A Quote by Margaret Walker
The poetry of a people comes from the deep recesses of the unconscious, the irrational and the collective body of our ancestral memories.
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Our mind has its history, just as our body has its history. You might be just as astonished that man has an appendix, for instance. Does he know he ought to have an appendix? He is just born with it....Our unconscious mind, like our body, is a storehouse of relics and memories of the past. A study of the structure of the unconscious collective mind would reveal the same discoveries as you make in comparative anatomy. We do not need to think that there is anything mystical about it.
Our memory is made up of our individual memories and our collective memories. The two are intimately linked. And history is our collective memory. If our collective memory is taken from us - is rewritten - we lose the ability to sustain our true selves.
The collective unconscious appears to consist of mythological motifs or primordial images, for which reason the myths of all nations are its real exponents. In fact the whole of mythology could be taken as a sort of projection of the collective unconscious. We can see this most clearly if we look at the heavenly constellations, whose originally chaotic forms are organized through the projection of images. This explains the influence of the stars as asserted by astrologers. These influences are nothing but unconscious instrospective perceptions of the collective unconscious.
The horse is an archetypal symbol which will always find ways to stir up deep and moving ancestral memories in every human being.
I think the isolation in China also has to do with people's memories being wiped out, collective memories as well as individual memories, by the fact that the recent history has been constantly rewritten and revised.
We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.
For poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is the fact. The strongest part of our religion today is its unconscious poetry.
The unconscious wants truth, as the body does. The complexity and fecundity of dreams come from the complexity and fecundity of the unconscious struggling to fulfill that desire. The complexity and fecundity of poetry come from the same struggle.
I'm a big believer in the collective unconscious. The idea that there is a deep connection between all of us that goes back to our ancestors and forward to the people who will come after us. It's essentially the job of the artist to anchor that nebulous space, and I think that's what a writer does: goes to that strange place and brings back these little trinkets. The unspoken experience percolated throughout the generations allows you to have knowledge of things you wouldn't know first hand.
it is a shoe designer's job to be a year ahead of our collective unconscious.
When we relate to our bodies as having soul, we attend to their beauty, their poetry and their expressiveness. Our very habit of treating the body as a machine, whose muscles are like pulleys and its organs engines, forces its poetry underground, so that we experience the body as an instrument and see its poetics only in illness.
Male domination is so rooted in our collective unconscious that we no longer even see it.
I'm just trying to rid the world of all these fevered egos that are tainting our collective unconscious.
We carry stores of DNA in our nuclei that may have come in, at one time or another, from the fusion of ancestral cells and the linking of ancestral organisms in symbiosis. Our genomes are catalogues of instructions from all kinds of sources in nature, filed for all kinds of contingencies.
Following the invention of writing, the special form of heightened language, characteristic of the oral tradition and a collective society, gave way to private writing. Records and messages displaced the collective memory. Poetry was written and detached from the collective festival.
I believe, in the stock market - that's one of my fields - that most people are irrational. And to be irrational, you can be irrational in so many different ways that, practically, the result is indeterminate.
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