A Raisin in the Sun

Excerpt from A Raisin in the Sun by Lorraine Hansberry

Photo by Jonas Jacobsson on Unsplash

This is an excerpt from the book A Raisin in the Sun by Lorraine Hansberry.

Mama: Ruth Younger, what’s the matter with you today? You look like you could fall over right there.

Ruth: I’m tired

Mama: Then you better stay home from work today.

Ruth: I can’t stay home. She’d be calling up the agency and screaming at them, “My girl didn’t come in today—send me somebody! My girl didn’t come in!” Oh, she just have a fit…

Mama: Well, let her have it. I’ll just call her up and say you got the flu—

Ruth: (laughing) Why the flu?

Mama: ‘Cause it sounds respectable to ‘em. Something white people get, too. They know ‘bout the flu. Otherwise they think you been cut up or something when you tell ‘em you sick.

Ruth: I got to go in. We need the money.

Mama: Somebody would of thought my children done all but starved to death the way they talk about money here late. Child, we got a great big old check coming tomorrow.

Ruth: (Sincerely, but also self-righteously) Now that’s your money. It ain’t got nothing to do with me. We all feel like that—Walter and Bennie and me—even Travis.

Mama: (Thoughtfully, and suddenly very far away) Ten thousand dollars—

Ruth: Sure is wonderful.

Mama: Ten thousand dollars.

Ruth: You know what you should do, Miss Lena? You should take yourself a trip somewhere. To Europe or South America or someplace—

Mama: (Throwing up her hands at the thought) Oh, child!

Ruth: I’m serious. Just pack up and leave! Go on away and enjoy yourself some. Forget about the family and have yourself a ball for once in your life—

Mama: (Drily) You sound like I’m just about ready to die. Who’d go with me? What I look like wandering ‘round Europe by myself?

Ruth: Shoot—these here rich white women do it all the time. They don’t think nothing of packing up they suitcases and piling on one of them big steamships and—swoosh!—they gone, child.

Mama: Something always told me I wasn’t no rich white woman.

Ruth: Well—what are you going to do with it then?

Mama: I ain’t rightly decided. (Thinking. She speaks now with emphasis) Some of it got to be put away for Beneatha and her schoolin’—and ain’t nothing going to touch that part of it. Nothing. (She waits several seconds, trying to make up her mind about something, and looks at Ruth a little tentatively before going on) Been thinking that we maybe could meet the notes on a little old two-story somewhere, with a yard where Travis could play in the summertime, if we use part of the insurance for a down payment and everybody kind of pitch in. I could maybe take on a little day work again, few days a week—

Ruth: (Studying her mother-in-law furtively and concentrating on her ironing, anxious to encourage without seeming to) Well, Lord knows we’ve put enough rent into this here rat trap to pay for four houses by now…

Mama: (Looking up at the words “rat trap” and then looking around and leaning back and sighing—in a suddenly reflective mood—) “Rat trap”—yes, that’s all it is. (Smiling) I remember just as well the day me and Big Walter moved in here. Hadn’t been married but two weeks and wasn’t planning on living here no more than a year. (She shakes her head at the dissolved dream) We was going to set away, little by little, don’t you know, and buy a little place out in Morgan Park. We had even picked out the house. (Chuckling a little) Looks right dumpy today. But Lord, child, you should know all the dreams I had ‘bout buying that house and fixing it up and making me a little garden in the back— (She waits and stops smiling) And didn’t none of it happen.

(Dropping her hands in a futile gesture)

Ruth: (Keeps her head down, ironing) Yes, life can be a barrel of disappointments, sometimes.

As a bonus, let me share with you the poem that the name of the play references. It’s a poem from Langston Hughes and is included in the book before the play starts.

What happens to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
Like a syrupy sweet?

Maybe it just sags
Like a heavy load.

Or does it explode?

-Langston Hughes

Have you read this play? I’d love to hear your thoughts in a comment below!

A Raisin in the Sun – Summary

Here is the book summary from Goodreads:

“Never before, in the entire history of the American theater, has so much of the truth of black people’s lives been seen on the stage,” observed James Baldwin shortly before A Raisin in the Sun opened on Broadway in 1959.

Indeed Lorraine Hansberry’s award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America–and changed American theater forever.  The play’s title comes from a line in Langston Hughes’s poem “Harlem,” which warns that a dream deferred might “dry up/like a raisin in the sun.”

“The events of every passing year add resonance to A Raisin in the Sun,” said The New York Times.  “It is as if history is conspiring to make the play a classic.”  This Modern Library edition presents the fully restored, uncut version of Hansberry’s landmark work with an introduction by Robert Nemiroff.

Copyright © 1958 by Lorraine Hansberry.

You can find more details here on Goodreads and on StoryGraph.

Just sit awhile

This is a quote from the book A Raisin in the Sun by Lorraine Hansberry.

Quote by Lorraine Hansberry, “Just sit awhile and think…Never be afraid to sit awhile and think.”

Have you read this play? I’d love to hear your thoughts in a comment below!

If you’re interested, you can read an excerpt from the book here.

A Raisin in the Sun – Summary

Here is the book summary from Goodreads:

“Never before, in the entire history of the American theater, has so much of the truth of black people’s lives been seen on the stage,” observed James Baldwin shortly before A Raisin in the Sun opened on Broadway in 1959.

Indeed Lorraine Hansberry’s award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America–and changed American theater forever.  The play’s title comes from a line in Langston Hughes’s poem “Harlem,” which warns that a dream deferred might “dry up/like a raisin in the sun.”

“The events of every passing year add resonance to A Raisin in the Sun,” said The New York Times.  “It is as if history is conspiring to make the play a classic.”  This Modern Library edition presents the fully restored, uncut version of Hansberry’s landmark work with an introduction by Robert Nemiroff.

Copyright © 1958 by Lorraine Hansberry.

You can find more details here on Goodreads and on StoryGraph.

Poetry is not a luxury

Excerpt from Selected Works by Audre Lorde

Photo by Aaron Burden on Unsplash

This is an excerpt from the book Selected Words of Audre Lorde by Audre Lorde, from the essay Poetry is Not a Luxury.

The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized. This is poetry as illumination, for it is through poetry that we give name to those ideas which are—until the poem—nameless and formless, about to be birthed, but already felt. That distillation of experience from which true poetry springs births thought as dream births concept, as feeling births idea, as knowledge births (precedes) understanding.

As we learn to bear the intimacy of scrutiny and to flourish within it, as we learn to use the products of that scrutiny for power within our living, those fears which rule our lives and form our silences begin to lose their control over us.

For each of us as women, there is a dark place within, where hidden and growing our true spirit rises, “beautiful/and tough as chestnut/stanchions against (y)our nightmare of weakness/” and of impotence.

These places of possibility within ourselves are dark because they are ancient and hidden; they have survived and grown strong through that darkness. Within these deep places, each one of us holds an incredible reserve of creativity and power, of unexamined and unrecorded emotion and feeling. The women’s place of power within each of us is neither white nor surface; it is dark, it is ancient, and it is deep.

When we view living in the european mode only as a problem to be solved, we rely solely upon our ideas to make us free, for those were what the white fathers told us were precious.

But as we come more into touch with our own ancient, non-european consciousness of living as a situation to be experienced and interacted with, we learn more and more to cherish our feelings, and to respect those hidden sources of our power from where true knowledge and, therefore lasting action comes.

At this point in time, I believe that women carry within ourselves the possibility for fusion of these two approaches to necessary for survival, and we come closest to this combination in our poetry. I speak here of poetry as a revelatory distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean—in order to cover a desperate wish for imagination without insight.

For women, then, poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought. The farthest horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives.

As they become known to and accepted by us, our feelings and the honest exploration of them become sanctuaries and spawning grounds for the most radical and daring of ideas. They become a safe-house for that difference so necessary to change and the conceptualization of any meaningful action. Right now, I could name at least ten ideas I would have found intolerable or incomprehensible and frightening, except as they came after dreams and poems. This is not idle fantasy, but a disciplined attention to the true meaning of “it feels right to me.” We can train ourselves to respect our feelings and to transpose them into a language so they can be shared. And where that language does not exist, it is our poetry which helps to fashion it. Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change, a bridge across our fears of what has never been before.

Possibility is neither forever nor instant. It is not easy to sustain belief in its efficacy. We can sometimes work long and hard to establish on beachhead of real resistance to the deaths we are expected to live, only to have that beachhead assaulted or threatened by those canards we have been socialized to fear, or by the withdrawal of those approvals that we have been warned to seek for safety. Women see ourselves diminished or softened by the falsely benign accusations of childishness, of nonuniversality, of changeability, of sensuality. And who asks the question: Am I altering your aura, your ideas, your dreams, or am I merely moving you to temporary and reactive action? And even though the latter is no mean task, it is one that must be seen within the context of a need for true alteration of the very foundations of our lives.

The white fathers told us: I think, therefore I am. The Black mother within each of us—the poet—whispers in our dreams: I feel, therefore I can be free. Poetry coins the language to express and charter this revolutionary demand, the implementation of that freedom

Have you read this book or this essay by Audre Lorde? I’d love to hear your thoughts in a comment below!

The Selected Works of Audre Lorde – Summary

Here is the book summary from Goodreads:

A definitive selection of Audre Lorde’s “intelligent, fierce, powerful, sensual, provocative, indelible” (Roxane Gay) prose and poetry, for a new generation of readers.

Self-described “black, lesbian, mother, warrior, poet” Audre Lorde is an unforgettable voice in twentieth-century literature, and one of the first to center the experiences of black, queer women. This essential reader showcases her indelible contributions to intersectional feminism, queer theory, and critical race studies in twelve landmark essays and more than sixty poems—selected and introduced by one of our most powerful contemporary voices on race and gender, Roxane Gay.

Copyright © 1977 by Audre Lorde (for this essay).

You can find more details here on Goodreads and on StoryGraph.

Just felt like gravity

This is a quote from the book Memorial by Bryan Washington.

Quote by Bryan Washington, “It wasn’t like I didn’t know what was happening, or that I wanted us to be over, but it just felt like gravity—like I was slowly sinking into something that would eventually happen anyway and I didn’t know how to stop it or turn it around or what.”

Have you read this book? I’d love to hear your thoughts in a comment below!

If you’re interested, you can read an excerpt from the book here.

Memorial – Summary

Here is the book summary from Goodreads:

A funny, sexy, profound dramedy about two young people at a crossroads in their relationship and the limits of love.

Benson and Mike are two young guys who live together in Houston. Mike is a Japanese American chef at a Mexican restaurant and Benson’s a Black day care teacher, and they’ve been together for a few years — good years — but now they’re not sure why they’re still a couple. There’s the sex, sure, and the meals Mike cooks for Benson, and, well, they love each other.

But when Mike finds out his estranged father is dying in Osaka just as his acerbic Japanese mother, Mitsuko, arrives in Texas for a visit, Mike picks up and flies across the world to say goodbye. In Japan he undergoes an extraordinary transformation, discovering the truth about his family and his past. Back home, Mitsuko and Benson are stuck living together as unconventional roommates, an absurd domestic situation that ends up meaning more to each of them than they ever could have predicted. Without Mike’s immediate pull, Benson begins to push outwards, realizing he might just know what he wants out of life and have the goods to get it.

Both men will change in ways that will either make them stronger together, or fracture everything they’ve ever known. And just maybe they’ll all be okay in the end. Memorial is a funny and profound story about family in all its strange forms, joyful and hard-won vulnerability, becoming who you’re supposed to be, and the limits of love.

Copyright © 2020 by Bryan Washington.

You can find more details here on Goodreads and on StoryGraph.

Dear God…

Excerpt from The Color Purple by Alice Walker

Photo by Daniele Levis Pelusi on Unsplash

This is an excerpt from the book The Color Purple by Alice Walker.

DEAR GOD,

Nettie here with us. She run way from home. She say she hate to leave our stepma, but she had to git out, maybe fine help for the other little ones. The boys be alright, she say. They can stay out his way. When they git big they gon fight him.

Maybe kill, I say.

How is it with you and Mr. ____? she ast. But she got eyes. He still like her. In the evening he come out on the porch in his Sunday best. She be sitting there with me shelling peas or helping the children with they spelling. Helping me with spelling and everything else she think I need to know. No matter what happen, Nettie steady try to teach me what go on in the world. And she a good teacher too. It nearly kill me to think she might marry somebody like Mr. _____ or wind up in some white lady kitchen. All day she read, she study, she practice her handwriting, and try to git us to think. Most days I feel too tired to think. But Patient her middle name.

Mr. _____ children all bright but they mean. They say Celie, I want dis. Celie I want dat. Our Mama let us have it. He don’t say nothing. They try to get his tention, he hide hind a puff of smoke.

Don’t let them run over you, Nettie say. You got to let them know who got the upper hand.

They got it, I say.

But she keep on, You got to fight. You got to fight.

But I don’t know how to fight. All I know how to do is stay alive.

That’s a real pretty dress you got on, he say to Nettie.

She say, Thank you.

Them shoes look just right.

She say, Thank you.

Your skin. Your hair. Your teefs. Everyday it something else to make miration over.

First she smile a little. Then she frown. Then she don’t look no special way at all. She just stick close to me. She tell me, Your skin. Your hair, Your teefs. He try to give her a compliment, she pass it on to me. After while I git to feeling pretty cute.

Soon he stop. He say one night in bed, Well, us done help Nettie all we can. Now she got to go.

Where she gon go? I ast.

I don’t care, he say.

I tell Nettie the next morning. Stead of being mad, she glad to go. Say she hate to leave me is all. Us fall on each other neck when she say that.

I sure hate to leave you here with these rotten children, she say. Not to mention with Mr. ____. It’s like seeing you buried, she say.

It’s worse than that, I think. If I was buried, I wouldn’t have to work. But I just say, Never mine, never mine, long as I can spell G-o-d I got somebody along.

But I only got one thing to give her, the name of

Reverend Mr. ____. I tell her to ast for his wife. That maybe she would help. She the only woman I even seen with money.

I say, Write.

She say, What?

I say, Write.

She say, Nothing but death can keep me from it.

She never write.

Have you read this book? I’d love to hear your thoughts in a comment below!

The Color Purple – Summary

Here is the book summary from Goodreads:

Winner of the Pulitzer Prize and the National Book Award. Alice Walker’s iconic modern classic is now a Penguin Book.

A powerful cultural touchstone of modern American literature, The Color Purple depicts the lives of African American women in early twentieth-century rural Georgia. Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance and silence. Through a series of letters spanning twenty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery and Sofia and their experience.

The Color Purple broke the silence around domestic and sexual abuse, narrating the lives of women through their pain and struggle, companionship and growth, resilience and bravery. Deeply compassionate and beautifully imagined, Alice Walker’s epic carries readers on a spirit-affirming journey towards redemption and love.

As seen in the description above, if there are topics you prefer not to read about, you may want to check out the trigger warnings before reading this book.

Copyright © 1982 by Kahlil Gibran.

You can find more details here on Goodreads and on StoryGraph.

I feel, therefore I can be free

This is a quote from the essay Poetry is Not a Luxury by Audre Lorde.

Quote by Audre Lorde, “I feel, therefore I can be free.”

Have you read this essay by Audre Lorde? I’d love to hear your thoughts in a comment below!

If you’re interested, you can read an excerpt from the book here.

The Selected Works of Audre Lorde – Summary

Here is the book summary from Goodreads:

A definitive selection of Audre Lorde’s “intelligent, fierce, powerful, sensual, provocative, indelible” (Roxane Gay) prose and poetry, for a new generation of readers.

Self-described “black, lesbian, mother, warrior, poet” Audre Lorde is an unforgettable voice in twentieth-century literature, and one of the first to center the experiences of black, queer women. This essential reader showcases her indelible contributions to intersectional feminism, queer theory, and critical race studies in twelve landmark essays and more than sixty poems—selected and introduced by one of our most powerful contemporary voices on race and gender, Roxane Gay.

Copyright © 1977 by Audre Lorde (for this essay).

You can find more details here on Goodreads and on StoryGraph.

Tell me something about my son

Excerpt from Memorial by Bryan Washington

Photo by Darwin Vegher on Unsplash

This is an excerpt from the book Memorial by Bryan Washington.

The next morning, before I head to work, Mitsuko says she needs a ride downtown. She’d mailed herself ingredients from Japan to the FedEx building by the Marriott.

So we pull out of the neighborhood, and off I-45, dodging the never-ending construction on Elgin. As I hook a right at a stoplight under the bridge, a disheveled guy in a Rockets sweater sips from a paper bag. He’s seen better days, but the sweater’s brand-new. It’s got the tags and everything.

He nods our way. I nod back. Then the light changes, and we both turn back to our lives.

Tell me something about my son that I don’t know, says Mitsuko.

Well, I say.

But, the thing is, I’ve got nothing.

Mike is irritable.

Short-winded.

He does this thing with his tongue.

For the first few months, he’d trace shapes across my back in bed. Whenever I got them right, he’d chew on my shoulder.

Mike knows a little bit of Spanish, I say.

That’s nice, says Mitsuko.

He has to. For his job.

Also, I say, he’s really into food.

Thank you for that, says Mitsuko. Really. You’re a wealth of knowledge.

But tell me, she says, when did you know you were gay?

I take my eyes off the road, nearly swerving onto the sidewalk. Some loiterers in shades hop away from the curb. They flick me off through the rearview window.

Never mind, says Mitsuko.

Sorry, I say, it wasn’t you.

Of course it wasn’t me, says Mitsuko.

We resettle into traffic.

If it helps, she says, I had no idea Mike was that way.

He never told me, says Mitsuko. Or his father. I had friends whose children are gay. Sons who sleep with sons. Girls who sleep with boys and girls.

But not mine, says Mitsuko. I didn’t see it.

And then one day, she says, I just knew. Before he left home, it clicked. Everything finally made sense.

There was nothing to say after that, says Mitsuko. We both understood.

Cruising into the parking garage, we find a spot just across from the elevator. Once I’ve settled the car in park, we sit in the darkness.

What kind of guy did you think your son would end up with, I say.

Is that your real question, says Mitsuko, or are you asking something else?

Are you asking if I thought the man would be Japanese? she asks. Or if I care that you’re Black?

A white dude emerges from the elevator in front of us, looking extremely distressed. He fumbles with his keys for a second. At the sound of his car alarm, his whole body relaxes.

If you put it that way, I say.

Well, says Mitsuko, I didn’t think about that. That wasn’t my business. Isn’t. I’m his mother.

Or are you really asking what I think about you, she says.

Another white guy in a suit unlocks the car beside us. He peeks into my window, frowning above his tie.

I’d tell you, says Mitsuko, but you might drive us into the wall.

Have you read this book? I’d love to hear your thoughts in a comment below!

Memorial – Summary

Here is the book summary from Goodreads:

A funny, sexy, profound dramedy about two young people at a crossroads in their relationship and the limits of love.

Benson and Mike are two young guys who live together in Houston. Mike is a Japanese American chef at a Mexican restaurant and Benson’s a Black day care teacher, and they’ve been together for a few years — good years — but now they’re not sure why they’re still a couple. There’s the sex, sure, and the meals Mike cooks for Benson, and, well, they love each other.

But when Mike finds out his estranged father is dying in Osaka just as his acerbic Japanese mother, Mitsuko, arrives in Texas for a visit, Mike picks up and flies across the world to say goodbye. In Japan he undergoes an extraordinary transformation, discovering the truth about his family and his past. Back home, Mitsuko and Benson are stuck living together as unconventional roommates, an absurd domestic situation that ends up meaning more to each of them than they ever could have predicted. Without Mike’s immediate pull, Benson begins to push outwards, realizing he might just know what he wants out of life and have the goods to get it.

Both men will change in ways that will either make them stronger together, or fracture everything they’ve ever known. And just maybe they’ll all be okay in the end. Memorial is a funny and profound story about family in all its strange forms, joyful and hard-won vulnerability, becoming who you’re supposed to be, and the limits of love.

Copyright © 2020 by Bryan Washington.

You can find more details here on Goodreads and on StoryGraph.

Whatever is hated…

This is a quote from the book The Promise by Damon Galgut.

Quote by Damon Galgut, “Whatever is hated is also feared, some consolation in that.”

Have you read this book? I’d love to hear your thoughts in a comment below!

If you’re interested, you can read an excerpt from the book here.

The Promise – Summary

Here is the book summary from Goodreads:

The Promise charts the crash and burn of a white South African family, living on a farm outside Pretoria. The Swarts are gathering for Ma’s funeral. The younger generation, Anton and Amor, detest everything the family stand for — not least the failed promise to the Black woman who has worked for them her whole life. After years of service, Salome was promised her own house, her own land… yet somehow, as each decade passes, that promise remains unfulfilled.

The narrator’s eye shifts and blinks: moving fluidly between characters, flying into their dreams; deliciously lethal in its observation. And as the country moves from old deep divisions to its new so-called fairer society, the lost promise of more than just one family hovers behind the novel’s title.

In this story of a diminished family, sharp and tender emotional truths hit home. Confident, deft and quietly powerful, The Promise is literary fiction at its finest.

Copyright © 2021 by Damon Galgut.

You can find more details here on Goodreads and on StoryGraph.

The Professor loved prime numbers

Excerpt from The Housekeeper and the Professor by Yōko Ogawa

Photo by Ryoji Iwata on Unsplash

This is an excerpt from the book The Housekeeper and the Professor by Yōko Ogawa, translated by Stephen Snyder.

The Professor loved prime numbers more than anything in the world. I’d been vaguely aware of their existence, but it never occurred to me that they could be the object of someone’s deepest affection. He was tender and attentive and respectful; by turns he would caress them or prostrate himself before them; he never strayed far from his prime numbers. Whether at his desk or at the dinner table, when he talked about numbers, primes were most likely to make an appearance. At first, it was hard to see their appeal. They seemed so stubborn, resisting division by any number but one and themselves. Still, as we were swept up in the Professor’s enthusiasm, we gradually came to understand his devotion, and the primes began to seem more real, as though we could reach out and touch them. I’m sure they meant something different to each of us, but as soon as the Professor would mention prime numbers, we would look at each other with conspiratorial smiles. Just as the thought of a caramel can cause your mouth to water, the mere mention of prime numbers made us anxious to know more about their secrets.

Evening was a precious time for the three of us. The vague tension around my morning arrival—which for the Professor was always our first encounter—had dissipated, and Root livened up our quiet days. I suppose that’s why I’ll always remember the Professor’s face in the evening, in profile, lit by the setting sun.

Inevitably, the Professor repeated himself when he talked about prime numbers. But Root and I had promised each other that we would never tell him, even if we had heard the same thing several times before—a promise we took as seriously as our agreement to hide the truth about Enatsu. No matter how weary we were of hearing a story, we always made an effort to listen attentively. We felt we owed that to the Professor, who had put so much effort into treating the two of us as real mathematicians. But our main concern was to avoid confusing him. Any kind of uncertainty caused him pain, so we were determined to hide the time that had passed and the memories he’d lost. Biting our tongues was the least we could do.

But the truth was, we were almost never bored when he spoke of mathematics. Though he often returned to the topic of prime numbers—the proof that there were an infinite number of them, or a code that had been devised based on primes, or the most enormous known examples, or twin primes, or the Mersenne, primes—the slightest change in the shape of his argument could make you see something you had never understood before. Even a difference in the weather or in his tone of voice seemed to cast these numbers in a different light.

To me, the appeal of prime numbers had something to do with the fact that you could never predict when one would appear. They seemed to be scattered along the number line at any place that took their fancy. The farther you get from zero, the harder they are to find, and no theory or rule could predict where they will turn up next. It was this tantalizing puzzle that held the Professor captive.

“Let’s try finding the prime numbers up to 100,” the Professor said one day when Root had finished his homework. He took his pencil and began making a list: 2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37, 41, 43, 47, 53, 59, 61, 67, 71, 73, 79, 83, 89, 97.

It always amazed me how easily numbers seemed to flow from the Professor, at any time, under any circumstances. How could these trembling hands, which could barely turn on the microwave, make such precise numbers of all shapes and sizes?

I also liked the way he wrote his numbers with his little stub of a pencil. The 4 was so round it looked like a knot of ribbon, and the 5 was leaning so far forward it seemed about to tip over. They weren’t lined up very neatly, but they all had a certain personality. The Professor’s lifelong affection for numbers could be seen in every figure he wrote.

“So, what do you see?” He tended to begin with this sort of general question.

They’re scattered all over the place.” Root usually answered first. “And 2 is the only one that’s even.” For some reason, he always noticed the odd man out.

“You’re right. Two is the only even prime. It’s the leadoff batter for the infinite team of prime numbers after it.”

“That must be awfully lonely,” said Root.

“Don’t worry,” said the Professor. “If it gets lonely, it has lots of company with the other even numbers.”

“But some of them come in pairs, like 17 and 19, and 41 and 43,” I said, not wanting to be shown up by Root.

“A very astute observation,” said the Professor. “Those are known as ‘twin primes.’”

I wondered why ordinary words seemed so exotic when they were used in relation to numbers. Amicable numbers or twin primes had a precise quality about them, and yet they sounded as though they’d been taken straight out of a poem. In my mind, the twins had matching outfits and stood holding hands as they waited in the number line.

“As the numbers get bigger, the distance between primes increases as well, and it becomes more difficult to find twins. So we don’t know yet whether twin primes are infinite the way prime numbers themselves are.” As he spoke, the Professor circled the consecutive pairs.

Among the many things that made the Professor an excellent teacher was the fact that he wasn’t afraid to say “we don’t know.” For the Professor, there was no shame in admitting you didn’t have the answer, it was a necessary step toward the truth. It was as important to teach us about the unknown or the unknowable as it was to teach us what had already been safely proven.

Have you read this book? I’d love to hear your thoughts in a comment below!

The Housekeeper and the Professor – Summary

Here is the book summary from Goodreads:

He is a brilliant math Professor with a peculiar problem–ever since a traumatic head injury, he has lived with only eighty minutes of short-term memory.

She is an astute young Housekeeper, with a ten-year-old son, who is hired to care for him.

And every morning, as the Professor and the Housekeeper are introduced to each other anew, a strange and beautiful relationship blossoms between them.

Though he cannot hold memories for long (his brain is like a tape that begins to erase itself every eighty minutes), the Professor’s mind is still alive with elegant equations from the past. And the numbers, in all of their articulate order, reveal a sheltering and poetic world to both the Housekeeper and her young son. The Professor is capable of discovering connections between the simplest of quantities–like the Housekeeper’s shoe size–and the universe at large, drawing their lives ever closer and more profoundly together, even as his memory slips away.

The Housekeeper and the Professor is an enchanting story about what it means to live in the present, and about the curious equations that can create a family.

Copyright © 2003 by Yōko Ogawa.

Translated by: Stephen Snyder

You can find more details here on Goodreads and on StoryGraph.

Still kissing her

This is a quote from the book Ethan Frome by Edith Wharton.

Quote by Edith Wharton, “All the while he felt as if he were still kissing her, and yet dying of thirst for her lips.”

Have you read this book? I’d love to hear your thoughts in a comment below!

If you’re interested, you can read an excerpt from the book here.

Ethan Frome – Summary

Here is the book summary from Goodreads:

A marked departure from Edith Wharton’s usual ironic contemplation of the fashionable New York society to which she herself belonged, Ethan From is is a sharply-etched portrait of the simple inhabitants of a nineteenth-century New England village. The protagonist, Ethan Frome, is a man tormented by a passionate love for his ailing wife’s young cousin. Trapped by the bonds of marriage and the fear of public condemnation, he is ultimately destroyed by that which offers him the greatest chance of happiness. Like The House Of Mirth, and many of Edith Wharton’s other novels, Ethan Frome centers on the power of the local convention to smother the growth of the individual. Written with stark simplicity, this powerful and tragic novel has long been considered one of her greatest works.

Copyright © 1911 by Edith Wharton.

You can find more details here on Goodreads and on StoryGraph.

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