Few things linger longer or become more indwelling than that feeling of both completion and emptiness when a great book ends. That the book accompanies the reader forever from that day forward is part of literature’s profligate generosity.
No story is a straight line. The geometry of a human life is too imperfect and complex, too distorted by the laughter of time and the bewildering intricacies of fate to admit the straight line into its system of laws.
If the writing is good, then the result seems effortless and inevitable. But when you want to say something life-changing or ineffable in a single sentence, you face both the limitations of the sentence itself and the extent of your own talent.
It did not look like the work of God, but it might have represented the handicraft of a God with a joyous sense of humor, a dancing God who loved mischief as much as prayer, and playfulness as much as mischief.
Political correctness has a stranglehold on academia, on feminism, and on the media. It is a form of both madness and maggotry, and has already silenced the voices of writers like James Dicky across the land.
The safe places could only be visited; they could only grant a momentary intuition of sanctuary. The moment always came when we had to return to our real life to face the wounds and grief indigenous to our homr by the river.
You touch them as they quiver with a divine pleasure. You read them and they fall asleep to happy dreams for the next 10 years. If you do them the favor of understanding them, of taking in their portions of grief and wisdom, then they settle down in contented residence in your heart.
