Joe K

“I have never been one of those people—I know you aren’t, either—who feels that the love one has for a child is somehow a superior love, one more meaningful, more significant, and grander than any other. I didn’t feel that before Jacob, and I didn’t feel that after. But it is a singular love, because it is a love whose foundation is not physical attraction, or pleasure, or intellect, but fear. You have never known fear until you have a child, and maybe that is what tricks us into thinking that it is more magnificent, because the fear itself is more magnificent. Every day, your first thought is not “I love him” but “How is he?” The world, overnight, rearranges itself into an obstacle course of terrors. I would hold him in my arms and wait to cross the street and would think how absurd it was that my child, that any child, could expect to survive this life. It seemed as improbable as the survival of one of those late-spring butterflies—you know, those little white ones—I sometimes saw wobbling through the air, always just millimeters away from smacking itself against a windshield. And let me tell you two other things I learned. The first is that it doesn’t matter how old that child is, or when or how he became yours. Once you decide to think of someone as your child, something changes, and everything you have previously enjoyed about them, everything you have previously felt for them, is preceded first by that fear. It’s not biological; it’s something extra-biological, less a determination to ensure the survival of one’s genetic code, and more a desire to prove oneself inviolable to the universe’s feints and challenges, to triumph over the things that want to destroy what’s yours. The second thing is this: when your child dies, you feel everything you’d expect to feel, feelings so well-documented by so many others that I won’t even bother to list them here, except to say that everything that’s written about mourning is all the same, and it’s all the same for a reason—because there is no real deviation from the text. Sometimes you feel more of one thing and less of another, and sometimes you feel them out of order, and sometimes you feel them for a longer time or a shorter time. But the sensations are always the same. But here’s what no one says—when it’s your child, a part of you, a very tiny but nonetheless unignorable part of you, also feels relief. Because finally, the moment you have been expecting, been dreading, been preparing yourself for since the day you became a parent, has come. Ah, you tell yourself, it’s arrived. Here it is. And after that, you have nothing to fear again.”
― Hanya Yanagihara, A Little Life

“He steps back, still looking. In the painting, Willem's torso is directed toward the viewer, but his face is turned to the right so that he is almost in profile, and he is leaning towards something or someone and smiling. And because he knows Willem's smiles, he knows that Willem has been captured looking at something he loves, he knows Willem in that instant is happy. Willem's face and neck dominate the canvas and although the background is suggested rather than shown, he knows that Willem is at their table. He knows it from the way that JB has drawn the light and shadows on Willem's face. He has the sense that if he says Willem's name that the face in the painting will turn toward him and answer; he has the sense that if he stretches his hand out and strokes the canvas he will feel beneath his fingertips Willem's hair, his fringe of eyelashes.
But he doesn't do this, of course, just looks up at last and sees JB smiling at him, sadly. "The title card's been mounted already," JB says, and he goes slowly to the wall behind the painting and sees its title - "Willem Listening to Jude Tell a Story, Greene Street"-and he feels his beneath abandon him; it feels as if his heart is made of something oozing and cold, like ground meat, and it is being squeezed inside a fist so that chunks of it are falling, plopping to the ground near his feet.”
― Hanya Yanagihara, A Little Life

“And now he is once again finding life more and more difficult, each day a little less possible than the last. In his every day stands a tree, black and dying, with a single branch jutting to its right, a scarecrow's sole prosthetic, and it is from this branch that he hangs. Above him a rain is always misting, which makes the branch slippery. But he clings to it, as tired as he is, because beneath him is a hole bored into the earth so deep that he cannot see where it ends. He is petrified to let go because he will fall into the hole, but eventually he knows he will, he knows he must: he is so tired. His grasp weakens a bit, just a little bit, with every week.
So it is with guilt and regret, but also with a sense of inevitability, that he cheats on his promise to Harold.”
― Hanya Yanagihara, A Little Life

“he realizes that this is the way it is, the way it must be: you don’t visit the lost, you visit the people who search for the lost.”
― Hanya Yanagihara, A Little Life