3
" What is fantasy? On one level, of course, it is a game: a pure pretense with no ulterior motive whatever. It is one child saying to another child, “Let’s be dragons,” and then they’re dragons for an hour or two. It is escapism of the most admirable kind—the game played for the game’s sake.
On another level, it is still a game, but a game played for very high stakes. Seen thus, as art, not spontaneous play, its affinity is not with daydream, but with dream. It is a different approach to reality, an alternative technique for apprehending and coping with existence. It is not antirational but pararational; not realistic, but surrealistic, superrealistic, a heightening of reality. In Freud’s terminology, it employs primary, not secondary process thinking. It employs archetypes, which, Jung warned us, are dangerous things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a real wilderness, and those who go there should not feel too safe. And their guides, the writers of fantasy, should take their responsibilities seriously. "
― Ursula K. Le Guin
6
" We shouldn't let our envy of distinguished masters of the arts distract us from the wonder of how each of us gets new ideas. Perhaps we hold on to our superstitions about creativity in order to make our own deficiencies seem more excusable. For when we tell ourselves that masterful abilities are simply unexplainable, we're also comforting ourselves by saying that those superheroes come endowed with all the qualities we don't possess. Our failures are therefore no fault of our own, nor are those heroes' virtues to their credit, either. If it isn't learned, it isn't earned.When we actually meet the heroes whom our culture views as great, we don't find any singular propensities––only combinations of ingredients quite common in themselves. Most of these heroes are intensely motivated, but so are many other people. They're usually very proficient in some field--but in itself we simply call this craftmanship or expertise. They often have enough self-confidence to stand up to the scorn of peers--but in itself, we might just call that stubbornness. They surely think of things in some novel ways, but so does everyone from time to time. And as for what we call " intelligence" , my view is that each person who can speak coherently already has the better part of what our heroes have. Then what makes genius appear to stand apart, if we each have most of what it takes?I suspect that genius needs one thing more: in order to accumulate outstanding qualities, one needs unusually effective ways to learn. It's not enough to learn a lot; one also has to manage what one learns. Those masters have, beneath the surface of their mastery, some special knacks of " higher-order" expertise, which help them organize and apply the things they learn. It is those hidden tricks of mental management that produce the systems that create those works of genius. Why do certain people learn so many more and better skills? These all-important differences could begin with early accidents. One child works out clever ways to arrange some blocks in rows and stacks; a second child plays at rearranging how it thinks. Everyone can praise the first child's castles and towers, but no one can see what the second child has done, and one may even get the false impression of a lack of industry. But if the second child persists in seeking better ways to learn, this can lead to silent growth in which some better ways to learn may lead to better ways to learn to learn. Then, later, we'll observe an awesome, qualitative change, with no apparent cause--and give to it some empty name like talent, aptitude, or gift. "
7
" Alice leaned first one way and then the other, down the line of children. She said, Is everybody understanding this?" One child said, " The misuse of power is the root of all evil?" Alice said, " Well...." Another child said, " There is no justice on the earth?" Alice said, " Well..." Another child said, " We are all alone in the world?" Alice said, " Well..." Another child said, " The greatest depth of our loss is the beginning of true freedom?" Alice said, " Well..." Another child said, " The disposal of human waste is the responsibility of the brokenhearted?" These were all phrases Alice had put on the chalkboard after other field trips. It occurred to Alice, hearing these phrases now, that she might have attempted to do too much with a class of fourth graders. She was willing to admit to some excesses.Alice said, " Just listen. "
12
" On her way toward the shore, she kept coming across weekend tourists. Every cluster of them presented the same pattern: the man was pushing a stroller with a baby in it, the woman was walking beside him; the man's expression was meek, solicitous, smiling, a bit embarrassed, and endlessly willing to bend over the child, wipe its nose, soothe its cries; the woman’s expression was blasé, distant, smug, sometimes even (inexplicably) spiteful. This pattern Chantal saw repeated in several variants: the man alongside a woman was pushing the stroller and also carrying another baby on his hack, in a specially made sack: the man alongside a woman was pushing the stroller, carrying one baby on his shoulders and another in a belly carrier: the man alongside a woman had no stroller but was holding one child by the hand and carrying three others, on his back, his belly, and his shoulders. Then, finally, with no man. a woman was pushing the stroller: she was doing it with a force unseen in the men, such that Chantal, walking on the same sidewalk, had to leap out of her way at the last moment.
Chantal thinks: men have daddified themselves. They aren't fathers, they're just daddies, which means: fathers without a father's authority. "
― Milan Kundera