saw a lot of places, and he came home. I think he gave up the idea that there is a better place somewhere else. There is no “better place” than this, not in this world. And it is by the place we’ve got, and our love for it and our keeping of it, that this world is joined to Heaven. . . . “Something better! Everybody’s talking about something better. The important thing is to feel good and be proud of what you got, don’t matter if it ain’t nothing but a log pen.” Those thoughts come to me in the night, those thoughts and thoughts of becoming sick or helpless, of the nursing home, of lingering death. I gnaw again the old bones of the fear of what is to come, and grieve . . . over . . . (those) who have gone before. Finally, as a gift, as a mercy, I remember to pray, “thy will be done,” and then again I am free and can go to sleep.
Wendell Berry (Hannah Coulter)
The chance you had is the life you’ve got. You can make complaints about what people, including you, make of their lives after they have got them, and about what people make of other people’s lives, even about your children being gone, but you mustn’t wish for another life. You mustn’t want to be somebody else. What you must do is this: “Rejoice evermore. Pray without ceasing. In every thing give thanks.” I am not all the way capable of so much, but those are the right instructions.
Wendell Berry (Hannah Coulter)
What is the thread that holds it all together? Grief, I thought for a while. And grief is there sure enough… But grief is not a force and has no power to hold… Love is what carries you, for it is always there, even in the dark, or mostly there in the dark, but shining out at times like gold stitches in a piece of embroidery. Hannah Coulter by WENDELL BERRY
Mani Feniger (The Woman in the Photograph)
I began to know my story then. Like everybody's, it was going to be the story of living in the absence of the dead.
Wendell Berry (Hannah Coulter)
This is the story of my life, that while I lived it weighed upon me and pressed against me and filled all my senses to overflowing and now is like a dream dreamed.
Wendell Berry (Hannah Coulter)
Time doesn't stop. Your life doesn't stop and wait until you get ready to start living it.
Wendell Berry (Hannah Coulter)
A lifetime's knowledge shimmers on the face of the land in the mind of a person who knows. The history of a place is the mind of an old man or an old woman who knows it.
Wendell Berry (Hannah Coulter)
Maybe the world is waiting for you to give yourself to it. Maybe it's only then that things can work themselves out.
Wendell Berry (Hannah Coulter)
Now I know what we were trying to stand for, and what I believe we did stand for: the possibility that among the world's wars and sufferings two people could love each other for a long time, until death and beyond, and could make a place for each other that would be a part of their love, as their love for each other would be a way of loving their place. This love would be one of the acts of greater love that holds and cherishes all the world. By a long detour through the hell that humans have learned to make, Nathan had come home. He came back to Port William, and to me, to the home and household we made, to his family and friends, to our children yet to be born. And of course, he came back to loss, to the absence of those who did not come back, and of those who would leave.
Wendell Berry (Hannah Coulter)
But grief is not a force and has no power to hold. You only bear it. Love is what carries you, for it is always there, even in the dark, or most in the dark, but shining out at times like gold stitches in a piece of embroidery.
Wendell Berry (Hannah Coulter)
Grandmam, as I have seen in looking back, was the decider of my fate. She shaped my life, without of course knowing what my life would be. She taught me many things that I was going to need to know, without either us knowing I would need to know them. She made the connections that made my life.... If it hadn't been for her, what would my life have been? I don't know. I know it surely would have been different. And it is only by looking back, as an old woman myself, like her a widow and a grandmother, that I can see how much she loved me and can pay her out of my heart the love I owe her.
Wendell Berry (Hannah Coulter)
I have this love for [him]. It was formed in me as he himself was formed. It has his shape, you might say. He fits it. He fits into it as he fits into his own clothes. He will always fit into it. When he gets out of the car and I meet him and hug him, there he is, him himself, something of my own forever, and my love goes all around him just as it did when he was a baby and a little boy and a young man grown.
Wendell Berry (Hannah Coulter)
Those thoughts come to me in the night, those thought and thoughts of becoming sick or helpless, of the nursing home, of lingering death. I gnaw again the old bones of the fear of what is to come, and grieve with a sisterly grief over Grandmam and Mrs. Feltner and the other old women who have gone before. Finally, as a gift, as a mercy, I remember to pray, 'Thy will be done,' and then again I am free and can go to sleep.
Wendell Berry (Hannah Coulter)
At first, as the months went by, it was shameful to me when I would realize that without my consent, almost without my knowledge, something had made me happy. And then I learned to think, when those times would come, 'Well, go ahead. If you're happy, then be happy.' No big happiness came to me yet, but little happinessess did come, and they came from ordinary pleasures in ordinary things; the baby, sunlight, breezes, animals and birds, daily work, rest when I was tired, food, strands of fog in the hollows early in the morning, butterflies, flowers. The flowers didn't have to be dahlias and roses either, but just the weeds blooming in the fields, the daisies and the yarrow. I began to trust the world again, not to give me what I wanted, for I saw that it could not be trusted to do that, but to give unforeseen goods and pleasures that I had not thought to want.
Wendell Berry (Hannah Coulter)
You think winter will never end, and then, when you don't expect it, when you have almost forgotten it, warmth comes and a different light. Under the bare trees the wildflowers bloom so thick you can't walk without stepping on them. The pastures turn green and the leaves come. You look around presently, and it is summer. It has been dry a while, maybe, and now it has rained. The world is so full and abundant it is like a pregnant woman carrying a child in one arm and leading another by the hand.
Wendell Berry (Hannah Coulter)
Grandmam came back from that distance in time that separates grandmothers from their grandchildren and made herself a mother to me.
Wendell Berry (Hannah Coulter)
. . . but we didn’t speak of what was bothering us the most. Maybe we didn’t need to. It couldn’t have been “talked out.” It had to be worn out.
Wendell Berry (Hannah Coulter)
You think the winter will never end, and then, when you don't expect it, when you have almost forgotten it, warmth comes and a different light.
Wendell Berry (Hannah Coulter)
But whatever you hope, you will find out that you can’t bargain with your life on your own terms. It is always going to be proving itself worse or better than you hoped.
Wendell Berry (Hannah Coulter)
To be the mother of a grown-up child means that you don’t have a child anymore, and that is sad. When the grown-up child leaves home, that is sadder.
Wendell Berry (Hannah Coulter)
All women is brothers,' Burley Coulter used to say, and then look at you with a dead sober look as if he didn't know why you thought that was funny. But, as usual, he was telling the truth. Or part of it.
Wendell Berry (Hannah Coulter)
The chance you had is the life you've got. You can make complaints about what people, including you, make of their lives after they have got them, and about what people make of other people's lives, even about the you children being gone, but you mustn't wish for another life. You mustn't want to be somebody else. What you must do is this: 'Rejoice evermore. Pray without ceasing. In every thing give thanks.
Wendell Berry (Hannah Coulter)
I sat down in a chair by the bed. The house got altogether still again, and I thought he was asleep. Just ever so quietly I reached over and laid my hand on his shoulder. He said, 'I love you too, Hannah." He didn't last long after that. Death had become his friend. They say that people, if they want to, can let themselves slip away when the time comes. I think that is what Nathan did. He was not false or greedy. When the time came to go, he went.
Wendell Berry (Hannah Coulter)
The chance you had is the life you’ve got. You can make complaints about what people, including you, make of their lives after they have got them, and about what people make of other people’s lives, even about your children being gone, but you mustn’t wish for another life. You mustn’t want to be somebody else. What you must do is this: ‘Rejoice evermore. Pray without ceasing. In everything give thanks.’ I am not all the way capable of so much, but those are the right instructions.
Wendell Berry (Hannah Coulter)
In time, against conscience and even will, my grief for him began to include grief for myself. Sometimes I would get the feeling that I was going to waste. It was my life calling me to itself. It was the light that shines in darkness calling me back into time.
Wendell Berry (Hannah Coulter)
I'm going to live right on. Dying is none of my business. Dying will have to take care of itself." He came to me then, an old man weakened and ill, with my Nathan looking out of his eyes. He held me a long time as if under a passing storm, and then the quiet came.
Wendell Berry (Hannah Coulter)
The big idea of education, from first to last, is the idea of a better place. Not a better place where you are, because you want it to be better and have been to school and learned to make it better, but a better place somewhere else. In order to move up, you have got to move on.
Wendell Berry (Hannah Coulter)
Even old, your husband is the young man you remember now. Even dead, he is the man you remember, not as he was but as he is, alive still in your love. Death is a sort of lens, though I used to think of it as a wall or a shut door. It changes things and makes them clear. Maybe it is the truest way of knowing this dream, this brief and timeless life.
Wendell Berry (Hannah Coulter)
Living without expectations is hard but, when you can do it, good. Living without hope is harder, and that is bad. You have got to have hope, and you mustn't shirk it. Love, after all, "hopeth all things." But maybe you must learn, and it is hard learning, not to hope out loud, especially for other people. You must not let your hope turn into expectation.
Wendell Berry (Hannah Coulter)
Living without expectations is hard but, when you can do it, good. Living without hope is harder, and that is bad. You have got to have hope, and you mustn’t shirk it. Love, after all, “hopeth all things.” But maybe you must learn, and it is hard learning, not to hope out loud, especially for other people. You must not let your hope turn into expectation.
Wendell Berry (Hannah Coulter)
I knew he that he didn't have the strength to get free. His life was being driven by a kind of flywheel. He had submitted to it and accepted it. It was turning fast. To slow it down or stop it and come to a place that was moving with the motion only of time and loss and slow grief was more, that day, than he could imagine. I knew too that it was more than he could bear.
Wendell Berry (Hannah Coulter)
The survivors of the old life come to pay their respects. The neighbors, old and young, come. People who have moved away, maybe a long time ago, come back. You see people you knew when you were young and now don't recognize, people who may never come back again, people you may never see again. We feel the old fabric torn, pulling apart, and we know how much we have loved each other.
Wendell Berry (Hannah Coulter)
I'm all right." I was telling the truth. I was all right. I was going to live right on. The house slowly filled up with silence. Nathan's absence came into it and filled it. I suffered by hard joy, I gave my thanks, I cried my cry. And then I turned again to that other world I had taught myself to know, the world that is neither past nor to come , the present world where we are alive together and love keeps us.
Wendell Berry (Hannah Coulter)
As I said before, the marriage had troubles in it, which is easy to say. . . When we were both mad, we would have something to say to each other. It wasn’t love, but it beat indifference, and sooner or later, mostly sooner, it would come to love. . . . We had often enough the pleasure of making up, because we fell out often enough. But now, looking back, it is hard to say why we fell out, or what we fell out about, or why whatever we fell out about ever mattered. But even then it was something hard to say. One time we were fussing and Nathan looked at me right in the middle of it and said, “Hannah, what in the hell got us started on this?” I said, “I don’t know.” “Well, I don’t know either,” he said. “So I think I’m going to quit.” “Well, go ahead and quit,” I said. He said, “I already did.” And that was the last word that time.
Wendell Berry (Hannah Coulter)
And now in my tenderness of remembering it all again, I think I am still there with him too. I am there with all the others, most of them gone but some who are still here, who gave me love and called forth love from me. When I number them over, I am surprised how many there are. And so I have to say that another of the golden threads is gratitude. I was grateful because I knew, even in my fear and grief, that my life had been filled with gifts.
Wendell Berry (Hannah Coulter)
You can’t give yourself to love for a soldier without giving yourself to his suffering in war. It is this body of our suffering that Christ was born into, to suffer it Himself and to fill it with light, so that beyond the suffering we can imagine Easter morning and the peace of God on little earthly homelands such as Port William and the farming villages of Okinawa. But Christ’s living unto death in this body of our suffering did not end the suffering. He asked us to end it, but we have not ended it. We suffer the old suffering over and over again. Eventually, in loving, you see that you have given yourself over to the knowledge of suffering in a state of war that is always going on. And you wake in the night to the thought of the hurt and the helpless, the scorned and the cheated, the burnt, the bombed, the shot, the imprisoned, the beaten, the tortured, the maimed, the spit upon, the shit upon.
Wendell Berry (Hannah Coulter)
I know by now that the love of ghosts is not expectant, and I am coming to that. This Virgie of mine, this new found "Virge," is the last care of my life, and I know the ignorance I must cherish him in. I must care for him as I care for a wildflower or a singing bird, no terms, no expectation, as finally I care for Port William and the ones who have been here with me. I want to leave here openhanded, with only the ancient blessing, 'Good-bye. My love to you all.
Wendell Berry (Hannah Coulter)
Most people now are looking for a better place, which means that a lot of them will end up in a worse one. I think this is what Nathan learned from his time in the army and the war. He saw a lot of places, and he came home. I think he gave up the idea that there is a better place somewhere else. There is no “better place” than this, not in this world. And it is by the place we’ve got, and our love for it and our keeping of it, that this world is joined to Heaven.
Wendell Berry (Hannah Coulter)
Living without expectations is hard but, when you can do it, good. Living without hope is harder, and that is bad. You have got to have hope, and you mustn’t shirk it. Love, after all, “hopeth all things.” But maybe you must learn, and it is hard learning, not to hope out loud, especially for other people. You must not let your hope turn into expectation. But you have a life too that you remember. It stays with you. You have lived a life in the breath and pulse and living light of the present, and your memories of it, remembered now, are of a different life in a different world and time. When you remember the past, you are not remembering it as it was. You are remembering it as it is. It is a vision or a dream, present with you in the present, alive with you in the only time you are alive. . . Even old, your husband is the young man you remember now. Even dead, he is the man you remember, not as he was but as he is, alive still in your love. Death is a sort of lens, though I used to think of it as a wall or a shut door. It changes things and makes them clear. Maybe it is the truest way of knowing this dream, this brief and timeless life. . . As I have told it over, the past visible again in the present, the dead living still in their absence, this dream of time seems to come to rest in eternity. My mind, I think, has started to become, it is close to being, the room of love for the absent are present, the dead are alive, time is eternal, and all the creatures prosperous. The room of love is the love that holds us all, and it is not ours. It goes back before we were born. It goes all the way back. It is Heaven’s. Or it is Heaven, and we are in it only by willingness.
Wendell Berry (Hannah Coulter)
As many who have known it have set of it, war is Hell. It is the outer darkness beyond the reach of love, where people who do not know one another kill one another and there is weeping and gnashing of teeth, were nothing is allowed to be real enough to be spared. . . It is hard to live one life and imagine another, but imagination is what is needed. Want of imagination makes things on real enough to be destroyed. By imagination I mean knowledge and love. I mean compassion. People of power kill children, the old send the young to die, because they have no imagination. They have power. Can you have power and imagination of the same time? Can you kill people you don’t know and have compassion for them at the same time?
Wendell Berry (Hannah Coulter)
Living without expectations is hard but, when you can do it, good. Living without hope is harder, and that is bad. You have got to have hope, and you mustn’t shirk it. Love, after all, “hopeth all things.” But maybe you must learn, and it is hard learning, not to hope out loud, especially for other people. You must not let your hope turn into expectation. But you have a life too that you remember. It stays with you. You have lived a life in the breath and pulse and living light of the present, and your memories of it, remembered now, are of a different life in a different world and time. When you remember the past, you are not remembering it as it was. You are remembering it as it is. It is a vision or a dream, present with you in the present, alive with you in the only time you are alive. . . Even old, your husband is the young man you remember now. Even dead, he is the man you remember, not as he was but as he is, alive still in your love. Death is a sort of lens, though I used to think of it as a wall or a shut door. It changes things and makes them clear. Maybe it is the truest way of knowing this dream, this brief and timeless life. . . As I have told it over, the past visible again in the present, the dead living still in their absence, this dream of time seems to come to rest in eternity. My mind, I think, has started to become, it is close to being, the room of love for the absent are present, the dead are alive, time is eternal, and all the creatures prosperous. The room of love is the love that holds us all, and it is not ours. It goes back before we were born. It goes all the way back. It is Heaven’s. Or it is Heaven, and we are in it only by willingness.
Wendell Berry (Hannah Coulter)
I need to tell about my people in their grief. I don’t think grief is something they get over or get away from. In a little community like this it is around us and in us all the time, and we know it. We know that every night, war or no war, there are people lying awake grieving, and every morning there are people waking up to absences that never will be filled. But we shut our mouths and go ahead. How we are is “Fine.” There are always a few who will recite their complaints, but the proper answer to “How are you?” is “Fine.” The thing you have most dreaded has happened at last. The worst thing you might have expected has happened, and you didn’t expect it. You have grown old and ill, and most of those you have loved are dead or gone away. Even so: “How’re you?” “Fine. How’re you?” “Fine.” There is always some shame and fear in this, I think, shame for the terrible selfishness and loneliness of grief, and fear of the difference between your grief and anybody else’s. But this is a kind of courtesy too and a kind of honesty, an unwillingness to act as if loss and grief and suffering are extraordinary. And there is something else: an honoring of the solitude in which the grief you have to bear will have to be borne. Should you fall on your neighbor’s shoulder and weep in the midst of work? Should you go to the store with tears on your face? No. You are fine. And yet the comfort somehow gets passed around: a few words that are never forgotten, a note in the mail, a look, a touch, a pat, a hug, a kind of waiting with, a kind of standing by, to the end. Once in a while we hear it sung out in a hymn, when every throat seems suddenly widened with love and a common longing: In the sweet by and by, We shall meet on that beautiful shore. We all know what that beautiful shore is. It is Port William with all its loved ones come home alive. My life
Wendell Berry (Hannah Coulter)
The difference between me and Mr. and Mrs. Feltner, as I had to see and feel even in my own grief, was that they were old and I was young. I was filled with life, with my life and Virgil's life, with the life of our baby, and with other lives that might, in time, come to me. But the Feltners had begun to be old. Life had quit coming to them, and was going away.
Wendell Berry (Hannah Coulter)
Most people now are looking for a 'better place,' which means that a lot of them will end up in a worse one. I think this is what Nathan learned from his time in the army and the war. He saw a lot of places, and he came home. I think he gave up the idea that there is a better place somewhere else. There is no 'better place' than this, not in this world.
Wendell Berry (Hannah Coulter)
But Christ’s living unto death in this body of our suffering did not end the suffering. He asked us to end it, but we have not ended it. We suffer the old suffering over and over again.
Wendell Berry (Hannah Coulter)
The chance you had is the life you’ve got. You can make complaints about what people, including you, make of their lives after they have got them, and about what people make of other people’s lives, even about your children being gone, but you mustn’t wish for another life. You mustn’t want to be somebody else. What you must do is this: ‘Rejoice evermore. Pray without ceasing. In every thing give thanks.’ I am not all the way capable of so much, but those are the right instructions.
Wendell Berry (Hannah Coulter)
And so you have a life that you are living only now, now and now and now, gone before you can speak of it, and you must be thankful for living day by day, moment by moment, in this presence. But you have a life too that you remember. It stays with you. You have lived a life in the breath and pulse and living light of the present, and your memories of it, remembered now, are of a different life in a different world and time. When you remember the past, you are not remembering it as it was. You are remembering it as it is. It is a vision or a dream, present with you in the present, alive with you in the only time you are alive.
Wendell Berry (Hannah Coulter)
You have consented to time and it is winter. The country seems bigger, for you can see through the bare trees. There are times when the woods is absolutely still and quiet. The house holds warmth. A wet snow comes in the night and covers the ground and clings to the trees, making the whole world white. For a while in the morning the world is perfect and beautiful. You think you will never forget. You think you will never forget any of this, you will remember it always just the way it was. But you can’t remember it the way it was. To know it, you have to be living in the presence of it right as it is happening. It can return only by surprise. Speaking of these things tells you that there are no words for them that are equal to them or that can restore them to your mind. And so you have a life that you are living only now, now and now and now, gone before you can speak of it, and you must be thankful for living day by day, moment by moment, in this presence. But you have a life too that you remember. It stays with you. You have lived a life in the breath and pulse and living light of the present, and your memories of it, remembered now, are of a different life in a different world and time. When you remember the past, you are not remembering it as it was. You are remembering it as it is. It is a vision or a dream, present with you in the
Wendell Berry (Hannah Coulter)
Shade Branch, except for a deep hole or two, dries up in the summer. But as the light weakens and the days shorten, the winter rains start it running again. One of the happiest moments of my walks is when I get to where I can hear the branch. The water comes down in a hurry, tossing itself this way and that as it tumbles among the broken pieces of old sea bottom. The stream seems to be talking, saying any number of things as it goes along. Sometimes, at a certain distance, it can sound like several people talking and laughing. But you listen and you realize it is talking absolutely to itself. If our place has a voice, this is it. And it is not talking to you. You can't understand a thing it is saying. You walk up and stand beside it, loving it, and you know it doesn't care whether you love it or not. The stream and the woods don't care if you love them. The place doesn't care if you love it. But for your own sake you had better love it. For the sake of all else you love, you had better love it.
Wendell Berry (Hannah Coulter)
Andy said, "You're worried because they've left the membership...They've gone over from the world of membership to the world of organization. Nathan would say the world of employment." And I said, "Yes. That's the trouble I have in mind." One of the attractions of moving away into the life of employment, I think, is being disconnected and free, unbothered by membership. It is a life of beginnings without memories, but it is a life too that ends without being remembered. The life of membership with all its cumbers is traded away for the life of employment that makes itself free by forgetting you clean as a whistle when you are not of any more use. When they get to retirement age, Margaret and Mattie and Caleb will be cast out of place and out of mind like worn-out replaceable parts, to be alone at the last maybe and soon forgotten. "But the membership," Andy said, "keeps the memories even of horses and mules and milk cows and dogs.
Wendell Berry (Hannah Coulter)
The life of membership with all its cumbers is traded away for the life of employment that makes itself free by forgetting you clean as a whistle when you are not of any more use.
Wendell Berry (Hannah Coulter)
And so I learned about grief, and about the absence and emptiness that for a long time make grief unforgettable.
Wendell Berry (Hannah Coulter)
I had begun my time of waiting. I was living my life, and yet I seemed somehow to be outside of it, as if only when the war was over and Virgil came home would I be able to come back into my life and live again inside it.
Wendell Berry (Hannah Coulter)
He knew that I was living in loss. He knew, if anybody did, that there was nothing that could be done about it, nothing certainly that he could do, and yet he came. He came to offer himself, to be with us in Virgil's absence, to love us without hope or help, as he had to do. This was a baby that needed to be stood by, and he stood by her.
Wendell Berry (Hannah Coulter)
As I have told it over, the past visible again in the present, the dead living still in their absence, this dream of time seems to come to rest in eternity. My mind, I think, has started to become, it is close to being, the room of love for the absent are present, the dead are alive, time is eternal, and all the creatures prosperous. The room of love is the love that holds us all, and it is not ours. It goes back before we were born. It goes all the way back. It is Heaven’s. Or it is Heaven, and we are in it only by willingness.
Wendell Berry (Hannah Coulter)
I understood him. He wanted to die at home. He didn't want to be going someplace all the time for the sake of a hopeless hope. He wanted to die as himself out of his life. He didn't want his death to be the end of a technological process.
Wendell Berry (Hannah Coulter)
I was changed by Nathan's death, because I had to be. Our life together here was over. It was my life alone that had to go on. The strand had slackened. I had begun the half-a-life you have when you have a whole life that you can only remember.
Wendell Berry (Hannah Coulter)
It just seemed that, as we waited together for the coming of this life, it had become wrong to sit apart.
Wendell Berry (Hannah Coulter)
Counting noses, Bess missed Andy and went to look for him. She found him finally in the dining room, in the corner at the end of the sideboard, crying. The knowledge of it passed over us all. He didn’t know, as we grownups knew, what the war meant and might mean. He had only understood that what we were that day was lovely and could not last.
Wendell Berry (Hannah Coulter)
The woods is old enough to be fairly free of undergrowth. I go along slowly, watching for whatever may present itself.
Wendell Berry (Hannah Coulter)
Love in this world doesn’t come out of thin air. It is not something thought up. Like ourselves, it grows out of the ground. It has a body and a place.
Wendell Berry (Hannah Coulter)
It was like falling in love, only more than that; we knew too much by then for it to be only that. It was knowing that love was what it was, and life would not complete it and death would not stop it.
Wendell Berry (Hannah Coulter)
I never shed a tear that day, but all day long I saw Margaret as her father and her grandfather saw her. I loved her that day with my love but also with theirs.
Wendell Berry (Hannah Coulter)
I have this love for Mattie. It was formed in me as he himself was formed. It has his shape, you might say. He fits it. He fits into it as he fits into his clothes. He will always fit into it. When he gets out of the car and I meet him and hug him, there he is, him himself, something of my own forever, and my love for him goes all around him just as it did when he was a baby and a little boy and a young man grown.
Wendell Berry (Hannah Coulter)
I had begun the half-a-life you have when you have a whole life that you can only remember
Wendell Berry (Hannah Coulter)
All through that bad time, when Virgil’s absence was wearing into us, when “missing” kept renaming itself more and more insistently as “dead” and “lost forever,” I was yet grateful. Sometimes I was grateful because I knew I ought to be, sometimes because I wanted to be, and sometimes a sweet thankfulness came to me on its own, like a singing from somewhere out in the dark.
Wendell Berry (Hannah Coulter)
But if nobody can ever quite be nothing to you in Port William, then everybody finally has got to be something to you.
Wendell Berry (Hannah Coulter)
The love he bore to me was his own, but also it was a love that had been borne to him, by people he knew, people I now knew, people he loved. That, I think, is what put tears in his eyes when he looked at me. He must have wondered if I would love those people too. Well, as it turned out, I did. And I would know them as he had never known them, for longer than he knew them. I knew them old, in their final years and days. I know them dead.
Wendell Berry (Hannah Coulter)
you're too pretty for your own good, maybe. It could get you an early start on a miserable life.
Wendell Berry (Hannah Coulter)