Unfinished Book Quotes

An unfinished book. left unattended, turns feral, and she would need all her focus, will and ruthless determination to tame it again.

You grieve Not that heaven does not exist but That it exists without us

There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.

Books open new worlds to me.

Yeah. Book nerd rule number three: never ever, leave an unfinished book at home.

When you apologize, it is a bit like reaching the last page of a book. The book is still there, with your wicked deed inside, but at least it is closed and put on a shelf. Every single thing I ought to have apologized for, and didn’t, is like a book lying open and unfinished.

You ask me what it means to be irrelevant? The feeling is akin to visiting your old house as a wandering ghost with unfinished business. Imagine going back: the structure is familiar ,but the door is now metal instead of wood,the walls have been painted a garish pink ,the easy chair you loved so much is gone .Your office is now the family room and your beloved bookcases have been replaced by a brand-new television set . This is your house,and it is not. And you are no longer relevant to this house , to its walls and doors and floors ; you are not seen .

I was told The average girl begins to plan her wedding at the age of 7 She picks the colors and the cake first By the age of 10 She knows time, And location By 17 She’s already chosen a gown 2 bridesmaids And a maid of honor By 23 She’s waiting for a man Who wont break out in hives when he hears the word “commitment” Someone who doesn’t smell like a Band-Aid drenched in lonely Someone who isn’t a temporary solution to the empty side of the bed Someone Who’ll hold her hand like it’s the only one they’ve ever seen To be honest I don’t know what kind of tux I’ll be wearing I have no clue what want my wedding will look like But I imagine The women who pins my last to hers Will butterfly down the aisle Like a 5 foot promise I imagine Her smile Will be so large that you’ll see it on google maps And know exactly where our wedding is being held The woman that I plan to marry Will have champagne in her walk And I will get drunk on her footsteps When the pastor asks If I take this woman to be my wife I will say yes before he finishes the sentence I’ll apologize later for being impolite But I will also explain him That our first kiss happened 6 years ago And I’ve been practicing my “Yes” For past 2, 165 days When people ask me about my wedding I never really know what to say But when they ask me about my future wife I always tell them Her eyes are the only Christmas lights that deserve to be seen all year long I say She thinks too much Misses her father Loves to laugh And she’s terrible at lying Because her face never figured out how to do it correctl I tell them If my alarm clock sounded like her voice My snooze button would collect dust I tell them If she came in a bottle I would drink her until my vision is blurry and my friends take away my keys If she was a book I would memorize her table of contents I would read her cover-to-cover Hoping to find typos Just so we can both have a few things to work on Because aren’t we all unfinished? Don’t we all need a little editing? Aren’t we all waiting to be proofread by someone? Aren’t we all praying they will tell us that we make sense She don’t always make sense But her imperfections are the things I love about her the most I don’t know when I will be married I don’t know where I will be married But I do know this Whenever I’m asked about my future wife I always say …She’s a lot like you

The turning point in the process of growing up is when you discover the core of strength within you that survives all hurt.

Or consider a story in the Jewish Talmud left out of the Book of Genesis. (It is in doubtful accord with the account of the apple, the Tree of Knowledge, the Fall, and the expulsion from Eden.) In The Garden, God tells Eve and Adam that He has intentionally left the Universe unfinished. It is the responsibility of humans, over countless generations, to participate with God in a "glorious" experiment - the "completing of the Creation." The burden of such a responsibility is heavy, especially on so weak and imperfect a species as ours, one with so unhappy a history. Nothing remotely like "completion" can be attempted without vastly more knowledge than we have today. But, perhaps, if our very existence is at stake, we will find ourselves able to rise to this supreme challenge.

A finished tale may give a man immortality in the light and literary sense; but an unfinished tale suggests another immortality, more essential and more strange.

At the end of my patient reconstruction, I had before me a kind of lesser library, a symbol of the greater, vanished one: a library made up of fragments, quotations, unfinished sentences, amputated stumps of books.

We've written the rough draft of our love together, the draft with loose ends, unfinished edges, mistakes every other page. But every writer knows there's magic in revision, where your work changes from a manuscript into a book. Where intentions, emotions, missed connections coalesce into something complete. It's where what you mean to say becomes what you have said. The characters deepen, the details shine, the prose sparkles. Suddenly, from nothing, you find your story.

A worthy relationship is an agreement that challenges and supports both participants.

At one point, trying to explain her unhappiness, Sanna was to say to Miss Love, "I read some psychology books in college. Everything that's supposed to warp a child happened to me." Miss Love, who had been raped as an adolescent, replies, "Everything that could warp a child happened to me, too. But understanding that doesn't help. It's interesting but it doesn't help. I figure that what you do with your life now is all that counts. I try not to look back.

As others grown more intelligent under stress, I grow heavy, as if I were an animal on a chain.

All control, in essence, is about who controls the truth.

Allow what is to be.

The diary ended unfinished, unseen by any who deserved to read it. Only Elara saw its pages, and the slow unraveling of the woman inside. She destroyed the book like she destroyed Coriane. Still she dreamed of nothing.

All the things you’ve been trying to get from these relationships—freedom, understanding, fairness, acceptance—are exactly the things that you never got from your mom. So every time you load all that unfinished business onto your partner, you’re setting yourself up for another disappointment. Because as an adult, the only person who can give you those things is you.

All dissatisfaction arises from expectation.

Any system based on competition will inherently promote inequality, division, and conflict.

They lay together like a word and a comma, asleep within an unfinished sentence.

TheBadGamer’s unfinished wall that looked like an upside down T. Everyone cringed.

Complete it-you cannot sell an unfinished book.

I don't like the guilt associated with an unfinished book.

Don’t allow unfinished books to pile up in a mountain of guilt. Show patience with a book, but cut the ties when necessary and move on.

When the past knocks on your door, it's because there's unfinished business.

Three years later, a new girl sits cross-legged on your bed. She tastes like a different flavor of bubblegum than you are used to. She opens up a book that you had to read in high school, and a folded picture of us falls out of chapter three. Now there are two unfinished stories resting in her lap. Inevitably, she asks, and you tell her. You say: I dated her a while back. You don’t say: Sometimes, when I’m holding you, I imagine the smell of her vanilla perfume. You say: She was younger than me. You don’t say: The sixteen summers in her bones warmed the eighteen winters my skin had weathered. You say: It’s nothing now. You don’t say: But it was everything then.

Loving you felt like leaving a book out in the wind the pages turned too fast for me to read I dient get enough time to adore you to explore you to trace your lines with my fingertips and reread my favorite parts to live the story I knew we we meant to be before I knew it the book was closed the story was over - unfinished

What’s left unfinished? What is it that you haven’t done yet, that you need to do before you leave this life?

I’m curious about everyone, hungry for everything, greedy for all ideas. My awareness that not everything can be seen, not everything read and not everything thought torments me like the loss of ..... But I don’t see with fixed attention, I don’t read with great care, and I don’t think with continuity. I’m an ardent and inconsequential dilettante in everything. My soul is too weak to sustain the force of its own enthusiasm. Made out of ruins of the unfinished, I’m definable as a landscape of resignations.

You're writing, you're coasting, and you're thinking, 'This is the best thing I've ever written, and it's coming so easily, and these characters are so great.' You put it aside for whatever reason, and you open it up a week later and the characters have turned to cardboard and the book has completely fallen apart," she says. "That's the moment of truth for every writer: Can I go on from here and make this book into something? I think it separates the writers from the nonwriters. And I think it's the reason a lot of people have that unfinished manuscript around the house, that albatross.

Perhaps he was a stand-in for who I was, a primitive version of the me I'd lost track of and sloughed off in America. My shadow self, my picture of Dorian Gray, my mad brother in the attic, my Mr Hyde, my very, very rough draft. Me unmasked, unchained, unleashed, unfinished: me untrammeled, me in rags, me enraged. Me without books, without finish, without a green card. Me with a Kalashnikov.

The next morning, a maid found her bridal crown broken on the floor, an explosion of pearls and twisted gold. There was silver on it, blood dark from the passing hours. And her bathwater was black with it. The diary ended unfinished, unseen by any who deserved to read it. Only Elara saw its pages, and the slow unravelling of the woman inside. She destroyed the book like she destroyed Coriane. And she dreamed of nothing.

These modern novels that leave everything unfinished annoy me..." "But things are often unfinished in real life," said Pat... "All the more reason why they should come right in books," said Uncle Horace testily. "Real life! We get enough real life living. I like fairy tales. I like a nice snug tidy ending in a book with all the loose ends tucked in.

I found that Dottie's middle age, old age, made rock of much that had been fluid, and eccentricities once charming became too strange for safety or comfort.

An all-powerful ruler of the Universe would not endorse a dormant mind.

As long as our body-mind-heart-spirit connection is active and balanced, we will continue to grow.

As our awareness of the world and who we are increases, we will grow to replace our needs with service, fear with love and scarcity with abundance.

Our story isn't done, but the book is being forced closed.

morigu the desacration and morigu the dead great books but series is unfinished

This book is unfinished. The Filipino people shall finish it for me.

An unfinished love, one that never got a proper ending. Everyone does. Someone who dug deep into your heart and stayed there.

If the Beast gave me a library like he gave to Belle, I’d marry him too. Books open new worlds to me.

All I mean is that I left too much of me unfinished because I wasted too much time.”--

You don't have INSOMNIA. You're a writer with an unfinished book!

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

A Northern teacher in Florida reported how one sixty-year-old woman, “just beginning to spell, seems as if she could not think of any thing but her book, says she spells her lesson all the evening, then she dreams about it, and wakes up thinking about it.

I hope this email finds you well I hope this email finds you calm. I hope this email finds you unflustered about your inbox. I hope this email finds you in a state of acceptance that this email isn’t exactly important in the cosmic scheme of things. I hope this email finds your work happily unfinished. I hope this email finds you beneath a beautiful sky with the wind tenderly caressing your hair like an invisible mother. I hope this email finds you lying on a beach, or maybe beside a lake. I hope this email finds you with the sunlight on your face. I hope this email finds you eating some blissfully sweet grapes. I hope this email finds you well but, you know what, it is okay if it doesn’t because we all have bad days. I hope this email finds you reading a really good poem or something else that requires no direct response from you. I hope this email finds you far away from this email.

When you read The Arabian Nights you accept Islam. You accept the fables woven by generations as if they were by one single author or, better still, as if they had no author. And in fact they have one and none. Something so worked on, so polished by generations is no longer associated with and individual. In Kafka's case, it's possible that his fables are now part of human memory. What happened to Quixote could happen to to them. Let's say that all the copies of Quixote, in Spanish and in translation, were lost. The figure of Don Quixote would remain in human memory. I think that the idea of a frightening trial that goes on forever, which is at the core of The Castle and The Trial (both books that Kafka, of course, never wanted to publish because he knew they were unfinished), is now grown infinite, is now part of human memory and can now be rewritten under different titles and feature different circumstances. Kafka's work now forms a part of human memory.

You'll forget it all: the cruel power of your superiors, the thoughtless things you wish you'd never said, the stupidities, the unfinished work, the lack of consideration, the betrayals, the injustices, the indifference, those who've blamed you, those who will blame you, your financial troubles, the rush of time, the endless waits, the things and people forever beyond your reach, your loneliness, your shame, your defeats, your wretchedness, your pain, and the catastrophes - all those catastrophes - in just a few minutes you'll forget them all. The prospect comforts you. Patiently you wait.

We had lived surrounded by books all our married lives. They were our element. We had written them, read for pleasure, amassed mini libraries for particular projects, collected them, organized them into ever shifting categories, and in the end, dwelled inside what we joyfully called our house of books.

Hammett used to be irritated by that and would answer that nobody ever deliberately wrote a potboiler, you just did the best you could and woke up to find it good or no good.

[France] may be the only country in the world where the rich are sometimes brilliant.

All division is created in and by the mind.

All growth is essentially an expansion of awareness.

All judgment is, in one way or another, self-judgment.

All moral judgment is ultimately about the direction toward better or worse, never an absolute truth or fact.

All progress must, and can only be, based on truth: the way it is.

Along every step of our journey through life, our mind is being programmed. If we are not programming it ourselves, someone else is doing it to us.

An aware and righteous individual doesn’t need the respect of others to feel respected.

Any humane, modern society must provide a reliable, well-financed, state-of-the-art health system, which supports and promotes a prosperous and morally responsible society.

An illusion is just another way of seeing reality.

An omniscient, omnipresent and omnipotent being has no need for creation, for it already encompasses everything.

As long as we have inequality we can never have peace.

As long as we are looking for love, we will live in fear of losing it.

An educated person is she or he who knows where or how to acquire knowledge.

One of the questions I ask my clients is What’s left unfinished? What is it that you haven’t done yet, that you need to do before you leave this life?

On my desk are two things: an unfinished research paper due tomorrow, and a goat, and I don't feel like doing either of them.

So how does the massively complicated brain, with its eighty-six billion neurons, get built from such a small recipe book? The answer pivots on a clever strategy implemented by the genome: build incompletely and let world experience refine. Thus, for humans at birth, the brain is remarkably unfinished, and interaction with the world is necessary to complete it.

Responsible for every successful connection ever made between a book and a reader--no less than between people--is that deepest of all human mysteries, emotional readiness: upon which the shape of every life is vitally dependent. How morbidly circumstantial life can seem when we think of the apparent randomness with which we welcome or repel what will turn out to be--or what might have turned out to be--some of the most important relationships of our lives. How often have lifelong friends or lovers shuddered to think, 'If I had met you at any other time...' It's the same between a reader and a book that becomes an intimate you very nearly did not encounter with an open mind or a welcoming heart because you were not in the right mood; that is, in a state of readiness.

But I now leave my cetological System standing thus unfinished, even as the great Cathedral of Cologne was left, with the crane still standing upon the top of the uncompleted tower. For small erections may be finished by their first architects; grand ones, true ones, ever leave the copestone to posterity. God keep me from ever completing anything. This whole book is but a draught—nay, but the draught of a draught. Oh, Time, Strength, Cash, and Patience!

There was a legend on the road that the Mormon Tabernacle in Salt Lake City was a veritable storehouse of gold, silver, and precious stones and it was this that lured Smiler back to that city. At that time a high adobe wall surrounded the block on which stood the Tabernacle and the then unfinished Mormon Temple. We looked it over for several days and nights but could get nothing tangible to work on. Sunday we attended services and the plate was to be seen, silver and gold; more than we could carry away if we got it. At last we decided to go over the wall and give the place a good reconnaissance. If it looked feasible we could get a couple of other idle burglars and give it a thorough looting. On top of the wall we pulled up our light ladder and placed it inside. Smiler went down first. I barely had my feet off the ladder when a dozen men rose up out of the shrubbery armed with shotguns, and surrounded us. We stood still by the wall. One of them spoke, sternly, evenly: “Go back over that wall.” Little we knew the Mormons. We went up the ladder, pulled it up, and went down and away. When Smiler’s good humor returned he held up his hand. “Kid, I’ll never try to rob another Mormon. I’ll go to work first.

If I am not mistaken, if all the signs which have been amassed are precursors of a new overthrow in my life, well then I am terrified. It isn't that my life is rich, or weighty or precious. But I'm afraid of what will be born and take possession of me—and drag me—where? Shall I have to go off again, leaving my research, my book and everything else unfinished? Shall I awake in a few months, in a few years, broken, deceived, in the midst of new ruins? I would like to see the truth clearly before it is too late.

I tried every diet in the book. I tried some that weren’t in the book. I tried eating the book. It tasted better than most of the diets. I tried the Scarsdale diet and the Stillman water diet (you remember that one, where you run weight off trying to get to the bathroom). I tried Optifast, Juicefast, and Waterfast. I even took those shots that I think were made from cow pee. I endured every form of torture anybody with a white coat and a clipboard could devise for a girl who really liked fried pork chops. One night while I was on some kind of liquid-protein diet made from bone marrow, or something equally appetizing, I was with a group of friends at a Howard Johnson’s and some of them were having fried clams. I’ll never forget sitting there with all of that glorious fried fat filling my nostrils and feeling completely left out. I went home and wrote one of my biggest hits, “Two Doors Down.” I also went off my diet and had some fried clams. There were times when I thought of chucking it all in. “Damn the movie,” I would say. “I’m just gonna eat everything and go ahead and weigh five hundred pounds and have to be buried in a piano case.” Luckily, a few doughnuts later, that thought would pass and I would be back to the goal at hand. I remember something in a book I read called Gentle Eating. The author said you should pretend the angels are eating with you and that you want to save some for them. I loved that idea, because I love angels. I have to admit, though, there were times I would slap those angels out of the way and have their part too. A true hog will do that.

A lot of people are driven by the belief that they’re special, that they matter, that there is a reason why they’re here. And they’re sustained by their motivation to have this belief affirmed, which is why when someone challenges it, they want to take them down, whether through gossip, ostracism, aggression, or terrorism. To me, that sounds like a lot of work and not much fun. All I believe is what I know for certain: that I’m alive, so I might as well make the most of it. And I’m driven by the simple fact that I hate leaving things unfinished.

Oh! No, I only mean what I have read about. It always puts me in mind of the country that Emily and her father travelled through, in The Mysteries of Udolpho. But you never read novels, I dare say?" "Why not?" "Because they are not clever enough for you—gentlemen read better books.

I asked him if he thought “there” was better than “here.” “Not better,” he said. “I mean, my great-great-grandpap got his leg shot off. But I feel like it was bigger somehow.” Hawkins flipped through pages of Civil War pictures. “At work, I mix dyes and put them in a machine. I’m thirty-six and I’ve spent almost half my life in Dye House No. 1. I make eight dollars sixty-one cents an hour, which is okay, ’cept everyone says the plant will close and go to China.” He put the book back on the shelf. “I just feel like the South has been given a bum deal ever since that War.

Most people coming out of a war feel lost and resentful. What had been a minute-to-minute confrontation with yourself, your struggle with what courage you have against discomfort, at the least, and death at the other end, ties you to the people you have known in the war and makes, for a time, all others seem alien and frivolous. Friends are glad to see you again, but you know immediately that most of them have put you to one side, and while it is easy enough to say that you should have known that before, most of us don't, and it is painful. You are face to face with what will happen to you after death.

Most of the books I have are indicators of my insecurity. I really wanted to be an intellectual. I really wanted to understand Sartre. I thought that was what made people smart. I have tried to read Being and Nothingness no fewer than twenty times in my life. I really thought that every answer had to be in that book. Maybe it is. The truth is, I can’t read anything with any distance. Every book is a self-help book to me. Just having them makes me feel better. I underline profusely but I don’t retain much. Reading is like a drug. When I am reading from these books it feels like I am thinking what is being read, and that gives me a rush. That is enough. I glean what I can. I finish some of the unfinished thoughts lingering around in my head by adding the thoughts of geniuses and I build from there. There are bookmarks in most of the denser tomes at around page 20 to 40 because that was where I said, “I get it.” Then I put them back on the shelf.

Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?

The Memoirs became the most celebrated unfinished, unpublished, unread book in history. But Chateaubriand was still broke. So Madame Récamier came up with a new scheme, and this one worked - or sort of worked. A stock company was formed, and people bought shares in the manuscript. Word futures, I guess you could call them, in the same way that people from Wall Street gamble on the price of soybeans and corn. In effect, Chateaubriand mortgaged his autobiography to finance his old age. They gave him a nice chunk of money up front, which allowed him to pay off his creditors, and a guaranteed annuity for the rest of his life. It was a brilliant arrangement. The only problem was that Chateaubriand kept on living.

Emotional intelligence is knowledge of the “Self,” understanding who we are, and employing this knowledge to exercise self-control in our relationships with other beings and the world. Only by knowing ourselves can we responsibly and efficiently manage our senses, thoughts, words and actions, and behave in a benevolent manner toward other beings and the world.

His unfinished book had become his obsession. He rarely left his room, which he insulated with sheaves of paper scribbled with beginnings and endings, nailing ideas to the walls and stretching long strips of sentences from the window to the door. Tall stacks of scenes and chapters sprouted from the floor, as if the papers had reincarnated themselves back into trees. The paper forest around him glimmered in the sun from the windows, weaving rays of light in yellow and purple and blue. Hunger squeezed his throat, but he turned his ravenousness toward writing. He almost never slept. During the shortages, he wrote between the columns of old newspapers, or on pieces of cardboard, or on bark pulled from trees. He traded potatoes for ink.

In my book, there is an unfinished poem- and I never had a chance to put a full stop because your faded image still exists in the little world of mine. A poem never ends until the tears of a poet dry out - and sadly I could neither find the eraser to rub off your image nor could I find the pen to put a full stop because of my blurry vision," ~Sahaana [Walking Across the London Bridge]

Life is the fundamental essence of all reality. It doesn’t emerge, and it never dies. Life simply is. It’s the inherent quality of everything that is or is not. Under certain conditions, life awakens, and we call it living. But eventually all living forms decay and through so-called death, life transforms back into its elementary stage; the infinite potential for expression. We comprehend such transition as dying, but death is just a term we invented to mark the end of living. Everything that is born and dies is an expression of so-called absolute Life, which exists as a continuum in everything, everywhere, always, and on all levels, forever seeking new ways of becoming alive. We should, therefore, replace the popular saying “it’s all about life and death” with “it’s all about birth and death, while life is eternal.

It was in that tree that I learned to read, filled with the passions that can only come to the bookish, grasping, very young, bewildered by almost all of what I read, sweating in the attempt to understand a world of adults I fled from in real life but desperately wanted to join in books. (I did not connect the grown men and women in literature with the grown men and women I saw around me. They were, to me, another species.)

Both men had talked of their intentions to commit suicide. Both used the typical argument —they had nothing more to expect from life. In both cases it was a question of getting them to realize that life was still expecting something from them; something in the future was expected of them. We found, in fact, that for the one it was his child whom he adored and who was waiting for him in a foreign country. For the other it was a thing, not a person. This man was a scientist and had written a series of books which still needed to be finished. His work could not be done by anyone else, any more than another person could ever take the place of the father in his child’s affections. This uniqueness and singleness which distinguishes each individual and gives a meaning to his existence has a bearing on creative work as much as it does on human love. When the impossibility of replacing a person is realized, it allows the responsibility which a man has for his existence and its continuance to appear in all its magnitude. A man who becomes conscious of the responsibility he bears toward a human being who affectionately waits for him, or to an unfinished work, will never be able to throw away his life. He knows the “why” for his existence, and will be able to bear almost any “how.” The

But then everybody who has been in the Soviet Union for any length of time has noticed their concern with the United States: we may be the enemy, but we are the admired enemy, and the so-called good life for us is the to-be-good life for them. During the war, the Russian combination of dislike and grudging admiration for us, and ours for them, seemed to me like the innocent rivalry of two men proud of being large, handsome and successful. But I was wrong. They have chosen to imitate and compete with the most vulgar aspects of American life, and we have chosen, as in the revelations of the CIA bribery of intellectuals and scholars, to say, "But the Russians do the same thing," as if honor were a mask that you put on and took off at a costume ball. They condemn Vietnam, we condemn Hungary. But the moral tone of giants with swollen heads, fat fingers pressed over the atom bomb, staring at each other across the forests of the world, is monstrously comic.

Jews have become the smartest weakest people in the history of the world. Look, I’m not always right. I realize that. But I’m always strong. And if our history has taught us anything, it’s that it’s more important to be strong than right. Or good, for that matter. I would rather be alive and wrong and evil. I don’t need Bishop Wears-a-Tutu, or that hydrocephalic peanut farmer president, or the backseat-driving pseudo-sociologist eunichs from the New York Times op-ed page, or anyone, to give me their blessing. I don’t need to be a Light unto the Nations; I need to not be on fire. Life is long when you’re alive, and history has a short memory. America had its way with the Indians. Australia and Germany and Spain … They did what had to be done. And what was the big deal? Their history books have a few regrettable pages? They have to issue weak-tea apologies once a year and pay out some reparations to the unfinished parts of the job? They did what had to be done, and life went on.

I suppose you mean Camilla?" "Yes, that's the book; such unnatural stuff! An old man playing at see-saw, I took up the first volume once and looked it over, but I soon found it would not do; indeed I guessed what sort of stuff it must be before I saw it: as soon as I heard she had married an emigrant, I was sure I should never be able to get through it." "I have never read it." "You had no loss, I assure you; it is the horridest nonsense you can imagine; there is nothing in the world in it but an old man's playing at see-saw and learning Latin; upon my soul there is not.

I think I meant an intimation of sadness, a first recognition that there was so much to understand that one might never find one's way and the first signs, perhaps, that for a nature like mine, the way would not be easy. I cannot be sure that I felt all that then, although I can be sure that it was in the fig tree, a few years later, that I was first puzzled by the conflict which would haunt me, harm me, and benefit me the rest of my life: simply, the stubborn, relentless, driving desire to be alone as it came into conflict with the desire not to be alone when I wanted not to be.

Kafka is an ethical, not an aesthetic, writer. There is no conclusion to his books. The Castle was actually unfinished, but what ending could there be to it? And there is some doubt about the proper order of the chapters in The Trial—it does not really seem to matter very much in which order you read them, since the book as a whole does not get you anywhere. (An uncharitable reader might disagree, and say that it throws fresh light on the Judiciary.) In this it is faithful to life as we actually experience it. There is no 'happy ending' or 'tragic ending' or 'comic ending' to life, only a 'dead ending'—and then we start again. We suffer, because we refuse to be reconciled with this lamentable fact; and even though we may say that life is meaningless we continue to think and act as if it had a meaning. Kafka's heroes (or hero, 'K.'—himself and not himself) obstinately persist in making efforts that they understand perfectly well are quite pointless—and this with the most natural air in the world. And, after all, what else can one do? Notice, in The Trial, how the notion of guilt is taken for granted. K. does not question the fact that he is guilty, even though he does not know of what he is guilty—he makes no attempt to discover the charge against him, but only to arrange for his defence. For both Kierkegaard and Heidegger, guilt is fundamental in human existence. (And it is only the Buddha who tells us the charge against us—avijjā.)

When my father was a young man, during the years of the First World War and long before there was any inkling of the tales that were to form the narrative of The Hobbit or The Lord of the Rings, he began the writing of a collection of stories that he called The Book of Lost Tales. That was his first work of imaginative literature, and a substantial one, for though it was left unfinished there are fourteen completed tales. It was in The Book of Lost Tales that there first appeared in narrative the Gods, or Valar; Elves and Men as the Children of Ilúvatar (the Creator); Melkor-Morgoth the great Enemy; Balrogs and Orcs; and the lands in which the Tales are set, Valinor ‘land of the Gods’ beyond the western ocean, and the ‘Great Lands’ (afterwards called ‘Middle-earth’, between the seas of east and west).

Then he thinks that there should be a place in every town where people could put rescued or found things. Not just objects, but snippets of forgotten languages, or misused time – an hour that can never be lived again. It would be a place where lost faiths could be collected, as well as keys, gloves and love letters never sent. Here you could find extinct animals and old wives’ tales vanished in history; a whole shelf of unfinished songs, discontinued books, deleted texts. It would be a safe for fleeting emotions – the first flush of love, or a particular scent on a sunny day that is never savoured again. Among the dog leads, phones and hats, there would be babies hoped for and lost. All this would be remembered: missed opportunities, mislaid friends, the smile of a wife. It would be a place for lost things.

5236 rue St. Urbain The baby girl was a quick learner, having synthesized a full range of traits of both of her parents, the charming and the devious. Of all the toddlers in the neighbourhood, she was the first to learn to read and also the first to tear out the pages. Within months she mastered the grilling of the steaks and soon thereafter presented reasons to not grill the steaks. She was the first to promote a new visceral style of physical comedy as a means of reinvigorate the social potential of satire, and the first to declare the movement over. She appreciated the qualities of movement and speed, but also understood the necessity of slowness and leisure. She quickly learned the importance of ladders. She invented games with numerous chess-boards, matches and glasses of unfinished wine. Her parents, being both responsible and duplicitous people, came up with a plan to protect themselves, their apartment and belongings, while also providing an environment to encourage the open development of their daughter's obvious talents. They scheduled time off work, put on their pajamas and let the routines of the apartment go. They put their most cherished books right at her eye-level and gave her a chrome lighter. They blended the contents of the fridge and poured it into bowls they left on the floor. They took to napping in the living room, waking only to wipe their noses on the picture books and look blankly at the costumed characters on the TV shows. They made a fuss for their daughter's attention and cried when she wandered off; they bit or punched each other when she out of the room, and accused the other when she came in, looking frustrated. They made a mess of their pants when she drank too much, and let her figure out the fire extinguisher when their cigarettes set the blankets smoldering. They made her laugh with cute songs and then put clothes pins on the cat's tail. Eventually things found their rhythm. More than once the three of them found their faces waxened with tears, unable to decide if they had been crying, laughing, or if it had all been a reflex, like drooling. They took turns in the bath. Parents and children--it is odd when you trigger instinctive behaviour in either of them--like survival, like nurture. It's alright to test their capabilities, but they can hurt themselves if they go too far. It can be helpful to imagine them all gorging on their favourite food until their bellies ache. Fall came and the family went to school together.

remember two cases of would-be suicide, which bore a striking similarity to each other. Both men had talked of their intentions to commit suicide. Both used the typical argument —they had nothing more to expect from life. In both cases it was a question of getting them to realize that life was still expecting something from them; something in the future was expected of them. We found, in fact, that for the one it was his child whom he adored and who was waiting for him in a foreign country. For the other it was a thing, not a person. This man was a scientist and had written a series of books which still needed to be finished. His work could not be done by anyone else, any more than another person could ever take the place of the father in his child’s affections. This uniqueness and singleness which distinguishes each individual and gives a meaning to his existence has a bearing on creative work as much as it does on human love. When the impossibility of replacing a person is realized, it allows the responsibility which a man has for his existence and its continuance to appear in all its magnitude. A man who becomes conscious of the responsibility he bears toward a human being who affectionately waits for him, or to an unfinished work, will never be able to throw away his life. He knows the “why” for his existence, and will be able to bear almost any “how.

I remember two cases of would-be suicide, which bore a striking similarity to each other. Both men had talked of their intentions to commit suicide. Both used the typical argument —they had nothing more to expect from life. In both cases it was a question of getting them to realize that life was still expecting something from them; something in the future was expected of them. We found, in fact, that for the one it was his child whom he adored and who was waiting for him in a foreign country. For the other it was a thing, not a person. This man was a scientist and had written a series of books which still needed to be finished. His work could not be done by anyone else, any more than another person could ever take the place of the father in his child’s affections. This uniqueness and singleness which distinguishes each individual and gives a meaning to his existence has a bearing on creative work as much as it does on human love. When the impossibility of replacing a person is realized, it allows the responsibility which a man has for his existence and its continuance to appear in all its magnitude. A man who becomes conscious of the responsibility he bears toward a human being who affectionately waits for him, or to an unfinished work, will never be able to throw away his life. He knows the “why” for his existence, and will be able to bear almost any “how.

Once or twice, at night, he planted himself in front of the type-writer, trying to get back to the book he'd come to New York to write. It was supposed to be about America, and freedom, and the kinship of time to pain, but in order to write about these things, he'd needed experience. Well, be careful what you wish for. For now all he seemed capable of producing was a string of sentences starting, Here was William. Here was William's courage, for example. And here was William's sadness, smallness of stature, size of hands. Here was his laugh in a dark movie theater, his unpunk love of the films of Woody Allen, not for any of the obvious ways they flattered his sensibility, but for something he called their tragic sense, which he compared to Chekhov's (whom Mercer knew he had not read). Here was the way he never asked Mercer about his work; the way he never talked about his own and yet seemed to carry it with him just beneath the skin; the way his skin looked in the sodium light from outside with the light off, with clothes off, in silver rain; the way he embodied qualities Mercer wanted to have, but without ruining them by wanting to have them; the way his genius overflowed its vessel, running off into the drain; the unfinished self-portrait; the hint of some trauma in his past, like the war a shell-shocked town never talks about; his terrible taste in friends; his complete lack of discipline; the inborn incapacity for certain basic things that made you want to mother him, fuck him, give your right and left arms for him, this man-child, this skinny American; and finally his wildness, his refusal to be imaginable by anyone.