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When the fear of failure triumphs over the repugnance of mediocrity, we must resign ourselves to the status quo. Every change, every opportunity to do something different will send us running to hide beneath a cover of excuses and complacency. Those few courageous souls who delve into the lands where they risk failure, will be soundly ridiculed. They will be condemned not because they dream, but rather for making their dreams real and destroying the illusion that all that can be thought has been thought, all that can be done has been done, and all that can be felt has been felt. In their enthusiastic insolence, they see life filled with infinite possibilities and they know they must chart their own course, even if they must go alone. ↗
In becoming forcibly and essentially aware of my mortality, and of what I wished and wanted for my life, however short it might be, priorities and omissions became strongly etched in a merciless light and what I most regretted were my silences. Of what had I ever been afraid? To question or to speak as I believed could have meant pain, or death. But we are all hurt in so many different ways, all the time, and pain will either change or end. Death on the other hand, is the final silence. And that might be coming quietly now, without regard for whether I had ever spoken what needed to be said or had only betrayed myself into small silences, while I planned someday to speak, or waited for someone Else's words....I was going to die, if not sooner then later whether or not I had ever spoken myself. My silences had not protected me. ↗
The language of worldview tends to imply, to paraphrase the Catholic writer Richard Rohr, that we can think ourselves into new ways of behaving. But that is not the way culture works. Culture helps us behave ourselves into new ways of thinking. The risk in thinking 'worldviewishly' is that we will start to think that the best way to change culture is to analyze it. We will start worldview academies, host worldview seminars, write worldview books. These may have some real value if they help us understand the horizons that our culture shapes, but they cannot substitute for the creation of real cultural goods. And they will subtly tend to produce philosophers rather than plumbers, abstract thinkers instead of artists and artisans. They can create a cultural niche in which 'worldview thinkers' are privileged while other kinds of culture makers are shunted aside. But culture is not changed simply by thinking. ↗
The boy slept well in the woodland nest where he had laid himself down, in that kind of thin but refreshing sleep which people have when they begin to lie out of doors. At first he only dipped below the surface of sleep, and skimmed along like a salmon in shallow water, so close to the surface that he fancied himself in air. He thought himself awake when he was already asleep. He saw the stars above his face, whirling on their silent and sleepless axis, and the leaves of the trees rustling against them, and he heard small changes in the grass. These little noises of footsteps and soft-fringed wing-beats and stealthy bellies drawn over the grass blades or rattling against the bracken at first frightened or interested him, so that he moved to see what they were (but never saw), then soothed him, so that he no longer cared to see what they were but trusted them to be themselves, and finally left him altogether as he swam down deeper and deeper, nuzzling into the scented turf, into the warm ground, into the unending waters under the earth. ↗
At this point, I can no longer avoid setting out, in an initial, provisional statement, my own hypothesis about the origin of “bad conscience.” It is not easy to get people to attend to it, and it requires them to consider it at length, to guard it, and to sleep on it. I consider bad conscience the profound illness which human beings had to come down with, under the pressure of the most fundamental of all the changes which they experienced—that change when they finally found themselves locked within the confines of society and peace. Just like the things water animals must have gone though when they were forced either to become land animals or to die off, so events must have played themselves out with this half-beast so happily adapted to the wilderness, war, wandering around, adventure—suddenly all its instincts were devalued and “disengaged.” From this point on, these animals were to go on foot and “carry themselves”; whereas previously they had been supported by the water. A terrible heaviness weighed them down. In performing the simplest things they felt ungainly. In dealing with this new unknown world, they no longer had their old leader, the ruling unconscious drives which guided them safely. These unfortunate creatures were reduced to thinking, inferring, calculating, bringing together cause and effect, reduced to their “consciousness,” their most impoverished and error-prone organ! I believe that on earth there has never been such a feeling of misery, such a leaden discomfort—while at the same time those old instincts had not all at once stopped imposing their demands! Only it was difficult and seldom possible to do their bidding. For the most part, they had to find new and, as it were, underground satisfactions for them. ↗
Great men were always average men, that summoned the courage, honor and will to do extraordinary things that would change the world. I feat of natural determination born of a perceived need. These men and women speak for each of us for all time, and their lives and deaths we watch come and go because it is so much easier to play Voyeur than Hero. ↗
I used to send my characters into a fire that necessarily consumed them, but I have learned, a little, how to send them through the fire to a new place. The characters who do not change — most notably Nakota in Cipher, Bibi in Skin, and Lena in Kink — are motivated by an essential selfishness or self-centeredness, an unwillingness to relinquish control to the process, a refusal to become. ↗
I can not regret what I have learned. Regardless of what you decide and what becomes of us, it will not change this belief, and whatever children I may have, I will try to teach them this: that life is meant to be more than existence. Fight for and hold on to your passion, whatever it is, but surrender gracefully when the passion is well spent. For it is through loss that we learn, and grief that we grow stronger, and living that we learn how to love. Everything is a choice, and by avoiding choices, one not only ensures that a wrong decision won't be made, but also steals a soul's chance to live, to learn, and to love. ↗
Her life was one endless loop that she raced around, with steep banked curves so she could never change or slow down. It just delivered her back to herself, over and over and over. ↗
YA stories feature a young adult protagonist or protagonists and usually focus on that character’s journey toward maturity (the tradition of the Bildungsroman.). Learning about love / relationships is an important part of that stage in our lives, so it’s not surprising so many writers are building strong romantic elements into their YA stories. I don’t remember quite such an emphasis on romance in the books my children read as young adults, so I do think the approach has changed. Within my genre of fantasy, there’s been an upsurge of paranormal romance, partly generated by the Twilight books, but also reflecting the popularity of this sub-genre with adult readers. There are far more female fantasy writers (and female fantasy readers) than there were, say, twenty years ago, and perhaps female writers are more confident about including a good love story in a fantasy novel. (2012 Interview by Helen Lowe: The Supernatural Underground: An Interview with Juliet Marillier Discussing "Shadowfell".) ↗
