Lacrymaria Olor

"Immature people crave and demand moral certainty: This is bad, this is good. Kids and adolescents struggle to find a sure moral foothold in this bewildering world; they long to feel they’re on the winning side, or at least a member of the team. To them, heroic fantasy may offer a vision of moral clarity. Unfortunately, the pretended Battle Between (unquestioned) Good and (unexamined) Evil obscures instead of clarifying, serving as a mere excuse for violence — as brainless, useless, and base as aggressive war in the real world."

[...] you are the mystic / and ancient things reveal your blood to you.

I heard her blood move to the rhythm of my heartbeat.

Jung noted that traumatic influences cause parts of the psyche to split off and fall into the unconscious, where they form autonomous complexes, which may lie dormant and undetected by consciousness but nevertheless interfere with normal functioning. A trauma-generated complex can lie dormant in the unconscious for years but spring to life suddenly when awakened by seemingly innocuous stimuli. Closely associated with traumatic influences or "emotional shocks" as creators of autonomous complexes is the presence of a "moral conflict, which ultimately derives from the apparent impossibility of affirming the whole of one's nature," a problem often faced by trauma victims, who then sacrifice those parts of themselves that they cannot—or will not—affirm and are therefore forced to deny. Jung says that the autonomy of the complex "consists in its power to manifest itself independently of the will and even in direct opposition to conscious tendencies: it forces itself tyrannically upon the conscious mind."

All I know is a door into the dark.

All I know is a door into the dark.

The dead return in other forms, she thinks, because we will them to.

[...] the myth of Sylvia [Plath] as a passive victim is a total perversion of the woman she was. It misses altogether her liveliness, her intellectual appetite and harsh wit, her great imaginative resourcefulness and vehemence of feeling, her control. Above all, it misses the courage with which she was able to turn disaster into art.

The body (hell) just as you see it.

The body (hell) just as you see it.

“Witches, with hearts like a wild song,”

You ask the sea, what can you promise me and it speaks the truth; it says erasure.