Jeannine

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The Magic of Math...
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Marjorie Celona
“Y
That perfect letter. The wishbone, fork in the road, empty wineglass. The question we ask over and over. Why? Me with my arms outstretched, feet in first position. The chromosome half of us don't have. Second to last in the alphabet: almost there. Coupled with an L, let's make an adverb. A modest X, legs closed. Y or N? Yes, of course. Upside-down peace sign. Little bird tracks in the sand.

Y, a Greet letter, joined the Latin alphabet after the Romans conquered Greece in the first century -- a double agent: consonant and vowel. No one used adverbs before then, and no one was happy.”
Marjorie Celona, Y

Laurie Colwin
“How simple it could be! The answer to the problem of being anything was being it. How admirable Teddy was! From the ashes of his broken childhood he had formed a decision to be a cheerful person, a do-gooding scientific type with knowledge of English literature. That he had undercurrents of sadness as long and deep as a river was not the point. He had claimed a territory for himself and did not think too much about the complications.”
Laurie Colwin, A Big Storm Knocked It Over

Elizabeth McCracken
“I’m so sorry,” he said, because after Pamela died, he promised himself that if anyone told him the smallest, saddest story, he would answer, I’m so sorry. Meaning, Yes, that happened. You couldn't believe the people who believed that not mentioning sadness was a kind of magic that could stave off the very sadness you didn't mention – as though grief were the opposite of Rumpelstiltskin and materialized only at the sound of its own name.”
Elizabeth McCracken, Thunderstruck & Other Stories

Laurie Colwin
“She said that my good qualities were my bad qualities -- this I have come to realize is true of everyone. On the one hand, I was game, eager and perfectly ready to see what was in front of me. On the other hand, I had no sense of direction or destiny.”
Laurie Colwin

Francine Prose
“[Referring to passage by Alice Munro] Finally, the passage contradicts a form of bad advice often given young writers -- namely, that the job of the author is to show, not tell. Needless to say, many great novelists combine "dramatic" showing with long sections of the flat-out authorial narration that is, I guess, what is meant by telling. And the warning against telling leads to a confusion that causes novice writers to think that everything should be acted out -- don't tell us a character is happy, show us how she screams "yay" and jumps up and down for joy -- when in fact the responsibility of showing should be assumed by the energetic and specific use of language.”
Francine Prose, Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them

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