“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness―in a landscape selected at random―is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern―to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.”

I suppose that's the reason I believe that as long as there is someone in charge of the household, someone who can maintain order among its members, someone who is clearly mature and established as a person, someone, in other words, like my mother, then eventually all who live under the same roof, despite blood ties or lineage, will at one point become family. Such a simple idea, but one that took a while for me to catch on to.Oh, and another thing.If the same people don't spend enough time in a home, even if they are connected by blood, their bonds will slowly fade away like a familiar landscape.

Writing a novel is a bit like being Daniel Boone. An author stands atop a ridge in a mountain range and can generally see a number of peaks in the distance. What lies between those peaks—the dales and glens, rivers, forests, and other features that distinguish one mountain landscape from another... is where the artistry and intrigue of the writing process lives. As the writer sets out into the story, leaving behind those high points—the beginning, a twist here and there, the climax, and, if perhaps a bit indistinct for the distance to cover, the end—entering the vale below, all manner of things can happen the writer never intended or expected at the onset.

This is, to me, the loveliest and saddest landscape in the world. It is the same as that on the preceding page, but I have drawn it again to impress it on your memory. It is here that the little prince appeared on Earth, and disappeared.Look at it carefully so that you will be sure to recognise it in case you travel some day to the African desert. And, if you should come upon this spot, please do not hurry on. Wait for a time, exactly under the star. Then, if a little man appears who laughs, who has golden hair and who refuses to answer questions, you will know who he is. If this should happen, please comfort me. Send me word that he has come back.

I lie down on many a station platform; I stand before many a soup kitchen; I squat on many a bench;--then at last the landscape becomes disturbing, mysterious, and familiar. It glides past the western windows with its villages, their thatched roofs like caps, pulled over the white-washed, half-timbered houses, its corn-fields, gleaming like mother-of-pearl in the slanting light, its orchards, its barns and old lime trees. The names of the stations begin to take on meaning and my heart trembles. The train stamps and stamps onward. I stand at the window and hold on to the frame. These names mark the boundaries of my youth.

It was magic to be above [the clouds], to see their uppermost contours, the way they caught the light and held it, their vast shadows moving upon the face of the earth. I wished I could open the window and know what the world sounded like at that altitude. I thought about the solitude of that world, how it must be inhabited by the voice of the wind, only. ... I thought about what my crows saw as they flew above canyons and treetops, the birds-eye view of life. They would recognize specific trees, perches, and nesting sites from a completely different perspective than I could. Their maps differed from mine; they knew the topography, the contours of the landscape, on a much grander scale.

Reading wasn't an attempt to educate myself. It was my chief escape from a world that, although gorgeous in landscape and rich with mountain culture, didn't provide what I needed—the promise of adventure, a life beyond the perimeter of hills. I often fantasized that I'd been adopted and had mysterious powers such as flying or teleportation. Books offered the promise of a world in which misfits like me could flourish. Within the pages of a novel, I was unafraid: of my father, of dogs, snakes, and the bully across the creek; of older boys who drove hot rods close enough to make me jump in the ditch; of armed men parked near the bootlegger.

In his landscapes, Alex expresses the totality of everything in the universe. At the same time, within each leaf, each drop of water or human hair, he conveys a light or glow, which seems to come—how shall I put this—from another dimension. And each brushstroke contains every ounce of his own life and vitality.From The Fate of Pryde, the second in The Trilogy of Remembrance. Enter the giveaway to win one of ten personalized, autographed copies of this novel starting July 31st to August 31st. You can sample the first fifty pages of it on my page. Also, for the same time period, The Drawing Lesson, the first in the trilogy is offered as a giveaway.

Walter made me understand why we have to reform a system of criminal justice that continues to treat people better if they are rich and guilty than if they are poor and innocent. A system that denies the poor the legal help they need, that makes wealth and status more important than culpability, must be changed. Walter's case taught me that fear and anger are a threat to justice; they can infect a community, a state, or a nation and make us blind, irrational, and dangerous. I reflected on how mass imprisonment has littered the national landscape with carceral monuments of reckless and excessive punishment and ravaged communities with our hopeless willingness to condemn and discard the most vulnerable among us.

I am no scientist. I explore the neighbourhood. An infant who has just learned to hold his head up has a frank and forthright way of gazing about him in bewilderment. He hasn't the faintest clue where he is, and he aims to learn. In a couple of years, what he will have learned instead is how to fake it: he'll have the cocksure air of a squatter who has come to feel he owns the place. Some unwonted, taught pride diverts us from our original intent, which is to explore the neighbourhood, view the landscape, to discover at least WHERE it is that we have been so startlingly set down, if we can't learn why.