O Pioneers Quotes

Isn’t it queer: there are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years.

I like trees because they seem more resigned to the way they have to live than other things do. I feel as if this tree knows everything I ever think of when I sit here. When I come back to it, I never have to remind it of anything; I begin just where I left off.

There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.

‎The idea of you is a part of my mind; you influence my likes and dislikes, all my tastes, hundereds of times when I dont realize it. You really are a part of me.

For we cannot tarry here, We must march my darlings, we must bear the brunt of danger, We, the youthful sinewy races, all the rest on us depend, Pioneers! O pioneers!

Freedom so often means that one isn't needed anywhere.

There is often a good deal of the child left in people who have had to grow up too soon.

People have to snatch at happiness when they can, in this world. It is always easier to lose than to find.

I've seen it before. There are women who spread ruin through no fault of theirs, just by being too beautiful, too ful of life and love. They can't help it. Poeple come to them as people go to a warm fire in winter.

O you youths, Western youths, So impatient, full of action, full of manly pride and friendship, Plain I see you Western youths, see you tramping with the foremost, Pioneers! O pioneers!

It's awfully easy to rush into a profession you don't really like, and awfully hard to get out of it.

Things away from home often look better than they are.

The two friends stood for a few moments on the windy street corner, not speaking a word, as two travelers, who have lost their way, sometimes stand and admit their perplexity in silence. (O Pioneers!)

It's by understanding me, and the boys, and mother, that you have helped me. I expect that is the only way one person ever really can help another.

The land belongs to the future, Carl; that's the way it seems to me. How many of the names on the county clerk's plat will be there in fifty years? I might as well try to will the sunset over there to my brother's children. We come and go, but the land is always here. And the people who love it and understand it are the people who own it--for a little while.

Alexandra sighed. "I have a feeling that if you go away, you will not come back. Something will happen to one of us, or to both. People have to snatch at happiness when they can, in this world. It is always easier to lose than to find. What I have is yours, if you care enough about me to take it.

A pioneer should have imagination, should be able to enjoy the idea of things more than the things themselves.

It was to him a very strange and perplexing place, where people wore fine clothes and had hard hearts.

She began to wonder whether she would not do better to finish her life alone. What was left of life seemed unimportant.

But I can't help feeling scared when I think how I will miss you- more than you will ever know.

The land belongs to the future.

Everywhere the grain stood ripe and the hot afternoon was full of the smell of the ripe wheat, like the smell of bread baking in an oven. The breath of the wheat and the sweet clover passed him like pleasant things in a dream.

We are all alike; we have no ties, we know nobody, we own nothing. When one of us dies, they scarcely know where to bury him. Our landlady and the delicatessen man are our mourners, and we leave nothing behind us but a frock-coat and a fiddle, or an easel, or a typewriter, or whatever took we got our living by. All we have ever managed to do is to pay our rent, that exorbitant rent that one has to pay for a few square feet of space near the heart of things. We have no house, no place, no people of our own. We live in the streets, in the parks, in the theaters. We sit in restaurants and concert halls and look about at the hundreds of our own kind and shudder.

The prayers of all good people are good.

But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.

She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring.

But she's the kind that won't be downed easily. She'll work all day and go to a Bohemian wedding and dance all night, and drive the hay wagon for a cross man next morning.

We will never lose the land.

You feel that, properly, Alexandra's house is the big-out-of-doors, and that it is in the soil that she expresses herself. -O Pioneers

Alexandra drew her shawl closer about her and stood leaning against the frame of the mill, looking at the stars which glittered so keenly through the frosty autumn air. She always loved to watch them, to think of their vastness and distance, and of their ordered march. It fortified her to reflect upon the great operations of nature, and when she thought of the law that lay behind them, she felt a sense of personal security. That night she had a new consciousness of the country, felt almost a new relation to it. Even her talk with the boys had not taken away the feeling that had overwhelmed her when she drove back to the Divide that afternoon. She had never known before how much the country meant to her. The chirping of the insects down in the long grass had been like the sweetest music. She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring.

I know that I am going away on my own account. I must make the usual effort. I must have something to show for myself. To take what you would give me, I should have to be either a very large man or a very small one, and I am only in the middle class.

As long as there is one house there must be one hand.

There was about Alexandra something of the impervious calm of the fatalist, always disconcerting to very young people, who cannot feel that the heart lives at all unless it is still at the mercy of storms; unless its strings can scream to the touch of pain.

There is something frank and joyous and young in the open face of the country. It gives itself ungrudgingly to the moods of the season, holding nothing back. Like the plains of Lombardy, it seems to rise a little to meet the sun. The air and the earth are curiously mated and intermingled, as if the one were the breath of the other. You feel in the atmosphere the same tonic, puissant quality that is in the tilth, the same strength and resoluteness.

Carl sat musing until the sun leaped above the prairie, and in the grass about him all the small creatures of day began to tune their tiny instruments. Birds and insects without number began to chirp, to twitter, to snap and whistle, to make all manner of fresh shrill noises. The pasture was flooded with light; every clump of ironweed and snow-on-the-mountain threw a long shadow, and the golden light seemed to be rippling through the curly grass like the tide racing in.

You remember how homesick I used to get, and what long talks we used to have coming from school? We've someway always felt alike about things." "Yes, that's it; we've liked the same things and we've liked them together, without anybody else knowing. And we've had good times, hunting for Christmas trees and going for ducks and making our plum wine together every year. We've never either of us had any other close friend. And now---

The years seemed to stretch before her like the land; spring, summer, autumn, winter, spring; always the same patient fields, the patient little trees, the patient lives; always the same yearning, the same pulling at the chain—until the instinct to live had torn itself and bled and weakened for the last time, until the chain secured a dead woman, who might cautiously be released.

His ideas about the future would not crystallize; the more he tried to think about it, the vaguer his conception if it became.

we are not all made alike

Her mind was slow, truthful, steadfast. She had not the least spark of cleverness.

The record of the plow was insignificant, like the feeble scratches on stone left by prehistoric races, so indeterminate that they may, after all, be only the markings of glaciers, and not a record of human strivings.

The Bergson boys, certainly, would have been happier with their uncle Otto, in the bakery shop in Chicago. Like most of their neighbours, they were meant to follow in paths already marked out for them, not to break trails in a new country. A steady job, a few holidays, nothing to think about, and they would have been very happy. It was no fault of theirs that they had been dragged into the wilderness when they were little boys. A pioneer should have imagination, should be able to enjoy the idea of things more than the things themselves.

We come and go, but the land is always here. And the people who love it and understand it are the people who own it -- for a little while.

Do you feel at peace with the world here? I think we shall be very happy. I haven't any fears. I think when friends marry, they are safe. We don't suffer like—those young ones.

The right thing is usually just what everybody don't do.

Alexandra often said that if her mother were cast upon a desert island, she would thank God for her deliverance, make a garden, and find something to preserve.

The heart, when it is too much alive, aches for that brown earth, and ecstasy has no fear of death.

We have no house, no place, no people of our own. We live in the streets, in the parks, in the theatres. We sit in restaurants and concert halls and look about at the hundreds of our own kind and shudder.

...You know that my spells come from God, and that I would not harm any living creature. You believe that everyone should worship God in the way revealed to him. But that is not the way of this country. The way here is for all to do alike. I am despised because I do not wear shoes, because I do not cut my hair, and because I have visions. At home, in the old country, there were many like me, who had been touched by God, or who had seen things in the graveyard at night and were different afterward. We thought nothing of it, and let them alone. But here, if a man is different in his feet or in his head, they put him in the asylum. . . . That is the way; they have built the asylum for people who are different, and they will not even let us live in the holes with the badgers.

Freedom so often means that one isn't needed anywhere. Here you are an individual, you have a background of your own, you would be missed. But off there in the cities there are thousands of rolling stones like me. We are all alike; we have no ties, we know nobody, we own nothing. When one of us dies, they scarcely know where to bury him.

Adam Smith FRSE (baptised June 5, 1723 O.S. / June 16 N.S. – July 17, 1790) was a Scottish moral philosopher and a pioneering political economist. He is also the founder of economics. One of the key figures of the intellectual movement known as the Scottish Enlightenment, he is known primarily as the author of two treatises: The Theory of Moral Sentiments (1759), and An Inquiry into the Nature and Causes of the Wealth of Nations (1776). The latter was one of the earliest attempts to systematically study the historical development of industry and commerce in Europe, as well as a sustained attack on the doctrines of mercantilism. Smith's work helped to create the modern academic discipline of economics and provided one of the best-known intellectual rationales for free trade, capitalism, and libertarianism. Adam Smith is now depicted on the back of the Bank of England £20 note. Source: Wikipedia

You know that my spells come from God, and that I would not harm any living creature. You believe that every one should worship God in the way revealed to him. But that is not the way of this country. The way here is for all to do alike.

Isn't it queer. There are only two or three human stories and they go on repeating themselves as fiercely as if they had never happened before. Like the larks in this country that have been singing the same five notes over for thousands of years.

Isn't it queer: there are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years

He was ready to give up, he felt. He did not know how it had come about, but he was quite willing to go deep under his fields and rest, where the plow could not find him. He was tired of making mistakes. He was content to leave the tangle to other hands;

Of all the bewildering things about a new country, the absence of human landmarks is one of the most depressing and disheartening. The houses on the Divide were small and were usually tucked away in low places; you did not see them until you came directly upon them. Most of them were built of the sod itself, and were only the unescapable ground in another form. The roads were but faint tracks in the grass, and the fields were scarcely noticeable. The record of the plow was insignificant, like the feeble scratches on stone left by prehistoric races, so indeterminate that they may, after all, be only the markings of glaciers, and not a record of human strivings.

I could pick out exactly the right sort of woman for Frank—now. The trouble is you almost have to marry a man before you can find out the sort of wife he needs; and usually it's exactly the sort you are not. Then what are you going to do about it?” she asked candidly.

She walked slowly down through the orchard, where the evening air was heavy with the smell of wild cotton. The fresh, salty scent of the wild roses had given way before this more powerful perfume of midsummer. Wherever those ashes-of-rose balls hung on their milky stalks, the air about them was saturated with their breath.

the struggle to become takes place not “out there” in the world, but “in here” in what we call intimate relations. Cather once observed that in all families the “struggle to have anything of one's own, to be one's self at all, creates a strain that keeps everybody almost at the breaking point. . . . One realizes that human relationships are the tragic necessity of human life: that they can never be wholly satisfactory, that every ego is half the time greedily seeking them, and half the time pulling away

Neither Oscar nor Lou has changed much; they have simply, as Alexandra said of them long ago, grown to be more and more like themselves.

He was at that height of excitement from which everything is foreshortened, from which life seems short and simple, death very near, and the soul seems to soar like an eagle.

I am never able to believe that she has much feeling for the causes to which she lends her name and her fleeting interest. She is

The Count of Monte Cristo,' which I had seen James O'Neill play that winter, was by the only Alexandre Dumas I knew. This play, I saw, was by his son, and

Perhaps," he muttered. A Mexican learns to dive below insults or soar above them, after he crosses the border.

You see we have kept up the old path, Carl. It has been so nice for me to feel that there was a friend at the other end of it again.

of an essentially happy nature, who can find a comfortable spot almost anywhere; who are supple, and quick in adapting themselves to circumstances.

You believe that every one should worship God in the way revealed to him. But that is not the way of this country. The way here is for all to do alike.

I would have my own way. And now I pay for it.” “You don't do all the paying.” “That's it. When one makes a mistake, there's no telling where it will stop.

There was trouble enough in the world, he reflected, as he threw himself upon his bed, without people who were forty years old imagining they wanted to get married.

poetry of Robert Burns. "Death and Dr. Hornbook" and "The Jolly Beggars," Burns's "Reply to his Tailor," he often read aloud to himself in his office, late at night, after a glass

dinner, were keeping well behind their frosty windows. The children were all in school, and there was nobody

We come and go, but the land is always here. And the people who love it and understand it are the people who own it—for a little while.

When she went out into the dark kitchen to fix her plants for the night, she used to stand by the window and look out at the white fields, or watch the currents of snow whirling over the orchard. She seemed to feel the weight of all the snow that lay down there. The branches had become so hard that they wounded your hand if you but tried to break a twig. And yet, down under the frozen crusts, at the roots of the trees, the secret of life was still safe, warm as the blood in one's heart; and the spring would come again! Oh, it would come again!

It is like an iron country, and the spirit is oppressed by its rigor and melancholy. One could easily believe that in that dead landscape the germs of life and fruitfulness were extinct forever.

It's by understanding me, and the boys, and mother, that you've helped me. I expect that is the only way one person ever really can help another. I think you are about the only one that ever helped me.

The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is. That afternoon nothing new came to Thea Kronborg, no enlightenment, no inspiration. She merely

The years seemed to stretch before her like the land; spring, summer, autumn, winter, spring; always the same patient fields, the patient little trees, the patient lives; always the same yearning, the same pulling at the chain—until the instinct to live had torn itself and bled and weakened for the last time, until the chain secured a dead woman, who might cautiously be released. Marie walked on, her face lifted toward the remote, inaccessible evening star.

Isn't it queer: there are only two or three human stories and they go on repeating themselves as fiercely as if they had never happened before; like the Larks in this country, that have been singing the same five notes over for thousands of years.

The light fell upon the two sad young faces that were turned mutely toward it: upon the eyes of the girl, who seemed to be looking with such anguished perplexity into the future; upon the sombre eyes of the boy, who seemed already to be looking into the past.

The branches had become so hard that they wounded your hand if you but tried to break a twig. And yet, down under the frozen crusts, at the roots of the trees, the secret of life was still safe, warm as the blood in one's heart; and the spring would come again!

Her training had all been toward the end of making her proficient in what she had undertaken to do. Her personal life, her own realization of herself, was almost a subconscious existence; like an underground river that came to the surface only here and there, at intervals months apart, and then sank again to flow on under her own fields. Nevertheless, the underground stream was there, and it was because she had so much personality to put into her enterprises and succeeded in putting it into them so completely, that her affairs prospered better than those of her neighbors.

The mythic American character is made up of the virtues of fairness, self-reliance, toughness, and honesty. Those virtues are generally stuffed into a six-foot-tall, dark-haired, can-do kind of guy who is at once a family man, attractive to strange women, carefree, stable, realistic, and whimsical. in the lore of America, that man lives on the Great Plains. he's from Texas, Dodge City, Cheyenne, the Dakotas, or somewhere in Montana. In fact, the seedbed of this American character, from the days of de Tocqueville through Andrew Jackson, Wyattt Earp, Pony Express riders, pioneers, and cowboys to modern caricatures played by actors such as Tom Mix, Gary Cooper, and John Wayne has aways been the frontier. It's a place with plenty of room to roam, great sunsets, clear lines between right and wrong, and lots of horses. It's also a place that does not exist and never has. The truth is that there has never been much fairness out here.

She seemed to feel the weight of all the snow that lay down there. The branches had become so hard that they wounded your hand if you but tried to break a twig. And yet, down under the frozen crusts, at the roots of the trees, the secret of life was still safe, warm as the blood in one's heart; and the spring would come again! Oh, it would come again!

The Pass and Lona Hanson and, to some extent, The Power of the Dog may be seen as late novels from the golden age of American landscape fiction, a period that falls roughly in the first half of the last century. In these novels landscape is used not just as decorative background, but to drive the story and control the characters’ lives, as in the work of Willa Cather, Marjorie Kinnan Rawlings, Walter D. Edmonds, William Faulkner, Flannery O’Connor, John Steinbeck, and nearly all that Hemingway wrote, all resonant with the sense of place, a technique well suited to describing the then strikingly different regions of America, the pioneer ethos, the drive of capitalist democracy on the hunt for resources.

It was Max Planck, the physicist who struggled more than any other pioneer of quantum theory to accept the loss of a purely objective worldview, who acknowledged that the central problems of physics have always been reflexive. “Science cannot solve the ultimate mystery of nature,” he wrote in 1932. “And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.

Many of our friends who grew up here now live in Brooklyn, where they are at work on “book-length narratives.” Another contingent has moved to the Bay Area and made a fortune there. Every year or so, these west-coasters travel back to Michigan and call us up for dinner or drinks, occasions they use to educate us on the inner workings of the tech industry. They refer to the companies they work for in the first person plural, a habit I have yet to acculturate to. Occasionally they lapse into the utopian, speaking of robotics ordinances and brain-computer interfaces and the mystical, labyrinthine channels of capital, conveying it all with the fervency of pioneers on a civilizing mission. Being lectured quickly becomes dull, and so my husband and I, to amuse ourselves, will sometimes play the rube. “So what, exactly, is a venture capitalist?” we’ll say. Or: “Gosh, it sounds like science fiction.” I suppose we could tell them the truth—that nothing they’re proclaiming is news; that the boom and bustle of the coastal cities, like the smoke from those California wildfires, liberally wafts over the rest of the country. But that seems a bit rude. We are, after all, Midwesterners. Here, work is work and money is money, and nobody speaks of these things as though they were spiritual movements or expressions of one’s identity.

I’ll remember this kiss till my very last breath, I thought to myself. I’ll remember every detail. Strong, calloused hands gripping my upper arms. Five o’clock shadow rubbing gently against my chin. Faint smell of boot leather in the air. Starched denim shirt against my palms, which have gradually found their way around his trim, chiseled waist… I don’t know how long we stood there in the first embrace of our lives together. But I do know that when that kiss was over, my life as I’d always imagined it was over, too. I just didn’t know it yet.

The winter twilight was fading. The sick man heard his wife strike a match in the kitchen, and the light of a lamp glimmered through the cracks of the door. It seemed like a light shining far away. He turned painfully in his bed and looked at his white hands, with all the work gone out of them. He was ready to give up, he felt. He did not know how it had come about, but he was quite willing to go deep under his fields and rest, where the plow could not find him. He was tired of making mistakes. He was content to leave the tangle to other hands.

I'll never forget that time, when we first came here, and our horse had the colic, and I ran over to your place—your father was away, and you came home with me and showed father how to let the wind out of the horse. You were only a little girl then, but you knew ever so much more about farm work than poor father. You remember how homesick I used to get, and what long talks we used to have coming from school? We've someway always felt alike about things.” “Yes, that's it; we've liked the same things and we've liked them together, without anybody else knowing. And we've had good times, hunting for Christmas trees and going for ducks and making our plum wine together every year. We've never either of us had any other close friend. And now”—Alexandra wiped her eyes with the corner of her apron—

No one embodied the spirit of the frontier more than Daniel Boone, who faced and defeated countless natural and man-made dangers to literally hand cut the trail west through the wilderness. He marched with then colonel George Washington in the French and Indian War, established one of the most important trading posts in the West, served three terms in the Virginia Assembly, and fought in the Revolution. His exploits made him world famous; he served as the model for James Fenimore Cooper’s Leatherstocking Tales and numerous other pioneer stories. He was so well known and respected that even Lord Byron, in his epic poem Don Juan, wrote, “Of the great names which in our faces stare, The General Boon, back-woodsman of Kentucky, Was happiest amongst mortals anywhere …” And yet he was accused of treason—betraying his country—the most foul of all crimes at the time. What really happened to bring him to that courtroom? And was the verdict reached there correct?

WINTER HAS settled down over the Divide again; the season in which Nature recuperates, in which she sinks to sleep between the fruitfulness of autumn and the passion of spring. The birds have gone. The teeming life that goes on down in the long grass is exterminated. The prairie-dog keeps his hole. The rabbits run shivering from one frozen garden patch to another and are hard put to it to find frost-bitten cabbage-stalks. At night the coyotes roam the wintry waste, howling for food. The variegated fields are all one color now; the pastures, the stubble, the roads, the sky are the same leaden gray. The hedgerows and trees are scarcely perceptible against the bare earth, whose slaty hue they have taken on. The ground is frozen so hard that it bruises the foot to walk in the roads or in the ploughed fields. It is like an iron country, and the spirit is oppressed by its rigor and melancholy. One could easily believe that in that dead landscape the germs of life and fruitfulness were extinct forever.

I’d gone on dates with every flavor of cute boy under the sun. Except for one. Cowboy. I’d never even spoken to a cowboy, let alone ever known one personally, let alone ever dated one, and certainly, absolutely, positively never kissed one--until that night on my parents’ front porch, a mere couple of weeks before I was set to begin my new life in Chicago. After valiantly rescuing me from falling flat on my face just moments earlier, this cowboy, this western movie character standing in front of me, was at this very moment, with one strong, romantic, mind-numbingly perfect kiss, inserting the category of “Cowboy” into my dating repertoire forever. The kiss. I’ll remember this kiss till my very last breath, I thought to myself. I’ll remember every detail. Strong, calloused hands gripping my upper arms. Five o’clock shadow rubbing gently against my chin. Faint smell of boot leather in the air. Starched denim shirt against my palms, which have gradually found their way around his trim, chiseled waist… I don’t know how long we stood there in the first embrace of our lives together. But I do know that when that kiss was over, my life as I’d always imagined it was over, too. I just didn’t know it yet.

The Qur’an has not merely been revealed in Arabic: it has been revealed in eloquent Arabic. The language is clear and cogent, and there is no vagueness in it; every word is unambiguous and every style adopted is well known to its addressees. The Qur’an says: The faithful Spirit has brought it down into your heart [O Prophet] that you may become a warner [for people] in eloquent Arabic. (26:193-195) In the form of an Arabic Qur’an, free from any ambiguity that they may save themselves [from punishment]. (39:28) This is an obvious reality about the Qur’an. If this premise is accepted, then it must be conceded that no word used or style adopted by the Qur’an is rare or unknown (shadh). Its words and styles are well known and conventionally understood by its addressees. No aspect of the language has any peculiarity or rarity in it. Consequently, while interpreting the Qur’an, the conventionally understood and known meanings of the words should be taken into consideration. Apart from them, no interpretation is acceptable. Thus in the verses: وَالنَّجْمُ وَالشَّجَرُ يَسْجُدَانِ (6:55), the meaning of the word اَلنَّجْمُ can only be “stars”. In وَمَا أَرْسَلْنَا مِن قَبْلِكَ مِن رَّسُولٍ وَلَا نَبِيٍّ إِلَّا إِذَا تَمَنَّى أَلْقَى الشَّيْطَانُ فِي أُمْنِيَّتِهِ (52:22), the word تَمَنَّى can only mean “desire”. In أَفَلَا يَنظُرُونَ إِلَى الْإِبِلِ كَيْفَ خُلِقَتْ (17:88), the word الْإِبِلِ has only been used for “camel”. The only meaning of the word بَيْضٌ in the verse كَأَنَّهُنَّ بَيْضٌ مَّكْنُونٌ (49:37) is “eggs”. In the verse فَصَلِّ لِرَبِّكَ وَانْحَرْ (2:108), the word نَحْر only means “sacrifice”. They do not mean “plants”, “recital”, “clouds”, “the hidden sheath of eggs” and “folding hands on the chest” respectively. Similar is the case with declensions and styles adopted. Scholars of grammar and rhetoric have regarded many such aspects of the Qur’an as rare and as exceptions; however, the truth of the matter is that this conclusion is based on incomprehensive research. In recent times, the works of the two pioneers of the Farahi school: Imam Hamid al-Din al-Farahi and Imam Amin Ahsan Islahi have fully proven that the declensions and styles adopted by the Qur’an are all in fact well-known and conventionally understood by the Arabs. Taking into consideration this principle is a requisite of the eloquence of the Qur’anic language, which as stated above, is mentioned in the Qur’an itself. No explanation of the Qur’an is acceptable while disregarding this principle.

Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.

...and the handsome jester, Devil’s Gold, is shaking his bead-covered rattle, making medicine and calling us by name. We are so tired from our long walk that we cannot but admire his gilded face and his yellow magic blanket. And, holding each other’s hands like lovers, we stoop and admire ourselves in the golden pool that flickers in the great campfire he has impudently built at the crossing of two streets in Heaven. But we do not step into the pool as beforetime. Our boat is beside us, it has overtaken us like some faithful tame giant swan, and Avanel whispers: “Take us where The Golden Book was written.” And thus we are up and away. The boat carries us deeper, down the valley. We find the cell of Hunter Kelly,— . St. Scribe of the Shrines. Only his handiwork remains to testify of him. Upon the walls of his cell he has painted many an illumination he afterward painted on The Golden Book margins and, in a loose pile of old torn and unbound pages, the first draft of many a familiar text is to be found. His dried paint jars are there and his ink and on the wall hangs the empty leather sack of Johnny Appleseed, from which came the first sowing of all the Amaranths of our little city, and the Amaranth that led us here. And Avanel whispers:—“I ask my heart: —Where is Hunter Kelly, and my heart speaks to me as though commanded: ‘The Hunter is again pioneering for our little city in the little earth. He is reborn as the humblest acolyte of the Cathedral, a child that sings tonight with the star chimes, a red-cheeked boy, who shoes horses at the old forge of the Iron Gentleman. Let us also return’.” It is eight o’clock in the evening, at Fifth and Monroe. It is Saturday night, and the crowd is pouring toward The Majestic, and Chatterton’s, and The Vaudette, and The Princess and The Gaiety. It is a lovely, starry evening, in the spring. The newsboys are bawling away, and I buy an Illinois State Register. It is dated March 1, 1920. Avanel of Springfield is one hundred years away. The Register has much news of a passing nature. I am the most interested in the weather report, that tomorrow will be fair. THE END - Written in Washington Park Pavilion, Springfield, Illinois.

Will you have this man to be your husband; to live together in the covenant of marriage? Will you love him, comfort him, honor and keep him, in sickness and in health; and, forsaking all others, be faithful to him as long as you both shall live? “I will.” I breathed in. The scent of roses…the evening light coming through the stained-glass window. Will you have this woman to be your wife; to live together in the covenant of marriage? Will you love her, comfort her, honor and keep her, in sickness and in health; and, forsaking all others, be faithful to her as long as you both shall live? “I will.” That voice. The voice from all the phone calls. I was marrying that voice. I couldn’t believe it. We faced each other, our hands intertwined. In the Name of God, I take you to be my wife, to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, until we are parted by death. This is my solemn vow. He stood before me, his face serious. My heart leaped in my chest. Then I spoke the words myself. In the Name of God, I take you to be my husband, to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, until we are parted by death. This is my solemn vow. Marlboro Man watched me as I spoke, and he listened. My voice broke; emotion moved in. It was a beautiful moment--the most beautiful moment since we’d met. Bless, O Lord, these rings to be a sign of the vows by which this man and this woman have bound themselves to each other. We kneeled, and Father Johnson administered the blessing. Most Gracious God…Let their love for each other be a seal upon their hearts, a mantle about their shoulders, and a crown upon their foreheads…Bless them in their work and in their companionship; in their sleeping and in their waking; in their joys and in their sorrows; in their life and in their death…Send therefore your blessing upon these your servants, that they may so love, honor, and cherish each other in faithfulness and patience, in wisdom and true godliness, that their home may be a haven of blessing and peace. My heart pounded in my chest. This was real, it was not a dream. His hand held mine. I now pronounce you husband and wife.

Of course, no china--however intricate and inviting--was as seductive as my fiancé, my future husband, who continued to eat me alive with one glance from his icy-blue eyes. Who greeted me not at the door of his house when I arrived almost every night of the week, but at my car. Who welcomed me not with a pat on the arm or even a hug but with an all-enveloping, all-encompassing embrace. Whose good-night kisses began the moment I arrived, not hours later when it was time to go home. We were already playing house, what with my almost daily trips to the ranch and our five o’clock suppers and our lazy movie nights on his thirty-year-old leather couch, the same one his parents had bought when they were a newly married couple. We’d already watched enough movies together to last a lifetime. Giant with James Dean, The Good, the Bad, and the Ugly, Reservoir Dogs, Guess Who’s Coming to Dinner, The Graduate, All Quiet on the Western Front, and, more than a handful of times, Gone With the Wind. I was continually surprised by the assortment of movies Marlboro Man loved to watch--his taste was surprisingly eclectic--and I loved discovering more and more about him through the VHS collection in his living room. He actually owned The Philadelphia Story. With Marlboro Man, surprises lurked around every corner. We were already a married couple--well, except for the whole “sleepover thing” and the fact that we hadn’t actually gotten hitched yet. We stayed in, like any married couple over the age of sixty, and continued to get to know everything about each other completely outside the realm of parties, dates, and gatherings. All of that was way too far away, anyway--a minimum hour-and-a-half drive to the nearest big city--and besides that, Marlboro Man was a fish out of water in a busy, crowded bar. As for me, I’d been there, done that--a thousand and one times. Going out and panting the town red was unnecessary and completely out of context for the kind of life we’d be building together. This was what we brought each other, I realized. He showed me a slower pace, and permission to be comfortable in the absence of exciting plans on the horizon. I gave him, I realized, something different. Different from the girls he’d dated before--girls who actually knew a thing or two about country life. Different from his mom, who’d also grown up on a ranch. Different from all of his female cousins, who knew how to saddle and ride and who were born with their boots on. As the youngest son in a family of three boys, maybe he looked forward to experiencing life with someone who’d see the country with fresh eyes. Someone who’d appreciate how miraculously countercultural, how strange and set apart it all really is. Someone who couldn’t ride to save her life. Who didn’t know north from south, or east from west. If that defined his criteria for a life partner, I was definitely the woman for the job.

Upon her retirement, Supreme Court justice Sandra Day O’Connor reflected on her pioneer status. “My concern was whether I could do the job of a justice well enough to convince the nation that my appointment was the right move. If I stumbled badly in doing the job, I think it would have made life more difficult for women.

Annie Dillard was a pioneer in her Pilgrim at Tinker Creek, which won a Pulitzer Prize in 1974. Among other notable examples are David M. Carroll’s Following the Water: A Hydromancer’s Notebook (2009); David George Haskell’s The Forest Unseen (2012); and Dave Goulson’s A Buzz in the Meadow: The Natural History of a French Farm (2015).

The Oxford English Dictionary traces two historical trajectories for the use of the term "cross-talk" in the late nineteenth and early twentieth centuries. One derives from theatrical stagecraft. The earliest example cited by the OED is a reference in 1909 to a "carefully rehearsed 'cross-talk' dialogue between two knock-about artistes of the Variety firmament". "Cross-talk" of this kind has roots in the nineteenth-century minstrel show olio, which featured a "cross-fire" passage in which an interlocutor, placed centermost in a line of blackface performers, served as the straight man for a rapidly paced series of jokes delivered by the "end man". The OED flags this earlier usage when explaining the related term, "cross-talker", citing a 1907 reference to "those pioneer cross-talkers, the Christy Minstrels". A common term for a particular kind of two-person comic routine (or "two act") by vaudeville performers in the early twentieth century, "cross-talk" also survives in critical commentary on later theatrical forms influenced by vaudeville or music hall traditions, as in references to the "cross-talk" in Beckett's Waiting for Godot.