A Quote by Eric Maisel
The artist, who must venture into the studio and risk there, and then venture into the marketplace and risk again, is obliged to learn how her defences work, so that she can drop and raise her guard instantly.
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You must learn her. You must know the reason why she is silent. You must trace her weakest spots. You must write to her. You must remind her that you are there. You must know how long it takes for her to give up. You must be there to hold her when she is about to. You must love her because many have tried and failed. And she wants to know that she is worthy to be loved, that she is worthy to be kept. And, this is how you keep her.
Faith always contains an element of risk, of venture; and we are impelled to make the venture by the affinity and attraction which we feel in ourselves.
The art of not experiencing feelings. A child can experience her feelings only when there is somebody there who accepts her fully, understands her, and supports her. If that person is missing, if the child must risk losing the mother's love of her substitute in order to feel, then she will repress emotions.
A girl must allow others to share the responsibility for care, thus enabling others to care for her. She must learn how to care inways appropriate to her age, her desires, and her needs; she then acts with authenticity. She must be allowed the freedom not to care; she then has access to a wide range of feelings and is able to care more fully.
It occurs to her that she should record this flash of insight in her journal - otherwise she is sure to forget, for she is someone who is always learning and forgetting and obliged to learn again.
I don't have the most confidence in the world, and I'd venture to say most women in comedy don't come from a place of, 'Oh, I'm fabulous!' She's just as nervous as you are. So if you're trying to score with a funny girl, laugh at her jokes and tell her how hilarious she is.
She wanted to be herself again, to recover all that she had been obliged to give up in half a century of servitude that had doubtless made her happy but which, once her husband was dead, did not leave her even the vestiges of her identity.
One day I'll give birth to a tiny baby girl and when she's born she'll scream and I'll tell her to never stop I will kiss her before I lay her down at night and will tell her a story so she knows how it is and how it must be for her to survive I'll tell her to set things on fire and keep them burning I'll teach her that fire will not consume her that she must use it
to love is to risk, not being loved in return. to hope is to risk pain. to try is to risk failure. but risk must be taken because the greatest hazard in my life is to risk nothing.
I venture to allude to the impression which seemed generally to prevail among their brethren across the seas, that the Old Country must wake up if she intends to maintain her old position of pre-eminence in her colonial trade against foreign competitors.
To laugh is to risk appearing a fool. To weep is to risk appearing sentimental. To reach out to another is to risk involvement. To expose feelings is to risk exposing your true self. To place your ideas and dreams before a crowd is to risk their loss. To love is to risk not being loved in return. To hope is to risk pain. To try is to risk failure. But risks must be taken, because the greatest hazard in life is to risk nothing.
The working artist will not tolerate trouble in her life because she knows trouble prevents her from doing her work. The working artist banishes from her world all sources of trouble. She harnesses the urge for trouble and transforms it in her work.
The world taught women nothing skillful and then said her work was valueless. It permitted her no opinions and said she did not know how to think. It forbade her to speak in public and said the sex had no orators. It denied her the schools, and said the sex had no genius. It robbed her of every vestige of responsibility, and then called her weak. It taught her that every pleasure must come as a favor from men and when, to gain it, she decked herself in paint and fine feathers, as she had been taught to do, it called her vain.
Magnus looked at her meditatively. 'I think,' he said, 'there isn't much that Jace wouldn't do for you, if you asked him.' Clary opened her mouth and then shut it again. She thought of the way Magnus had always seemed to know how Alec felt about Jace, how Simon felt about her. Her feelings for Jace must be written on her face even now, and Magnus was an expert reader. She glanced away.
The further he raided, the closer he came to the other rooms. Those unused, cobwebbed chambers of her heart. Would he dare to venture there? She doubted. Jumping off a cliff was a flashy sort of courage, but a man would need true strength and valor to break through those padlocked doors. There were dark, uncharted spaces within her that had been built to house love, and even she was afraid to explore them. Terrified to learn just how vast and how achingly empty they truly were.
Woman must come of age by herself. This is the essence of 'coming of age'-to learn how to stand alone. She must learn not to depend on another, nor to feel she must prove her strength by competing with another. In the past, she has swung between these two opposite poles of dependence and competition, of Victorianism and Feminism. Both extremes throw her off balance; neither is the center, the true center of being a whole woman. She must find her true center alone. She must become whole.
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