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#age
Approaching the trail, he broke through the thicket a short distance ahead of the Empath. Causing the Empaths horse to startle as the surprised rider jerked on the reins. Cap was equally surprised to find a young girl before him instead of an older, experienced male Empath. Cap brought his horse to a quick halt. The young girl pulled a small knife from her boot and cautioned him. "I don't know where you came from, but I'm not easy prey.” Her voice shook slightly with fear as she raised the knife. Not sure how to proceed, they stared silently at each other. Cap had always believed that Empaths didn't carry weapons. This pretty, chestnut haired girl couldn't be more than 18 years old. Her long straight tresses covered the spot on her jacket where the Empathic Emblem was usually worn, causing Cap to doubt she was the one he sought. Not wanting to frighten her any more than he already had, Cap tried to explain. "I'm Commander Caplin Taylor. I’m looking for an Empath that is headed for the Western Hunting Lodge.” "My name is Kendra; I am the Empath you seek.” She answered cautiously, still holding the blade. A noise from the brush drew her attention as a small rodent pounced out, trying to evade an unseen predator. Cap was just close enough to lurch forward and snatch the dirk from her hand. Her head jerked back in alarm. "Bosen May has been mauled by a Sraeb, his shoulder is a mass of pulp." Cap spoke quickly not wanting to hesitate any longer. That was all Kendra needed to hear. She pushed her horse past him and headed quickly down the trail. "Wait!" Cap called after her, turning his horse around. Reining in the horse, she turned back to face him annoyed by the delay. "Are you a good horseman?" Cap asked, as he stuffed her dirk in his jacket. "I've been in the saddle since I was a child." She answered, abruptly. "Okay so just a few years then?" Cap's rebuke angered her. Jerking the horse back toward the trail, she ignored him. "Wait, I'm sorry!" Cap called after her. "It's just that I know a quicker way, if you can handle some rough terrain." "Let’s go then." Kendra replied, gruffly, turning back to face him. Without another word, Cap dove back into the brush and the girl followed. ↗
The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream. ↗
#change #clock #dream #fantasy #night-circus
...DAMNATION!' No device of the printer's art, not even capital letters, can indicate the intensity of that shriek of rage. Emerson is known to his Egyptian workers by the admiring sobriquet of Father of Curses. The volume as well as the content of his remarks earned him the title; but this shout was extraordinary even by Emerson's standards, so much so that the cat Bastet, who had become more or less accustomed to him, started violently, and fell with a splash into the bathtub. The scene that followed is best not described in detail. My efforts to rescue the thrashing feline were met with hysterical resistance; water surged over the edge of the tub and onto the floor; Emerson rushed to the rescue; Bastet emerged in one mighty leap, like a whale broaching, and fled -- cursing, spitting, and streaming water. She and Emerson met in the doorway of the bathroom. The ensuing silence was broken by the quavering voice of the safragi, the servant on duty outside our room, inquiring if we required his assistance. Emerson, seated on the floor in a puddle of soapy water, took a long breath. Two of the buttons popped off his shirt and splashed into the water. In a voice of exquisite calm he reassured the servant, and then transferred his bulging stare to me. I trust you are not injured, Peabody. Those scratches...' The bleeding has almost stopped, Emerson. It was not Bastet's fault.' It was mine, I suppose,' Emerson said mildly. Now, my dear, I did not say that. Are you going to get up from the floor?' No,' said Emerson. He was still holding the newspaper. Slowly and deliberately he separated the soggy pages, searching for the item that had occasioned his outburst. In the silence I heard Bastet, who had retreated under the bed, carrying on a mumbling, profane monologue. (If you ask how I knew it was profane, I presume you have never owned a cat.) ↗
Listen closely. There’s a remote possibility that you might learn something: First, I don’t give a damn if my work is commercial or not…I’m the writer. If what I write is good, then people will read it. That’s why literature exists. An author puts his heart and guts on the page. For your information, a good novel can change the world. Keep that in mind before you attempt to sit down at a typewriter. Never waste time on something you don’t believe in yourself. ↗
For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode. ↗
In any case, do you really think kids even want something that is relevant to their daily lives? You think something practical like compound interest is going to get them excited? People enjoy fantasy, and that is just what mathematics can provide -- a relief from daily life, an anodyne to the practical workaday world. ↗
#math #mathematics #art
Some years ago I had a conversation with a man who thought that writing and editing fantasy books was a rather frivolous job for a grown woman like me. He wasn’t trying to be contentious, but he himself was a probation officer, working with troubled kids from the Indian reservation where he’d been raised. Day in, day out, he dealt in a concrete way with very concrete problems, well aware that his words and deeds could change young lives for good or ill. I argued that certain stories are also capable of changing lives, addressing some of the same problems and issues he confronted in his daily work: problems of poverty, violence, and alienation, issues of culture, race, gender, and class... “Stories aren’t real,” he told me shortly. “They don’t feed a kid left home in an empty house. Or keep an abusive relative at bay. Or prevent an unloved child from finding ‘family’ in the nearest gang.” Sometimes they do, I tried to argue. The right stories, read at the right time, can be as important as shelter or food. They can help us to escape calamity, and heal us in its aftermath. He frowned, dismissing this foolishness, but his wife was more conciliatory. “Write down the names of some books,” she said. “Maybe we’ll read them.” I wrote some titles on a scrap of paper, and the top three were by Charles de lint – for these are precisely the kind of tales that Charles tells better than anyone. The vital, necessary stories. The ones that can change and heal young lives. Stories that use the power of myth to speak truth to the human heart. Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going. Recently I saw that parole officer again, and I asked after his work. “Gets harder every year,” he said. “Or maybe I’m just getting old.” He stopped me as I turned to go. “That writer? That Charles de Lint? My wife got me to read them books…. Sometimes I pass them to the kids.” “Do they like them?” I asked him curiously. “If I can get them to read, they do. I tell them: Stories are important.” And then he looked at me and smiled. ↗
#charles-de-lint #childhood #fantasy #folklore #magical-realism
