185
" At first, the smoke in the Fiction stacks was as pale as onionskin. Then it deepened to dove gray. Then it turned black. It wound around Fiction A through L, curling in lazy ringlets. It gathered into soft puffs that bobbed and banked against the shelves like bumper cars. Suddenly, sharp fingers of flame shot through the smoke and jabbed upward. More flames erupted. The heat built. The temperature reached 451 degrees and the books began smoldering. Their covers burst like popcorn. Pages flared and blackened and then sprang away from their bindings, a ream of sooty scraps soaring on the updraft. The fire flashed through Fiction, consuming as it traveled. It reached for the cookbooks. The cookbooks roasted. The fire scrambled to the sixth tier and then to the seventh. Every book in its path bloomed with flame. At the seventh tier, the fire banged into the concrete ceiling, doubled back, and mushroomed down again to the sixth tier. It poked around, looking for more air and fuel. Pages and book jackets and microfilm and magazines crumbled and vanished. On the sixth tier, flames crowded against the walls of the stacks, then decided to move laterally. The fire burned through sixth-tier shelves and then nosed around until it found the catwalk that connected the northeast stacks to the northwest stacks. It erupted into the catwalk and hurried along until it reached the patent collection stored in the northwest stacks. It gripped the blocky patent gazettes. They were so thick that they resisted, but the heat gathered until at last the gazettes smoked, flared, crackled, and dematerialized. Wind gusts filled the vacuum made by the fire. Hot air saturated the walls. The floor began to fracture. A spiderweb of hot cracks appeared. Ceiling beams spalled, sending chips of concrete shooting in every direction. The temperature reached 900 degrees, and the stacks' steel shelves brightened from gray to white, as if illuminated from within. Soon, glistening and nearly molten, they glowed cherry red. Then they twisted and slumped, pitching their books into the fire. "
― Susan Orlean , The Library Book
191
" The idea of being forgotten is terrifying. I fear not just that I, personally, will be forgotten, but that we are all doomed to being forgotten—that the sum of life is ultimately nothing; that we experience joy and disappointment and aches and delights, and loss, make our little mark on the world, and then we vanish, and the mark is erased, and it is if we never existed. If you gaze into that bleakness even for a moment, the sum of life becomes null and void, because if nothing lasts, nothing matters. It means everything we experience unfolds without a pattern, and life is just a wild, random baffling occurrence, a scattering of notes with no melody. But if something you learn or observe or imagine can be set down and saved, and if you can see your life reflected in pervious lives, and can imagine it reflected in subsequent ones, you can begin to discover order and harmony. You know that you are part of a larger story that has shape and purpose—a tangible, familiar past, and a constantly refreshed future. We are all whispering in a tin can on a string, but we are heard, so we whisper the message into the next tin can and the next string. Writing a book, just like building a library, is an act of shear defiance. It is a declaration that you believe in the persistence of memory.
In Senegal, the polite expression to say someone died is to say that his or her library has burned. When I first heard the phrase, I didn’t understand it, but over time I came to realize it was perfect. Our minds and souls contain volumes inscribed by our experiences and emotions; each individual’s consciousness is a collection of memories we’ve cataloged and stored inside us, a private library of a life lived. It is something that no one else can entirely share, one that burns down and disappears when we die. But if you can take something from that internal collection and share it— with one person, or the larger world, on the page or in a story recited—it takes on a life of its own. "
― Susan Orlean , The Library Book
200
" ultimately nothing; that we experience joy and disappointment and aches and delights and loss, make our little mark on the world, and then we vanish, and the mark is erased, and it is as if we never existed. If you gaze into that bleakness even for a moment, the sum of life becomes null and void, because if nothing lasts, nothing matters. It means that everything we experience unfolds without a pattern, and life is just a wild, random, baffling occurrence, a scattering of notes with no melody. But if something you learn or observe or imagine can be set down and saved, and if you can see your life reflected in previous lives, and can imagine it reflected in subsequent ones, you can begin to discover order and harmony. You know that you are a part of a larger story that has shape and purpose—a tangible, familiar past and a constantly refreshed future. We are all whispering in a tin can on a string, but we are heard, so we whisper the message into the next tin can and the next string. Writing a book, just like building a library, is an act of sheer defiance. It is a declaration that you believe in the persistence of memory. In Senegal, the polite expression for saying someone died is to say his or her library has burned. When I first heard the phrase, I didn’t understand it, but over time I came to realize it was perfect. Our minds and souls contain volumes inscribed by our experiences and emotions; each individual’s consciousness is a collection of memories we’ve cataloged and stored inside us, a private library of a life lived. It is something that no one else can entirely share, one that burns down and disappears when we die. But if you can take something from that internal collection and share it—with one person or with the larger world, on the page or in a story recited—it takes on a life of its own. "
― Susan Orlean , The Library Book
