But some Bunyan, writing Pilgrim's Progress
in a prison where it was so damp that, as he cried, «The moss did verily grow upon mine eyebrows»; some Kernahan, born without arms and legs, but by
sheer grit fighting his way up until he sat
in the House of Commons; some Henry M. Stanley, born
in a workhouse and buried
in Westminster Abbey; some Dante, his Beatrice dead, he himself an exile from the city of his love, distilling all his
agony into a song that became the «voice of ten silent centuries», or some more obscure and humble life close at hand where handicaps have been mastered, griefs have been built into character, disappointments have been turned into trellises, not left a bare, unsightly thing — such incarnations of fortitude and faith have infectious power.
As virtually everyone predicted, the top honors went to McDormand and Sam Rockwell for Three Billboards, Gary Oldman (who peaked
in Bram Stoker's Dracula next to Winona «Inclusion» Ryder) for Darkest Hour and Allison Janney for I, Tonya — though, as nearly everybody agreed, it was
sheer agony having to choose between Janney and Laurie Metcalf, so brilliant
in Lady Bird.