2
" The ORDINARY RESPONSE TO ATROCITIES is to banish them from consciousness. Certain violations of the social compact are too terrible to utter aloud: this is the meaning of the word unspeakable.Atrocities, however, refuse to be buried. Equally as powerful as the desire to deny atrocities is the conviction that denial does not work. Folk wisdom is filled with ghosts who refuse to rest in their graves until their stories are told. Murder will out. Remembering and telling the truth about terrible events are prerequisites both for the restoration of the social order and for the healing of individual victims.The conflict between the will to deny horrible events and the will to proclaim them aloud is the central dialectic of psychological trauma. People who have survived atrocities often tell their stories in a highly emotional, contradictory, and fragmented manner that undermines their credibility and thereby serves the twin imperatives of truth-telling and secrecy. When the truth is finally recognized, survivors can begin their recovery. But far too often secrecy prevails, and the story of the traumatic event surfaces not as a verbal narrative but as a symptom.The psychological distress symptoms of traumatized people simultaneously call attention to the existence of an unspeakable secret and deflect attention from it. This is most apparent in the way traumatized people alternate between feeling numb and reliving the event. The dialectic of trauma gives rise to complicated, sometimes uncanny alterations of consciousness, which George Orwell, one of the committed truth-tellers of our century, called " doublethink," and which mental health professionals, searching for calm, precise language, call " dissociation." It results in protean, dramatic, and often bizarre symptoms of hysteria which Freud recognized a century ago as disguised communications about sexual abuse in childhood. . . . "
6
" After a time I saw what I believed, at the time, to be a radio relay station located out on a desolate sand spit near Villa Bens. It was only later that I found out that it was Castelo de Tarfaya, a small fortification on the North African coast. Tarfaya was occupied by the British in 1882, when they established a trading post, called Casa del Mar. It is now considered the Southern part of Morocco.
In the early ‘20s, the French pioneering aviation company, Aéropostale, built a landing strip in this desert, for its mail delivery service. By 1925 their route was extended to Dakar, where the mail was transferred onto steam ships bound for Brazil. A monument now stands in Tarfaya, to honor the air carrier and its pilots as well as the French aviator and author Antoine Marie Jean-Baptiste Roger, comte de Saint-Exupéry better known as Antoine de Saint-Exupéry.
As a newly acclaimed author in the literary world. “Night Flight,” or “Vol de nuit,” was the first of Saint-Exupéry’s literary works and won him the prix Femina, a French literary prize created in 1904. The novel was based on his experiences as an early mail pilot and the director of the “Aeroposta Argentina airline,” in South America. Antoine is also known for his narrative “The Little Prince” and his aviation writings, including the lyrical 1939 “Wind, Sand and Stars” which is Saint-Exupéry’s 1939, memoir of his experiences as a postal pilot. It tells how on the week following Christmas in 1935, he and his mechanic amazingly survived a crash in the Sahara desert. The two men suffered dehydration in the extreme desert heat before a local Bedouin, riding his camel, discovered them “just in the nick of time,” to save their lives. His biographies divulge numerous affairs, most notably with the Frenchwoman Hélène de Vogüé, known as “Nelly” and referred to as “Madame de B. "
― Hank Bracker
8
" I am beginning to be sorry that I ever undertook to write this book. Not that it bores me; I have nothing else to do; indeed, it is a welcome distraction from eternity. But the book is tedious, it smells of the tomb, it has a rigor mortis about it; a serious fault, and yet a relatively small one, for the great defect of this book is you, reader. You want to live fast, to get to the end, and the book ambles along slowly; you like straight, solid narrative and a smooth style, but this book and my style are like a pair of drunks; they stagger to the right and to the left, they start and they stop, they mutter, they roar, they guffaw, they threaten the sky, they slip and fall...
And fall! Unhappy leaves of my cypress tree, you had to fall, like everything else that is lovely and beautiful; if I had eyes, I would shed a tear of remembrance for you. And this is the great advantage in being dead, that if you have no mouth with which to laugh, neither have you eyes with which to cry. "
― Machado de Assis , Memórias Póstumas de Brás Cubas
11
" From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror. "
― Peter Straub , American Fantastic Tales: Terror and the Uncanny from Poe to the Pulps
13
" All trademarks, company names, registered names, products, characters, mottos, logos, jingles and catchphrases used or cited in this work are the property of their respective owners and have only been mentioned and or used as cultural references to enhance the narrative and in no way were used to disparage or harm the owners and their companies. It is the author's sincerest wish the owners of the cited trademarks, company names, etc. appreciate the success they have achieved in making their products household names and appreciate the free plug. "
― E.A. Bucchianeri , Brushstrokes of a Gadfly, (Gadfly Saga, #1)
17
" As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing.
I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole. "
― Foz Meadows
18
" Context is everything in both narrative and real life, and while the accusation is never that these creators deliberately set out to discriminate against gay and female characters, the unavoidable implication is that they should have known better than to add to the sum total of those stories which, en masse, do exactly that. And if the listmakers can identify the trend so thoroughly – if, despite all the individual qualifications, protests and contextualisations of the authors, these problems can still be said to exist – then the onus, however disconnected from the work of any one individual, nonetheless falls to those individuals, in their role as cultural creators, to acknowledge the problem; to do better next time; perhaps even to apologise. This last is a particular sticking point. By and large, human beings tend not to volunteer apologies for things they perceive to be the fault of other people, for the simple reason that apology connotes guilt, and how can we feel guilty – or rather, why should we – if we’re not the ones at fault? But while we might argue over who broke a vase, the vase itself is still broken, and will remain so, its shards ground into the carpet, until
someone decides to clean it up.
Blog Post: Love Team Freezer "
― Foz Meadows
