'The great fragmentation of maturity.'

One passes imperceptibly from one scene, one age, one life to another. Suddenly, walking down a street, be it real or be it a dream, one realizes for the first time that the years have flown, that all this has passed forever and will live on only in memory; and then the memory turns inward with a strange, clutching brilliance and one goes over these scenes and incidents perpetually, in dream and reverie, while walking a street, while lying with a woman, while reading a book, while talking to a stranger . . . suddenly, but always with terrific insistence and always with terrific accuracy, these memories intrude, rise up like ghosts and permeate every fiber of one’s being. Henceforward everything moves on shifting levels—our thoughts, our dreams, our actions, our whole life. A parallelogram in which we drop from one platform of our scaffold to another. Henceforth we walk split into myriad fragments, like an insect with a hundred feet, a centipede with soft-stirring feet that drinks in the atmosphere; we walk with sensitive filaments that drink avidly of past and future, and all things melt into music and sorrow; we walk against a united world, asserting our dividedness. All things, as we walk, splitting with us into a myriad iridescent fragments. The great fragmentation of maturity. The great change. In youth we were whole and the terror and pain of the world penetrated us through and through. There was no sharp separation between joy and sorrow: they fused into one, as our waking life fuses with dream and sleep. We rose into one being in the morning and at night we went down into an ocean, drowned out completely, clutching the stars and the fever of the day.

—Henry Miller, "The Fourteenth Ward," Black Spring (1963)

'intelligence without traditions'

For a few minutes my father-in-law seemed to soften his judgment (After all, it’s difficult for all of us to orient ourselves in the chaos of the Italian crisis, and I can understand that young men like him find themselves in trouble, especially when they have a desire to act), then he rose to go to his study. But before he disappeared he had a second thought. He paused in the doorway and uttered harshly: But there is doing and doing, Sarratore is intelligence without traditions, he would rather be liked by those in charge than fight for an idea, he’ll become a very useful technocrat. . . . 

. . . I hoped that Adele would find a conciliating phrase that might soothe me, and so I asked: 

“What does it mean that Nino is intelligence without traditions?” 

She looked at me ironically. 

“That he’s no one. And for a person who is no one to become someone is more important than anything else. The result is that this Signor Sarratore is an unreliable person.” 

“I, too, am an intelligence without traditions.” 

She smiled. 

“Yes, you are, too, and in fact you are unreliable.” 

—Elena Ferrante, The Story of the Lost Child (2015, trans. A. Goldstein)

and the canal would still be there too

Again the longest day was past. The days were getting shorter--it was still barely noticeable but we knew it was happening, this summer too would pass. Again the day came to an end, again the bright red above the horizon grew pale, the water in the distance kept its color, but barely, darkness crept up everywhere, out of the earth, now the canal in the distance had vanished in the night. We were gloomy about all the things that had passed, and about our lives, which would end while all these things continued to exist. We would see the days get longer a few more times, then we wouldn't be young anymore. And after that, when the chestnut trees had blossomed red or white a few more times, we would die, in the prime of our lives or maybe as old men, which would be even worse. And the sky would be red again and the canal would still be there too, most likely, gold in the twilight, and they wouldn't notice any difference. 

--Nescio, "The Writing on the Wall," Amsterdam Stories (1913; trans. Damion Searls, 2012)

'so much novelty to feel and learn'

His honest, warm, and intelligent nature shook off rapidly the clouds of ignorance and degradation in which it had been bred; and Catherine's sincere commendations acted as a spur to his industry. His brightening mind brightened his features, and added spirit and nobility to their aspect: I could hardly fancy it the same individual I had beheld on the day I discovered my little lady at Wuthering Heights, after her expedition to the Crags. While I admired, and they laboured, dusk drew on, and with it returned the master. He came upon us quite unexpectedly, entering by the front way, and had a full view of the whole three, ere we could raise our heads to glance at him. Well, I reflected, there was never a pleasanter, or more harmless sight; and it will be a burning shame to scold them. The red fire-light glowed on their two bonny heads, and revealed their faces, animated with the eager interest of children; for, though he was twenty-three, and she eighteen, each had so much novelty to feel and learn, that neither experienced nor evinced the sentiments of sober disenchanted maturity.

—Emily Bronte, Wuthering Heights (1847)

'like young thieves in a glowing orchard'

Rawlins mounted up. You ready? he said.

I been ready.

They rode out along the fenceline and across the open pastureland. The leather creaked in the morning cold. They pushed the horses into a lope. The lights fell away behind them. They rode out on the high prairie where they slowed the horses to a walk and the stars swarmed around them out of the blackness. They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them and they rode at once jaunty and circumspect, like thieves newly loosed in that dark electric, like young thieves in a glowing orchard, loosely jacketed against the cold and ten thousand worlds for the choosing.

--Cormac McCarthy, All the Pretty Horses (1992)

I know nothing of life but despair

I am young, I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly obediently, innocently slay one another. I see that the keenest brains of the world invent weapons and words to make it yet more refined and enduring. And all men of my age, here and over there, throughout the whole world see these things; all my generation is experiencing these things with me. What would our fathers do if we suddenly stood up and came before them and proffered our account? What do they expect of us if a time ever comes when the war is over? Through the years our business has been killing;--it was our first calling in life. Our knowledge of life is limited to death. What will happen afterwards? And what shall come out of us?

--Erich Maria Remarque (trans. A.W. Wheen), All Quiet on the Western Front (1928) 

'the flaming liquor'

Since then Bartley had always thought of the British Museum as the ultimate repository of mortality, where all the dead things in the world were assembled to make one's hour of youth the more precious. One trembled lest before he got out it might somehow escape him, lest he might drop the glass from over-eagerness and see it shivered on the stone floor at his feet. How one hid his youth under his coat and hugged it! And how good it was to turn one's back upon all that vaulted cold, to take Hilda's arm and hurry out of the great door and down the steps into the sunlight among the pigeons—to know that the warm and vital thing within him was still there and had not been snatched away to flush Caesar's lean cheek or to feed the veins of some bearded Assyrian king. They in their day had carried the flaming liquor, but to-day was his!

—Willa Cather, Alexander's Bridge (1912)

'It's small mining—small mining.'

"I can't tell you how to live your life," Samuel said, "although I do be telling you how to live it. I know that it might be better for you to come out from under your might-have-beens, into the winds of the world. And while I tell you, I am myself sifting memories, the way men pan the dirt under a barroom floor for the bits of gold dust that fall between the cracks. It's small mining—small mining. You're too young a man to be panning memories, Adam. You should be getting yourself some new ones, so that the mining will be richer when you come to age."

—John Steinbeck, East of Eden (1952)

'our more gradual and doubtful age'

The age was the Elizabethan; their morals were not ours; nor their poets; nor their climate; nor their vegetables even. Everything was different. The weather itself, the heat and cold of summer and winter, was, we may believe, of another temper altogether. The brilliant amorous day was divided as sheerly from the night as land from water. Sunsets were redder and more intense; dawns were whiter and more auroral. Of our crepuscular half-lights and lingering twilights they knew nothing. The rain fell vehemently, or not at all. The sun blazed or there was darkness. Translating this to the spiritual regions as their wont is, the poets sang beautifully how roses fade and petals fall. The moment is brief they sang; the moment is over; one long night is then to be slept by all. As for using the artifices of the greenhouse or conservatory to prolong or preserve these fresh pinks and roses, that was not their way. The withered intricacies and ambiguities of our more gradual and doubtful age were unknown the them. Violence was all. The flower bloomed and faded. The sun rose and sank. The lover loved and went. And what the poets said in rhyme, the young translated into practice. Girls were roses, and their seasons were short as the flowers'. Plucked they must be before nightfall; for the day was brief and the day was all.

—Virginia Woolf, Orlando (1928)

Do people improve with age?

KOMAROVSKY

Pavel Pavlovich, my chief impression is — and I mean no offense — is that you're very young.

PASHA

M'sieur Komarovsky — I hope I don't offend you: Do people improve with age?

KOMAROVSKY

They grow a little more tolerant.

PASHA

Because they have more to tolerate in themselves. If people don't marry young, what do they bring to their marriage?

KOMAROVSKY

A little experience.

—"Doctor Zhivago," screenplay by Robert Bolt (1965)