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1 " When we get hurt, our bodies immediately start trying to heal that hurt. This works for emotions as well. If we were scarred socially, by an incident of rejection or bullying, we immediately start trying to heal. Like pus comes out of wounds, emotions flow from psychological wounds.And what do we really need at that moment? When we are out of that dangerous situation that scarred us, and we become triggered by some little thing - what do we need? Do we need someone to look at us and say, " Wow, you're really sensitive, aren't you?" or " Hey, man, I didn't mean it like that." ? Do we need someone to justify their actions or tell us to take it easy, because the situation didn't really require such a reaction?And, from ourselves, do we really need four pounds of judgment with liberal helpings of shame? Do we need to run away, to suppress, to hate our " over-sensitivity" to situations that seem innocuous to others?No. We do not need all of these versions of rejection of a natural healing process. You would not feel shame over a wound doing what it must do to heal, nor would you shame another. So why do we do this to our heart wounds? Why do we do it to ourselves? To others?Next time some harmless situation triggers you or someone around you into an intense emotion - realize it's an attempt at emotional healing. Realize the danger is no longer there, but don't suppress the healing of old dangers and old pains. Allow the pain. Don't react, but don't repress. Embrace the pain. Embrace the pain of others.Like this, we have some chance at healing the endless cycles of generational repression and suppression that are rolling around in our society.Fall open. Break open. Sit with others' openness. Let love be your medicine. "
2 " Every day between now and his slaughter in six months, 534 [Pollan's steer] will convert 32 pounds of feed into four pounds of gain- new muscle, fat, and bone. "
― Michael Pollan , The Omnivore's Dilemma: A Natural History of Four Meals
3 " Miss Mapp moved towards the screen." What a delicious big screen," she said." Yes, but don't go behind it, Mapp," said Irene, " or you'll see my model undressing." Miss Mapp retreated from it precipitately, as from a wasp's nest, and examined some of the studies on the wall, for it was more than probable from the unfinished picture on the easel that Adam lurked behind the delicious screen. Terrible though it all was, she was conscious of an unbridled curiosity to know who Adam was. It was dreadful to think that there could be any man in Tilling so depraved as to stand to be looked at with so little on...Irene strolled round the walls with her." Studies of Lucy," she said." I see, dear," said Miss Mapp. " How clever! Legs and things! But when you have your bridge-party, won't you perhaps cover some of them up, or turn them to the wall? We should all be looking at your pictures instead of attending to our cards. And if you were thinking of asking the Padre, you know..." They were approaching the corner of the room where the screen stood, when a movement there as if Adam had hit it with his elbow made Miss Mapp turn round. The screen fell flat on the ground and within a yard of her stood Mr. Hopkins, the proprietor of the fish-shop just up the street. Often and often had Miss Mapp had pleasant little conversations with him, with a view to bringing down the price of flounders. He had little bathing-drawers on..." Hullo, Hopkins, are you ready," said Irene. " You know Miss Mapp, don't you?" Miss Mapp had not imagined that Time and Eternity combined could hold so embarrassing a moment. She did not know where to look, but wherever she looked, it should not be at Hopkins. But (wherever she looked) she could not be unaware that Hopkins raised his large bare arm and touched the place where his cap would have been, if he had had one." Good morning, Hopkins," she said. " Well, Irene darling, I must be trotting, and leave you to your--" she hardly knew what to call it--" to your work." She tripped from the room, which seemed to be entirely full of unclothed limbs, and redder than one of Mr. Hopkins's boiled lobsters hurried down the street. She felt that she could never face him again, but would be obliged to go to the establishment in the High Street where Irene dealt, when it was fish she wanted from a fish-shop... Her head was in a whirl at the brazenness of mankind, especially womankind. How had Irene started the overtures that led to this? Had she just said to Hopkins one morning: " Will you come to my studio and take off all your clothes?" If Irene had not been such a wonderful mimic, she would certainly have felt it her duty to go straight to the Padre, and, pulling down her veil, confide to him the whole sad story. But as that was out of the question, she went into Twemlow's and ordered four pounds of dried apricots. "
