a bloody risk, like love…

I write to make peace with the things I cannot control. I write to create red in a world that often appears black and white. I write to discover. I write to uncover. I write to meet my ghosts. I write to begin a dialogue. I write to imagine things differently and in imagining things differently perhaps the world will change. I write to honour beauty. I write to correspond with my friends. I write as a daily act of improvisation. I write because it creates my composure. I write against power and for democracy. I write myself out of my nightmares and into my dreams. I write in a solitude born out of community. I write to the questions that shatter my sleep. I write to the answers that keep me complacent. I write to remember. I write to forget….

I write because I believe in words. I write because I do not believe in words. I write because it is a dance with paradox. I write because you can play on the page like a child left alone in sand. I write because it belongs to the force of the moon: high tide, low tide. I write because it is the way I take long walks. I write as a bow to wilderness. I write because I believe it can create a path in darkness….

write as ritual. I write because I am not employable. I write out of my inconsistencies. I write because then I do not have to speak. I write with the colours of memory. I write as a witness to what I have seen. I write as a witness to what I imagine….

I write because it is dangerous, a bloody risk, like love, to form the words, to say the words, to touch the source, to be touched, to reveal how vulnerable we are, how transient we are. I write as though I am whispering in the ear of the one I love.

Terry Tempest Williams – Red: Passion and Patience in the Desert

serious and drastic unhappiness

It starts so young, and I’m angry about that. The garbage we’re taught. About love, about what’s “romantic.” Look at so many of the so-called romantic figures in books and movies. Do we ever stop and think how many of them would cause serious and drastic unhappiness after The End? Why are sick and dangerous personality types so often shown as passionate and tragic and something to be longed for when those are the very ones you should run for your life from? Think about it. Heathcliff. Romeo. Don Juan. Jay Gatsby. Rochester. Mr. Darcy. From the rigid control freak in The Sound of Music to all the bad boys some woman goes running to the airport to catch in the last minute of every romantic comedy. She should let him leave. Your time is so valuable, and look at these guys -depressive and moody and violent and immature and self-centered. And what about the big daddy of them all, Prince Charming? What was his secret life? We don’t know anything about him, other than he looks good and comes to the rescue.

Deb Caletti

The Secret Life of Prince Charming

new ways to live and heal the earth

And the people stayed home. And read books, and listened, and rested, and exercised, and made art, and played games, and learned new ways of being, and were still. And listened more deeply. Some meditated, some prayed, some danced. Some met their shadows. And the people began to think differently. And the people healed. And, in the absence of people living in ignorant, dangerous, mindless, and heartless ways, the earth began to heal. And when the danger passed, and the people joined together again, they grieved their losses, and made new choices, and dreamed new images, and created new ways to live and heal the earth fully, as they had been healed.

Kitty O’Meara
And The People Stayed Home

on the lookout for adventure

We may say that all ages are dangerous to all people, in this dangerous life we live. But the thirties are a specially dangerous time for women. They have outlived the shyness and restraints of girlhood, and not attained to the caution and discretion of middle age. They are reckless, and consciously or unconsciously on the lookout for adventure. They see ahead of them the end of youth, and that quickens their pace.

Rose Macaulay
Dangerous Ages

How to read Gene Wolfe…

How to read Gene Wolfe:

1) Trust the text implicitly. The answers are in there.

2) Do not trust the text farther than you can throw it, if that far. It’s tricksy and desperate stuff, and it may go off in your hand at any time.

3) Reread. It’s better the second time. It will be even better the third time. And anyway, the books will subtly reshape themselves while you are away from them. Peace really was a gentle Midwestern memoir the first time I read it. It only became a horror novel on the second or the third reading.

4) There are wolves in there, prowling behind the words. Sometimes they come out in the pages. Sometimes they wait until you close the book. The musky wolf-smell can sometimes be masked by the aromatic scent of rosemary. Understand, these are not today-wolves, slinking grayly in packs through deserted places. These are the dire-wolves of old, huge and solitary wolves that could stand their ground against grizzlies.

5) Reading Gene Wolfe is dangerous work. It’s a knife-throwing act, and like all good knife-throwing acts, you may lose fingers, toes, earlobes or eyes in the process. Gene doesn’t mind. Gene is throwing the knives.

6) Make yourself comfortable. Pour a pot of tea. Hang up a DO NOT DISTURB Sign. Start at Page One.

7) There are two kinds of clever writer. The ones that point out how clever they are, and the ones who see no need to point out how clever they are. Gene Wolfe is of the second kind, and the intelligence is less important than the tale. He is not smart to make you feel stupid. He is smart to make you smart as well.

8) He was there. He saw it happen. He knows whose reflection they saw in the mirror that night.

9) Be willing to learn.

Neil Gaiman
How to read Gene Wolfe

moon baths

At sixteen, Sabina took moon baths, first of all, because everyone else took sunbaths, and second, she admitted, because she had been told it was dangerous.

Anaïs Nin
A Spy in the House of Love

fairytales

I’m not the type of woman for fairytales; I don’t believe in princesses, but rather Queens. I’m not interested in the pristine but rather the call of the wild. You’ll find me dancing with swords and smashing glass slippers. True to the name, this Cinderella will leave the whole place in cinders at the strike of a match.

Alannah Radburn
Yellow

so dangerous

I lost myself so many years ago that I hesitate to try to find myself again. I am afraid to begin. Existing so often gives me palpitations. I am so afraid to be myself. I am so dangerous.

Clarice Lispector
Why This World: A Biography of Clarice Lispector

wandering in the wilderness of doubt

Religions may begin as vehicles of longing for mysteries beyond description, but they end up claiming exclusive descriptive rights to them. They segue the ardour and uncertainty of seeking to the confidence and complacence of possession. They shift from poetry to packaging. Which is what people want. They don’t want to spend years wandering in the wilderness of doubt. They want the promised land of certainty, and religious realists are quick to provide it for them. The erection of infallible systems of belief is a well-understood device to still humanity’s fear of being lost in life’s dark wood without a compass. ‘Supreme conviction is a self-cure for the infestation of doubts.’ That is why David Hume noted that, while errors in philosophy were only ridiculous, errors in religion were dangerous. They were dangerous because when supreme conviction is threatened it turns nasty.’

Richard Holloway
Leaving Alexandria: A Memoir of Faith and Doubt

Be warned