Connor Leaf

“If you can love someone with your whole heart, even one person, then there's salvation in life. Even if you can't get together with that person.”
― Haruki Murakami, 1Q84

“I like living. I have sometimes been wildly, despairingly, acutely miserable, racked with sorrow; but through it all I still know quite certainly that just to be alive is a grand thing.”
― Agatha Christie

“This was ambiguity: holding on to an empty space between two extremes. “You were hurt, a little, weren’t you?” his wife had asked. “I’m human, after all. I was hurt,” he’d replied. But that wasn’t true. Half of it, at least, was a lie. I wasn’t hurt enough when I should have been, Kino admitted to himself. When I should have felt real pain, I stifled it. I didn’t want to take it on, so I avoided facing up to it. Which is why my heart is so empty now. The snakes have grabbed that spot and are trying to hide their coldly beating hearts there.”
― Haruki Murakami, Men Without Women

“The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity---so much lower than that of daylight---makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again.”
― Richard Adams, Watership Down