Where My Books Go

All the words that I gather,
And all the words that I write,
Must spread out their wings untiring,
And never rest in their flight,
Till they come where your sad, sad
heart is,
And sing to you in the night,
Beyond where the waters are moving,
Storm darkened or starry bright.

Her old thoughts were going to come in handy now, but new words would have to be made and said to fit them.

She could smell the pages. She could almost taste the words as they stacked up around her.

Words are wind, Brienne told herself. They cannot hurt you. Let them wash over you.

Words are wind.

The poem is in my hands, and can run stories through her hands.

They soar, they are somewhere mid-flight,
The words of love and liberation
And I'm succumbing to stage-fright,
My lips – ice cold in trepidation.
But soon, where birches, thin and humble,
Caress the windows with their leaves, -
The voice of the unseen will rumble
And roses will be tied in wreaths.

When she came to write her story, she would wonder when the books and the words started to mean not just something, but everything.

As though she had entered a fable, as though she were no more than words crawling along a dry page, or as though she were becoming that page itself, that surface on which her story would be written and across which there blew a hot and merciless wind, turning her body to papyrus, her skin to parchment, her soul to paper.

What we are given in dreams we write as blue paint,
Or messages to the clouds.
At evening we wait for the rain to fall and the sky to clear.
Our words are words for the clay, uttered in undertones,
Our gestures salve for the wind.

We sit out on the earth and stretch our limbs,
Hoarding the little mounds of sorrow laid up in our hearts. — Charles Wright, closing lines to “Homage to Paul Cézanne,” <i>The Southern Cross: Poems</i> (Random House, 1981)

She is like all the rest of them. Whether they are seventeen or fortyseven, when they finally come to surrender completely, it's going to be in words.

A stirring warmth flowed from her, as if her heart was trying to come out to you concealed in one of those breathless, thrilling words.

At first she thought the writing would be easy. She was extremely confident in her ability to dream, to imagine, and she supposed that expressing her dreams in words, in writing, would be entirely natural, like drawing breath. She had read widely from the time she was a child, and she knew how to recognize something that was well written. She admired certain lines and passages so much that she had taken complete possession of them and committed them to memory. She could recite “The Gettysburg Address” and “The Twenty-Third Psalm.” She could recite “Jabberwocky” and Emily Dickinson’s “Further in summer that the birds” and Wallace Stevens’s “Sunday Morning.” She knew by heart the final paragraph of Joyce’s “The Dead,” and if challenged she could say in whole the parts of both Romeo and Juliet. And she knew many Kiowa stories and many long prayers in Navajo. These were not feats of memory in the ordinary sense; it was simply that she attended to these things so closely that they became a part of her most personal experience. She had assumed them, appropriated them to her being.
But to write! She discovered that was something else again.

In words, like weeds, I'll wrap me o'er,
Like coarsest clothes against the cold