2
" The truth is, everyone likes to look down on someone. If your favorites are all avant-garde writers who throw in Sanskrit and German, you can look down on everyone. If your favorites are all Oprah Book Club books, you can at least look down on mystery readers. Mystery readers have sci-fi readers. Sci-fi can look down on fantasy. And yes, fantasy readers have their own snobbishness. I’ll bet this, though: in a hundred years, people will be writing a lot more dissertations on Harry Potter than on John Updike. Look, Charles Dickens wrote popular fiction. Shakespeare wrote popular fiction—until he wrote his sonnets, desperate to show the literati of his day that he was real artist. Edgar Allan Poe tied himself in knots because no one realized he was a genius. The core of the problem is how we want to define “literature”. The Latin root simply means “letters”. Those letters are either delivered—they connect with an audience—or they don’t. For some, that audience is a few thousand college professors and some critics. For others, its twenty million women desperate for romance in their lives. Those connections happen because the books successfully communicate something real about the human experience. Sure, there are trashy books that do really well, but that’s because there are trashy facets of humanity. What people value in their books—and thus what they count as literature—really tells you more about them than it does about the book. "
― Brent Weeks
3
" AlmondineTo her, the scent and the memory of him were one. Where it lay strongest, the distant past came to her as if that morning: Taking a dead sparrow from her jaws, before she knew to hide such things. Guiding her to the floor, bending her knee until the arthritis made it stick, his palm hotsided on her ribs to measure her breaths and know where the pain began. And to comfort her. That had been the week before he went away.He was gone, she knew this, but something of him clung to the baseboards. At times the floor quivered under his footstep. She stood then and nosed into the kitchen and the bathroom and the bedroom-especially the closet-her intention to press her ruff against his hand, run it along his thigh, feel the heat of his body through the fabric.Places, times, weather-all these drew him up inside her. Rain, especially, falling past the double doors of the kennel, where he’d waited through so many storms, each drop throwing a dozen replicas into the air as it struck the waterlogged earth. And where the rising and falling water met, something like an expectation formed, a place where he might appear and pass in long strides, silent and gestureless. For she was not without her own selfish desires: to hold things motionless, to measure herself against them and find herself present, to know that she was alive precisely because he needn’t acknowledge her in casual passing; that utter constancy might prevail if she attended the world so carefully. And if not constancy, then only those changes she desired, not those that sapped her, undefined her.And so she searched. She’d watched his casket lowered into the ground, a box, man-made, no more like him than the trees that swayed under the winter wind. To assign him an identity outside the world was not in her thinking. The fence line where he walked and the bed where he slept-that was where he lived, and they remembered him.Yet he was gone. She knew it most keenly in the diminishment of her own self. In her life, she’d been nourished and sustained by certain things, him being one of them, Trudy another, and Edgar, the third and most important, but it was really the three of them together, intersecting in her, for each of them powered her heart a different way. Each of them bore different responsibilities to her and with her and required different things from her, and her day was the fulfillment of those responsibilities. She could not imagine that portion of her would never return. With her it was not hope, or wistful thoughts-it was her sense of being alive that thinned by the proportion of her spirit devoted to him." ory of Edgar Sawtelle" As spring came on, his scent about the place began to fade. She stopped looking for him. Whole days she slept beside his chair, as the sunlight drifted from eastern-slant to western-slant, moving only to ease the weight of her bones against the floor.And Trudy and Edgar, encapsulated in mourning, somehow forgot to care for one another, let alone her. Or if they knew, their grief and heartache overwhelmed them. Anyway, there was so little they might have done, save to bring out a shirt of his to lie on, perhaps walk with her along the fence line, where fragments of time had snagged and hung. But if they noticed her grief, they hardly knew to do those things. And she without the language to ask. "
6
" If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him. "
― Sophocles , The Oedipus Cycle: Oedipus Rex, Oedipus at Colonus, Antigone
8
" We ought to be much more fearful of what we don’t know. We should really be fearful of an unconscious that inhabits us, that guides us, that influences our life and of which we don’t know the face and don’t know the message. Actually I have much less fear since I confronted fears. What’s frightening to me is people whose unconscious leads them, destroys them, and yet they will never stop and look at it. That’s the minotaur in the labyrinth, which many people never come face to face with. There was a very remarkable percussion composer, Edgar Varese, who always mocked psychology, mocked psychoanalysis, mocked psychiatry. He was satirical about it, wouldn’t have any of it. And yet his whole life pattern was self-destructive. He was an innovator and a tremendous musician. But he blocked himself. His biography is out now, and you can see the pattern. You can see this demon that was driving him, the origin of it. He seemed to be a very fearless, strong, tremendous tempered man with great force; he even looked like a Corsican bandit. But he had no power over the forces that were pushing him. That is what frightens me. "
― Anaïs Nin , A Woman Speaks: The Lectures, Seminars and Interviews of Anaïs Nin
9
" You're a Dark One," said Anton. " All you see in everything is evil, treachery, trickery." " All I do is not close my eyes to them," Edgar retorted. " And that's why I don't trust Zabulon. I distrust him almost as much as I do Gesar. I can even trust you more—you're just another unfortunate chess piece who happens by chance to be painted a different color from me. Does a white pawn hate a black one? No. Especially if the two pawns have their heads down together over a quiet beer or two." " You know," Anton said in a slightly surprised voice, " I just don't understand how you can carry on living if you see the world like that. I'd just go and hang myself." " So you don't have any counterarguments to offer?" Anton took a gulp of beer too. The wonderful thing about this natural Czech beer was that even if you drank lots of it, it still didn't make your head or your body feel heavy... Or was that an illusion?" Not a single one," Anton admitted. " Right now, this very moment, not a single one. But I'm sure you're wrong. It's just difficult to argue about the colors of the rainbow with a blind man. There's something missing in you... I don't know what exactly. But it's something very important, and without it you're more helpless than a blind man. "
11
" I was only going to say that heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung my out into the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy. That will do to explain my secret, as well as the other. I've no more business to marry Edgar Linton than I have to be in heaven; and if the wicked man in there had not brought Heathcliff so low, I shouldn't have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him: and that, not because he's handsome, but because he's more myself than I am. What ever our souls are made of, his and mine are the same; and Linton's is as different as a moonbeam from lightning, or frost from fire.'
Ere this speech ended, I became sensible of Heathcliff's presence. Having noticed a slight movement, I turned my head, and saw him rise from the bench, and steal out noiselessly. He had listened till he heard Catherine say it would degrade her to marry him, and then he stayed to hear no further. "
― Emily Brontë , Wuthering Heights
16
" Eena turned aside, breathing shallowly as her mind raced with questions. She was glad he couldn’t read the confusion that swooped her up like a passing tornado. Was it even possible to genuinely love more than one man?
Yes. Oh, yes.
She knew it because her heart irrefutably felt it. She loved Derian; it was true. She wasn’t trying to convince herself of it, no matter what Edgar said. She yearned deeply for her captain.
But she loved Ian too. She always had. Only she purposefully, appropriately, had set those feelings aside when he made the decision to pursue Angelle.
But Angelle was gone now.
No, Eena thought to herself, this changes nothing. She scolded her heart for longing for something spent and ended, for even considering the possibility. Her with Ian? No, no, it had to remain in the past. "
― Richelle E. Goodrich , Eena, The Two Sisters (The Harrowbethian Saga #4)
18
" I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass.When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me. "
― Ralph Ellison , Invisible Man
19
" The back of the church was raised up from the ground. Tossed in among its supports were what looked like moldering bones.
My heart ached so much for these poor souls, neglected even after death, I turned away to head back, but managed only a few burdened steps.
I drew up abruptly and froze.
An old, worn marker, standing off by itself, grabbed at my heart.
It was Edgar Alan Poe.
He fit in so perfectly there. Maybe I did, too. His sorrow and pain ate through me as I stood, head lowered. Can’t even death let us step away from our darkness?
It was like he was scratching a warning into the dirt with his finger, and meant it specifically for me. Don’t wait around for sermons to wash you clean, he seemed to say, for death or drugs to close your eyes. God won’t come roaring in with fresh troops to drive away the darkness we’ve walled our own souls up in. He didn’t put us there; we’ll have to dig ourselves out.
I looked at my own life as I stood there, feeling buried alive, like some of his characters.
But unlike his characters I had caught a flash of hope. "
― Edward Fahey , Entertaining Naked People