Great Throughts Treasury

"FIRST MAID: If I was a princess, with silver and gold, And loved by a hero, I'd never grow old: Oh, if a young hero came a-marrying me, I'd always be beautiful, happy, and free! CHORUS: Then sail, my fine lady, on the billowing wave - The water below is as dark as the grave, And maybe you'll sink in your little blue boat - It's hope, and hope only, that keeps us afloat."

"February, month of despair, with a skewered heart in the center."

"For a thousand years, the Bible was almost the only book people read, if they could read at all. The stories that were officially told and portrayed were Biblical and religious stories. That other fount of Western civilization as we know it today ? the Greek classics ? went largely unknown until the Renaissance. For our purposes, there's a noteworthy difference between these two literatures: in the Bible people are hardly ever said to be mad as such, whereas in Greek drama they go off their rockers with alarming frequency. It was the rediscovery of the classics that stimulated the long procession of literary mad-people of the past four hundred years."

"For an instant she felt them, their identities, almost their substance, pass over her head like a wave. At some time she would be ? or no, already she was like that too; she was one of them, her body the same, identical, merged with that other flesh that choked the air in the flowered room with its sweet organic scent; she felt suffocated by this thick Sargasso-sea of femininity."

"For every age there is a popular idea about what madness is, what causes it, and how a mad person should look and behave; and it's usually these popular ideas, rather than those of medical professionals, that turn up in songs and stories and plays and books."

"Flowers, for instance, because where would we be without them?"

"For every year of peace there have been four hundred years of war."

"For the children with their greedy little mouths represent the future, which like time itself will devour all now alive."

"For if the world treats you well, Sir, you come to believe you are deserving of it."

"For years I wanted to be older, and now I am."

"For these dances the boys send corsages, which I keep afterward and keep in my bureau drawer; squashed carnations and brown-edged rosebuds, wads of dead vegetation, like a collection of floral shrunken heads."

"Forced to choose between one irascible tyrant and another, Laura had chosen the one which was greater, and also further away."

"For me the experience of writing is really an experience of losing control? I think it?s very much like dreaming or like surfing. You go out there and wait for a wave, and when it comes it takes you somewhere and you don?t know where it?ll go."

"Forgiving men is so much easier than forgiving women."

"Forgive us our trespasses, as we forgive those who trespass against us. I refuse to say this. If it means I will have to forgive Mrs. Smeath or else go to Hell when I die, I'm ready to go. Jesus must have known how hard it is to forgive, that was why he put this in. He was always putting in things that were impossible to do really, such as giving away all your money."

"Friendship was always contingent."

"Freedom, like everything else, is relative."

"From any rational point of view I am absurd; but there are no longer any rational points of view."

"From nowhere, a word appears: Mesozoic. He can see the word, he can hear the word, but he can't reach the word. He can't attach anything to it. This is happening too much lately, this dissolution of meaning, the entries on his cherished wordlists drifting off into space."

"Gardening is not a rational act"

"Happiness is a garden walled with glass: there?s no way in or out. In Paradise there are no stories, because there are no journeys. It?s loss and regret and misery and yearning that drive the story forward, along its twisted road."

"Happy as a clam, is what my mother says for happy. I am happy as a clam: hard-shelled, firmly closed."

"Genius is an infinite capacity for causing pain."

"Gazing down at the black water remembering all the stories of women who had thrown themselves into it. They'd done it for love, because that was the effect love had on you. It snuck up on you, it grabbed hold of you before you knew it, and then there was nothing you could do. Once you were in it- in love- you would be swept away, regardless. Or so the books had it."

"Glenn used to say the reason you can't really imagine yourself being dead was that as soon as you say, I'll be dead, you've said the word I, and so you?re still alive inside the sentence. And that's how people got the idea of immortality of the soul - it was a consequence of grammar. And so was God, because as soon as there's a past tense, there has to be a past before the past, and you keep going back in time until you get to I don't know, and that's what God is. It's what you don't know - the dark, the hidden, the underside of the visible, and all because we have grammar, and grammar would be impossible without the FoxP2 gene; so God is a brain mutation, and that gene is the same on birds need for singing. So music is built in, Glenn said: It's knitted into us. It would be very hard to amputate it because it's an essential part of us, like water."

"Gone mad is what they say, and sometimes Run mad, as if mad is a different direction, like west; as if mad is a different house you could step into, or a separate country entirely. But when you go mad you don't go any other place, you stay where you are. And somebody else comes in."

"Girl without hands walking through the ruins on your way to work that do not look like ruins with the sunlight pouring over the seen world like hail or melted silver, that bright and magnificent, each leaf and stone quickened and specific in it, and you can't hold it, you can't hold any of it. Distance surrounds you, marked out by the ends of your arms when they are stretched to their fullest. You can go no farther than this, you think, walking forward, pushing the distance in front of you like a metal cart on wheels with its barriers and horizontals. Appearance melts away from you, the offices and pyramids on the horizon shimmer and cease. No one can enter that circle you have made, that clean circle of dead space you have made and stay inside, mourning because it is clean. Then there's the girl, in the white dress, meaning purity, or the failure to be any color. She has no hands, it's true. The scream that happened to the air when they were taken off surrounds her now like an aureole of hot sand, of no sound. Everything has bled out of her. Only a girl like this can know what's happened to you. If she were here she would reach out her arms towards you now, and touch you with her absent hands and you would feel nothing, but you would be touched all the same."

"Good judgment comes from experience. Experience comes from bad judgment."

"Good writing takes place at intersections, at what you might call knots, at places where the society is snarled or knotted up."

"Had she believed all that? Old Pilar's folklore? No, not really; or not exactly. Most likely Pilar hadn't quite believed it either, but it was a reassuring story: that the dead were not entirely dead but were alive in a different way; a paler way admittedly, and somewhat darker. But still able to send messages, if only such messages could be recognized and deciphered. People need such stories, Pilar said once, because however dark, a darkness with voices in it is better than a silent void."

"He had that faint sick look in his eyes, as if he wanted to give her something, charity for instance."

"He doesn't know it, but this touching she does is not only compassionate, but possessive."

"Hatred would have been easier. With hatred, I would have known what to do. Hatred is clear, metallic, one-handed, unwavering; unlike love."

"He feels the need to hear a human voice?a fully human voice like his own. Sometimes he laughs like a hyena or roars like a lion?his idea of a hyena his idea of a lion."

"He has to find more and better ways of occupying his time. His time, what a bankrupt idea, as if he's been given a box of time belonging to him alone, stuffed to the brim with hours and minutes that he can spend like money. Trouble is, the box has holes in it and the time is running out, no matter what he does with it."

"He considers me also a little fragile because artistic. I need to be cared for, like a potted plant."

"He doesn't know which is worse, a past he can't regain or a present that will destroy him if he looks at it too clearly. Then there's the future. Sheer vertigo."

"He is talking to people in Toronto, trying to find out if I am guilty; but he won't find it out that way. He doesn't understand yet that guilt comes to you not from the things you've done, but from the things that other have done for you."

"He could never get used to her, she was fresh every time, she was a casketful of secrets. Any moment now she would open herself up, reveal to him the essential thing, the hidden thing at the core of her life, or of her life, or of his life--the thing he was longing to know. The thing he'd always wanted."

"He has been trying to sing. Love into existence again and he has failed."

"He said, I won't have one of those things in the house. It gives a young girl a false notion of beauty, not to mention anatomy. If a real woman was built like that she'd fall on her face. She said, If we don't let her have one like all the other girls she'll feel singled out. It'll become an issue. She'll long for one and she'll long to turn into one. Repression breeds sublimation. You know that. He said, It's not just the pointy plastic tits, it's the wardrobes. The wardrobes and that stupid male doll, what's his name, the one with the underwear glued on. She said, Better to get it over with when she's young. He said, All right but don't let me see it. She came whizzing down the stairs, thrown like a dart. She was stark naked. Her hair had been chopped off, her head was turned back to front, she was missing some toes and she'd been tattooed all over her body with purple ink, in a scrollwork design. She hit the potted azalea, trembled there for a moment like a botched angel, and fell. He said, I guess we're safe."

"He might die for her, but living for her would be quite different."

"He needed to exist only in the present, without guilt, without expectation."

"He stops, looks up at this window, and I can see the white oblong of his face. We look at each other. I have no rose to toss, he has no lute. But it's the same kind of hunger."

"He wants only the simple things: a chair, someone to pull off his shoes, someone to watch him while he talks, with admiration and fear, gratitude if possible, someone in whom to plunge himself for rest and renewal. These things can best be had by marrying a woman who has been condemned to death by other men for wishing to be beautiful. There is a wide choice."

"He was deciding whether to cut her throat or love her forever."

"He throws out radiance, it must be reflected sun. Why isn't everyone staring?"

"He wants to see, he wants to know, only to see and know. I'm aware that it is this mentality, this curiosity, which is responsible for the hydrogen bomb and the imminent demise of civilization and that we would all be better off if we were still at the stone-worshipping stage. Though surely it is not this affable inquisitiveness that should be blamed."

"He was the kind of boy for whom cleverness was female."

"He was not condemned to death, freedom awaited him. What was the temptation, the one that worked? Perhaps he wanted to live with a woman whose life he had saved, who had seen down into the earth but had nevertheless followed him back up to life. It was his only chance to be a hero, to one person at least, for if he became the hangman the others would despise him. He was in prison for wounding another man, on one finger of the right hand, with a sword. This too is history."