I want to become a spy like Joshua and Caleb. I've crossed the river and tangled with a few giants, but I want to go back and say to those who are hesitating: "Don't be afraid to cross over. The Promised Land is worth possessing, and we are not alone."
I want to be a spy for hope.
—Katherine Paterson
Good human work honors God’s work. Good work uses no thing without respect, both for what it is in itself and for its origin. It uses neither tool nor material that it does not respect and that it does not love. It honors nature as a great mystery and power, as an indispensable teacher, and as the inescapable judge of all work of human hands. It does not dissociate life and work, or pleasure and work, or love and work, or usefulness and beauty. To work without pleasure or affection, to make a product that is not both useful and beautiful, is to dishonor God, nature, the thing that is made, and whomever it is made for. This is blasphemy: to make shoddy work of the work of God. But such blasphemy is not possible when the entire Creation is understood as holy and when the works of God are understood as embodying and thus revealing His spirit.
—Wendell Berry, "Christianity and The Survival of Creation”,
via Alan Jacobs
{x}
In the very earliest time
When both people and animals lived on earth
A person could become an animal if he wanted to
and an animal could become a human being.
Sometimes they were people
and sometimes animals
and there was no difference.
All spoke the same language
That was the time when words were like magic.
The human mind had mysterious powers.
A word spoken by chance might have strange consequences.
It would suddenly come alive
and what people wanted to happen could happen—
all you had to do was say it.
Nobody could explain this:
That’s the way it was.
—Nalungiaq,
Inuit woman interviewed by ethnologist Knud Rasmussen in the early twentieth century.
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.
In the nightmare of the dark
All the dogs of Europe bark,
And the living nations wait,
Each sequestered in its hate;
Intellectual disgrace
Stares from every human face,
And the seas of pity lie
Locked and frozen in each eye.
Follow, poet, follow right
To the bottom of the night,
With your unconstraining voice
Still persuade us to rejoice;
With the farming of a verse
Make a vineyard of the curse,
Sing of human unsuccess
In a rapture of distress;
In the deserts of the heart
Let the healing fountain start,
In the prison of his days
Teach the free man how to praise.
—"In Memory of W. B. Yeats", Part III,
W. H. Auden
At eight of a hot morning, the cicada speaks his first piece. He says of the world: heat. At eleven of the same day, still singing, he has not changed his note but has enlarged his theme. He says of the morning: love. In the sultry middle of the afternoon, when the sadness of love and of heat has shaken him, his symphonic soul goes into the great movement and he says: death. But the thing isn’t over. After supper he weaves heat, love, death into a final stanza, subtler and less brassy than the others. He has one last heroic monosyllable at his command. Life, he says, reminiscing. Life.
— E. B. White, “Life,” in E.B. White: Writings from the New Yorker, 1925-1976, ed. Rebecca M. Dale (New York: HarperCollins, 1990), 3.
Pay attention.
Be astonished.
Tell about it.
—Mary Oliver