Sunday, January 20
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"I open this book and smoke pours out, I open this book and a bad sleet slices my face, I open this book: brass knuckles, I open this book: the spiky scent of curry, I open this book and hands grab forcefully onto my hair as if in violent sex, I open this book: the wing beat of a seraph, I open this book: the edgy cat-pain wailing of the damned thrusts up in a column as sturdy around as a giant redwood, I open this book: the travel of light, I open this book and it's as damp as a wound, I open this book and I fall inside it farther than any physics, stickier than the jelly we scrape from cracked bones, cleaner than what we tell our children in the dark when they're afraid to close their eyes at night."
 - Albert Goldbarth
from Library
Saving Lives



Saturday, January 19
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"When we read, we are not looking for new ideas, but to see our own thoughts given the seal of confirmation on the printed page. The words that strike us are those that awake an echo in a zone we have already made our own - the place where we live - and the vibration enables us to find fresh starting points within ourselves."
 - Cesare Pavese
This Business of Living



Friday, January 18
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"The whole business of what's reality and what isn't has never been solved and probably never will be. So I don't care to be too definite about anything. I have a lot of edges called Perhaps and almost nothing you can call Certainty. For myself, but not for other people. That's a place you just can't get into, not entirely anyway, other people's heads. I'll just leave you with this. I don't care how many angels can dance on the head of a pin. It's enough to know that for some people they exist, and that they dance."
 - Mary Oliver
commonplace



Thursday, January 17
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" ... for just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he - the good, the excellent reader - who has saved the artist again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and 'skip descriptions.' The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas: he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliché); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be enjoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed, of all the characters that a great artist creates, his readers are the best."
 - Vladimir Nabokov



Tuesday, January 15
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"Of all man's instruments, the most wondrous, no doubt, is the book. The other instruments are extensions of his body. The microscope, the telescope, are extensions of his sight; the telephone is the extension of his voice; then we have the plow and the sword, extensions of the arm. But the book is something else altogether: the book is an extension of memory and imagination."
 - Jorge Luis Borges



Monday, January 14
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"There is something else which has the power to awaken us to the truth. It is the works of writers of genius, or at least those with genius of the very first order and when it has reached its full maturity. They give us, in the guise of fiction, something equivalent to the actual density of the real, that density which life offers us every day but which we are unable to grasp because we are amusing ourselves with lies."
 - Simone Weil



Sunday, January 13
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"Where words come from, into consciousness, baffles me. Speaking or writing, the words bounce instantaneously into their context, and I am victimized by them, rather than controlling them. They do not wait for my selection; they volunteer. True, I can reject them, but my whole way of writing induces easy acceptance - at first - of any eager volunteer. I want to talk about these volunteers, but first want to consider another reason for trying carefully to set the record straight, about attitudes toward language. The point concerns how a writer feels about language, in general. Many opine that a writer, and particularly a poet, for some reason, must love language; often there is even a worshipful attitude assumed. I have noticed this assumption with particular attention because it happens that insofar as I can assess my own attitudes in relation to others I have an unusually intense distrust of language. What people say or write comes to me attenuated or thinned by my realization that talk merely puts into the air an audio counterpart of mysterious, untrustworthy, confused events in the creature making the sounds. Truth, or wonder, or any kind of imaginative counterpart of absolute realities - these I certainly do not expect in human communication."
 - William Stafford
Writing the Australian Crawl



Saturday, January 12
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"I will read long books and the journals of dead writers. I will feel closer to them than I ever felt to people I used to know before I withdrew from the world. It will be sweet and cool this friendship of mine with dead poets, for I won't have to touch them or answer their questions. They will talk to me and not expect me to answer. And I'll get sleepy listening to their voices explaining the mysteries to me. I'll fall asleep with the book still in my fingers, and it will rain."
 - Tennessee Williams
27 Wagons Full of Cotton



Friday, January 11
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"I have just stood before the open window of my bedroom and I have breathed in deeply all the honeysuckle-perfumed air, the sunshine, the snowdrops of winter, the crocuses of spring, the primroses, the crooning pigeons, the trills of the birds, the entire procession of soft winds and cool smells, of frail colors and petal-textured skies, the knotted snake greys of old vine roots, the vertical shoots of young branches, the dank smell of old leaves, of wet earth, of torn roots, and fresh-cut grass, winter, summer, and fall, sunrises and sunsets, storms and lulls, wheat and chestnuts, wild strawberries and wild roses, violets and damp logs, burnt fields and new poppies."
 - Anaïs Nin
The Diary of Anaïs Nin
Volume 1



Thursday, January 10
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"Bear with me, wise readers, in that I've chosen no form for the Book of Mind Because everything has no form, and when you've finished reading this book you will have had a glimpse of everything, presented in the way that everything comes: in piecemeal bombardments, continuously, rat tat tatting the pure pictureless liquid of Mind essence."
 - Jack Kerouac



Wednesday, January 9
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"When I write I am trying to express my way of being in the world. This is primarily a process of elimination: once you have removed all the dead language, the second-hand dogma, the truths that are not your own but other people's, the mottos, the slogans, the out-and-out lies of your nation, the myths of your historical moment - once you have removed all that warps experience into a shape you do not recognize and do not believe in - what you are left with is something approximating the truth of your own conception."
 - Zadie Smith
advice to writers



Tuesday, January 8
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"In preparing this memoir, I have stuck to facts except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it. Wherever liberties have been taken with names, dates, places, events and conversations, or with the identities, motivations and interrelationships of family members and historical passages, the reader is assured that they have been taken with due abandon.

In a weird way, it's a memoir of not my life, but my imaginative life, like a history of my imagination."
 - Michael Chabon
Author's Note
Moonglow



Sunday, January 6
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There's nothing like what is

fragile and momentary
as the pale yellow light along the windowsill
in winter north
of nowhere yet
if not for winter, nothing
would get done

would finally get done

I've been all around this world

and not to die in hell
not to die in the flames of hell homeless with a cell phone
please

There's nothing like today

And contributing one's atoms to the green universe
how strange is that
 - Franz Wright
from Shaving in the Dark
Walking to Martha's Vineyard



Saturday, January 5
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"Mystery, I'd read somewhere, is not the absence of meaning, but the presence of more meaning than we can comprehend."
 - Dennis Covington



Friday, January 4
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"It is still the first week in January, and I've got great plans. I've been thinking about seeing. There are lots of things to see, unwrapped gifts and free surprises. The world is fairly studded and strewn with pennies cast broadside from a generous hand. But - and this is the point - who gets excited by a mere penny? If you follow one arrow, if you crouch motionless on a bank to watch a tremulous ripple thrill on the water and are rewarded by the sight of a muskrat kid paddling from its den, will you count that sight a chip of copper only, and go your rueful way? It is dire poverty indeed when a man is so malnourished and fatigued that he won't stoop to pick up a penny. But if you cultivate a healthy poverty and simplicity, so that finding a penny will literally make your day, then, since the world is in fact planted in pennies, you have with your poverty bought a lifetime of days. It is that simple. What you see is what you get."
 - Annie Dillard
Pilgrim at Tinker Creek
running after my hat



Thursday, January 3
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"You are about to begin reading Italo Calvino's new novel, If on a Winter's Night a Traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell the others right away, "No, I do not want to watch TV!" Raise your voice - they will not hear you otherwise - "I'm reading! I do not want to be disturbed!" Maybe they have not heard you, with all that racket; speak louder, yell: "I'm beginning to read Italo Calvino's new novel!" Or if you prefer, do not say anything; just hope they'll leave you alone.
Find the most comfortable position: seated, stretched out, curled up, or lying flat. Flat on your back, on your side, on your stomach. In an easy chair, on the sofa, in the rocker, the deck chair, on the hassock. In the hammock, if you have a hammock. On top of your bed, of course, or in the bed. You can even stand on your hands, head down, in the yoga position. With the book upside down, naturally.
Of course, the ideal position for reading is something you can never find. In the old days they used to read standing up, at a lectern. People were accustomed to staying on their feet, without moving. They rested like that when they were tired of horseback riding. Nobody ever thought of reading on horseback: and yet now the idea of sitting in the saddle, the book propped against the horse's mane, or maybe tied to the horse's ear with a special harness, seems attractive to you. With your feet in the stirrups, you should feel quite comfortable for reading; having your feet up is the first condition for enjoying a read.
Well, what are you waiting for? Stretch your legs, go ahead and put your feet on a cushion, on two cushions, on the arms of the sofa, on the wings of the chair, on the coffee table, on the desk, on the piano, on the globe. Take your shoes off first. If you want to, put your feet up; if not, put them back. Now don't just stand there with your shoes in one hand and the book in the other."
 - Italo Calvino
If on a Winter's Night a Traveler



Wednesday, January 2
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"I dedicate this narrative to dear old Schumann and his beloved Clara who are now, alas, nothing but dust and ashes. I dedicate it to the deep crimson of my blood as someone in his prime. I dedicate it, above all, to those gnomes, dwarfs, sylphs, and nymphs who inhabit my life. I dedicate it to the memory of my years of hardship when everything was more austere and honorable, and I had never eaten lobster. I dedicate it to the tempest of Beethoven. To the vibrations of Bach's neutral colors. To Chopin who leaves me weak. To Stravinsky who terrifies me and makes me soar in flames. To Death and Transfiguration, in which Richard Strauss predicts my fate. Most of all, I dedicate it to the day's vigil and to day itself, to the transparent voice of Debussy, to Marlos Nobre, to Prokofiev, to Carl Orff and Schoenberg, to the twelve-tone composers, to the strident notes of an electronic generation - to all those musicians who have touched within me the most alarming and unsuspected regions; to all those prophets of our age who have revealed me to myself and made me explode into: me. This me that is you, for I cannot bear to be simply me, I need others in order to stand up, giddy and awkward as I am, for what can one do except meditate in order to plunge into that total void which can only be attained through meditation. Meditation need not bear fruit: meditation can be an end in itself. I meditate without words or themes. What troubles my existence is writing.

And we must never forget that if the atom's structure is invisible, it is none the less real. I am aware of the existence of many things I have never seen. And you too. One cannot prove the existence of what is most real but the essential thing is to believe. To weep and believe. This story unfolds in a state of emergency and public calamity. It is an unfinished book because it offers no answer. An answer I hope someone somewhere in the world may be able to provide. You perhaps? It is a story in technicolor to add a touch of luxury, for heaven knows, I need that too. Amen for all of us."
 - Clarice Lispector
translated by Giovanni Pontiero
The Author's Dedication
The Hour of the Star



Tuesday, January 1
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"This year, mend a quarrel. Seek out a forgotten friend. Dismiss suspicion and replace it with trust. Write a letter. Give a soft answer. Encourage youth. Keep a promise. Forgo a grudge. Forgive an enemy. Apologize. Try to understand. Examine your demands on others. Think first of someone else. Be kind. Be gentle. Laugh a little more. Express your gratitude. Welcome a stranger. Gladden the heart of a child. Take pleasure in the beauty and wonder of the earth. Speak your love and then speak it again."
 - Howard W. Hunter
thrive



"Let there be a calming of the clamoring, a stilling of the voices that have laid their claim on you, that have made their home in you, that go with you even to the holy places but will not let you rest, will not let you hear your life with wholeness or feel the grace that fashioned you.
Let what distracts you cease. Let what divides you cease. Let there come an end to what diminishes and demeans, and let depart all that keeps you in its cage.
Let there be an opening into the quiet that lies beneath the chaos, where you find the peace you did not think possible and see what shimmers within the storm."
 - Jan Richardson
(thank you John)









  • ". . . as I have said often enough, I write for myself in multiplicate,
    a not unfamiliar phenomenon on the horizon of shimmering deserts."
    - Vladimir Nabokov