The lights flicker and I fall to the ground in the tolling darkness.
It’s deceptively spare and simple in a manner that hides a genius of elegance and grace, which places it in the tradition of Ozu or Rohmer.
I Remember . . .
They’re not meant to last very long, these votives, these penny candles.
The scenes of fall wildflowers seem accidental, and because we’re often alone with them, more intimate.
He went on eating greedily, and saying all the while: ‘How good they are! Do try one!’ It was hard and sour, but, as Poushkin said, the illusion which exalts us is dearer to us than ten thousand truths.
It left me wondering: If attention leads to love, then what is the best way to love a wild thing? And if all living things are connected, what is my human role? How do I play my part?
“We cling to narratives of our association with a local ecosystem, and want to believe that we fight as hard as we can against that ecosystem’s eventual disappearance under a light-blotting alien invasion as if it were our own lives and works at stake. Part of that may be delusory – this ecosystem is not our own, has no love for us, and it is our own force that keeps it from eradicating our efforts and our lifeways.”
His work and his career as a writer seem to embody so much of what I value in art: a desire to shape the way you see the world around you through creativity, but always grounded in an appreciation of the ordinary, the every day. His writing and his thoughts on the writers of his time are full of generosity, sincerity, and a constant questioning examination of life and art.
Over the years, our ideas of what the novel is about have taken on a life of their own, so that now they seem more real in some ways than the original story, and they bear little relation to it.