The only two arguments

The only really effective apologia for Christianity comes down to two arguments, namely the saints the Church has produced and the art which has grown in her womb. Better witness is borne to the Lord by the splendor of holiness and art which have arisen in the community of believers than by the clever excuses which apologetics has come up with to justify the dark sides which, sadly, are so frequent in the Church’s human history. If the Church is to continue to transform and humanize the world, how can she dispense with beauty in her liturgies, that beauty which is so closely linked with love and with the radiance of the Resurrection? No. Christians must not be too easily satisfied. They must make their Church into a place where beauty—and hence truth—is at home. Without this the world will become the first circle of hell....A theologian who does not love art, poetry, music and nature can be dangerous. Blindness and deafness toward the beautiful are not incidental: they necessarily are reflected in his theology.

—Joseph Ratzinger, The Ratzinger Report (1985)

So Few Rememberers

I am an old man now and oftentimes I whisper to myself. I have heard myself whispering things that I didn't know I had ever thought. "Forty years" or "Fifty years" or "Sixty years," I hear myself whispering. My life lengthens. History grows shorter. I remember old men who remembered the Civil War. I have in my mind word-of-mouth memories more than a hundred years old. It is only twenty hundred years since the birth of Christ. Fifteen or twenty memories such as mine would reach all the way back to the halo-light in the manger at Bethlehem. So few rememberers could sit down together in a small room. They could loaf together in the old poolroom up in Port William and talk all of a Saturday night of war and rumors of war.

—Wendell Berry, Jayber Crow (2000)

"I ain't never done nothin' that wasn't part sin"

Al climbed on the load to make room for Ma in the seat. And Al swaggered a little because he was sorry. He plumped down beside Casy and Uncle John. "Well, she was ol'. Guess her time was up," Al said. "Everybody got to die." Casy and Uncle John turned eyes expressionlessly on him and they looked at him as though he were a curious talking bush. "Well, ain't they?" he demanded. And the eyes looked away, leaving Al sullen and shaken.

Casy said in wonder, "All night long, an' she was alone." And he said, "John, there's a woman so great with love—she scares me. Makes me afraid an' mean."

John asked, "Was it a sin? Is they any part of it you might call a sin?"

Casy turned on him in astonishment, "A sin? No, there ain't no part of it that's a sin."

"I ain't never done nothin' that wasn't part sin," said John, and he looked at the long wrapped body.

—John Steinbeck, The Grapes of Wrath (1939)

'unlike most money'

Sitting together on the stools, spoons sticking up out of the coffee mugs. Passing the time of day. And Al, rubbing down his griddle, listening but making no comment. Bing Crosby's voice stops. The turntable drops down and the record swings into its place in the pile. The purple light goes off. The nickel, which has caused all this mechanism to work, has caused Crosby to sing and an orchestra to play—this nickel drops from between the contact points into the box where the profits go. This nickel, unlike most money, has actually done a job of work, has been physically responsible for a reaction.

—John Steinbeck, The Grapes of Wrath (1939)

"It's too much—livin' too many lives."

Al steered with one hand and put the other on the vibrating gear-shift lever. He had difficulty in speaking. His mouth formed the words silently before he said them aloud. "Ma—" She looked slowly around at him, her head swaying a little with the car's motion. "Ma, you scared a goin'? You scared a goin' to a new place?"

Her eyes grew thoughtful and soft. "A little," she said. "Only it ain't like scared so much. I'm jus' a settin' here waitin'. When somepin happens that I got to do somepin—I'll do it."

"Ain't you thinkin' what's it gonna be like when we get there? Ain't you scared it won't be nice like we thought?"

"No," she said quickly. "No, I ain't. You can't do that. I can't do that. It's too much—livin' too many lives. Up ahead they's a thousan' lives we might live, but when it comes, it'll on'y be one. If I go ahead on all of 'em, it's too much. You got to live ahead 'cause you're so young, but—it's jus' the road goin' by for me. An' it's jus' how soon they gonna wanta eat some more pork bones." Her face tightened. "That's all I can do. I can't do no more. All the rest'd get upset if I done any more'n that. They all depen' on me jus' thinkin' about that."

—John Steinbeck, The Grapes of Wrath (1939)

'a real decision makes one humble'

For I am—or I was—one of those people who pride themselves on their willpower, on their ability to make a decision and carry it through. This virtue, like most other virtues, is ambiguity itself. People who believe that they are strong-willed and the masters of their destiny can only continue to believe this by becoming specialists in self-deception. Their decisions are not really decisions at all—a real decision makes one humble, one knows that it is at the mercy of more things than can be named—but elaborate systems of evasion, of illusion, designed to make themselves and the world appear to be what they and the world are not.

—James Baldwin, Giovanni's Room (1956)

'people can't, unhappily, invent their mooring posts'

And these nights were being acted out under a foreign sky, with no one to watch, no penalties attached—it was this last fact which was our undoing, for nothing is more unbearable, once one has it, than freedom. I suppose this was why I asked her to marry me: to give myself something to be moored to. Perhaps this was why, in Spain, she decided that she wanted to marry me. But people can't, unhappily, invent their mooring posts, their lovers and their friends, anymore than they can invent their parents. Life gives these and also takes them away and the great difficulty is to say Yes to life.

—James Baldwin, Giovanni's Room (1956)

About Heaven

This is a book about Heaven. I know it now. It floats among us like a cloud and is the realest thing we know and the least to be captured, the least to be possessed by anybody for himself…

This is, as I said and believe, a book about Heaven, but I must say too that it has been a close call. For I have wondered sometimes if it would not finally turn out to be a book about Hell — where we fail to love one another, where we hate and destroy one another for reasons abundantly provided or for righteousness' sake or for pleasure, where we destroy the things we need the most, where we see no hope and have no faith, where we are needy and alone, where things that ought to stay together fall apart, where there is such a groaning travail of selfishness in all its forms, where we love one another and die, where we must lose everything to know what we have had.

—Wendell Berry, Jayber Crow (2000)

Novels and the Gravest Concern

I don't think you should write something as long as a novel around anything that is not of the gravest concern to you and everybody else and for me this is always the conflict between an attraction for the Holy and the disbelief in it that we breathe in with the air of our times. It's hard to believe always but more so in the world we live in now. There are some of us who have to pay for our faith every step of the way and who have to work out dramatically what it would be like without it and if being without it would be ultimately possible or not.

—Flannery O'Connor, The Habit of Being (letter dated September 13, 1959)

'Then men seemed brave to me, and I was proud to be numbered among them.'

Then I went upstairs and out of the lobby to the mailbox on the corner. It was a little after three o'clock of an incomparable morning. The blue and white of stars and sky were like desert colors, a gentleness so stirring I had to pause and wonder that it could be so lovely. Not a blade of the dirty palms stirred. Not a sound was to be heard.

All that was good in me thrilled in my heart at that moment, all that I hoped for in the profound, obscure meaning of my existence. Here was the endlessly mute placidity of nature, indifferent to the great city; here was the desert beneath these streets, around these streets, waiting for the city to die, to cover it with timeless sand once more. There came over me a terrifying sense of understanding about the meaning and the pathetic destiny of men. The desert was always there, a patient white animal, waiting for men to die, for civilizations to flicker and pass into the darkness. Then men seemed brave to me, and I was proud to be numbered among them. All the evil of the world seemed not evil at all, but inevitable and good and part of that endless struggle to keep the desert down.

—John Fante, Ask the Dust (1939)