Will

“He grasped the rope and slowly began hoisting himself. Suddenly it began to stretch as if it were rubber. He was startled, and the perspiration gushed from his pores. Fortunately the stretching stopped after about a foot. He tried bringing all his weight to bear, and this time there seemed to be no further cause for worry. He spit on his hands, fitted the rope between his legs, and began to climb hand over hand. He rose like a toy monkey climbing a toy coconut tree. Perhaps it was his excitement, but the perspiration on his forehead felt strangely cold. In an effort to keep sand from falling on him, he avoided brushing against it and depended solely on the rope. But he felt uneasy as his body turned round and round in the air. The dead weight of his torso was more than he had anticipated, and his progress was slow. And whatever was this trembling? His arms had begun to jerk in spite of him, and he felt almost as if he were snapping himself like a whip. Perhaps it was a natural reaction, in view of those forty-six horrible days. When he had climbed a yard the hole seemed a hundred yards deep ... two yards, two hundred yards deep. Gradually, as the depth of the hole increased, he began to be dizzy. He was too tired. He mustn't look down! But there! There was the surface! The surface where, no matter which way he went, he would walk to freedom ... to the very ends of the earth. When he got to the surface, this endless moment would become a small flower pressed between the pages of his diary ... poisonous herb or carnivorous plant, it would be no more than a bit of half-transparent colored paper, and as he sipped his tea in the parlor he would hold it up to the light and take pleasure in telling its story.”
― Kōbō Abe, The Woman in the Dunes

“By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.”
― Philip F. Gura, America's Instrument: The Banjo in the Ninteenth Century

“In South Texas I saw three interesting things. The first was a tiny girl, maybe ten years old, driving in a 1965 Cadillac. She wasn't going very fast, because I passed her, but still she was cruising right along, with her head tilted back and her mouth open and her little hands gripping the wheel.

Then I saw an old man walking up the median strip pulling a wooden cross behind him. It was mounted on something like a golf cart with two spoked wheels. I slowed down to read the hand-lettered sign on his chest.

JACKSONVILLE
FLA OR BUST

I had never been to Jacksonville but I knew it was the home of the Gator Bowl and I had heard it was a boom town, taking in an entire county or some such thing. It seemed an odd destination for a religious pilgrim. Penance maybe for some terrible sin, or some bargain he had worked out with God, or maybe just a crazed hiker. I waved and called out to him, wishing him luck, but he was intent on his marching and had no time for idle greetings. His step was brisk and I was convinced he wouldn't bust.

The third interesting thing was a convoy of stake-bed trucks all piled high with loose watermelons and cantaloupes. I was amazed. I couldn't believe that the bottom ones weren't crushed under all that weight, exploding and spraying hazardous melon juice onto the highway. One of nature's tricks with curved surfaces. Topology! I had never made it that far in mathematics and engineering studies, and I knew now that I never would, just as I knew that I would never be a navy pilot or a Treasury agent. I made a B in Statics but I was failing in Dynamics when I withdrew from the field. The course I liked best was one called Strength of Materials. Everybody else hated it because of all the tables we had to memorize but I loved it, the sheared beam. I had once tried to explain to Dupree how things fell apart from being pulled and compressed and twisted and bent and sheared but he wouldn't listen. Whenever that kind of thing came up, he would always say - boast, the way those people do - that he had no head for figures and couldn't do things with his hands, slyly suggesting the presence of finer qualities.”
― Charles Portis, The Dog of the South

“Celeste was practically talking to herself now because Stamford and the baby were in a world of their own. The baby's hands had reached the man's face and he was tapping every feature of it, doing everything that was necessary for the man to say the words the baby had come to expect in their brief history together. Stamford's mouth opened more and more. 'You here early this mornin,' Stamford Crow Blueberry would say to Ellwood Freemen that day some twenty years later in Richmond. Ellwood would be walking up the street with the reins of his horse in his hand, and Stamford would be walking with a baby resting on his shoulder, the newest member of the Richmond Home for Colored Orphans. Mother and father killed in a fire. Walking and singing to the baby in the morning seemed to calm the infant for the rest of the day. Ellwood Freemen would say, 'I have come to fulfill my duty, just as I promised, Mr. Blueberry. Is that to be one of my pupils?' Stamford would shake his hand, nodding. Ellwood said, 'You look as if you didn't believe I would keep my word.' 'Oh,' Stamford said, 'I whatn't worried. I know where your mama and papa live. I know where I could find them to tell em that their boy didn't keep his word.' Ellwood told him he had to tend to some business elsewhere in Richmond and would return shortly to settle in at the home for orphans. He got on his horse and rode slowly out to the main street, the street that would be named for Stamford Blueberry and his wife Delphie. Blueberry, with the new orphan on his shoulder, followed. He watched Ellwood take his time going off and Stamford that day would realize for the first time just how far they had come. He would have cried as he had that day after the ground opened up and took the dead crows, but he had in his arms a baby new to being an orphan. Stamford, it don't matter now, he told himself, watching Ellwood and the horse saunter away. It don't matter now. The day and the sun all about him told that was true. It mattered not how long he had wandered in the wilderness, how long they had kept him in chains, how long he had helped them and kept himself in his own chains; none of that mattered now. He patted the baby's back, turned around and went back to the Richmond Home for Colored Orphans. No, it did not matter. It mattered only that those kind of chains were gone and that he had crawled out into the clearing and was able to stand up on his hind legs and look around and appreciate the differences between then and now, even on the awful Richmond days when the now came dressed as the then. Behind him, as he walked back, was the very corner where more than a hundred years later they would put that first street sign - Stamford and Delphie Crow Blueberry Street.”
― Edward P. Jones, The Known World