Unknown Good Morning Quotes

This is the beginning of a new day You have been given this day to use as you will. You can waste it or use it for good. What you do today is important Because you are exchanging a day of your life for it. When tomorrow comes, this day will be gone forever. In its place is something that you have left behind . . . Let it be something good. —AUTHOR UNKNOWN

This is the beginning of a new day You have been given this day to use as you will. You can waste it or use it for good. What you do today is important Because you are exchanging a day of your life for it. When tomorrow comes, this day will be gone forever. In its place is something that you have left behind... Let it be something good. -Author Unknown

When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavoured to bring back with a strict hand such as had been straying through imagination's boundless and trackless waste, into the safe fold of common sense. Arraigned to my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night--of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her quiet way a plain, unvarnished tale, showing how I had rejected the real, and rapidly devoured the ideal--I pronounced judgement to this effect-- That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar. "You," I said, "a favourite with Mr. Rochester? You're gifted with the power of pleasing him? You're of importance to him in any way? Go!--your folly sickens me. And you have derived pleasure from occasional tokens of preference--equivocal tokens shown by a gentleman of family and a man of the world to dependent and novice. How dared you? Poor stupid dupe! Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night? Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does no good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and if discovered and responded to, must lead into miry wilds whence there is no extrication. "Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own pictures, faithfully, without softening on defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imageine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution... "Whenever, in the future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them--say, "Mr. Rochester might probably win that noble lady's love, if he chose to strive for it; is it likely he would waste a serious thought on this indignent and insignifican plebian?" "I'll do it," I resolved; and having framed this determination, I grew calm, and fell asleep.

Somewhere among the commotion I grew rather depressed. The depression stayed with me for over a year; it was like an animal, a well-defined, spatially localizable thing. I would wake up, open my eyes, listen-is it here or isn’t it? No sign of it. Perhaps it’s asleep. Perhaps it will leave me alone today. Carefully, very carefully, I get out of bed. All is quiet. I go to the kitchen, start breakfast. Not a sound. TV-Good Morning America, David what’s-his-name, a guy I can’t stand. I eat and watch the guests. Slowly the food fills my stomach and gives me strength. Now a quick excursion to the bathroom, and out for my morning walk-and here she is, my faithful depression: “Did you think you could leave without me?" I had often warned my students not to identify with their work. I told them, “if you want to achieve something, if you want to write a book, paint a picture, be sure that the center of your existence if somewhere else and that it’s solidly grounded; only then will you be able to keep your cool and laugh at the attacks that are bound to come." I myself had followed this advice in the past, but now I was alone, sick with some unknown affliction; my private life was in a mess, and I was without a defense. I often wished I had never written that fucking book.

...affirm my life every morning and let myself have a good day, free myself each night to dream the necessary dreams, find pleasure in serving those I love, give up guilt at refusing to when they demand my self-annihilation, find joy in teaching, joy in talking to loving readers..., give my self time every day to walk or go to a museum, be generous because it reminds me how much abundance I have been given, be loving because it reminds me not to feel jealous of those who only seem to have more, seize my life, release my anger, bless the known and the unknown world.... If, every day, I dare to remember that I am here on loan, that this house, this hillside, these minutes are all leased to me, not given, I will never despair. Despair is for those who expect to live for ever. I no longer do.

Have you ever wondered What happens to all the poems people write? The poems they never let anyone else read? Perhaps they are Too private and personal Perhaps they are just not good enough. Perhaps the prospect of such a heartfelt expression being seen as clumsy shallow silly pretentious saccharine unoriginal sentimental trite boring overwrought obscure stupid pointless or simply embarrassing is enough to give any aspiring poet good reason to hide their work from public view. forever. Naturally many poems are IMMEDIATELY DESTROYED. Burnt shredded flushed away Occasionally they are folded Into little squares And wedged under the corner of An unstable piece of furniture (So actually quite useful) Others are hidden behind a loose brick or drainpipe or sealed into the back of an old alarm clock or put between the pages of AN OBSCURE BOOK that is unlikely to ever be opened. someone might find them one day, BUT PROBABLY NOT The truth is that unread poetry Will almost always be just that. DOOMED to join a vast invisible river of waste that flows out of suburbia. well Almost always. On rare occasions, Some especially insistent pieces of writing will escape into a backyard or a laneway be blown along a roadside embankment and finally come to rest in a shopping center parking lot as so many things do It is here that something quite Remarkable takes place two or more pieces of poetry drift toward each other through a strange force of attraction unknown to science and ever so slowly cling together to form a tiny, shapeless ball. Left undisturbed, this ball gradually becomes larger and rounder as other free verses confessions secrets stray musings wishes and unsent love letters attach themselves one by one. Such a ball creeps through the streets Like a tumbleweed for months even years If it comes out only at night it has a good Chance of surviving traffic and children and through a slow rolling motion AVOIDS SNAILS (its number one predator) At a certain size, it instinctively shelters from bad weather, unnoticed but otherwise roams the streets searching for scraps of forgotten thought and feeling. Given time and luck the poetry ball becomes large HUGE ENORMOUS: A vast accumulation of papery bits That ultimately takes to the air, levitating by The sheer force of so much unspoken emotion. It floats gently above suburban rooftops when everybody is asleep inspiring lonely dogs to bark in the middle of the night. Sadly a big ball of paper no matter how large and buoyant, is still a fragile thing. Sooner or LATER it will be surprised by a sudden gust of wind Beaten by driving rain and REDUCED in a matter of minutes to a billion soggy shreds. One morning everyone will wake up to find a pulpy mess covering front lawns clogging up gutters and plastering car windscreens. Traffic will be delayed children delighted adults baffled unable to figure out where it all came from Stranger still Will be the Discovery that Every lump of Wet paper Contains various faded words pressed into accidental verse. Barely visible but undeniably present To each reader they will whisper something different something joyful something sad truthful absurd hilarious profound and perfect No one will be able to explain the Strange feeling of weightlessness or the private smile that remains Long after the street sweepers have come and gone.

CONCLUSION THE ESSENCE OF A NEW DAY This is the beginning of a new day You have been given this day to use as you will. You can waste it or use it for good. What you do today is important Because you are exchanging a day of your life for it. When tomorrow comes, this day will be gone forever. In its place is something that you have left behind... Let it be something good. -Author Unknown

You,” I said, “a favourite with Mr. Rochester? You gifted with the power of pleasing him? You of importance to him in any way? Go! your folly sickens me. And you have derived pleasure from occasional tokens of preference—equivocal tokens shown by a gentleman of family and a man of the world to a dependent and a novice. How dared you? Poor stupid dupe!—Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night?—Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and, if discovered and responded to, must lead, ignis-fatus-like, into miry wilds whence there is no extrication.

This was something new. Or something old. I didn’t think of what it might be until after I had let Aubrey go back to the clinic to bed down next to her child. Bankole had given him something to help him sleep. He did the same for her, so I won’t be able to ask her anything more until she wakes up later this morning. I couldn’t help wondering, though, whether these people, with their crosses, had some connection with my current least favorite presidential candidate, Texas Senator Andrew Steele Jarret. It sounds like the sort of thing his people might do—a revival of something nasty out of the past. Did the Ku Klux Klan wear crosses—as well as burn them? The Nazis wore the swastika, which is a kind of cross, but I don’t think they wore it on their chests. There were crosses all over the place during the Inquisition and before that, during the Crusades. So now we have another group that uses crosses and slaughters people. Jarret’s people could be behind it. Jarret insists on being a throwback to some earlier, “simpler” time. Now does not suit him. Religious tolerance does not suit him. The current state of the country does not suit him. He wants to take us all back to some magical time when everyone believed in the same God, worshipped him in the same way, and understood that their safety in the universe depended on completing the same religious rituals and stomping anyone who was different. There was never such a time in this country. But these days when more than half the people in the country can’t read at all, history is just one more vast unknown to them. Jarret supporters have been known, now and then, to form mobs and burn people at the stake for being witches. Witches! In 2032! A witch, in their view, tends to be a Moslem, a Jew, a Hindu, a Buddhist, or, in some parts of the country, a Mormon, a Jehovah’s Witness, or even a Catholic. A witch may also be an atheist, a “cultist,” or a well-to-do eccentric. Well-to-do eccentrics often have no protectors or much that’s worth stealing. And “cultist” is a great catchall term for anyone who fits into no other large category, and yet doesn’t quite match Jarret’s version of Christianity. Jarret’s people have been known to beat or drive out Unitarians, for goodness’ sake. Jarret condemns the burnings, but does so in such mild language that his people are free to hear what they want to hear. As for the beatings, the tarring and feathering, and the destruction of “heathen houses of devil-worship,” he has a simple answer: “Join us! Our doors are open to every nationality, every race! Leave your sinful past behind, and become one of us. Help us to make America great again.

Here was a revelation which no one could doubt or deny; here, seen by unknown magic of Overlord science, were the true beginnings of all the world's great faiths. Most of them were noble and inspiring, but that was not enough. Within a few days, all mankind's multitudinous messaihs had lost their divinity. Beneath the fierce and passionless light of truth, faiths that had sustained millions for twice a thousand years vanished like morning dew. All the good and all the evil they had wrought were swept suddenly into the past, and could touch the minds of men no more.

The true world—unattainable? At any rate, unattained. And being unattained, also unknown. Consequently, not consoling, redeeming, or obligating: how could something unknown obligate us? (Gray morning. The first yawn of reason. The cockcrow of positivism.) The true world—an idea which is no longer good for anything, not even obligating—an idea which has become useless and superfluous—consequently, a refuted idea: let us abolish it! (Bright day; breakfast; return of bon sens and cheerfulness; Plato’s embarrassed blush; pandemonium of all free spirits.) The true world—we have abolished. What world has remained? The apparent one perhaps? But no! With the true world we have also abolished the apparent one. (Noon; moment of the briefest shadow; end of the longest error; high point of humanity; INCIPIT ZARATHUSTRA)

That a greater fool than Jane Eyre had never breathed the breath of life, that a more fantastic idiot had never surfeited herself on sweet lies and swallowed poison as if it were nectar. YOU, I said, a favourite with Mr. Rochester? YOU gifted with the power of pleasing him? YOU of importance to him in any way? Go; your folly sickens me. And you have derived pleasure from occasional tokens of peference, equivocal tokens shown by a gentleman of family and a man of the world, to a dependent and a novice. How dared you? Poor stupid dupe? Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night; Cover your face and be ashamed. He said something in praise of your eyes did he> Blind puppy. Open their bleared lids and look on your own accursed senselessness. It does good to no woman to be flattered by her superior who cannot possibly intend to marry her, and it is madness in all women to let a secret love kindle within them which, if unreturned and unknown, must devour the life that feeds it, and if discovered and responded to, must lead ignis-fatus-like into miry wilds whence there is no extrication.

Ah, poems amount to so little when you write them too early in your life. You ought to wait and gather sense and sweetness for a whole lifetime, and a lone one if possible, and then, at the very end, you might perhaps be able to write ten good lines. For poems are not, as people think, simply emotions (one has emotions early enough)—they are experiences. For the sake of a single poem, you must see many cities, many people and Things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents whom you had to hurt when they brought in a joy and you didn’t pick it up (it was a joy meant for somebody else—); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet, restrained rooms and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along high overhead and went flying with all the stars, and it is still not enough to be able to think of all that. You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open window and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves—only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them. - For the Sake of a Single Poem

Sonny shows me his phone. It’s a text message from Rapid, sent this morning, and it consists of one simple-but-not-so-simple question: Wanna meet up? My mouth drops. “Seriously?” “Seriously,” Sonny says. “Holy shit.” There’s one problem though. “Why haven’t you responded?” “I don’t know,” he says. “Part of me is like, hell yeah. The other part feels like this shit is too good to be true. What if he’s really a fifty-year-old man who lives in his mom’s basement and has a malicious plot to murder me and leave my body parts spread out across his backyard, unknown to anyone, until twenty years from now when a stray dog sniffs me out?” I stare at him. “The specifics in your examples are disturbing sometimes.

We are the sum of all people we have ever met; you change the tribe and the tribe changes you." - Fierce People Even in our sleep, pain which cannot forget falls drop by drop upon the heart until… in our despair, against our will, comes wisdom through the awful grace of God. - Aeschylus "A man like to me, Thou shalt love be loved by forever. A hand like this hand shall throw open the gates of new life to thee!" Robert Browning "Courage is grace under pressure." Ernest Hemingway "For each new morning with its light, For rest and shelter of the night, For health and food, for love and friends, For everything Thy goodness sends." ~ Ralph Waldo Emerson (1803-1882) "To laugh often and much; to win the respect of intelligent people and the affection of children; to earn the appreciation of honest critics and endure the betrayal of false friends; to appreciate beauty; to find the best in others; to leave the world a bit better; to know even one life has breathed easier because you have lived. This is to have succeeded.” ~ Ralph Waldo Emerson (1803-1882) “Prayer is not asking. It is a longing of the soul. It is daily admission of one's weakness. It is better in prayer to have a heart without words than words without a heart.” ― Mahatma Gandhi “Simplicity, patience, compassion. These three are your greatest treasures. Simple in actions and thoughts, you return to the source of being. Patient with both friends and enemies, you accord with the way things are. Compassionate toward yourself, you reconcile all beings in the world.” ― Lao Tzu, Tao Te Ching "Behind the dim unknown, standeth God within the shadow, keeping watch above his own." James Russel Lowell "My God, my Father, and my friend. Do not forsake me in the end." Wentworth Dillon

A few months after the great crisis I had the joy of seeing the line of caravans re-form on the banks of the Orontes; the oases were again the resort of merchants exchanging news in the glow of their evening fires, each morning repacking along with their goods for transportation to lands unknown a certain number of thoughts, words and customs genuinely our own, which little by little would take possession of the globe more securely than can advancing legions.

Ah! but verses amount to so little when one writes them young. One ought to wait and gather sense and sweetness a whole life long, and a long life if possible, and then, quite at the end, one might perhaps be able to write ten lines that were good. For verses are not, as people imagine, simply feelings (those one has early enough),–they are experiences. For the sake of a single verse, one must see many cities, men and things, one must know the animals, one must feel how the birds fly and know the gesture with which the little flowers open in the morning. One must be able to think back to roads in unknown regions, to unexpected meetings and to partings one had long seen coming; to days of childhood that are still unexplained, to parents whom one had to hurt when they brought one some joy and one did not grasp it (it was a joy for someone else); to childhood illnesses that so strangely begin with such a number of profound and grave transformations, to days in rooms withdrawn and quiet and to the mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along on high and flew with all the stars–and it is not yet enough if one may think of all this. One must have memories of many nights of love, none of which was like the others, of the screams of women in labour, and of light, white sleeping women in childbed, closing again. But one must also have been beside the dying, must have sat beside the dead in the room with the open window and the fitful noises. And still it is not yet enough to have memories. One must be able to forget them when they are many and one must have the great patience to wait until they come again. For it is not yet the memories themselves. Not till they have turned to blood within us, to glance and gesture, nameless and no longer to be distinguished from ourselves–not till then can it happen that in a most rare hour the first word of a verse arises in their midst and goes forth from them.

And by the early 1970s our little parable of Sam and Sweetie is exactly what happened to the North American Golden Retriever. One field-trial dog, Holway Barty, and two show dogs, Misty Morn’s Sunset and Cummings’ Gold-Rush Charlie, won dozens of blue ribbons between them. They were not only gorgeous champions; they had wonderful personalities. Consequently, hundreds of people wanted these dogs’ genes to come into their lines, and over many matings during the 1970s the genes of these three dogs were flung far and wide throughout the North American Golden Retriever population, until by 2010 Misty Morn’s Sunset alone had 95,539 registered descendants, his number of unregistered ones unknown. Today hundreds of thousands of North American Golden Retrievers are descended from these three champions and have received both their sweet dispositions and their hidden time bombs. Unfortunately for these Golden Retrievers, and for the people who love them, one of these time bombs happens to be cancer. To be fair, a so-called cancer gene cannot be traced directly to a few famous sires, but using these sires so often increases the chance of recessive genes meeting—for good and for ill. Today, in the United States, 61.4 percent of Golden Retrievers die of cancer, according to a survey conducted by the Golden Retriever Club of America and the Purdue School of Veterinary Medicine. In Great Britain, a Kennel Club survey found almost exactly the same result, if we consider that those British dogs—loosely diagnosed as dying of “old age” and “cardiac conditions” and never having been autopsied—might really be dying of a variety of cancers, including hemangiosarcoma, a cancer of the lining of the blood vessels and the spleen. This sad history of the Golden Retriever’s narrowing gene pool has played out across dozens of other breeds and is one of the reasons that so many of our dogs spend a lot more time in veterinarians’ offices than they should and die sooner than they might. In genetic terms, it comes down to the ever-increasing chance that both copies of any given gene are derived from the same ancestor, a probability expressed by a number called the coefficient of inbreeding. Discovered in 1922 by the American geneticist Sewall Wright, the coefficient of inbreeding ranges from 0 to 100 percent and rises as animals become more inbred.

I say, it sounds like some dangerous psychotic killer wrote this, and this buttoned-down schizophrenic could probably go over the edge at any moment in the working day and stalk from office to office with an Armalite AR-180 carbine gas-operated semiautomatic. My boss just looks at me. The guy, I say, is probably at home every night with a little rattail file, filing a cross into the tip of every one of his rounds. This way, when he shows up to work one morning and pumps a round into his nagging, ineffectual, petty, whining, butt-sucking, candy-ass boss, that one round will split along the filed grooves and spread open the way a dumdum bullet flowers inside you to blow a bushel load of your stinking guts out through your spine. Picture your gut chakra opening in a slow-motion explosion of sausage-casing small intestine. My boss takes the paper out from under my nose. Go ahead, I say, read some more. No really, I say, it sounds fascinating. The work of a totally diseased mind. And I smile. The little butthole-looking edges of the hole in my cheek are the same blue-black as a dog’s gums. The skin stretched tight across the swelling around my eyes feels varnished. My boss just looks at me. Let me help you, I say. I say, the fourth rule of fight club is one fight at a time. My boss looks at the rules and then looks at me. I say, the fifth rule is no shoes, no shirts in the fight. My boss looks at the rules and looks at me. Maybe, I say, this totally diseased fuck would use an Eagle Apache carbine because an Apache takes a thirty-shot mag and only weighs nine pounds. The Armalite only takes a five-round magazine. With thirty shots, our totally fucked hero could go the length of mahogany row and take out every vice-president with a cartridge left over for each director. Tyler’s words coming out of my mouth. I used to be such a nice person. I just look at my boss. My boss has blue, blue, pale cornflower blue eyes. The J and R 68 semiautomatic carbine also takes a thirty-shot mag, and it only weighs seven pounds. My boss just looks at me. It’s scary, I say. This is probably somebody he’s known for years. Probably this guy knows all about him, where he lives, and where his wife works and his kids go to school. This is exhausting, and all of a sudden very, very boring. And why does Tyler need ten copies of the fight club rules? What I don’t have to say is I know about the leather interiors that cause birth defects. I know about the counterfeit brake linings that looked good enough to pass the purchasing agent, but fail after two thousand miles. I know about the air-conditioning rheostat that gets so hot it sets fire to the maps in your glove compartment. I know how many people burn alive because of fuel-injector flashback. I’ve seen people’s legs cut off at the knee when turbochargers start exploding and send their vanes through the firewall and into the passenger compartment. I’ve been out in the field and seen the burned-up cars and seen the reports where CAUSE OF FAILURE is recorded as "unknown.” No, I say, the paper’s not mine. I take the paper between two fingers and jerk it out of his hand. The edge must slice his thumb because his hand flies to his mouth, and he’s sucking hard, eyes wide open. I crumble the paper into a ball and toss it into the trash can next to my desk. Maybe, I say, you shouldn’t be bringing me every little piece of trash you pick up.

finding that she was determined to get to the bottom of what seemed to him a very trivial affair, extricated himself without hesitation or compunction by advising her to apply to Vincent for information, since he was the instigator of the quarrel. Before he could make good his retreat, however, he was incensed and appalled by a command to go immediately to Vincent's room, and to inform him that his mama desired to have speech with him before he went down to breakfast. Since it was the time-honoured practice of the brothers to sacrifice each other in such situations as now confronted Claud, it was not fear of Vincent's wrath at finding himself betrayed which prompted Claud to despatch Polyphant on the errand, but the knowledge that not even a messenger bearing gifts of great price would meet with anything but the rudest of receptions from Vincent at this hour of the morning.

One should wait, and gather meaning and sweetness a whole life long, a long life if possible, and then, at the very end, one might perhaps be able to write ten good lines. For verses are not feelings, as people imagine – those one has early enough; they are experiences. In order to write a single line, one must see a great many cities, people and things, have an understanding of animals, sense how it is to be a bird in flight, and know the manner in which the little flowers open every morning. In one's mind there must be regions unknown, meetings unexpected and long-anticipated partings, to which one can cast back one's thoughts – childhood days that still retain their mystery, parents inevitably hurt when one failed to grasp the pleasure they offered (and which another would have taken pleasure in), childhood illnesses beginning so strangely with so many profound and intractable transformations, days in peacefully secluded rooms and mornings beside the sea, and the sea itself, seas, nights on journeys that swept by on high and flew past filled with stars – and still it is not enough to be able to bring all this to mind. One must have memories of many nights of love, no two alike; of the screams of women in labour; and of pale, white, sleeping women in childbed, closing again. But one must also have been with the dying, have sat in a room with the dead with the window open and noises coming in at random. And it is not yet enough to have memories. One has to be able to forget them, if there are a great many, and one must have great patience, to wait for their return. For it is not the memories in themselves that are of consequence. Only when they are become the very blood within us, our every look and gesture, nameless and no longer distinguishable from our inmost self, only then, in the rarest of hours, can the first word of a poem arise in their midst and go out from among them. 

Mary Lincoln was already in the audience. Before leaving the house that morning she had vigorously brushed Lincoln's coat, had laid out a fresh collar and carefully ironed his best tie. She was anxious to have him appear to advantage. But the day was hot, and Lincoln knew the air in the hall would be oppressive. So he strode onto the platform without a coat, without a vest, without a collar, without a tie. His long, brown, skinny neck rose out of the shirt that hung loosely on his gaunt frame. His hair was disordered, his boots rusty and unkempt. One single knitted "gallis" held up his short, ill-fitting trousers. At the first sight of him, Mary Lincoln flushed with anger and embarrassment. She could have wept in her disappointment and despair. No one dreamed of it at the time, but we know now that this homely man, whose wife was ashamed of him, was starting out that hot October afternoon on a career that was to give him a place among the immortals.

TURN ON THE HEADLIGHTS   A woman confessed to a friend her confusion and hesitancy about an important life decision she faced. She professed to believe in God, but could not bring herself to rely on her faith to make that decision that weighed heavily on her. “How can I know I’m doing the right thing?” she asked. “How can I possibly believe my decision will be right when I can’t even see tomorrow?” Her friend thought and then replied, “Here’s how I look at it. When you drive down a dark country road without streetlights to offer you any notion of where you are, it’s a little scary. You must rely on your headlights. They may only show you ten yards of the road in front of you, but you can see where to go for that little stretch of the road. As you travel the distance, the headlights show you ten more yards, and then ten more, until eventually you reach your destination safely.” When you come to the edge of all the light you know and are about to step off into the darkness of the unknown, faith is knowing one of two things will happen: There will be something solid to stand on, or you will be taught how to fly.2   THY WORD IS A LAMP UNTO MY FEET, AND A LIGHT UNTO MY PATH. PSALM 119:105 KJV

We then reached a fork in the valley. Should we go left or right? Dad called it left. I had a very powerful intuition that right was the choice we should make. Dad insisted left. I insisted right. It was a fifty-fifty call and he relented. Within two hundred yards we stumbled across a snowy track through the woods and followed it excitedly. Within a mile it came out on a mountain road, and within ten minutes we had flagged down a lift from a car heading up the hill in the darkness. We had found salvation, and I was beat. The car dropped us off at the gates of the garrison thirty minutes later. It was, by then, late into the night, but I was suddenly buzzing with energy and excitement. The fatigue had gone. Dad knew that I had made the right call up there--if we had chosen left we would still be trudging into the unknown. I felt so proud. In truth it was probably luck, but I learned another valuable lesson that night: Listen to the quiet voice inside. Intuition is the noise of the mind. As we tromped back through the barracks, though, we noticed there was an unusual amount of activity for the early hours of a weekday morning. It soon became very clear why. First a sergeant appeared, followed by another soldier, and then we were ushered into the senior officers’ block. There was my uncle, standing in uniform looking both tired and serious. I started to break out into a big smile. So did Dad. Well, I was excited. We had cheated a slow, lingering hypothermic death, lost together in the mountains. We were alive. Our enthusiasm was countered by the immortal words from my uncle, the brigadier, saying: “I wouldn’t smile if I was you…” He continued, “The entire army mountain rescue team is currently out scouring the mountains for you, on foot and in the air with the search-and-rescue helicopter. I hope you have a good explanation.” We didn’t, of course, save that we had been careless, and we had got lucky; but that’s life sometimes. And the phrase: “I wouldn’t smile if I was you,” has gone down into Grylls family folklore.

We are the music makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams; — World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems. With wonderful deathless ditties We build up the world's great cities, And out of a fabulous story We fashion an empire's glory: One man with a dream, at pleasure, Shall go forth and conquer a crown; And three with a new song's measure Can trample a kingdom down. We, in the ages lying, In the buried past of the earth, Built Nineveh with our sighing, And Babel itself in our mirth; And o'erthrew them with prophesying To the old of the new world's worth; For each age is a dream that is dying, Or one that is coming to birth. A breath of our inspiration Is the life of each generation; A wondrous thing of our dreaming Unearthly, impossible seeming — The soldier, the king, and the peasant Are working together in one, Till our dream shall become their present, And their work in the world be done. They had no vision amazing Of the goodly house they are raising; They had no divine foreshowing Of the land to which they are going: But on one man's soul it hath broken, A light that doth not depart; And his look, or a word he hath spoken, Wrought flame in another man's heart. And therefore to-day is thrilling With a past day's late fulfilling; And the multitudes are enlisted In the faith that their fathers resisted, And, scorning the dream of to-morrow, Are bringing to pass, as they may, In the world, for its joy or its sorrow, The dream that was scorned yesterday. But we, with our dreaming and singing, Ceaseless and sorrowless we! The glory about us clinging Of the glorious futures we see, Our souls with high music ringing: O men! it must ever be That we dwell, in our dreaming and singing, A little apart from ye. For we are afar with the dawning And the suns that are not yet high, And out of the infinite morning Intrepid you hear us cry — How, spite of your human scorning, Once more God's future draws nigh, And already goes forth the warning That ye of the past must die. Great hail! we cry to the comers From the dazzling unknown shore; Bring us hither your sun and your summers; And renew our world as of yore; You shall teach us your song's new numbers, And things that we dreamed not before: Yea, in spite of a dreamer who slumbers, And a singer who sings no more.

He took a breath. He could feel his anxiety fade; he could feel himself returning to who he was. 'But would you sing with me?' Every morning for the past two months, they had been singing with each other in preparation for Duets. In the film, his character and the character's wife led an annual Christmas pageant, and both he and the actress playing his wife would be performing their own vocals. The director had sent him a list of songs to work on, and Jude had been practicing with him: Jude took the melody, and he took the harmony. 'Sure,' Jude said. 'Our usual?' For the past week, they'd been working on 'Adeste Fideles,' which he would have to sing a cappella, and for the past week, he'd been pitching sharp at the exact same point, at 'Venite adoremus,' right in the first stanza. He'd wince every time he did it, hearing the error, and Jude would shake his head at him and keep going, and he'd follow him until the end. 'You're overthinking it,' Jude would say. 'When you go sharp, its because you're concentrating too hard on staying on key; just don't think about it, Willem, and you'll get it.' That morning, though, he felt certain he'd get it right. He gave Jude the bunch of herbs, which he was still holding, and Jude thanked him, pinching its little purple flowers between his fingers to release its perfume. 'I think it's a kind of perilla,' he said, and held his fingers up for Willem to smell. 'Nice,' he said, and they smiled at each other. And so Jude began, and he followed, and he made it through without going sharp. And at the end of the song, just after the last note, Jude immediately began singing the next song on the list, 'For Unto Us a Child Is Born,' and after that, 'Good King Wenceslas,' and again and again, Willem followed. His voice wasn't as full as Jude's, but he could tell in those moments that it was good enough, that it was maybe better than good enough: he could tell it sounded better with Jude's, and he closed his eyes and let himself appreciate it. They were still singing when the doorbell chimed with their breakfast, but as he was standing, Jude put his hand on his wrist, and they remained there, Jude sitting, he standing, until they had sung the last words of the song, and only after they had finished did he go to answer the door. Around him, the room was redolent of the unknown herb he'd found, green and fresh and yet somehow familiar, like something he hadn't known he had liked until it had appeared, suddenly and unexpectedly, in his life.

Ah! you cliques of the city!—don’t you know you had forebears with handlebar mustaches, who came down to the river in the morning bearing masts and booms on their shoulders? who killed their own bulls with a mighty club? who made their own clothes and tilled their own earth? For a million of your clever fashionable phrases, would you exchange one single such accomplishment? I know I would—and Oh God but I’m just as futile as you are, you city vermin; I too am vermin, vermin trying to struggle back to manhood, with small success. Here is our second illuminative nugget, with no emotions this time: that the fear of the family album is pursuant to the city’s general fear of time and particularly of the past (“Oh the stupid Victorian 19th Century!” they keep crying, as though Victorianism were the whole sum of that great century). Fear of the past is in the city, thus a love, a frantic need of the present—with all the hedonistic overtones involved, the psychological doctrines of “alertness” and the so-called liberation of sexuality: in other words, giving the moment over to the dictates of sexuality (divorce is such a dictate) and leaving time, the future—which is to them equivalent to the past, as a moral factor rather than a hedonistic factor of the “pulsing present”—leaving the future to the dogs, childless marriages, or one-child “families,” broken-up families, and thus leaving the future of mankind and the race to the dogs: to the destruction at the hands of a society’s inward atom bomb of organic-familial-societal disintegration: in short, the end of a race, as in Rome. This fear of reaching back into the past, into lineality and tradition, and of extending similarly forward into the future, is like a plant drying up, dying. Where I say this, they speak of the “reality of the moment” and the danger of suppressing the urges of the moment for any reason—but I find good reason if it is to spell the continuation of our own cultural mankind. Perhaps that’s what they don’t want, like children who resent all brothers and sisters burgeoning in their mother’s womb, resenting the future after them, feeling they should be the last, final men, that none must follow—a childish emotion. But to give oneself over to childish emotions is the aim of these city intellectuals, they abstrusely find much to “scientifically” substantiate this desire in the cult of psychoanalysis and its sub-cults, the Orgone “Institute” for one splendid example, and so they go ahead blithely, and I am not the one to oppose their concepts, their march off the ship’s plank—since I am marching to a plank of my own, since I do not wish to be reviled as a neurotic and an atavistic neo-fascist, since the other night, when mentioning these objections of mine, a city intellectual had apoplexy right before me. Oh

Jefferson wanders into the galley, whistling like a yellow warbler with a mouthful of spring. He pulls up a chair and sits beside me. “You’re in a good mood this morning,” I say glumly. “Like every morning.” This is what I have to look forward to for the rest of my life: Jefferson’s morning cheer assaulting me like a bag of bricks.

There’s Tom,” Becky says. He’s been tromping around the city half the day, but I don’t see a speck of mud on him. Though he dresses plain, it always seems he rolls out of bed in the morning with his hair and clothes as neat and ordered as his arguments. We walk over to join him, and he acknowledges us with a slight, perfectly controlled nod. He’s one of the college men, three confirmed bachelors who left Illinois College to join our wagon train west. Compared to the other two, Tom Bigler is a bit of a closed book—one of those big books with tiny print you use as a doorstop or for smashing bugs. And he’s been closing up tighter and tighter since we blew up Uncle Hiram’s gold mine, when Tom negotiated with James Henry Hardwick to get us out of that mess. “How goes the hunt for an office?” I ask. “Not good,” Tom says. “I found one place—only one place—and it’s a cellar halfway up the side of one those mountains.” Being from Illinois, which I gather is flat as a griddle, Tom still thinks anything taller than a tree is a mountain. “Maybe eight foot square, no windows and a dirt floor, and they want a thousand dollars a month for it.” “Is it the cost or the lack of windows that bothers you?” He pauses. Sighs. “Believe it or not, that’s a reasonable price. Everything else I’ve found is worse—five thousand a month for the basement of the Ward Hotel, ten thousand a month for a whole house. The land here is more valuable than anything on it, even gold. I’ve never seen so many people trying to cram themselves into such a small area.” “So it’s the lack of windows.” He gives me a side-eyed glance. “I came to California to make a fortune, but it appears a fortune is required just to get started. I may have to take up employment with an existing firm, like this one.” Peering at us more closely, he says, “I thought you were going to acquire the Joyner house? I mean, I’m glad to see you, but it seems things have gone poorly?” “They’ve gone terribly,” Becky says. “They haven’t gone at all,” I add. “They’ll only release it to Mr. Joyner,” Becky says. Tom’s eyebrows rise slightly. “I did mention that this could be a problem, remember?” “Only a slight one,” I say with more hope than conviction. “Without Mr. Joyner’s signature,” Becky explains, “they’ll sell my wedding cottage at auction. Our options are to buy back what’s ours, which I don’t want to do, or sue to recover it, which is why I’ve come to find you.” If I didn’t know Tom so well, I might miss the slight frown turning his lips. He says, “There’s no legal standing to sue. Andrew Junior is of insufficient age, and both his and Mr. Joyner’s closest male relative would be the family patriarch back in Tennessee. You see, it’s a matter of cov—” “Coverture!” says Becky fiercely. “I know. So what can I do?” “There’s always robbery.” I’m glad I’m not drinking anything, because I’m pretty sure I’d spit it over everyone in range. “Tom!” Becky says. “Are you seriously suggesting—?” “I’m merely outlining your full range of options. You don’t want to buy it back. You have no legal standing to sue for it. That leaves stealing it or letting it go.” This is the Tom we’ve started to see recently. A little angry, maybe a little dangerous. I haven’t made up my mind if I like the change or not. “I’m not letting it go,” Becky says. “Just because a bunch of men pass laws so other men who look just like them can legally steal? Doesn’t mean they should get away with it.” We’ve been noticed; some of the men in the office are eyeing us curiously. “How would you go about stealing it back, Tom?” I ask in a low voice, partly to needle him and partly to find out what he really thinks. He glances around, brows knitting. “I suppose I would get a bunch of men who look like me to pass some laws in my favor and then take it back through legal means.” I laugh in spite of myself. “You’re no help at all,” Becky says.

You will destroy us all, Griselle,” I tell her. “You must run back further in the park.” She looks at me and smiles (she was always a brave girl) and makes her own choice. “I would not bring you harm, Martin,” she says, and she runs down the steps and out toward the trees. But she must be tired. She does not run very fast and the storm troopers have caught sight of her. I am helpless. I go in the house and in a few minutes she stops screaming, and in the morning I have the body sent down to the village for burial. She was a fool to come to Germany. Poor little Griselle. I grieve with you, but as you see, I was helpless to aid her. I must now demand you do not write again. Every word that comes to the house is now censored, and I cannot tell how soon they may start to open the mail to the bank. And I will no longer have any dealings with Jews, except for the receipt of money. It is not so good for me that a Jewess came here for refuge, and no further association can be tolerated.

Rebecca Gleeson (an everyday schoolgirl on her way to school on the Monday morning eight o’clock train.) The Kingdom of Nought is a time tale legacy: accompanying her on the train Rebecca’s arch nemeses Rona Chadwick, the school bully. Rebecca a fan of poetry and fairy tales. “Tales of kindness and friendship.” She would say to herself. Rebecca was a reader of wonderful books that have a cult following. Unknown to Rebecca far away at the start of the universe dark and evil forces start to unbalance the natural order of day and night, good and evil. Weird things begin to happen as both Rebecca and Rona are transported back in time to The Kingdom of Nought to reinstate the benevolent balance within the kingdom. The adventure for the schoolgirls starts out strange and gets stranger, in the best way possible. Their meeting with the witch Sycorax is as creepy and evocative as you’d hope. The story combines mathematical realism with fantasy, blurring the edges in a way that high-lights that place where stories and real life convene, where magic contains truth. As you open the book and turn the pages you enter a strange place out-side time with amazing creatures and spectacular landscapes. An extremely addictive story that will take you to a magical place with a most unusual conclusion.

We can experience peace in the face of the unknown. We can feel an inner well-being while living in the middle of mystery. Why? Because our peace of heart does not rest on how much we know, how much we have figured out, or how accurately we have been able to predict the future. No, our rest is in the person who holds our individual futures in his wise and gracious hands. We have peace because we know that he will complete the good things that he in grace has initiated in our lives.

You have a good day, okay? The sun is shining. You woke up this morning. Tomorrow is unknown. Only the right now matters.

March 21 MORNING “Ye shall be scattered, every man to his own, and shall leave me alone.” — John 16:32 FEW had fellowship with the sorrows of Gethsemane. The majority of the disciples were not sufficiently advanced in grace to be admitted to behold the mysteries of “the agony.” Occupied with the passover feast at their own houses, they represent the many who live upon the letter, but are mere babes as to the spirit of the gospel. To twelve, nay, to eleven only was the privilege given to enter Gethsemane and see “this great sight.” Out of the eleven, eight were left at a distance; they had fellowship, but not of that intimate sort to which men greatly beloved are admitted. Only three highly favoured ones could approach the veil of our Lord’s mysterious sorrow: within that veil even these must not intrude; a stone’s-cast distance must be left between. He must tread the wine-press alone, and of the people there must be none with Him. Peter and the two sons of Zebedee, represent the few eminent, experienced saints, who may be written down as “Fathers;” these having done business on great waters, can in some degree measure the huge Atlantic waves of their Redeemer’s passion. To some selected spirits it is given, for the good of others, and to strengthen them for future, special, and tremendous conflict, to enter the inner circle and hear the pleadings of the suffering High Priest; they have fellowship with Him in His sufferings, and are made conformable unto His death. Yet even these cannot penetrate the secret places of the Saviour’s woe. “Thine unknown sufferings” is the remarkable expression of the Greek liturgy: there was an inner chamber in our Master’s grief, shut out from human knowledge and fellowship. There Jesus is “left alone.” Here Jesus was more than ever an “Unspeakable gift!” Is not Watts right when he sings — “And all the unknown joys he gives, Were bought with agonies unknown.

When you come to the edge of all the light you know and are about to step off into the darkness of the unknown, faith is knowing one of two things will happen: There will be something solid to stand on, or you will be taught how to fly.

As the departing saint wades through the stream, and the billows gather around him, and heart and flesh fail him, the same voice sounds in his ears, "Fear not; I am with thee; be not dismayed; I am thy God." As he nears the borders of the infinite unknown, and is almost affrighted to enter the realm of shades, Jesus says, "Fear not, it is your Father's good pleasure to give you the kingdom." Thus strengthened and consoled, the believer is not afraid to die; nay, he is even willing to depart, for since he has seen Jesus as the morning star, he longs to gaze upon him as the sun in his strength. Truly, the presence of Jesus is all the heaven we desire.

The Master is not trapped in opposites. His this is also a that. He sees that life becomes death and death becomes life, that right has a kernel of wrong within it and wrong a kernel of right, that the true turns into the false and the false into the true. He understands that nothing is absolute, that since every point of view depends on the viewer, affirmation and denial are equally beside the point.   The place where the this and the that are not opposed to each other is called “the pivot of the Tao.” When we find this pivot, we find ourselves at the center of the circle, and here we sit, serene, while Yes and No keep chasing each other around the circumference, endlessly. Mind can only create the qualities of good and bad by comparing. Remove the comparison, and there go the qualities. What remains is the pure unknown: ungraspable object, ungraspable subject, and the clear light of awareness streaming through. The pivot of the Tao is the mind free of its thoughts. It doesn’t believe that this is a this or that that is a that. Let Yes and No sprint around the circumference toward a finish line that doesn’t exist. How can they stop trying to win the argument of life until you stop? When you do, you realize that you were the only one running. Yes was you, No was you, the whole circumference, with its colored banners, its pom-pom girls and frenzied crowds—that was you as well. At the center, the eyes open and again it’s the sweet morning of the world. There’s nothing here to limit you, no one here to draw a circumference. In fact, there’s no one here—not even you. 7 Nothing in the world is bigger than the tip of an autumn hair, and Mount Everest is tiny.

Death's Embrace - A Soliloquy by Stewart Stafford In sincere tongue, declare with heart: Art thou but a mimic, shadow of the art, Or standest thou bold, architect of the new, Crafting the morrow in thy vision true? Unburden me from this oppressive weight, I cannot bear this overwhelming force. Despair hath found its pinnacle in me, And I must peer into realms unknown, If cherished sight fails me at mine end, I shall renounce all chimeras of the light. But fall not tamely from Life’s precipice, Death presses hard on thy frail fingers, Hold on, cry, resist thy certain ruin! Trouble's court, may yet bestow thee favour. Dreams are but fancies giv’n swift wings, That soar beyond the bounds of reason; In minds that dare to fly unshackled, The dreamer becometh the vision. Love is both a journey and destination: Long and painful upon the path, Unsought, yet blissful when it is found. From dust conjur’d — to stars, we’re turned. Beware the self-righteous man, Whose pride does unseat the very world Before he sees his error. Piteous wounds of thine own hand, 'Tis easy to judge from afar Without walking with aching bones. If there be cause that yet remaineth here, It showeth their harshness and injustice To themselves and their loving others. Mourn their release with mercy and thanks Transient whispers guide along chance’s way. Weep not for those who have found Death’s embrace, They lament for us who tarry on old shores. Death but ushers a veiled dawn, not life's twilight, A metamorphosis of guise, not of the spirit's light. Though we must part for now, we shall be one again. For love’s wrought by flesh, yet holds not its chain. Time-worn age stoops; penitents depart. Pawned as one in vigilant trance But what a folly 'tis to mark the signs of our undoing; Memory's comet trails bequeathed to loved ones left, Contagion's rehearsal on the ephemeral stage. With luck, a stand-in may go on in thy stead. Ere thy final bow becomes unavoidable. With tyrant Death prowling public ways, I turn from mankind hence to seek delight. A chamber ceiling seen upon morn's wake, I say: “The sun does rise? Let's haste away!” Upon waking, a stone tomb's ashen lid, I would perchance say: “Alas!..mine eyes do grow heavy.” A life well-liv’d is not weigh’d by earthly goods Or the number of mourners at the grave. Numerous, deep laugh lines tell the tale, On the face of the person lying still in the crypt, Reveals threescore years and twelve’s true worth. Death is not the villain of the piece; It is the next phase of life, in strange attire. I accept my fate with grace and courage. For I have liv’d and lov’d and dream’d enough. © Stewart Stafford, 2024. All rights reserved.

[Earlier in the novel, Anodos meets a girl with the lightness of a child, carrying her prized possession - a precious globe that made music when touched. As the Shadow took over him, he reached out and broke her globe. This excerpt happens toward the end of the novel]: Hardly knowing what I did, I opened the door. Why had I not done so before? I do not know. At first I could see no one; but when I had forced myself past the tree which grew across the entrance, I saw, seated on the ground, and leaning against the tree, with her back to my prison, a beautiful woman. Her countenance seemed known to me, and yet unknown. She looked at me and smiled, when I made my appearance. “Ah! were you the prisoner there? I am very glad I have wiled you out.” “Do you know me then?” “Do you not know me? But you hurt me, and that, I suppose, makes it easy for a man to forget. You broke my globe. Yet I thank you. Perhaps I owe you many thanks for breaking it. I took the pieces, all black, and wet with crying over them, to the Fairy Queen. There was no music and no light in them now. But she took them from me, and laid them aside; and made me go to sleep in a great hall of white, with black pillars, and many red curtains. When I woke in the morning, I went to her, hoping to have my globe again, whole and sound; but she sent me away without it, and I have not seen it since. Nor do I care for it now. I have something so much better. I do not need the globe to play to me; for I can sing. I could not sing at all before. Now I go about everywhere through Fairy Land, singing till my heart is like to break, just like my globe, for very joy at my own songs. And wherever I go, my songs do good, and deliver people. And now I have delivered you, and I am so happy.” She ceased, and the tears came into her eyes. All this time, I had been gazing at her; and now fully recognised the face of the child, glorified in the countenance of the woman. I was ashamed and humbled before her; but a great weight was lifted from my thoughts. I knelt before her, and thanked her, and begged her to forgive me. “Rise, rise,” she said; “I have nothing to forgive; I thank you. But now I must be gone, for I do not know how many may be waiting for me, here and there, through the dark forests; and they cannot come out till I come.” She rose, and with a smile and a farewell, turned and left me. I dared not ask her to stay; in fact, I could hardly speak to her. Between her and me, there was a great gulf. She was uplifted, by sorrow and well-doing, into a region I could hardly hope ever to enter. I watched her departure, as one watches a sunset. She went like a radiance through the dark wood, which was henceforth bright to me, from simply knowing that such a creature was in it. She was bearing the sun to the unsunned spots. The light and the music of her broken globe were now in her heart and her brain. As she went, she sang; and I caught these few words of her song; and the tones seemed to linger and wind about the trees after she had disappeared: Thou goest thine, and I go mine– Many ways we wend; Many days, and many ways, Ending in one end. Many a wrong, and its curing song; Many a road, and many an inn; Room to roam, but only one home For all the world to win. And so she vanished. With a sad heart, soothed by humility, and the knowledge of her peace and gladness, I bethought me what now I should do.

Traditional music is the foundation of what the folk music revival was about—songs of unknown authorship handed down through the generations. I keep returning to these old, classic songs, often bringing them back to find new meaning and fresh interpretations. “Danny Boy,” “The Lark in the Morning,” “Barbara Allen,” “So Early, Early in the Spring,” and “The Gypsy Rover” have lasted for years and will endure for years more. They touch your heart, and for anyone trying to write new and original songs, they stand as an unspoken challenge: make something as good and as timeless as this and you will have won the heart of your listener. You also will have added something to the story of humankind. Traditional songs didn’t just spring from the earth, of course. Somebody somewhere came up with a melody through which to tell a story, and that story-song got passed along. These songs survive in the memory of a culture because they tell stories of universal emotion and experience—of love, heartbreak, mourning, abandonment, victory, and defeat—and because they are so very adaptable to so many times, to so many people. One person would add a verse; another would change a melody a bit. This is what we call the “folk process,” borrowing to fit the time, the person, the incident.

Kindness, after all, comes to him naturally; he was hatched in its lucky genre and embraces its attributes effortlessly. Gentleness, generosity and compromise are not for him learned skills; they have always been with him . . . It may, for all I know, have existed in his family for generations. He is not at the frontier as I am. For me kindness is an alien quality; and like a difficult French verb I must learn it slowly, painfully, and probably imperfectly. It does not swim freely in my bloodstream -- I have to inject it artificially at the risk of all sorts of unknown factors. It does not wake with me in the mornings; every day I have to coax it anew into existence, breathe on it to keep it alive, practice it to keep it in good working order. And most difficult of all, I have to exercise it in such a way that it looks spontaneous and genuine; I have to see that it flows without hesitation as it does from its true practitioners, its lucky heirs who acquire it without laborious seeking . . .

Though we didn't know it they were the good years. So much that was unknown to us lay in the future, so much unbelievable and bad, and we didn't worry about any of it. We were broke, without prospects and with no possessions of worth, and yet we were right to think life was sweet. We had so little we didn't even know how little we had. We didn't care. All that we didn't have was uninteresting and irrelevant. The future was an infinite horizon over which the sun still glimmered its early morning promise. Everything had a smell and every smell was fresh ⁠— the morning air, the sun on the bitumen, the evening rain. There was just today and that felt like more than enough.

Or maybe she would get up and go lock the door, but meanwhile, unknown to her, the abaguchie had crept around and come in the back, so that when she was locking the side door, the abaguchie crept up behind her, grabbed her by the throat and . . . Caroline made gurgling, choking sounds. “Are you all right, Caroline?” asked her father. “Drink a little juice.” “I was attacked,” said Caroline, breathing heavily. “By what?” asked Mother. “An abaguchie came in and grabbed me by the throat.” “Oh, for goodness’ sake, Caroline!” said Mother. “I just wanted to know what it would feel like if one did get in the house, and did creep up behind me, and did put its claws around my neck,” Caroline said. “If that happened, my dear, you would not make another sound for the rest of your life,” said her father. “If you would like to practice not making another sound for the rest of the morning, I wouldn’t mind at all.