Time, space, and natural law hold for me suggestions of intolerable bondage, and I can form no picture of emotional satisfaction which does not involve their defeat - especially the defeat of time, so that one may merge oneself with the whole historic stream and be wholly emancipated from the transient and the ephemeral.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
I was conveniently bisexual for a long time, and then I went, 'Come on, who am I kidding?' And I have to say, it was the single biggest step I took toward emotional well-being, to stop feeling like I had to hide who I am.
One of the things I took from the show was emotional possibility. I never thought I would type that I learned how to emote in poems from watching Star Trek but there it is.
Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.
The most precious research to me came from the paperwork filed on behalf of my grandparents and great-grandfather. The ship's manifest showed that they could read and write. I am still emotional when I look at those boxes checked yes.
Rather than teasing the buyers, we may blame the society in which they lived for setting up a situation where the purchase of ornate cabinets felt psychologically necessary and rewarding, where respect was dependent on baroque displays. Rather than a tale of greed, the history of luxury could more accurately be read as a record of emotional trauma. It is the legacy of those who have felt pressured by the disdain of others to add an extraordinary amount to their bare selves in order to signal that they too may lay a claim to love.
Of course, even the general designation 'religious' includes various basic ideas or convictions, for example, the indestructibility of the soul, the eternity of its existence, the existence of a higher being, etc. But all these ideas, regardless of how convincing they may be for the individual, are submitted to the critical examination of this individual and hence to a fluctuating affirmation or negation until emotional divination or knowledge assumes the binding force of apodictic faith.
And how do you know when you're doing something right? How do you know that? It feels so. What I know now is that feelings are really your GPS system for life. When you're supposed to do something or not supposed to do something, your emotional guidance system lets you know. The trick is to learn to check your ego at the door and start checking your gut instead.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
We can at least try to understand our own motives, passions, and prejudices, so as to be conscious of what we are doing when we apeal to those of others. This is very difficult, because our own prejudice and emotional bias always seems to us so rational.