64
" The sound of anything coming at you—a train, say, or the future —has a higher pitch than the sound of the same thing going away. If you have perfect pitch and a head for mathematics you can compute the speed of the object by the interval between its arriving and departing sounds. I have neither perfect pitch nor a head for mathematics, and anyway who wants to compute the speed of history? Like all falling bodies, it constantly accelerates. But I would like to hear your life as you heard it, coming at you, instead of hearing it as I do, a sober sound of expectations reduced, desires blunted, hopes deferred or abandoned, chances lost, defeats accepted, griefs borne. I don’t find your life uninteresting, as Rodman does. I would like to hear it as it sounded while it was passing. Having no future of my own, why shouldn’t I look forward to yours? "
― Wallace Stegner , Angle of Repose
69
" We have been cut off, the past has been ended and the family has broken up and the present is adrift in its wheelchair. ... That is no gap between the generations, that is a gulf. The elements have changed, there are whole new orders of magnitude and kind. [...]
My grandparents had to live their way out of one world and into another, or into several others, making new out of old the way corals live their reef upward. I am on my grandparents' side. I believe in Time, as they did, and in the life chronological rather than in the life existential. We live in time and through it, we build our huts in its ruins, or used to, and we cannot afford all these abandonings. "
― Wallace Stegner , Angle of Repose
70
" Before I can say I am, I was. Heraclitus and I, prophets of flux, know that the flux is composed of parts that imitate and repeat each other. Am or was, I am cumulative, too. I am everything I ever was, whatever you and Leah may think. I am much of what my parents and especially my grandparents were -- inherited stature, coloring, brains, bones (that part unfortunate), plus transmitted prejudices, culture, scruples, likings, moralities, and moral errors that I defend as if they were personal and not familial. "
― Wallace Stegner , Angle of Repose
72
" There is another physical law that teases me, too: the Doppler Effect. The sound of anything coming at you- a train, say, or the future- has a higher pitch than the sound of the same thing going away. If you have perfect pitch and a head for mathematics you can compute the speed of the object by the interval between its arriving and departing sounds. I have neither perfect pitch nor a head for mathematics, and anyway who wants to compute the speed of history? Like all falling bodies, it constantly accelerates. But I would like to hear your life as you heard it, coming at you, instead of hearing it as I do, a somber sound of expectations reduced, desires blunted, hopes deferred or abandoned, chances lost, defeats accepted, griefs borne. "
― Wallace Stegner , Angle of Repose
73
" I’m not writing a book of Western history,' I tell him. 'I’ve written enough history books to know this isn’t one. I’m writing about something else. A marriage, I guess. Deadwood was just a blank space in the marriage. Why waste time on it?'
Rodman is surprised. So am I, actually — I have never formulated precisely what it is I have been doing, but the minute I say it I know I have said it right. What interests me in all these papers is not Susan Burling Ward, the novelist and illustrator, and not Oliver Ward the engineer, and not the West they spend their lives in. What really interests me is how two such unlike particles clung together, and under what strains, rolling downhill into their future until they reached the angle of repose where I knew them. That’s where the interest is. That’s where the meaning will be if I find any. "
― Wallace Stegner , Angle of Repose