6
" Inside, the midwife was trying to get Socorro to open her mouth wide and let the pain come out. " Open your mouth," said Angelina, massaging Socorro's neck and shoulders, " and let out what you feel. Don't keep it in, querida, let it out." Socorro cried softly at first, but little by little she loosened up and she began to let out long, ear-piercing screams. " Good," said the midwife, " now breathe deeply, deeply, and then cry out again, letting all the pain go out of your body. "
8
" It is eighteen years ago, almost to the day-
A sunny day with the leaves just turning,
The touch-lines new-ruled - since I watched you play
Your first game of fotball, then, like a satellite
Wrenched from its orbit, go drifting away
Behind a scatter of boys. I can see
You walking away from me towards the school
with the pathos of a half-fledged thing set free
Into a wilderness, the gait of one
Who finds no path where the path should be.
That hesitant figure, eddying away
Like a winged seed loosened from its parent stem,
Has something I never quite grasp to convey
About nature's give-and-take - the small, the scorching
Ordeals which fire one's irresolute clay.
I had worse partings, but none that so
Gnaws at my mind still. Perhaps it is roughly
Saying what God alone could perfectly show-
How selfhood begins with a walking away,
And love proved in the letting go. "
― Cecil Day-Lewis
11
" Now we were standing around holding hands and not much was going on. I began to think of words I had known, just for fun, to fill up the blank space in my head. Couch, I thought. Cuisinart, I thought.
The words felt different right now than they had before. They meant a little less, held a little less, but seemed somehow fuller: I had never really noticed how much sound there was in a word. The way it filled your mouth up with emptiness, a sort of loosened emptiness that you could tongue, an emptiness you could suck on like a stone. Stomach, I thought. Variety, I thought. Expectation. Intimation. Infiltration. Infiltration: I tongued that one further. I knew it had a hostile aspect, like someone breaking into your house or posing as someone you should trust. But it also had a lovely sound, a kind of tapered point and a gently ruffled edge, and as I repeated it over and over in my mouth it took on a really great flavor and I thought of water filtering in and out of a piece of fabric, back and forth, moving between, soaking it and washing out, soaking in and taking with it pale tremors of color, memory, resistance, all that stuff, until I felt like one of those pieces of cloth on the television commercials that got washed with the name-brand cleanser and is now not only white, but silky and mountain-scented. "
― Alexandra Kleeman , Intimations: Stories
12
" Instead of turning our heads from pain, we merge with it, neither holding on to it nor pushing it away, becoming instead an instrument of transformation. Recently, on my early morning drive to a health club, I saw a deer in the middle lane, trying to get up, but obviously crippled. Her eyes looked confused and frightened. As I drove by, I breathed in her pain and breathed out a blessing. I could feel a dark cloud swirling inside of me, but I also had an image of a deer running freely in the woods. I can never know if it helped her, but something loosened inside of me. Instead of turning away from her pain, I joined her. It was then I realized more deeply the power of Tonglin...
When you feel hurt, confused, lonely, or sad, breathe into your pain, feel it, be with it, then breathe out an image of clarity, light, and a blessing. This alone will start to change your life. "
― Charlotte Kasl , If the Buddha Dated: A Handbook for Finding Love on a Spiritual Path
18
" After a few sips, he picked up his sax and started jamming with the storm.
Most days, Rivers meditated twice, when he awoke and again in the evening before writing or reading. But he still found a special relaxation and renewal in solitary playing. Contemplation through music was different from other reflective experiences, in part, because his visual associations were set free to mutate, morph, and meander; while the other senses were occupied in fierce concentraction on breathing, blowing, fingering, and listening. Within the flow of this activity, his awareness would land in different states of consciousness, different phases of time, and easily moved between revisualization of experience and its creation.
The playing dislodged hidden feelings, primed him for recognizing the habitually denied, sheathed the sword of lnaguage, and loosened the shield and armor of his character. His contemplative playing purged him of worrisome realities, smelted off from his center the dross of eperience, and on those rare and cherished days, left only the refinement of flickering fire. Although he was more aware of his emotions, the music and dance of thought kept them at arm’s length, Wordsworth’s “emotion recollected in tranquility.” . . .
As he played, his mind’s eye became the fisher’s bobber, guided by a line of sound around the driftwood of thought, the residue of his life, which materialized from nowhere and sank back into nothingness without his weaving them into any insistent pattern of order and understanding. He was momentarily freed of logical sequencing, the press of premises, the psycho-logic of primary process, the throb of Thought pulsing in and through him, and in billions of mind/bodies, now and throughout time, belonging each to each, to none, to no one, to Everyone, rocking back and forward in an ebb and flow of wishes, fears, and goals. He fished free of desire, illusion, or multiplicity; distant from the hook, the fisher, the fish; but tethered still on the long line of music, until it snagged on an immovable object, some unquestioned assumption, or perhaps a stray consummation, a catch in the flow of creation and wonder. "
― , Silhouette of Virtue
19
" Mark came home late one frozen Sunday carrying a bag of small, silver fish. They were smelts, locally known as icefish. He’d brought them at the store in the next town south, across from which a little village had sprung up on the ice of the lake, a collection of shacks with holes drilled in and around them. I’d seen the men going from the shore to the shacks on snowmobiles, six-packs of beer strapped on behind them like a half dozen miniature passengers. “Sit and rest,” Mark said. “I’m cooking.” He sautéed minced onion in our homemade butter, added a little handful of crushed, dried sage, and when the onion was translucent, he sprinkled n flour to make a roux, which he loosened with beer, in honor of the fishermen. He added cubed carrot, celery root, potato, and some stock, and then the fish, cut into pieces, and when they were all cooked through he poured in a whole morning milking’s worth of Delia’s yellow cream. Icefish chowder, rich and warm, eaten while sitting in Mark’s lap, my feet so close to the woodstove that steam came off my damp socks. "
― Kristin Kimball , The Dirty Life: On Farming, Food, and Love