The Four Winds A Novel Quotes

Books had always been her solace; novels gave her the space to be bold, brave, beautiful, if only in her own imagination.

Books had always been her solace. Novels gave her the space to be bold, brave, beautiful, if only in her imagination.

In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.

But I am fearful of it because I hear she is learned in the Four Books, and learning has never accompanied beauty in women.

In her lonely bedroom, surrounded by the novels that had become her friends, she sometimes dared to dream of an adventure of her own, but not often.

Three years ago, I began writing this novel about hard times in America: the worst environmental disaster in our history; the collapse of the economy; the effect of massive unemployment. Never in my wildest dreams did I imagine that the Great Depression would become so relevant in our modern lives, that I would see so many people out of work, in need, frightened for the future.

It was midnight when I parked my car under Union Square. A wet wind blew across the almost deserted square, blowing fogged breath from the sea on the dark pavements. Flashing neons on all four sides repudiated the night.

I took a long look at my reflection in the window. My eyes were a bit hollow with fever. I could live with that. And my jaw was dark with five o’clock (five thirty, actually) shadow. I could live with that too. The problem was that the face I saw wasn’t my face at all. It was the face of the twenty-four-year-old guy you sometimes sit across from on the train. My face and my soul were lifeless shells, of no significance to anyone. My soul passes someone else’s on the street. Hey, it says. Hey, the other responds. Nothing more. Neither waves. Neither looks back. If I stuck gardenias in my ears and flippers on my hands some people might stop and turn around. But that would be it. Three steps more and they would already have forgotten me. Their eyes saw nothing, not a damn thing. And mine were no different. I felt empty. Maybe I had nothing left to give.

As I write this note, it is May 2020, and the world is battling the coronavirus pandemic. My husband’s best friend, Tom, who was one of the earliest of our friends to encourage my writing and who was our son’s godfather, caught the virus last week and has just passed away. We cannot be with his widow, Lori, and his family to mourn. Three years ago, I began writing this novel about hard times in America: the worst environmental disaster in our history; the collapse of the economy; the effect of massive unemployment. Never in my wildest dreams did I imagine that the Great Depression would become so relevant in our modern lives, that I would see so many people out of work, in need, frightened for the future. As we know, there are lessons to be learned from history. Hope to be derived from hardships faced by others. We’ve gone through bad times before and survived, even thrived. History has shown us the strength and durability of the human spirit. In the end, it is our idealism and our courage and our commitment to one another—what we have in common—that will save us. Now, in these dark days, we can look to history, to the legacy of the Greatest Generation and the story of our own past, and take strength from it.

The evening was a string of miserable minutes strung together in tiny clusters. Three minutes for a man shot through the shoulder; Ellis put first a finger in the entry wound and then another in the exit and when his fingers touched, he decided the man was only lightly injured and didn’t need a surgeon. Three minutes to set a broken wrist and splint it with a strip of cowhide and a piece of wood from a sycamore tree. Two minutes to tourniquet a leg, then extract a piece of wire deep in the meat of it. A minute to peek under a pink, saturated bandage several inches below a slender belly button; he saw thin, red water leaking from a hole and smelled urine, knew the ball had breached the bladder. It would either heal or it wouldn’t, but nothing to do about it so he set the soul aside, a case not to be operated upon. He turned a man’s head looking for the source of a trickle of blood and had ten terrible minutes trying to stop torrential bleeding from under his clavicle; frantic moments during which he could get neither a finger nor a clamp around the pulsating source. All bleeding stops eventually though, and the case did not violate the rule. He took two minutes to settle his own breathing, then four minutes sewing a torn scalp, and half a minute saying a prayer over a fat, cigar-shaped dead man. After awhile, he had the impression he wasn’t seeing men, but parts—an exploded chest, a blood swolled thigh, a busted jaw with its teeth spat to the wind or swallowed. It was more than a man could take and a lot less than there was to be seen.

As I write this note, it is May 2020, and the world is battling the coronavirus pandemic. My husband’s best friend, Tom, who was one of the earliest of our friends to encourage my writing and who was our son’s godfather, caught the virus last week and has just passed away. We cannot be with his widow, Lori, and his family to mourn. Three years ago, I began writing this novel about hard times in America: the worst environmental disaster in our history; the collapse of the economy; the effect of massive unemployment. Never in my wildest dreams did I imagine that the Great Depression would become so relevant in our modern lives, that I would see so many people out of work, in need, frightened for the future. As we know, there are lessons to be learned from history. Hope to be derived from hardships faced by others. We’ve gone through bad times before and survived, even thrived. History has shown us the strength and durability of the human spirit. In the end, it is our idealism and our courage and our commitment to one another—what we have in common—that will save us. Now, in these dark days, we can look to history, to the legacy of the Greatest Generation and the story of our own past, and take strength from it. Although my novel focuses on fictional characters, Elsa Martinelli is representative of hundreds of thousands of men, women, and children who went west in the 1930s in search of a better life. Many of them, like the pioneers who went west one hundred years before them, brought nothing more than a will to survive and a hope for a better future. Their strength and courage were remarkable. In writing this story, I tried to present the history as truthfully as possible. The strike that takes place in the novel is fictional, but it is based on strikes that took place in California in the thirties. The town of Welty is fictional as well. Primarily where I diverged from the historical record was in the timeline of events. There are instances in which I chose to manipulate dates to better fit my fictional narrative. I apologize in advance to historians and scholars of the era. For more information about the Dust Bowl years or the migrant experience in California, please go to my website KristinHannah.com for a suggested reading list.

two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.

Surprised at Kaye’s belated display of maternal instincts, Sean relented, promising he’d get in touch with Lily. Besides, he knew his own mother would never forgive him if he refused such a simple request. As he made his way down the narrow streets to the pensione opposite the Pantheon, where Lily and her roommate were staying, Sean steadfastly refused to acknowledge any other reason for agreeing to take Lily out. It had been three years since they’d left for college, not once had she come home to visit. But Sean still couldn’t look at a blonde without comparing her to Lily. He’d mounted the four flights of narrow, winding stairs, the sound of his steps muffled by red, threadbare carpet. At number seventeen, he’d stopped and stood, giving his racing heart a chance to quiet before he knocked. Calm down, he’d instructed himself. It’s only Lily. His knock echoed loudly in the empty hall. Through the door he heard the sound of approaching footsteps. Then it opened and there she was. She stood with her mouth agape. Her eyes, like beacons of light in the obscurity of the drab hallway, blinked at him with astonishment. “What are you doing here?” The question ended on a squeak. As if annoyed with the sound, she shut her mouth with an audible snap. Was it possible Kaye hadn’t bothered to tell Lily he’d be coming? “I heard you were spending a few days in Rome.” Sean realized he was staring like a dolt, but couldn’t help himself. It rattled him, seeing Lily again. A barrage of emotions and impressions mixed and churned inside him: how good she looked, different somehow, more self-confident than in high school, how maybe this time they might get along for more than 3.5 seconds. He became aware of a happy buzz of anticipation zinging through him. He was already picturing the two of them at a really nice trattoria. They’d be sitting at an intimate corner table. A waiter would come and take their order and Sean would impress her with his flawless Italian, his casual sophistication, his sprezzatura. By the time the waiter had served them their dessert and espresso, she’d be smiling at him across the soft candlelight. He’d reach out and take her hand. . . . Then Lily spoke again and Sean’s neat fantasy evaporated like a puff of smoke. “But how did you know I was here?” she’d asked, with what he’d conceitedly assumed was genuine confusion—that is, until a guy their age appeared. Standing just behind Lily, he had stared back at Sean through the aperture of the open door with a knowing smirk upon his face. And suddenly Sean understood. Lily wasn’t frowning from confusion. She was annoyed. Annoyed because he’d barged in on her and Lover Boy. Lily didn’t give a damn about him. At the realization, his jumbled thoughts at seeing her again, all those newborn hopes inside him, faded to black. His brain must have shorted after that. Suave, sophisticated guy that he was, Sean had blurted out, “Hey, this wasn’t my idea. I only came because Kaye begged me to—” Stupendously dumb. He knew better, had known since he was eight years old. If you wanted to push Lily Banyon into the red zone, all it took was a whispered, “Kaye.” The door to her hotel room had come at his face faster than a bullet train. He guessed he should be grateful she hadn’t been using a more lethal weapon, like the volleyball she’d smashed in his face during gym class back in eleventh grade. Even so, he’d been forced to jump back or have the number seventeen imprinted on his forehead. Their last skirmish, the one back in Rome, he’d definitely lost. He’d stood outside her room like a fool, Lover Boy’s laughter his only reply. Finally, the pensione’s night clerk had appeared, insisting he leave la bella americana in peace. He’d gone away, humiliated and oddly deflated.

Take out a piece of blank paper. Draw four columns on your page, titled “Spend,” “Save,” “Invest,” and “Give.” Follow the steps below to come up with a 24-hour time budget tailored just for you. Spend Write down the amount of hours you spend in a day on “non-negotiable” commitments such as school, sleep, and getting ready each morning. Tally up the total. Save List some of your favorite ways to spend “me time” and how long each idea takes. For example, reading a novel for one hour, going for a 30-minute run, or winding down before bed (go to 60-Minute Wind-Down). Invest Tally up how long you need each day to reach your goals and accomplish tasks. Taking a drawing class for one hour or spending two hours on homework are great examples. Give Consider how much time you’d like to spend each day on others: whether it’s volunteering, spending quality time with your family, or hanging out with your friends. Complete Your Schedule Now comes the challenging part: trying to fit all your ideas into 24 hours! On a new sheet of paper, create an hour-by-hour schedule for one day. Once you’ve completed it, you’ll become more aware of how you are spending your time. When you have a good idea of how you’re spending 24 hours, you can move up to creating a weeklong time budget.

Learn to be happy with real life. Throw away your silly romantic novels.

She stared at the water until the sun’s reflection became too much, and then reached for her single bag of belongings. Digging around, she found the clay turtle. It was made of earth. It was tiny. She could use it for practice. Small, she thought as she cradled it with both hands. Precise. Silent. Small. She curled her lips in concentration. It was like crooking the tip of her pinky while wiggling her opposite ear. She needed a whole-body effort to keep her focus sufficiently narrow. There was another reason why she didn’t want to seek instruction from a famous bending master with a sterling reputation and wisdom to spare. Such a teacher would never let her kill Jianzhu in cold blood. Her hunger to learn all four elements had nothing to do with becoming a fully realized Avatar. Fire, Air, and Water were simply more weapons she could bring to bear on a single target. And she had to bring her earthbending up to speed too. Small. Precise. The turtle floated upward, trembling in the air. It wasn’t steady the way bent earth should be, more of a wobbling top on its last few spins. But she was bending it. The smallest piece of earth she’d ever managed to control. A minor victory. This was only the beginning of her path. She would need much more practice to see Jianzhu broken in pieces before her feet, to steal his world away from him the way he had stolen hers, to make him suffer as much as possible before she ended his miserable worthless life— There was a sharp crack. The turtle fractured along innumerable fault lines. The smallest parts, the blunt little tail and squat legs, crumbled first. The head fell off and bounced over the edge of the saddle. She tried to close her grip around the rest of it and caught only dust. The powdered clay slipped between her fingers and was taken by the breeze. Her only keepsake of Kelsang flew away on the wind.