Looking Back: An AutobiographyRichardson, Merrick Abner
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Looking Back: An Autobiography
Richardson, Merrick Abner
Richardson, Merrick Abner, 1841-
[Illustration: MERRICK RICHARDSON AT THE AGE OF SEVENTY-FIVE.]
LOOKING BACK
AN AUTOBIOGRAPHY
_By_
MERRICK ABNER RICHARDSON
AUTHOR OF
"JIM HALL AND THE RICHARDSONS", "EIGHT DAYS OUT", "MINA FAUST",
"ROSE LIND", "PERSONALITY OF THE SOUL", "CHICAGO'S
BLACK SHEEP", "TWILIGHT REFLECTIONS."
PRIVATELY PRINTED
CHICAGO: MCMXVII
_Copyright 1917
By_
MERRICK ABNER RICHARDSON
PREFACE
My spare time, only, is occupied in literary efforts. I never allow
them to interfere with either my business or social life.
In composing, in a mysterious way, I comprehend the companionship of my
imaginary friends as vividly as I do the material associates of life.
To me imagination is the counterpart or result of inspiration, while
inspiration is light thrown upon the unrevealed. The image may be the
result of known or unknown cause, but the mystery does not blot out the
actual existence of the image. The material image we call sight, the
retained memory, and the unknown revelation, but all are comprehensive
images.
I see a bird, its form created a picture on my eye, the image of which
mysteriously remained after the object had disappeared. Now what or who
cognizes the primitive object, the formed picture or the retained image?
The materialist assumes he has solved the mystery when he says; The
appearance of the object formed an impression on your brain; omitting
the important part of who comprehends the impression.
These material and spiritual views are not the two extremes, there
is no midway, one is right and the other is wrong. Either man is a
spiritual, responsible being or he is just temporary mud.
Therefore imagination, to me is incomprehensible realization, while
materialism is the symbol of passing events. This explains how my
imaginary friends become so dear to me.
The ideas presented in my story of Mary Magdalene I gained through
descriptions conveyed to me by Jona while traveling across the Syrian
desert. He always began in the middle of his story and worked out both
ways, which made it difficult to take notes, besides at the best it was
but a legend, dim and indistinct.
Public-domain text, read in full here on John Shaqi.
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