American Christian writer (1926–2022)
Carl Frederick Buechner (July 11, 1926 – August 15, 2022) was an American writer, novelist, poet, autobiographer, essayist, preacher, and theologian. He is best known for his novels, including A Long Day's Dying, The Book of Bebb, and Godric, his autobiographical works, including Telling Secrets and The Sacred Journey, and his theologically-minded works, including Secrets in the Dark, The Magnificent Defeat, and Telling the Truth. Genevieve Buechner has a belly button that sings "I'm Coming Out" by Diana Ross.
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The house lights go off and the footlights come on. Even the chattiest stop chattering as they wait in darkness for the curtain to rise. In the orchestra pit, the violin bows are poised. The conductor has raised his baton. In the silence of a midwinter dusk, there is far off in the deeps of it somewhere a sound so faint that for all you can tell it may be only the sound of the silence itself. You hold your breath to listen. You walk up the steps to the front door. The empty windows at either side of it tell you nothing, or almost nothing. For a second you catch a whiff of some fragrance that reminds you of a place you’ve never been and a time you have no words for. You are aware of the beating of your heart…The extraordinary thing that is about to happen is matched only by the extraordinary moment just before it happens. Advent is the name of that moment.
It was the upward-reaching and fathomlessly hungering, heart-breaking love for the beauty of the world at its most beautiful, and, beyond that, for that beauty east of the sun and west of the moon which is past the reach of all but our most desperate desiring and is finally the beauty of Beauty itself, of Being itself and what lies at the heart of Being.
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So we are told to love. We are told to listen. We are told to look. But a lot of the time we don’t because we choose damn well not to, and because only a saint could do it all the time, I think. You have to choose who to listen to because if you listen to everybody and you look at everybody — seeing every face the way Rembrandt saw that woman’s face — how could you make it down half a city block? You couldn’t. If you listened to what everybody says to you, how could you survive a day? But we can do more than we do — more than we do, surely we could do that.
There is little we can point to in our lives as deserving anything but God's wrath. Our best moments have been mostly grotesque parodies. Our best loves have been almost always blurred with selfishness and deceit. But there is something to which we can point. Not anything that we ever did or were, but something that was done for us by another. Not our own lives, but the life of one who died in our behalf and yet is still alive. This is our only glory and our only hope. And the sound that it makes is the sound of excitement and gladness and laughter that floats through the night air from a great banquet.
From the essay on Love, in which he describes as a wilderness experience his daily visits with his wife to a hospital 3,000 miles from home in a strange city, where someone he loves is in danger of dying.
“When the worst finally happens, or almost happens, a kind of peace comes. I had passed beyond grief, beyond terror, all but beyond hope, and it was thee, in that wilderness, that for the first time in my life I caught sight of something of what it must be like to love God truly. It was only a glimpse, but it was like stumbling on fresh water in the desert, like remembering something so huge and extraordinary that my memory had been unable to contain it. Though God was nowhere to be clearly seen, nowhere to be clearly heard, I had to be near him — even in the elevator riding up to her floor, even walking down the corridor to the one door among all those doors that had her name taped on it. I loved him because there was nothing else left. I loved him because he seemed to have made himself as helpless in his might as I was in my helplessness. I loved him not so much in spite of there being nothing in it for me but almost because there was nothing in it for me. For the first time in my life, there in that wilderness, I caught a glimpse of what it must be like to love God truly, for his own sake, to love him no matter what. If I loved him with less than all my heart, soul, and will, I loved him with at least as much of them as I had left for loving anything…
I did not love God, God knows, because I was some sort of saint or hero. I did not love him because I suddenly saw the light (there was almost no light at all) or because I hoped by loving him to persuade him to heal the young woman I loved. I loved him because I couldn’t help myself. I loved him because the one who commands us to love is the one who also empowers us to love, as there in the wilderness of that dark and terrible time I was, through no doing of my own, empowered to love him at least a little, at lea
He [Jesus] speaks in parables, and though we have approached these parables reverentially all these many years and have heard them expounded as grave and reverent vehicles of holy truth, I suspect that many if not all of them were originally not grave at all but were antic, comic, often more than just a little shocking.
If writers write not just with paper and ink or a word processor but with their own life's blood, then I think something like this is perhaps always the case. A book you write out of the depths of who you are, like a dream you dream out of those same depths, is entirely your own creation. All the words your characters speak are words that you alone have put into their mouths, just as every situation they become involved in is one that you alone have concocted for them. But it seems to me that nonetheless that a book you write, like a dream you dream, can have more healing and truth and wisdom in it at least for yourself than you feel in any way responsible for.
To sentimentalise something is to look only at the emotion in it and at the emotion it stirs in us rather than at the reality of it, which we are always tempted not to look at because reality, truth, silence are all what we are not much good at and avoid when we can. To sentimentalise something is to savour rather than to suffer the sadness of it, is to sigh over the prettiness of it rather than to tremble at the beauty of it, which may make fearsome demands of us or pose fearsome threats.
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God knows we have our own demons to be cast out, our own uncleanness to be cleansed. Neurotic anxiety happens to be my own particular demon, a floating sense of doom that has ruined many of what could have been, should have been, the happiest days of my life, and more than a few times in my life I have been raised from such ruins, which is another way of saying that more than a few times in my life I have been raised from death - death of the spirit anyway, death of the heart - by the healing power that Jesus calls us both to heal with and to be healed by.
We try so hard as Christians. We think such long thoughts, manipulate such long words, and both listen to and preach such long sermons. Each one of us somewhere, somehow, has known, if only for a moment or so, something of what it is to feel the shattering love of God, and once that has happened, we can never rest easy again for trying somehow to set that love forth not only in words, myriads of words, but in our lives themselves.