longer passages for imitation

As to just what this ineffable quality was . . . well, it obviously involved bravery. But it was not bravery in the simple sense of being willing to risk your life. The idea seemed to be that any fool could do that, if that was all that was required, just as any fool could throw away his life in the process. No, the idea here (in the all-enclosing fraternity) seemed to be that a man should have the ability to go up in a hurtling piece of machinery and put his hide on the line and then have the moxie, the reflexes, the experience, the coolness, to pull it back in the last yawning moment—and then to go up again the next day, and the next day, and every next day, even if the series should prove infinite—and, ultimately, in its best expression, do so in a cause that means something to thousands, to a people, a nation, to humanity, to God. Nor was there a test to show whether or not a pilot had this righteous quality. There was, instead, a seemingly infinite series of tests. A career in flying was like climbing one of those ancient Babylonian pyramids made up of a dizzy progression of steps and ledges, a ziggurat, a pyramid extraordinarily high and steep; and the idea was to prove at every foot of the way up that pyramid that you were one of the elected and anointed ones who had the right stuff and could move higher and higher and even—ultimately, God willing, one day—that you might be able to join that special few at the very top, that elite who had the capacity to bring tears to men’s eyes, the very Brotherhood of the Right Stuff itself.

—Tom Wolfe, The Right Stuff, pp. 18-19

No, she thought, putting together some of the pictures he had cut out—a refrigerator, a mowing machine, a gentleman in evening dress—children never forget. For this reason, it was so important what one said, and what one did, and it was a relief when they went to bed. For now she need not think about anybody. She could be herself, by herself. And that was what now she often felt the need of—to think; well, not even to think. To be silent; to be alone. All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others. Although she continued to knit, and sat upright, it was thus that she felt herself; and this self having shed its attachments was free for the strangest adventures when life sank down for a moment, the range of experience seemed limitless. And to everybody there was always this sense of unlimited resources, she supposed; one after another, she, Lily, Augustus Carmichael, must feel, our apparitions, the things you know us by, are simply childish. Beneath it is all dark, it is all spreading, it is unfathomably deep; but now and again we rise to the surface and that is what you see us by. Her horizon seemed to her limitless. There were all the places she had not seen; the Indian plains; she felt herself pushing aside the thick leather curtain of a church in Rome. This core of darkness could go anywhere, for no one saw it. They could not stop it, she thought, exulting. There was freedom, there was peace, there was, most welcome of all, a summoning together, a resting on a platform of stability. Not as oneself did one find rest ever, in her experience (she accomplished here something dexterous with her needles) but as a wedge of darkness. Losing personality, one lost the fret, the hurry, the stir; and there rose to her lips always some exclamation of triumph over life when things came together in this peace, this rest, this eternity; and pausing there she looked out to meet the stroke of the Lighthouse, the long ready stroke, the last of the three, which was her stroke, for watching them in this mood always at this hour one could not help attaching oneself to one thing especially of the things one saw; and this thing, the long steady stroke, was her stroke. Often she found herself sitting and looking, sitting and looking, with her work in her hands until she became the thing she looked at—that light, for example. And it would lift up on it some little phrase or other which had been lying in her mind like that—“Children don’t forget, children don’t forget”—which she would repeat and begin adding to it, It will end, it will end, she said. It will come, it will come, when suddenly she added, We are in the hands of the Lord.

—Virginia Woolf, To the Lighthouse, pp. 95-7

When the twilights got long in June I forced myself to eat dinner in the living room, where the light was. After John died I had begun eating by myself in the kitchen (the dining room was too big and the table in the living room was where he had died), but when the long twilights came I had a strong sense that he would want me to see the light. As the twilights began to shorten I retreated again to the kitchen. I began spending more evenings alone at home. I was working, I would say. By the time August came I was in fact working, or trying to work, but i also wanted not to be out, exposed. One night I found myself taking from the cupboard not one of the plates I normally  used but a crackled and worn Spode plate, from a set mostly broken or chipped, in a pattern no longer made, “Wickerdale.” This had been a set of dishes, cream with a garland of small rose and blue flowers and ecru leaves, that John’s mother had given him for the apartment he rented on East Sevety-third Street before we were married. John’s mother was dead. John was dead. And I still had, of the “Wickerdale” Spode, four dinner plates, five salad plates, three butter plates, a single coffee cup, and nine saucers. I came to prefer these dishes to all others. By the end of the summer I was running the dishwasher a quarter full just to make sure that at least one of the four “Wickerdale” dinner plates would be clean when I needed it.

– Joan Didion, The Year of Magical Thinking, pp. 163-164