24
" I thought about suicide all the time, but it seemed toomuch effort, swallowing all those pills or jumping off things. If I'd lived out in the country I would have found a quiet stretch of railway track, and lain on it, fallen asleep, so that I would never have known when my last moment came. In London, the minimum tube fare had gone up so much that even to get near the line cost a fortune. Suicide seemed an extravagance I couldn't afford. People never leave you alone, either; I knew that if I'd tried to lie down on the line, any number of commuters would have pulled me off again, so that I didn't delay their train. There must have been murderers out there who wanted to kill, with no way of finding those who wanted to be dead. If there had been some way of contacting them, a date-with-death line, I would have called them to set up a meeting. The current ways of death seemed too haphazard; it was all left up to chance. Had Chance come up, tapped me on the shoulder, said " Oi, you - long black tunnel, white light, off you go," I wouldn't have complained. It was like having frostbite all over - feeling numb and in pain at the same time. "
26
" . . . at this season, the blossom is out in full now, there in the west early. It's a plum tree, it looks like apple blossom but it's white, and looking at it, instead of saying " Oh that's nice blossom" ... last week looking at it through the window when I'm writing, I see it is the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever were, and more important than they ever were, and the difference between the trivial and the important doesn't seem to matter. But the nowness of everything is absolutely wondrous, and if people could see that, you know. There's no way of telling you; you have to experience it, but the glory of it, if you like, the comfort of it, the reassurance ... not that I'm interested in reassuring people - bugger that. The fact is, if you see the present tense, boy do you see it! And boy can you celebrate it. "
28
" When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned. "
30
" Tom has been having a difficult patch, and we meet at the church of IKEA as often as possible, because it is equidistant from our houses and always cheers us up. Yesterday I asked, 'In your depression, and with so many people having such a hard time, where is Advent?' He tried to wiggle out of it by saying, 'You Protestants and your little questions!' Then, when pushed, he said: 'Faith is a decision. Do we believe we are ultimately doomed and fucked and there's no way out? Or that God and goodness make a difference? There is heaven, community, and hope - and hope that there is life beyond the grave.'
'But Tom, at the same time, the grave is very real, dark and cold and lonely.' 'Advent is not for the naive. Because in spite of the dark and cold, we see light - you look up, or you make light, with candles, or with strands of lightbulbs on trees. And you give light. Beauty helps, in art and nature and faces. Friends help. Solidarity helps. If you ask me, when people return phone calls, it's about as good as it gets. And who knows beyond that. "
― Anne Lamott
35
" All trademarks, company names, registered names, products, characters, mottos, logos, jingles and catchphrases used or cited in this work are the property of their respective owners and have only been mentioned and or used as cultural references to enhance the narrative and in no way were used to disparage or harm the owners and their companies. It is the author's sincerest wish the owners of the cited trademarks, company names, etc. appreciate the success they have achieved in making their products household names and appreciate the free plug. "
― E.A. Bucchianeri , Brushstrokes of a Gadfly, (Gadfly Saga, #1)
40
" Our government rests upon religion. It is from that source that we derive our reverence for truth and justice, for equality and liberality, and for the rights of mankind. Unless the people believe in these principles they cannot believe in our government. There are only two main theories of government in our world. One rests on righteousness and the other on force. One appeals to reason, and the other appeals to the sword. One is exemplified in the republic, the other is represented by despotism.
The government of a country never gets ahead of the religion of a country. There is no way by which we can substitute the authority of law for the virtue of man. Of course we endeavor to restrain the vicious, and furnish a fair degree of security and protection by legislation and police control, but the real reform which society in these days is seeking will come as a result of our religious convictions, or they will not come at all. Peace, justice, humanity, charity—these cannot be legislated into being. They are the result of divine grace. "
― Calvin Coolidge