22
" But listen: The weight of the camera reminds me to see. It helps me decide against deciding that my world is overly familiar, already known. I look for cracks and fissures, for the new or newly announced. I look for water to run a different color in the stream, or for the sun to strike the pond in winter with delirious force. If I can’t see, then I don’t know, and if I don’t know, I’m not writing, and while some may question the value of words, or of memoir in particular, I will again make this claim: Words rendered true spook and spur us. They expect of us. They expect for us. Photographs do the same thing: “Your photography is a record of your living, for anyone who really sees,” said Paul Strand. "
― Beth Kephart , Handling the Truth: On the Writing of Memoir
38
" Still and again, on the page, I smithereen the five-minute rule; I take my own damned time to stretch and look around. Because music is possible, I want music. Because I skated, I want ice and air for prose. Because plot bores me and knowing doesn’t, I write to find out what I know, or if I know, or if I might know sometime soon. “Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end,” Virginia Woolf wrote, in “Modern Fiction.” She thought it, she said it, and at the hand press she and her husband called Hogarth, the press through which she published anything she pleased as she pleased (after her first two books), she sat with the weight of the words in her hands, the Caslon As and Bs and Cs, and letter by letter she chased haloes. "
― Beth Kephart , Wife Daughter Self: A Memoir in Essays