'Crazy to bring flowers to a beautiful girl,' I said, and it wasn't a bad line, and decently delivered. That made it the second time I'd brought her flowers at the end of a school year, and the second time she'd rejected them. "Hide them," she'd said the first time, and then "you're crazy," the second time. And each time I left.
We all want to move on. Most definitely. But there's a literary quality to the things we say, and consciously or not, to varying extents, we enter in a literary game with other people to the extent that we and they are in some way literary. Literary people tickle us, whether they know us to be literary or not ourselves, a lot of this being necessarily masked and below the surface, as real truths often are, what can you do.
But once you've seen it, real and true, in another person, thereby an attractive person, is there any reality greater? Other friendships hold, and save us from the loneliness of night and other hazard times, but it those literary relationships that hold sway over our imaginations, that light our brains and body's senses, our memories of worded chess games when both were on the same side and somehow then lost each other in the non-literary world's symbolic darkness.
I put it in a book, towards the end. I'd be stuck for years rendering the same line to myself, just occurring as it would, naturally, beyond my control, vain to try not to. Absorb. Take in nature, let years pass, and then more years, then more, and try to be, more than you'd have wanted to, a better person, though being 'a better person' is fraught with perils of living in unrealities.
You're left with your sketchbook. You're left remembering that there is this literary quality of life, and like nature, a melting arctic, dying trees, you would want to protect that. They've always done so in the past, what with all those writer peoples, Chekhovs and Joyces, so many examples I can not even expound nor name, Keats, Wordsworth, Twain, and all those I've not personally read, or gotten past the first try. There is, though, the defense of the literary mode of the ape human mind, that mode of Shakespeare, anthropologist through his own prism that he was, the ear the natural vetting ground for any thought that might take to words and imaginative flight.