We are the breakers of our own hearts.
When, sometime later, Laurel asked about the bell, her mother replied calmly that how good a bell was depended on the distance away your children had gone.
I get a moral satisfaction out of putting things together,” he said. “I like to see a thing finished.
The future story writer in the child I was must have taken unconscious note and stored it away then: one secret is liable to be revealed in the place of another that is harder to tell, and the substitute secret when nakedly exposed is often the more appalling.
And yet Laura could see that they changed every moment. The outside did not change but the inside did; an iridescent life was busy within and under each alikeness.
The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.
Don’t want to do a thing, Ran, do we, from now and on till evermore.
All children in those small-town, unhurried days had a vast inner life going on in the movies. Children were allowed to go without chaperone in the afternoons. My sense of making fictional comedy undoubtedly first caught its spark from the antic pantomime of the silent screen, and from having a kindred soul to laugh with.
It’s our turn! she’d thought exultantly. And we’re going to live forever.
It was never dark enough, the enormous sky flashing with August light rushing into the emptiest rooms, the loneliest windows. The month of falling stars.
Barefooted on the slick brick walk I rushed to where I could breathe in the cool breath from the interior of the springhouse. On a cold bubbling spring, covered dishes and crocks and pitchers of milk and butter and so on floated in a circle in the mild whirlpool, like horses on a merry-go-round, in the water that smelled of the mint that grew close by.
My temperament and my instinct had told me alike that the author, who writes at his own emergency, remains and needs to remain at his private remove. I wished to be, not effaced, but invisible – actually a profound position. Perspective, the line of vision, the frame of vision – these set a distance.
He, who had once been the declared optimist, had not once expressed hope. Now it was she who was offering it to him. And it might be false hope.
There was a deep boom, like the rolling in of an ocean wave. The hearse door had been slammed shut.
For every book here she had heard their voices, father’s and mother’s. And perhaps it didn’t matter to them, not always, what they read aloud; it was the breath of life flowing between them, and the words of the moment riding on it that held them in delight. Between some two people every word is beautiful, or might as well be beautiful.
They raised their voices, cried out back and forth, as if grief could be fabricated into an argument to comfort itself with.
Two by two, I read library books as fast as I could go, rushing them home in the basket of my bicycle. From the minute I reached our house, I started to read. Every book I seized on stood for the devouring wish to read being instantly granted. I knew this was bliss, knew it at the time. Taste isn’t nearly so important; it comes in its own time. I wanted to read immediately. The only fear was that of books coming to an end.
People live their own way, and to a certain extent I almost believe they may die their own way, Laurel.
Grandma Ponder said,” Show me a man wears a diamond ring, and I’ll show you a wife beater.
What burdens we lay on the dying, Laurel thought, as she listened now to the accelerated rain on the roof: seeking to prove some little thing that we can keep to comfort us when they can no longer feel – something as incapable of being kept as of being proved: the lastingness of memory, vigilance against harm, self-reliance, good hope, trust in one another.
It is not for nothing that an ominous feeling often attaches itself to a procession. In films and stories we see spectacles forming in the street and parades coming from around the corner, and we know to greet then with distrust and apprehension: their intent is still to be revealed.