Love blurs your vision; but after it recedes, you can see more clearly than ever. It's like the tide going out, revealing whatever's been thrown away and sunk: broken bottles, old gloves, rusting pop cans, nibbled fishbodies, bones. This is the kind of thing you see if you sit in the darkness with open eyes, not knowing the future. The ruin you've made.
So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor the stretch in between, since it's the hardest to do anything with. That's about all that can be said for plots, which anyway are just one thing after another, a what and a what and a what.
Margaret Atwood, the Canadian novelist, once asked a group of women at a university why they felt threatened by men. The women said they were afraid of being beaten, raped, or killed by men. She then asked a group of men why they felt threatened by women. They said they were afraid women would laugh at them.
Potential has a shelf life.
Don't let the bastards grind you down.
The Eskimo has fifty-names for snow because it is important to them; there ought to be as many for love.
How could I have been so ignorant? she thinks. So stupid, so unseeing, so given over to carelessness. But without such ignorance, such carelessness, how could we live? If you knew what was going to happen, if you knew everything that was going to happen next—if you knew in advance the consequences of your own actions—you'd be doomed. You'd be as ruined as God. You'd be a stone. You'd never eat or drink or laugh or get out of bed in the morning. You'd never love anyone, ever again. You'd never dare to.
If I love you, is that a fact or a weapon?