Sharon Olds, "35/10"

Brushing out my daughter's dark
silken hair before the mirror
I see the gray gleaming on my head,
the silver-haired servant behind her. Why is it
just as we begin to go
they begin to arrive, the fold in my neck
clarifying as the fine bones of her
hips sharpen? As my skin shows
its dry pitting, she opens like a small
pale flower on the tip of a cactus;
as my last chances to bear a child
are falling through my body, the duds among them,
her full purse of eggs, gold and
firm as hard-boiled yolks, is about
to snap its clasp. I brush her tangled
fragrant hair at bedtime. It's an old
story—the oldest we have on our planet—
the story of replacement.

Roxane Gay, NYT Op Ed

Here's the thing about anger. We only seem to prioritize one kind — anger in reaction to progress. And we never seem to acknowledge the anger rising out of oppression, marginalization, and under representation.

Laurie Moore, "People Like That Are the Only People Here"

How can it be described? How can any of it be described? The trip and the story of the trip are always two different things. The narrator is the one who has stayed home, but then, after- ward, presses her mouth upon the traveler's mouth, in order to make the mouth work, to make the mouth say, say, say. One cannot go to a place and speak of it; one cannot both see and say, not really. One can go, and upon return'ing make a lot of hand motions and indications with the arms. The mouth itself, working at the speed of light, at the eye's instructions, is neces- sarily struck still; so fast, so much to report, it hangs open and dumb as a gutted bell. All that unsayable life! That's where the narrator comes in. 

John Armstrong, John Aikin (1804). “The Art of Preserving Health”

Distrust yourself, and sleep before you fight, 

'Tis not too late tomorrow to be brave.

Rumi, "The Divers Clothes Lying Empty on the Beach"

You're sitting here with us, but you're also out walking
in a field at dawn. You are yourself
the animal we hunt when you come with us on the hunt.
You're in your body like a plant is solid in the ground,
yet you're wind. You're the diver's clothes
lying empty on the beach. You're the fish.
...

Joan Didion, "On Keeping a Notebook"

Why did I write it down? In order to remember, of course, but exactly what was it I wanted to remember? How much of it actually happened? Did any of it? Why do I keep a notebook at all? It is easy to deceive oneself on all those scores. The impulse to write things down is a peculiarly compulsive one, inexplicable to those who do not share it, useful only accidentally, only secondarily, in the way that any compulsion tries to justify itself. I suppose that it begins or does not begin in the cradle. Although I have felt compelled to write things down since I was five years old, I doubt that my daughter ever will, for she is a singularly blessed and accepting child, delighted with life exactly as life presents itself to her, unafraid to go to sleep and unafraid to wake up. Keepers of private notebooks are a different breed altogether, lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss.