Michael D. O'Brien

When his wife died, for a while it was the end of the world, because part of him had died with her. As the long, slow recovery proceeded, he had gratefully and guiltily accepted the return of equilibrium. But he had not paid attention to a parallel phenomenon: his reversion to what he had been before his marriage. Though changed by whatever he had learned during their years together, and by whatever healing had taken place, he had fallen back into the old patterns of withdrawal. Nursing the dreadful wound of her absence, he had failed to notice the subtler void opening up within himself.

Tell me, Anna, if man is capable of projecting his belief onto the cosmos, isn't it possible by the same token, that he can project his unbelief onto the cosmos?

Children need to see that they are part of a history and that the story of their family is a living thing. God tells it, a new story in each generation, and each must hold hands across the sea of time, joining together the ones who went before and the ones who come after. It is given from above. Little do we understand this in the beginning, but time teaches us many things we did not expect to learn. That is life. It is the same everywhere.

The mountains are intimations of transcendence, which he is now free to pursue, and the walking writes messages in every cell of his body, telling him that he is not locked inside a cement box, nor in a water drum, but is moving forward.

Social pressure is the fascism of the democracies. Fascism is the democracy of the ruthless. Social engineering is the opiate of romantic intellectuals.

Yet he saw that in all places there was originality, resulting from the human efforts at decoration and ingenious methods of survival.

[T]he reason why Shakespeare and Pushkin were great writers was because from the time when they were boys they stood like policemen over their thoughts and didn't allow one small insincerity to creep in.

No true love is possible, Lewis demonstrates, until we abandon our claims, our rights, our grievances. Until then we will be trapped in the obscurity of our heart's mixed motives, our will to possess, to control, to be our own gods.

The poet who sees himself as a hero or a prophet, or a priest of the socio-political forces to which he is loyal, which he believes are the historical necessities of his times, too easily becomes a puppet. He has no external measure with which to assess reality. Whether he submits to the forces or rejects them, he becomes a parody of himself, and then without knowing it submits his gifts to the demons of his era. He loses his place in the continuity of time. He becomes dependent on social affirmation and the drug of exalted feelings common to all revolutionaries. He destroys, even as he thinks he creates.