2
" Apollo watched me closely, intently. “No.”
My eyes narrowed. “No to what?”
“I’m not sending you after them. Not yet,” he said, surprising me into silence—a rarity. “I have another task for you. You need to leave for southern Virginia immediately. I’d snap your sunshine-and-rainbows ass there, but now that you’ve annoyed me, you’ll drive the twenty or so hours to get there.”
Okay. That was irritating, but I kind of liked road trips, so whatever. “What’s in southern Virginia?”
“Radford University.”
I waited.
I waited some more, and then sighed. “Okay. You want me to enroll in college?” I asked, and Apollo tipped back his head and laughed so loudly, he actually whooped. I frowned. “What the hell is so funny about that idea?”
“You. College. Using your head. That’s what’s funny.”
I was seconds away from blasting him with akasha. "
― Jennifer L. Armentrout , The Return (Titan, #1)
4
" There is a bench in the back of my garden shaded by Virginia creeper, climbing roses, and a white pine where I sit early in the morning and watch the action. Light blue bells of a dwarf campanula drift over the rock garden just before my eyes. Behind it, a three-foot stand of aconite is flowering now, each dark blue cowl-like corolla bowed for worship or intrigue: thus its common name, monkshood. Next to the aconite, black madonna lilies with their seductive Easter scent are just coming into bloom. At the back of the garden, a hollow log, used in its glory days for a base to split kindling, now spills white cascade petunias and lobelia.
I can't get enough of watching the bees and trying to imagine how they experience the abundance of, say, a blue campanula blosssom, the dizzy light pulsing, every fiber of being immersed in the flower. ...
Last night, after a day in the garden, I asked Robin to explain (again) photosynthesis to me. I can't take in this business of _eating light_ and turning it into stem and thorn and flower...
I would not call this meditation, sitting in the back garden. Maybe I would call it eating light. Mystical traditions recognize two kinds of practice: _apophatic mysticism_, which is the dark surrender of Zen, the Via Negativa of John of the Cross, and _kataphatic mysticism_, less well defined: an openhearted surrender to the beauty of creation. Maybe Francis of Assissi was, on the whole, a kataphatic mystic, as was Thérèse of Lisieux in her exuberant momemnts: but the fact is, kataphatic mysticism has low status in religious circles. Francis and Thérèse were made, really made, any mother superior will let you know, in the dark nights of their lives: no more of this throwing off your clothes and singing songs and babbling about the shelter of God's arms.
When I was twelve and had my first menstrual period, my grandmother took me aside and said, 'Now your childhood is over. You will never really be happy again.' That is pretty much how some spiritual directors treat the transition from kataphatic to apophatic mysticism.
But, I'm sorry, I'm going to sit here every day the sun shines and eat this light. Hung in the bell of desire. "
― , The Barn at the End of the World: The Apprenticeship of a Quaker, Buddhist Shepherd
6
" What did we talk about?I don't remember. We talked so hard and sat so still that I got cramps in my knee. We had too many cups of tea and then didn't want to leave the table to go to the bathroom because we didn't want to stop talking. You will think we talked of revolution but we didn't. Nor did we talk of our own souls. Nor of sewing. Nor of babies. Nor of departmental intrigue. It was political if by politics you mean the laboratory talk that characters in bad movies are perpetually trying to convey (unsuccessfully) when they Wrinkle Their Wee Brows and say (valiantly--dutifully--after all, they didn't write it) " But, Doctor, doesn't that violate Finagle's Constant?" I staggered to the bathroom, released floods of tea, and returned to the kitchen to talk. It was professional talk. It left my grey-faced and with such concentration that I began to develop a headache. We talked about Mary Ann Evans' loss of faith, about Emily Brontë's isolation, about Charlotte Brontë's blinding cloud, about the split in Virginia Woolf's head and the split in her economic condition. We talked about Lady Murasaki, who wrote in a form that no respectable man would touch, Hroswit, a little name whose plays " may perhaps amuse myself," Miss Austen, who had no more expression in society than a firescreen or a poker. They did not all write letters, write memoirs, or go on the stage. Sappho--only an ambiguous, somewhat disagreeable name. Corinna? The teacher of Pindar. Olive Schriener, growing up on the veldt, wrote on book, married happily, and ever wrote another. Kate Chopin wrote a scandalous book and never wrote another. (Jean has written nothing.). There was M-ry Sh-ll-y who wrote you know what and Ch-rl-tt- P-rk-ns G-lm-an, who wrote one superb horror study and lots of sludge (was it sludge?) and Ph-ll-s Wh--tl-y who was black and wrote eighteenth century odes (but it was the eighteenth century) and Mrs. -nn R-dcl-ff- S-thw-rth and Mrs. G--rg- Sh-ld-n and (Miss?) G--rg-tt- H-y-r and B-rb-r- C-rtl-nd and the legion of those, who writing, write not, like the dead Miss B--l-y of the poem who was seduced into bad practices (fudging her endings) and hanged herself in her garter. The sun was going down. I was blind and stiff. It's at this point that the computer (which has run amok and eaten Los Angeles) is defeated by some scientifically transcendent version of pulling the plug; the furniture stood around unknowing (though we had just pulled out the plug) and Lady, who got restless when people talked at suck length because she couldn't understand it, stuck her head out from under the couch, looking for things to herd. We had talked for six hours, from one in the afternoon until seven; I had at that moment an impression of our act of creation so strong, so sharp, so extraordinarily vivid, that I could not believe all our talking hadn't led to something more tangible--mightn't you expect at least a little blue pyramid sitting in the middle of the floor? "
8
" Leslie Marmon Silko whispers the story is long. No, longer. Longer than that even. Longer than anything. With Anne Sexton and Sylvia Plath drink at the bar. Laugh the dark laughter in the dark light. Sing a dark drunken song of men. Make a slurry toast. Rock back and forth, and drink the dark, and bask in the wallow of women knowing what women know. Just for a night. When you need to feel the ground of your life and the heart of the world, there will be a bonfire at the edge of a canyon under a night sky where Joy Harjo will sing your bonesong. Go ahead-with Anne Carson - rebuild the wreckage of a life a word at a time, ignoring grammar and the forms that keep culture humming. Make word war and have it out and settle it, scattering old meanings like hacked to pieces paper doll confetti. The lines that are left … they are awake and growling. With Virginia Woolf there will perhaps be a long walk in a garden or along a shore, perhaps a walk that will last all day. She will put her arm in yours and gaze out. At your backs will be history. In front of you, just the ordinary day, which is of course your entire life. Like language. The small backs of words. Stretching out horizonless. I am in a midnight blue room. A writing room. With a blood red desk. A room with rituals and sanctuaries. I made it for myself. It took me years. I reach down below my desk and pull up a bottle of scotch. Balvenie. 30 year. I pour myself an amber shot. I drink. Warm lips, throat. I close my eyes. I am not Virginia Woolf. But there is a line of hers that keeps me well: Arrange whatever pieces come your way. I am not alone. Whatever else there was or is, writing is with me. "
― Lidia Yuknavitch , The Chronology of Water
10
" Through The Mecca I saw that we were, in our own segregated body politic, cosmopolitans. The black diaspora was not just our own world but, in so many ways, the Western world itself.
Now, the heirs of those Virginia planters could never directly acknowledge this legacy or reckon with its power. And so that beauty that Malcolm pledged us to protect, black beauty, was never celebrated in movies, in television, or in the textbooks I’d seen as a child. Everyone of any import, from Jesus to George Washington, was white. This was why your grandparents banned Tarzan and the Lone Ranger and toys with white faces from the house. They were rebelling against the history books that spoke of black people only as sentimental “firsts”—first black five-star general, first black congressman, first black mayor—always presented in the bemused manner of a category of Trivial Pursuit. Serious history was the West, and the West was white. This was all distilled for me in a quote I once read from the novelist Saul Bellow. I can’t remember where I read it, or when—only that I was already at Howard. “Who is the Tolstoy of the Zulus?” Bellow quipped. Tolstoy was “white,” and so Tolstoy “mattered,” like everything else that was white “mattered.” And this view of things was connected to the fear that passed through the generations, to the sense of dispossession. We were black, beyond the visible spectrum, beyond civilization. Our history was inferior because we were inferior, which is to say our bodies were inferior. And our inferior bodies could not possibly be accorded the same respect as those that built the West. Would it not be better, then, if our bodies were civilized, improved, and put to some legitimate Christian use? "
― Ta-Nehisi Coates , Between the World and Me
12
" What is…” She flipped through a few pages, looked up into his eyes. “Is this…?” “My journal,” he said, reaching out to glide a knuckle down her cheek. Her skin was so damn soft. She was a contradiction in terms to him, and one that he found endlessly fascinating: a woman with the inner strength to rival any Spec Ops member he’d ever known, yet she had such a kind, soft heart beneath that hard-won armor. Resilient. Independent yet willing to compromise. Formidable in her confidence and strength of will, yet gentle and loving. He loved her so hard it hurt. “I bought it the night after you stayed at my place,” he continued. “I knew if I was going to have a real shot with you going forward then I needed to get my shit together once and for all. You said the writing thing really helped you so I called my counselor and talked to her about it. She thought it would be good for me too. So I wrote in it every day since. I’ve been working hard at it.” Taya leafed through the pages until she came to the end and looked back up into his eyes. “It’s full.” “Yeah. Guess I had a lot to say.” The tenderness in her eyes slayed him. “Nathan, I’m so proud of you.” Her pride in him made him feel twenty feet tall. He let out a relieved breath. “I want to read it to you. That’s my next step, if you’re okay with it.” “Of course it’s okay. I’d love for you to read it to me, as long as you feel comfortable doing it.” “That’s the thing, I am. And I wouldn’t be with anyone else except you. You make me feel…whole.” He didn’t know how else to say it, how else to explain himself, except he needed her to know he was trying like hell to deal with his issues. “I know I’ve got a long way to go before I get to the same place you’re at, but I’m willing to put in the work to get there. I feel safe with you and I’m ready to move forward, let go of all the stuff that happened before. Like you said, I’m doing it for me. I’m sick of my past having any kind of hold over me. So I’m going to do whatever it takes to make peace with it.” Her answering smile lit up her whole face, made her gray eyes sparkle like gems. “Then I’ll gladly listen to whatever you want to say.” Warmth kindled in his chest. She did that; warmed him from the inside out, just by being her. “Good, because I love you.” She froze, her eyes widening slightly. He nodded, laughed at her shocked expression. “Yep, I love you. That’s what I came here to say. I love you and I’m a better man because of it, but not as good a man as I’ll be down the road if you stand by me.” Her eyes filled with tears and she flung her arms around him. “I love you too,” she blurted out against his neck. “So, so much. And of course I’ll stand by you.” Nate felt like his heart might burst. He hugged her hard. “Would you move to Virginia with me? When your dad’s strong enough. I know you need to be here for a while longer, but after that, I want you in my bed every night so I can wake up beside you each morning.” She gave a soggy laugh, her face still buried in his neck. “There you go again with the romance.” “Oh, baby, have I got plans for you.” He stroked a hand over her back, fascinated by the combination of softness and strength that was uniquely her. Then his stomach rumbled, making her smile. He was starving, hadn’t eaten since lunchtime. “Hey, you wouldn’t happen to have any bacon in the house, would you? Because I’d kill for a BLT right now. "
14
" More than anything, I began to hate women writers. Frances Burney, Jane Austen, Elizabeth Browning, Mary Shelley, George Eliot, Virginia Woolf. Bronte, Bronte, and Bronte. I began to resent Emily, Anne, and Charlotte—my old friends—with a terrifying passion. They were not only talented; they were brave, a trait I admired more than anything but couldn't seem to possess. The world that raised these women hadn't allowed them to write, yet they had spun fiery novels in spite of all the odds. Meanwhile, I was failing with all the odds tipped in my favor. Here I was, living out Virginia Woolf's wildest feminist fantasy. I was in a room of my own. The world was no longer saying, " Write? What's the good of your writing?" but was instead saying " Write if you choose; it makes no difference to me. "
16
" Marriage, in short, is a bargain, like buying a house or entering a profession. One chooses it knowing that, by that very decision, one is abnegating other possibilities. In choosing companionship over passion, women like Beatrice Webb and Virginia Woolf made a bargain; their marriages worked because they did not regret their bargains, or blame their husbands for not being something else--dashing lovers, for example. But in writing biographies, or one's own life, it is both customary and misleading to present such marriages, to oneself or to one's reader, as sad compromises, the best of a bad bargain, or scarcely to speak of them at all. Virginia Woolf mentioned that she, who is reticent about nothing, had never spoken of her life with Leonard. but we know that she said of him that when he entered a room, she had no idea what he was going to say, a remarkable definition of a good marriage. Such marriages are not bad bargains, but the best of a good bargain, and we must learn the language to understand and describe them, particularly in writing the lives of accomplished women. "
― Carolyn G. Heilbrun
17
" On January 18, 1915, six months into the First World War, as all Europe was convulsed by killing and dying, Virginia Woolf wrote in her journal, 'The future is dark, which is on the whole, the best thing the future can be, I think.' Dark, she seems to be saying, as in inscrutable, not as in terrible. We often mistake the one for the other. Or we transform the future's unknowability into something certain, the fulfillment of all our dread, the place beyond which there is no way forward. Be again and again, far stranger things happen than the end of the world. "
― Rebecca Solnit , Hope in the Dark
19
" There seemed no answer. He wasn't resigned to anything, he hadn't accepted or adjusted to the life he'd been forced into. Yet here he was, eight months after the plague's last victim, nine since he's spoken to another human being, ten since Virginia had died. Here he was with no future and a virtually hopeless present. Still plodding on.
Instinct? Or was he just stupid? Too unimaginative to destroy himself? Why hadn't he done it in the beginning when he was in the very depths? What had impelled him to enclose the house, install a freezer, a generator, an electric stove, a water tank, build a hothouse, a workbench, burn down the houses on each side of his, collect records and books and mountains of canned supplies, even - it was fantastic when you thought about it - even put a fancy mural on the wall?
Was the life force something more than words, a tangible, mind-controlling potency? Was nature somehow, in him, maintaining its spark against its own encroachments?
He closed his eyes. Why think, why reason? There was no answer. His continuance was an accident and an attendant bovinity. He was just too dumb to end it all, and that was about the size of it. "
― Richard Matheson , I Am Legend
