81
" I paused to listen to the silence. My breath, crystallized as it passed my cheeks, drifted on a breeze gentler than a whisper. The wind vane pointed toward the South Pole. Presently the wind cups ceased their gentle turning as the cold killed the breeze. My frozen breath hung like a cloud overhead. The day was dying, the night being born — but with great peace. Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! That was what came out of the silence — a gentle rhythm, the strain of a perfect chord, the music of the spheres, perhaps.It was enough to catch that rhythm, momentarily to be myself a part of it. In that instant I could feel no doubt of man's oneness with the universe. The conviction came that the rhythm was too orderly, too harmonious, too perfect to be a product of blind chance — that, therefore, there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was rightfully a part of that cosmos as were the day and night. "
82
" A year indoors is a journey along a paper calendar; a year in outer nature is the accomplishment of a tremendous ritual. To share in it, one must have a knowledge of the pilgrimages of the sun, and something of the natural sense of him and feeling for him which made even the most primitive people mark the summer limits of his advance and the last December ebb of his decline. All those Autumn weeks I have watched the great disk going south along the horizon of moorlands beyond the marsh, now sinking behind this field, now behind this leafless tree, now behind this sedgy hillock dappled with thin snow. We lose a great deal, I think, when we lose this sense and feeling for the sun. When all has been said, the adventure of the sun is the great natural drama by which we live, and not to have joy and awe of it, not to share in it, isw to close a dull door on nature’s sustaining and poetic spirit. "
86
" I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration- joy and pain sit side by side. The blues started off in some field, some plantation, in some mind, in some imagination, in some heart. The blues blew over to the next plantation, and then the next state. The blues went south to north, got electrified and even sanctified. The blues got mixed up with jazz and gospel and rock and roll. "
― Cornel West , Brother West: Living and Loving Out Loud, A Memoir
93
" Sully's, on South Prospect, was the quintessential biker-bar, complete with hefty, leather-clad Harley worshippers, and stringy-haired heroin-addicted women who made the rounds among the bikers. Its décor was decidedly Medieval Garage Sale, with a dose of Americana thrown in. An old motorcycle carcass dangled from the vaulted section of the beamed ceiling, and the wood plank floors were littered with butts, scarred by bottle caps and splattered with homogenized bodily fluids. The only light to be had was from neon, dying sconces, and lit cigarettes. Various medieval swords perched on each wall, reminiscent of the times of Beowulf and Fire Dragons on the Barrow. "
― Kelli Jae Baeli , Also Known as Armchair Detective
94
" Oh, mention it! If I storm, you have the art of weeping." " Mr. Rochester, I must leave you." " For how long, Jane? For a few minutes, while you smooth your hair — which is somewhat dishevelled; and bathe your face — which looks feverish?" " I must leave Adele and Thornfield. I must part with you for my whole life: I must begin a new existence among strange faces and strange scenes." " Of course: I told you you should. I pass over the madness about parting from me. You mean you must become a part of me. As to the new existence, it is all right: you shall yet be my wife: I am not married. You shall be Mrs. Rochester — both virtually and nominally. I shall keep only to you so long as you and I live. You shall go to a place I have in the south of France: a whitewashed villa on the shores of the Mediterranean. There you shall live a happy, and guarded, and most innocent life. Never fear that I wish to lure you into error — to make you my mistress. Why did you shake your head? Jane, you must be reasonable, or in truth I shall again become frantic." His voice and hand quivered: his large nostrils dilated; his eye blazed: still I dared to speak." Sir, your wife is living: that is a fact acknowledged this morning by yourself. If I lived with you as you desire, I should then be your mistress: to say otherwise is sophistical — is false." " Jane, I am not a gentle-tempered man — you forget that: I am not long-enduring; I am not cool and dispassionate. Out of pity to me and yourself, put your finger on my pulse, feel how it throbs, and — beware!" He bared his wrist, and offered it to me: the blood was forsaking his cheek and lips, they were growing livid; I was distressed on all hands. To agitate him thus deeply, by a resistance he so abhorred, was cruel: to yield was out of the question. I did what human beings do instinctively when they are driven to utter extremity — looked for aid to one higher than man: the words " God help me!" burst involuntarily from my lips." I am a fool!" cried Mr. Rochester suddenly. " I keep telling her I am not married, and do not explain to her why. I forget she knows nothing of the character of that woman, or of the circumstances attending my infernal union with her. Oh, I am certain Jane will agree with me in opinion, when she knows all that I know! Just put your hand in mine, Janet — that I may have the evidence of touch as well as sight, to prove you are near me — and I will in a few words show you the real state of the case. Can you listen to me?" " Yes, sir; for hours if you will. "
95
" Something I constantly notice is that unembarrassed joy has become rarer. Joy today is increasingly saddled with moral and ideological burdens, so to speak. When someone rejoices, he is afraid of offending against solidarity with the many people who suffer. I don't have any right to rejoice, people think, in a world where there is so much misery, so much injustice.
I can understand that. There is a moral attitude at work here. But this attitude is nonetheless wrong. The loss of joy does not make the world better - and, conversely, refusing joy for the sake of suffering does not help those who suffer. The contrary is true. The world needs people who discover the good, who rejoice in it and thereby derive the impetus and courage to do good. Joy, then, does not break with solidarity. When it is the right kind of joy, when it is not egotistic, when it comes from the perception of the good, then it wants to communicate itself, and it gets passed on. In this connection, it always strikes me that in the poor neighborhoods of, say, South America, one sees many more laughing happy people than among us. Obviously, despite all their misery, they still have the perception of the good to which they cling and in which they can find encouragement and strength.
In this sense we have a new need for that primordial trust which ultimately only faith can give. That the world is basically good, that God is there and is good. That it is good to live and to be a human being. This results, then, in the courage to rejoice, which in turn becomes commitment to making sure that other people, too, can rejoice and receive good news. "
― Benedict XVI
99
" I craved a form of naive realism. I paid special attention, I craned my readerly neck whenever a London street I knew was mentioned, or a style of frock, a real public person, even a make of car. Then, I thought, I had a measure, I could guage the quality of the writing by its accuracy, by the extent to which it aligned with my own impressions, or improved upon them. I was fortunate that most English writing of the time was in the form of undemanding social documentary. I wasn't impressed by those writers (they were spread between South and North America) who infiltrated their own pages as part of the cast, determined to remind poor reader that all the characters and even they themselves were pure inventions and the there was a difference between fiction and life. Or, to the contrary, to insist that life was a fiction anyway. Only writers, I thought, were ever in danger of confusing the two. "
― Ian McEwan , Sweet Tooth
100
" The insidious reasons for a brown girl’s self-loathing won’t be surprising to any woman of color. I cannot rightly compare my own struggles to those of another minority, as each ethnicity comes with its own baggage and the South Asian experience is just one variation on the experience of dark-skinned people everywhere. As parents and grandparents often do in Asian countries, my extended family urged me to avoid the sun, not out of fear that heatstroke would sicken me or that UV rays would lead to cancer, but more, I think, out of fear that my skin would darken to the shade of an Untouchable, a person from the lowest caste in Indian society, someone who toils in the fields. The judgments implicit in these exhortations—and what they mean about your worth—might not dawn on you while you’re playing cricket in the sand. What’s at stake might not dawn on you while, as a girl, you clutch fast to yourself your blonde-haired, blue-eyed doll named Helen. But all along, the message that lighter skin is equivalent to a more attractive, worthier self is getting beamed deep into your subconscious. Western ideals of beauty do not stop at ocean shores. They pervade the world and mingle with those of your own country to create mutant, unachievable standards. "
― , Love, Loss, and What We Ate: A Memoir
