There's just this for consolation: an hour here or there when our lived seem, against all odds and expectations, to burst open and give us everything… - Michael Cunningham

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There's just this for consolation: an hour here or there when our lived seem, against all odds and expectations, to burst open and give us everything we've ever imagined, though everyone but children knows these hours will inevitably be followed by others, far darker and more difficult. Still, we cherish the city, the morning; we hope, more than anything, for more.

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About Michael Cunningham

Michael Cunningham (born November 6, 1952) is an American novelist and short story writer. He is best known for his 1998 novel The Hours, which won the Pulitzer Prize for Fiction and the PEN/Faulkner Award in 1999. Cunningham is a senior lecturer of creative writing at Yale University.

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Additional quotes by Michael Cunningham

"Oh, pride, pride. I was so wrong. It defeated me. It simply proved insurmountable. There was so much, oh, far too much for me. I mean, there's the weather, there's the water and the land, there are the animals, and the buildings, and the past and the future, there's space, there's history. There's this thread or something caught between my teeth, there's the old woman across the way, did you notice she switched the donkey and the squirrel on her windowsill? And, of course, there's time. And place. And there's you, Mrs. D. I wanted to tell part of the story of part of you. Oh, I'd love to have done that."

"Richard. You wrote a whole book."

"But everything's left out of it, almost everything. And then I just stuck on a shock ending. Oh, now, I'm not looking for sympathy, really. We want so much, don't we?"

"Yes. I suppose we do."

"You kissed me beside a pond."

"Ten thousand years ago."

"It's still happening."

Maybe it’s not, in the end, the virtues of others that so wrenches our hearts as it is the sense of almost unbearably poignant recognition when we see them at their most base, in their sorrow and gluttony and foolishness. You need the virtues, too — some sort of virtues — but we don’t care about Emma Bovary or Anna Karenina or Raskolnikov because they’re good. We care about them because they’re not admirable, because they’re us, and because great writers have forgiven them for it.

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Eventually, decades later, when the king was dying, the queen gently ushered everybody out into the corridor, closed the door to the royal bedchamber, and got into bed with her husband. She started singing to him. They laughed. He was short of breath, but he could still laugh. They asked each other, Is this silly? Is this...pretentious? But they both knew that everything there was to say had been said already, over and over, across the years. And so the king, relieved, released, free to be silly, asked her to sing him a song from his childhood. He didn't need to be regal anymore, he didn't need to seem commanding or dignified, not with her. They were, in their way, dying together, and they both knew it. It wasn't happening only to him. So she started singing. They shared one last laugh - they agreed that the cat had a better voice than she did. Still, she sang him out of the world.

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