13
" Leo and the Notmuch, the five-year old Leo Loses his best friend (is death for children like moving away?). For a whole summer he sits in his room and makes up stories. When his mother knocks and asks what he’s doing in his room, he answers: not much. Does his miss his friend? Not much, always: not much. Leo’s stories are the Notmuch (what kind of an idea is a Notmuch? It’s not nothing, at least).
Leo and fips turned the world into a fun and exciting place. They stayed together through thick and thin. Leo is despondent without Fips, he hides away in his room. His mother gets worried and asks how he’s doing and what he’s up to in there. Not much, answers Leo, not much. He lies on the bed and grieves for Fips (a childlike depression). Then Leo begins to create a friend in his mind, a cheeky, brave, and honest friend like Fips. Leo dubs this “good monster” the notmuch (a childlike mania). Now the two of them play, they’re cheeky and brave together, Leo now answers his mother: Notmuch. The notmuch is half memory of Fips, the other half is imagination, the two halves together enable Leo to overcome grief. "
― Thomas Pletzinger
15
" There is much asked and only so much I think I can or should answer, and so, in this post I would like to give a few thoughts on what seemed to be the overwhelming question: “WHY?”
And here is the best answer I can give: Because.
Because sometimes, life is damned unfair.
Because sometimes, we lose people we love and it hurts deeply.
Because sometimes, as the writer, you have to put your characters in harm’s way and be willing to go there if it is the right thing for your book, even if it grieves you to do it.
Because sometimes there aren’t really answers to our questions except for what we discover, the meaning we assign them over time.
Because acceptance is yet another of life’s “here’s a side of hurt” lessons and it is never truly acceptance unless it has cost us something to arrive there.
Why, you ask? Because, I answer.
Inadequate yet true. "
― Libba Bray
17
" We are all of us exposed to grief: the people we love die, as we shall ourselves in due course; expectations are disappointed and ambitions are thwarted by circumstance. Finally, there are some who insist upon feeling guilty over the ill they have done or simply on account of the ugliness which they perceive in their own souls. A solution of a kind has been found to this problem in the form of sedatives and anti-depressant drugs, so that many human experiences which used to be accepted as an integral part of human life are now defined and dealt with as medical problems. The widow who grieves for a beloved husband becomes a 'case', as does the man saddened by the recollection of the napalm or high explosives he has dropped on civilian populations. One had thought that guilt was a way, however indirect, in which we might perceive the nature of reality and the laws which govern our human experience; but it is now an illness that can be cured.
Death however, remains incurable. Though we might be embarrassed by Victorian death-bed scenes or the practices of mourning among people less sophisticated than ourselves, the fact of death tells us so much about the realities of our condition that to ignore it or try to forget it is to be unaware of the most important thing we need to know about our situation as living creatures. Equally, to witness and participate in the dying of our fellow men and women is to learn what we are and, if we have any wisdom at all, to draw conclusions which must in their way affect our every thought and our every act. "
― Charles Le Gai Eaton , King of the Castle: Choice and Responsibility in the Modern World
18
" It is a property of works of genius that, even when they represent vividly the nothingness of things, even when they clearly show and make you feel the inevitable unhappiness of life, even when they express the most terrible despair, nevertheless to a great soul that finds itself in a state of extreme dejection, disenchantment, nothingness, boredom, and discouragement about life, or in the most bitter and deathly misfortune (whether on account of lofty, powerful passions or something else), such works always bring consolation, [260] and rekindle enthusiasm, and, though they treat and represent nothing but death, they restore, albeit momentarily, the life that it had lost. And so, while that which is seen in the reality of things grieves and kills the soul, when seen in imitation or any other form in works of genius (e.g., in lyric poetry, which is not, properly speaking, imitation), it opens and revives the heart. In fact, just as the author who described and felt so powerfully the vanity of illusions, but still preserved a great fund of them and gave ample proof of this by conveying their vanity so accurately (see pp. 214–15), in the same way, the reader, however disillusioned both about himself and about what he reads, is yet drawn by the author into the same deception and illusion that he experienced and that are hidden in the most intimate recesses of his spirit. And the recognition of the irredeemable vanity and falsity of all beauty and all greatness is itself a kind of beauty and greatness that fills the soul when it is conveyed by a work of genius." from " Zibaldone "
20
" Ay, that I had not done a thousand more.
Even now I curse the day—and yet, I think,
Few come within the compass of my curse,—
Wherein I did not some notorious ill,
As kill a man, or else devise his death,
Ravish a maid, or plot the way to do it,
Accuse some innocent and forswear myself,
Set deadly enmity between two friends,
Make poor men's cattle break their necks;
Set fire on barns and hay-stacks in the night,
And bid the owners quench them with their tears.
Oft have I digg'd up dead men from their graves,
And set them upright at their dear friends' doors,
Even when their sorrows almost were forgot;
And on their skins, as on the bark of trees,
Have with my knife carved in Roman letters,
'Let not your sorrow die, though I am dead.'
Tut, I have done a thousand dreadful things
As willingly as one would kill a fly,
And nothing grieves me heartily indeed
But that I cannot do ten thousand more. "
― William Shakespeare , Titus Andronicus
