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The COUNTRY OF TH...
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“Our songs travel the earth. We sing to one another. Not a single note is ever lost and no song is original. They all come from the same place and go back to a time when only the stones howled.”
Louise Erdrich, The Master Butchers Singing Club

“As Delphine watched, into her head there popped a strange notion: the idea that perhaps strongly experienced moments, as when Eva turned and the sun met her hair and for that one instant the symbol blazed out, those particular moments were eternal. Those moments actually went somewhere. Into a file of moments that existed out of time's range and could not be pilfered by God.”
Louise Erdrich, The Master Butchers Singing Club

A.S. Byatt
“There are readings—of the same text—that are dutiful, readings that map and dissect, readings that hear a rustling of unheard sounds, that count grey little pronouns for pleasure or instruction and for a time do not hear golden or apples. There are personal readings, which snatch for personal meanings, I am full of love, or disgust, or fear, I scan for love, or disgust, or fear. There are—believe it—impersonal readings—where the mind's eye sees the lines move onwards and the mind's ear hears them sing and sing.

Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.”
A.S. Byatt, Possession

Marilynne Robinson
“So perhaps the very idea of explanation is an error of anthropomorphism when it is applied to things that do not involve human intention.”
Marilynne Robinson

A.S. Byatt
“It is possible for a writer to make, or remake at least, for a reader, the primary pleasures of eating, or drinking, or looking on, or sex. Novels have their obligatory tour-de-force, the green-flecked gold omelette aux fines herbes, melting into buttery formlessness and tasting of summer, or the creamy human haunch, firm and warm, curved back to reveal a hot hollow, a crisping hair or two, the glimpsed sex. They do not habitually elaborate on the equally intense pleasure of reading. There are obvious reasons for this, the most obvious being the regressive nature of the pleasure, a mise-en-abîme even, where words draw attention to the power and delight of words, and so ad infinitum, thus making the imagination experience something papery and dry, narcissistic and yet disagreeably distanced, without the immediacy of sexual moisture or the scented garnet glow of a good burgundy. And yet, natures such as Roland's are at their most alert and heady when reading is violently yet steadily alive. (What an amazing word "heady" is, en passant, suggesting both acute sensuous alertness and its opposite, the pleasure of the brain as opposed to the viscera—though each is implicated in the other, as we know very well, with both, when they are working.)”
A.S. Byatt, Possession

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