43
" The repetition of the days did something to you. You knew the monotony, but you couldn't fight it. You had to invent your own repetitions to meet it. A ritual. This early, barely awake kneeling was hers.She looked deep into the black of her closed eyes. Stared into the dark. When your sense of vision has very little stimulation, it invents images. Sarah doesn't know the name for this is the Prisoner's Cinema. It is a trick of the mind, blindness turned into glorious sight. Isolation turned into hallucination. After enough time, she saw a series of lights. The false images are called phosphenes, which means " show of lights." But all Sarah knew was that it gave her vibrant colors of great depth, and patterns like a mosaic, like a tiled church floor or sometimes like the spiral of a shell. These visions would not absolve her of her time, her duty, and her deeds. Instead these visions took her through the limits of who she was and what she had done, and for this she felt gratitude, and with this, at last, consolation. "
49
" How oddly situated a man is apt to find himself at age thirty-eight! His youth belongs to the distant past. Yet the period of memory beginning with the end of youth and extending to the present has left him not a single vivid impression. And therefore he persists in feeling that nothing more than a fragile barrier separates him from his youth. He is forever hearing with the utmost clarity the sounds of this neighboring domain, but there is no way to penetrate the barrier.
Honda felt that his youth had ended with the death of Kiyoaki Matsugae. At that moment something real within him, something that had burned with a vibrant brilliance, suddenly ceased to be.
Now, late at night, when Honda grew weary of his legal drafts, he would pick up the dream journal that Kiyoaki had left him and turn over its pages.
(...)
Since then eighteen years had passed. The border between dream and memory had grown indistinct in Honda’s mind. Because the words contained in this journal, his only souvenir of his friend, had been traced there by Kiyoaki’s own hand, it had profound significance for Honda. These dreams, left like a handful of gold dust in a winnowing pan, were charged with wonder.
As time went by, the dreams and the reality took on equal worth among Honda’s diverse memories. What had actually occurred was in the process of merging with what could have occurred. As reality rapidly gave way to dreams, the past seemed very much like the future.
When he was young, there had been only one reality, and the future had seemed to stretch before him, swelling with immense possibilities. But as he grew older, reality seemed to take many forms, and it was the past that seemed refracted into innumerable possibilities. Since each of these was linked with its own reality, the line distinguishing dream and reality became all the more obscure. His memories were in constant flux, and had taken on the aspect of a dream. "
― Yukio Mishima , Runaway Horses
58
" Language is rich, and malleable. It is a living, vibrant material, and every part of a poem works in conjunction with every other part - the content, the place, the diction, the rhythm, the tone-as well as the very sliding, floating, thumping, rapping sounds of it. "
― Mary Oliver