I set myself up for a lot of trouble by wanting to tell a story that is fairly earnest and emotional and expressive, but to do it in the most subtle, realistic way.
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.
The right way to deal with mental unhappiness must be within the mind too. On an emotional level, anger, fear and worry bring unhappiness. Scientists say they eat into our immune system. On the other hand, we are also equipped with a sense of affection and compassionate concern for the well-being of others.
I'm entirely interested in people, and also other creatures and beings, but especially in people, and I tend to read them by emotional field more than anything. So I have a special interest in what they're thinking and who they are and who's hiding behind those eyes and how did he get there, and what's the story, really?
No one ever wrote a story yet without some real emotional drive behind it--and I have not that drive except where violations of the natural order ... defiances and evasions of time, space, and cosmic law ... are concerned.
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.
At times it does not really matter what language you are speaking, especially when you are emotional and try to reach other hearts. To transcend emotion, silence is the best language.
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.
Values are related to our emotions, just as we practice physical hygiene to preserve our physical health, we need to observe emotional hygiene to preserve a healthy mind and attitudes.
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.
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.
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.