There was an ocean above us, held in by a thin sac that might rupture and let down a flood at any second.

What good were fate and fortune anyway? If there was some sort of plan she was supposed to follow, it was unreadable to her and impossible to stick to. She was tired of fate, which was probably just a made-up concept invented by humans to feel like something or someone was guiding them anyway. God, spirits, cookies, whatever. She was so sick of buying into the idea that there was actually meaning behind any of this. It was just her, blind and alone, making a mess of her life on her own, thank you very much.

She loved him, and she was going to do everything she could to get him back. She hadn__ come this far just to walk away. He was the love of her life, dammit. The man she wanted to marry. The world had reversed its orbit to bring them back together, for Pete__ sake, and she wasn__ going down without a fight. Fate could only do so much; the rest was up to her.

No matter how many good deeds we preform, they aren__ the ticket to earning God__ favor. God graces us in spite of what we do in this life, not because of.

View Conflict as an Adventure not a threat.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.