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Quotes filed under fantasy

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On the other side of that big-ass mirror, a video camera was watching us. In about ten seconds, it was going to start spitting static at itself, and everything it saw was going to break up into a fuzzy, gray-white wash, rolling up and down, that wouldn__ be admissible as evidence on Judge Judy. Those missing frames would last a little less than a quarter of a minute, consolidate themselves backinto a semblance of reality, and then I would theoretically go walking right back out of here.Between now and that moment, there stretched an infinite ocean of potentialtime. Time enough to walk around the world. Time enough to fall in love, getmarried on a white beach under purple stars, write a book of poems abouttruest passion, have a few good and bloody screaming matches, get divorced in a court of autumn elves and gypsy moths, then set the ink-stained, tear-streaked pages of your text ablaze.

CB
Clinton Boomer

The Hole Behind Midnight

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The problem with the so-called bloody surveillance state is that it__ hard work trying to track someone__ movements using CCTV _ especially if they__e on foot. Part of the problem is that the cameras all belong to different people for different reasons. Westminster Council has a network for traffic violations, the Oxford Street Trading Association has a huge network aimed at shop-lifters and pickpockets, individual shops have their own systems, as do pubs, clubs and buses. When you walk around London it is important to remember that Big Brother may be watching you, or he could be having a piss, or reading the paper or helping redirect traffic around a car accident or maybe he__ just forgotten to turn the bloody thing on.

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The human erotic imagination is a vast wilderness of sexual possibilities. We are each capable of enjoying a pleasurable, satisfying and potentially ecstatic sex life. Yet our culture encourages us to keep the window of possibility very narrow, limiting our erotic expression to a short list of approved activities and energies. To truly experience sexual freedom, you must reclaim your erotic imagination and allow yourself to make your sex life a work of art, your very own creation designed to fulfill your unique needs and desires.

CR
Chris Maxwell Rose

The Fantasy Method: How To Discover Your Authentic Sexual Desires and Create a Fulfilling Sex Life

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It has always been a mystery to me how Adam, Eve, and the serpent were taught the same language. Where did they get it? We know now, that it requires a great number of years to form a language; that it is of exceedingly slow growth. We also know that by language, man conveys to his fellows the impressions made upon him by what he sees, hears, smells and touches. We know that the language of the savage consists of a few sounds, capable of expressing only a few ideas or states of the mind, such as love, desire, fear, hatred, aversion and contempt. Many centuries are required to produce a language capable of expressing complex ideas. It does not seem to me that ideas can be manufactured by a deity and put in the brain of man. These ideas must be the result of observation and experience.

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But it wasn't till he'd been there nearly two weeks that one morning Paris and its people suddenly became more than a background for his vacation. He was sitting in a café, out on the walk, having a tiny cup of Paris-tasting, Paris-smelling coffee, watching traffic stream by, pleased as always with the countless people on bikes expertly threading their way between and around the cars and buses and trucks. Then a traffic light changed, the stream stopped and waited, and a man on a bike, one foot on the pavement, lifted his arm and wiped his forehead with the back of his hand. And he turned real. In that instant he was no longer a quaint part of a charming background; he turned into a real man, tired from pumping that bike, and for the first time it occurred to my friend that there was a reason so many people picturesquely rode bikes through the heavy traffic, and the reason was to save bus fare and because they couldn't afford cars. After that, for the few days that were left to him there, my friend continued to enjoy Paris. But now it was no longer an immense travel poster but a real city, because now so were its people.

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Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways.