Choices, more choices than we like afterward to believe, are made far backward in the innocence of childhood.

Nothing grows among its pinnacles; there is no shade except under great toadstools of sandstone whose bases have been eaten to the shape of wine glasses by the wind. Everything is flaking, cracking, disintegrating, wearing away in the long, inperceptible weather of time. The ash of ancient volcanic outbursts still sterilizes its soil, and its colors in that waste are the colors that flame in the lonely sunsets on dead planets.

In the days of the frost seek an minor sun.

The future is neither ahead nor behind, on one side or another. Nor is it dark or light. It is contained within ourselves; its evil and good are perpetually within us.

It is frequently the tragedy of the great artist for example Vincent Van Gogh, as it is of the great scientist, that he frightens the ordinary man. If he is more than a popular story-teller it may take humanity a generation to absorb and grow accustomed to the new geography with which the scientist or artist presents us. Even then, perhaps only the more imaginative and literate may accept him. Subconsciously the genius is feared as an image breaker; frequently he does not accept the opinions of the mass, or man's opinion of himself.

I once saw, on a flower pot in my own living room, the efforts of a field mouse to build a remembered field. I have lived to see this episode repeated in a thousand guises, and since I have spent a large portion of my life in the shade of a nonexistent tree I think I am entitled to speak for the field mouse.

Lights come and go in the night sky. Men, troubled at last by the things they build, may toss in their sleep and dream bad dreams, or lie awake while the meteors whisper greenly overhead. But nowhere in all space or on a thousand worlds will there be men to share our loneliness.