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In this second volume of The Crosswicks Journal, following A Circle of Quiet, L’Engle delves into her family history. It is a means of remembering on behalf of her mother, who, at the age of 90, was succumbing to dementia during her final summer. L’Engle had earlier expressed her desire for her mother to have a dignified death. However, the reality of incontinence and senility shattered that hope. She found herself in an unwanted position, much like her mother’s mother, and had to come to terms with the fact that she had no control over the situation. “This summer is practice in dying for me as well as for my mother,” she wrote. One of the driving forces behind L’Engle’s foray into science fiction was her struggle to reconcile the concept of permanent human extinction with her Christian faith. She couldn’t simply affirm every word of the Creed either. Instead, she held a more broad-minded, mystical spirituality that deeply appeals to the reader. L’Engle’s early life bears a resemblance to May Sarton’s, as described in I Knew a Phoenix. Both were born around World War I, raised partly in Europe, and sent to boarding school. The regenerative power of solitude and the writing process itself is a recurring theme in their nonfiction works. Some of the favorite lines from the text include: “I said [in a lecture] that the artist’s response to the irrationality of the world is to paint or sing or write, not to impose restrictive rules but to rejoice in pattern and meaning, for there is something in all artists which rejects coincidence and accident.” Also, “Our lives are given a certain dignity by their very evanescence. If there were never to be an end to my quiet moments at the brook, if I could sit on the rock forever, I would not treasure these minutes so much. If our associations with the people we love were to have no termination, we would not value them as much as we do.” Additionally, “most of us are not aware of the small things we do—or don’t do—that cause pain which is never forgotten.”