Some have speculated that the way [Albert] Camus died made his theories on absurdity a self-fulfilling prophecy. Others would say it was the triumphant meaningful way he lived that allowed him to rise heroically above absurdity.

A bridge of silver wings stretches from the dead ashes of an unforgiving nightmare to the jeweled vision of a life started anew.

Although himself frequently a target of guerrilla decontextualization, a major part of the meaning of Michael Jackson's life was to help balance the accumulation of horrors with something closer to love in its most empowering and healing sense.

Love taught me to die with dignity that I might come forth anew in splendor. Born once of flesh, then again of fire, I was reborn a third time to the sound of my name humming haikus in heaven’s mouth.

His [Ben Okri's] work poses very serious questions for the twenty-first century. Among them: To what extent will we allow the indefinable dynamics of something called "destiny" to maintain grief and horror in the world? How hard are human beings willing to fight to achieve and sustain justice, equanimity, or joy? And should progress be called such when it devours what is best within the human spirit?

As life in general constituted much pain in the form of struggles against poverty, disease, ignorance, and emotional anguish, what more civilized way for people to alleviate the same than by giving themselves to one another as brothers and sisters in deed as well as in word? A society of people hoping to become politically superior needed first to become spiritually valid.

The best of humanity's recorded history is a creative balance between horrors endured and victories achieved, and so it was during the Harlem Renaissance.