Diva Myth Essay

Defending and Preserving the Integrity of the Diva Myth in the Postmodern Homosexual
Community
by
Scott H. Wells
Submitted in partial fulfillment of the requirements for
Mythologies in Human Experience
9 August 2008
Faculty: Anne Marie Fowler, MFA
Master in Humanities
Tiffin University
Tiffin, Ohio

Wells 1
Within the present day American gay culture it can be argued that the need for divas and
their mythopoeic contributions are passé; that they are nothing more than unpleasant reminders
of a time when gay oppression was alive and well; and of the old fashioned (and some might
argue current) convention that being gay was (is) immoral, abnormal, and disgusting. Therefore,
the mission of this study is to demonstrate the importance of preserving the integrity of the diva
myth among American homosexuals because of its past significance and current contributions to
the postmodern1
gay liberation movement.
When exploring the term diva, one will find its origins in ancient Hindu Sanskrit as
describing “the Great Goddess of India, the Devi” (Hawley 31), and then further into Indian
myth to find “(devas), or enemies of the gods” (33); the latter definition more accurately
connecting with the gay definition which echoes a defiance to most things hyper-masculine.
Moreover, from Western etymology, Diva is a derivative of “Divus—the Latin feminine for
God” (Bone 2). It has been used throughout the centuries in its formal context, “it was applied to
real life women like Cleopatra, the Egyptian queen who challenged the might of Rome, and
Nefertiti, who was exalted for her legendary beauty” (2), therefore establishing a sense of
majesty and splendor accorded to those adorned with the title.
Alas, modern fashion defines that divas are nothing more than glamorous show-boaters
that represent elitism and bad behavior; thus, encouraging contemporary society (composed of
diverse sexual orientations), to lose sight and bastardize the terminology, interpretation and
significance of the diva.
However, predating its current usage, in the modern2
gay culture, divas became a
synonym for goddesses, symbolizing strength and inspiration. “In bygone eras, a diva was
1
Postmodern references are defined from 1970- Present.
2
Period of gay history defined between the years of 1930 and 1969.

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considered a goddess in her sphere of activity—often the world of opera, classical music, or
dance. Such a female artist might also be called a prima donna. In those days, such descriptors
had no particular negative connotations” (Parish ix). Divas earned their respect and expected
and demanded it. They were individuals; self-assured and independent, vulnerable, or beguiling,
they expressed themselves definitively. Furthermore, diva worship was a tool utilized for
individual “emotional expression” (Doty 466) in a time when individuality, and more
specifically homosexuality, was discouraged.
Emotional expression is just one of the “psychological aspects” (466) that can be applied
to the diva myth. The mythopoeic epistemology of the myth is rooted in the shame, oppression,
and the ostracizing of homosexuals during World War II. Since the oppression was ubiquitous in
the gay community, some type of unifier was needed to ensure the safety of gay men in an
intolerant environment. In unity, there is validation; moreover, “The myth-and-ritual complex
serves to validate the society” (136). Herein is the myth of the diva, for the great unifier of
modern gay culture, was the cinema. A reinvented temple of sorts, for a microcosmic world
seeking validation and finding it in their brethren and shared goddesses of the silver screen.
Also, at the cinema, modern gays found a sense of community and solace from a bigoted society
that was infiltrated by the omnipresent military influence of the era.
Because of military propaganda, the homosexual was classified as a sexual deviant who
suffered from mental illness and were deemed hazardous to American society’s moral fabric.
“No homosexual, however, could escape the indirect effects of the prejudice about to sweep the
country in the form of raids on gay bars, and newspaper and magazine reports (initiated by the
military) on how unfit homosexuals were to join the fight against Fascism” (Paller 25);

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furthermore, “After Pearl Harbor, as the military’s manpower needs increased, the condemnation
of homosexuality became part of the public discourse” (28); a phenomenon consistent with
current American military ideology reflected in the ‘don’t ask, don’t tell’ policy. To worsen
matters, punishment for being gay was demoralizing and often a public affair, meant to humiliate
and impugn one’s character; “While there was a tendency to protect homosexual servicemen
from official disciplining, those unlucky enough to face court martial underwent a humiliating
process. Utilized in an effort to not only punish the accused but also to deter others from
following in their footsteps […] Those found guilty were subsequently sent to jail…a clear
testament to the stigmatization of being labeled a homosexual during this period” (O’Connor).
However to assign sole responsibility of the homosexual’s plight to the military is
implausible. There has been evidence of homosexual alienation from as early as the founding of
Constantinople circa 325 AD and the Holy Roman Empire’s enforcement of the Book of
Leviticus, declaring homosexuality an abomination. Literature through the ages has been
determined to be an impetus for homosexual oppression. “[T]he low social status of
homosexuals from the third century A.D. until the near past largely prohibited and discouraged
the composition and publication of literature in which the homosexual was not depicted, in some
specific way, as a victim. The literature of homosexuality has long centered on the myth of the
victim who must die to assuage an intolerable moral guilt” (Ferro 389). Remnants of this
ideology undoubtedly permeated conventional wisdom and colored the perception of gays
throughout modern history as feeble and milquetoast and therefore incapable of protecting
themselves, let alone a nation. Feelings of victimization encouraged a repression of emotions
that fostered hostility and latent anger derived from a perceived helplessness. These feelings
would ultimately give way to the Stonewall riots of 1969, the turning point for gay liberation and

Wells 4
tolerance (however infantile it might still be) in the United States. Needless to say, those who
were homosexual suffered terrible consequences to their self-esteem and therefore were forced to
surrender to an unwelcome and unobtrusive existence, sequester their true identity, and sacrifice
their own actuality and right to happiness.
To better understand the modern gay man’s relationship to the diva, it is helpful to
explore the past. Homosexuals throughout ancient Western civilization were not identified as
such. There is evidence to support that the ancient Greek language was devoid of a term which
defined homosexual men or women “The ancient Greeks never used it [homosexuality] although
they had notions of same-sex sexual activities of men and women” (Laurin 17); yet there has
been speculation that homosexuals of the ancient West were frequently ordained as clergy,
responsible for the maintenance of sacred temples dedicated to the gods, and more presumably of
the goddesses. Spurring this theory is the assumption that ancient Greek men who slept with
other men were effeminate, but there is no hard evidence to support this theory; to the contrary,
“effeminate men [of Ancient Greece] were married and had children for financial and political
reasons, while emotionally resisting the closeness of their relationship with a woman” (20). This
ideology resembles the ancient homosexual’s relationship to the goddess and the modern
homosexual’s connection to their divas. It reflects the distance of the gay male from the female
sex; not the diva (who happens to be female) who manifests desired masculine qualities.
However more accurately, a closer correlation to modern diva worship can be made with the
ancient Hindu homosexual (or hijras), the modern gay man, and their devotion to the divine
feminine. Like the hijras of Indian culture “they [homosexuals] are (sic) treated with a mixture
of fear and disgust […] They become (sic) priestesses of the goddess, sharing her frustration…”
(Pattanaik 136).

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Whereas the hijras retreated to the temples, modern gays found their goddesses in movie
theatres. Cinemas were easily accessible, dark, and fantastic. They provided a safe haven for
gay men to retreat from their oppressors and live out vicariously, the triumphs, tragedies, and
frustrations of their newly dubbed divas. Hollywood divas were donned with attributes that
would rival those of the goddesses of antiquity, and subsequently, in the traditions of the hijras,
each diva warranted their own clergy. The diva pantheon was diverse with feminine archetypes.
Roger and Jennifer Barker Woolger “describe basic archetypes shaping women’s lives by
associating them with…goddesses” (Leonard 110). Gay men made similar assimilations with
their favorite diva, and consequently pledged their loyalty. The warrior like Joan Crawford3
reflected the fearlessness and wisdom of “Athena: Warrior Woman in the World” (110).
Coinciding with the likes of Myrna Loy4
in the role of “Artemis: the Lonely Huntress” (110), or
Jean Harlow5
as “Aphrodite: Golden Goddess of Love” (111). The part of “Hera: Queen and
Partner in Power” (111) was played to the hilt by Katherine Hepburn6
, while “Persephone:
Medium [and] Mystic” (111) was characterized in the elusiveness of Greta Garbo7
. Of course
lastly, “Demeter: Mother of Us All” (111) was parallel to the stronghold maintained by Judy
Garland8
over the gay community. Each of the aforementioned divas, to name just a few, found
their respective followers according to individual connections made by the homosexual and their
self-perception. Gays at this time lived the idea that “once you find your story in the lives of the
archetypes, you can use them as your guide to understand, and ultimately rearrange, your
thoughts and behaviors” (Winborn 24). Thus the objective of diva worship was to learn from
3
1904-1977: Best Actress winner at the 1945 Academy Awards for her work in Mildred Pierce.
4
1905-1993: Feminist actress best known for Nora Charles in The Thin Man films of the 1930’s.
5
1911-1937: The original platinum blonde bombshell known for her brazen sexuality.
6
1907-2003: Nominated for twelve and winner of four Academy Awards for Best Actress.
7
1905-1990: Nominated for four Academy Awards and posthumously recognized for her solitary mystique.
8
1922-1969: Nominated for two Academy Awards.

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their divas and had nothing to do with wanting to be the diva In this way, gay / diva
assimilations had less to do with effeminacy and more to do with a reflection of their own
personal obstacles and confrontation with internalized demons. By losing themselves in the
drama of their own lives, as re-created by their divas, gays frequently found resolve in the tidy
denouements from the sermon of the cinema.
As a matter of fact, effeminacy and female impersonation had little to do with diva
worship. Whether or not there was a selection of effeminate males in the aggregate society of
modern gays is indeterminable but probable. Their worship could have been colored with
impersonation; however, femininity was not a trait that appealed to homosexuals. Instead, “At
the very heart of gay diva worship is not the diva herself but the almost universal homosexual
experience of ostracism and insecurity, which ultimately led to what might be called the
aestheticism of maladjustment, the gay man’s exploitation of cinematic visions of Hollywood
grandeur to elevate himself above his antagonistic surroundings and simultaneously express
membership in a secret society of upper class aesthetes” (Harris 10). Ironically, the diva
embodied the masculinity that was thought to be needed, and perceived as lacking, amongst
gays, in order to combat prejudice. Modern gays admired and envied the masculine qualities of
the diva, who indirectly, were the purveyors of the gay voice; and they imagined the opposition
to oppression was encoded in the dialogue of the movies. Because of this, theorists believe that
gay liberation was rooted in the discoveries and consequence of diva worship; “diva worship is
in every respect as unfeminine as football. It is a bone-crushing spectator sport in which one
watches the triumph of feminine wiles over masculine wills […] always quick on her
feet…ready to demolish her opponent with a stunning rejoinder…is the fantasy of a powerless
minority that asserts itself through language […] s**t-kicking amazons in sequins, ermine, and

Wells 7
lame inadvertently helped each gay man nurture, like his own inner child, his own inner diva,
and thus strengthened his will to resist his degradation at the hands of homophobic society” (15).
Furthermore, language was and is the ultimate weapon for the homosexual and is frequently
riddled with witticisms, sarcasm, and sardonic quips designed to serve more as a self-protection
device rather than an outright malicious attack. Likewise, this form of communication was
evident in the banter of Hollywood divas.
Intra-communication incidentally, was difficult for homosexuals forced to live a
clandestine lifestyle. There were no clear signs indicating one’s sexual orientation, therefore
men conversing in mixed company, would resort to referencing a diva or quoting lines from their
movies, in the hopes of reaching out to another gay man. By discussing the latest antics of Judy
Garland, Bette Davis9
, or Tallulah Bankhead10
, gay men were able to communicate in a coded
language guised in mere entertainment talk. The phrase ‘friend to Dorothy’ (a reference to
Garland’s 1939 Wizard of Oz role), would be offered in conversation among gays and could be
“compared to a secret code, that to the average heterosexual observer would go without
recognition, ‘[It was] a way of coming out…without really coming out’” (Bone 1).
Additionally, citing cinematic quotes from Hollywood divas rang-out like a reveille for
the gay community. Since language served as the ultimate weapon, the dialogue was frequently
sassy and indicative of an intolerance for ignorance; mini-mantras of rebellious declaration.
“When she [Davis] quipped, ‘Fasten your seat belts, it's going to be a bumpy night11
,’ she put
into words the thoughts of every gay man who struggled to come out” (Cave), and the
homosexual struggle at this time, after all, is the heart and soul of the diva myth. Struggles that
frequently led to self-destruction, a ubiquitous behavior shared by divas and their disciples. Case
9
1908-1989: Nominated for eleven and winner of two Academy Awards for Best Actress.
10
1902-1968: Broadway legend of the 1930’s and 40’s and star of Hitchcock’s Lifeboat in 1944.
11
From “All About Eve”, 1950 film directed by Joseph L. Mankiewicz

Wells 8
in point, diva Tallulah Bankhead; “Tallulah’s self-destructiveness was part of her appeal. Drunk,
sad, lonely, dependent, she was more proximate, more theirs [the homosexuals] forever” (Israel
306).
In this way too, Judy Garland has become the quintessential icon of the modern gay
culture and epitomizes the diva myth. As "’the little girl with the grown-up voice,’ she often
trembled, her strong vibrato sending shivers through her fragile frame. But her worst troubles --
the drugs, the suicide attempts and breakdowns -- seemed to draw the most die-hard fans. She
was one of the first stars to let her bruised life be seen, and gay men felt her pain. In her voice,
they could hear the intense anguish that they also felt; in her words (‘somewhere over the
rainbow’) they heard the chance to overcome” (Cave). She was worshiped as their Great
Goddess for she created the unification of a secretive and defiled cultural minority, gay unity was
often found in the mere incantation of her name. “…Judy Garland was actually a learned
behavior, part of our socialization as homosexuals” (Harris 21). An element of socialization that
has become integral with the development of the postmodern gay culture offering a lesson in
homosexual history and cultural studies.
Incidentally, the impetus for the now legendary Stonewall riot was the death of Garland.
It is peculiar to imagine that such a poignant event as the death of La Garland could be so
instrumental in pioneering gay liberation, just forty years ago, and that today the same
phenomena could occur with little to no fanfare from gay society; an example of how modern
divas have been rendered powerless, suggesting the myth surrounding their involvement towards
liberating the gays is in danger of being rendered insignificant to the postmodern homosexual, or
even worse, nonexistent. This of course is only speculation among homosexuals such as Daniel
Harris, who in his book The Rise and Fall of Gay Culture, has devoted the entire first chapter to

Wells 9
the idea that the practice of diva worship is now a mockery of the institution it once was and the
myths decline even predates Stonewall; “By the early 1960’s, some gay men had begun to
express repulsion for our obsequious fawning over [Diva] celebrities” (Harris 21).
Mr. Harris has glossed over the bigger picture though. The diva myth is an integral part
of gay growth and to compromise its integrity is to shortchange postmodern gay society.
Moreover, it will survive extinction because it is the germane connection that is fundamental to
gays and it is part of their development. It represents tradition and heritage in the gay
community and more importantly, the founding of the community; “[T]he creation of a
community is invented, but it is not invented out of nothing… [there is] the need for a common
repository of myths, heroes, events, landscapes and memories which are organized and made to
assume a primordial quality” (Featherstone 346), thus encapsulating the diva myth’s timeless
relevance.
In the essence of the great myths, it is an educational tool. It is there as a reminder that
“discrimination, racism, anti-Semitism, misogyny, misandry, homophobia—[that] these are the
failures of the human spirit, of the human soul and psyche. Religion has so far failed to rid us of
these things […] But it may be…as in the past, that the lessons of the future are to be learned”
(Ferro 392). The diva myth symbolizes and represents the homosexual’s empowerment; the
evolution to combat and supersede prejudices and bigotry, and to institute and celebrate their
independence. More importantly, the diva myth should not be viewed by gays as an
embarrassing relic of gay culture, but rather as an element within a movement that has fostered
self-awareness and self-respect and helped to pave the way for gay validation in contemporary
society. As gay Generations Y12
and Z13
establish their places in the 21st
century, it would
12
Those born between 1976-2001
13
Those born between 1990-2001

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behoove them to study the trials, tribulations, and successes born out of the diva myth and to
respect the parables that paved the way for their very own validation or social acceptance.
Ironically, it is that same validation that threatens the survival of the diva myth.
Particularly, among the postmodern gay generation, as if that culture at large is determined to
play the role of the mythoclast, and in the traditions of most great mythologies, vilify the deities
of their ancestry. Much like the reverence allotted to the serpent of ancient Mesopotamia, which
eventually became demonized in Western society, the diva faces the same fate within
contemporary gay culture. “As homosexuality becomes an increasingly visible part of society's
landscape, the kind of undying loyalty that…über-females engendered in gay men throughout
most of the last century seems to be passing out of fashion. We [Homosexuals] saw ourselves in
them, some say, because no one else would see us. As we're assimilated into the larger (and
male-centric) culture, an attachment to Marilyn Monroe's14
vulnerability or Bette Davis' steely
bitchery supposedly doesn't make sense. Why get worked up over Joan Crawford's ball-breaking
when society has chosen to acknowledge your own strength?” (Wiecking) By preserving the
integrity of the diva myth, gays will know how the phenomenon has shaped both individual and
collective thought. The “myths are the way the psyche speaks to itself […] Myths tell the
essential truths of the human experience [to] uncover the relevant symbolic significance of a
myth, [one] can enact its wisdom in…everyday life and behavior” (Winborn 24).
By disregarding this knowledge, suddenly the impact of gay liberation is credited to an
illusory happenstance, as if there were no history at all and gays have always enjoyed the
freedom to express themselves. It is important to remember that the relevance of the diva myth
is more than just a series of dated anecdotes.
14
1926-1962: Film actress who died of suicide.

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What is illusory is the postmodern homosexual’s perception that tolerance for their
lifestyle has infiltrated the mainstream consciousness of Western society. The media has been
effective in exposing the homosexual to its audiences. Movies and television however, are too
readily prone to exploit the stereotype of the gay man. Recent depictions portray flouncing
sissies like Simon Bishop from As Good as It Gets15
, or Jack McFarland in Will & Grace16
,
which resound among younger gay audiences as a triumphant milestone in becoming visible, but
the reality is it perpetuates homophobia even further. Gays of course are unaffected by these
characters, for they do represent a portion of the community, however, to the unfamiliar, they are
viewed as weird, flamboyant, and sad. Postmodern gays living in metropolitan urban areas of
the United States are fooled into thinking that because there are gay characters splashed about
popular culture, that rural America has accepted them. They want to believe that acceptance of
diversity is the pluralist conventional wisdom. The truth is in Western society (not just in the
United States, but in both of the Americas), gays have made very little headway in universal
social acceptance. Case in point, “the Western gay movement likes to talk of the bravery of
those who come out, even when they do so in an environment that’s more likely to reward then
to punish frankness [however, for] people from…the West Indies…a declaration of
homosexuality means…estrangement from one’s family and possible loss of one’s job [and]
threats of imprisonment, torture, and death” (Altman 26). These consequences might appear to
be extreme and some theorists attribute them to an ignorant culture suffering from
socioeconomic deficiencies, but gay-bashing crimes in the United States (such as the highly
publicized torture and murder of Matthew Shepherd17
) are testimony to the fallacy of this theory
15
1997 Film nominated for Best Picture and directed by James L. Brooks.
16
A television situation comedy that aired for eight seasons; 1998-2006.
17
1976-1998: University of Wyoming student victimized by a hate crime and whose death incited “a national
outcry for swift enactment of hate crime legislation” (Blanchard).

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and proof positive that gay acceptance is far from the convention. This current air of intolerance
echoes the abject humiliation imposed upon World War II gays. Thus the diva myth’s current
relevance is no less important to the psychological significance of the postmodern homosexual
ethos and their continuing quest for acceptance.
Currently, divas have graduated to a larger spectrum that encompasses not only film
stars, but the expanded world of female icons including popular musicians, journalists, and
politicians too. The etymological evolution of the diva has crossed-over from its gay
epistemology into the American English lexicon (of both homosexuals and heterosexuals) and
the context of the term diva has become the great aggrandizer and a euphemism for everything
that is perceived as femininely superior. This evolution is undoubtedly a consequence of
American society’s exposure to gay culture through the mass media. Ironically, the culture that
is so fervently despised is responsible for creating a new consciousness.
Coincidentally, this new consciousness represents an empowerment for not just gays but
for women as well. While statistically and literally, women are not in the minority, history
demonstrates an indisputable record of feminine oppression and struggles for equality, much like
the gays, so to suggest that the diva myth has sparked a feminist epiphenomena of a new order is
not out of the realm of plausibility. Furthermore, women have come to realize that to be
christened a diva is synonymous with success. This ideology is supported in feminist literature
that actually encourages women to actively pursue the diva distinction. Being a diva means
possessing a new attitude and confidence, “attitude is everything […] What you do affects your
attitude toward life, which then affects your next move, which further affects the outcome of
your actions, which will then have a profound effect on your joy level, your success, your
fulfillment, your everything…” (Hammond 7). After decades of being practiced in covert style,

Wells 13
the diva myth is inspiring a whole new generation who live its essence openly. More
importantly, the message here is rooted from the divas of yesteryear. The difference being that,
now the confidence exerted among the oppressed is experiential as opposed to merely being
enacted upon for the purpose of a film.
The new diva maintains her title because of her experiential existence. Real-life battles
between women and misogynistic men are the new concentration and inspiration for gay men in
their climb towards an egalitarian society, although this seems to be invisible to the postmodern
gay man. The postmodern homosexual overlooks the new diva’s place in a still hyper-masculine
society; especially in the world of business and politics. Newly apotheosized divas such as Tina
Turner, Diana Ross, Cher, Bette Midler, and Barbra Streisand have each had to rail against
reputations of incorrigibility and rumors of their nasty dispositions. Reality dictates that they
command their own careers and lives lest they be manipulated by capitalist Svengalis;
“Svengalis who shaped and engineered [Divas]…and who dropped them as soon as they passed
their sell by date” (Raphael xvii). This recognition and defiance to patriarchal authority is a
metaphor for the postmodern homosexuals own current obstacles such as an opposition to civil
unions; another patriarchal dictum.
Also, divas are a reminder of the homosexuals feminine self despite their wanting to
disassociate themselves with femininity. “Femininity is a dirty word for most men, even many
gay men, but there is power in it. Taking pride in possessing something so fearful will make diva
worship a timeless force in gay culture. We [homosexuals] may yet become part of the
mainstream, but we'll [homosexuals will] never be straight men, and, of course, neither will
women” (Wiecking). This connection remains a constant in the diva myth, as so eloquently
described by Steve Wiecking, an advocate for the preservation of the myth itself.

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In this way the diva myth is still contributing to gay liberation. The essence of
everything the diva has evolved from is now less abstract in its meaning. However, “over time
the intense sense of involvement and excitement which bound people together tends to diminish;
the use of commemorative rituals and ceremonies can be understood as acting like batteries
which store and recharge the sense of community” (Featherstone 346). Perhaps this is how the
diva myth is best defined in its current actuality. Gays of today recognize it to be part of their
“experiential truth” (Doty 466) and history.
The new millennium has of course ushered in a brand new way of living. Technology is
slowly taking the place of faith. Old myths are being explained away with such rapidity, it
makes them seem almost entirely insignificant; with the exception of their narratives being
explored for entertainment as opposed to lessons to live by. Humanity itself is undergoing a
transformation as nanotechnology, biochemical and genetic engineering are increasingly
becoming more science fact as opposed to science fiction. Huxley’s Brave New World is
suddenly upon us.
However, myths are allegories minus the limitations of actual locations and historical
figures. The deities of mythology represent the everyman or woman, humanity at large. Their
narratives use metaphor to teach morality and/ or consequence. They address omnipresent
circumstances, within a microcosmic civilization or community, which begs explanation because
it defies a logical comprehension or conventional wisdom. Moreover, myths spawn rituals,
which as Mr. Featherstone has stated “recharge the sense of community” (Featherstone 346).
They are the practices employed by variable cultures in which traditions are exercised as a means
for unification.

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The diva is ritual. She is history. She is the future. She is metaphor for everyman or
woman suffering from oppression. Either through the fictitious world of the cinema or the
experiential adversities of the modern woman, her allegory is a tool for learning and a source of
inspiration and motivation to overcome the seemingly impossible. Her stories promise hope in
the world of hate crimes, AIDS, and social injustices. She is relevant. Her message is relevant.
She is the symbol of strength, compassion, and wisdom. Attributes attacked by fearful
oppressors who are frightened of a divas power and consequently they are vilified because of it.
She is unique and universal. The diva pantheon is large, ethnically and intellectually diverse. A
diva transcends restrictions of race or age or skill or occupation; fact and fiction.
Perhaps the following diva illustrates, most succinctly, the rewards of determination and
perseverance in the face adversity, encapsulating the diva essence precisely:
“Once I knew only darkness and stillness... my life was without past or future... but a
little word from the fingers of another fell into my hand that clutched at emptiness, and my heart
leaped to the rapture of living” -- Helen Keller.

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