Vice has always a new fresh young face, while virtue is venerable as nothing else in the world is.

East of Eden
By John Steinbeck

A child may ask, "What is the world's story about?" And a grown man or woman may wonder, "What way will the world go? How does it end, and while we're at it, what's the story about?"
I believe that there is one story in the world, and only one, that has frightened or inspired us, so that we live in a Pearl White serial of continuing thought and wonder. Humans are caught--in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too--in a net of good and evil. I think this is the only story we have and that it occurs on all levels of feeling and intelligence. Virtue and vice were warp and woof of our first consciousness, and they will be the fabric of our last, and this despite any changes we may impose on field and river and mountain, on economy and manners. There is no other story. A man, after he has brushed off the dust and chips of his life, will have left only the hard, clean questions: Was it good or was it evil? Have I done well--or ill?
Herodotus, in the Persian War, tells a story of how Croesus, the richest and most-favored king of his time, asked Solon the Athenian a leading question. He would not have asked it if he had not been worried about the answer. "Who," he asked, "is the luckiest person in the world?" He must have been eaten with doubt and hungry for reassurance. Solon told him of three lucky people in old times. And Croesus more than likely did not listen, so anxious was he about himself. And when Solon did not mention him, Croesus was forced to say, "Do you not consider me lucky?"
Solon did not hesitate in his answer. "How can I tell?" he said. "You aren't dead yet."
And his answer must have haunted Croesus dismally as his luck disappeared, and his wealth and his kingdom. And as he was being burned on a tall fire, he may have thought of it and perhaps wished he had not asked or not been answered.
And in our time, when a man dies--if he has had wealth and influence and power and all the vestments that arouse envy, and after the living take stock of the dead man's property and his eminence and works and monuments--the question is still there: Was his life good or was it evil?--which is another way of putting Croesus's question. Envies are gone, and the measuring stick is: "Was he loved or was he hated? Is his death felt as a loss or does a kind of joy come of it?"
I remember clearly the deaths of three men. One was the richest man of the century, who, having clawed his way to wealth through the souls and bodies of men, spent many years trying to buy back the love he forfeited and by that process performed great service to the world, and perhaps, had much more than balanced the evils of his rise. I was on a ship when he died. The news was posted on the bulletin board, and nearly everyone received the news with pleasure. Several said, "Thank God that son of a bitch is dead."
Then there was a man, smart as Satan, who, lacking some perception of human dignity and knowing all too well every aspect of human weakness and wickedness, used his special knowledge to warp men, to buy men, to bribe and threaten and seduce until he found himself in a position of great power. He clothed his motives in the names of virtue, and I have wondered whether he ever knew that no gift will ever buy back a man's love when you have removed his self-love. A bribed man can only hate his briber. When this man died the nation rang with praise and, just beneath, with gladness that he was dead.
There was a third man, who perhaps made many errors in performance but whose effective life was devoted to making men brave and dignified and good in a time when they were poor and frightened and when ugly forces were loose in the world to utilize their fears. This man was hated by the few. When he died the people burst into tears in the streets and their minds wailed, "What can we do now? How can we go on without him?"
In uncertainty I am certain that underneath their topmost layers of frailty men want to be good and want to be loved. Indeed, most of their vices are attempted short cuts to love. When a man comes to die, no matter what his talents and influence and genius, if he dies unloved his life must be a failure to him and his dying a cold horror. It seems to me that you or I must choose between two courses of thought or action, we should remember our dying and try so to live that our death brings no pleasure to the world.
We have only one story. All novels, all poetry, are built on the never-ending contest in ourselves of good and evil. And it occurs to me that evil most constantly respawn, while good, while virtue, is immortal. Vice has always a new fresh young face, while virtue is venerable as nothing else in the world is."
(Chapter 34, pp. 413-5)

"I have no bent toward gods. But I have a new love for that glittering instrument, the human soul."

East of Eden
By John Steinbeck

Someone on Goodreads described this novel as "delicious," and I think that's pretty apt—it is rich in story, description, humanity—and it satiated my literary appetite, if you will. The last sentences gave me a jolt and made me cry. Steinbeck is officially a favorite.

I should add my grandfather, a Lee, arrived to San Francisco from China in 1948 so I felt an extra closeness to this character and excerpt somehow. I could picture abuelo as a member of this association, ha. He might've stayed instead of going to the Dominican Republic and, well, how different everything would be. I'm not sure whether Steinbeck did this on purpose, but so fitting that this should appear exactly halfway through the story:

"I told you I was getting more Chinese. Well, to go on, I went to San Francisco to the headquarters of our family association. Do you know about them? Our great families have centers where any member can get help or give it. The Lee family is very large. It takes care of its own."
"I have heard of them," said Samuel.
"You mean Chinee hatchet man fightee Tong war over slave girl?"
"I guess so."
"It's a little different from that, really," said Lee. "I went there because in our family there are a number of ancient reverend gentlemen who are great scholars. They are thinkers in exactness. A man may spend many years pondering a sentence of the scholar you call Confucius. I thought there might be experts in meaning who could advise me.
"They are fine old men. They smoke their two pipes of opium in the afternoon and it rests and sharpens them, and they sit through the night and their minds are wonderful. I guess no other people have been able to use opium well."
Lee dampened his tongue in the black brew. "I respectfully submitted my problem to one of these sages, read him the story, and told him what I understood from it. The next night four of them met and called me in. We discussed the story all night long."
Lee laughed. "I guess it's funny," he said. "I know I wouldn't dare tell it to many people. Can you imagine four old gentlemen, the youngest is over ninety now, taking on the study of Hebrew? They engaged a learned rabbi. They took to the study as though they were children. Exercise books, grammar, vocabulary, simple sentences. You should see Hebrew written in Chinese ink with a brush! The right to left didn't bother them as much as it would you, since we write up to down. Oh, they were perfectionists! They went to the root of the matter."
"And you?" said Samuel.
"I went along with them, marveling at the beauty of their proud clean brains. I began to love my race, and for the first time I wanted to be Chinese. Every two weeks I went to a meeting with them, and in my room here I covered pages with writing. I bought every known Hebrew dictionary. But the old gentlemen were always ahead of me. It wasn't long before they were ahead of our rabbi; he brought a colleague in. Mr. Hamilton, you should have sat through some of those nights of argument and discussion. The questions, the inspection, oh, the lovely thinking--the beautiful thinking.
"After two years we felt that we could approach your sixteen verses of the fourth chapter of Genesis. My old gentlemen felt that these words were very important too--'Thou shalt' and 'Do thou.' And htis was the gold from our mining: 'Thou mayest.' 'Thou mayest rule over sin.' The old gentlemen smiled and nodded and felt the years were well spent. It brought them out of their Chinese shells too, and right now they are studying Greek."
Samuel said, "It's a fantastic story. And I've tried to follow and maybe I've missed somewhere. Why is this word so important?"
Lee's hand shook as he filled the delicate cups. He drank his down in one gulp. "Don't you see?" he cried. "The American Standard translation orders men to triumph over sin, and you can call sin ignorance. The King James translation makes a promise in 'Thou shalt,' meaning that men will surely triumph over sin. But the Hebrew word, the word timshel--'Thou mayest'-- that gives a choice. It might be the most important word in the world. That says the way is open. That throws it right back on the man. For if 'Thou mayest'--it is also true that 'Thou mayest not.' Don't you see?"
"Yes, I see. I do see. But you do not believe this is divine law. Why do you feel its importance?"
"Ah!" said Lee. "I've wanted to tell you this for a long time. I even anticipated your questions and I am well prepared. Any writing which has influenced the thinking and the lives of innumerable people is important. Now, there are many millions in their sects and churches who feel the order, 'Do thou,' and throw their weight into obedience. And there are millions more who feel predestination in 'Thou shalt.' Nothing they may do can interfere with what will be. But 'Thou mayest'! Why, that makes a man great, that gives him stature with the gods, for in his weakness and his filth and his murder of his brother he has still the great choice. He can choose his course and fight it through and win." Lee's voice was a chant of triumph.
Adam said, "Do you believe that, Lee?"
"Yes, I do. Yes, I do.  It is easy out of laziness, out of weakness, to throw oneself into the lap of deity, saying, 'I couldn't help it; the way was set.' But think of the glory of the choice! That makes a man a man. A cat has no choice, a bee must make honey. There's no godliness there. And do you know, those old gentlemen who were sliding gently down to death are too interested to die now?"
Adam said, "Do you mean these Chinese men believe the Old Testament?"
Lee said, "These old men believe a true story, and they know a true story when they hear it. They are critics of truth. They know that these sixteen verses are a history of humankind in any age or culture or race. They do not believe a man writes fifteen and three-quarter verses of truth and tells a lie with one verb. Confucius tells men how they should live to have good and successful lives. But this--this is a ladder to climb to the stars." Lee's eyes shone. "You can never lose that. It cuts the feet from under weakness and cowardliness and laziness."
Adam said, "I don't see how you could cook and raise the boys and take care of me and still do all this."
"Neither do I," said Lee. "But I take my two pipes in the afternoon, no more and no less, like the elders. And I feel that I am a man. And I feel that a man is a very important thing--maybe more important than a star. This is not theology. I have no bent toward gods. But I have a new love for that glittering instrument, the human soul. It is a lovely and unique thing in the universe. It is always attacked and never destroyed--because 'Thou mayest.'"
(pp. 302-4)

"I was thinking about that time when Sam Hamilton and you and I had a long discussion about a word," said Adam. "What was that word?"
"Now I see. The word was timshel."
"Timshel--and you said--"
"I said that word carried a man's greatness if he wanted to take advantage of it."
"I remember Sam Hamilton felt good about it."
"It set him free," said Lee. "It gave him the right to be a man, separate from every other man."
"That's lonely."
"All great and precious things are lonely."
"What is the word again?"
"Timshel--thou mayest."
(pp. 522-3)

"Couldn't a world be built around accepted truth? Couldn't some pains and insanities be rooted out if the causes were known?"

East of Eden
By John Steinbeck

My heart is heavy and this feels apt somehow.

"I think I can," Lee answered Samuel. "I think this is the best-known story in the world because it is everybody's story. I think it is the symbol story of the human soul. I'm feeling my way now--don't jump on me if I'm not clear. The greatest terror a child can have is that he is not loved, and rejection is the hell he fears. I think everyone in the world to a large or small extent has felt rejection. And with rejection comes anger, and with anger some kind of crime in revenge for the rejection, and with the crime guilt--and there is the story of mankind. I think that if rejection could be amputated, the human would not be what he is. Maybe there would be fewer crazy people. I am sure in myself there would not be many jails. It is all there--the start, the beginning. One child, refused the love he craves, kicks the cat and hides his secret guilt; and another steals so that money will make him loved; and a third conquers the world--and always the guilt and revenge and more guilt. The human is the only guilty animal. Now wait! Therefore I think this old and terrible story is important because it is a chart of the soul--the secret, rejected, guilty soul. Mr Trask, you said you did not kill your brother and then you remembered something. I don't want to know what it was, but was it very apart from Cain and Abel? And what do you think of my Oriental patter, Mr. Hamilton? You know I am no more Oriental than you are."
Samuel had leaned his elbows on the table and his hands covered his eyes and his forehead. "I want to think," he said. "Damn you, I want to think. I'll want to take this off alone where I can pick it apart and see. Maybe you've tumbled a world for me. And I don't know what I can build in my world's place."
Lee said softly, "Couldn't a world be built around accepted truth? Couldn't some pains and insanities be rooted out if the causes were known?"
"I don't know, damn you. You've disturbed my pretty universe. You've taken a contentious game and made an answer of it. Let me alone--let me think! Your damned bitch is having pups in my brain already. Oh, I wonder what my Tom will think of this! He'll cradle it in the palm of his mind. He'll turn it slow in his brain like a roast of pork before the fire. Adam, come out now. You've been long enough in whatever memory it was."
Adam started. He sighed deeply. "Isn't it too simple?" he asked. "I'm always afraid of simple things."
"It isn't simple at all," said Lee. "It's desperately complicated. But at the end there's light."
(pp. 270-1)

And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world.

East of Eden
By John Steinbeck

"Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then--the glory--so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man's importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men.
I don't know how it will be in the years to come. There are monstrous changes taking place in the world, forces shaping a future whose face we do not know. Some of these forces seem evil to us, perhaps not in themselves but because their tendency is to eliminate other things we hold good. It is true that two men can lift a bigger stone than one man. A group can build automobiles quicker and better than one man, and bread from a huge factory is cheaper and more uniform. When our food and clothing and housing all are born in the complication of mass production, mass method is bound to get into our thinking and to eliminate all other thinking. In our time mass or collective production has entered our economics, our politics, and even our religion, so that some nations have substituted the idea collective for the idea God. This in my time is the danger. There is great tension in the world, tension toward a breaking point, and men are unhappy and confused.
At such a time it seems natural and good to me to ask myself these questions. What do I believe in? What must I fight for and what must I fight against?
Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of a man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man.
And now the forces marshaled around the concept of the group have declared a war of extermination on that preciousness, the mind of man. By disparagement, by starvation, by repressions, forced direction, and the stunning hammerblows of conditioning, the free, roving mind is being pursued, roped, blunted, drugged. It is a sad suicidal course our species seems to have taken.
And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight against: any idea, religion, or government which limits or destroys the individual. This is what I am and what I am about. I can understand why a system built on a pattern must try to destroy the free mind, for that is one thing which can by inspection destroy a system. Surely I can understand this, and I hate it and I will fight against it to preserve the one thing that separates us from the uncreative beasts. If the glory can be killed, we are lost."
(p. 131-2; Chapter 13.1)

His mind plunged like a colt in a happy pasture, and when later the world put up fences he plunged against the wire, and when the final stockade surrounded him, he plunged right through it and out.

East of Eden
By John Steinbeck

"Tom, the third son, was most like his father. He was born in fury and he lived in lightning. Tom came headlong into life. He was a giant in joy and enthusiasms. He didn't discover the world and its people, he created them. When he read his father's books, he was the first. He lived in a world shining and fresh and as uninspected as Eden on the sixth day. His mind plunged like a colt in a happy pasture, and when later the world put up fences he plunged against the wire, and when the final stockade surrounded him, he plunged right through it and out. And as he was capable of giant joy, so did he harbor huge sorrow, so that when his dog died the world ended.
Tom was as inventive as his father but he was bolder. He would try things his father would not dare. Also, he had a large concupiscence to put the spurs in his flanks, and this Samuel did not have. Perhaps it was his driving sexual need that made him remain a bachelor. It was a very moral family he was born into. It might be that his dreams and his longing, and his outlets for that matter, made him feel unworthy, drove him sometimes whining into the hills. Tom was a nice mixture of savagery and gentleness. He worked inhumanly, only to lose in effort his crushing impulses."
(p. 40)

The redwoods, once seen, leave a mark or create a vision that stays with you always.

Travels with Charley: in Search of America
By John Steinbeck

"The redwoods, once seen, leave a mark or create a vision that stays with you always. No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not transferable. From them comes silence and awe. It's not only their unbelievable stature, nor the color which seems to shift and vary under your eyes, no, they are not like any trees we know, they are ambassadors from another time. They have the mystery of ferns that disappeared a million years ago into the coal of the carboniferous era. They carry their own light and shade. The vainest, most slap-happy and irreverent of men, in the presence of redwoods, goes under a spell of wonder and respect. Respect--that's the word. One feels the need to bow to unquestioned sovereigns. I have known these great ones since my earliest childhood, have lived among them, camped and slept against their warm monster bodies, and no amount of association has bred contempt in me. And the feeling is not limited to me."
(p. 143)

"I stayed two days close to the bodies of the giants, and there were no trippers, no chattering troupes with cameras. There's a cathedral hush here. Perhaps the thick soft bark absorbs sound and creates a silence. The trees rise straight up to zenith; there is no horizon. The dawn comes early and remains dawn until the sun is high. Then the green fernlike foliage so far up strains the sunlight to a green gold and distributes it in shafts or rather in stripes of light and shade. After the sun passes zenith it is afternoon and quickly evening with a whispering dusk as long as was the morning.
Thus time and the ordinary divisions of the day are changed. To me dawn and dusk are quiet times, and here in the redwoods nearly the whole of daylight is a quiet time. Birds move in the dim light or flash like sparks through the stripes of sun, but they make little sound. Underfoot is a mattress of needles deposited for over two thousand years. No sound of footsteps can be heard on this thick blanket. To me there's a remote and cloistered feeling here. One holds back speech for fear of disturbing something--what? From my earliest childhood I've felt that something was going on in the groves, something of which I was not a part. And if I had forgotten the feeling, I soon got it back.
At night, the darkness is black--only straight up a patch of gray and an occasional star. And there's a breathing in the black, for these huge things that control the day and inhabit the night are living things and have presence, and perhaps feeling, and, somewhere in deep-down perception, perhaps communication. I have had lifelong association with these things. (Odd that the word "trees" does not apply.) I can accept them and their power and their age because I was early exposed to them. On the other hand, people lacking such experience begin to have a feeling of uneasiness here, of danger, of being shut in, enclosed and overwhelmed. It is not only the size of these redwoods but their strangeness that frightens them. And why not? For these are the last remaining members of a race that flourished over four continents as far back in geologic time as the upper Jurassic period. Fossils of these ancients have been found dating from the Cretaceous era while in the Eocene and Miocene they were spread over England and Europe and America. And then the glaciers moved down and wiped the Titans out beyond recovery. And only these few are left--a stunning memory of what the world was like once long ago. Can it be that we do not love to be reminded that we are very young and callow in a world that was old when we came into it? And could there be a strong resistance to the certainty that a living world will continue its stately way when we no longer inhabit it?"
(pp. 146-7)

For Charley is not a human; he's a dog, and he likes it that way.

Travels with Charley: in Search of America
By John Steinbeck

Steinbeck on two separate experiences taking care of a sick Charley while on the road. Also this first passage made me laugh & also feel ashamed because I definitely talk to my dog in baby talk & I never considered that: maybe he hates it!

"On the other hand, I yield to no one in my distaste for the self-styled dog-lover, the kind who heaps up his frustrations and makes a dog carry them around. Such a dog-lover talks baby talk to mature and thoughtful animals, and attributes his own sloppy characteristics to them until the dog becomes in his mind an alter ego. Such people, it seems to me, in what they imagine to be kindness, are capable of inflicting long and lasting tortures on an animal, denying it any of its natural desires and fulfillments until a dog of weak character breaks down and becomes the fat, asthmatic, befurred bundle of neuroses. When a stranger addresses Charley in baby talk, Charley avoids him. For Charley is not a human; he's a dog, and he likes it that way. He feels that he is a first-rate dog and has no wish to be a second-rate human. When the alcoholic vet touched him with his unsteady, inept hand, I saw the look of veiled contempt in Charley's eyes. He knew about the man, I thought, and perhaps the doctor knew he knew. And maybe that was the man's trouble. It would be very painful to know that your patients had no faith in you."

(pp. 136-137)

"He lifted Charley in his arms and carried him out and laid him in the front seat of the convertible, and the tufted tail twittered against the leather. He was content and confident, and so was I. And that is how I happened to stay around Amarillo for a while. To complete the episode, I picked up Charley four days later, completely well. The doctor gave me pills to give at intervals while traveling so that the ailment never came back. There's absolutely nothing to take the place of a good man."

(p. 179) 

I am happy to report that in the war between reality and romance, reality is not the stronger.

Travels with Charley: in search of America

By John Steinbeck

"The next day a long-cultivated ambition was to blossom and fruit."
(p. 104)

"I am happy to report that in the war between reality and romance, reality is not the stronger."
(p. 105)

"When I was a child growing up in Salinas we called San Francisco "the City." Of course it was the only city we knew, but I still think of it as the City, and so does everyone else who has ever associated with it. A strange and exclusive word is "city." Besides San Francisco, only small sections of London and Rome stay in the mind as the City. New Yorkers say they are going to town. Paris has no title but Paris. Mexico City is the Capital.
Once I knew the City very well, spent my attic days there, while others were being a lost generation in Paris. I fledged in San Francisco, climbed its hills, slept in its parks, worked on its docks, marched and shouted in its revolts. In a way I felt I owned the city as much as it owned me.
San Francisco put on a show for me. I saw her across the bay, from the great road that bypasses Sausalito and enters the Golden Gate Bridge. The afternoon sun painted her white and gold--rising on her hills like a noble city in a happy dream. A city on hills has it over flat-land places. New York makes its own hills with craning buildings, but this gold and white acropolis rising wave on wave against the blue of the Pacific sky was a stunning thing, a painted thing like a picture of a medieval Italian city which can never have existed. I stopped in a parking place to look at her and the necklace bridge over the entrance from the sea that led to her. Over the green higher hills to the south, the evening fog rolled like herds of sheep coming to cote in the golden city. I've never seen her more lovely. When I was a child and we were going to the City, I couldn't sleep for several nights before, out of bursting excitement. She leaves a mark."
(pp. 150-151)

The same day I read this passage I went to Citi Field to watch the Mets vs. the San Francisco Giants & on the train noticed a man wearing a Giants jersey that said "the City" & I was able to connect what I read with what I saw in reality (didn't know this about SF before) -- & it was nice.

So much there is to see, but our morning eyes describe a different world than do our afternoon eyes, and surely our wearied evening eyes can report only a weary evening world.

Travels with Charley: in Search of America
By John Steinbeck

"For weeks I had studied maps, large-scale and small, but maps are not reality at all--they can be tyrants. I know people who are so immersed in road maps that they never see the countryside they pass through, and others who, having traced a route, are held to it as though held by flanged wheels to rails. I pulled Rocinante into a small picnic area maintained by the state of Connecticut and got out my book of maps. And suddenly the United States became huge beyond belief and impossible ever to cross. I wondered how in hell I'd got myself mixed up in a project that couldn't be carried out. It was like starting to write a novel. When I face the desolate impossibility of writing five hundred pages a sick sense of failure falls on me and I know I can never do it. This happens every time. Then gradually I write one page and then another. One day's work is all I can permit myself to contemplate and I eliminate the possibility of ever finishing. So it was now, as I looked at the bright-colored projection of monster America."
(p. 20)

"I've lived in good climate, and it bores the hell out of me. I like weather rather than climate. In Cuernavaca, Mexico, where I once lived, and where the climate is as near to perfect as is conceivable, I have found that when people leave there they usually go to Alaska. I'd like to see how long an Aroostook Country man can stand Florida. The trouble is that with his savings moved and invested there, he can't very well go back. His dice are rolled and can't be picked up again. But I do wonder if a down-Easter, sitting on a nylon-and-aluminum chair out on a changelessly green lawn slapping mosquitoes in the evening of a Florida October--I do wonder if the stab of memory doesn't strike him high in the stomach just below the ribs where it hurts. And in the humid ever-summer I dare his picturing mind not to go back to the shout of color, to the clean rasp of frosty air, to the smell of pine wood burning and the caressing warmth of kitchens. For how can one know color in perpetual green, and what good is warmth without cold to give it sweetness?"
(p. 29)

"I've always admired those reporters who can descend on an area, talk to key people, ask key questions, take samplings of opinions, and then set down an orderly report very like a road map. I envy this technique and at the same time do not trust it as a mirror of reality. I feel that there are too many realities. What I set down here is true until someone else passes that way and rearranges the world in his own style. In literary criticism the critic has no choice but to make over the victim of his attention into something the size and shape of himself.
And in this report I do not fool myself into thinking I am dealing with constants. A long time ago I was in the ancient city of Prague and at the same time Joseph Alsop, the justly famous critic of places and events, was there. He talked to informed people, officials, ambassadors; he read repots, even the fine print and figures, while I in my slipshod manner roved about with actors, gypsies, vagabonds. Joe and I flew home to America in the same plane, and on the way he told me about Prague, and his Prague had no relation to the city I had seen and heard. It just wasn't the same place, and yet each of us was honest, neither one a liar, both pretty good observers by any standard, and we brought home two cities, two truths. For this reason I cannot commend this account as an America that you will find. So much there is to see, but our morning eyes describe a different world than do our afternoon eyes, and surely our wearied evening eyes can report only a weary evening world."
(pp. 59-60)

I did not want to surrender fierceness for a small gain in yardage.

Travels with Charley: In Search of America
By John Steinbeck

"During the previous winter I had become rather seriously ill with one of those carefully named difficulties which are the whispers of approaching age. When I came out of it I received the usual lecture about slowing up, losing weight, limiting the cholesterol intake. It happens to many men, and I think doctors have memorized the litany. It happened to so many of my friends. The lecture ends, "Slow down. You're not as young as you once were." And I had seen so many begin to pack their lives in cotton wool, smother their impulses, hood their passions, and gradually retire from their manhood into a kind of spiritual and physical semi-invalidism. In this they are encouraged by wives and relatives, and it's such a sweet trap.

Who doesn't like to be a center for concern? A kind of second childhood falls on so many men. They trade their violence for the promise of a small increase of life span. In effect, the head of the house becomes the youngest child. And I have searched myself for this possibility with a kind of horror. For I have always lived violently, drunk hugely, eaten too much or not at all, slept around the clock or missed two nights of sleeping, worked too hard and too long in glory, or slobbed for a time in utter laziness. I've lifted, pulled, chopped, climbed, made love with joy and taken my hangovers as a consequence, not as a punishment. I did not want to surrender fierceness for a small gain in yardage. My wife married a man; I saw no reason why she should inherit a baby. I knew that ten or twelve thousand miles driving a truck, alone and unattended, over every kind of road, would be hard work, but to me it represented the antidote for the poison of the professional sick man. And in my own life I am not willing to trade quality for quantity. If this projected journey should prove too much then it was time to go anyway. I see too many men delay their exits with a sickly, slow reluctance to leave the stage. It's bad theater as well as bad living."

(pp. 17-8)

“I can still tend the rabbits, George? I didn't mean no harm, George.”

Of Mice and Men
By John Steinbeck

“I can still tend the rabbits, George? I didn't mean no harm, George.” 

I read this about a month ago for the first time and really liked it. In a way, the classic had always been on my to-read list, but when I saw it had a limited engagement on Broadway starring James Franco and Chris O'Dowd, it encouraged me to read it sooner. I saw it last night with friends and thought it was fantastic. Chris O'Dowd's performance as Lennie blew me away.