The probability of the actual is absolute

You call forth the world which God has formed and that world only. Nor is this life of yours by which you set such store your doing, however you may choose to tell it. Its shape was forced in the void at the onset and all talk of what might otherwise have been is senseless for there is no otherwise. Of what could it be made? Where be hid? Or how make its appearance? The probability of the actual is absolute. That we have no power to guess it beforehand makes it no less certain. That we may imagine alternate histories means nothing at all.

[...]

Our decision do not have some alternative. We may contemplate a choice but we pursue one path only. The low of the world is composed of its entires, but it cannot be divided back into them. And at some point this log must outdistance any possible description of it and this I believe is what the dreamer saw. For as the power to speak of the world recedes from us so also must the story of the world lose its thread and therefore its authority. The world to come must be composed of what is past. No other material is at hand.

Cormac McCarthy, Cities of the Plain (Picador, 2011) pp. 287-288

Life vanishes at its own appearance

But what is your life? Can you see it? It vanishes at its own appearance. Moment by moment. Until it vanishes to appear no more. When you look at the world is there a point in time when the seen becomes the remembered? How are they separate? It is that which we have no way to show. It is that which is missing from our map and from the picture that it makes. And yet it is all we have.

Cormac McCarthy, Cities of the Plain (Picador, 2011) pp. 274-275

Choice is lost in the maze of generations

Love makes men foolish. I speak as a victim myself. We are taken out of our own care and it then remains to be seen only if fate will show to us some share of mercy. Or little. Or none.

Men speak of blind destiny, a thing without scheme or purpose. But what sort of destiny is that? Each act in this world from which there can be no turning back has before it another, and it another yet. In a vast and endless net. Men imagine that the choices before them are theirs to make. But we are free to act only upon what is given. Choice is lost in the maze of generations and each act in that maze is itself an enslavement for it voids every alternative and binds one ever more tightly into the constraints that make a life. [...] Our plans are predicated upon a future unknown to us. The world takes its form hourly by a weighing of things at hand, and while we may seek to puzzle out that form we have no way to do so.

Cormac McCarthy, Cities of the Plain (Picador, 2011) pp. 196-197

Beauty and loss are one

A man was coming down the road driving a donkey piled high with firewood. In the distance the church bells had begun. The man smiled at him a sly smile. As if they knew a secret between them, these two. Something of age and youth and their claims and the justice of those claims. And of the claims upon them. The world past, the world to come. Their common transiencies. Above all a knowing deep in the bone that beauty and loss are one.

Cormac McCarthy, Cities of the Plain (Picador, 2011) p. 72

The dictates of conscience

'The forehead declares, "Reason sits firm and holds the reins, and she will not let the feelings burst away and hurry her to wild chasms. The passions may rage furiously, like true heathens, as they are; and the desires may imagine all sorts of vain things: but judgement shall still have the last word in every argument, and the casting vote in every decision. Strong wind, earthquake-shock, and fire may pass by: but I shall follow the guiding of that still small voice which interprets the dictates of conscience."

'Well said, forehead; your declaration shall be respected. I have formed my plans – right plans I deem them – and in them I have attended to the claims of conscience, the counsels of reason. I know how soon youth would fade and bloom perish, if, in the cup of bliss offered, but one drug of shame, or one flavour of remorse were detected; and I do not want sacrifice, sorrow, dissolution – such is not my taste. I wish to foster, not to blight – to earn gratitude, not to wring tears of blood – no, nor of brine: my harvest must be in smiles, in endearments, in sweet – The will do. I think I rave in a kind of exquisite delirium.

Charlotte Brontë, Jane Eyre (Penguin Books, 1971) p. 230