Journalism Can Never Be Silent Quotes

Now, I do not know who I am. I have never not known with more conviction in my life. I find myself writing in my journal each morning, "I don't know. I don't know. I don't know." How much of what I have lost or given up has been to the disease of my anxiety, how much to the nature of motherhood, how much to the simple fact of time? I can't begin to work through these questions until I first accept the loss of the mother I thought I was or could be. I believe, I hope, that on the other side of this loss is a love that I have found in connecting with other women. These women have, in the words of Joan Halifax, found "the gold of compassion in the dark stone of suffering." I have never loved women or needed them the way I have since becoming a mother.

Colin was silent for a long moment. It hadn’t ever occurred to him that he enjoyed his writing; it was just something he did. He did it because he couldn’t imagine not doing it. How could he travel to foreign lands and not keep a record of what he saw, what he experienced, and perhaps most importantly, what he felt? But when he thought back, he realized that he felt a strange rush of satisfaction whenever he wrote a phrase that was exactly right, a sentence that was particularly true. He distinctly remembered the moment he’d written the passage Penelope had read. He’d been sitting on the beach at dusk, the sun still warm on his skin, the sand somehow rough and smooth at the same time under his bare feet. It had been a heavenly moment—full of that warm, lazy feeling one can truly only experience in the dead of summer (or on the perfect beaches of the Mediterranean), and he’d been trying to think of the exact right way to describe the water. He’d sat there for ages—surely a full half an hour—his pen poised above the paper of his journal, waiting for inspiration. And then suddenly he’d realized the temperature was precisely that of slightly old bathwater, and his face had broken into a wide, delighted smile. Yes, he enjoyed writing. Funny how he’d never realized it before.

Writers take and remake everything we see around us: we metabolize the details of our loved ones, alter time and memory, shapeshift our personal and physical differences into transformative images that, when done with care, can create a world that feels more than accurate, but real. Doing this requires that we watch and listen to one another with great attention, something we’re generally discouraged from doing lest we come off as stalkers. From the time we’re children, we’re taught it’s rude to stare, nosy to eavesdrop; you can’t just root around in other people’s journals and closets and minds. I can’t ask my colleagues what they really think and feel about their marriages or children, because that’s private, and privacy requires that I pretend to believe what both strangers and loved ones tell me. Being polite means, ironically, paying less attention to the people I want to be close to, bypassing their foibles and idiosyncrasies and quiet outrages in the name of communal goodwill. But writing requires we pay attention to others at a level that can only be classified as rude. The writer sees the button trailing by its single thread on the pastor’s shirt; she tastes the acid sting behind a mother’s compliment. To observe closely leads the writer to the radical recognition of what both binds her to and separates her from others. It will push her to hear voices she’s been taught should remain silent. Oftentimes, these voices, and these truths, reveal something equally powerful, and profoundly unsettling, about ourselves. I want to end this letter to you by proposing something that some critics and sociologists might reject out of hand, which is the possibility that White people, too, might, by paying close attention to the voices around them and inside themselves, be able to experience double consciousness. If double consciousness is in part based on the understanding of the systemic power of Whiteness, and if it is also the realization that one’s self-regard can never be divorced from the gaze of others, then the practice of double consciousness might be available to everyone, including those who constitute the majority.

Why not Vespera?” Sophie asked. “Because I’m inclined to believe there’s more subtlety to her—and her research—than her journals imply. She’s an Empath, after all. And Empaths feel every hurt they trigger.” “Not all of them,” Keefe muttered, and Sophie’s heart ached, knowing he had to mean his dad. “How do you know she’s an Empath?” Sophie asked. “I just do. It’s actually why I chose Keefe’s father from my match lists. I knew if I wanted to build my own Nightfall someday, I was going to need an Empath to help me run it. But he turned out to be… incompatible. Fortunately, he gave me a son who manifested with far more power than he ever had. That’s your legacy, Keefe. But we’ll talk more about that later. For now, go get me my Archetype. And try not to die.” The Imparter went silent, and Sophie and Keefe just stared at it. Eventually Keefe mumbled, “So… all of that’s getting shoved into a really dark corner of my head—and we’re not going to talk about it, okay? At least not until we get through tonight.” Sophie nodded. “Well… at least we know Vespera’s ability isn’t something scary.” “Don’t be so sure. My mom’s never trained as an Empath, so she doesn’t get it.” He stood, moving to Sophie’s bookshelf, where she’d displayed the paintings he’d given her around her old human scrapbook. “My empathy Mentor warned me when she saw how strong my ability was—that there’s a risk that comes with feeling too much and not having the right training. Our mind’s natural reaction is to shut down when things get too intense—but everything is intense for an Empath. So if you’re not careful, you can end up going… numb. You’ll still feel what others feel. But you won’t feel

Journalism can never be silent: that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph and the signs of horror are still in the air.

Journalism can never be silent: that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph, and the signs of horror are still in the air.”