Venus

“The phobic has no other object than the abject. But that word, "fear"- a fluid haze an elusive clamminess- no sooner has it cropped up than it shades off like a mirage and permeates all words of the language with nonexistence, with a hallucinatory, ghostly glimmer. Thus, fear having been bracketed, discourse will seem tenable only if it ceaselessly confront that otherness, a burden both repellent and repelled, a deep well of memory that is unapproachable and intimate: the abject.”
― Julia Kristeva, Powers of Horror: An Essay on Abjection

“We've been dead for thousands and thousands of years. Dead or sleeping, depends on how you feel about it at any given moment. But that's okay. The trouble starts when you are born, then everything becomes taxing and temporary. When they pulled us into awareness, they killed us. Then we get saddled with a seven minute relay, at best. A soft limbo that's only palliative and comforting in theory. A momentary respite that's a cosmic joke of course and still resented by the divine. A petty haggling of which we weren't even a part of. When forced into an existence, we turned into the ward of all that breathes, subjected to the known universe, and though always partial to the unknown, which wasn't really found and never understood, is lost to us.”
― Asghar Abbas

“Come to me, squeeze my hand, know my loneliness, and give me the love, the strength to prevail on the perilous road before me.”
― Dang Thuy Tram

“Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me — the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art. The artist is the only one who knows the world is a subjective creation, that there is a choice to be made, a selection of elements. It is a materialization, an incarnation of his inner world. Then he hopes to attract others into it, he hopes to impose this particular vision and share it with others. When the second stage is not reached, the brave artist continues nevertheless. The few moments of communion with the world are worth the pain, for it is a world for others, an inheritance for others, a gift to others, in the end. When you make a world tolerable for yourself, you make a world tolerable for others.
We also write to heighten our own awareness of life, we write to lure and enchant and console others, we write to serenade our lovers. We write to taste life twice, in the moment and in retrospection.. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth, we write to expand our world, when we feel strangled, constricted, lonely. We write as the birds sing. As the primitive dance their rituals. If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don't write. Because our culture has no use for any of that. When I don't write I feel my world shrinking. I feel I am in prison. I feel I lose my fire, my color. It should be a necessity, as the sea needs to heave. I call it breathing.”
― Anaïs Nin, The Diary of Anaïs Nin, Volume 5: 1947-1955