Prose Quotes

He has achieved success who has lived well, laughed often, and loved much; Who has enjoyed the trust of pure women, the respect of intelligent men and the love of little children; Who has filled his niche and accomplished his task; Who has never lacked appreciation of Earth's beauty or failed to express it; Who has left the world better than he found it, Whether an improved poppy, a perfect poem, or a rescued soul; Who has always looked for the best in others and given them the best he had; Whose life was an inspiration; Whose memory a benediction.

Always be a poet, even in prose.

It is easy in the world to live after the world's opinion; it is easy in solitude to live after our own; but the great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude.

You can always count on a murderer for a fancy prose style.

No spring nor summer beauty hath such grace as I have seen in one autumnal face." [The Autumnal]

So many people are shut up tight inside themselves like boxes, yet they would open up, unfolding quite wonderfully, if only you were interested in them.

The public have an insatiable curiosity to know everything, except what is worth knowing.

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns.

Perhaps, after all, romance did not come into one’s life with pomp and blare, like a gay knight riding down; perhaps it crept to one’s side like an old friend through quiet ways; perhaps it revealed itself in seeming prose, until some sudden shaft of illumination flung athwart its pages betrayed the rhythm and the music, perhaps . . . perhaps . . . love unfolded naturally out of a beautiful friendship, as a golden-hearted rose slipping from its green sheath.

To hell with reality! I want to die in music, not in reason or in prose. People don't deserve the restraint we show by not going into delirium in front of them. To hell with them!

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bells tolls; it tolls for thee.

I haven’t been very impressed lately. By people, or places, or the way someone said he loved me and then slowly changed his mind.

Anybody who has survived his childhood has enough information about life to last him the rest of his days.

How I go to the wood Ordinarily, I go to the woods alone, with not a single friend, for they are all smilers and talkers and therefore unsuitable. I don’t really want to be witnessed talking to the catbirds or hugging the old black oak tree. I have my way of praying, as you no doubt have yours. Besides, when I am alone I can become invisible. I can sit on the top of a dune as motionless as an uprise of weeds, until the foxes run by unconcerned. I can hear the almost unhearable sound of the roses singing. If you have ever gone to the woods with me, I must love you very much.

Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it.

A poet is, before anything else, a person who is passionately in love with language.

One way of looking at speech is to say that it is a constant stratagem to cover nakedness.

Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again. It's like singing on a boat during a terrible storm at sea. You can't stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship.

Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I'm always irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it's very shocking to the system.

Around the outside of the room other beautiful women wearing little or nothing at all flitted between the infatuated, intoxicated men, sometimes luring them away for a private dance. The men would follow obediently, weighed down by lust and credit cards.

Mengerti bahwa memaafkan itu proses yang menyakitkan. MEngerti, walau menyakitkan itu harus dilalui agar langkah kita menjadi jauh lebih ringan. Ketahuilah, memaafkan orang lain sebenarnya jauh lebih mudah dibandingkan memaafkan diri sendiri.

Only connect the prose and the passion, and both will be exalted, and human love will be seen at its highest. Live in fragments no longer.

I was as hollow and empty as the spaces between stars.

Exercises are like prose, whereas yoga is the poetry of movements. Once you understand the grammar of yoga; you can write your poetry of movements.

Elmore Leonard's Ten Rules of Writing 1. Never open a book with weather. 2. Avoid prologues. 3. Never use a verb other than "said" to carry dialogue. 4. Never use an adverb to modify the verb "said”…he admonished gravely. 5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. 6. Never use the words "suddenly" or "all hell broke loose." 7. Use regional dialect, patois, sparingly. 8. Avoid detailed descriptions of characters. 9. Don't go into great detail describing places and things. 10. Try to leave out the part that readers tend to skip. My most important rule is one that sums up the 10. If it sounds like writing, I rewrite it.

Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer.

Wear your heart on your skin in this life.

For a moment Anne's heart fluttered queerly and for the first time her eyes faltered under Gilbert's gaze and a rosy flush stained the paleness of her face. It was as if a veil that had hung before her inner consciousness had been lifted, giving to her view a revelation of unsuspected feelings and realities. Perhaps, after all, romance did not come into one's life with pomp and blare, like a gay knight riding down; perhaps it crept to one's side like an old friend through quiet ways; perhaps it revealed itself in seeming prose, until some sudden shaft of illumination flung athwart its pages betrayed the rhythm and the music, perhaps. . . perhaps. . .love unfolded naturally out of a beautiful friendship, as a golden-hearted rose slipping from its green sheath.

No subject is terrible if the story is true, if the prose is clean and honest, and if it affirms courage and grace under pressure.

The blast of hot air lifted Tazeem from his feet and threw him onto his back in the road. He blinked up into the night sky; raindrops glowed orange as they fell towards the earth.

I like too many things and get all confused and hung-up running from one falling star to another til I drop.

It doesn’t matter how many times you leave, it will always hurt to come back and remember what you once had and who you once were. Then it will hurt just as much to leave again, and so it goes over and over again. Once you’ve started to leave, you will run your whole life.

If you must write prose or poems, the words you use should be your own. Don't plagiarize or take 'on loan'. There's always someone, somewhere, with a big nose, who knows, who'll trip you up and laugh when you fall.

So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information.

Note, to-day, an instructive, curious spectacle and conflict. Science, (twin, in its fields, of Democracy in its)—Science, testing absolutely all thoughts, all works, has already burst well upon the world—a sun, mounting, most illuminating, most glorious—surely never again to set. But against it, deeply entrench'd, holding possession, yet remains, (not only through the churches and schools, but by imaginative literature, and unregenerate poetry,) the fossil theology of the mythic-materialistic, superstitious, untaught and credulous, fable-loving, primitive ages of humanity.

I want you to hold me like a grudge, keep me like a promise, haunt me like a ghost.

She’s like poetry. Like prose and love letters and lyrics, cascading down the center of a page.

To know oneself is, above all, to know what one lacks. It is to measure oneself against Truth, and not the other way around. The first product of self-knowledge is humility . . .

Blood began to flow, at first cautiously, as if embarrassed by its appearance; a few thin red lines exploring the gravitational trajectory of its new terrain. Now it flowed faster, steadily staining her pale flesh a horrific red.

I don’t need anyone else to distract me from myself anymore, like I always thought I would.

There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored. The reader of today looks for this motion, and rightly so, but what he has forgotten is the cost of it. His sense of evil is diluted or lacking altogether, and so he has forgotten the price of restoration. When he reads a novel, he wants either his sense tormented or his spirits raised. He wants to be transported, instantly, either to mock damnation or a mock innocence.

If you suddenly and unexpectedly feel joy, don’t hesitate. Give in to it. There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind. And much can never be redeemed. Still life has some possibility left. Perhaps this is its way of fighting back, that sometimes something happened better than all the riches or power in the world. It could be anything, but very likely you notice it in the instant when love begins. Anyway, that’s often the case. Anyway, whatever it is, don’t be afraid of its plenty. Joy is not made to be a crumb. (Don't Hesitate)

Scott could feel the contents of his stomach flip over and over on themselves. He turned to the side and retched, frothy yellow bile spilled out onto the newspaper covered floor, filling the room with the putrid stench of previously ingested alcohol. 'Look's like someone can't hold their drink,' McBlane said, and Dominic and Shugg laughed. Scott was still staring at the steam rising from his evacuated stomach contents as he heard the hammer fall. The dull crack of bone splintering under its weight.

Anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic.

I wish to God,” said Gideon with mild exasperation, “that you’d talk—just once—in prose like other people.

A shaft of moonlight illuminated a row of sentinel silver birch in a phosphorescent glow, appearing almost ethereal in the relative surrounding gloom. Boris had stopped again, his silhouette a stark black juxtaposition against the background of illuminated branches.

and i said to my body. softly. ‘i want to be your friend.’ it took a long breath. and replied ‘i have been waiting my whole life for this.

To me [Edgar Allan Poe's] prose is unreadable—like Jane Austin's [sic]. No there is a difference. I could read his prose on salary, but not Jane's. Jane is entirely impossible. It seems a great pity that they allowed her to die a natural death.

Oftentimes when I read a book, I want to savor each word, each phrase, each page, loving the prose so much, I don't want it to end. Other times the story pulls me in, and I can hardly read fast enough, the details flying by, some of them lost because all that matters is making sure the character is all right when it's over.

People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.

Exercises are like prose, whereas yoga is the poetry of movements.

Prose is architecture, not interior decoration.

We carry within us the wonders we seek without us.

After a week he was moved to a different wing and into a shared six-by-eight with a grizzled old con called Alf. He had faded tattoos that stained most of the visible skin on his hands, arms and neck a dull blue, sharp eyes and a thick beard that made his mouth look like an axe wound on a bear.

The owner of the Post Office was called Maurice. A sixtyish-year-old with a large red nose that was pebble-dashed with broken capillaries, and a smooth bald head with a fuzz of grey hair around the side like the tide mark on a dirty bath. He had a gruff manner, distrusting eyes and a cough like kicked gravel.

I waited for dawn, but only because I had forgotten how hard mornings were. For a second I'd be normal. Then came the dim awareness of something off, out of place. Then the truth came crashing down and that was it for the rest of the day. Sunlight was reproof. Shouldn't I feel better than I had in the dead of night.

we write every day, we fight every day, we think and scheme and dream a little dream every day. manuscripts pile up in the kitchen sink, run-on sentences dangle around our necks. we plant purple prose in our gardens and snip the adverbs only to thread them in our hair. we write with no guarantees, no certainties, no promises of what might come and we do it anyway. this is who we are.

Prose: words in their best order; poetry: the best words in the best order.

Our age not only does not have a very sharp eye for the almost imperceptible intrusions of grace, it no longer has much feeling for the nature of the violences which precede and follow them.

Hundreds of butterflies flitted in and out of sight like short-lived punctuation marks in a stream of consciousness without beginning or end.

Everything will be okay in the end. If it's not okay, it's not the end.

The fool who persists in his folly will become wise.

An honorable human relationship – that is, one in which two people have the right to use the word "love" – is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other. It is important to do this because it breaks down human self-delusion and isolation. It is important to do this because in doing so we do justice to our own complexity. It is important to do this because we can count on so few people to go that hard way with us.

There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself.

The moisture in the air sat in the crevices of storefront windows, like the tears that welled in the corners of her dark brown eyes.

The young student sits with his head bent over his books, and his mind straying in youth's dreamland; where prose is prowling on the desk and poetry hiding in the heart.

If the onset of wrinkles in middle age were referred to as laughter lines, then to look at him, Scott thought, Twinkle's life must have been hilarious. He had sharp eyes that often seemed to visually contradict the lack of intelligence that could be derived from listening to him talk. There might not be a lot to respect in Twinkle, but Scott liked him. He just didn't want to end up like him.

That’s the trouble with pain. It’s a contagious as a disease. It spreads from the person who first endured it to those who love them most. Truth isn’t always the highest ideal’ sometimes it must be sacrificed to stop the spread of pain to those you love.

A clown on a throne is still a clown. A king in rags is still a king.

I am not collarbones or drunken letters never sent. I am not the way I leave or left or didn’t know how to handle anything, at any time, and I am not your fault.

A word is not the same with one writer as it is with another. One tears it from his guts. The other pulls it out of his overcoat pocket.

In a world where language and naming are power, silence is oppression, is violence.

You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time― Marble-heavy, a bag full of God, Ghastly statue with one grey toe Big as a Frisco seal

Nobody is as powerful as we make them out to be.

Some people will never learn anything, for this reason, because they understand everything too soon.

I just wish you could see my demons for what they are, and lay here beside me on the floor. No words. Just your presence.

Yet nothing can to nothing fall, Nor any place be empty quite; Therefore I think my breast hath all Those pieces still, though they be not unite; And now, as broken glasses show A hundred lesser faces, so My rags of heart can like, wish, and adore, But after one such love, can love no more.

[A]lways get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start." (Interview, The Paris Review, Issue 64, Winter 1975)

Many people become bankrupt through having invested too heavily in the prose of life. To have ruined one's self over poetry is an honor.

A garden should make you feel you've entered privileged space -- a place not just set apart but reverberant -- and it seems to me that, to achieve this, the gardener must put some kind of twist on the existing landscape, turn its prose into something nearer poetry.

The bar staff and croupiers all wore black with the same green triangle logo emblazoned on their shirts, and contact lenses which made their eyes shine an eerie, vibrant green. The bar optics glowed with the same green light, the intensity of which was linked to the music. As the bartender walked away to fetch the drinks, a breakdown in the techno track commenced and the bottles began to palpitate. The bartender's eyes glowed with a hallucinatory felinity that made Mangle feel nervous.

Death Be Not Proud Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those, whom thou think'st thou dost overthrow, Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy picture[s] be, Much pleasure, then from thee much more must flow, And soonest our best men with thee do go, Rest of their bones, and soul's delivery. Thou'rt slave to Fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy, or charms can make us sleep as well, And better than thy stroke ; why swell'st thou then? One short sleep past, we wake eternally, And Death shall be no more; Death, thou shalt die.

Mengetahui bagaimana agama-agama lain menerjemahkan bahasa Tuhan adalah sebuah proses yang mengasah otakmu, tidak harus berakhir dengan pertukaran imanmu, Astu

The Postmodernists' tyranny wears people down by boredom and semi-literate prose.

Your beliefs will be the light by which you see, but they will not be what you see and they will not be a substitute for seeing.

He dropped the phone back onto its cradle, began to turn around and felt a sudden ice-cold furrow open up in his side. Strength drained from his legs, and a moment later he sank to his knees. There was warmth now that ran over the initial and persistent cold. Mohammed was confused, and barely noticed the briefcase being removed from his grip. He heard the click of a cell phone opening, and a soft beeping as a number was dialed. 'The package is in my possession,' a female voice said, and the phone clicked shut.

Life has no victims. There are no victims in this life. No one has the right to point fingers at his/her past and blame it for what he/she is today. We do not have the right to point our finger at someone else and blame that person for how we treat others, today. Don’t hide in the corner, pointing fingers at your past. Don’t sit under the table, talking about someone who has hurt you. Instead, stand up and face your past! Face your fears! Face your pain! And stomach it all! You may have to do so kicking and screaming and throwing fits and crying- but by all means- face it! This life makes no room for cowards.

There are very few friends that will lie down with you on empty streets in the middle of the night, without a word. No questions, no asking why, just quietly lay there with you, observing the stars, until you're ready to get back up on your feet again and walk the last bit home, softly holding your hand as a quiet way of saying “I'm here”. It was a beautiful night.

Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.

Don't use a five-dollar word when a fifty-cent word will do.

Women have been driven mad, "gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each others' sense of reality for the sake of expediency; not to gaslight each other. Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.

No man is an island, entire of itself.

the greatest scholars are not usually the wisest people

All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane.

She would only point out the salvation that was latent in his own soul, and in the soul of every man. Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer.

Time will cease, disease will fester, and death will die.

Poetry is to prose as dancing is to walking.

Good prose should be transparent, like a window pane.

Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairy tale 'til its appropriate liberator comes to set it free.

(a womanist) 3. Loves music. Loves dance. Loves the moon. Loves the Spirit. Loves love and food and roundness. Loves struggle. Loves the Folk. Loves herself. Regardless.

Hidup adalah proses terus menerus memperbaiki diri.

The mystery of death, the riddle of how you could speak to someone and see them every day and then never again, was so impossible to fathom that of course we kept trying to figure it out, even when we were unconscious.

Prose is walking; poetry is flying

Her quiet sobs were absorbed into the aria of their voices, their protection and love enveloping her pain and carrying her song.

My truth is not the same as yours because we don’t experience life in the same way.

The snow was too light to stay, the ground too warm to keep it. And the strange spring snow fell only in that golden moment of dawn, the turning of the page between night and day.

... so this is for us. This is for us who sing, write, dance, act, study, run and love and this is for doing it even if no one will ever know because the beauty is in the act of doing it. Not what it can lead to. This is for the times I lose myself while writing, singing, playing and no one is around and they will never know but I will forever remember and that shines brighter than any praise or fame or glory I will ever have, and this is for you who write or play or read or sing by yourself with the light off and door closed when the world is asleep and the stars are aligned and maybe no one will ever hear it or read your words or know your thoughts but it doesn’t make it less glorious. It makes it ethereal. Mysterious. Infinite. For it belongs to you and whatever God or spirit you believe in and only you can decide how much it meant and means and will forever mean and other people will experience it too through you. Through your spirit. Through the way you talk. Through the way you walk and love and laugh and care and I never meant to write this long but what I want to say is: Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourself and let your very existence be your song, your poem, your story. Let your very identity be your book. Let the way people say your name sound like the sweetest melody. So go create. Take photographs in the wood, run alone in the rain and sing your heart out high up on a mountain where no one will ever hear and your very existence will be the most hypnotising scar. Make your life be your art and you will never be forgotten.

Attached to each arm, as well as the skirt, they looked like an attempt to grow wings.


They are not long, the days of wine and roses: Out of a misty dream Our path emerges for awhile, then closes Within a dream.

When When it’s over, it’s over, and we don’t know any of us, what happens then. So I try not to miss anything. I think, in my whole life, I have never missed The full moon or the slipper of its coming back. Or, a kiss. Well, yes, especially a kiss.

Being incomprehensible offers unparalleled protection against having nothing to say...but writing with simplicity requires courage, for there is a danger that one will be overlooked, dismissed as simpleminded by those with a tenacious belief that the impassable prose is a hallmark of intelligence.

The unconscious wants truth. It ceases to speak to those who want something else more than truth.

The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth is to know that it is a fiction and that you believe in it willingly.

The poet dreams of the mountain Sometimes I grow weary of the days, with all their fits and starts. I want to climb some old gray mountains, slowly, taking The rest of my lifetime to do it, resting often, sleeping Under the pines or, above them, on the unclothed rocks. I want to see how many stars are still in the sky That we have smothered for years now, a century at least. I want to look back at everything, forgiving it all, And peaceful, knowing the last thing there is to know. All that urgency! Not what the earth is about! How silent the trees, their poetry being of themselves only. I want to take slow steps, and think appropriate thoughts. In ten thousand years, maybe, a piece of the mountain will fall.

The sum of things to be known is inexhaustible, and however long we read, we shall never come to the end of our story-book." (Introductory lecture as professor of Latin at University College, London, 3 October 1892)

I Worried" I worried a lot. Will the garden grow, will the rivers flow in the right direction, will the earth turn as it was taught, and if not how shall I correct it? Was I right, was I wrong, will I be forgiven, can I do better? Will I ever be able to sing, even the sparrows can do it and I am, well, hopeless. Is my eyesight fading or am I just imagining it, am I going to get rheumatism, lockjaw, dementia? Finally I saw that worrying had come to nothing. And gave it up. And took my old body and went out into the morning, and sang.

I want to burn with excitement or anger and bleed, bleed out my words. I want to get all fucked up and write raw and ugly about all these things I see and am and could be.

What did Nabokov and Joyce have in common, apart from the poor teeth and the great prose? Exile, and decades of near pauperism. A compulsive tendency to overtip. An uxoriousness that their wives deservedly inspired. More than that, they both lived their lives 'beautifully'--not in any Jamesian sense (where, besides, ferocious solvency would have been a prerequisite), but in the droll fortitude of their perseverance. They got the work done, with style.

If a writer of prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water

The cure for loneliness is solitude.

It hardly felt real that she was gone, though the heavy pain Agata had carried for weeks reminded her, sitting like too many sweets in her stomach; that and the black fabric, the black everywhere.

My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.

But I was young and didn’t know better and someone should have told me to capture every second every kiss & every night Because now I’m sitting here alone and it’s getting really hard to breath because tears are growing in my throat and they want to break out, but there are people watching and I just want to be somewhere silent somewhere still But still I don’t want to be alone because I’m scared and lonely and I don’t understand Because I was alone my whole life My whole life I was so damn lonely and I was content with that because I liked myself and my own company and I didn’t need anyone I thought But then there was you .. ... So, someone should have told me that love is for those few brave who can handle the unbearable emptiness, the unbearable guilt and lack of oneself, Because I lost myself to someone I love and I might get myself back one day but it will take time, it will take time. This is gonna take some time. I wish someone would have told me this. Someone should have told me this.

An intellectual hatred is the worst.

And I do. I do wonder, I think about it all the time. What it would be like to kill myself. Because I never really know, I still can't tell the difference, I'm never quite certain whether or not I'm actually alive. I sit here every single day. Run, I said to myself. Run until your lungs collapse, until the wind whips and snaps at your tattered clothes, until you're a blur that blends into the background. Run, Juliette, run faster, run until your bones break and your shins split and your muscles atrophy and your heart dies because it was always too big for your chest and it beat too fast for too long and you run. Run run run until you can't hear their feet behind you. Run until they drop their fists and their shouts dissolve in the air. Run with your eyes open and your mouth shut and dam the river rushing up behind your eyes. Run, Juliette. Run until you drop dead. Make sure your heart stops before they ever reach you. Before they ever touch you. Run, I said.

So you will meet many ’someones’ who will give a new definition to your name. And you can not build walls, must not close the door and please don’t hide, because if you ask me about hurt and love I will say love. Love because the hurt will come and go no matter what, but only love makes it worth while. Only love can cure it. Don’t be scared. Go. Love.

Re-vision – the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction – is for woman more than a chapter in cultural history: it is an act of survival. Until we understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society.

A day of dappled seaborne clouds. The phrase and the day and the scene harmonised in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

The characters in my novels are my own unrealised possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented.

Watch me go. Watch me. Because you said i couldn't. Because you thought I wouldn't. Go on, cry now. Cry.

The moon hung over the planet Earth, a dead thing over a dying thing.

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

When there is a tendency to compartmentalize the spiritual and make it resident in a certain type of life only, the spiritual is apt gradually to be lost.

He left that morning, the last words still echoing in my head, and though he said he’d come back one day I know a broken promise from a right one for I have used them myself and there is no coming back. Minds like ours are can’t be tamed and the price for freedom is the price we pay.

Tell all the truth but tell it slant.

Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledge its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.

Her mouth was a gash of red, like the torn-open stomach of a sacrifice, bloody and oracular. Behind it her teeth shone sharp and white as bone.

I’ll never understand it—why people find the truth more shocking than lies.

She gave me for my pains a world of sighs.

But what humans forget, cells remember. The body, that elephant

People see everything through the lens of their obsessions.

AUTUMNAL Pale amber sunlight falls across The reddening October trees, That hardly sway before a breeze As soft as summer: summer's loss Seems little, dear! on days like these. Let misty autumn be our part! The twilight of the year is sweet: Where shadow and the darkness meet Our love, a twilight of the heart Eludes a little time's deceit. Are we not better and at home In dreamful Autumn, we who deem No harvest joy is worth a dream? A little while and night shall come, A little while, then, let us dream. Beyond the pearled horizons lie Winter and night: awaiting these We garner this poor hour of ease, Until love turn from us and die Beneath the drear November trees.

Again and again, however we know the landscape of love and the little churchyard there, with its sorrowing names, and the frighteningly silent abyss into which the others fall: again and again the two of us walk out together under the ancient trees, lie down again and again among the flowers, face to face with the sky.

My heart is burning a hole in my chest and every time you speak to me, it keeps sinking, and I'm left with nothing but ashes. I wish she were talking to me, because the more she speaks to me, the more my heart flutters like a rising phoenix. -Karen Quan and Jarod Kintz

Colors shone with exceptional clarity in the rain. The ground was a deep black, the pine branches a brilliant green, the people wrapped in yellow looking like special spirits that were allowed to wander over the earth on rainy mornings only.

I've found, in my own writing, that a little hatred, keenly directed, is a useful thing.

Charles Baudelaire: Get Drunk One should always be drunk. That's all that matters; that's our one imperative need. So as not to feel Time's horrible burden that breaks your shoulders and bows you down, you must get drunk without ceasing. But what with? With wine, with poetry, or with virtue, as you choose. But get drunk. And if, at some time, on the steps of a palace, in the green grass of a ditch, in the bleak solitude of your room, you are waking up when drunkenness has already abated, ask the wind, the wave, a star, the clock, all that which flees, all that which groans, all that which rolls, all that which sings, all that which speaks, ask them what time it is; and the wind, the wave, the star, the bird, the clock will reply: 'It is time to get drunk! So that you may not be the martyred slaves of Time, get drunk; get drunk, and never pause for rest! With wine, with poetry, or with virtue, as you choose!' -- Charles Baudelaire, tr. Michael Hamburger

You were the hardest year of my life and I’ve never been so happy. What does that say about me?

As the thick cumulus clouds in the distance parted, a beam of sunlight shed its golden rays upon the valley and onto the tiny telephone poles below.

Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn't convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature. In any case, it is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.

Truth be told, the inward gaze is something she's not too fond of. But there are secrets that lurk in the mind, and she doesn't want any of them sneaking up on her. Sometimes it pays to take a deep look inside even if you get queasy gazing into those dark corners.

I am a free soul, singing my heart out by myself no matter where I go and I call strangers my friends because I learn things and find ways to fit them into my own world. I hear what people say, rearrange it, take away and tear apart until it finds value in my reality and there I make it work. I find spaces in between the cracks and cuts where it feels empty and there I make it work.

I run with the hunted.

I am looking for the human who admits his flaws Who shocks the adversary By being kinder not stronger What would that be like? We don't even know

I covet truth; beauty is unripe childhood's cheat; I leave it behind with the games of youth.

If the sky falls they shall have clouds for supper.

Anybody can observe the Sabbath, but making it holy surely takes the rest of the week.

It was sometime in October, she had long ago lost track of all the days and it really didn’t matter because one was like another and there were no nights to separate them because she never slept any more.

no person is your friend (or kin) who demands your silence, or denies your right to grow and be perceived as fully blossomed as you were intended. Or who belittles in any fashion the gifts you labor so to bring into the world.

Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that's dynamic and expressivee--that's what's good for you if you're at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. "In the time of your life--live!" That time is short and it doesn't return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.

The silence, seclusion, and sky-scraping perch atop the highest peak in the valley struck him at once as quite eerie, yet sublimely ethereal.

Looking from outside into an open window one never sees as much as when one looks through a closed window. There is nothing more profound, more mysterious, more pregnant, more insidious, more dazzling than a window lighted by a single candle. What one can see out in the sunlight is always less interesting than what goes on behind a windowpane. In that black or luminous square life lives, life dreams, life suffers.

On the beach, at dawn: Four small stones clearly Hugging each other. How many kinds of love Might there be in the world, And how many formations might they make And who am I ever To imagine I could know Such a marvelous business? When the sun broke It poured willingly its light Over the stones That did not move, not at all, Just as, to its always generous term, It shed its light on me, My own body that loves, Equally, to hug another body.

The aching in my chest isn't because I miss you, it's realizing that you have become someone I no longer know, your fears, your 4 am thoughts, your achievements, are things I no longer have an equivalent to. Who we were and who we are are four different people, and the me from now doesn't relate to the me from then, let alone to the you from now. -Tanzy Sayadi and Jarod Kintz

Ah, not to be cut off, not through the slightest partition shut out from the law of the stars. The inner -- what is it? if not the intensified sky, hurled through with birds and deep with the winds of homecoming.

And someday, when the parties don’t dazzle you anymore, and when the alcohol fails to amuse your senses, come to me. We’ll lie on the grass, stare at the stars, and talk about Life. Maybe I will become the Moment you rediscover yourself again.

Sexist grammar burns into the brains of little girls and young women a message that the male is the norm, the standard, the central figure beside which we are all deviants, the marginal, the dependent variables. It lays the foundation for androcentric thinking, and leaves men safe in their solipsistic tunnel-vision.

Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourself and let your very existence be your song, your poem, your story. Let your very identity be your book. Let the way people say your name sound like the sweetest melody.

It was a very ordinary day, the day I realised that my becoming is my life and my home and that I don't have to do anything but trust the process, trust my story and enjoy the journey. It doesn't really matter who I've become by the finish line, the important things are the changes from this morning to when I fall asleep again, and how they happened, and who they happened with. An hour watching the stars, a coffee in the morning with someone beautiful, intelligent conversations at 5am while sharing the last cigarette. Taking trains to nowhere, walking hand in hand through foreign cities with someone you love. Oceans and poetry. It was all very ordinary until my identity appeared, until my body and mind became one being. The day I saw the flowers and learned how to turn my daily struggles into the most extraordinary moments. Moments worth writing about. For so long I let my life slip through my fingers, like water. I'm holding on to it now, and I'm not letting go.

Take a shower. Wash away every trace of yesterday. Of smells. Of weary skin. Get dressed. Make coffee, windows open, the sun shining through. Hold the cup with two hands and notice that you feel the feeling of warmth. 
 You still feel warmth.
Now sit down and get to work. Keep your mind sharp, head on, eyes on the page and if small thoughts of worries fight their ways into your consciousness: threw them off like fires in the night and keep your eyes on the track. Nothing but the task in front of you.  Get off your chair in the middle of the day. Put on your shoes and take a long walk on open streets around people. Notice how they’re all walking, in a hurry, or slowly. Smiling, laughing, or eyes straight forward, hurried to get to wherever they’re going. And notice how you’re just one of them. Not more, not less. Find comfort in the way you’re just one in the crowd. Your worries: no more, no less. Go back home. Take the long way just to not pass the liquor store. Don’t buy the cigarettes. Go straight home. Take off your shoes. Wash your hands. Your face. Notice the silence. Notice your heart. It’s still beating. Still fighting. Now get back to work.
Work with your mind sharp and eyes focused and if any thoughts of worries or hate or sadness creep their ways around, shake them off like a runner in the night for you own your mind, and you need to tame it. Focus. Keep it sharp on track, nothing but the task in front of you. Work until your eyes are tired and head is heavy, and keep working even after that. Then take a shower, wash off the day. Drink a glass of water. Make the room dark. Lie down and close your eyes.
Notice the silence. Notice your heart. Still beating. Still fighting. You made it, after all. You made it, another day. And you can make it one more. 
You’re doing just fine.
You’re doing fine. I’m doing just fine.

THE OWLS by: Charles Baudelaire UNDER the overhanging yews, The dark owls sit in solemn state, Like stranger gods; by twos and twos Their red eyes gleam. They meditate. Motionless thus they sit and dream Until that melancholy hour When, with the sun's last fading gleam, The nightly shades assume their power. From their still attitude the wise Will learn with terror to despise All tumult, movement, and unrest; For he who follows every shade, Carries the memory in his breast, Of each unhappy journey made. 'The Owls' is reprinted from The Poems and Prose Poems of Charles Baudelaire. Ed. James Huneker. New York: Brentano's, 1919.

The sweetness of dogs (fifteen) What do you say, Percy? I am thinking of sitting out on the sand to watch the moon rise. Full tonight. So we go and the moon rises, so beautiful it makes me shudder, makes me think about time and space, makes me take measure of myself: one iota pondering heaven. Thus we sit, I thinking how grateful I am for the moon’s perfect beauty and also, oh! How rich it is to love the world. Percy, meanwhile, leans against me and gazes up into my face. As though I were his perfect moon.

What do you mean, a goddess?” Alec questioned irritably. “She’s staggeringly beautiful, wonderful, a vision of …” He petered out when he saw Alec looking at him strangely. Father Joe stroked his beard in thought, nervously eyeing Alec and then casting his eyes to the fireplace. Alec was beginning to sense Father Joe was regretting coming to his flat. He was also thinking that he regretted having anything to do with the vicar. He was quite mad … possibly.

I am not a finished poem, and I am not the song you’ve turned me into. I am a detached human being, making my way in a world that is constantly trying to push me aside, and you who send me letters and emails and beautiful gifts wouldn’t even recognise me if you saw me walking down the street where I live tomorrow for I am not a poem. I am tired and worn out and the eyes you would see would not be painted or inspired but empty and weary from drinking too much at all times and I am not the life of your party who sings and has glorious words to speak for I don’t speak much at all and my voice is raspy and unsteady from unhealthy living and not much sleep and I only use it when I sing and I always sing too much or not at all and never when people are around because they expect poems and symphonies and I am not a poem but an elegy at my best but unedited and uncut and not a lot of people want to work with me because there’s only so much you can do with an audio take, with the plug-ins and EQs and I was born distorted, disordered, and I’m pretty fine with that, but others are not.

How can I keep my soul in me, so that it doesn’t touch your soul? How can I raise it high enough, past you, to other things? I would like to shelter it, among remote lost objects, in some dark and silent place that doesn’t resonate when your depths resound. Yet everything that touches us, me and you, takes us together like a violin’s bow, which draws one voice out of two separate strings. Upon what instrument are we two spanned? And what musician holds us in his hand? Oh sweetest song. - Love Song

Whatever is unnamed, undepicted in images, whatever is omitted from biography, censored in collections of letters, whatever is misnamed as something else, made difficult-to-come-by, whatever is buried in the memory by the collapse of meaning under an inadequate or lying language - this will become, not merely unspoken, but unspeakable.

Alangkah seringnya Mentergesai kenikmatan tanpa ikatan Membuat detik-detik di depan terasa hambar Belajar dari ahli puasa Ada dua kebahagiaan baginya Saat berbuka Dan saat Allah menyapa lembut memberikan pahala Inilah puasa panjang syahwatku Kekuatan ada pada menahan Dan rasa nikmat itu terasa, di waktu buka yang penuh kejutan Coba saja Kalau Allah yang menghalalkan Setitis cicipan surga Kan menjadi shadaqah berpahala Buku ini dipersembahkan untuk mereka yang lagi jatuh hati atau sedang pacaran bersama doi yang dipenuhi hasrat nikah dini tapi belum bernyali yang sedang menjalani proses penuh liku dan yang ingin melanggengkan masa-masa indah pernikahannya...

The bed we loved in was a spinning world of forests, castles, torchlight, clifftops, seas where we would dive for pearls. My lover’s words were shooting stars which fell to earth as kisses on these lips; my body now a softer rhyme to his, now echo, assonance; his touch a verb dancing in the centre of a noun. Some nights, I dreamed he’d written me, the bed a page beneath his writer’s hands. Romance and drama played by touch, by scent, by taste. In the other bed, the best, our guests dozed on, dribbling their prose. My living laughing love - I hold him in the casket of my widow’s head as he held me upon that next best bed. - Anne Hathaway

When you can assume that your audience holds the same beliefs you do, you can relax and use more normal means of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock -- to the hard of hearing you shout, and for the almost-blind you draw large and startling figures.

You’re lonely,” they say, but it doesn’t scare me anymore for it teaches me, and maybe that’s the biggest win from these years: I don’t need anyone else to distract me from myself anymore, like I always thought I would. I don’t break mirrors anymore, like I always thought I would. I can finally stand myself, and I never thought I would.

I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil. I have also found that what I write is read by an audience which puts little stock either in grace or the devil. You discover your audience at the same time and in the same way that you discover your subject, but it is an added blow.

I’m learning persistence and the closing of doors, the way the seasons come and go as I keep walking on these roads, back and forth, to find myself in new time zones, new arms with new phrases and new goals. And it hurts to become, hurts to find out about the poverty and gaps, the widow and the leavers. It hurts to accept that it hurts and it hurts to learn how easy it is for people to not need other people. Or how easy it is to need other people but that you can never build a home in someone’s arms because they will let go one day and you must build your own.

The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

His lyrical whistle beckoned me to adventure and forgetting. But I didn't want to forget. Hugging my grudge, ugly and prickly, a sad sea urchin, I trudged off on my own, in the opposite direction toward the forbidding prison. As from a star I saw, coldly and soberly, the separateness of everything. I felt the wall of my skin; I am I. That stone is a stone. My beautiful fusion with the things of this world was over. The Tide ebbed, sucked back into itself. There I was, a reject, with the dried black seaweed whose hard beads I liked to pop, hollowed orange and grapefruit halves and a garbage of shells. All at once, old and lonely, I eyed these-- razor clams, fairy boats, weedy mussels, the oyster's pocked gray lace (there was never a pearl) and tiny white "ice cream cones." You could always tell where the best shells were-- at the rim of the last wave, marked by a mascara of tar. I picked up, frigidly, a stiff pink starfish. It lay at the heart of my palm, a joke dummy of my own hand. Sometimes I nursed starfish alive in jam jars of seawater and watched them grow back lost arms. On this day, this awful birthday of otherness, my rival, somebody else, I flung the starfish against a stone. Let it perish.

I said ”I love you so much it’s killing me” and you kept saying sorry so I stopped explaining for it never made sense to you what always did to me to let what you love kill you and never regret. As Romeo is dying Juliet says ”I am willing to die to remain by your side” and love was never a static place of rest but the last second of euphoria while throwing yourself out from a 20 store window to be able to say ”I flew before I hit the ground”, and it was glorious. Don’t be sorry. The fall was beautiful, dear. The crash was beautiful.

Your favourite virtue ... Simplicity Your favourite virtue in man ... Strength Your favourite virtue in woman ... Weakness Your chief characteristic ... Singleness of purpose Your idea of happiness ... To fight Your idea of misery ... Submission The vice you excuse most ... Gullibility The vice you detest most ... Servility Your aversion ... Martin Tupper Favourite occupation ... Book-worming Favourite poet ... Shakespeare, Aeschylus, Goethe Favourite prose-writer ... Diderot Favourite hero ... Spartacus, Kepler Favourite heroine ... Gretchen [Heroine of Goethe's Faust] Favourite flower ... Daphne Favourite colour ... Red Favourite name ... Laura, Jenny Favourite dish ... Fish Favourite maxim ... Nihil humani a me alienum puto [Nothing human is alien to me] Favourite motto ... De omnibus dubitandum [Everything must be doubted].

I have hope in who I am becoming. I have belief in every scar and disgraceful word I have ever spoken or been told because it is still teaching me and I have hope in who I am becoming. They say it takes 756 days to run to someone you love and they also say that the only romance worth fighting for is the one with yourself and I know by now that they say a lot of things, people talking everywhere without saying a word, but if it took me all those years to learn myself or teach myself how to look into the mirror without breaking it I know for a fact that it was a fight worth fighting. I stood up for my own head and so did my heart and we are coming to terms with ourselves. Shaking hands, saying ”let’s make this work for we have places to go and people to see and we will need each other” So I have hope in who I am becoming. It’s July and I have hope in who I am becoming.

It's about personal development. It's about creating your own character and pushing it to the limit. It's about pushing yourself so far out of your own and everybody else's idea of who you are and what you're capable of, that you no longer believe in limits. It's about reaching beyond your so-called potential, because your potential is never where you or anyone else expects it to be, not even close. It's about being able to say with the last breath of your life “I used all my potential and all my talents and pushed myself to the limit. I could not have fought any harder.

It had been June, the bright hot summer of 1937, and with the curtains thrown back the bedroom had been full of sunlight, sunlight and her and Will's children, their grandchildren, their nieces and nephews- Cecy's blue eyed boys, tall and handsome, and Gideon and Sophie's two girls- and those who were as close as family: Charlotte, white- haired and upright, and the Fairchild sons and daughters with their curling red hair like Henry's had once been. The children had spoken fondly of the way he had always loved their mother, fiercely and devotedly, the way he had never had eyes for anyone else, and how their parents had set the model for the sort of love they hoped to find in their own lives. They spoke of his regard for books, and how he had taught them all to love them too, to respect the printed page and cherish the stories that those pages held. They spoke of the way he still cursed in Welsh when he dropped something, though he rarely used the language otherwise, and of the fact that though his prose was excellent- he had written several histories of the Shadowhunters when he's retired that had been very well respected- his poetry had always been awful, though that never stopped him from reciting it. Their oldest child, James, had spoken laughingly about Will's unrelenting fear of ducks and his continual battle to keep them out of the pond at the family home in Yorkshire. Their grandchildren had reminded him of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie. With tears running down her face, Cecily had reminded him of the moment at her wedding to Gabriel when he had delivered a beautiful speech praising the groom, at the end of which he had announced, "Dear God, I thought she was marrying Gideon. I take it all back," thus vexing not only Cecily and Gabriel but Sophie as well- and Will, though too tired to laugh, had smiled at his sister and squeezed her hand. They had all laughed about his habit of taking Tessa on romantic "holidays" to places from Gothic novels, including the hideous moor where someone had died, a drafty castle with a ghost in it, and of course the square in Paris in which he had decided Sydney Carton had been guillotined, where Will had horrified passerby by shouting "I can see the blood on the cobblestones!" in French.

Enough already of Lacan, Derrida, and Foucault poured like ketchup over everything. Lacan: the French fog machine; a grey-flannel worry-bone for toothless academic pups; a twerpy, cape-twirling Dracula dragging his flocking stooges to the crypt. Lacan is a Freud T-shirt shrunk down to the teeny-weeny Saussure torso. The entire school of Saussure, inluding Levi-Strauss, write their muffled prose of people with cotton wool wrapped around their heads; they're like walking Q-tips. Derrida: a Gloomy Gus one-trick pony, stuck on a rhetorical trope already available in the varied armory of New Criticism. Derrida's method: masturbating without pleasure. It's a birdbrain game for birdseed stakes. Neo-Foucaldian New Historicism: a high-wax bowling alley where you score points just by knockng down the pins.

I am running and singing and when it’s raining I’m the only one left on the open street, smiling with my eyes fixed on the sky because it’s cleaning me. I’m the one on the other side of the party, hearing laughter and the emptying of bottles while I peacefully make my way to the river, a lonely road, following the smell of the ocean. I’m the one waking up at 4am to witness the sunrise, where the sky touches the sea, and I hold my elbows, grasping tight to whatever I’ve made of myself.

What reading does, ultimately, is keep alive the dangerous and exhilarating idea that a life is not a sequence of lived moments, but a destiny...the time of reading, the time defined by the author's language resonating in the self, is not the world's time, but the soul's. The energies that otherwise tend to stream outward through a thousand channels of distraction are marshaled by the cadences of the prose; they are brought into focus by the fact that it is an ulterior, and entirely new, world that the reader has entered. The free-floating self--the self we diffusely commune with while driving or walking or puttering in the kitchen--is enlisted in the work of bringing the narrative to life. In the process, we are able to shake off the habitual burden of insufficient meaning and flex our deeper natures.

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

It's the smell of him in the bathroom, all I need to get ready for the day. Watching him get dressed, and the sound in the kitchen; a slow hum of a song and his movements, picking things to eat. The way I could observe him, for hours, just go on with his day – or as he sleeps – simply breathing in and out, in and out, and it's like the hymn that sings me to peace. I know the world is still out there and I know I'm not yet friendly to its pace, but as long as I know him with me, here, there, somewhere – us – I know I have a chance.

In your hands The dog, the donkey, surely they know They are alive. Who would argue otherwise? But now, after years of consideration, I am getting beyond that. What about the sunflowers? What about The tulips, and the pines? Listen, all you have to do is start and There’ll be no stopping. What about mountains? What about water Slipping over rocks? And speaking of stones, what about The little ones you can Hold in your hands, their heartbeats So secret, so hidden it may take years Before, finally, you hear them?

My dearest friend Abigail, These probably could be the last words I write to you and I may not live long enough to see your response but I truly have lived long enough to live forever in the hearts of my friends. I thought a lot about what I should write to you. I thought of giving you blessings and wishes for things of great value to happen to you in future; I thought of appreciating you for being the way you are; I thought to give sweet and lovely compliments for everything about you; I thought to write something in praise of your poems and prose; and I thought of extending my gratitude for being one of the very few sincerest friends I have ever had. But that is what all friends do and they only qualify to remain as a part of the bunch of our loosely connected memories and that's not what I can choose to be, I cannot choose to be lost somewhere in your memories. So I thought of something through which I hope you will remember me for a very long time. I decided to share some part of my story, of what led me here, the part we both have had in common. A past, which changed us and our perception of the world. A past, which shaped our future into an unknown yet exciting opportunity to revisit the lost thoughts and to break free from the libido of our lost dreams. A past, which questioned our whole past. My dear, when the moment of my past struck me, in its highest demonised form, I felt dead, like a dead-man walking in flesh without a soul, who had no reason to live any more. I no longer saw any meaning of life but then I saw no reason to die as well. I travelled to far away lands, running away from friends, family and everyone else and I confined myself to my thoughts, to my feelings and to myself. Hours, days, weeks and months passed and I waited for a moment of magic to happen, a turn of destiny, but nothing happened, nothing ever happens. I waited and I counted each moment of it, thinking about every moment of my life, the good and the bad ones. I then saw how powerful yet weak, bright yet dark, beautiful yet ugly, joyous yet grievous; is a one single moment. One moment makes the difference. Just a one moment. Such appears to be the extreme and undisputed power of a single moment. We live in a world of appearance, Abigail, where the reality lies beyond the appearances, and this is also only what appears to be such powerful when in actuality it is not. I realised that the power of the moment is not in the moment itself. The power, actually, is in us. Every single one of us has the power to make and shape our own moments. It is us who by feeling joyful, celebrate for a moment of success; and it is also us who by feeling saddened, cry and mourn over our losses. I, with all my heart and mind, now embrace this power which lies within us. I wish life offers you more time to make use of this power. Remember, we are our own griefs, my dear, we are our own happinesses and we are our own remedies. Take care! Love, Francis. Title: Letter to Abigail Scene: "Death-bed" Chapter: The Road To Awe

Did you too see it, drifting, all night, on the black river? Did you see it in the morning, rising into the silvery air - An armful of white blossoms, A perfect commotion of silk and linen as it leaned into the bondage of its wings; a snowbank, a bank of lilies, Biting the air with its black beak? Did you hear it, fluting and whistling A shrill dark music - like the rain pelting the trees - like a waterfall Knifing down the black ledges? And did you see it, finally, just under the clouds - A white cross Streaming across the sky, its feet Like black leaves, its wings Like the stretching light of the river? And did you feel it, in your heart, how it pertained to everything? And have you too finally figured out what beauty is for? And have you changed your life?

But aren't all great quests folly? El Dorado and the Fountain of Youth and the search for intelligent life in the cosmos-- we know what's out there. It's what isn't that truly compels us. Technology may have shrunk the epic journey to a couple of short car rides and regional jet lags-- four states and twelve hundred miles traversed in an afternoon-- but true quests aren't measured in time or distance anyway, so much as in hope. There are only two good outcomes for a quest like this, the hope of the serendipitous savant-- sail for Asia and stumble on America-- and the hope of scarecrows and tin men: that you find out you had the thing you sought all along.

Percy wakes me (fourteen) Percy wakes me and I am not ready. He has slept all night under the covers. Now he’s eager for action: a walk, then breakfast. So I hasten up. He is sitting on the kitchen counter Where he is not supposed to be. How wonderful you are, I say. How clever, if you Needed me, To wake me. He thought he would a lecture and deeply His eyes begin to shine. He tumbles onto the couch for more compliments. He squirms and squeals: he has done something That he needed And now he hears that it is okay. I scratch his ears. I turn him over And touch him everywhere. He is Wild with the okayness of it. Then we walk, then He has breakfast, and he is happy. This is a poem about Percy. This is a poem about more than Percy. Think about it.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.