CarolineB

“I never met a soul in this world as normal as me.”
― Larry McMurtry, Lonesome Dove

“Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what happens if the organization is much more complex than tick-tock? Suppose, for instance, that it is a thousand-page novel. Then it obviously will not lie within what is called our 'temporal horizon'; to maintain the experience of organization we shall need many more fictional devices. And although they will essentially be of the same kind as calling the second of those two related sounds tock, they will obviously be more resourceful and elaborate. They have to defeat the tendency of the interval between tick and tock to empty itself; to maintain within that interval following tick a lively expectation of tock, and a sense that however remote tock may be, all that happens happens as if tock were certainly following. All such plotting presupposes and requires that an end will bestow upon the whole duration and meaning. To put it another way, the interval must be purged of simple chronicity, of the emptiness of tock-tick., humanly uninteresting successiveness. It is required to be a significant season, kairos poised between beginning and end. It has to be, on a scale much greater than that which concerns the psychologists, an instance of what they call 'temporal integration'--our way of bundling together perception of the present, memory of the past, and expectation of the future, in a common organization. Within this organization that which was conceived of as simply successive becomes charged with past and future: what was chronos becomes kairos. This is the time of the novelist, a transformation of mere successiveness which has been likened, by writers as different as Forster and Musil, to the experience of love, the erotic consciousness which makes divinely satisfactory sense out of the commonplace person.”
― Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction

“. . . But experience has taught me that you cannot value dreams according to the odds of their coming true. Their real value is in stirring within us the will to aspire. That will, wherever it finally leads, does at least move you forward. And after a time you may recognize that the proper measure of success is not how much you've closed the distance to some far-off goal but the quality of what you've done today.”
― Sonia Sodamayor, My Beloved World

“The great majority of interpretations of Apocalypse assume that the End is pretty near. Consequently the historical allegory is always having to be revised; time discredits it. And this is important. Apocalypse can be disconfirmed without being discredited. This is part of its extraordinary resilience. It can also absorb changing interests, rival apocalypses, such as the Sibylline writings. It is patient of change and of historiographical sophistications. It allows itself to be diffused, blended with other varieties of fiction--tragedy, for example, myths of Empire and of Decadence--and yet it can survive in very naïve forms. Probably the most sophisticated of us is capable at times of naïve reactions to the End.”
― Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction