43
" There is no one story that will replace the American dream, but storieslike this one—and there are thousands—can inform the myth or mythswe create for building and preserving the next culture. In order to do so,however, we must recognize that we cannot live without myth, for it is anessential part of our humanity. If we attempt to do so—given the fact thatsomething in us needs myth—wewill only create more myths that echothe American dream—with themes of heroism, greed, entitlement, narcissism,exploitation, exceptionalism, and myriad abuses of power. How we prepare for and navigate collapse will provide the raw materials for the myths we make and will live by in a postindustrial world. "
50
" Do you ever wonder how we all got here? On Earth, I mean. Forget the song and dance about Adam and Eve, which I know is a load of crap. My father likes the myth of the Pawnee Indians, who say that the star deities populated the world: Evening Star and Morning Star hooked up and gave birth to the first female. The first boy came from the Sun and the Moon. Humans rode in on the back of a tornado.
Mr. Hume, my science teacher, taught us about this primordial soup full of natural gases and muddy slop and carbon matter that somehow solidified into one-celled organisms called choanoflagellates... which sound a lot more like a sexually transmitted disease than the start of the evolutionary chain, in my opinion. But even once you get there, it's a huge leap from an amoeba to a monkey to a whole thinking person.
The really amazing thing about all this is no matter what you believe, it took some doing to get from a point where there was nothing, to a point where all the right neurons fire and pop so that we can make decisions.
More amazing is how even though that's become second nature, we all still manage to screw it up. "
― Jodi Picoult , My Sister's Keeper
53
" There is one myth about writers that I have always felt was particularly pernicious and untruthful—the myth of the " lonely writer," the myth that writing is a lonely occupation, involving much suffering because, supposedly, the writer exists in a state of sensitivity which cuts him off, or raises him above, or casts him below the community around him. This is a common cliché, a hangover probably from the romantic period and the idea of the artist as a Sufferer and a Rebel.Probably any of the arts that are not performed in a chorus-line are going to come in for a certain amount of romanticizing, but it seems to me particularly bad to do this to writers and especially fiction writers, because fiction writers engage in the homeliest, and most concrete, and most unromanticizable of all arts. I suppose there have been enough genuinely lonely suffering novelists to make this seem a reasonable myth, but there is every reason to suppose that such cases are the result of less admirable qualities in these writers, qualities which have nothing to do with the vocation of writing itself. "
