In a sentiment of remarkable prescience in the context of climate change denial half a century later, Carson articulated the formidable task before her: It is a great problem to know how to look at unpleasant facts that might have to be dealt with if one recognized their existence.

There are infinitely many kinds of beautiful lives

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What invigorated Maria Mitchell that evening, and what would drive her for the remaining decades of her life, was not the king’s medal, nor the luster of worldwide recognition, but the sheer thrill of discovery — the ecstasy of having personally chipped a small fragment of knowledge from the immense monolith of the unknown, that elemental motive force of every sincere scientist.

This is the power of art: The power to transcend our own self-interest, our solipsistic zoom-lens on life, and relate to the world and each other with more integrity, more curiosity, more wholeheartedness.

Unlike the prose of letters, pinned to the physical and emotional reality of the present, in poetry the imagination is allowed to travel between fact and fantasy, to traverse present, past, and future, so that the reader, and perhaps even the writer, is never quite sure — nor need ever ask — to what extent the images evoked correspond to the intersection of matter and moment we call reality.

Decrying the sublimation of women’s minds to domesticity, Fuller asserts that “a house is no home unless it contain food and fire for the mind as well as for the body” and admonishes that “human beings are not so constituted that they can live without expansion.

The lazy hand grenade of “spinster” had been thrown and would be thrown at Carson many times, having been clenched in the unevolved fist of culture for more than a century since the landmark Woman’s Rights Convention was derided as comprising “old maids, whose personal charms were never very attractive.

Above all, Somerville possessed the defining mark of the great scientist and the great human being — the ability to hold one’s opinions with firm but unfisted fingers, remaining receptive to novel theories and willing to change one’s mind in light of new evidence.

This false notion of the body as the testing ground for intimacy has long warped our understanding of what constitutes a romantic relationship. The measure of intimacy is not the quotient of friction between skin and skin, but something else entirely — something of the love and trust, the joy and ease that flow between two people as they inhabit that private world walled off from everything and everyone else.

Where does it live, that place of permission that lets a person chart a new terrain of possibility, that makes her dare to believe she can be something other than what her culture tells her she is, and then become what she believes she can? How does something emerge from nothing?

We navigate the unknown frontiers of the social universe through a sextant of existing relationships — nearly every new person we meet is within only a few degrees of separation from someone we already know. But every once in a while, pure chance intercedes to remind us that whatever structures of control we may put into place, however much we may mistake the illusion of choice for the fact of choice, randomness is the reigning monarch of the universe.