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Voices of experience: Those who’ve lived on streets bring empathy to organizations helping Clark County’s homeless – The Columbian

Renee Stevens knows what it’s like to hit rock bottom. After a series of bad relationships and struggles with drug addiction, she returned to her home city of Vancouver with her three young daughters
— Read on

2023.10.30 Words with Rupi  – Letter Starts:  Letter To A Ben Who Didn’t Do That in 2019

What are you like?  What does she think of you?  Your kids?  Your family, hers?  Where do you work?  With all the time you didn’t have to spend breaking yourself, then lying/evading/sneaking/hedging/protecting-the-whatever-the-hell, and all the time you didn’t have to spend unbreaking – what did you do in that time -what did you do for others in that time that I spent on myself?

What would you say to me now?

Self-Pity by D H Lawrence – Famous poems, famous poets. – All Poetry


I never saw a wild thing
sorry for itself.
A small bird will drop frozen dead from a bough
without ever having felt sorry for itself.
— Read on

This may be what Lawrence (or we) would prefer to believe about wild things, but consider those dolphins who refuse to eat after the death of a mate. Consider those geese who search for the lost mate until they themselves become disoriented and die. In fact the grieving have ur-sent reasons, even an urgent need, to feel sorry for them-selves. Husbands walk out, wives walk out, divorces happen, but these husbands and wives leave behind them webs of intact associations, however acrimonious.

Only the survivors of a death are truly left alone.

Joan Didion, the year of magical, thinking, 2005, Vintage Books, New York, NY, page 193. 

Stephen Crane and metaphorical prose in realism Stephenan mampil prose

“Cranes fiction is radically different from that of the realists… To Crane, reality was complex, ambivalent, ambiguous, and elusive, as much a matter of the play of a peculiarity of mind as a quality or character in the object itself. “

“This is a way of saying that Crane’s prose is metaphorical rather than literal and discursive – a way of pointing out the poetic quality of a style. But it also reminder that style is a reflection of his special way of singing, and that these elements in his fiction-his style and vision – are finally one and the same thing,”

“ the hero of the novel, re-creates, through cranes imagination, of course, the external world in whatever image, best expresses or serves his egotistical yearning, hopes, and fierce. In his sentimental self portrait, Henry Fleming sees himself as a hero of nervous courage and reckless, daring – due, winner of the hearts of maidens in the admiration of his comrades in arms. But he also suspects, fearfully, that he is really a coward, and his problem is to refashion the world, as it were, into a new reality “reality, “by which he can justify rationalize his failures as a man or soldier. “. …” his anxiety is really over the uncertain question of his relation to the whole universe, as if he somehow expects nature to be the final arbiter of his success, or failure as a hero.… he never for a moment considers, as does the narrator, the nature is after all simply in different to him.”

For example, in the short story “the open boat, “the correspondent, the main character, reflects upon nature, as seen as a tower, that, “the tower was a giant, standing with its back to the plate of the ants.”

However, “illusion and crane is more permanent than reality, even granting that they can be distinguished.”

James B. Culvert, University of Virginia, Afterword, in Great Short Works of Stephen Crane, 1965, Harper and Roe publishers. New York, New York.