Prose

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 mothers 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.”

From "Tender is the Night"

“…His love for Nicole and Rosemary, his friendship with Abe North, with Tommy Barban in the broken universe of the war’s ending—in such contacts the personalities had seemed to press up so close to him that he became the personality itself—there seemed some necessity of taking all or nothing; it was as if for the remainder of his life he was condemned to carry with him the egos of certain people, early met and early loved, and to be only complete as they were complete themselves. There was some element of loneliness involved—so easy to be loved—so hard to love.”

- F. Scott Fitzgerald

On the sadness of Easter, from "Crossroads"

Into Russ’s throat came the sadness of life’s brevity, the sadness of the sunless hour, the sadness of Easter. God was telling him very clearly what to do. He had to stay in Many Farms, where Keith had lived since 1960, so he could visit Keith and keep an eye on Perry. In light of Keith’s condition, his wish to enjoy sex with a person not Marion seemed even more trivial, and he’d been insane to imagine it happening in Arizona. He’d let himself forget how bleak the reservation was in late winter, how demanding it was to lead a work camp. 

And yet, when he thought of doing God’s will, at the cost of his week with Frances on the mesa, he felt unbearably sorry for himself. It was strange that self-pity wasn’t on the list of deadly sins; none was deadlier. 

- Jonathan Franzen, Crossroads

From "Tender is the Night" (F. Scott Fitzgerald)

After that they got in their car and started back toward Amiens. A thin warm rain was falling on the new scrubby woods and underbrush and they passed great funeral pyres of sorted duds, shells, bombs, grenades, and equipment, helmets, bayonets, gun stocks and rotten leather, abandoned six years in the ground. And suddenly around a bend the white caps of a great sea of graves. Dick asked the chauffeur to stop.

“There’s that girl—and she still has her wreath.”

They watched as he got out and went over to the girl, who stood uncertainly by the gate with a wreath in her hand. Her taxi waited. She was a red-haired girl from Tennessee whom they had met on the train this morning, come from Knoxville to lay a memorial on her brother’s grave. There were tears of vexation on her face.

“The War Department must have given me the wrong number,” she whimpered. “It had another name on it. I been lookin’ for it since two o’clock, and there’s so many graves.”

“Then if I were you I’d just lay it on any grave without looking at the name,” Dick advised her.

“You reckon that’s what I ought to do?”

“I think that’s what he’d have wanted you to do.”

It was growing dark and the rain was coming down harder.

She left the wreath on the first grave inside the gate, and accepted Dick’s suggestion that she dismiss her taxi-cab and ride back to Amiens with them.

Rosemary shed tears again when she heard of the mishap—altogether it had been a watery day, but she felt that she had learned something, though exactly what it was she did not know. Later she remembered all the hours of the afternoon as happy—one of those uneventful times that seem at the moment only a link between past and future pleasure but turn out to have been the pleasure itself.

From "The Easter Parade", by Richard Yates

“….One day when Emily was finished at the supermarket—she had learned how not to be stultified by the supermarket, how to deal with it in quick, competent movements that brought results—she sat for a long time in the steaming brilliance of the laundromat. She watched the whirl of suds and soaked cloth in the porthole of her machine; then she watched the other customers, trying to guess which were students and which were faculty and which were people from the town. She bought a chocolate bar and it tasted surprisingly good—as if, without her knowing it, sitting here and eating this chocolate was the one thing she had wanted to do all day. Waiting for the drying cycle to end she began to feel a vague dread, but it wasn’t until she was at the warm, lint-speckled folding table that she figured it out: she didn’t want to go home.”

- Richard Yates, from Part 2, Chapter 1 of “The Easter Parade”