21
" For all the pain you suffered, my mama. For all the torment of your past and future years, my mama. For all the anguish this picture of pain will cause you. For the unspeakable mystery that brings good fathers and sons into the world and lets a mother watch them tear at each other’s throats. For the Master of the Universe, whose suffering world I do not comprehend. For dreams of horror, for nights of waiting, for memories of death, for the love I have for you, for all the things I remember, and for all the things I should remember but have forgotten, for all these I created this painting—an observant Jew working on a crucifixion because there was no aesthetic mold in his own religious tradition into which he could pour a painting of ultimate anguish and torment. "
― Chaim Potok , My Name Is Asher Lev
24
" When I was younger I thought going through something rough would be fun, or uplifting somehow. That sounds odd, but it was how everyone portrayed terrible things. You go through this horrid experience, and suddenly you’re a better person. I wanted that; everyone wants to be a better person.
Now, though, after all of this, I realized that wasn’t true. Not all the time, at least. Suffering didn’t make a person stronger. It didn’t make character, or mold someone into a better part of themselves.
It could—don’t get me wrong, it could. It could make someone see the light, see the world through a clearer vision. It could change everything. It could make people good and courteous, make them spend their lives trying to save others’. Their past could lead them to something brighter in the future, creating the theory that everything happened for a reason. It could make them grateful for their life instead of hateful, scornful, wishing they were never born.
But it wasn’t like that for me; I didn’t get better. For me, all pain ever did was hurt. "
― , Cryptids
31
" It is generally supposed, and not least by Catholics, that the Catholic who writes fiction is out to use fiction to prove the truth of the Faith, or at the least, to prove the existence of the supernatural. He may be. No one certainly can be sure of his low motives except as they suggest themselves in his finished work, but when the finished work suggests that pertinent actions have been fraudulently manipulated or overlooked or smothered, whatever purposes the writer started out with have already been defeated. What the fiction writer will discover, if he discovers anything at all, is that he himself cannot move or mold reality in the interests of an abstract truth. The writer learns, perhaps more quickly than the reader, to be humble in the face of what-is. What-is is all he has to do with; the concrete is his medium; and he will realize eventually that fiction can transcend its limitations only by staying within them. "
― Flannery O'Connor , Mystery and Manners: Occasional Prose
34
" For he has faith enough, he feels, if he were really to delve into himself, faith enough to move mountains, but he cannot manage to put his back into it. Once in a while the need to create wells up in him, the longing to see a part of himself set free in a work by him, and for days at a time his being can be tensed with joyous, titanic efforts to mold the clay into his Adam. But he is never able to shape him into a semblance of his image, he does not have enough stamina to maintain the self-discipline that it demands. It make take weeks for him to give up the work, but he does give it up, and irritably asks himself why he should keep on: what more does he have to gain? He has enjoyed the pleasure of creation, the tedium of upbringing remains, to nurse, nurture, and support entirely - why? for whom? He is no pelican, he says. But whatever he says, he is still ill at ease and feels that he has not done justice to the expectations he has of himself. It doesn’t help him to confront these expectations and try to doubt that their demands on him are justified. He is faced with a choice, and he must choose; for life is such that when the first youth is gone, sooner or later - depending on the natural disposition of the person - sooner or later a day dawns when resignation comes to you like a seducer and tempts you, and you have to say farewell to the impossible and accept it. "
― Jens Peter Jacobsen
37
" And that date, too, is far off?''Far off; when it comes, think your end in this world is at hand!''How and what is the end? Look east, west, south and north.''In the north, where you never yet trod, towards the point whence your instincts have warned you, there a spectre will seize you. 'Tis Death! I see a ship - it is haunted - 'tis chased - it sails on. Baffled navies sail after that ship. It enters the regions of ice. It passes a sky red with meteors. Two moons stand on high, over ice-reefs. I see the ship locked between white defiles - they are ice-rocks. I see the dead strew the decks - stark and livid, green mold on their limbs. All are dead, but one man - it is you! But years, though so slowly they come, have then scathed you. There is the coming of age on your brow, and the will is relaxed in the cells of the brain. Still that will, though enfeebled, exceeds all that man knew before you, through the will you live on, gnawed with famine; and nature no longer obeys you in that death-spreading region; the sky is a sky of iron, and the air has iron clamps, and the ice-rocks wedge in the ship. Hark how it cracks and groans. Ice will imbed it as amber imbeds a straw. And a man has gone forth, living yet, from the ship and its dead; and he has clambered up the spikes of an iceberg, and the two moons gaze down on his form. That man is yourself; and terror is on you - terror; and terror has swallowed your will. And I see swarming up the steep ice-rock, grey grisly things. The bears of the north have scented their quarry - they come near you and nearer, shambling and rolling their bulk, and in that day every moment shall seem to you longer than the centuries through which you have passed. And heed this - after life, moments continued make the bliss or the hell of eternity.''Hush,' said the whisper; 'but the day, you assure me, is far off - very far! I go back to the almond and rose of Damascus! - sleep!' (" The House And The Brain "