The Corrections

by Jonathan Franzen

And if you sat at the dinner table long enough, whether in punishment or in refusal or simply in boredom, you never stopped sitting there. Some part of you sat there all your life. As if sustained and too-direct contact with time’s raw passage could scar the nerves permanently, like staring at the sun.

“It was time to move on,” Sylvia said to Enid. “I saw it all of a sudden. That whether I liked it or not, the survivor and the artist was me, not her. We’re all conditioned to think of our children as more important than us, you know, and to live vicariously through them. All of a sudden I was sick of that kind of thinking. I may be dead tomorrow, I said to myself, but I’m alive now. And I can live deliberately. I’ve paid the price, I’ve done the work, and I have nothing to be ashamed of. “And when the event, the big change in your life, is simply an insight—isn’t that a strange thing? That absolutely nothing changes except that you see things differently and you’re less fearful and less anxious and generally stronger as a result: isn’t it amazing that a completely invisible thing in your head can feel realer than anything you’ve experienced before? You see things more clearly and you know that you’re seeing them more clearly. And it comes to you that this is what it means to love life, this is all anybody who talks seriously about God is ever talking about. Moments like this.”

A capacity for love was the only true thing she’d ever had. And so she tuned out the tour guide and heeded the October angle of the yellow light, the heart-mangling intensities of the season. In the wind pushing waves across the bay she could smell night’s approach. It was coming at her fast: mystery and pain and a strange yearning sense of possibility, as though heartbreak were a thing to be sought and moved toward.