Thomas Wilder Quotes

Thomas Merton wrote, “there is always a temptation to diddle around in the contemplative life, making itsy-bitsy statues.” There is always an enormous temptation in all of life to diddle around making itsy-bitsy friends and meals and journeys for itsy-bitsy years on end. It is so self-conscious, so apparently moral, simply to step aside from the gaps where the creeks and winds pour down, saying, I never merited this grace, quite rightly, and then to sulk along the rest of your days on the edge of rage. I won’t have it. The world is wilder than that in all directions, more dangerous and bitter, more extravagant and bright. We are making hay when we should be making whoopee; we are raising tomatoes when we should be raising Cain, or Lazarus. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock-more than a maple- a universe. This is how you spend this afternoon, and tomorrow morning, and tomorrow afternoon. Spend the afternoon. You can’t take it with you.

All men who live only according to their five senses, and seek nothing beyond the gratification of their natural appetites for pleasure and reputation and power, cut themselves off from that charity which is the principle of all spiritual vitality and happiness because it alone saves us from the barren wilderness of our own abominable selfishness.

Everything in modern city life is calculated to keep man from entering into himself and thinking about spiritual things. Even with the best of intentions a spiritual man finds himself exhausted and deadened and debased by the constant noise of machines and loudspeakers, the dead air and the glaring lights of offices and shops, the everlasting suggestion of advertising and propaganda. The whole mechanism of modern life is geared for a flight from God and from the spirit into the wilderness of neurosis.

But what between the poor men I won't have, and the rich men who won't have me, I stand as a pelican in the wilderness!

New eyes awaken. I send Love's name into the world with wings And songs grow up around me like a jungle. Choirs of all creatures sing the tunes Your Spirit played in Eden. Zebras and antelopes and birds of paradise Shine on the face of the abyss And I am drunk with the great wilderness Of the sixth day in Genesis. But sound is never half so fair As when that music turns to air And the universe dies of excellence. Sun, moon and stars Fall from their heavenly towers. Joys walk no longer down the blue world's shore. Though fires loiter, lights still fly on the air of the gulf, All fear another wind, another thunder: Then one more voice Snuffs all their flares in one gust. And I go forth with no more wine and no more stars And no more buds and no more Eden And no more animals and no more sea: While God sings by himself in acres of night And walls fall down, that guarded Paradise.

Make no small plans; they have no magic to stir men’s souls. President Spencer W. Kimball

Holy shit.” This is the kind of sunset you hardly see any more, a 19th-century wilderness sunset, a few of which got set down, approximated, on canvas, landscapes of the American West by artists nobody ever heard of, when the land was still free and the eye innocent, and the presence of the Creator much more direct. Here it thunders now over the Mediterranean, high and lonely, this anachronism in primal red, in yellow purer that can be found anywhere today, a purity begging to be polluted…of course Empire took its way westward, what other way was there but into those virgin sunsets to penetrate and to foul?

Get away, Maryann, or go on with your scrubbing, or do something! You ought to be married by this time, and not here troubling me!" "Ay, mistress—so I did. But what between the poor men I won't have, and the rich men who won't have me, I stand as a pelican in the wilderness!

Elder Richard G. Scott explains: Just when all seems to be going right, challenges often come in multiple doses simultaneously. When those trials are not consequences of your disobedience, they are evidence that the Lord feels you are prepared to grow more

Though American scenery is destitute of many of those circumstances that give value to the European, still it has features, and glorious ones, unknown to Europe...the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wildness

Nature’s role is to arrest Man’s attention so he can hear that Voice from Heaven. And it has often worked as each of us has many times yielded to holy messages when absorbed by sounds or scenes in Nature. In those moments the rational processes pause, and a deeper consciousness awakens.

shall we refuse to the unhappy fugitives from distress that hospitality which the savages of the wilderness extended to our fathers arriving in this land? Shall oppressed humanity find no asylum on this globe?

Ye are most strong, ye Sons of the icy North, of the far East, far marching from your rugged Eastern Wildernesses, hither-ward from the gray Dawn of Time! Ye are Sons of the Jotun-land; the land of Difficulties Conquered. Difficult? You must try this thing. Once try it with the understanding that it will and shall have to be done. Try it as ye try the paltrier thing, making of money! I will bet on you once more, against all Jo'tuns, Tailor-gods, Double-barrelled Law-wards, and Denizens of Chaos whatsoever!

as Thomas Paine said, it has never been discovered how to make a man unknow his knowledge.

This, then, is our desert: to live facing despair, but not to consent. To trample it down under hope in the Cross. To wage war against despair unceasingly. That war is our wilderness.

For he did not know, that beyond the lake he called home, There lied a deeper, and darker ocean green. Where waves are both wilder and more serene. To its ports I've been, To its ports I've been.

Stop it!“ Newt yelled. Stop it now!“ Thomas has been frozen in place, crouching as he waited for an opportunity to jump in and help Minho. But he twisted around to see that Newt was holding his Launcher in shooting position, his eyes wild with fury. “Stop or I’ll start shooting and not give a buggin’ piece of klunk who gets hit.” ….. Thomas couldn’t believe the sudden turn of events. He looked at Newt with wide eyes, glad he’d done what he had, and happy he hadn’t aimed the Launcher at him or Minho. “I told him to stop,” Newt half whispered. Then he aimed the weapon at Minho, but it was shaking because his arms were. “Now you guys leave. No more discussion. I’m sorry.“ Minho held up his hands. “You’re going to shoot me? Old pal?” “Go,” Newt said. „I asked nicely. Now I’m telling. This is hard enough. Go.“ „Newt, let’s go outside..“ „Go!“ Newt stepped closer and aimed more fiercely. „Get out of here!“ Thomas hated what he was seeing – the complete wilderness that had taken over Newt. His whole body trembled and his eyes had lost any hint of sanity. He was losing it, completely. “Let’s go,” Thomas said, one of the saddest things he’d ever heard himself say. „Come on.” Minho’s gaze snapped to Thomas, and he looked like his heart had been shattered. “You can’t be serious.” Thomas could only nod. Minho’s shoulders slumped, and his eyes fell to the floor. “How did the world get so shucked?” The words barely came out, low and full of pain. “I’m sorry,” Newt said, and there were tears streaming down his face. “I’m .. I’m going to shoot if you don’t go. Now.

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

The Depression, by the time it came, ratified what'd been under way. Slothrop grew up in a hilltop desolation of businesses going under, hedges around the estates of the vastly rich, half-mythical cottagers from New York lapsing back now to green wilderness or straw death, all the crystal windows every single one smashed, Harrimans and Whitneys gone, lawns growing to hay, and the autumns no longer a time for foxtrots in the distances, limousines and lamps, but only the accustomed crickets again, apples again, early frosts to send the hummingbirds away, east wind, October rain: only winter certainties.

The Fear of the Lord, that is the beginning of wisdom, and therefore belongs to the beginnings, and is felt in the first cold hours before the dawn of civilisation; the power that comes out of the wilderness and rides on the whirlwind and breaks the gods of stone; the power before which the eastern nations are prostrate like a pavement; the power before which the primitive prophets run naked and shouting, at once proclaiming and escaping from their god; the fear that is rightly rooted in the beginnings of every religion, true or false: the fear of the Lord, that is the beginning of wisdom; but not the end.

His feeling for the South was not so much historic as it was of the core and desire of dark romanticism--that unlimited and inexplicable drunkenness, the magnetism of some men's blood that takes them into the heart of the heat, and beyond that, into the polar and emerald cold of the South as swiftly as it took the heart of that incomparable romanticist who wrote The Rime of the Ancient Mariner, beyond which there is nothing. And this desire of his was unquestionably enhanced by all he had read and visioned, by the romantic halo that his school history cast over the section, by the whole fantastic distortion of that period where people were said to live in "mansions," and slavery was a benevolent institution, conducted to a constant banjo-strumming, the strewn largesses of the colonel and the shuffle-dance of his happy dependents, where all women were pure, gentle, and beautiful, all men chivalrous and brave, and the Rebel horde a company of swagger, death-mocking cavaliers. Years later, when he could no longer think of the barren spiritual wilderness, the hostile and murderous intrenchment against all new life--when their cheap mythology, their legend of the charm of their manner, the aristocratic culture of their lives, the quaint sweetness of their drawl, made him writhe--when he could think of no return to their life and its swarming superstition without weariness and horror, so great was his fear of the legend, his fear of their antagonism, that he still pretended the most fanatic devotion to them, excusing his Northern residence on grounds of necessity rather than desire.

first settlers were emigrants from different European nations, and of diversified professions of religion, retiring from the governmental persecutions of the old world, and meeting in the new, not as enemies, but as brothers. The wants which necessarily accompany the cultivation of a wilderness produced among them a state of society, which countries long harassed by the quarrels and intrigues of governments, had neglected to cherish. In such a situation man becomes what he ought. He sees his species, not with the inhuman idea of a natural enemy, but as kindred; and the example shows to the artificial world, that man must go back to nature for information.

Elected fifth president of the United States, Monroe transformed a fragile little nation - "a savage wilderness," as Edmund Burke put it - into "a glorious empire." Although George Washington had won the nation's independence, he bequeathed a relatively small country, rent by political factions, beset by foreign enemies, populated by a largely unskilled, unpropertied people, and ruled by oligarchs who controlled most of the nation's land and wealth. Washington's three successors - John Adams, Thomas Jefferson, and James Madison - were mere caretaker presidents who left the nation bankrupt, its people deeply divided, its borders under attack, its capital city in ashes.

The Desert Fathers believed that the wilderness had been created supremely valuable in the eyes of God precisely because it had no value to men. The wasteland was the land that could never be wasted by men because it offered them nothing. There was nothing to attract them. There was nothing to exploit. The desert was the region in which the Chosen People had wandered for forty years, cared for by God alone. They could have reached the Promised Land in a few months if they had traveled directly to it. God's plan was that they should learn to love Him in the wilderness and that they should always look back on the time in the desert as the idyllic time of their life with Him alone. The desert was created simply to be itself, not to be transformed by men into something else.

Walker-thinkers have found various ways to accommodate the gifts that their walking brings. Caught paperless on his walks in the Czech enclaves of Iowa, maestro Dvořák scribbles the string quartets that visited his brain on his starched white shirt cuffs (so the legend goes). More proactively, Thomas Hobbes fashioned a walking stick for himself with an inkwell attached, and modern poet Mary Oliver leaves pencils in the trees along her usual pathways, in case a poem descends during her rambles.

But Eugene was untroubled by thought of a goal. He was mad with such ecstasy as he had never known. He was a centaur, moon-eyed and wild of name, torn apart with hunger for the golden world. He became at times almost incapable of coherent speech. While talking with people, he would whinny suddenly into their startled faces, and leap away, his face contorted with an idiot joy. He would hurl himself squealing through the streets and along the paths, touched with the ecstasy of a thousand unspoken desires. The world lay before him for his picking—full of opulent cities, golden vintages, glorious triumphs, lovely women, full of a thousand unmet and magnificent possibilities. Nothing was dull or tarnished. The strange enchanted coasts were unvisited. He was young and he could never die. He went back to Pulpit Hill for two or three days of delightful loneliness in the deserted college. He prowled through the empty campus at midnight under the great moons of the late rich Spring; he breathed the thousand rich odours of tree and grass and flower, of the opulent and seductive South; and he felt a delicious sadness when he thought of his departure, and saw there in the moon the thousand phantom shapes of the boys he had known who would come no more. He still loitered, although his baggage had been packed for days. With a desperate pain, he faced departure from that Arcadian wilderness where he had known so much joy. At night he roamed the deserted campus, talking quietly until morning with a handful of students who lingered strangely, as he did, among the ghostly buildings, among the phantoms of lost boys. He could not face a final departure. He said he would return early in autumn for a few days, and at least once a year thereafter. Then one hot morning, on sudden impulse, he left. As the car that was taking him to Exeter roared down the winding street, under the hot green leafiness of June, he heard, as from the sea-depth of a dream, far-faint, the mellow booming of the campus bell. And suddenly it seemed to him that all the beaten walks were thudding with the footfalls of lost boys, himself among them, running for their class. Then, as he listened, the far bell died away, and the phantom runners thudded into oblivion. The car roared up across the lip of the hill, and drove steeply down into the hot parched countryside below. As the lost world faded from his sight, Eugene gave a great cry of pain and sadness, for he knew that the elfin door had closed behind him, and that he would never come back again. He saw the vast rich body of the hills, lush with billowing greenery, ripe-bosomed, dappled by far-floating cloudshadows. But it was, he knew, the end. Far-forested, the horn-note wound. He was wild with the hunger for release: the vast champaign of earth stretched out for him its limitless seduction. It was the end, the end. It was the beginning of the voyage, the quest of new lands. Gant was dead. Gant was living, death-in-life. In

BOOKS BURNED ON THE PCT The Pacific Crest Trail, Volume 1: California, Jeffrey P. Schaffer, Thomas Winnett, Ben Schifrin, and Ruby Jenkins. Fourth edition, Wilderness Press, January 1989. Staying Found: The Complete Map and Compass Handbook, June Fleming. *The Dream of a Common Language, Adrienne Rich. As I Lay Dying, William Faulkner. **The Complete Stories, Flannery O’Connor. The Novel, James Michener. A Summer Bird-Cage, Margaret Drabble. Lolita, Vladimir Nabokov. Dubliners, James Joyce. Waiting for the Barbarians, J. M. Coetzee. The Pacific Crest Trail, Volume 2: Oregon and Washington, Jeffrey P. Schaffer and Andy Selters. Fifth edition, Wilderness Press, May 1992. The Best American Essays 1991, edited by Robert Atwan and Joyce Carol Oates. The Ten Thousand Things, Maria Dermoût.

Chapman, G.D. The Five Love Languages (Moody Press, 2015) DeMarco, M.J. The Millionaire Fastlane (Viperion Publishing, 2011) Dunn, J. The SoulMate Experience (A Higher Possibility, first edition, 2011) Goldsmith, M. What Got You Here Won’t Get You There: How Successful People become even more successful (Profile Books, 2008) Gottman, J.M. The Seven Principles For Making a Marriage Work (Orion, 2007) Harv Eker, T. Secrets of the Millionaire Mind (Piatkus, 2007) Hill, N., Think and Grow Rich (Wilder Publications, 2007) Kelly, M. The Rhythm of Life (Simon & Schuster, 2006) Pavlina, S., Personal Development for Smart People (Hay House, 2009) Ramsey, D. Total Money Makeover (Thomas Nelson Publishers, reprint edition, 2013) Stevenson, S. Sleep Smarter: 21 Proven Tips to Sleep Your Way to a Better Body, Better Health, and Bigger Success. (Model House Publishing, 2014) Tracy, B. Eat That Frog! (Berrett-Koehler Publishers, 2007) Whitsett, D. The Non-Runner’s Marathon Trainer (McGraw Hill, 1998). Williamson, M. A Return To Love (Thorsons, 1996)

There was a warrior once who fought Against man's subtlest, mightiest foe, And more than valiant deeds he wrought T' effect th' enslaver's overthrow. But ah! how dread was his campaign, Forc'd in the wilderness to stray, Lone, hungry, stung with grief and pain, And thus sustain the arduous fray. Prompt at each call from place to place, 'Mid sin's dark shade and sorrow's flow, He sped to save man's erring race, And bear for him the vengeful blow. But when his soldiers saw the strife, When imminent the danger grew, Though 'twas for them he pledg'd his life, Like dastards from the field they flew. Wearied, forsaken, still he strove, And gain'd the glorious victory; Yet such achievements few could move, To hail his triumpn 'beath the sky. Dying he conquer'd; yet at last No human honours grac'd his bier; No trumpet wail'd its mournful blast, No muffl'd drum made music drear. But when he dy'd the rocks were rent, The sun his radiant beams withheld, All nature shudder'd at th' event, And horror every bosom swell'd. E'en Death, fell Death! could not detain Him, who for man his life had given, He burst the ineffectual chain, And soar'd his advocate to heaven.

I was standing lost, sunk, my hands in my pockets, gazing toward Tinker Mountain and feeling the earth reel down. All at once, I saw what looked like a Martian spaceship whirling towards me in the air. It flashed borrowed light like a propeller. Its forward motion greatly outran its fall. As I watched, transfixed, it rose, just before it would have touched a thistle, and hovered pirouetting in one spot, then twirled on and finally came to rest. I found it in the grass; it was a maple key…Hullo. I threw it into the wind and it flew off again, bristling with animate purpose, not like a thing dropped or windblown, pushed by the witless winds of convection currents hauling round the world’s rondure where they must, but like a creature muscled and vigorous, or a creature spread thin to that other wind, the wind of the spirit that bloweth where it listeth, lighting, and raising up, and easing down. O maple key, I thought, I must confess I thought, o welcome, cheers. And the bell under my ribs rang a true note, a flourish of blended horns, clarion, sweet, and making a long dim sense I will try at length to explain. Flung is too harsh a word for the rush of the world. Blown is more like it, but blown by a generous, unending breath. That breath never ceases to kindle, exuberant, abandoned; frayed splinters spatter in every direction and burgeon into flame. And now when I sway to a fitful wind, alone and listing, I will think, maple key. When I see a photograph of earth from outer space, the planet so startlingly painterly and hung, I will think, maple key. When I shake your hand or meet your eyes, I will think two maple keys. If I am maple key falling, at least I can twirl. Thomas Merton wrote, “There is always a temptation to diddle around in the contemplative life, making itsy-bitsy statues.” There is always an enormous temptation in all of life to diddle around making itsy-bitsy friends and meals and journeys for itsy-bitsy years on end. It’s no self-conscious, so apparently moral, simple to step aside from the gaps where the creeks and winds pour down, saying, I never merited this grace, quite rightly, and then to sulk along the rest of your days on the edge of rage. I won’t have it. The world is wilder than that in all directions, more dangerous and bitter, more extravagant and bright. We are making hay when we should be making whoopee; we are raising tomatoes when we should be raising Cain, or Lazarus. Ezekiel excoriates false prophets who have “not gone up into the gaps.” The gaps are the thing. The gaps are the spirit’s one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself for the first time like a once blind man unbound. The gaps are the cliffs in the rock where you cower to see the back parts of God; they are the fissures between mountains and cells the wind lances through, the icy narrowing fjords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock- more than a maple- a universe. This is how you spend the afternoon, and tomorrow morning, and tomorrow afternoon. Spend the afternoon. You can’t take it with you.

The experience of the Terek Cossacks is also important because it stands so apart from the Cossack myth. Like cowboys in the United States, gauchos in Argentina, and many other frontier social groups who became national icons, by the end of the nineteenth century Cossacks represented the soul of Russian national identity. They were, according to the myth, deeply Russian in spirit if not ethnicity (strong, spontaneous, Russophone, Orthodox), Christian warriors of the tsar, intrepid scouts and explorers, the vanguard of Russification, conquering wilderness, alien enemies, and alien cultures alike. The history of the Terek Cossacks shows how shallow that myth was–many were neither Russian nor Orthodox, they were more losers than victors in their struggle with the “wilderness,” they fought mostly for themselves and their sense of honor rather than for an empire or a tsar, and were far from being agents of Russian civilization.

to put words together in a such a way that they exercise a mysterious and vital reactivity among themselves, and so release their secret content of associations to produce in the reader an experience that enriches the depths of his spirit in a manner quite unique.

But in the years before the council, in a typical American parish, that ancient liturgy was too often approached haphazardly, celebrated carelessly, treated as an obligation to be rushed through as quickly as possible. After the council, of course, the introduction of a new streamlined liturgy gave immeasurably more scope to the casual approach. In Why Catholics Can’t Sing, Thomas Day comments: We can be reasonably sure that the Last Supper did not begin with the words, “Good evening, apostles.” Intuition tells us that John the Baptist did not cry out in the wilderness, “Repent, sin no more, and havernice day.” Common sense tells us that there is something immensely wrong and contradictory about starting off a ritual with “Good Morning.” We might even say that the laity in the pews “short circuits” when greeted this way at Mass. The church building, the music, and the celebrant in flowing robes all seem to say, “This is a ritual,” an event out of the ordinary. Then, the “Good Morning” intrudes itself and indicates that this is really a business meeting and not a liturgy, after all. Today, after more than a full generation of liturgical experimentation, the integrity of the liturgy can be compromised by two opposite dangers: caring too little about the established rubrics or caring too much.

Perhaps the strongest feature in his character was prudence,” Thomas Jefferson would write of the Washington of many years later, “never acting until every circumstance, every consideration, was maturely weighed. . . .

Far from offering structures to any history of the past, this kind of desert emptiness and exile is akin to the wilderness traditions of the monastery and the desert fathers.

It’s one thing to describe someone as a voice crying in the wilderness, but that doesn’t quite capture Laurence Vance and his work. Vance is a voice crying in a soundproof sarcophagus on the moon.

As to the allegation that his devotion to the Church of England and its ritual was the cause of his arrest by the Plymouth authorities, the answer is obvious and decisive. Blackstone was an Episcopalian, and a devout one, retaining even in his wilderness home the canonical coat which told of his calling.[182] Maverick and Walford were Episcopalians; they lived and died such. The settlers at Wessagusset were Episcopalians.

The simple, chaste lines of a monastic Church, built perhaps by unskilled hands in the wilderness, may well say infinitely more in praise of God than the pretentious enormities of costly splendor that are erected to be looked at rather than to be prayed in.

He sees where blows with Rifle-Butts miss’d their Marks, and chipp’d the Walls. He sees blood in Corners never cleans’d. Thankful he is no longer a Child, else might he curse and weep, scattering his Anger to no Effect, Dixon now must be his own stern Uncle, and smack himelf upon the Pate at any sign of unfocusing. What in the Holy Names are these people about? Not even the Dutchmen at the Cape behav’d this way. Is it something in this Wilderness, something ancient, that waited for them, and infected their Souls when they came?

He, on top of a hill in Heaven, weeps whenever, outside that state of being called his country, one of his worlds drops dead, vanishes screaming, shrivels, explodes, murders itself. And, when he weeps, Light and His tears glide down together, hand in hand. So, at the beginning of the projected poem, he weeps, and Country Heaven is suddenly dark. Bushes and owls blow out like sparks. And the countrymen of heaven crouch all together under the hedges and, among themselves in the tear-salt darkness, surmise which world, which star, which of their late, turning homes, in the skies has gone for ever. And this time, spreads the heavenly hedgerow rumour, it is the Earth. The Earth has killed itself. It is black petrified, wizened, poisoned, burst, cruel, kind, dumb, afire, loving, dull, shortly and brutishly hunt their days down like enemies on that corrupted face. And, one by one, these heavenly hedgerow-men, who once were of the Earth, tell one another, through the long night, Light and His tears falling, what they remember, what they sense in the submerged wilderness and on the exposed hair's breadth of the mind, what they feel on the trembling on the nerves of a nerve, what they know in their Edenic hearts, of that self-killed place. They remember places, fears, loves, exultation, misery, animal joy, ignorance and mysteries, all we know and do not know. The poem is made of these tellings. And the poem becomes, at last, an affirmation of the beautiful and terrible worth of the Earth.

As I stare across the never-ending whiteness that is my arctic prison, I realize that while I seek isolation at times, the work requires me to interact with the locals—we each have something that the other party needs. And out here in the frigid wilderness, the night creeps in, expanding across several months, making my life, and duty, that much more difficult. I’m not getting any younger, and the cabin I live in, while ringed with several layers of protection, is not going to keep me safe from my work. (Opening paragraph of prologue.)

However, he did wish to insist that the American Indian was fully the equal, in natural and innate ability, of any European. It is probable that, like many contemplative and unsoldierly types, Jefferson was very much impressed by the physical strength and martial ardor of these native peoples. He also admired their individuality and their deep knowledge of the wilderness: two “attributes” that were denied by definition to African slaves. At moments, also (and this trope is always latent in discussions of “race”) he seemed to half-praise, and perhaps to half-envy, their sexual prowess. At any rate he maintained that if they could give up their strange idols and their primitive hunter-gatherer culture, they could readily assimilate.

Less than five hundred people run this country and those who hand out the most free stuff get elected.

Earth’s crammed with heaven,  And every common bush afire with God;  But only he who sees, takes off his shoes,  (Aurora Leigh, lines 61−3) Thomas

When you are alone in the wilderness, opinions or beliefs of any kind are dropped as the absurd accoutrements they are. But after being in the wilderness for a while, you may come around to feeling sociable. Maybe you could try living in a community of “like-minded” social deviants. However, they had better be so alike that they are clones of one another or the day will come when someone steps over the line and factions begin to teem. Our brains will always discriminate—that is their nature. They fix on superficial differences we spy in one another, redundantly speaking, since all differences among us are superficial.

There had never been such a Christmas as this. It was such a large, rich Christmas, the whole church full of Christmas. There were so many lamps, so many people, so much noise and laughter, and so many happinesses in it. Laura felt full and bursting, as if that whole big rich Christmas were inside her, and her mittens and her beautiful jewelbox with the wee gold cup-and-saucer and teapot, and her candy and her popcorn ball. And suddenly someone said, “These are for you, Laura.” Mrs. Tower stood smiling, holding out the little fur cape and muff. “For me?” Laura said. “For me?” Then everything else vanished while with both arms she hugged the soft furs to her. . . . “What do you say, Laura?” Ma asked, but the Reverend Alden said, “There is no need. The way her eyes are shining is enough. . . .” Laura Ingalls Wilder On the Banks of Plum Creek

It seems to me," he emailed me later, "that you start out with what you know or what you think you know and you work within those 'truthful' boundaries until you reach some sort of wilderness of not knowing, and then you find a way through until you see an end, or you find a way through until you find the end that you've already seen. It can work either way: running away from the truth, or running out of it.

But we do not do this task of rebuilding our life narratives alone. In the wilderness of grief, God provides narrative manna--just enough shape and meaning to keep us walking--and sends the Comforter, who knits together the raveled sould and refuses to leave us orphaned. Sometimes the bereaved say they are looking for closure, but in the Christian faith we do not see closure so much as we pray that all of our lost loves will be gathered into that great unending story fashioned by God's grace.

Lord Ashton, we should stop now.” Her words were the barest whisper, for she no longer trusted herself. She was entranced by his handsome face and the way he was watching her now. If she lifted her mouth even the slightest fraction, she would be kissing him again. He drew his hand over the line of her jaw and tipped her chin up. “Here, in this place, you will call me Iain. And I intend to call you Rose.” She was trembling in his arms, feeling so lost. When he slid his hands into her hair, holding her imprisoned, she tried to look away. “What are you afraid of, a chara? I would never hurt you.” No, she knew that. But when she was in Lord Ashton’s arms, she felt more alive, in a way she’d never before experienced. In hardly more than a fortnight, he’d taken apart her illusions, making her question the feelings she’d held for the viscount. “Nothing,” she lied. The truth was, the earl had made her doubt Lord Burkham’s intentions, making her wonder if he’d ever cared for her at all. She had told herself that the six letters were a sign of interest and caring. But now, she wasn’t so certain. “Don’t be looking at me like that, Lady Rose,” he warned. His eyes had grown hooded, and he moved his hands around her in a true embrace. The warmth of his arms enfolded her, making her feel safe. “Like what?” Her breathing had shifted and was unsteady, her skin sensitive beneath the fabric of her gown. Though she was trying to behave as if nothing were wrong, her good sense was disappearing before her eyes. She was standing in a beautiful garden, locked away from the world in the arms of a handsome Irishman. If she had never met Thomas, undoubtedly this man would have caused her heart to flutter. Or pound against her chest, as it was currently doing. “Take a step back, Lady Rose,” he warned. “Or I’ll not be responsible for the consequences.” Rose lifted her eyes to his and there was no denying the desire in them. He was giving her the opportunity to raise boundaries between them, but she couldn’t bring herself to move. She was lost in his gaze, feeling her own forbidden answer. In this place, there was no one to see. No one to tell her how wrong it was. And when he leaned down to kiss her, she didn’t pull away. His mouth assaulted hers with tenderness, flooding her with sensation. Her bare feet rested upon the grass while she clung to him for balance. His breath held the hint of tea, and the kiss became an awakening. It drew out the wilder side of herself, making her yearn for more. Beneath

The Exodus also = salvation; Egypt = sin; Pharoah = Satan; Moses = Christ; the Jews = the Church; the Red Sea = death; the wilderness = Purgatory; the Old Law = the New Law; the gospel; the old Mount (Sinai) = the new mount from which Jesus preached His “sermon on the mount” (Mt 5-7); and the Promised Land = Heaven. The “=” is not mathematical but symbolic.

YOU ARE THE ONLY FLOWER OF MEDITATION IN THE WILDERNESS.

The evil is always both within and without the Church; but in a wilder form outside and a milder form inside

Ares walked over behind Emma and licked the side of

The wants which necessarily accompany the cultivation of a wilderness produced among them a state of society which countries long harassed by the quarrels and intrigues of governments had neglected to cherish. In such a situation man becomes what he ought to be. He sees his species... as kindred.

Sometimes it's hard to turn the page when you know someone won't be in the next chapter, but the story must go on

God is likely bigger and wilder than any box.

No, she is wilder, and more hard withal Than beast, or bird, or tree, or stony wall.

Life is a road. The most important thing about a road is its end, where it goes. If the road of life has no real end and goal, it is meaningless. It is a circle or a swamp or a wilderness, not a road.

Our Wilderness is the wide World in an Atheistic Century; our Forty Days are long years of suffering and fasting, nevertheless, to these also comes an end.

Moses was stuck on the backside of the desert for years, unaware of God’s future for him (Ex. 3:1). Naomi was trapped in Moab after the deaths of her husband and sons (Ruth 1:5). Elijah was stuck in the wilderness, feeling sorry for himself after his failure to bring about the revival he’d hoped for Israel (1 Kings 19:10). Ezekiel was stranded in Babylon at age thirty, frustrated he couldn’t enter his priestly service in Jerusalem at the temple (Ezek. 1:1). Peter was caught in a dark, depressive cycle on the Saturday before Easter (Matt. 26:75). Thomas was cast into faithless despondency when he missed the Savior’s appearance on Easter Sunday (John 20:24). Paul was stuck in Troas where a great door of evangelism was open for him, but he had no peace of mind because of anxiety about problems in the Corinthian church (2 Cor. 2:12–13). The apostle John was exiled on the Island of Patmos, lonely and unable to continue his ministry—or so he thought (Rev. 1:9).

had to find out that in the plans of Divine Providence there is no such thing as a defeat and that every step is, or ought to be, a step forward into the wilderness and that even publicity can nourish humility. It must be neither loved nor hated for itself, but simply accepted with indifference from the hand of God, that His will may be done.

Agnosticism leads inevitably to moral indifference. It denies us all power to esteem or understand moral values, because it severs our spiritual contact with God Who alone is the source of all moral value. That is why there was something peculiarly strange and funny about the feeble efforts of the bourgeois generations of the late nineteenth and early twentieth centuries to bring up their progeny with a respect for moral and social obligations but with no belief in God. The wilder lawlessness of each new growing generation was, in effect, it's way saying: 'In the name of whom or what do you ask me to behave? Why should I go to the inconvenience of denying myself the satisfactions I desire in the name of some standard that exists only in your imagination? Why should I worship the fictions you have imposed on me in the name of Nothing?

He sees where blows with Rifle-Butts miss’d their Marks, and chipp’d the Walls. He sees blood in Corners never cleans’d. Thankful he is no longer a Child, else might he curse and weep, scattering his Anger to no Effect, Dixon now must be his own stern Uncle, and smack himelf upon the Pate at any sign of unfocusing. What in the Holy Names are these people about? Not even the Dutchmen at the Cape behav’d this way. Is it something in this Wilderness, something ancient, that waited for them, and infected their Souls when they came? Nothing he had brought to it of his nearest comparison, Raby with its thatch’d and benevolent romance of serfdom, had at all prepar’d him for the iron Criminality of the Cape,— the publick Executions and Whippings, the open’d flesh, the welling blood, the beefy contented faces of those whites. . . . Yet is Dixon certain, as certain as the lightness he feels now, lightness premonitory of Flying, that far worse happen’d here, to these poor People, as the blood flew and the Children cried,— that at the end no one understood what they said as they died. “I don’t pray enough,” Dixon subvocalizes, “and I can’t get upon my Knees just now because too many are watching,— yet could I kneel, and would I pray, ’twould be to ask, respectfully, that this be made right, that the Murderers meet appropriate Fates, that I be spar’d the awkwardness of seeking them out myself and slaying as many as I may, before they overwhelm me. Much better if that be handl’d some other way, by someone a bit more credible. . . .” He feels no better for this Out-pouring.

down hard on the soft part of your hand, but not so

First, the desert is the country of madness. Second, it is the refuge of the devil, thrown out into the “wilderness of upper Egypt” to “wander

What are they? The birthplace of a new and terrible creation, the testing-ground of the power by which man seeks to un-create what God has blessed. Today, in the century of man’s greatest technological achievement, the wilderness at last comes into its own. Man no longer needs God, and he can live in the desert on his own resources. He can build there his fantastic, protected cities of withdrawal and experimentation and vice. The glittering towns that spring up overnight in the desert are no longer images of the City of God,

they should learn to love Him in the wilderness and that they should always look back upon the time in the desert as the idyllic time of their life with Him alone.

God is where the lost things are. God is in the wilderness, God is in the remotest corners of the house, God is where the search is at its fiercest. If I want to find God, I have to seek the lost. I have to get lost. I have to leave the safety of the inside and venture out. I have to recognize my own lostness and consent to be found…. God looks for us when our lostness is so convoluted and so profound, we can’t even pretend to look for God. But even in such bleak and hopeless places, God finds us. This is amazing grace.

It's hard to turn the page when you know someone won't be in the next chapter but the story must go on.