'revisiting and rearranging words'

After school, I kept reading and rearranging the words I’d written, trying to understand what the words meant for my understanding of violence. For the first time in my life, I realized telling the truth was way different from finding the truth, and finding the truth had everything to do with revisiting and rearranging words. Revisiting and rearranging words didn’t only require vocabulary; it required will, and maybe courage. Revised word patterns were revised thought patterns. Revised thought patterns shaped memory. I knew, looking at all those words, that memories were there. I just had to rearrange, add, subtract, sit, and sift until I found a way to free the memory.

—Kiese Laymon, Heavy (2018)

'the art of temporal government'

THIRD PRIEST
I see nothing quite conclusive in the art of temporal government,
But violence, duplicity and frequent malservation.
King rules or barons rule:
The strong man strongly and the weak man by caprice.
They have but one law, to seize the power and keep it,
And the steadfast can manipulate the greed and lust of others,
The feeble is devoured by his own.

—T.S. Eliot, Murder in the Cathedral (1935, 4th ed. 1938)

I would rather be wrong with St. Thomas

The priest was a young man of Philipot's age with the light skin of a metis. He preached a very short sermon on some words of St. Thomas the Apostle: "Let us go up to Jerusalem and die with him." He said, "The Church is in the world, it is part of the suffering in the world, and though Christ condemned the disciple who struck off the ear of the high priest's servant, our hearts go out in sympathy to all who are moved to violence by the suffering of others. The Church condemns violence, but it condemns indifference more harshly. Violence can be the expression of love, indifference never. One is an imperfection of charity, the other the perfection of egoism. In the days of fear, doubt and confusion, the simplicity and loyalty of one apostle advocated a political solution. He was wrong, but I would rather be wrong with St. Thomas than right with the cold and the craven. Let us go up to Jerusalem to die with him."

--Graham Greene, The Comedians (1965)

On loving the world.

It is not a terrible thing to love the world, knowing that the world is always passing and irrecoverable, to be known only in loss. To love anything good, at any cost, is a bargain. It is a terrible thing to love the world, knowing that you are a human and therefore joined by kind to all that hates the world and hurries its passing—the violence and greed and falsehood that overcome the world that is meant to be overcome by love.

—Wendell Berry, Jayber Crow (2000)

'What in water did Bloom ... admire?'

What in water did Bloom, waterlover, drawer of water, watercarrier returning to the range, admire?

Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator's projection: its unplumbed profundity in the Sundam trench of the Pacific exceeding 8,000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: its capacity to dissolve and hold in solution all soluble substances including millions of tons of the most precious metals: its slow erosions of peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents: gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs, and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe) numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90% of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon.

—James Joyce, Ulysses (1922)

It's a wish for God to be here, on earth, visible

"You seem upset," he says to me.  

"I am but I don't know why." 

"Those planes." 

"No, I was before." 

"I think I know why," he says.  

"Why." 

"You don't like thinking I have - had - ordinary feelings." 

"I do like it." 

"No, all of you lay people hate it. It makes you anxious, and angry at me. You would rather imagine me as uncontaminated, pure, innocent, whatnot." 

"I do like thinking that one person I know lived without violence," I admit. 

"It's bigger than that," Tom says. "It's existential. It's a wish for God to be here, on earth, visible." 

The war planes seem abandoned. The site they occupy is absolutely without a sign of human life. But the sound of one buzzing in the faraway cut in the air like the shape of a dog. "Don't worry. I won't tell you anything personal," Tom says and speeds up the car. "Give me that water."

-- Fanny Howe, Indivisible (2000)

They's too much freedom, addiction, fear, and violence blinding us from the truth

Purcell said, "World's changed. Time is come when education, self-improvement don't matter. It's come back to a man's got to know what he's good at. Your history will either help or hinder."

Jarhead waved the smoke from his face and said, "History?"

Purcell said, "Your kin. What they done did hoping to make this world a better place. Things your father and grandfather learned you. How to use your hands. Plant a garden. Hunt. Fish. Fight. What some seem to forget is history is now doomed to repeat itself, seeing as ain't nobody learned from their mistakes. Now no one can stop what has started."

Lost, Jarhead asked, "What's started?"

Purcell told him, "We're at the beginning of a violent era. Jobs are gone. Self worth and moral values have been sold. Some, like Alonzo, even prey on children. Film it, take pictures of it, and sell it. They's too much freedom, addiction, fear, and violence blinding us from the truth."

Jarhead crossed his arms across his chest, convinced that Purcell was fifty-two cards shy of a full deck, and asked "What truth?"

Purcell could read Jarhead's expression, his thoughts. "That things have fallen apart. Everything our kin suffered to build is being disassembled. Criminals run everything now, government, everything. Gangsters the only one seeing any profit. We got no jobs, no money, no power, no nothin', nothin' to live for 'cept vice and indulgence. That's how they control us. But it's falling apart. What we got is our land and our machines, our families, and our ability to protect it all, to keep them alive. We got our hands. Ones who'll survive will be the ones can live from the land. Can wield a gun. Those folks'll fight for what little they've got. They'll surprise the criminals with their own savagery. Man, woman, and child will be tested. Others'll be too weak and scared. Uneducated in common sense. Won't know what's happened. But believe me, war is coming."

 -- Frank Bill, Donnybrook (2013)

He covered his life with a veil

Young Adam was always an obedient child. Sometimes in him shrank from violence, from contention, from the silent shrieking tensions that can rip at a house. He contributed to the quiet he wished for by offering no violence, no contention, and to do this he had to retire into secretness, since there is some violence in everyone. He covered his life with a veil of vagueness, while behind his quiet eyes a rich full life went on. This did not protect him from assault but it allowed him an immunity.

—John Steinbeck, East of Eden (1952)

Maybe Awful Things Is How God Speaks To Us

Vernon studied his father in the milky light, searching for something in his face, or the way he held his body, that was evidence of the good man he knew as a child. If God didn't want Mr. Augusto dead, why'd he let Pop kill him? With all the killing in the world, did one more man really matter?

Vernon crossed the room and crawled from the shimmering cavern. Maybe awful things is how God speaks to us, Vernon thought, trudging up the lightless tunnel.  Maybe folks don't trust in good things no more. Maybe awful things is all God's got to remind us he's alive. Maybe war is God come to life in men. Vernon pushed on toward the light of day. He stepped out onto the ledge and into the heat, and it felt like leaving a theater after the matinee had shown a sad film, the glare of sunshine after the darkness far too real to suffer.

--Alan Heathcock, "Smoke," Volt (2011)