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We often engage the defense mechanism of tunnel vision, just to keep ourselves focused on our daily lives. This makes us terribly jaded in our perception of what is really around us.
And it is a quiet terrible thing, too, to discover the value of love this way [after loss] - when the object of love is no longer there, when love dies or goes away or changes. When it is too late.
Because without such a reprieve we cannot pause and regroup and with the newfound strength go on to initiate that very change which is sorely needed by all.
Love - not dim and blind but so far-seeing that it can glimpse around corners, around bends and twists and illusion; instead of overlooking faults love sees through them to the secret inside.
A tornado of thought is unleashed after each new insight. This in turn results in an earthquake of assumptions. These are natural disasters that re-shape the spirit.
I sat down and wrote a short story in two weeks and submitted it to Marion Zimmer Bradley. And Marion bought "Wound On The Moon" .My first sale and my first pro sale rolled into one.
Here is where I like to burst in as a writer, to take one strong sensory detail or image and instead of enhancing it or directing attention to it by shouting about it, I simply take it away.
A related recurring theme is the exploration of how we take for granted the things in our immediate environment that are common and ordinary. Existential blindness, of sorts.
A made-up proverb from Dreams of the Compass Rose says, "In the desert, the only god is a well." I love exploring the intensity of such juxtaposition, the dangerous edge.
My brand of fantasy is completely devoid of the traditional notions of magic as ritual. Instead I see the fantastic as a meta-layer of existence beyond the real world.
Our world is so bursting-full of natural wonder that we are all experiencing a sensory overload. We are no longer perceiving all of Ú the details, just the ones that immediately interest us.
I was forgetting that an artist also just stares at a piece of paper or canvas all day. It somehow never occurred to me to connect these two diverse creative modes.
Seems to me that there is no better way to experience the depth of loss than after the fact. No more powerful instrument of imbuing value in an object than parting with it.
I technically live in the desert - Los Angeles being an artificial oasis - but my interest stems even farther to my own ethnic roots and to my love of antiquity, of the Old World and of the east.
Fantasy plunders the well of our deepest selves for existent truth instead of creating new truths out of the illusory fabric of recent events or the flow of society.