…a life which disappears once and for all, which does not return, is like a shadow, without weight, dead in advance, and whether it was horrible, beautiful, or sublime, its horror, sublimity, and beauty mean nothing.
There are wounds that never show on the body that are deeper and more hurtful than anything that bleeds.
Laurell K. Hamilton
it’s only september. i don’t know how many seasons i will be allowed to love you yet.
what i do know is that you have flown one thousand miles to stand in my kitchen, dropping chocolate chips into pumpkin pancakes
—like arranging freckles for the face of a perfect child.
“A Simple Love Poem”, Megan Falley
When you are living in a house where guilt is alive, it leaves a mark.
And when you are living in an atmosphere of daily, ever-present guilt, what does that do to children? It changes their souls.
i think a lot about your eyes
…and how painful it is to be
in a room full of people with such
empty pockets and words that are
so heavy i cannot lift them from
you are the greatest secret
if i could i would hold you between
my hands like morning.
if we are the same person before and after we loved, it means we haven’t loved enough.
“Our day-to-day life is bombarded with fortuities or, to be more precise, with the accidental meetings of people and events we call coincidences. “Co-incidence” means that two events unexpectedly happen at the same time, they meet: Tomas appears in the hotel restaurant at the same time the radio is playing Beethoven. We do not even notice the great majority of such coincidences. If the seat Tomas occupied had been occupied instead by the local butcher, Tereza never would have noticed that the radio was playing Beethoven… But her nascent love inflamed her sense of beauty, and she would never forget that music. Whenever she heard it, she would be touched. Everything going on around her at that moment would be haloed by the music and take on its beauty.
…Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition—the same motif appears at the beginning and at the end—may seem quite “novelistic” to you, and I am willing to agree, but only on condition that you refrain from reading such notions as “fictive,” “fabricated,” and “untrue to life” into the word “novelistic.” Because human lives are composed in precisely such a fashion.
They are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven’s music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual’s life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress.
It is wrong, then, to chide the novel for being fascinated by mysterious coincidences… but it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life of a dimension of beauty.”