I’m joining Silver Threading Writer’s Quote Wednesday Event. This week I bring you a quote from Rachel Stolzman’s book, The Sign for Drowning.
I recently read this moving novel, intensely flavored with loss, guilt, grief, resilience and love. It is the story of Anna, a girl who grew up deeply affected by her sister’s death. Her death didn’t unite the family; instead it created an abyss of untold emotions, which led them to disconnect from each other. Anna learned to thrive alone in life, finding her voice and her place in the world of deaf impairment. In her quest to reconnect with her emotions, she needed courage to break up with the past and move on. She needed to put all her might into her actions.
I took this quote from the book when Anna chatted with her friend Bonnie, the mother of twin babies. One of the babies was gripping the side of a chair and trying to raise herself over the arm unassisted. Bonnie said: “Do you realize that almost everything they do, is done with all their might? Imagine putting all your might into all of your actions. How often do adults do something with all their might”
Anna questioned if she had given her all to, or if she had been barely able to give enough.
These words brought me to ask the same about my life.
As I looked at the statue of these two kids looking at the horizon, I wondered what was in the mind of the sculptor. Was the artist thinking the same? Is our might as kids transformed into a silent statue, whilst we live barely giving enough room to our dreams? Are we giving our all to our lives? Are we giving our all to this world?
I found an answer to these questions, in the form of a profound question, almost at the end of Rachel’s book. I was struck with these words: “…how I could value my time so little as to use it in this manner.”
That is perhaps the way to reconnect with our might.
Rachel is an author, who also blogs at WP.
I invite you to visit her blog here.
This photo was taken at the Sporenburg Island in Amsterdam.
“It is a sculpture made by Mark Menders, of two cast iron sentinels looking out over the IJ and across the mouth of the Amsterdam Rhine canal, where large inland craft come and go. There they stand solid and impassive on the empty, lightly sloping plaza, their arms and hands extended along their bodies. Two taut figures with expressionless countenances.
The two sexless figures are a fusion of three nude models. Two girls and a boy.
The ensemble is a fragment of “Self-Portrait as a building” the extensive artwork Manders has been working on since 1990. It concerns a fictional building that is constantly changing, expanding and contracting; it’s in Manders’ words a ‘situation of changing immobility’. He can accommodate all his thoughts, all his drawings, images and installations in this building. His body of work is a storehouse of personal memories that color his images and bind them together.”
–Oost East Kunst Art