I was yet to learn 	that time for these people had absolutely nothing to do with the clock hours on the gold-	and-diamond watch now donated to the earth forever. 
		Much later I would understand that 	the releasing of attachment to objects and 	certain beliefs was already indelibly written as a very necessary step in my human 	progress toward being.”  
	Nearly every chapter ends with a similar retelling of what moral the author learned, and by extension, what the reader should learn. Another chapter ends by saying, “It is truly amazing that after fifty thousand years they [the Aborigine tribe] have destroyed no forests, polluted no water, endangered no species, caused no contamination, and all the while they have received abundant food and shelter. They have laughed a lot and cried very little. They live long, productive, healthy lives and leave spiritually confident” . 
	This insistence on making explicit the moral lessons, the connections between literature and life, has two negative effects on the reader. First, because every conclusion is prepackaged and delivered, the reader is discouraged from trying to uncover other truths or lessons. They become overshadowed by those which are spelled out in the novel. Second, we are more likely to question and reject even the lessons that are presented. When we are allowed to make our own connections we make them in ways that are meaningful to us, and we make them in many directions at once, often without even realizing it. This makes our personal conclusions much more powerful and motivating. Works like Morgan's, however, do not resonate with us aesthetically because they never become ours. The author's refusal to allow the reader to make his own Heideggerian uncoverings and connections hurts the aesthetic value of the work.
	Alternatively, great literature teaches us page after page, but teaches us at a much deeper and more personal level. The master at this, as at so many things, is William Shakespeare. The reader of Shakespeare is forced to think grand thoughts and examine grand issues, but he is never led toward Shakespeare's personal conclusions. In this way the reader can make multiple connections, and multiple uncoverings, in different directions. Although any of Shakespeare's works could be chosen as an example, I will briefly examine a few passages from the classic King Lear. In the first scene of the first act, Shakespeare brings to the reader's attention the issues of filial and paternal obligations, the Catholic doctrine toward bastards, the effects of sexual promiscuity, the power of language, the conflict between duty and compassion, and the nature of love, among others.
	In the first lines of the play Shakespeare is already questioning, probing, and causing us to think about our beliefs. The Earls of Kent and Gloucester are speaking, and Kent quickly learns that Gloucester's son, Edmund, is illegitimate. Upon learning this, Kent says, “I cannot wish the fault undone, the issue of it being so / proper” .
