Charles Synyard<p><span>1/2 “There was the evening star in a pale silvery field of sky just over the tall fir tree that shot up in the very centre of the silver bush. The first star always gave her a thrill. Wouldn't it be lovely if she could fly up to that dark swaying fir-top between the evening star and the darkness?” (14)<br><br>Does is matter that the author had an inner experience of these feelings? Recently read a post by a certain author, whose views I like to consider but frequently disagree with, on the use of AI in composing literature </span><a href="https://voxday" rel="nofollow noopener noreferrer" target="_blank">https://voxday</a><span> .net/2025/04/11/ai-vs-organic/ He approves, remarking, “in my opinion, it is absolutely and only the end result that matters.” But then I think he misdirects readers, in framing objections as being over the ease with which AI can produce text—evidently an attempt to link the other side with the discredited Marxist labor theory of value. He ignores that, for instance, in American popular music, the most iconic song origin isn‘t an artist wracking his brain for hours coming up with song lyrics at his desk: it’s a nationwide chart-topper, brimming with feeling, coming of something jotted down on a napkin at a diner. It’s genius. That’s why it’s perfectly acceptable to make a career covering sings by others in implicit homage, but always seen as a little embarrassing if your lyrics were written for you by suits at the record label.<br><br>Just so, as how writing itself happens may be changing, what a timely delight to be reading Pat of Silver Bush (1933) by my favorite author, L. M. Montgomery. Beside my edition is my gorgeous bookmark from the Emily trilogy. Changes are a key theme in this story, as Patricia Gardiner dreads anything that may threaten her cottagecore life at Silver Bush, her family home in Prince Edward Island. The latest in date to join Montgomery’s other series protagonists leads Anne Shirley, the Story Girl, and Emily Byrd Starr, Pat’s world in many respects remains idyllic, but is slowly becoming our own, as automobiles replace horses and store-bought cheese replaces making your own.<br><br>Pat can be highly sentimental, and at first, I wondered if she was even a kindred spirit: in that class of select souls with a richer experience of beauty, filled with romantic longings and often out of step with the world. Is she just a typical girl attached to her home? As the read goes on, though, it becomes clear she sees a different side of reality than those around her.<br><br>A perfectly revelatory passage. Look at how she vs. others see the Whispering Lane that runs between Silver Bush that and a neighboring relations’ farm.<br><br>”Pat went to Swallowfield by the Whispering Lane, which was fringed with birches, also planted by some long-dead bride. The brides of Silver Bush seemed to have made a hobby of planting trees. The path was picked out by big stones which Judy Plum whitewashed as far as the gate; from the gate Aunt Edith did it, because Uncle Tom and Aunt Barbara wouldn't be bothered and she wasn't going to let Judy Plum crow over her. The lane was crossed half way by the gate and beyond it were no birches but dear fence corners full of bracken and lady fern and wild violets and caraway. Pat loved the Whispering Lane. When she was four she had asked Judy Plum if it wasn't the ’way of life’ the minister talked about in church; and somehow ever since it had seemed to her that some beautiful secret hid behind the birches and whispered in the nodding lace of its caraway blossoms.” (23)<br><br>I have known someone whose main impression of Anne of Green Gables is that it’s funny. How? You can see here, what for others is a grounds of contention, boasting or blaming, for Pat is a religious symbol that seems to be hiding something in its bosom. No doubt, an AI program could lay out a similar pair of opposed meanings for a country lane, but would it not be robbing the words of significance, to know that the wordsmith of the passage did not have, could not have consciousness of what the contrast means? Two more parts not to be missed: <br><br>“Pat loved the sound of ’a day to spend.’ It sounded so gloriously lavish to ’spend’ a whole day, letting its moments slip one by one through your fingers like beads of gold.” (56)<br>“In the end they found a beauty spot ... a deep, still, woodland pool out of which the brook flowed, fed by a diamond trickle of water over the stones of a little hill. Around it grew lichened spruces and whispering maples, with little ’cradle hills‘ under them; and just beyond a breezy slope with a few mossy, grass-grown sticks scattered here and there, and a bluebird perched on the point of a picket. It was all so lovely that it hurt. Why, Pat wondered, did lovely things so often hurt?” (71)<br><br>The meaning should be an experience author and reader share across time and space. Avoid chimeras.<br><br>Favorite of all is the definitive moment when Pat awakens as a kindred spirit. When she is sleeping over at best friend Bets’s house, she wakes in the winter night, and has a profound experience as she gazes upon Silver Bush.<br><br>“A verse she and Bets had learned ‘off by heart,’ in school that day came to her mind:<br><br>”’Come, for the night is cold,<br>And the frosty moonlight fills<br>Hollow and rift and fold<br>Of the eerie Ardise hills.’<br><br>“She repeated it to herself with a strange, deep exquisite thrill of delight, such as she had never felt before… something that went deeper than body or brain and touched some inner sanctum of being of which the child had never been conscious. Perhaps that moment was for Patricia Gardiner the ’soul’s awakening’ of the old picture. All her life she was to look back to it as a sort of milestone… that brief, silvery vigil at the dormer window of the Long House.” (119)<br><br>Beauty as a religious experience. How infinitely this would be cheapened, were the author not one who knew what these words meant! Lifechanging experiences need the testimony of witnesses for the telling. Alas, the author above appears, far from a kindred spirit, a pitiable utilitarian looking to get a certain reaction out of the audience. Even if a computer program could assemble words in a way still more pleasing than Montgomery, we should simply not want to enjoy that. </span><a href="https://shota.house/tags/LMMontgomery" rel="nofollow noopener noreferrer" target="_blank">#LMMontgomery</a> <a href="https://shota.house/tags/PatOfSilverBush" rel="nofollow noopener noreferrer" target="_blank">#PatOfSilverBush</a> <a href="https://shota.house/tags/VoxDay" rel="nofollow noopener noreferrer" target="_blank">#VoxDay</a> <a href="https://shota.house/tags/AI" rel="nofollow noopener noreferrer" target="_blank">#AI</a> <a href="https://shota.house/tags/changes" rel="nofollow noopener noreferrer" target="_blank">#changes</a> <a href="https://shota.house/tags/change" rel="nofollow noopener noreferrer" target="_blank">#change</a> <a href="https://shota.house/tags/spiritual" rel="nofollow noopener noreferrer" target="_blank">#spiritual</a> <a href="https://shota.house/tags/religious" rel="nofollow noopener noreferrer" target="_blank">#religious</a> <a href="https://shota.house/tags/kindredspirits" rel="nofollow noopener noreferrer" target="_blank">#kindredspirits</a> <a href="https://shota.house/tags/childrensliterature" rel="nofollow noopener noreferrer" target="_blank">#childrensliterature</a> <a href="https://shota.house/tags/childrensbooks" rel="nofollow noopener noreferrer" target="_blank">#childrensbooks</a> <a href="https://shota.house/tags/literature" rel="nofollow noopener noreferrer" target="_blank">#literature</a> <a href="https://shota.house/tags/books" rel="nofollow noopener noreferrer" target="_blank">#books</a></p>