4
" A Gift for You
I send you...
The gift of a letter from your wise self. This is the part of you that sees you with benevolent, loving eyes. You find this letter in a thick envelope with your name on it, and the word YES written boldly above your name.
My Dear,
I am writing this to remind you of your 'essence beauty.' This is the part of you that has nothing to do with age, occupation, weight, history, or pain. This is the soft, untouched, indelible you. You can love yourself in this moment, no matter what you have, or haven't done or been.
See past any masks, devices, or inventions that obscure your essence.
Remember your true purpose, WHICH is only Love.
If you cannot see or feel love, lie down now and cry; it will cleanse your vision and free your heart.
I love you; I am you. "
― S.A.R.K. , Make Your Creative Dreams Real: A Plan for Procrastinators, Perfectionists, Busy People, and People Who Would Really Rather Sleep All Day
5
" Anyone and everyone taking a writing class knows that the secret of good writing is to cut it back, pare it down, winnow, chop, hack, prune, and trim, remove every superfluous word, compress, compress, compress...
Actually, when you think about it, not many novels in the Spare tradition are terribly cheerful. Jokes you can usually pluck out whole, by the roots, so if you're doing some heavy-duty prose-weeding, they're the first to go. And there's some stuff about the whole winnowing process I just don't get. Why does it always stop when the work in question has been reduced to sixty or seventy thousand words--entirely coincidentally, I'm sure, the minimum length for a publishable novel? I'm sure you could get it down to twenty or thirty if you tried hard enough. In fact, why stop at twenty or thirty? Why write at all? Why not just jot the plot and a couple of themes down on the back of an envelope and leave it at that? The truth is, there's nothing very utilitarian about fiction or its creation, and I suspect that people are desperate to make it sound manly, back-breaking labor because it's such a wussy thing to do in the first place. The obsession with austerity is an attempt to compensate, to make writing resemble a real job, like farming, or logging. (It's also why people who work in advertising put in twenty-hour days.) Go on, young writers--treat yourself to a joke, or an adverb! Spoil yourself! Readers won't mind! "
― Nick Hornby , The Polysyllabic Spree
9
" Well, well, well,” Santa said once the elf had retreated. “Come and sit on my lap, little boy.”This Santa’s beard was real, and so was his hair. He wasn’t fucking around.“I’m not really a little boy,” I pointed out.“Get on my lap, then, big boy.”I walked up to him. There wasn’t much lap under his belly. And even though he tried to disguise it, as I went up there, I swear he adjustedhis crotch.“Ho ho ho!” he chortled.I sat gingerly on his knee, like it was a subway seat with gum on it.“Have you been a good little boy this year?” he asked.I didn’t feel that I was the right person to determine my own goodness or badness, but in the interest of speeding along this encounter, I said yes.He actually wobbled with joy.“Good! Good! Then what can I bring you this Christmas?”I thought it was obvious.“A message from Lily,” I said. “That’s what I want for Christmas. But I want it right now.”“So impatient!” Santa lowered his voice and whispered in my ear. “But Santa does have a little something for you”—he shifted a little inhis seat—“right under his coat. If you want to have your present, you’ll have to rub Santa’s belly.”“What?” I asked.He gestured with his eyes down to his stomach. “Go ahead.”I looked closely and saw the faint outline of an envelope beneath his red velvet coat.“You know you want it,” he whispered.The only way I could survive this was to think of it as the dare it was.Fuck off, Lily. You can’t intimidate me.I reached right under Santa’s coat. To my horror, I found he wasn’t wearing anything underneath. It was hot, sweaty, Geshy, hairy … andhis belly was this massive obstacle, blocking me from the envelope. I had to lean over to angle my arm in order to reach it, the whole timehaving Santa laugh, “Oh ho ho, ho ho oh ho!” in my ear. I heard the elf scream, “What the hell!” and various parents start to shriek. Yes, I was feeling up Santa. And now the corner of the envelope was in my hand. He tried to jiggle it away from me, but I held tight and yanked itout, pulling some of his white belly hair with me. “OW ho ho!” he cried. I jumped o1 his lap. “Security’s here!” the elf proclaimed.The letter was in my hand, damp but intact.“He touched Santa!” a young child squealed. "
13
" Occasionally, in the stillness of a taxi or an airplane, she would catalog the pleasures she had lost. Cigarettes. Chewing gum. Strong mint toothpaste. Any food with hard edges or sharp corners that could pierce or abrade the inside of her mouth: potato chips, croutons, crunchy peanut butter. Any food that was more than infinitesimally, protozoically, spicy or tangy or salty or acidic: pesto or Worcestershire sauce, wasabi or anchovies, tomato juice or movie-theater popcorn. Certain pamphlets and magazines whose paper carried a caustic wafting chemical scent she could taste as she turned the pages. Perfume. Incense. Library books. Long hours of easy conversation. The ability to lick an envelope without worrying that the glue had irritated her mouth. The knowledge that if she heard a song she liked, she could sing along to it in all her dreadful jubilant tunelessness. The faith that if she bit her tongue, she would soon feel better rather than worse. "
― Kevin Brockmeier , The Illumination
15
" We do not perceive what is " out ther," rather we perceive what is " in here." Our senses can only inform us of their own status. They can inform us of the elesctrical status of neurons or the physical or the chemical status of the receptors. The outside world is never taken into our consciousness. The outside world is rather our own creation, psychologically synthesized from the mass of sensations that envelope us. In many respects, the ultimate question that perception must ask was stated by John Stuart Mill in 1865. He asked, " What is it we mean, or what is it which leads us to say, that the objects we perceive are external to us, and not a part of our own thoughts?" That remains, perhaps, the ultimate, unresolved perceptual puzzle. "
16
" We do not perceive what is " out there," rather we perceive what is " in here." Our senses can only inform us of their own status. They can inform us of the electrical status of neurons or the physical or the chemical status of the receptors. The outside world is never taken into our consciousness. The outside world is rather our own creation, psychologically synthesized from the mass of sensations that envelope us. In many respects, the ultimate question that perception must ask was stated by John Stuart Mill in 1865. He asked, " What is it we mean, or what is it which leads us to say, that the objects we perceive are external to us, and not a part of our own thoughts?" That remains, perhaps, the ultimate, unresolved perceptual puzzle. "