In As I Lay Dying, William Faulkner gives readers one of the most haunting and puzzling lines in American literature:
“My mother is a fish.”
When Do Lyrics Become Literature?
There are words we read. And there are words we carry.
Sometimes they are written in books.Sometimes they are sung, repeated, remembered—long after we’ve forgotten where we first heard them.
When Bob Dylan was awarded the Nobel Prize in Literature, it raised a question that went beyond one artist or one song.
What counts as literature?
Is it defined by the page? By structure? By tradition?
Or is it something less visible, and more lasting?
A song like “Blowin’ in the Wind” doesn’t present conclusions. It offers questions that seem simple at first, but don’t settle easily. They return in different forms, at different moments, often when we aren’t expecting them.
Not everything meaningful arrives as an answer.
Some things stay with us because they don’t.
We often think of literature as something complete—something shaped, edited, and finished. But meaning doesn’t always work that way. Meaning unfolds. It shifts depending on who we are when we encounter it.
The same words can feel distant at one point in life and deeply personal at another.
That may be what defines literature—not the format, but the endurance of interpretation.
It’s not just what is written. It’s what is remembered. What is revisited. What continues to ask something of us.
We don’t return to certain lines because they explain everything.
We return because they don’t.
Over time, we begin to see that meaning is not fixed inside the words themselves. It emerges through attention, reflection, and repetition—the quiet act of noticing something again, and seeing it differently.
In that sense, literature is not confined to books.
It exists wherever language goes beyond information to shape how we think, how we feel, and how we understand the world around us.
Maybe the distinction isn’t between lyrics and literature.
Maybe it’s between words that pass through us and words that stay.
Finding a Voice Through Constraint: A Reflection on Amanda Gorman
Finding a Voice Through Constraint: A Reflection on Amanda Gorman
Originally published 2022 | Updated
Amanda Gorman’s work is often described in terms of performance, presence, and voice.
But what stands out is not just how she speaks—it is how that voice was formed.
For years, she worked through a speech impediment, repeating sounds that did not come easily. The practice was not separate from her writing. It shaped it.
Language became something she had to move through deliberately.
That kind of constraint changes how expression develops. It slows it down. It makes rhythm more intentional. It turns repetition into structure rather than habit.
We often think of voice as something natural—something that either comes easily or does not.
But in many cases, voice is built.
Not just through what we say, but through what we have to work through in order to say it.
Gorman’s style reflects this. Her poetry carries a sense of movement, but also control. It is shaped as much by attention as by expression.
Spoken-word poetry emphasizes sound, cadence, and delivery. But underneath that is something more fundamental: the relationship between language and effort.
When something does not come easily, we engage with it differently.
We pay closer attention. We repeat more carefully. We refine more deliberately.
That process does not just improve skill. It changes how meaning is formed.
The result is not simply clearer speech. It is a different kind of voice.
One that carries both intention and awareness.
And that combination tends to stay with people long after the words themselves are finished.
Why Certain Stories Stay With Us
Some stories don’t stay with us in full.
They settle quietly, reduced to a moment, a feeling, or a single line we don’t think about often. We move on. Time passes. The details fade.
Then something small happens.
A word in a conversation. A phrase we didn’t expect. And suddenly, the story returns.
Not as memory alone, but as recognition.
It’s as if the story was never gone. It was waiting for the right language to bring it back into view.
We don’t carry entire narratives with us.
We carry fragments, impressions that remain unfinished.
A line that unsettled us.A question that didn’t resolve. A moment that felt familiar before we understood why.
These fragments stay because they connect to something we haven’t fully named.
And when we hear the right words, they surface again — not to repeat themselves, but to deepen.
This is why certain stories endure.
Not because we remember them perfectly, but because they continue to meet us in new ways.
A story doesn’t stay with us as something complete.
It stays as something available.
And over time, as our language changes, so does what we’re able to see within it.
Revisiting The Tipping Point
I first read The Tipping Point years ago, but now that I’m coming back to it, something stands out more clearly.
We often think change happens in a moment. Gladwell suggests something different.
What we call a “tipping point” is not the beginning of change—it’s the point where accumulated change finally becomes visible.
Small actions. Repeated patterns. Quiet influences.
Over time, they build. Then, almost suddenly, something shifts.
Gladwell describes this through three ideas: a small group of influential people, a message that stays with us, and the environment in which it all unfolds.
But what stayed with me this time wasn’t just the framework. It was the underlying assumption.
That which looks like a sudden transformation is rarely sudden at all. It has been forming, out of sight, through moments that didn’t seem important at the time.
That idea feels familiar. Not because of the theory, but because of how often we overlook what is shaping us while it’s happening.
We look for turning points. But most of what changes us doesn’t announce itself that way.
It builds quietly. And then one day, we call it a tipping point.
This way of thinking about change, how small moments accumulate before they’re recognized, is something I explore more directly in my own book, What Matters: We are the sum of small moments
The Music Inside Us
Some of the earliest things we’re taught stay with us longer than we expect.
When I was young, my mother would have me kneel at my bedside and help me say my prayers. At the time, I didn’t question it. I believed that someone was listening and that speaking what was on my mind mattered.
Over time, my understanding of that moment changed, but the practice itself stayed with me. There was something steady about it—a quiet place to take what I didn’t yet understand. Even now, I can see how that early assumption shaped more than I realized. It shaped how I think and how I process what happens in my life.
We don’t always notice what stays with us. Some ideas remain because they were repeated. Others remain because they felt true, even if we didn’t fully understand them at the time.
At some point, I started asking a different question: what is it that actually lives on in us?
Not in a physical sense, but in the way we think, respond, and move through the world. We use words like soul, spirit, and identity, but what we’re often pointing to is something quieter—the accumulation of what we’ve experienced, what we’ve paid attention to, and what we’ve chosen to keep.
Louis Armstrong once said, “Musicians don’t retire; they stop when there’s no more music in them.” It’s a simple line, but it carries something deeper. For him, music wasn’t separate from life. It was how he lived.
So the question becomes: what is that “music” for the rest of us?
It may not be music at all. It might be writing, learning, or helping someone through something difficult. It might be the way you think, the way you notice things, or the way you care about people.
Whatever it is, it doesn’t arrive all at once. It develops over time. It’s shaped by small moments—what we return to, what we practice, and what we don’t let go of.
What we carry within us isn’t fixed. It evolves. What mattered to us years ago may not matter in the same way now, but something from those earlier moments usually remains. Not always the details, but the direction.
We often look for motivation outside of ourselves—something to push us forward, something to keep us going. But more often, what sustains us is already there. It’s the part of us that continues to show up, the part that stays interested, and the part that doesn’t fully disappear, even when we’re uncertain.
If there is something like a soul, it may not be something separate from our lives. It may be the pattern formed by how we’ve lived them—what we’ve paid attention to, what we’ve practiced, and what we’ve chosen to keep.
And if that’s true, then the question isn’t just what we believe. It’s what we are becoming through repetition.
Whatever it is we carry with us—whatever remains when everything else is set aside—I want it to be something I’ve taken the time to understand. Not all at once, but gradually, through attention, reflection, and the small moments that stay longer than expected.
Because in the end, what keeps us going is often already inside us. We just have to learn how to recognize it.
This reflection connects closely with ideas explored in What Matters: We Are the Sum of Small Moments
The Quiet Accuracy of Small Moments
We tend to believe that the most important parts of life arrive clearly.
The big decisions. The turning points.
The moments that feel like they should define everything.
But much of what shapes us does not arrive that way.
It happens in smaller moments, the ones we almost overlook.
We are often moving inside a version of the “big picture.”
What we think our life is.
What we believe it should become.
What we’ve already explained to ourselves.
There is a kind of momentum to it.
We stay consistent.
We follow through.
We keep going.
But small moments interrupt that momentum.
Not in a dramatic way. They don’t announce themselves. They simply create a pause.
A shift in attention.
A brief step outside of what we’ve been maintaining.
And in that pause, something different happens.
We are not performing. We are not explaining.
We are not trying to arrive anywhere. We are just reacting.
This is where something becomes visible.
Not an answer. But a signal.
What holds your attention without effort.
What feels right without needing to be justified.
What creates a tension you can’t easily dismiss.
What brings a quiet sense of ease.
These are small things. But they are also precise.
So the question becomes: Are we checking our direction against who we are?
Or are we noticing where our direction no longer fits?
A small moment doesn’t tell you what to do.
It doesn’t correct your path.
It simply shows you something you might not see otherwise.
The big picture tells you who you think you are.
Small moments show you how you actually experience being that person.
And when those two don’t match,
something important begins.
Not a decision.
Not a change.
Just awareness.
And over time, that awareness accumulates.
Not all at once.
Not in a single realization.
But gradually, through noticing, pausing, and recognizing what keeps appearing.
You’re not finding answers in these moments. You’re noticing where your life is already responding to you. Quietly. Without explanation.
If you begin to pay attention to that,
you may not change everything at once.
But you may begin to see more clearly
what has been there all along.
Reading Is an Act of Attention
In a world built for distraction, choosing to read is an act of attention.
Book lovers are often described as collectors, bibliophiles, or voracious readers. But what unites them is not quantity. It is willingness.
Willingness to slow down. To sit with complexity. To enter another mind.
Reading does more than improve vocabulary or reduce stress, though it does those things. It trains interpretation.
When we follow a character through conflict, we practice empathy.
When we hold multiple perspectives in tension, we practice nuance.
When we return to a sentence because it unsettles us, we practice reflection.
These habits do not remain on the page.
They shape how we see people. How we respond in conversation. How we construct our own narrative.
A reader is not just someone who consumes books.
A reader is someone who allows stories to influence how they interpret life.
And interpretation, over time, becomes identity.
We Don’t Experience the Same Reality
Two people can leave the same conversation carrying entirely different realities.
One feels understood. The other feels dismissed.
The same words were spoken. The same moment occurred. But the experience was not shared.
We often assume we live inside a common world, that events happen, and we all perceive them roughly the same way. Yet most misunderstandings come from the opposite being true. We do not share experiences. We only share situations.
What we call reality is filtered through memory, expectation, mood, and personal history. The moment reaches us, but it does not arrive untouched.
Philosophers have long tried to describe this. Martin Heidegger used the term Dasein — “being there” — to suggest that human life is not simply existing in a world, but existing as someone inside it. We do not stand outside experience and observe it. We participate in shaping it as it happens.
That is why the same day can feel meaningful to one person and empty to another.
Why does advice that feels helpful to one feel intrusive to someone else?
Why does even our past change depending on when we remember it?
Most conflict grows from forgetting this.
We treat our interpretation as the event itself. We assume disagreement means distortion rather than difference.
But if experience is personal before it is shared, understanding becomes less about proving and more about listening. Not listening for agreement, but listening for perspective.
Perhaps subjectivity is not a flaw in how we see the world.
It is the condition that allows each of us to live in it.
Why Some Stories Travel Across Every Language
Some stories travel further than their authors ever imagined.
The Bible has been translated into more than 3,000 languages.
The Little Prince into over 300.
Pinocchio into more than 250.
The Harry Potter series into over 80.
These numbers are impressive. But what makes them meaningful is not scale. It is reach.
A story that crosses language crosses interpretation. It enters cultures shaped by different histories, beliefs, and assumptions. Yet something within it resonates.
Why?
Because story precedes language.
Before we translate words, we recognize experience — loss, wonder, courage, doubt, love. The details may shift across cultures, but the emotional architecture remains.
When a book survives translation, it proves something quiet but powerful: meaning is portable.
And perhaps that is why books endure long after trends fade. They carry not just information, but reflection. They allow us to see our lives through another lens, then return to our own with greater clarity.
Translation does more than spread a story.
It reminds us that what shapes us is often shared.
From Shakespeare to BookTok: How Stories Travel Across Time
William Shakespeare and Agatha Christie have each sold an estimated two billion copies of their works. They lived centuries apart. They wrote in different genres. Yet their stories persist.
Today, books travel differently.
A viral video on BookTok can revive a forgotten novel overnight. A short clip can introduce millions of readers to a story published decades earlier.
The medium changes.
The mechanism remains the same.
Stories move because they resonate.
Shakespeare endured because his characters wrestled with ambition, jealousy, doubt, and love. Christie endures because mystery satisfies our desire for order and revelation. BookTok thrives because readers want to share the experience of being moved.
What we are witnessing is not a replacement of tradition. It is continuation.
From stage to print to algorithm, stories have always found ways to travel.
The question is not how they spread.
The question is why we still need them.
Because every era, no matter how technologically advanced, still asks the same human questions.
Who am I? What matters? How do I make sense of this moment?
Books do not answer these questions permanently.
But they help us refine how we ask them.
When a Song Becomes Literature
“Blowin’ in the Wind” by Bob Dylan is often described as a protest song. It raises questions about war, peace, freedom, and human dignity. But beneath its historical role lies a more enduring question:
Is it literature?
Songs and poems share a common lineage. Both rely on rhythm and repetition. Both use sound to carry meaning. Both are shaped to linger—long after the moment of hearing has passed. We often privilege poetry as “literary” because it exists on the page, but language does not lose its depth when it is voiced rather than printed.
That boundary blurred publicly in 2016, when Dylan was awarded the Nobel Prize in Literature for creating “new poetic expressions within the great American song tradition.” The decision unsettled traditional definitions, but it also clarified something essential: literature is not confined to form.
As Harper’s Magazine observed at the time, the literary includes not only what is written, but what is expressed and invented—language that departs from ordinary usage to reveal something human, reflective, and lasting.
Written in 1962, “Blowin’ in the Wind” became an anthem for civil rights and anti-war movements not because it delivered conclusions, but because it refused to. The song offers a sequence of unanswered questions, returning again and again to the same refrain.
How many roads must a man walk down
Before you call him a man?
How many years can some people exist
Before they’re allowed to be free?
How many deaths will it take ’til he knows
That too many people have died?
These lines endure because they do not resolve themselves. They invite reflection rather than agreement. The listener becomes part of the meaning.
If literature helps us notice what we already sense but struggle to articulate, then the question is not whether this song qualifies.
The question is whether we are willing to listen long enough for its meaning to take hold.
Light, Rhythm, and Meaning in “The Hill We Climb”
Thoughts and Reflection
What makes the words of Amanda Gorman so meaningful is not just what she says, but how she leads us there.
Her conclusions grow naturally out of recollection. Each image builds on the last, guiding the listener forward rather than confronting them outright. When her words rhyme, they don’t decorate the poem — they land directly on the truth being expressed. The rhythm reinforces the message instead of distracting from it.
Her approach is calm, even gentle, yet the ideas themselves are bold and challenging. She doesn’t raise her voice to demand attention. She invites reflection, and that reflection carries weight.
There is light in her language, even when she speaks about darkness. Not in a naïve way, but in a hopeful one. Like a breath of fresh air in a heavy room, her words remind us that struggle and possibility can exist side by side.
That balance, between grace and urgency, memory and movement, softness and strength, is what gives her poetry its lasting power.
Her poetry doesn’t shout at the world. It changes it quietly — one image, one truth, one breath at a time.
Aeschylus was quoted by Robert Kennedy at Martin Luther King, Jr's death
“What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness, but is love, and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country, whether they be white or whether they be black.”
The quote appears in Robert F. Kennedy’s impromptu speech delivered in Indianapolis, Indiana, on the evening of April 4, 1968, after the assassination of Martin Luther King, Jr. (JFK Library and Museum, and The Library of Congress)
In the John F. Kennedy Library’s archive, it’s part of his “Statement on Assassination of Martin Luther King, Jr., Indianapolis, Indiana, April 4, 1968.” JFK Library and Museum
The full line is included in published transcripts such as Voices of Democracy under “Kennedy Speech Text Rally in Indianapolis.” Voices of Democracy
Wikipedia also cites it in its article on “Robert F. Kennedy’s speech on the assassination of Martin Luther King Jr.” as one of his best known lines.
“Even in our sleep, pain which cannot forget
falls drop by drop upon the heart,
until, in our own despair,
against our will,
comes wisdom
through the awful grace of God.”
Thoughts about this Poem
Robert F. Kennedy also quoted these lines from the poem in his impromptu speech announcing the assassination of Martin Luther King Jr. on April 4, 1968. That moment—raw, unrehearsed, and spoken from the heart—remains one of the most powerful examples of public grief met with quiet strength.
The same lines were later inscribed on Kennedy’s tombstone at Arlington National Cemetery. He once said, “My favorite poet was Aeschylus.” In turning to poetry during one of the nation’s darkest moments, Kennedy reminded us that words—even ancient ones—can still speak into the present.
About Aeschylus
Few reliable sources exist for the life of Aeschylus. He was born around 525 BCE in Eleusis, a town northwest of Athens. As a young man, he worked in a vineyard until, according to tradition, the god Dionysus appeared to him in a dream and inspired him to write for the stage.
At just 26, Aeschylus had his first play performed (499 BCE). Fifteen years later, he won his first prize at the Dionysia festival, Athens’ most prestigious playwriting competition. Often regarded as the father of tragedy, Aeschylus wrote with a depth and weight that transcends centuries. The lines Kennedy quoted come from one of his surviving works, Agamemnon—a meditation on suffering, wisdom, and the human condition.
Why These Lines Still Matter
In moments of loss, words often fail. But sometimes, they also hold us. The fact that a 2,000-year-old line could resonate with the grief of 1968—and still echo today—speaks to poetry’s enduring role: not to solve pain, but to give it shape.
Originally published in 2022. Revised and relocated.
Fire and Ice: Why Frost’s Shortest Poem Still Feels Unsettling
With just nine lines, Robert Frost reduces the end of the world to two human impulses—desire and hate, heat and cold, fire and ice.
Some say the world will end in fire,
Some say in ice. From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To know that for destruction ice
Is also great
And would suffice.
