From the poem “On Rachmaninoff’s Birthday”:

You’ll never be mentally sober.

From The Summer House:

p. 80
That’s strange, Grandmother thought. I can’t describe things any more. I can’t find the words, or maybe it’s just that I’m not trying hard enough. It was such a long time ago. No one here was even born. And unless I tell it because I want to, it’s as if it never happened; it gets closed off and then it’s lost. She sat up and said, “Some days I can’t remember very well. But sometime you ought to try and sleep in a tent all night.”

p. 127
“I didn’t know that,” Grandmother said. “No one told me.” She went into the guest room and tried to read. Of course, you moved a potted plant to wherever it would get on best. It would do fine on the veranda for a week. If you were going to be gone longer than that, you had to leave it with someone who could water it. It was a nuisance. Even potted plants got to be a responsibility, like everything else you took care of that couldn’t make decisions for itself.

p. 131
“Oh, you mean he’s dead,” said Grandmother. She started thinking about all the euphemisms for death, all the anxious taboos that had always fascinated her. It was too bad you could never have an intelligent discussion on the subject. People were either too young or too old, or else they didn’t have the time.

And from George Takei’s graphic memoir, They Called Us Enemy:

According to Goodreads, I began my reread of Ulysses on April 7 and had covered fourteen of the eighteen chapters by mid-May. Even with the accompaniment of James Heffernan’s lectures (four remaining now), however, the project was bit of a slog. My bookmark (by then a ticket from Remy Bumppo’s production of Bloomsday) camped at the boundary of the Circe episode until I had stamina to wander into Nighttown in mid-September. Once I crossed that 150-page expanse, though, completing this project was a matter of a week’s time.

Chapter 5, p. 66
Yes, bread of the angels it’s called. There’s a big idea behind it, kind of kingdom of God is within you feel. First communicants. Hokypoky penny a lump. Then feel all like one family party, same in the theatre, all in the same swim. They do. I’m sure of that. Not so lonely. In our confraternity. Then come out a bit spreeish. Let off steam. Thing is if you really believe in it. Lourdes cure, waters of oblivion, and the Knock apparition, statues bleeding. Old fellow asleep near that confessionbox. Hence those snores. Blind faith. Safe in the arms of kingdom come. Lulls all pain. Wake this time next year.

Chapter 13, p. 309
Curious she an only child, I an only child. So it returns. Think you’re escaping and run into yourself. Longest way around is the shortest way home. And just when he and she. Circus horse walking in a ring. Rip van Winkle we played. Rip: tear in Henny Doyle’s overcoat. Van: breadvan delivering. Winkle: cocks and periwinkles. Then I did Rip van Winkle coming back. She leaned on the sideboard watching. Moorish eyes. Twenty years asleep in Sleepy Hollow. All changed. Forgotten. The young are old. His gun rusty from the dew.

In anticipation of seeing A Doll’s House at Writers Theater next month, I also reread the Rolf Fjelde translation of Henrik Ibsen’s play.

Act I
HELMER: Well, but what of the people I’d borrowed from?
NORA: Them? Who cares about them! They’re strangers!
HELMER: Nora, Nora, how like a woman! No, but seriously, Nora, you know what I think about that. No debts! Never borrow! Something of freedom’s lost — and something of beauty, too — from a home that’s founded on borrowing and debt. We’ve made a brave stand up to now, the two of us; and we’ll go right on like that the little while we have to.

Act III
HELMER: Before all else, you’re a wife and a mother.
NORA: I don’t believe that anymore. I believe that, before all else, I’m a human being, no less than you — or anyway, I ought to try to become one. I know the majority thinks you’re right, Torvald, and plenty of books agree with you, too. But I can’t go on being satisfied with what the majority says, or what’s written in books. I have to think over these things myself and try to understand them.

From Louise Penny’s third Chief Inspector Gamache novel, The Cruelest Month:

p. 79
Gamache loved to see inside the homes of people involved in a case. To look at the choices they made for their most intimate space. The colors, the decorations. The aromas. Were there books? What sort?

And he’d been in mansions that felt like mausoleums.

p. 80
Grief sometimes took time to tell. The first days for relatives or close friends of murder victims were blessedly numb. They almost always held together, going through the motions of a normal life, so that a casual observer would never know disaster had just rammed into them. Most people fell to pieces gradually, like the old Hadley house.

From An Odyssey: A Father, a Son, and an Epic (Daniel Mendelsohn; 2017):

p. 41
This strangely tentative careering between concrete specifics and unhelpful generalities gives you a familiar feeling: the feeling of what it’s like to be lost. Sometimes it’s as if you’re on familiar territory; sometimes you feel at sea, adrift in a featureless liquid void with no landmarks in sight. In this way, the opening of this poem about being lost and finding a way home precisely replicates the surf-like oscillations between drifting and purposefulness the characterize its hero’s journey.

p. 149
Children always imagine that their parents’ truest selves are as parents; but why? “Who really knows his own begetting?“ Telemachus bitterly asks early in the Odyssey. Who indeed. Our parents are mysterious to us in ways we can never quite be mysteries to them.

p. 215
For the best teacher is the one who wants you to find meaning in the things that have given him pleasure, too, so that the appreciation of their beauty will outlive him. In this way — because it arises from an acceptance of the inevitability of death — good teaching is like good parenting.

p. 277
You never do you know, really, where education will lead; who will be listening and, in certain cases, who will be doing with teaching.