1
" For a long while I have believed – this is perhaps my version of Sir Darius Xerxes Cama’s belief in a fourth function of outsideness – that in every generation there are a few souls, call them lucky or cursed, who are simply born not belonging, who come into the world semi-detached, if you like, without strong affiliation to family or location or nation or race; that there may even be millions, billions of such souls, as many non-belongers as belongers, perhaps; that, in sum, the phenomenon may be as “natural” a manifestation of human nature as its opposite, but one that has been mostly frustrated, throughout human history, by lack of opportunity.
And not only by that: for those who value stability, who fear transience, uncertainly, change, have erected a powerful system of stigmas and taboos against rootlessness, that disruptive, anti-social force, so that we mostly conform, we pretend to be motivated by loyalties and solidarities we do not really feel, we hide our secret identities beneath the false skins of those identities which bear the belongers’ seal of approval.
But the truth leaks out in our dreams; alone in our beds (because we are all alone at night, even if we do not sleep by ourselves), we soar, we fly, we flee. And in the waking dreams our societies permit, in our myths, our arts, our songs, we celebrate the non-belongers, the different ones, the outlaws, the freaks.
What we forbid ourselves we pay good money to watch, in a playhouse or a movie theater, or to read about between the secret covers of a book. Our libraries, our palaces of entertainment tell the truth. The tramp, the assassin, the rebel, the thief, the mutant, the outcast, the delinquent, the devil, the sinner, the traveler, the gangster, the runner, the mask: if we did not recognize in them our least-fulfilled needs, we would not invent them over and over again, in every place, in every language, in every time. "
― Salman Rushdie , The Ground Beneath Her Feet
6
" I?I walk alone;The midnight streetSpins itself from under my feet;My eyes shutThese dreaming houses all snuff out;Through a whim of mineOver gables the moon's celestial onionHangs high.IMake houses shrinkAnd trees diminishBy going far; my look's leashDangles the puppet-peopleWho, unaware how they dwindle,Laugh, kiss, get drunk,Nor guess that if I choose to blinkThey die.IWhen in good humour,Give grass its greenBlazon sky blue, and endow the sunWith gold;Yet, in my wintriest moods, I holdAbsolute powerTo boycott color and forbid any flowerTo be.IKnow you appearVivid at my side,Denying you sprang out of my head,Claiming you feelLove fiery enough to prove flesh real,Though it's quite clearAll your beauty, all your wit, is a gift, my dear,From me." Soliloquy of the Solipsist" , 1956 "
14
" I always knew it would end like this. It always does. There’s no point in fighting it, Aladdin. It is simply the way of things.”
“I can’t accept that.”
“You must.”
“How can you just give up? How can you say that?” His eyes light up, and he takes the lamp from his sash and grips it so tightly his knuckles whiten. “Earlier, before you kissed me, I was about to wish for your freedom.”
I leap to my feet. “Aladdin, you must not do that. You must never even think it!”
“Why is that so bad? You’d be free.”
“It’s called the Forbidden Wish for a reason!”
“By whom? Nardukha? Let him come. I have a few things I’d like to say to him.”
“I forbid it. Aladdin. If anything we have done together means anything to you, please, please trust me now. Don’t make that wish. It is the worst wish you can make. It is—it will break my heart.”
“What is it?” he asks softly. “What is it you’re not telling me? What happens if I wish for your freedom?”
I stand trembling, the words clawing at my throat, until I can hold them back no more.
“Like all wishes, the Forbidden Wish comes at a price. My freedom must be bought with a death, a life paid in sacrifice. And I will not let you make that sacrifice, not for me. "
― Jessica Khoury , The Forbidden Wish
17
" The Eastern potentate who declared that women were at the bottom of all mischief, should have gone a little further and seen why it is so. It is because women are never lazy. They don’t know what it is to be quiet. They are Semiramides, and Cleopatras, and Joan of Arcs, Queen Elizabeths, and Catharine the Seconds, and they riot in battle, and murder, and clamour, and desperation. If they can’t agitate the universe and play at ball with hemispheres, they’ll make mountains of warfare and vexation out of domestic molehills; and social storms in household teacups. Forbid them to hold forth upon the freedom of nations and the wrongs of mankind, and they’ll quarrel with Mrs Jones about the shape of a mantle or the character of a small maid-servant. To call them the weaker sex is to utter a hideous mockery. They are the stronger sex, the nosier, the more persevering, the most self-assertive sex. "
― Mary Elizabeth Braddon , Lady Audley's Secret
19
" From Tudor to eighteenth-century England, there are many instances of women writers with no place or room of their own. The life-story of the play-wright Elizabeth Cary, Lady Falkland (1585-1639) gives us a dramatic and, lately, much-studied example. In the hagiographical 'The Lady Falkland: Her Life', written by one of her daughters, we hear how the prodigious Elizabethlearnt to read very soon and loved it much... Without a teacher, whilst she was a child, she learnt French, Spanish, Italian [and] Latin... She having neither brother nor sister, nor other companion of her age, spent her whole time in reading; to which she gave herself so much that she frequently read all night; so as her mother was fain to forbid her servants to let her have candles, which command they turned to their own profit, and let themselves be hired by her to let her have them, selling them to her at half a crown apiece, so was she bent to reading; and she not having money so free, was to owe it them, and in this fashion was she in debt a hundred pound afore she was twelve year old. "