JMI

"The Wind-Up Bird Chronicle" -- Haruki Murakami

2007-01-05T04:13:45Z

You may not know this, Mr. Wind-Up Bird, but ducks are very pleasant people to spend time with. I never get tired of watching them. I'll never understand why everybody else bothers to go somewhere way far away and pay good money to see some stupid movie instead of enjoying these people. Like sometimes they'll come flapping through the air and land on the ice, but their feet slide and they fall over. It's like a TV comedy! They make me laugh even with nobody else around. Of course, they're not clowing around trying to make me laugh. They're doing their best to live very serious lives, and they just happen to fall down sometimes. I think that's neat.

The duck people have these flat orange feet that are really cute, like they're wearing little kids' rain boots, but they're not made for walking on ice, I guess, because I see them slipping and sliding all over the place, and some even fall on their bottoms. They must not have nonslip treads. So winter is not a really fun season for the duck people, probably. I wonder what they think, deep down inside, about ice and stuff. I bet they don't hate it all that much. It just seems that way to me from watching them. They look like they're living happily enough, even if it's winter, probably just grumbling to themselves, "Ice again? Oh, well . . ." That's another thing I really like about the duck people.

The pond is in the middle of the woods, far from everything. Nobody (but me, of course!) bothers to walk all the way over here at this time of year, except on unusually warm days. I walk down the path through the woods, and my boots crunch on the ice that's left from a recent snowfall. I see lots of birds all around. When I've got my collar up and my scarf wrapped round and round under my chin, and my breath makes white puffs in the air, and I've got a chunk of bread in my pocket, and I'm walking down the path in the woods, thinking about the duck people, I get this really warm, happy feeling, and it hits me that I haven't felt happy like this for a long, long time.

OK, that's enough about the duck people.

"Memories of My Melancholy Whores" -- Gabriel García Márquez

2006-01-12T05:51:19Z

When the storm had passed I still had the feeling I was not alone in the house. My only explanation is that just as real events are forgotten, some that never were can be in our memories as if they had happened. For if I evoked the emergency of the rainstorm, I did not see myself alone in the house but always accompanied by Delgadina. I had felt her so close during the night that I detected the sound of her breath in the bedroom and the throbbing of her cheek on my pillow. It was the only way I could understand how we could have done so much in so short a time. I remembered standing on the library footstool and I remembered her awake in her little flowered dress taking the books from me to put them in a safe place. I saw her running from one end of the house to the other battling the storm, drenched with rain and in water up to her ankles. I remembered how the next day she prepared a breakfast that never was and set the table while I dried the floors and imposed order on the shipwreck of the house. I never forgot her somber look as we were eating: Why were you so old when we met? I answered with the truth: Age isn't how old you are but how old you feel.

"Brokeback Mountain" (from Close Range: Wyoming Stories) -- Annie Proulx

2005-10-08T06:03:23Z

What Jack remembered and craved in a way he could neither help nor understand was the time that distant summer on Brokeback when Ennis had come up behind him and pulled him close, the silent embrace satisfying some shared and sexless hunger.

They had stood that way for a long time in front of the fire, its burning tossing ruddy chunks of light, the shadow of their bodies a single column against the rock. The minutes ticked by from the round watch in Ennis's pocket, from the sticks in the fire settling into coals. Stars bit through the wavy heat layers above the fire. Ennis's breath came slow and quiet, he hummed, rocked a little in the sparklight and Jack leaned against the steady heartbeat, the vibrations of the humming like faint electricity and, standing, he fell into sleep that was not sleep but something else drowsy and tranced until Ennis, dredging up a rusty but still useable phrase from the childhood time before his mother died, said, "Time to hit the hay, cowboy. I got a go. Come on, you're sleepin on your feet like a horse," and gave Jack a shake, a push, and went off in the darkness. Jack heard his spurs tremble as he mounted, the words "see you tomorrow," and the horse's shuddering snort, grind of hoof on stone.

Later, that dozy embrace solidified in his memory as the single moment of artless, charmed happiness in their separate and difficult lives. Nothing marred it, even the knowledge that Ennis would not then embrace him face to face because he did not want to see nor feel that it was Jack he held. And maybe, he thought, they'd never got much farther than that. Let be, let be.

"When Mr. Pirzada Came to Dine" (from Interpreter of Maladies) -- Jhumpa Lahiri

2005-10-06T06:29:43Z

That night when I placed the plastic egg filled with cinnamon hearts in the box beside my bed, I did not feel the ceremonious satisfaction I normally did. I tried not to think about Mr. Pirzada, in his lime-scented overcoat, connected to the unruly, sweltering world we had viewed a few hours ago in our bright, carpeted living room. And yet for several moments that was all I could think about. My stomach tightened as I worried whether his wife and seven daughters were now members of the drifting, clamoring crowd that had flashed at intervals on the screen. In an effort to banish the image I looked around my room, at the yellow canopied bed with matching flounced curtains, at framed class pictures mounted on white and violet papered walls, at the penciled inscriptions by the closet door where my father recorded my height on each of my birthdays. But the more I tried to distract myself, the more I began to convince myself that Mr. Pirzada's family was in all likelihood dead. Eventually I took a square of white chocolate out of the box, and unwrapped it, and then I did something I had never done before. I put the chocolate in my mouth, letting it soften until the last possible moment, and then as I chewed it slowly, I prayed that Mr. Pirzada's family was safe and sound. I had never prayed for anything before, had never been taught or told to, but I decided, given the circumstances, that it was something I should do. That night when I went to the bathroom I only pretended to brush my teeth, for I feared that I would somehow rinse the prayer out as well. I wet the brush and rearranged the tube of paste to prevent my parents from asking any questions, and fell asleep with sugar on my tongue.

"Goodbye to All That" -- Joan Didion

2005-09-14T23:44:50Z

All I could do during those three days was talk long-distance to the boy I already knew I would never marry in the spring. I would stay in New York, I told him, just six months, and I could see the Brooklyn Bridge from my window. As it turned out the bridge was the Triborough, and I stayed eight years.

In retrospect it seems to me that those days before I knew the names of all the bridges were happier than the ones that came later, but perhaps you will see that as we go along. Part of what I want to tell you is what it is like to be young in New York, how six months can become eight years with the deceptive ease of a film dissolve, for that is how those years appear to me now, in a long sequence of sentimental dissolves and old-fashioned trick shots--the Seagram Building fountains dissolve into snowflakes. I enter a revolving door at twenty and come out a good deal older, and on a different street. But most particularly I want to explain to you, and in the process perhaps to myself, why I no longer live in New York. It is often said that New York is a city for only the very rich and the very poor. It is less often said that New York is also, at least for those who came there from somewhere else, a city for only the very young.

"In Cold Blood" -- Truman Capote

2005-09-14T03:42:36Z

Until one morning in mid-November of 1959, few Americans---in fact, few Kansans---had ever heard of Holcomb. Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there. The inhabitants of the village, numbering two hundred and seventy, were satisfied that this should be so, quite content to exist inside ordinary life---to work, to hunt, to watch television, to attend school socials, choir practice, meetings of the 4-H Club. But then, in the earliest hours of that morning in November, a Sunday morning, certain foreign sounds impinged on the normal nightly Holcomb noises---on the keening hysteria of coyotes, the dry scrape of scuttling tumbleweed, the racing, receding wail of locomotive whistles. At the time not a soul in sleeping Holcomb heard them---four shotgun blasts that, all told, ended six human lives. But afterward the townspeople, theretofore sufficiently unfearful of each other to seldom trouble to lock their doors, found fantasy re-creating them over and again---those somber explosions that stimulated fires of mistrust in the glare of which many old neighbors viewed each other strangely, and as strangers.

"White Noise" -- Don DeLillo

2005-09-13T18:22:39Z

There is a sense of wandering now, an aimless and haunted mood, sweet-tempered people taken to the edge. They scrutinize the small print on packages, wary of a second level of betrayal. The men scan for stamped dates, the women for ingredients. Many have trouble making out the words. Smeared print, ghost images. In the altered shelves, the ambient roar, in the plain and heartless fact of their decline, they try to work their way through confusion. But in the end it doesn't matter what they say or think they see. The terminals are equipped with holographic scanners, which decode the binary secret of every item, infallibly. This is the language of waves and radiation, or how the dead speak to the living. And this is where we wait together, regardless of age, our carts stocked with brightly colored goods. A slowly moving line, satisfying, giving us time to glance at the tabloids in the racks. Everything we need that is not food or love is here in the tabloid racks. The tales of the supernatural and the extraterrestrial. The miracle vitamins, the cures for cancer, the remedies for obesity. The cults of the famous and the dead.

"The Colonel's Wife" (from Dancing After Hours) -- Andre Dubus

2005-05-05T07:04:44Z

He wished this night...that he had been perfect, that he had made love with no one since he met Lydia on a blind date in La Jolla. He was a second lieutenant wearing dress blues, the date was for the Marine Corps birthday ball, and while his friend waited in the car, he strode up the long walk to the lighted front door; she was living with her parents still, and he was unabashed by the size of the stone house, its expanse of lawn and accumulation of trees. In his left hand, he held his white gloves and her corsage. He rang the doorbell, then stepped back so she would see the height and breadth of him when she swung open the door. Behind him was the ocean, and he smelled it with every breath. Then she opened the door: she was in a silver gown with a full skirt, he was smelling her perfume, and he looked at her tanned face and arms and golden hair and felt that he was looking at the sun without burning his eyes.

"A Love Song" (from Dancing After Hours) -- Andre Dubus

2005-03-15T07:44:05Z

Her daughters married, and at the receptions she was polite with the woman whose perfume she had smelled years ago as she embraced her husband. The weddings were three years apart, and at both of them she watched the girl in white, and with belief and hope she raised a hand to her slow tears, pressed and brushed them with her fingers as joy spread through her, filling her, so her body felt too small for it, and she deepened her breath to contain it, to compress it, to keep it in place in her heart.

"A Love Song" (from Dancing After Hours) -- Andre Dubus

2005-03-14T05:39:18Z

Call her Catherine. When her heart truly broke, she was thirty-seven years old, she had two teenaged girls, and her husband loved another woman. She smelled the woman's love on his clothes; it was a perfume she could name but did not. Even the woman's name, when she learned it from her husband's lips, was not large enough, only two words for the breath and flesh and voice and blood of only a woman, only part of what she had traced by smell on his sweater one night, his jacket another, and traced by intuition and memory when he was with her and when he was away at his normal times and when he was away on the evenings and weekend days he lied about; and what she had not traced but simply known long before she smelled another's love on him. Had simply known, as a person with a disease may know without giving it a name or even notice, long before its actual symptoms and detection.

The woman's name could not encompass what was happening. Nor could the words love and lie and sorry and you, nor could her own name on his tongue, on the night he told her in the bright light of their kitchen the color of cream, while upstairs their daughters slept. Nor could tears, nor any act of her body, any motion of it: her pacing legs, her gesturing arms, her hands pressing her face. The earth itself was leaving with her sad and pitying husband, was drawing away from her. Stars fell. That was a song, and music would never again be lovely; it was gone with the shattering stars and coldly dying moon, the trees of such mortal green; gone with light itself.

These words in the kitchen, these smoked cigarettes and swallowed brandy, were two hours of her life. What began as the scent of perfume on wool, then frightened and sorrowful ratiocination that led her beyond his infidelity, into the breadth and depth of the river that was their sixteen years of love -- its falls and rushing white water and most of all its long and curving and gentle deep flow that never looked or even felt as dangerous as she now knew it truly was -- ended with not even two hours of truth in the kitchen, for truth took most of the two hours to appear in the yellow-white light, and the gray cirrus clouds of blown and rising and drifting smoke, or perhaps took most of the two hours to achieve. Then it was there, unshadowed, in its final illuminance.

Two hours, she figured with pen and paper and numbers, sitting at one in the morning in the kitchen, weeks later, adding and multiplying and dividing, smoking and drinking not brandy but tea: one hundred and twenty minutes that were six ten-thousandths of one percent of her life from the day of her birth until her husband turned his pale and anguished face and walked out the door, into the summer night.

"White Noise" -- Don DeLillo

2005-01-29T08:23:05Z

"What do you know about Dylar?"

"Is that the black girl who's staying with the Stovers?"

"That's Dakar," Steffie said.

"Dakar isn't her name, it's where she's from," Denise said. "It's a country on the ivory coast of Africa."

"The capital is Lagos," Babette said. "I know that because of a surfer movie I saw once where they travel all over the world."

"The Perfect Wave," Heinrich said. "I saw it on TV."

"But what's the girl's name?" Steffie said.

"I don't know," Babette said, "but the movie wasn't called The Perfect Wave. The perfect wave is what they were looking for."

"They go to Hawaii," Denise told Steffie, "and wait for these tidal waves to come from Japan. They're called origamis."

"And the movie was called The Long Hot Summer," her mother said.

"The Long Hot Summer," Heinrich said, "happens to be a play by Tennessee Ernie Williams."

"It doesn't matter," Babette said, "because you can't copyright titles anyway."

"If she's an African," Steffie said, "I wonder if she ever rode a camel."

"Try an Audi Turbo."

"Try a Toyota Supra."

"What is it camels store in their humps?" Babette said. "Food or water? I could never get that straight."

"There are one-hump camels and two-hump camels," Heinrich told her. "So it depends which kind you're talking about."

"Are you telling me a two-hump camel stores food in one hump and water in the other?"

"The most important thing about camels," he said, "is that camel meat is considered a delicacy."

"I thought that was alligator meat," Denise said.

"Who introduced the camel to America?" Babette said. "They had them out west for a while to carry supplies to coolies who were building the great railroads that met at Ogden, Utah. I remember my history exams."

"Are you sure you're not talking about llamas?" Heinrich said.

"The llama stayed in Peru," Denise said. "Peru has the llama, the vicuña and one other animal. Bolivia has tin. Chile has copper and iron."

"I'll give anyone in this car five dollars," Heinrich said, "if they can name the population of Bolivia."

"Bolivians," my daughter said.

"Zooey" -- J.D. Salinger

2005-01-09T02:54:02Z

Zooey broke off. He stared over at Franny's prostrate, face-down position on the couch, and heard, probably for the first time, the only partly stifled sounds of anguish coming from her. In an instant, he turned pale -- pale with anxiety for Franny's condition, and pale, presumably, because failure had suddenly filled the room with its invariably sickening smell. The color of his pallor, however, was a curiously basic white -- unmixed, that is, with the greens and yellows of guilt or abject contrition. It was very like the standard bloodlessness in the face of a small boy who loves animals to distraction, all animals, and who has just seen his favorite, bunny-loving sister's expression as she opened the box containing his birthday present to her -- a freshly caught young cobra, with a red ribbon tied in an awkward bow around its neck.

"For Esmé--with Love and Squalor" -- J.D. Salinger

2004-12-28T04:00:21Z

"My first name is Esmé. I don't think I shall tell you my full name for the moment. I have a title and you may just be impressed by titles. Americans are, you know."

I said I didn't think I would be, but that it might be a good idea, at that, to hold on to the title for a while.

Just then, I felt someone's warm breath on the back of my neck. I turned around and just missed brushing noses with Esmé's small brother. Ignoring me, he addressed his sister in a piercing treble: "Miss Megley said you must come and finish your tea!" His message delivered, he retired to the chair between his sister and me, on my right. I regarded him with high interest. He was looking very splendid in brown Shetland shorts, a navy-blue jersey, white shirt, and striped necktie. He gazed back at me with immense green eyes. "Why do people in films kiss sideways?" he demanded.

"Sideways?" I said. It was a problem that had baffled me in my childhood. I said I guessed it was because actors' noses are too big for kissing anyone head on.

"His name is Charles," Esmé said. "He's extremely brilliant for his age."

"He certainly has green eyes. Haven't you, Charles?"

Charles gave me the fishy look my question deserved, then wriggled downward and forward in his chair till all of his body was under the table except his head, which he left, wrestler's-bridge style, on the chair seat. "They're orange," he said in a strained voice, addressing the ceiling. He picked up a corner of the tablecloth and put it over his handsome, deadpan little face.

"Sometimes he's brilliant and sometimes he's not," Esmé said.

"Sideways" -- Rex Pickett

2004-12-24T05:06:50Z

After a fitful nap, we cleaned up and drove over to Brothers Restaurant in Los Olivos. Two sibling chefs had taken over Mattei's Tavern, a local landmark, and had transformed it into an unpretentious gourmet restaurant. We got a table in the greenhouse where we were afforded a view of the lighted gardens. We ordered the prime rib, one of their specialties, then I uncorked the '82 and poured it off into a decanter. Jack wondered if it should breathe a while before we drank it, but I explained to him that old wines often radically change in the first hour they're opened and that it's important to track their deterioration, their fading glory.

There wasn't a problem with the '82 fading, however. The wine was so powerfully built at bottling that it still possessed all the necessary components to hold it together. The twenty years had softened it and rounded it and tamed its furred tannins, transforming it into a supple, satiny wine.

We were drinking a memory, one that would be forever associated with the memory of this trip. When I poured the last of the '82 into my glass, it left me gloomy. Maybe it was the moment. Maybe I wanted to tell Jack something I couldn't; whatever it was, it remained forever inchoate, imparting a sadness that even more wine couldn't assuage.

"Goodbye to All That" -- Joan Didion

2004-12-20T20:34:57Z

...quite simply, I was in love with New York. I do not mean "love" in any colloquial way. I mean that I was in love with the city, the way you love the first person who ever touches you and never love anyone quite that way again. I remember walking across Sixty-second Street one twilight that first spring, or the second spring, they were all alike for a while. I was late to meet someone but I stopped at Lexington Avenue and bought a peach and stood on the corner eating it and knew I had come out of the West and reached the mirage. I could taste the peach and feel the soft air blowing from a subway grating on my legs and I could smell lilac and garbage and expensive perfume and I knew that it would cost something sooner or later--because I did not belong there, did not come from there--but when you are twenty-two or twenty-three, you figure that later you will have a high emotional balance, and will be able to pay whatever it costs.

"Lolita" -- Vladimir Nabokov

2004-12-20T02:47:10Z

Thus, neither of us is alive when the reader opens this book. But while the blood still throbs through my writing hand, you are still as much part of blessed matter as I am, and I can still talk to you from here to Alaska. Be true to your Dick. Do not let other fellows touch you. Do not talk to strangers. I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come at him, like black smoke, like a demented giant, and pull him apart nerve by nerve. And do not pity C.Q. One had to choose between him and H.H., and one wanted H.H. to exist at least a couple of months longer, so as to have him make you live in the minds of later generations. I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita.

"Lolita" -- Vladimir Nabokov

2004-12-19T07:39:27Z

I have reserved for the conclusion of my "Annabel" phase the account of our unsuccessful first tryst. One night, she managed to deceive the vicious vigilance of her family. In a nervous and slender-leaved mimosa grove at the back of their villa we found a perch on the ruins of a low stone wall. Through the darkness and the tender trees we could see the arabesques of lighted windows which, when touched up by the colored inks of sensitive memory, appear to me now like playing cards—presumably because a bridge game was keeping the enemy busy. She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us, between the silhouettes of long thing leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct, as if it emitted a faint radiance of its own. Her legs, her lovely live legs, were not too close together, and when my hand located what it sought, a dreamy and eerie expression, half-pleasure, half-pain, came over those childish features. She sat a little higher than I, and whenever in her solitary ecstasy she was led to kiss me, her head would bend with a sleepy, soft, droopy movement that was almost woeful, and her bare knees caught and compressed my wrist, and slackened again; and her quivering mouth, distorted by the acridity of some mysterious potion, with a sibilant intake of breath came near to my face.

...that mimosa grove—the haze of stars, the tingle, the flame, the honey-dew, and the ache remained with me, and that little girl with her seaside limbs and ardent tongue haunted me ever since—until at last, twenty-four years later, I broke her spell by incarnating her in another.

"Lolita" -- Vladimir Nabokov

2004-12-16T04:40:16Z

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.

She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

"The Things They Carried" -- Tim O'Brien

2004-12-06T19:53:45Z

I feel guilty sometimes. Forty-three years old and I'm still writing war stories. My daughter Kathleen tells me it's an obsession, that I should write about a little girl who finds a million dollars and spends it all on a Shetland pony. In a way, I guess, she's right: I should forget it. But the thing about remembering is that you don't forget. You take your material where you find it, which is in your life, at the intersection of past and present. The memory-traffic feeds into a rotary up on your head, where it goes in circles for a while, then pretty soon imagination flows in and the traffic merges and shoots off down a thousand different streets. As a writer, all you can do is pick a street and go for the ride, putting things down as they come at you. That's the real obsession. All those stories.

"Song of Solomon" -- Toni Morrison

2004-11-09T06:57:34Z

Perhaps that's what all human relationships boiled down to: Would you save my life? or would you take it?

"Everybody wants a black man's life."

Yeah. And black men were not excluded. With two exceptions, everybody he was close to seemed to prefer him out of this life. And the two exceptions were both women, both black, both old. From the beginning, his mother and Pilate had fought for his life, and he had never so much as made either of them a cup of tea.

Would you save my life or would you take it? Guitar was exceptional. To both questions he could answer yes.

...

The twilight had thickened and all around them it was getting dark. Milkman moved his hand over her chest and stomach, trying to find the place where she might be hit. "Pilate? You okay?" He couldn't make out her eyes. His hand under her head was sweating like a fountain. "Pilate?"

She sighed. "Watch Reba for me." And then, "I wish I'd a knowed more people. I would of loved 'em all. If I'd a knowed more, I would a loved more."

...

Now he knew why he loved her so. Without ever leaving the ground, she could fly. "There must be another one like you," he whispered to her. "There's got to be at least one more woman like you."

Even as he knelt over her, he knew there wouldn't be another mistake; that the minute he stood up Guitar would try to blow his head off. He stood up.

"Guitar!" he shouted.

Tar tar tar, said the hills.

"Over here, brother man! Can you see me?" Milkman cupped his mouth with one hand and waved the other over his head. "Here I am!"

Am am am am, said the rocks.

"You want me? Huh? You want my life?"

Life life life life.

Squatting on the edge of the other flat-headed rock with only the night to cover him, Guitar smiled over the barrel of his rifle. "My man," he mumured to himself. "My main main." He put the rifle on the ground and stood up.

Milkman stopped waving and narrowed his eyes. He could just make out Guitar's head and shoulders in the dark. "You want my life?" Milkman was not shouting now. "You need it? Here." Without wiping away the tears, taking a deep breath, or even bending his knees--he leaped. As fleet and bright as a lodestar he wheeled toward Guitar and it did not matter which one of them would give up his ghost in the killing arms of his brother. For now he knew what Shalimar knew: If you surrendered to the air, you could ride it.

"The Dead" (from Dubliners) -- James Joyce

2004-11-04T07:03:42Z

She was fast asleep.

Gabriel, leaning on his elbow, looked for a few moments unresentfully on her tangled hair and half-open mouth, listening to her deep-drawn breath. So she had had that romance in her life: a man had died for her sake. It hardly pained him now to think how poor a part he, her husband, had played in her life. He watched her while she slept as though he and she had never lived together as man and wife. His curious eyes rested long upon her face and on her hair: and, as he thought of what she must have been then, in that time of her first girlish beauty, a strange friendly pity for her entered his soul. He did not like to say even to himself that her face was no longer beautiful but he knew that it was no longer the face for which Michael Furey had braved death.

...

The air of the room chilled his shoulders. He stretched himself cautiously along under the sheets and lay down beside his wife. One by one they were all becoming shades. Better pass than fade and wither dismally with age. He thought of how she who lay beside him had locked in her heart for so many years that image of her lover's eyes when he had told her that he did not wish to live.

Generous tears filled Gabriel's eyes. He had never felt like that himself towards any woman but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading into a grey impalpable world: the solid world itself which these dead had one time reared and lived in was dissolving and dwindling.

A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

"The Great Gatsby" -- F. Scott Fitzgerald

2004-11-02T20:07:57Z

I began to like New York, the racy, adventurous feel of it at night and the satisfaction that the constant flicker of men and women and machines gives to the restless eye. I liked to walk up Fifth Avenue and pick out romantic women from the crowd and imagine that in a few minutes I was going to enter into their lives, and no one would ever know or disapprove. Sometimes, in my mind, I followed them to their apartments on the corners of hidden streets, and they turned and smiled back at me before they faded through a door into warm darkness. At the enchanted metropolitan twilight I felt a haunting loneliness sometimes, and felt it in others---poor young clerks who loitered in front of windows waiting until it was time for a solitary restaurant dinner---young clerks in the dusk, wasting the most poignant moments of night and life.

Again at eight o'clock, when the dark lanes of the Forties were five deep with throbbing taxi cabs, bound for the theatre district, I felt a sinking in my heart. Forms leaned together in the taxis as they waited, and voices sang, and there was laughter from unheard jokes, and lighted cigarettes outlined unintelligible gestures inside. Imagining that I, too, was hurrying toward gayety and sharing their intimate excitement, I wished them well.

"The Great Gatsby" -- F. Scott Fitzgerald

2004-11-02T00:46:29Z

"I can't describe how surprised I was to find out I loved her, old sport. I even hoped for a while that she'd throw me over, but she didn't, because she was in love with me too. She thought I knew a lot because I knew different things from her. . . . Well, there I was, way off my ambitions, getting deeper in love every minute, and all of a sudden I didn't care. What was the use of doing great things if I could have a better time telling her what I was going to do?"

On the last afternoon before he went abroad he sat with Daisy in his arms for a long, silent time. It was a cold fall day with fire in the room and her cheeks flushed. Now and then she moved and he changed his arm a little and once he kissed her dark shining hair. The afternoon had made them tranquil for a while as if to give them a deep memory for the long parting the next day promised. They had never been closer in their month of love nor communicated more profoundly with another, than when she brushed silent lips against his coat's shoulder or when he touched the end of her fingers, gently, as though she were asleep.

"A Separate Peace" -- John Knowles

2004-10-28T23:14:13Z

I went back to the Devon School not long ago, and found it looking oddly newer than when I was a student there fifteen years before. It seemed more sedate than I remembered it, more perpendicular and strait-laced, with narrower windows and shinier woodwork, as though a coat of varnish had been put over everything for better preservation. But, of course, fifteen years before there had been a war going on. Perhaps the school wasn't as well kept up in those days; perhaps varnish, along with everything else, had gone to war.

...

I started the long trudge across the fields and had gone some distance before I paid any attention to the soft and muddy ground, which was dooming my city shoes. I didn't stop. Near the center of the fields there were thin lakes of muddy water which I had to make my way around, my unrecognizable shoes making obscene noises as I lifted them out of the mire. With nothing to block it the wind flung wet gusts at me; at any other time I would have felt like a fool slogging through mud and rain, only to look at a tree.

A little fog hung over the river so that as I neared it I felt myself becoming isolated from everything except the river and the few trees beside it. The wind was blowing more steadily here, and I was beginning to feel cold. I never wore a hat, and had forgotten gloves. There were several trees bleakly reaching into the fog. Any one of them might have been the one I was looking for. Unbelievable that there were other trees which looked like it here. It had loomed in my memory as a huge lone spike dominating the riverbank, forbidding as an artillery piece, high as the beanstalk. Yet here was a scattered grove of trees, none of them of any particular grandeur.

Moving through the soaked, coarse grass I began to examine each one closely, and finally identified the tree I was looking for by means of certain small scars rising along its trunk, and by a limb extending over the river, and another thinner limb growing near it. This was the tree, and it seemed to me standing there to resemble those men, the giants of your childhood, whom you encounter years later and find that they are not merely smaller in relation to your growth, but that they are absolutely smaller, shrunken by age. In this double demotion the old giants have become pigmies while you were looking the other way.

The tree was not only stripped by the cold season, it seemed weary from age, enfeebled, dry. I was thankful, very thankful that I had seen it. So the more things remain the same, the more they change after all -- plus c'est la même chose, plus ça change. Nothing endures, not a tree, not love, not even a death by violence.

Changed, I headed back through the mud. I was drenched; anybody could see it was time to come in out of the rain.

"The Sun Also Rises" -- Ernest Hemingway

2004-10-18T02:13:12Z

"Let's get two bottles," I said. The bottles came. I poured a little in my glass, then a glass for Brett, then filled my glass. We touched glasses.

"Bung-o!" Brett said. I drank my glass and poured out another. Brett put her hand on my arm.

"Don't get drunk, Jake," she said. "You don't have to."

"How do you know?"

"Don't," she said. "You'll be all right."

"I'm not getting drunk," I said. "I'm just drinking a little wine. I like to drink wine."

"Don't get drunk," she said. "Jake, don't get drunk."

"Want to go for a ride?" I said. "Want to ride through the town?"

"Right," Brett said. "I haven't seen Madrid. I should see Madrid."

"I'll finish this," I said.

Down-stairs we came out through the first-floor dining-room to the street. A waiter went for a taxi. It was hot and bright. Up the street was a little square with trees and grass where there were taxis parked. A taxi came up the street, the waiter hanging out at the side. I tipped him and told the driver where to drive, and got in beside Brett. The driver started up the street. I settled back. Brett moved close to me. We sat close against each other. I put my arm around her and she rested against me comfortably. It was very hot and bright, and the houses looked sharply white. We turned out onto the Gran Via.

"Oh, Jake," Brett said, "we could have had such a damned good time together."

Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly pressing Brett against me.

"Yes," I said. "Isn't it pretty to think so?"