Prose

Walter Kaufmann on Martin Buber's "I and Thou"

“There are many modes of I-You.

Kant told men always to treat humanity, in our person as well as that of others, as an end also and never only as a means. This is one way of setting off I-You from I-It. And when he is correctly quoted and the “also” and the “only” are not omitted, as they all too often are, one may well marvel at his moral wisdom.

Innumerable are the ways in which I treat You as a means. I ask your help, I ask for information, I may buy from you or buy what you have made, and you sometimes dispel my loneliness.

Nor do I count the ways in which You treat me as a means. You ask my help, you ask me questions, you may buy what I have written, and at times I ease your loneliness.

Even when you treat me only as a means I do not always mind. A genuine encounter can be quite exhausting, even when it is exhilarating, and I do not always want to give myself.

Even when you treat me only as a means because you want some information, I may feel delighted that I have the answer and can help.

But man’s attitudes are manifold, and there are many ways of treating others as ends also. There are many modes of I-You.

You may be polite when asking; you may show respect, affection, admiration, or one of the countless attitudes that men call love.

Or you may not ask but seek without the benefit of words. Or you may speak but not ask, possibly responding to my wordless question. We may do something together. You may write to me. You may think of writing to me. And there are other ways. There are many modes of I-You.”

On Courage, From Paul Tillich's "The Courage to Be"

“…The aristocratic element in the doctrine of courage was preserved as well as restricted by Aristotle. The motive for withstanding pain and death courageously is, according to him, that it is noble to do so and base not to do so. The courageous man acts ‘for the sake of what is noble, for that is the aim of virtue.’ ‘Noble,’ in these and other passages, is the translation of kalós and “base” is the translation of aischró, words which usually are rendered by ‘beautiful’ and ‘ugly.’ A beautiful or noble deed is a deed to be praised. Courage does what is to be praised and rejects what is to be despised. One praises that in which a being fulfills its potentialities or actualizes its perfections. Courage is the affirmation of one’s essential nature, one’s inner aim or entelechy, but it is an affirmation which has in itself the character of ‘in spite of.’ It includes the possible and, in some cases, the unavoidable sacrifice of elements which also belong to one’s being but which, if not sacrificed, would prevent us from reaching our actual fulfillment. This sacrifice may include pleasure, happiness, even one’s own existence. In any case it is praiseworthy, because in the act of courage the most essential part of our being prevails against the less essential. It is the beauty and goodness of courage that the good and the beautiful are actualized in it. Therefore it is noble.”

From "So Long", by Lucia Berlin

"The four of us swam and then ate lobster and swam some more. In the morning the sun shone through the wooden shutters making stripes on Max and Ben and Keith. I sat up in bed, looking at them, with happiness.

Max would carry each boy to bed and tuck him in. Kiss him sweet, the way he had kissed his father. Max slept as deeply as they. I thought he must be exhausted from what we were doing, his leaving his wife, taking on a family.

He taught them both to swim and to snorkel. He told them things. Just things, about life, people he knew. We interrupted one another telling him things back. We lay on the fine sand on Caleta Beach, warm in the sun. Keith and Ben buried me in the sand. Max's fingers tracing my lips. Bursts of color from the sun against my closed sandy eyelids. Desire."

From "Varieties of Religious Experience" - William James

‘…“In Job,” says that coldly truthful writer, the author of Mark Rutherford, “God reminds us that man is not the measure of his creation. The world is immense, constructed on no plan or theory which the intellect of man can grasp. It is TRANSCENDENT everywhere. This is the burden of every verse, and is the secret if there be one, of the poem. Sufficient or insufficient, there is nothing more.... God is great, we know not his ways. He takes from us all we have, but yet if we possess our souls in patience, we MAY pass the valley of the shadow, and come out in sunlight again. We may or we may not! ... What more have we to say now than God said from the whirlwind over two thousand five hundred years ago?”’

From "So Long, See You Tomorrow" - William Maxwell

"In that flat landscape a man cursing at his horses somewhere off in the fields can be heard a long way. All sounds carry: the dinner bell, wheels crossing a cattle guard, the clatter of farm machinery. When the gasoline engine sputters and dies or the blades of the mowing machine jam, Cletus knows that Mr. Wilson, a quarter of a mile away, has heard it and is waiting for the sound of the engine or the mowing machine to start up again. If it doesn't, he leaves his own work and comes across the pasture to see what the trouble is. With their heads almost touching, his father and Mr. Wilson study the difficulty."

From Livy's "The Early History of Rome"

"I confess to you that whenever, in my absence, I thought of my country, what I saw in my mind’s eye were these hills and plains, the Tiber and this beloved countryside, and the familiar sky under which I was born and bred. I can but hope that the love of these things will move you now to stay, and that the loss of them will not, in after years, tear your hearts with vain regret.”

From the "Time Passes" Section of "To the Lighthouse"

“Well, we must wait for the future to show,” said Mr. Bankes, coming in from the terrace.

“It’s almost too dark to see,” said Andrew, coming up from the beach.

“One can hardly tell which is the sea and which is the land,” said Prue.

“Do we have that light burning?” said Lily as they took their coats off indoors.

“No,” said Prue, “not if everyone’s in.”

“Andrew,” she called back, “just put out the light in the hall.”

One by one the lamps were all extinguished, except that Mr. Carmichael, who liked to lie awake a little reading Virgil, kept his candle burning rather longer than the rest.

- Virgina Woolf

From "Sons and Lovers" - D.H. Lawrence

“One evening, directly after the parson’s visit, felling unable to bear herself after another display from her husband, she took Annie and the baby and went out. Morel had kicked William, and the mother would never forgive him.

She went over the sheep-bridge and across a corner of the meadow to the cricket-ground. The meadows seemed one space of ripe, evening light, whispering with the distant mill-race. She sat on a seat under the alders in the cricket-ground, and fronted the evening. Before her, level and solid, spread the big green cricket-field, like the bed of a sea of light. Children played in the bluish shadow of the pavilion. Many rooks, high up, came cawing home across the softly-woven sky. They stooped in a long curve down into the golden glow, concentrating, cawing, wheeling, like black flakes on a slow vortex, over a tree-clump that made a dark boss among the pasture.

A few gentlemen were practising, and Mrs. Morel could hear the chock of the ball, and the voices of men suddenly roused; could see the white forms of men shifting silently over the green, upon which already the under shadows were smouldering. Away at the grange, one side of the haystacks was lit up, the other sides blue-grey. A wagon of sheaves rocked small across the melting yellow light.

The sun was going down. Every open evening, the hills of Derbyshire were blazed over with red sunset. Mrs. Morel watched the sun sink from the glistening sky, leaving a soft flower-blue overhead, while the western space went red, as if all the fire had swum down there, leaving the bell cast flawless blue. The mountain-ash berries across the field stood fierily out from the dark leaves, for a moment. A few shocks of corn in a corner of the fallow stood up as if alive; she imagined them bowing; perhaps her son would be a Joseph. In the east, a mirrored sunset floated pink opposite the west’s scarlet. The big haystacks on the hillside, that butted into the glare, went cold.

With Mrs. Morel, it was one of those still moments when the small frets vanish, and the beauty of things stands out, and she had the peace and the strength to see herself.”

Graham Swift, from "Tomorrow"

“Art’s not for the very young? For you it’s just ‘stuff.’ You have to have grown up and had a taste of loss. I’ll explain that later. Art’s just compensation? I’m not saying that either…But two people who in most other respects may be entirely mismatched can still thrill together to a third thing, a passion shared. The light falling round people in a painting which is like the light falling round real people too, except it can’t go out.”

Livy, from "The Early History of Rome"

“The three young men reached Delphi, and carried out the king’s instructions. That done, Titus and Arruns found themselves unable to resist putting a further question to the oracle. Which of them, they asked, would be the next king of Rome? From the depths of the cavern came the mysterious answer: ‘He who shall be the first to kiss his mother shall hold in Rome supreme authority.’

Titus and Arruns were determined to keep the prophecy absolutely secret, to prevent their other brother, Tarquin, who had been left in Rome, from knowing anything about it. Thus he, at any rate, would be out of the running. For themselves, they drew lots to determine which of them, on their return, should kiss his mother first.

Brutus, however, interpreted the words of Apollo’s priestess in a different way. Pretending to trip, he fell flat on his face, and his lips touched the Earth—the mother of all living things.”

Nathaniel Hawthorne, from "The Scarlet Letter"

“…They sat down again, side by side, and hand clasped in hand, on the mossy trunk of the fallen tree. Life had never brought them a gloomier hour; it was the point whither their pathway had so long been tending, and darkening ever, as they stole along; — and yet it enclosed a charm that made them linger upon it, and claim another, and another, and, after all, another moment. The forest was obscure around them, and creaked with a blast that was passing through it. The boughs were tossing heavily about their heads; while one solemn old tree groaned dolefully to another, as if telling the sad story of the pair that sat beneath, or constrained to forebode evil to come.

And yet they lingered. How dreary looked the forest-track that led backward to the settlement, where Hester Prynne must take up again the burden of her ignominy, and the minister the hollow mockery of his good name! So they lingered an instant longer. No golden light had ever been so precious as the gloom of this dark forest. Here, seen only be his eyes, the scarlet letter need not burn into the bosom of the fallen woman! Here, seen only by her eyes, Arthur Dimmesdale, false to God and man, might be, for one moment, true!…”

- From Chapter 17, The Pastor and his Parishioner”

From Cormac McCarthy's "Stella Maris"

“…It’s just another mystery to add to the roster. Leonardo cant be explained. Or Newton, or Shakespeare. Or endless others. Well. Probably not endless. But at least we know their names. But unless you’re willing to concede that God invented the violin there is a figure who will never be known. A small man who went with his son into the stunted forests of the little iceage of fifteenth century Italy and sawed and split the maple trees and put the flitches to dry for seven years and then stood in the slant light of his shop one morning and said a brief prayer of thanks to his creator and then—knowing this perfect thing—took up his tools and turned to its construction. Saying now we begin.”


- Cormac McCarthy

From "Stella Maris" - Cormac McCarthy

Why do you let me bully you?

I don’t know. Do I?

It’s not important. The world you live in is shored up by a collective of agreements. Is that something you think about? The hope is that the truth of the world somehow lies in the common experience of it. Of course the history of science and mathematics and even philosophy is a good bit at odds with this notion. Innovation and discovery by definition war against the common understanding. One should be wary.

Virginia Woolf, from "Kew Gardens"

"Imagine six little girls sitting before their easels twenty years ago, down by the side of a lake, painting the water-lilies. And suddenly a kiss, there on the back of my neck. And my hand shook all the afternoon so that I couldn't paint. I took out my watch and marked the hour when I would allow myself to think of the kiss for five minutes only—it was so precious."

Virginia Woolf - Two passages from "The Journal of Mistress Joan Martyn"

[I]

The state of the times, which my mother tells me, is less safe and less happy than when she was a girl, makes it necessary for us to keep much within our own lands. After dark indeed, and the sun sets terribly soon in January, we have to be safe behind the hall Gates; my mother goes out as soon as the dark makes her embroidery too dim to see, with the great keys on her arm. ‘Is everybody within doors?’ she cries, and swings the bells out upon the road, in case any of our men may still be working in the fields. Then she draws the Gates close, clamps them with the lock, and the whole world is barred away from us. I am very bold and impatient sometimes, when the moon rises, over a land gleaming with frost; and I think I feel the pressure of all this free and beautiful place—all England and the sea, and the lands beyond—rolling like sea waves, against our iron gates, breaking, and withdrawing—and breaking again—all through the long black night. Once I leapt from my bed, and ran to my mother’s room, crying, “Let them in. Let them in. We are starving!’ ‘Are the soldiers there, child,’ she cried: ‘or is it your father’s voice?’ She ran to the window, and together we gazed out upon the silver fields, and all was peaceful. But I could not explain what it was that I heard; and she bade me sleep, and be thankful that there were stout gates between me and the world.

[II]

The dawn, even when it is cold and melancholy, never fails to shoot through my limbs as with arrows of sparkling piercing ice. I pull aside the thick curtains, and search for the first glow in the sky which shows that life is breaking through. And with my cheek leant upon the window pane I like to fancy that I am pressing as closely as can be upon the massy wall of time, which is for ever lifting and pulling and letting fresh spaces of life in upon us. May it be mine to taste the moment before it has spread itself over the rest of the world! Let me taste the newest and the freshest. From my window I look down upon the Church yard, where so many of my ancestors are buried, and in my prayer I pity those poor dead men who toss perpetually on the old recurring waters; for I see them, circling and eddying forever upon a pale tide. Let us, then, who have the gift of the present, use it and enjoy it. That, I confess, is part of my morning prayer.

Cormac McCarthy, from "The Passenger"

“That house was the most beautiful house I ever saw. Every floor in it was solid walnut and some of them boards was close to three foot wide. All of it hand planed. All of it at the bottom of a lake. I dont know, Bobby. You have to believe that there is good in the world. I’m goin to say that you have to believe that the work of your hands will bring it into your life. You may be wrong, but if you dont believe that then you will not have a life.”