Fiction – Page 13

A New Writing Challenge

April 30, 2020 by John 2 Comments

Details forthcoming, probably in a real post on Saturday. For now, though: I’ve entered a fiction-writing contest, the first round of which will take place next week. Stories to be submitted to the contest in each round will have to follow these rules:

be of a fictional genre randomly assigned to each entrant by the contest organizers, from among this list: Action/Adventure; Comedy; Drama; Fairy Tale/Fantasy; Ghost Story; Historical Fiction; Horror; Romance; Romantic Comedy; Sci-Fi; and Suspense/Thriller.
include a word randomly assigned by the organizers;
include an action randomly assigned by the organizers (this apparently will be loosely of the [verb]ing a/an/the [noun] format, à la the old Mad Libs game); and
be no more than 100 words long.; and
take no longer than 24 hours to write.

It is, in short (ha!), a microfiction-writing contest.

With the assistance of several Facebook contacts, I’ve come up with a list of 37 “actions.” I also used a random-noun generator page I found on the Web to give me a list of 50 nouns. Putting this together with the 11 possible genres, this yielded a total of over 20,000 possible combinations. I then ran a little program to randomly select 1,000 from among all these possibilities, and you can find that list here (in the form of an Excel spreadsheet).

Of course the contest organizers will have their own lists of random words and actions — lists which they will not publish in advance — so this isn’t a real test. Nonetheless, I hope to practice for the first round, at least: every day, starting tomorrow, I’ll pull a randomly selected combination of those three main constraints from the list of 1,000 randomly selected possibilities. And I’ll write a 100-word “microfiction” based on it. And of course, I’ll post that little story here, together with the prompt which led to it.

(I will not post here the actual contest entries I may come up with, lest I run afoul of some little micro-rule or other designed to guarantee the contest rights to first “publication.”)

We’ll see how this goes. Things being what they are, here and everywhere else right now, I may well opt to continue the experiment through the rest of May.

In the meantime, expect my first practice story by tomorrow afternoon sometime. I anticipate no applause.

Tonight, I’d Really Like Not to Choose

March 27, 2020 by John Leave a Comment

[Image: sculpture in black iron, Durante o Sono (“During Sleep”) by Rui Chafes. (Photo by Pedro Ribeiro Simões, found on Flickr and used here under a Creative Commons License — thank you!) The photographer’s description of this work says, among other things: “The equilibrium is presented as being solid, but unexpected; the ratio of the image of weight to that of fragility is inverted, the question of gravity is raised. Might the title, Durante o Sono, refer to a nightmare moment? Does this organism represent the dream itself? Or a frightening perception of its strangeness?”]

From whiskey river:

There’s more than one way to be a person. Actually, there are more than two or three ways. You’d think that was obvious, but I find that often it is not. The world is essentially a collection of teams. Life is a process of deciding which ones we’re going to join.

(Meghan Daum [source])

…and:

As for this reclusiveness — I think of it as profoundly helpful to my work. Darkness, silence and solitude, by throwing their heavy cloaks over my shoulders, have forced me to recreate all the light, all the music and the joys of nature and society in myself. My spiritual being no longer comes up against the barriers of the visible world and nothing hampers its freedom…
When by chance a thin ray of sunlight manages to slip in here… my whole being, like the ancient statue of Memnon, that gave out harmonious sounds when the rays of the rising sun struck it, bursts with joy, and I feel myself transported into realms of radiant light…
I have tried to follow life itself, in which unsuspected aspects of a person suddenly reveal themselves to our eyes. — We live alongside people, thinking we know them. All that’s missing is the incident that will make them suddenly appear other than we knew them to be…
Throughout our lives we have alongside us like a fellow prisoner shackled by the same chain, a man who is different from our physical self — You see, when you think of yourself, you create a certain idea of yourself. And when one looks in a glass, the mirror reflects our real image. — The other was a stranger — It was the spiritual self. — Well, it is this one alone that matters to me.
I only consider my objective self (take this word in the sense meant by philosophers) as an experimental instrument which has no inherent interest but that links me to my spiritual side so that I can penetrate certain realities and especially the shadowy areas of consciousness on which I try to throw light —

(Marcel Proust [source])

…and:

The Bookstall
Just looking at them
I grow greedy, as if they were
freshly baked loaves
waiting on their shelves
to be broken open—that one
and that—and I make my choice
in a mood of exalted luck,
browsing among them
like a cow in sweetest pasture.
For life is continuous
as long as they wait
to be read—these inked paths
opening into the future, page
after page, every book
its own receding horizon.
And I hold them, one in each hand,
a curious ballast weighting me
here to the earth.

(Linda Pastan [source])

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…and Sometimes the Story Chooses You

March 13, 2020 by John Leave a Comment

[Image: “Peeping Tourists,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.)]

From whiskey river:

As it is, we are merely bolting our lives—gulping down undigested experiences as fast as we can stuff them in—because awareness of our own existence is so superficial and so narrow that nothing seems to us more simple than simple being. If I ask you what you did, saw, heard, smelled, touched, and tasted yesterday, I am likely to get nothing more than the thin, sketchy outline of the few things that you noticed, and of those only what you thought worth remembering. Is it surprising that an existence so experienced seems so empty and bare that its hunger for an infinite future is insatiable? But suppose you could answer, “It would take me forever to tell you, and I am much too interested in what’s happening now.” How is it possible that a being with such sensitive jewels as the eyes, such enchanted musical instruments as the ears, and such a fabulous arabesque of nerves as the brain can experience itself as anything less than a god? And, when you consider that this incalculably subtle organism is inseparable from the still more marvelous patterns of its environment—from the minutest electrical designs to the whole company of the galaxies—-how is it conceivable that this incarnation of all eternity can be bored with being?

(Alan Watts [source])

…and:

Blessing for a Writer
May you hear in your own stories
the moan of wind around the corners
of half-forgotten houses
and the silence in rooms you remember.
May you hear in your own poems
the rhythms of the cosmos,
the sun, the moon and the stars
rising out of the sea and returning to it.
May you, too, pull darkness out of light
and light out of darkness.
May you hear in your own voice
the laughter of water falling over stones.
May you hear in your own writing
the strangeness, the surprise of mystery,
the presence of ancestors, spirits,
voices buried in the cells of your body.
May you have the courage to honor
your own first language, the music of those
whose lives inhabit your own.
May you tell the truth and do no harm.
May you dare in your own words to touch
the broken heart of the world.
May your passion for peace and justice be wise:
remember—No one can argue with story.
May you study your craft as you would study
a new friend or a long time, much loved lover.
And all the while, lost though you may be in the forest,
drop your own words on the path like pebbles
and write your way home.

(Pat Schneider [source])

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So Much That Fills Me

February 14, 2020 by John 1 Comment

[Image: “DCI Mooreland,” by John E. Simpson — one of my #jesstorypix series of photos (many highly post-processed) which inspired mini-narratives in me. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) The story I saw in this one: DCI Selwyn Mooreland thought he’d seen it all — but he hadn’t. He realized that now… now that they’d arrested Harry Rightback’s widow, Marjorie, and had time to search the house. Bad enough, it was, that all the bodies in the back yard matched up with name tags tacked up on the corkboard on the basement wall. But Mooreland knew the worst was yet to come. For there were still a hundred more tags there — tags with no corresponding bodies. Yet… (I’m afraid the inconclusive concluding ellipsis is a feature of many of those stories.) You can find the large version of this photo at my SmugMug site.]

From whiskey river:

Stop worrying about your identity and concern yourself with the people you care about, ideas that matter to you, beliefs you can stand by, tickets you can run on. Intelligent humans make those choices with their brain and hearts and they make them alone. The world does not deliver meaning to you. You have to make it meaningful… and decide what you want and need and must do. It’s a tough, unimaginably lonely and complicated way to be in the world. But that’s the deal: you have to live; you can’t live by slogans, dead ideas, clichés, or national flags. Finding an identity is easy. It’s the easy way out.

(Zadie Smith [source])

…and:

Not Only the Eskimos
We have only one noun
but as many different kinds:
the grainy snow of the Puritans
and snow of soft, fat flakes,
guerrilla snow, which comes in the night
and changes the world by morning,
rabbinical snow, a permanent skullcap
on the highest mountains,
snow that blows in like the Lone Ranger,
riding hard from out of the West,
surreal snow in the Dakotas,
when you can’t find your house, your street,
though you are not in a dream
or a science-fiction movie,
snow that tastes good to the sun
when it licks black tree limbs,
leaving us only one white stripe,
a replica of a skunk,
unbelievable snows:
the blizzard that strikes on the tenth of April,
the false snow before Indian summer,
the Big Snow on Mozart’s birthday,
when Chicago became the Elysian Fields
and strangers spoke to each other,
paper snow, cut and taped,
to the inside of grade-school windows,
in an old tale, the snow
that covers a nest of strawberries,
small hearts, ripe and sweet,
the special snow that goes with Christmas,
whether it falls or not,
the Russian snow we remember
along with the warmth and smell of furs,
though we have never traveled
to Russia or worn furs,
Villon’s snows of yesteryear,
lost with ladies gone out like matches,
the snow in Joyce’s “The Dead,”
the silent, secret snow
in a story by Conrad Aiken,
which is the snow of first love,
the snowfall between the child
and the spacewoman on TV,
snow as idea of whiteness,
as in snowdrop, snow goose, snowball bush,
the snow that puts stars in your hair,
and your hair, which has turned to snow,
the snow Elinor Wylie walked in
in velvet shoes,
the snow before her footprints
and the snow after,
the snow in the back of our heads,
whiter than white, which has to do
with childhood again each year.

(Lisel Mueller [source])

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Whence, Whither, and How One Becomes the Other

January 17, 2020 by John 1 Comment

[Image: “Down & Out,” by user “Alberto_VO5” on Flickr; used here under a Creative Commons license. (Thank you!) I really liked this photo, but I’m actually not sure why it struck me as apt for this post… perhaps because Gumby seems so clearly headed in one direction or another?]

From whiskey river:

I would like to visit the factory that makes train horns, and ask them how they are able to arrive at that chord of eternal mournfulness. Is it deliberately sad? Are the horns saying, Be careful, stay away from this train or it will run you over and then people will grieve, and their grief will be as the inconsolable wail of this horn through the night? The out-of-tuneness of the triad is part of its beauty.

(Nicholson Baker [source])

…and:

Sunlight
After days of darkness I didn’t understand
a second of yellow sunlight
here and gone through a hole in clouds
as quickly as a flashbulb, an immense
memory of a moment of grace withdrawn.
It is said that we are here but seconds in cosmic
time, twelve and a half billion years,
but who is saying this and why?
In the Salt Lake City airport eight out of ten
were fiddling relentlessly with cell phones.
The world is too grand to reshape with babble.
Outside the hot sun beat down on clumsy metal
birds and an actual ten-million-year-old
crow flew by squawking in bemusement.
We’re doubtless as old as our mothers, thousands
of generations waiting for the sunlight.

(Jim Harrison [source])

…and:

We know that we come from the winds, and that we shall return to them; that all of life is perhaps a knot, a tangle, a blemish in the eternal smoothness. But why should this make us unhappy? Let us rather love one another, and work and rejoice. I don’t believe in this world sorrow.

(E. M. Forster [source])

…and:

Your problem is how you are going to spend this one and precious life you have been issued. Whether you’re going to spend it trying to look good and creating the illusion that you have power over circumstances, or whether you are going to taste it, enjoy it and find out the truth about who you are.

(Anne Lamott [source])

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Within the Darkness, the Close and the Holy

December 27, 2019 by John Leave a Comment

[Image: “Guitarball (Holiday Linux Joke),” by John E. Simpson; #814 (December 19, 2019) in my #everydaybandw series. (Shared here under a Creative Commons License; for more information, see this page at RAMH.)]

(A very quickly assembled post this week; holiday-travel day for me!)

From whiskey river:

The Word
Down near the bottom
of the crossed-out list
of things you have to do today,
between “green thread”
and “broccoli” you find
that you have penciled “sunlight.”
Resting on the page, the word
is beautiful, it touches you
as if you had a friend
and sunlight were a present
he had sent you from some place distant
as this morning—to cheer you up,
and to remind you that,
among your duties, pleasure
is a thing,
that also needs accomplishing.
Do you remember?
that time and light are kinds
of love, and love
is no less practical
than a coffee grinder
or a safe spare tire?
Tomorrow you may be utterly
without a clue,
but today you get a telegram
from the heart in exile,
proclaiming that the kingdom
still exists,
the king and queen alive,
still speaking to their children,
—to any one among them
who can find the time
to sit out in the sun and listen.

(Tony Hoagland [source])

…and:

Go back to knowing that it is simple. The fun is in the busy-ness as long as it’s fun for you. And when you see that it’s just more of the same stories, all about “me,” drop it. You can observe what goes on benignly, but keep going. From the position of observer, take that last step. Who’s the one observing ? Go there. Who is that ultimate, absolute observer, where “seeing itself” arises? Let attention rest there. Let it be ok that nothing has happened. Let the show be over, let the movie, the story of “I” as an individual person, be over. And see what happens. Truth will reveal itself, absolute clarity of how this matrix works, will show itself to be no more than a matrix. And somehow, a capacity to enjoy what ever is unfolding is always there. You don’t have to be perfect, you don’t have to have good health, you don’t have to do it before your body dies, it’s got nothing to do with anything: it’s right now, place your attention behind any stories, any concepts. From there, freedom arises, beauty arises, love arises. But don’t take my word for it, do it. And prove me wrong, I’d be delighted. I’ll take on that challenge any day. Do it and find out. So blessings on all of us, who are pretending to be human.

(Jac O’Keeffe [source])

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Multiplicative Wonder

November 22, 2019 by John 6 Comments

[Image: “Stuttering Flashmob,” by John E. Simpson; #741 (October 7, 2019) in my #everydaybandw series. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) No trick photography involved: this was just a glassed-in exhibit under construction at Epcot — I just turned around and there it was. Although it appears to show several reflections of the scene, there are really only two (see the light poles and tree trunks?) — all the others, I’m pretty sure, seem to be there just because there are a good number of human figures, close together and moving in the same direction.]

From whiskey river:

To Live in This World Requires
To live in this world requires
that you leave your house every morning
and step into the wind
Every morning: with all your memories
on file and the future pinned to some wall
you will have to build and tear down and
build again. If you get there. If. If.
Into the wind: first you walk the dog whose
blessed face belies the beast it is built upon
Millennia behind you, that beast enters a cave
and decides whether or not to kill a child sleeping
by a fire. It does not kill the child
because its heart has been surprised by love
Both softened and sharpened by it, inexplicably
Inexplicably, to this day
And on this day, the wind relents
The morning star lifts itself into a changeable sky
and you, carrying extra weight, wearing
last year’s clothes, start walking towards the train
Seeds that grew from ancient science digest in your stomach;
your bones begin to separate because science did not plan
this length of life; your heart slows down and you feel
the pressure of dragging a million, billion years
behind you. A million, billion lie ahead that you
will know nothing about
Thus, harnessed to time, facing the inevitable,
constructed by science and fed on inexplicable events
taking place somewhere in the middle of history,
your day goes by. Miles away, the ocean
murmurs to its own beloved creatures, a mountain
applies pressure to the weaving of a golden seam
And in your house, the dog wonders
if you will make it home again. And each day,
despite or because the performance of this feat
is both a mystery and a triumph, somehow
you will. You do

(Eleanor Lerman [source])

…and (from whiskey river’s commonplace book):

I have learned to be happy where I am. I have learned that locked within the moments of each day are all the joys, the peace, the fibers of the cloth we call life. The meaning is in the moment. There is no other way to find it. You feel what you allow yourself to feel, each and every moment of the day.

(Russ Berrie [no definitive source, but see here for one citation])

…and (italicized portion):

In the course of our development, red begins to attract public and private meanings to itself.
Red flag, red-light district, red-blooded, Red Cross, red herring, red-bait, red- eye, red man, red-hot, red-faced—these are all variations on a theme that goes far beyond the simple association of color and word. To make these images, we must pass the words through our own consciousness and particularity. And in this act of trying to know something else in its specificity, our own particularity is likewise revealed.
Some people fear seeing or feeling anything about which there is no general agreement. For others, it is thrilling to be aware of innuendo, shading, complexity. For those who do not wish to step away from consensus, the creative is useless at best; at worst, it is dangerous. But for those who are intrigued by the multiplicity of reality and the unique possibilities of their own vision, the creative is the path they must pursue.

(Deena Metzger [source])

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Poured Water, Struck Match

November 15, 2019 by John Leave a Comment

[Image: “The Greatest Transformation in My Life,” by Irmeli Hasanen. (Found it on Flickr; used here under a Creative Commons license — thank you!) The title of the photo is an excerpt from a quotation ascribed to William James. For more about this quotation, see the About the image note at the bottom of this post.]

From whiskey river:

Transformation
I haven’t written a single poem
in months.
I’ve lived humbly, reading the paper,
pondering the riddle of power
and the reasons for obedience.
I’ve watched sunsets
(crimson, anxious),
I’ve heard the birds grow quiet
and night’s muteness.
I’ve seen sunflowers dangling
their heads at dusk, as if a careless hangman
had gone strolling through the gardens.
September’s sweet dust gathered
on the windowsill and lizards
hid in the bends of walls.
I’ve taken long walks,
craving one thing only:
lightning,
transformation,
you.

(Adam Zagajewski [source])

…and:

We all got holes in our lives. Nobody dies in a perfect garment. We all got to face the nothingness before us and behind. Call it sleep. We all begin in sleep and that’s where we find our end. Even in between, sleep keeps trying to claim us. To stay awake in life as much as possible—that may be the point…
Pain comes to us from deep back, from where it grew in the human body. Pain sucks more pain into it, we don’t know why. It lives and we harbor its weight. When the worst comes, we will not act the opposite. We will do what we were taught, we who learnt our lessons in the dead light. We pass them on. We hurt, and hurt others, in a circular motion…
There is no trace where we were. No arrows pointing to the place we’re headed. We are the trackless beat, the invisible light, the thought without a word to speak. Poured water, struck match. Before the nothing, we are the moment.

(Louise Erdrich [source])

…and (third stanza):

Leaves
1
Every October it becomes important, no, necessary
to see the leaves turning, to be surrounded
by leaves turning; it’s not just the symbolism,
to confront in the death of the year your death,
one blazing farewell appearance, though the irony
isn’t lost on you that nature is most seductive
when it’s about to die, flaunting the dazzle of its
incipient exit, an ending that at least so far
the effects of human progress (pollution, acid rain)
have not yet frightened you enough to make you believe
is real; that is, you know this ending is a deception
because of course nature is always renewing itself—
the trees don’t die, they just pretend,
go out in style, and return in style: a new style.
2
Is it deliberate how far they make you go
especially if you live in the city to get far
enough away from home to see not just trees
but only trees? The boring highways, roadsigns, high
speeds, 10-axle trucks passing you as if they were
in an even greater hurry than you to look at leaves:
so you drive in terror for literal hours and it looks
like rain, or snow, but it’s probably just clouds
(too cloudy to see any color?) and you wonder,
given the poverty of your memory, which road had the
most color last year, but it doesn’t matter since
you’re probably too late anyway, or too early—
whichever road you take will be the wrong one
and you’ve probably come all this way for nothing.
3
You’ll be driving along depressed when suddenly
a cloud will move and the sun will muscle through
and ignite the hills. It may not last. Probably
won’t last. But for a moment the whole world
comes to. Wakes up. Proves it lives. It lives—
red, yellow, orange, brown, russet, ocher, vermilion,
gold. Flame and rust. Flame and rust, the permutations
of burning. You’re on fire. Your eyes are on fire.
It won’t last, you don’t want it to last. You
can’t stand any more. But you don’t want it to stop.
It’s what you’ve come for. It’s what you’ll
come back for. It won’t stay with you, but you’ll
remember that it felt like nothing else you’ve felt
or something you’ve felt that also didn’t last.

(Lloyd Schwartz [source])

[Read more…]

Let It Go, Let It Go

November 8, 2019 by John Leave a Comment

[Image: “Puerto de Corral (Corral Gate),” by Miquel Fabre. (Found on Flickr, and used here under a Creative Commons license — thank you!) After describing how he came to find this gate/door, the photographer concludes: “No more to say, a door is a door, just caught my attention textures and contrasts”… which felt very much in tune with today’s theme here at RAMH. I do love the textures and colors in this photograph, and rather wish I could claim that I’d taken it myself.]

From whiskey river:

Enough
It’s a gift, this cloudless November morning
warm enough to walk without a jacket
along your favorite path. The rhythmic shushing
of your feet through fallen leaves should be
enough to quiet the mind, so it surprises you
when you catch yourself telling off your boss
for a decade of accumulated injustices,
all the things you’ve never said circling inside you.
The rising wind pulls you out of it,
and you look up to see a cloud of leaves
wheeling in sunlight, flickering against the blue
and lifting above the treetops, as if the whole day
were sighing, Let it go, let it go,
for this moment at least, let it all go.

(Jeffrey Harrison [source])

…and:

I feel as though, if I were to extend my hand just a little toward the pool where the ideas ferment, I could grab at the idea and pull it out of the pool and onto the floor where ideas must stand before the jury of the brain. There, it must present itself, still from the pool, and a bit shivery because new ideas are not given a towel to dry off with, towels being reserved for proven theories; new ideas are simply pulled and stood up, and asked to explain themselves — not a very pleasant thing really, which is why so many people go into the room where the pool is. The exercise is exhausting not to mention a bit difficult to watch, if you are at all a sympathetic creature. What was my idea, anyways?

(Emilie Autumn [source: cited in many places as an excerpt from this book, but I haven’t confirmed])

…and:

My time does not come in large, focused blocks, but in fragments and shards. The fault is my own, arguably, but it’s yours too — it’s the fault of everyone I know who rarely finds herself or himself with uninterrupted hours. We’re shattered. We’re breaking up. It’s hard, now, to be with someone else wholly, uninterruptedly, and it’s hard to be truly alone. The fine art of doing nothing in particular, also known as thinking, or musing, or introspection, or simply moments of being, was part of what happened when you walked from here to there alone, or stared out the train window, or contemplated the road, but the new technologies have flooded those open spaces. Space for free thought is routinely regarded as a void, and filled up with sounds and distractions.

(Rebecca Solnit [source])

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Wait on the Wind, Catch a Whiff of Salt

October 18, 2019 by John Leave a Comment

[Image: “Ready 4,” by Kevin Dooley. (Found at Flickr, of course, and used here under a Creative Commons license. Thank you!) The Wonderland Cinema at 402 Front Street in Niles, Michigan, seems to be still in operation — but doesn’t have the same gritty exterior. When I checked the address via Google Street View, I found a building with one blank brick wall facing a side street — and some kind of what appeared to be corrugated-metal cladding on the other three sides. The funky sign has been replaced by a neon and/or LED thing mounted on a pole on the corner.]

From whiskey river (stanzas 2-3):

Our Valley
We don’t see the ocean, not ever, but in July and August
when the worst heat seems to rise from the hard clay
of this valley, you could be walking through a fig orchard
when suddenly the wind cools and for a moment
you get a whiff of salt, and in that moment you can almost
believe something is waiting beyond the Pacheco Pass,
something massive, irrational, and so powerful even
the mountains that rise east of here have no word for it.
You probably think I’m nuts saying the mountains
have no word for ocean, but if you live here
you begin to believe they know everything.
They maintain that huge silence we think of as divine,
a silence that grows in autumn when snow falls
slowly between the pines and the wind dies
to less than a whisper and you can barely catch
your breath because you’re thrilled and terrified.
You have to remember this isn’t your land.
It belongs to no one, like the sea you once lived beside
and thought was yours. Remember the small boats
that bobbed out as the waves rode in, and the men
who carved a living from it only to find themselves
carved down to nothing. Now you say this is home,
so go ahead, worship the mountains as they dissolve in dust,
wait on the wind, catch a scent of salt, call it our life.

(Philip Levine [source])

…and:

And then a man of forty or so, with a French accent, asked, “How do you achieve the presence of mind to initiate the writing of a poem?” And something cracked open in me, and I finally stopped hoarding and told them my most useful secret. The only secret that has helped me consistently over all the years that I’ve written. I said, “Well, I’ll tell you how. I ask a simple question. I ask myself: What was the very best moment of your day?” The wonder of it was, I told them, that this one question could lift out from my life exactly what I will want to write a poem about. Something I hadn’t known was important will leap out and hover there in front of me, saying I am—I am the best moment of the day. “Often,” I went on, “it’s a moment when you’re waiting for someone, or you’re driving somewhere, or maybe you’re just walking across a parking lot and admiring the oil stains and the dribbled tar patterns. One time it was when I was driving past a certain house that was screaming with sunlitness on its white clapboards, and then I plunged through tree shadows that splashed and splayed across the windshield. I thought, Ah, of course—I’d forgotten. You, windshield shadows, you are the best moment of the day.

(Nicholson Baker [source])

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