The things that make us happy make us wise. - John Crowley

What if it were true. It could not be: but what if it were. Strange but true.

A sudden partisanship arose within Pierce's heart, a longing so deep and simple that he could not even be puzzled by it: a longing indistinguishable from grief, that the story ought to be true, and could not be.

Why, what is it, how can flesh and blood come up with such stuff, how can flesh feel it. My lord life is strange. How is that Meaning comes to be? How? How does life cast it up, shape it, exude it; how does Meaning come to have physical, tangible effects, to be felt with a shock, to cause grief or longing, come to be sought for like food; pure Meaning having nothing to do with the clothes of persons or events in which it is dressed and yet not ever divorceable from some set of such clothes?

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.

The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.

In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.

Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word,