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3 " In every age a general misdirection of what may be called sexual " taste" ... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being " frank" and " healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible. "

7 " The birth and growth of modern antisemitism has been accompanied by and interconnected with Jewish assimilation, the secularization and withering away of the old religious and spiritual values of Judaism. What actually happened was that great parts of the Jewish people were at the same time threatened by physical extinction from without and dissolution from within. In this situation, Jews concerned with the survival of their people would, in a curious and desperate misinterpretation, hit on the consoling idea that antisemitism, after all, might be an excellent means for keeping the people together so that the assumption of external antisemitism would even imply an external guarantee of Jewish existence. This superstition, a secularized travesty of the idea of eternity inherent in a faith in chosenness and a Messianic hope, has been strengthened through the fact that for many centuries the Jews experienced the Christian brand of hostility which was indeed a powerful agent of preservation, spiritually as well as politically. The Jews mistook modern anti-Christian antisemitism for the old religious Jew-hatred—and this all the more innocently because their assimilation had by-passed Christianity in its religious and cultural aspect. Confronted with an obvious symptom of the decline of Christianity, they could therefore imagine in all ignorance that this was some revival of the so-called " Dark Ages." Ignorance or misunderstanding of their own past were partly responsible for their fatal underestimation of the actual and unprecedented dangers which lay ahead. But one should also bear in mind that lack of political ability and judgment have been caused by the very nature of Jewish history, the history of a people without a government, without a country, and without a language. Jewish history offers the extraordinary spectacle of a people, unique in this respect, which began its history with a well-defined concept of history and an almost conscious resolution to achieve a well-circumscribed plan on earth and then, without giving up this concept, avoided all political action for two thousand years. The result was that the political history of the Jewish people became even more dependent upon unforeseen, accidental factors than the history of other nations, so that the Jews stumbled from one role to the other and accepted responsibility for none. "

8 " Contemporary writers use animal-transformation themes to explore issues of gender, sexuality, race, culture, and the process of transformation...just as storytellers have done, all over the world, for many centuries past. One distinct change marks modern retellings, however, reflecting our changed relationship to animals and nature. In a society in which most of us will never encounter true danger in the woods, the big white bear who comes knocking at the door [in fairy tales] is not such a frightening prospective husband now; instead, he's exotic, almost appealing.Whereas once wilderness was threatening to civilization, now it's been tamed and cultivated; the dangers of the animal world have a nostalgic quality, removed as they are from our daily existence. This removal gives " the wild" a different kind of power; it's something we long for rather than fear. The shape-shifter, the were-creature, the stag-headed god from the heart of the woods--they come from a place we'd almost forgotten: the untracked forests of the past; the primeval forests of the mythic imagination; the forests of our childhood fantasies: untouched, unspoiled, limitless.Likewise, tales of Animal Brides and Bridegrooms are steeped in an ancient magic and yet powerfully relevant to our lives today. They remind us of the wild within us...and also within our lovers and spouses, the part of them we can never quite know. They represent the Others who live beside us--cat and mouse and coyote and owl--and the Others who live only in the dreams and nightmares of our imaginations. For thousands of years, their tales have emerged from the place where we draw the boundary lines between animals and human beings, the natural world and civilization, women and men, magic and illusion, fiction and the lives we live. "

9 " Did you know sometimes it frightens me--
when you say my name and I can't see you?
will you ever learn to materialize before you speak?
impetuous boy, if that's what you really are.
how many centuries since you've climbed a balcony
or do you do this every night with someone else?
you tell me that you'll never leave
and I am almost afraid to believe it.
why is it me you've chosen to follow?
did you like the way I look when I am sleeping?
was my hair more fun to tangle?
are my dreams more entertaining?
do you laugh when I'm complaining that I'm all alone?
where were you when I searched the sea
for a friend to talk to me?
in a year where will you be?
is it enough for you to steal into my mind
filling up my page with music written in my hand
you know I'll take the credit for I must have made you come to me somehow.
but please try to close the curtains when you leave at night,
or I'll have to find someone to stay and warm me.
will you always attend my midnight tea parties--
as long as I set it at your place?
if one day your sugar sits untouched
will you have gone forever?
would you miss me in a thousand years--
when you will dry another's tears?
but you say you'll never leave me
and I wonder if you'll have the decency
to pass through my wall to the next room
while I dress for dinner
but when I'm stuck in conversation
with stuffed shirts whose adoration
hurts my ears,
where are you then?
can't you cut in when I dance with other men?
it's too late not to interfere with my life
you've already made me a most unsuitable wife
for any man who wants to be the first his bride has slept with
and you can't just fly into people's bedrooms
then expect them to calmly wave goodbye
you've changed the course of history
and didn't even try
where are you now--
standing behind me,
taking my hand?
come and remind me
who you are
have you traveled far
are you made of stardust too
are the angels after you
tell me what I am to do
but until then I'll save your side of the bed
just come and sing me to sleep "

Emilie Autumn