People pontificate, "Suicide is selfishness." Career churchmen like Pater go a step further and call in a cowardly assault on the living. Oafs argue this specious line for varying reason: to evade fingers of blame, to impress one's audience with one's mental fiber, to vent anger, or just because one lacks the necessary suffering to sympathize. Cowardice is nothing to do with it - suicide takes considerable courage. Japanese have the right idea. No, what's selfish is to demand another to endure an intolerable existence, just to spare families, friends, and enemies a bit of soul-searching.
Every living soul in this universe should be given a chance at love – their personal shot at having the most powerful andmysterious thing that ever existed. You could love forever, or your love couldburn short and bright for just a few moments in the history oftime. But however you did it, I supposed the idea was to make it count; to create a story worthy of a new fairytale, a poem,or a new constellation that would wind itself into an infinite thread of light in your name. Maybe that was the whole point of love – to create an eternal story of your own.
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The doctor’s words made me understand what happened to me was a dark, evil, and shameful secret, and by association I too was dark, evil, and shameful. While it may not have been their intention, this was the message my clouded mind received. To escape the confines of the hospital, I once again disassociated myself from my emotions and numbed myself to the pain ravaging my body and mind. I acted as if nothing was wrong and went back to performing the necessary motions to get me from one day to the next. I existed but I did not live.
The tedium of existence and feeling imprisoned in a deplorable job can cause a person to consider the most expedient escape route from suffering including flirting with suicide. Fernando Pessoa wrote in “The Book of Disquiet” of his own feelings of uneasiness and sense of discouragement. “I suffer from life and from other people. I cannot look at reality face to face. Even the sun discourages and depresses me. Only at night and all alone, withdrawn, forgotten, and lost, with no connection to anything useful or real – only then do I find myself comforted.
Wearing an antique bridal gown, the beautiful queen of the vampires sits all alone in her dark, high house under the eyes of the portraits of her demented and atrocious ancestors, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.
Like all things organically formed, there does exist a harmony, interrelated patterns, intuitive logic, and purpose, but these are subtle and you can’t find them exclusively by emotional or intellectual analysis. At first glance it’s all too complex and liquid-like, and our minds and emotions look for control and relief. To know water, you have to get wet; you can’t just sit back and analyze its components. So, do try to enjoy the swim, and don’t be afraid to just sit back and drink now and then—the water’s clean.
A dictionary resembles the world more than a novel does, because the world is not a coherent sequence of actions but a constellation of things perceived. It is looked at, unrelated things congregate, and geographic proximity gives them meaning. If events follow each other, they are believed to be a story. But in a dictionary, time doesn't exist: ABC is neither more nor less chronological than BCA. To portray your life in order would be absurd: I remember you at random. My brain resurrects you through stochastic details, like picking marbles out of a bag.
Then my sole relief was to walk along the corridor of the third storey, backwards and forwards, safe in the silence and solitude of the spot, and allow my mind's eye to dwell on whatever bright visions rose before it - and, certainly, they were many and glowing; to let my heart be heaved by the exultant movement, which, while it swelled it in trouble, expanded it with life; and, best of all, to open my inward ear to a tale that was never ended - a tale my imagination created, and narrated continuously; quickened with all of incident, life, fire, feeling, that I desired and had not in my actual existence.
And there was never a better time to delve for pleasure in language than the sixteenth century, when novelty blew through English like a spring breeze. Some twelve thousand words, a phenomenal number, entered the language between 1500 and 1650, about half of them still in use today, and old words were employed in ways not tried before. Nouns became verbs and adverbs; adverbs became adjectives. Expressions that could not have grammatically existed before - such as 'breathing one's last' and 'backing a horse', both coined by Shakespeare - were suddenly popping up everywhere.