What does life want from me? What are my circumstances calling me to do? - David Brooks

Nothing that is worth doing can be achieved in our lifetime; therefore we must be saved by hope. Nothing which is true or beautiful or good makes complete sense in any immediate context of history; therefore we must be saved by faith. Nothing we do, however virtuous, can be accomplished alone; therefore we are saved by love. No virtuous act is quite as virtuous from the standpoint of our friend or foe as it is from our standpoint. Therefore we must be saved by the final form of love, which is forgiveness.51

This is how life works. Deciding whom to love is not an alien form of decision-making, a romantic interlude in the midst of normal life. Instead, decisions about whom to love are more intense versions of the sorts of decisions we make throughout the course of our existence, from what kind of gelato to order to what career to pursue. Living is an inherently emotional business.

Ralph Waldo Emerson would later observe that “Souls are not saved in bundles.”16 Johnson fervently believed in each individual’s mysterious complexity and inherent dignity. He was, through it all, a moralist, in the best sense of that term. He believed that most problems are moral problems. “The happiness of society depends on virtue,” he would write. For him, like other humanists of that age, the essential human act is the act of making strenuous moral decisions. He, like other humanists, believed that literature could be a serious force for moral improvement. Literature gives not only new information but new experiences. It can broaden the range of awareness and be an occasion for evaluation. Literature can also instruct through pleasure. Today many writers see literature and art only in aesthetic terms, but Johnson saw them as moral enterprises. He hoped to be counted among those writers who give “ardor to virtue and confidence to truth.” He added, “It is always a writer’s duty to make the world better.” As Fussell puts it, “Johnson, then, conceives of writing as something very like a Christian sacrament, defined in the Anglican catechism as ‘an outward and visible sign of an inward and spiritual grace given to us.’ ” Johnson lived in a world of hack writers, but Johnson did not allow himself to write badly — even though he wrote quickly and for money. Instead, he pursued the ideal of absolute literary honesty. “The first step to greatness is to be honest” was one of Johnson’s maxims. He had a low but sympathetic view of human nature. It was said in Greek times that Demosthenes was not a great orator despite his stammer; he was a great orator because he stammered. The deficiency became an incentive to perfect the associated skill. The hero becomes strongest at his weakest point. Johnson was a great moralist because of his deficiencies. He came to understand that he would never defeat them. He came to understand that his story would not be the sort of virtue-conqu