A Trick of the Light

The following entry may contain triggering material.

Last week, I was walking to work when it occurred to me how much warmer the weather was than when I usually walk to work. Like, the start of sweltering, which ought to be a season; maybe the other could be chilling. The personifications of time, that I consciously decided ought to be a thing about two years ago…for the most part have gone nowhere fast. I thought they’d be everywhere once I started being open to noticing them.

Captain Marigold does seem to come clearer around this time. I’d come to association the bright, hot, dry days with her. She’d crossed over sometime during the -ber months of 2014, though—I’d thought her up originally as a fanfiction character, like if Captain Hook had to contend with some cross between Pirate Queen Granuaile and Pirate Queen Alfhild. More pirates ought to be women. I was so smug that I knew the difference between mythopoeia and theophany, and then Marigold punched through my precious worldview. Since last year’s Sweltering season, she’s been overseeing the projectile part of my etheric weapons training.

At knifepoint.

And part of that was conjuring up images of corporeal offline people I hate enough to never, ever, ever want to see again, not even in imagination. Going full-on no-contact and avoidance had been infinitely valuable to recovering from them, even if I could never personally get a hang of repression. And Marigold wanted to bring them up.

“But it’s not going to do anything,” I’d reasoned to Marigold, and pointed across the grassy field. “These aren’t their real souls. Look, they lurch around like undead. It’s just images of them that I thought up because you’d asked me to.”

And the thing about spiritwork as an imaginary interface is, I guess it’s if I’ve had too much of some kind of Vitamin B, what’s imagined is vivid enough to have the same texture as the spirit world. Most people who’ve attempted blank mind meditations might have noticed an internal chatter that originates internally but isn’t within their control; and the same goes for some unforced daydreams, so the appearance of autonomy could very well be just that, appearance.

“Anything I thought I was doing before on this plane that made for wishcraft could be headspace stuff,” I realized. “A while back, I’d read of one witch that cast curses, but also added that conjuring up a duplicate of someone you hate so as to have at them was safe and a valid form of inner work to get over it…what if it’s always the latter?” I might be mildly embarrassed if that were the case, having kept a wishcraft blog for three years or so, but I’d really rather know.

Marigold didn’t sigh or smile. She only said, “Are you going to overthink it, as you always do, or are you going to start shooting?” She wasn’t being Socratically ironic in that question, she was being rhetorical.

AT KNIFEPOINT.

Actually, that’s a gladius.

Pirates. The last time I’d tried to bring up a serious topic to have a real conversation about metaphysics with Foxglove, he’d rolled his eyes and jumped right overboard. But I later described these training sessions to him as ‘a very lenient level of personal hell’ and I think he knows better than I do what Captain Marigold is like. I catch a glimpse of them both in the same space sometimes, and get the sense that they’ve been affable nemises since before I was born.

*

Since then, I’d been re-reading Joan Chodorow’s compilation of Jung On Active Imagination more slowly and carefully. Dangers to engaging in Active Imagination without the guidance of an analyst included getting caught in a sterile circle of one’s own complexes, or aesthetic phantasmagoria by which nothing of value is gained.

The forefather of modern psychology brought in a great deal of baggage. The way I’d heard it told, Sigmund Freud’s first protege was Alfred Adler, who I’d heard and read next to nothing about despite Adler possibly having stumbled upon a bridge between some of the more prominent ideologies in contemporary Western thought: kyriarchy and individualism. Freud had a very specific and rigid idea about sexual repression being the source of so many mental disorders. When Adler, who was supposed to be Freud’s younger duplicate (according to Freud), went up to Freud all like, “Hey, Papa Sig…I married this nice Russian anti-capitalist feminist lady and she has a lot of good ideas about societal conditioning that I want to adopt into the psychoanalytical framework we’re making, you know, broadening the scope outside of sexual repression could be insightfu—” But Freud’s eyes began to glow and wreathes of flames erupted from between his teeth as he shouted, “ADLER YOU ARE DEAD TO ME.” And Adler beat a hasty retreat. But because I’d read so little of Adler, I can’t speak to how traumatizing that might have been.

After Carl Jung proposed religious systems of symbolism as a possible alternative, Papa Sig’s eyes again glowed and he breathed fire between, “JUNG YOU ARE DEAD TO ME” and Jung fell into a bleak depression after the breakup. The experiments with self-treatment, that Jung began during that time, grew to define his career.

I found myself amused reading of one daydream of Jung’s in which he found himself on a battlefield, with Sigmund Freud riding a chariot down a mountain towards them. A comrade-in-arms of Jung in this fantasy, described as a “brown-skinned savage”, hurled a weapon at their enemy, it met its mark and imaginary Sigmund Freud fell imaginarily dead.

Another version of their falling-out that I’d read of involved Freud psychoanalyzing Jung and coming to the conclusion that Jung was conspiring against Freud, and Freud believed that action must be taken in accordance with that—even though, especially as, that impulse Freud “found” in Jung must have been entirely subconscious. I imagine Jung trying to convince himself that Freud’s entire framework was not, and had never been, real or right at all in any measure—a way to protect and purify oneself against emotional abuse, and recover oneself. Freud got everyone pegged wrong, some forefather of psychology that is—how preposterous that Freud would find any fibre of disloyalty in someone who admired him as much as Jung—

And yet, there Jung stood in the daydream of a battlefield, and there imaginary Sigmund Freud lay imaginarily dead as though Jung’s subconscious were trying to tell him something. The way Jung interpreted it was this: though this imaginary corpse borrowed Freud’s face, the archetype was that of the patriarchal warrior, and while having a mentor figure had helped Jung to mature, it was time for that notion to “die” and for Jung to finally grow up into his own prestige. (Especially as the same archetype allegedly remained very much alive in pre-Second-World-War collective psyches…and created Nazis. I’d read it as fitting, then, that the personage to deal the killing blow in Jung’s mindscape was dark and “savage” although I haven’t read more on Jung’s analysis and relationship to this comrade-in-arms yet.) I read it as the chariot-riding archetype was too pure to be human (so no human can become an archetype unless they are repressing a lot), and too different from Jung by nature even then for Jung to ever have a hope of growing up into the doppelganger of Freud that Freud seemed to have expected of his proteges. (Hi, Adler.)

*

Archery lessons were a massive bore, to go through and to write about. Still, eventually, gradually, I started to feel better. Marigold and the sessions became gradually less vivid. I still don’t have a bow of my own. The imaginary inanimate object remains very opinionated as it explodes randomly into arrows (randomly, except when I’ve borrowed Marigold’s bow.) Lately, Marigold’s been back around, but hasn’t bossed me around to do much. Will follow where this leads; not to be an ingrate, but Marigold never struck me as the type to show up or do anything just because (though I’d never personally had to pay any tithes yet, nor have I borne witness to any of her plans coming to fruition. Maybe it’s too big or on a need-to-know basis.)

Mixed Metaphors, A Ramble

The following entry may contain triggering material.

Still letting percolate how to shmoosh together Fairy gold (which is traditionally and in my quests A Bad Thing) with Alchemical gold (which is supposed to be the best thing, and in the context I go well okay then.)

Mostly, though, I realized that in all my excitement about Proscenium, and stage magic, and pledge-turn-prestige cycles, and how spatial that poesy is and shmooshes well with Fairy chess…I was developing a new language for the exact same ideas that I ought to have been working on all along: proper Glamour and correct Spelling. Here’s a relevant link to introductory linguistic semiotics. I haven’t read all the way through it; I’ll get to it!

I’d been allocating some one-on-one time with every guiser I’d ever met, or at least to pace and focus my consideration for why we would be (or have been) in one another’s lives.

Cookson from Captain Foxglove’s crew told me that I’m too angry for him (Kelp Cookson) to want me to get to know him better.

So for once, I thought to work on that, because I’m so reluctant to let go of anger that tells me enough is enough after a lifetime of being some weak, kind, doormat of a person…and I still don’t feel that “not being enraged and embittered anymore” is a choice that I consciously made, with step-by-step instructions to repeat next time anger starts giving me acid reflux and a pirate’s vocabulary. But I feel much better now, and I think it’s going to last.

Next on the list to plan some quality time with is Queen Myrtha of the Wilis—who only shows up when my anger has evaporated into this unadulterated, concentrated venom that even I sometimes mistake for calm rationality.

But, the Queen’s been around several literal hells of a lot more often than Kelp “Simmer Down” Cookson…and when it’s mattered, too. But the timing’s wrong, but I should practice making things I think and want to happen actually happen instead of leaving it always up to timing, but I probably should, but I really shouldn’t, but I want to not want to…eh, she showed up in the Otherreal for the first time last December, so maybe she’s a seasonal guiser.

An Expeditious Retreat

Rose ought to have a better introduction than this. I was in my mid-teens, mulling over gritty reboot fairy tale retellings that I could do, and she was one of them. I could have sworn that I’d seen Rose as Chelsea Hobb’s Gerda in The Snow Queen (Hallmark, 2002) but apart from the ringlets she’s given when she’s trapped in springtime, there’s not much resemblance. Which is odd, because her actual face and body keep changing whenever I meet her.

The drawing above is of the youngest-looking version of her I’d encountered, who seemed to wear a specific world all the time.

And during our most recent encounter, I was going to suggest that she leave it.

Tuning in to my surreal fetch sometimes comes with senses, attitudes, or memories that my corporeal and sidereal fetch don’t have. Sometimes it manifests in feeling as though a guiser I’d never seen before is a very old friend. Other times, it manifests in my freezing up in the middle of doing something that I surreal-y know how to do without thinking, because I’m sidereal-y thinking about how I do it (because that part of me had never done it before.)

This time, it was an information dump.

I’d taken it as a given that the center of the red brick labyrinth is a walled garden where Rose would sit with her tea set. And I can never find the door. If she randomly wants me to join her for tea, I am randomly summoned there for tea and randomly banished. We never do anything else.

This time, I managed to walk in uninvited, and give a stern warning about someone else who might walk in uninvited; and this was my own fault, but this was how I could minimize the damage, if she would cooperate by evacuating then she’d be one less possible—

What? My corporeal-sidereal mind pulled away from myself a bit. What did we do this time? What did you do?!? This isn’t happening.

That’s an exaggeration. I didn’t answer, because I didn’t ask. I only felt moderately confused by myself.

“Nobody can find this place,” Rose said, meaning that she wasn’t leaving. I’d pointed out that the labyrinth remained open to the sky, but…she had a point. One entrance, one exit, one winding path, and I’d still manage to take a wrong turn. Rose knew this place better: the place did whatever she wanted to whoever else was unfortunate enough to wander into it. Of course she was safe, here.

Then Captain Foxglove strode in and said, “I’ll escort her.”

I might have gesticulated between us and the walls, bleating, to try to communicate that if I could find the center garden of my own volition for once, and Foxglove could do the same and they hadn’t even met, then the security wasn’t very good anymore.

On the other hand, Foxglove and Rose kept looking at each other with expressions that at least told me that they knew one another very well.

So Rose listened to Foxglove after he’d made the exact same report to her, and suggested the exact same course of action as I had—and without any argument at all Rose wrapped up her own tea set in the tablecloth and looked to the bottom of the stone bird-bath for pearls.

“There are seashells in almost any harbor we stop at,” Foxglove told her, though he’d looked terse, he’d kept his tone encouraging. Rose decided not to waste time on the pearls. She had a flower crown that she’d reached up to put on Foxglove’s head. It got there; they’d both looked so solemn about it.

I could make sense of it. Before, I thought that I’d found Rose by a slightly different form accompanying Captain Marigold, and when I’d looked in that one’s eyes she appeared empty of any mind. I wonder now if this exact moment was always going to happen, so that the shell that followed Marigold around would be ensouled by a real Rose. Maybe the shell was a sort of ghost from the future.

I’d stopped this Rose, right before she left, to look in her eyes. I couldn’t. It was like starting mirror work, and all I could see was a mirror. This Rose wasn’t empty that I could see, but all I could see when I looked at her eyes were…eyes.

Despite being sort-of around for a decade, even despite all the tea parties…this was, really, the first and only conversation-like exchange that Rose and I had ever had. I’d described her before as “too obstinately enigmatic to blog about” and maybe that is the thing: she’ll always have a labyrinth of some kind around her, maybe she is safe and content by nature, inherently inaccessible, and I had made some grave mistake in sending her out into the world. Even if she were going to bring life to Marigold’s pet ghost from the future.

Nah, Foxglove’s made the grave mistake, if that were the case, because he’d said the same thing but she listened to him.

Besides, one of Foxglove’s crew had eyes pop out of sockets at the end of accordion springs when I looked into them. Had they been coil springs, I would have guessed that mechanism were built into such a guiser-body to facilitate expressiveness in the eyes. That they were accordion springs swayed my suspicions more towards that every otherworld I quest in is potentially trolling me.

So they both left. Somehow. I didn’t catch them going over the wall, but the center garden of the red brick labyrinth has no door.

Ten Thousand Spoons When All You Need Is A Knife

The following entry may contain triggering material.

I thought I’d been here before, here being the meadow just within the Gates of the West. It was an overcast day, and I wondered if some sympathetic fallacy would at least spare those from being sung out the door under moderately sunny skies, by chirruping tiny birdies. The Spider Lady’s eyes were like eight dark glass marbles of varying sizes pressed into dough, over a beard split by the make—and stirred by the movement—of eir fanged mouth. Eir limbs appeared human: knees were human elbows, feet were human hands. Eir elbows, too, were human elbows, four of these human arms ending in human hands that—

—cast the razor net.

My beloved became a collection of net-hole shaped pieces as the threads fell through him, though it can’t have been heavier than a cobweb. I suppose the physics of the otherworld, the metaphysics, are largely signifiers. I thought I’d been here before, although hadn’t, I thought I’d watched this happen once or twice before—not to someone I knew who blessed the air with every exhale, who would stop my chest from aching just by consenting to my holding him in my arms. Of course this was “different”, an “exceptional case”, of course: I was upset.

Pieces of him fell bloodlessly, though, which my imagined memory compared to the others who’d burst—tellingly.

Cobb reeled in eir net in the moment it took for me to throw myself onto his body parts. They sunk into the ground, and I turned around up to cry to the Clarene, bring him back, heal him, there wasn’t a drop or sliver of the vile stuff so how could you—

The Clarene looked on with human eyes, set in a darkly beautiful human face, under though mostly in front of a magnificent frizz of human hair, anything other than anthropic or able-typical of her body swathed in a gown made of celestial eclipses. When she spoke, her tone was blunt as a lightningbolt. “What will you pledge in exchange?”

Nothing! I’d answered, because I had nothing suitable for pledging, which itself is unsuitable for pledging. I lose my mind fairly frequently, so I might not have had it with me. Despite my crying over somebody else getting hurt, I was sure I was heartless. I couldn’t pledge any service with a lifetime of learning that I’m useless. Mostly, though: Do it, or don’t do it! But you know what’s right!

If that’s call to close the gate against me, so be it. Even in my despair and desperation, I trust the Clarene’s judgment.

The Clarene melted away—into a more godly-cosmic form, as I can only imagine one does when one is a god—or summoned away maybe? I don’t know.

My beloved resurfaced from the earth, whole and sleeping.

Before I could thank the gods, though, the Spider tsked and threw the net again. I heaved his body away at the threat of eir movement, too slowly: a thread caught on his left forearm, and the hand fell away in chunks. Those didn’t sink into the earth this time.

“Cobb!” I shouted eir name, or at least what I called em. “What the Hell?!?”

The Spider’s marble eyes betrayed no emotion, no reason. I held my beloved tightly—his back to my chest, like I learned in swimming class in the human world, to rescue someone who doesn’t know how to swim—and found Heartwrench’s hilt had appeared, between my hand and his chest. I’m not supposed to still have this.

In any case, the Spider had reeled in the net and made to throw again. Of course Heartwrench’s blade was out, too, and if I only thought through the sword enough then—

—there. Like a bubble of glass, or like an air bubble in water, the rind of a sphere appeared around us. With my free hand, I tugged at his jeans, to try to get his feet inside the sphere. Heartwrench’s spheres are only permeable to those and whom I treasure. Usually. A knowledge dusked on me then: Heartwrench’s sphere couldn’t stop Cobb’s web.

I suppose the physics of the otherworld, the metaphysics, are largely signifiers. Heartwrench makes bubble-shields…and most of the bubbles I’ve taken as a reference, the ones from the human world, those can float. Heartwrench and I had never done that before. Usually, though, if I only think through the sword enough then—

We floated up, and away. Cobb didn’t even look up to watch us go.

~

Even in the otherworlds, my emotional metabolism is too slow. I was still crying in despair when really, I should have been relieved. I didn’t know where we were headed, on what currents we coasted, through the overcast day into clear late afternoon. I caught sight of a dome in the sky, the average size thereabouts of an airport near a capital city, stained glass in no particular pattern, something like stairs sort of notched around it coming from and back around a single wide balcony.

Princess Irene waved us through the balcony opening and into the dome. A description: anthropic, except for the butterfly wings; about as tan as I am, but with slantier features (more refined); hair that could be described as a pixie cut; and wearing something between a toga and a Regency-era gown made out of gauzy veils, so a simple cut and line, but as many hues in the layers as there were in the dome.

Heartwrench and I dissolved the protective floaty sphere over a divan, where I laid his body. Maybe I shouldn’t have been relieved: the color was draining from his body, his hair, and even his clothes.

“He’s not going to die,” I said, although I didn’t know it until I said it, and then I spontaneously knew a bit more: “He won’t wake up, either. It’s not really sleep, it’s…a curse, you know, like in modern versions of the fairy tales he…”…needs somebody who loves him truly to kiss him and wake him up. I sighed. “We’ve got to summon his husband.”

Irene shrugged as if to say, “If you’ve got to, you’ve got to.” Then she wandered back to the balcony.

I might’ve been misled about high fantasy adventures. In the ones I’d read, usually, everybody rushes to help the hero and they fret anxiously until it’s done and okay (especially hospitable bystanders.)

In my experience with the otherworlds, if you know enough about somebody—who’s subject to the metaphysics of that world, anyway—and you find a space that has the potential for that somebody to be there, and you project your own expectation onto it…then they’re there. That’s what I call summoning.

Sometimes you don’t know them well enough. Sometimes there’s no potential to be intuited. Sometimes we don’t know how to project that expectation. Sometimes, I’m sure, they just don’t want to be there. So then they won’t be there.

The husband strode through, too swiftly and determinedly for me to want to slow this with more description—I tried to say how glad I was that he’d come over, but he glanced at the stump of our beloved’s left arm and snapped at me, “Haven’t you done enough?”

I backed away and went over to the balcony.

Epilogue

I shouldn’t still have this, I thought to Heartwrench, and at the corner of the balcony stood the one who was supposed to have it. She was a warrior princess, anthropic, with a quick smile, armored and caped like the Ophelene, but white—for that moment. The next moment—even before I could say hi or how are you doing here—she began to dissolve, starting from the head, into silvery glitter that fell upwards and vanished. A single orange-red, translucent stone appeared, buoyed up in the last curtain of glitter.

I took it and held it into Heartwrench’s hilt until silvery thorns grew around to hold the stone, because that seemed to be the thing to do. From Spenser’s Faerie Queene (Book II, Cant X…okay, the real source material is Shakespeare’s King Lear) I’d called the princess Cordelia—though perhaps she was really Carnelian, some new Crystal Gem from Steven Universe.

So anyway, that was odd.

Entheogen: Happy Pills 2/2

The following entry may contain triggering material.

Previously on the Codex of Poesy :

After a week, if I didn’t have too bad a reaction to the meds, I could up the dosage to a whole pill. It would take about three months for the brain cells to unshrivel from the damage of depression, and then I’ll have the energy and clarity to do what I used to be able to do. I shouldn’t expect effects right away. Three months.

The sort of proto-wishcraft I practiced at that time focused on empirical evidence of psychism, with the idea that the mind was the key. To clear the mind of the usual chatter would invite intuitions, so fellow practitioners claimed. Intuitions could tell us the number or suit of a playing card before we could see, or the thoughts and emotional states of the people around us. Willpower directed forcefully through a clear mind could move physical objects.

I could never manage any particularly consistent outside effect. Sometimes, I’d dabble in guided imagery, which would never yield any insightful result. Those quests would usually go in some nightmarish, unhelpful direction. As for within: I could clear my mind, though. I could notice and simply be with the pain, and my mind would go silent, no images would come to mind…and, it was something like peace.

This did not improve my attention span, when depression began to dull the world. This did not hold my thought process high as the structures crumbled into ruin. This did not improve my memory, in those exercises to clear the mind, I may only be now but everything else carried over pains and troubles of the past.

Myself out of meditation knew that my health was failing and I was losing my mind and I’d never meet my goals, the way everything was going. So, I started on what they gave me.

The next time I tried to sit still and clear my mind, the usual chatter would not stop.

That one thing I could do from years of regular practice, now rendered impossible by a pill the size of a rice grain.

It wasn’t so devastating. Once I decided to act to change everything, my mind, my life, my family’s habit of alternating abuse and comfortable silence, I can hardly complain about the changes.

So, I allowed my mind to create images around the chatter. My mind chatter was like that of a crowded, noisy room…like a restaurant, I thought. I saw the milky sunlight through the windows, the swatches of color of so many people’s clothes, heard the chatter and the clatter of metal utensils against porcelain. I could shift my attention to the tablecloth, and the backrest of the chair, and the noise wouldn’t go away.

I didn’t quest in a way that occupied my Surreal Fetch, back then, I would always be watching my Surreal Fetch from somewhere outside myself—another reason these quests annoyed me. This time I was embodied, I knew, seated and smoothing over cloth.

Then I saw myself approach my table, and draw a chair to sit across from me, and sit and watch me. Ey was ready to listen, and to talk.

Much as I loved biology class and the neuroscience unit, and the security it lent me in that I was doing a factually correct and right thing, it’s not what prepared me for the shift in value priority: Forget empirical evidence of telekinesis. This was our life on the line, so now this was the Work we’d do.

~

The skin over my sternum felt as though someone had rubbed mentholated ointment over it, though I was certain this wasn’t the case. When I’d looked up models of the Fetch in other traditions (Otherreal, or Sidereal) I wondered if this were some vortex of compassion activating. Incidentally, I was beginning to care again, about wilting plants and injured animals and what people anticipated or loathed.

Eating used to be like arm-wrestling with myself, the defending champion you damn well know how your mother resents your eating your life away since you were born and now she knows that job security is a lie she hates still having to feed you because she’ll never have a good life like she did as a rich kid, the challenger of but I’m going to faint and they’ll notice and fuss and blame me (which might not be unwarranted, but certainly doesn’t inspire more positive changes) and I’m shitting bloodclots from the ulcers.

If I could muster up the temerity to request therapy and psychiatric medication, I could eat. The oils around meats tasted awful to me, but fine to everyone else who knew it to be my favorite. Eggs and dairy products took on a cloying texture that I couldn’t bear. Fish was barely tolerable. My psychiatrist told me that she’d never heard of a side-effect like that.

I went vegan, and carried it on for far longer than the aversion and tastebud weirdness alone would have kept me away from real proteins. I considered the lifestyle change a result of some spiritually superior calling, which I’ve got to admit was a huge mistake.

~

I chose life. My birth family really hammered in how badly I should regret it. It surprised me that I could enjoy something at all, so maybe when I would have taken a silent satisfaction in an outfit I liked, I’d smiled. “What happened to my kid?” My mother snarked, “You’re smiling and eating and interested in fashion.”

“It’s a lot sooner than the doc said the meds would work,” my sibling said pointedly. “You’re just looking for attention.” Drama-mongering faker isn’t really sick. After our mother died, she tsked at my continuing to purchase antidepressants, saying, “I’ve spoken to friends of mine who went through depression. You only need to take meds for one year, then you’re fine, and you’ve had your year.” She’d never studied psychiatry. I’d doubted that she’d even taken a proper survey of depressed friends, plural, it was probably just the one whose personal experience she’d consider the most convenient to impose. “I respect what you’ve gone through,” she lied, “But you were a bitch. You’re not allowed to get depressed or eating disordered again. I know I’m not allowed to say this, but your not-eating thing was a choice.”

~

I’d described to my therapist long ago what the mind fog felt like, like white mold growing on the inside of my skull so I could only find the fuzzy outlines of my thoughts. She suggested, knowing what an iron-cast meditative practice I had, visualizing a way to make that mold go away. I’d made a metaphor out of my experience, couldn’t I make an experience out of that same metaphor? No. No, I could not. It was neurological, biochemical, not a matter for the quests. I’ve read that some people find half an hour of meditation effective in doing away with what they describe as brain fog, and I envy them.

I ran away from home to home and to almost homelessness. I had a roof, at least, and walls, but could only afford to eat so little that my fingernails began to splinter as they grew from the quick. The brain fog came back. I could have a whole meal for slightly cheaper than a single antidepressant pill, and ought to have the meal instead, if the brain fog was from malnourishment rather than depression. It was that sort of way of working within financial limitations. The fog felt familiar as depression, so I took the meds on an empty stomach. I needed a clear mind to work.

Besides, a fusion deity of Hela and the Morrigan was wandering around my room, and I was beginning to get the sense of what She really meant. I named her Lady Hawthorne.

Nausea had always been a side effect, but this time it was surprisingly incapacitating. It’s amazing how nauseous a body can get without vomiting even stomach acid, and by “amazing” I mean “torture” and I can’t brag about it as a feat, really, it’s more like a betrayal: How could my corporeal fetch do this to me. Why would my corporeal fetch do this to us. I wanted to die. Once it passed, I decided against taking the other half of the pill when I was supposed to, and I still wanted to die, but at least I wasn’t nauseated.

Before it passed, I sat on the floor and leaned into the corner, trying to breathe as slowly as I could without fainting, because inside movements made the nausea wane, which meant it would wax full right in a trice. I was trying to keep the nausea steady until it flowed away, like trying to find a part of a river that flowed without ripples.

I’d been reading about the Ophelia, a modern god of rivers (of course: the greatest civilizations in human history formed around a river or two), time, death, and depression. Depression had taken on a broader definition to me: the cold and hollow exhaustion of anxiety, the eroding attention and memory, the restless slumbering.

The suicidal ideations, that’s what Lady Hawthorne attended to. The Morrigan aspect of this fusion god represented the battle, the aspect of Hela (from Proto-Germanic *haljo “the underworld” … Literally “concealed place” compare Old Norse hellir “cave, cavern”, from Proto-Indo-European *kel- “to cover, conceal”) represents the hidden nature of this particular kind of battle.

When I thought about the Ophelia as a god of depression, this included the recovery, no matter how nauseating. Time and death, too, it occurred to me had life as an integral part, at least the way my nascent headcanon of the Ophelia claimed. Should I die of natural disaster, injury, illness, or age, I expect to glimpse the Ophelia in that last moment. If I kill myself, I’m the Helrrigan’s.

And if I starve to death in self-imposed poverty rather than eating disorder comorbid with obsessive compulsion (or depending on who you ask, choice)…? Eh, how many angels can fit on the head of a pin.

They were both in my room then, new gods perhaps summoned by new rituals and new ways to travel so far beyond your ken into the realm of horribly wrong. We three got through it all right. We’re still getting through it all right. All three of us, around this.

Beginning Mirror Work

The following entry may contain triggering material.

To share anything—performed, expressed, or explained—no matter how artfully, takes something apart from the lived experience. That dissociation remains valuable.

Here comes a thought
that might alarm me
What someone said
and how it harmed me
Something I did
that failed to be charming

Things that I said are suddenly swarming…

and it was just a thought, just a thought, just a thought, just a thought, just a thought. It’s okay, it’s okay, it’s okay, it’s okay, it’s okay. We can watch (we can watch) we can watch (we can watch) them go by…from here, from here, from here.

Was this Erstvale, Surreal? Whatever. It had trees on turf. I’ll call it Erstvale. Beyond the corner of my eye, unhorsed ballerinas swathed in gauze and mist keened faintly for blood. The last time I saw them, they seemed to be kicking body parts around, and chasing where the others kicked. There may have been some splattering. Now, they seemed calmer.

(“Soon,” Giselle had crooned at me, “You’ll find out. Any way that takes you as far as that is not your way at all.”

I’d replied, “When that time comes, it would be because I’ll have the luxury of rejecting allies to getting anything done at all. Kill me before that happens.”

But Giselle would rather die than harm anyone, pure and perfect Cinnabon soul that she is—I loathe her.)

Queen Myrtha stood uncharacteristically still in the clearing, and spoke with uncharacteristic legibility. She and Giselle were never too far from one another, even when they seemed so. The Queen held up an unbroken, unstained hand-mirror and silently asked what I saw.

After a moment of looking, I sighed with disappointment. It was the same thing I saw when I started mirror work, tail end of last year. It hasn’t done much since. “I see a mirror.”

YOU CAN’T SEE A MIRROR!!!!!

That sounded more like Queen Myrtha. No quotemarks to contain her speech; it’s as though the fabric of the multiverse is screaming. It comes into mind bypassing the ears. You’d be surprised what you can get used to.

“But,” I said, and pointed, “There’s one. Right there. There it is. Mirror.” If I overthink, of course, a functioning mirror never can show itself: it shows everything else that’s not a mirror. Hypothetically, then, those with vision have never seen a mirror, but only seen reflections in the theoretical object we think up to explain those reflections. We can support this hypothesis by understanding the material, weight, size, shape, texture, taste and temperature of what we may then conclude to be an object—

DESIST LICKING THE MIRROR!!!!!

I couldn’t. The forest I thought was filled with mist was really more like filled with infinitesimally small snowdrop-beads, moving in wreathes. Some things in the Surreal world do function the same way as the Corporeal, maybe because I think they should…even though I don’t want my tongue to have frozen stuck to a warlord fairy queen’s mirror.

It wasn’t a good hypothesis, anyway. A mirror is a tool that we’ve made, so we know mirrors exist, what one is, how it does, why it works. I suspect that so is Myrtha, or else this would just be embarrassing. (And this has never happened to me in the corporeal world. It’s probably not what it’s really like. One day I should go somewhere cold and get my tongue frozen stuck on something. For science.)

~

Mirrorwork takes the approach that everybody is made up of three things:

1.) What you think of yourself.
2.) What others think of you.
3.) What you think others think of you.

No reason this list should exclude “what others think you think they think of you” or “what you think others think you think they think of you” or even “what they think you think they think you think they think of you”. What they each think of themself is their bailiwick.

She raised the hem of her dress slightly and looked down at her shoes.

They couldn’t be real glass, or else she’d be hobbling towards some emergency first aid by now. Nor were they transparent. The human foot is a useful organ but is not, except to some people with highly specialized interests, particularly attractive to look at.

The shoes were mirrors. Dozens of facets caught the light.

Two mirrors on her feet. Magrat vaguely recalled something about . . . about a witch never getting caught between two mirrors, wasn’t it? Something she’d been taught, back when she’d been an ordinary person. Something. . . like . . . a witch should never stand between two mirrors because, because, because the person that walked away might not be the same person. You were spread out among the images, your whole soul was pulled out thin, and somewhere in the distant images a dark part of you would get out and come looking for you, if you weren’t very careful.

—Witches Abroad

The moment Queen Myrtha frees me from the fairyland mirror that has connived my capture, I can move onto more Intermediate Mirrorwork.

Preferably with the Dierne, instead.

Spring Awakening, musical adaptation by Duncan Sheik | ASL production by Michael Arden

The following entry may contain triggering material and spoilers for the musical Spring Awakening.

Disclaimer: I never got around to reading the original stageplay. And I only started re-listening to the music from here because I was looking for “There Once Was A Pirate” song from the off-Broadway version, replaced by “The Guilty Ones” in the official show version that became the fan name so I’m probably not going to find the pirate song again.

On Spotify, I could only find the Stage Stars version of Duncan Sheik’s Spring Awakening, and the vocals are exactly whelming. The overall score of the show itself isn’t what I’d call life-alteringly sublime, no, it’s fairly pop-y: I could skip right over “The Bitch of Living” or “My Junk” or “Mirror Blue Night” or “And Then There Were None” or…but the songs I do love, I love.

One minor complaint of mine is that, at the time of this writing, this particular Spotify album mistitled the song “The Guilty Ones” that should actually be “Blue Wind / Don’t Do Sadness” (And that awesomely rocking duet mistitled as “The Guilty Ones”). Here’s a clip of “Blue Wind” from the American Sign Language revival known among Guilty Ones—fans of this show still are calling themselves that, right?—as Deaf Awakening.

The full song, both full songs being sung together in counterpoint, is so cathartic for me in a way that’s difficult to explain without spoilers. So I’m going to write so many spoilers. First, the major opinion I want to put out there about the Sign Language revival version is that the movements make sense now. (The original stage musical version had settled into this choreography motif of everyone circling their nipples and rubbing their bellies through their clothes, which I suppose was supposed to be artsy, but I couldn’t understand any deeper meaning than Interpretive Dance Looks Artsy. But they kept doing it. I continued to not get it.) Also, American Sign Language looks admirably efficient and concise. The Tony Awards performance of Deaf Awakening had some singers and some signing, and I noticed the signers moving so slowly when the vocalized part had so many syllables there was no worry at all that the vocals would outpace the signing.

The entire show is about teenagers growing into sexual maturity in a 19th century German town: a cozy, intensely repressive, community. The main character, Wendla, has an unplanned pregnancy because her parents only reluctantly informed her that to make babies, you get married (and nothing about the details, so she had no clue that consenting to sex with a guy she didn’t marry would still pose a pregnancy risk.) Her parents then force Wendla to abort. It gets worse for Wendla from then on.

Hanschen is another character. As I recall, he and his partners survive being gay in a storytelling medium, and even serve as the comic relief in an otherwise painfully tragic morose morass of tragedy and pain. He has no story arc, no real subplot, no personal or interpersonal conflict because he’s simply better than everybody else: he knows it, the show knows it, and his partners quickly come to agree. He’s practically perfect, like a gay German dude version of Mary Poppins.

My favorites are still these next two, not necessarily together sexually or romantically—the ships-passing-in-the-night aspect of whatever their relationship would have been is heartbreaking, though—but just…Moritz Stiefel is a suicidal school flunkee. I was a suicidal school flunkee. I would play Moritz’s elegy song, “Left Behind” on loop back when it was young Jonathan Groff singing, and it was as though I could still breathe through the emotional knifeblock that my rib cage had become because someone (fictional, but whatever) knew what it was like to live on. That was Melchior, but narratively I feel as though he is half of Moritz, or this Melchior-Moritz Wonder Twins combination of…really, processing suicidal grief and depression. They’re both players in this story, and at the time this story had (I would put it this way now, not at that time) bespelled me.

Moritz is the shadow, the part that gets it. Moritz died—killed himself—so that I wouldn’t have to. He gets it, what it’s like to be driven to that point when you’re only a shadow cast by real living people who did things to “you”, “you” with Quote Marks of Emphasized Technicality because the concept of being a person isn’t there anymore. Moritz gets it when so many condescending and unhelpful outside perspectives to depression and suicide…did not.

Moritz pulled the trigger because, “I don’t do sadness.” And that’s one way to stop it, that sadness, if it’s sadness…but…more important than not making death an option is owning that option as a choice. For me at least, having mustered up—well, borrowed, from this song—even that speck of personal sovereignty? Suicidal ideations become less inevitable. He’s the Lord of Shalott.

~

There’s a modern tradition of mysticism, I guess it can be called one, known as soulbonding. Sometimes it’s the way creators describe how alive their characters have become, as they immerse themselves in a creative process. Other times, characters from existing works are treated like spell correspondents, or gods with responsibilities over a sphere of influence that can be appealed to.

In that community, I find people asking for recommendations for fictional characters they could “summon” as soulbonds, to ease the challenges of coexistence. Which characters can redirect or reframe personal feelings of jealousy? Which characters encourage discipline and motivation towards a given goal? Which characters help someone to make friends if they’re shy, or hold them accountable to honesty if they’re too anxious not to say what they think other people want to hear?

When one recommendation request came on to help cope with anxiety and depression, I almost suggested Moritz or Elaine Ascalot. I think it’s good that I didn’t. I only know what worked for me. If it’s possible that Moritz’s portrayal of suicide glamourizes and encourages the act when most people would rather that never happen…well, I’m fortunate that I reacted to Moritz’s songs the way I did. I’m fortunate to have encountered this work with this character at the time that I did at all, but as I can’t even know anybody else’s internal world (I only understand a stakely situation) I wouldn’t want to risk someone else taking it as less helpful or even opposite helpful than I did.

Back to “Blue Wind” singer Ilse Neumann, first name pronounced like “EL-sa”, and…she’s a goddess. Lauren Pritchard plays Bohemian Ilse as free-spirited but with some grounded serenity. Krysta Rodriguez plays Bohemian Ilse as a manic pixie dream. There’s a German cast whose Ilse has a singing voice like a clear stream of the purest nectar (I heard her “Blue Wind / Don’t Do Sadness” on YouTube playing opposite a Moritz who delivers the line meaning ‘you startled me’ like it’s a death threat, unfortunately, but he hit the high notes in his half just fine.) (Or, I don’t speak German, so maybe they changed the script.)

(Comparisons of “The Dark I Know Well” Ilses would be so much more…something…method acting analysis…but…intense, so no? I’ll just keep myself to all the possible dozen infinite Bohemian flower bouquet unbraided hair “Blue Wind” crooning Ilses.)

However Ilse’s played, I feel as though there’s this mantle of magnificence this character gives people to carry throughout the show. She completes another duet, “The Dark I Know Well” with Martha, revealing both to be victims of incestuous rape. We don’t see much of Martha after—she establishes that it’s a horrifically common problem in their tiny, tight-knit town. “The Dark I Know Well” is a disjointed sort of call-and-response double soliloquy. Ilse suffered as much as Martha, but some aspect is bigger than that, even when the whole song is about how “there’s a part I can’t tell about the dark I know well…” and they can’t let on to anyone but themselves and the watching audience, it isn’t “suffering as much” but “suffering with” even when it’s not possible for them in that town, to bring it out or up and share it.

Ilse bears witness to Martha’s violation as well as her own. She does the same with Moritz when she sings “Blue Wind”, and her body language during the staging of “Left Behind” (Moritz’s funeral scene) is a scathing condemnation of the irresponsible adults who drove Moritz to suicide. No flighty, promiscuous teenager repressing trauma should have the power to scathe without a word…but, Ilse. Ilse Neumann, is all.

And, despite Melchior being positioned as the hero and protagonist, as Moritz’s only friend, as Wendla’s lover…it’s not him but Ilse who leads the final chorus. “The Song of Purple Summer” describes the passage of time through pain, and it catches at the voices of everyone; it’s a song of acknowledging pain and grief, for everything passes, and hope for everything passes, and it’s vast and complex, as though one song from one specific character, because of her story, because of her nature…opened this giant gate to life and the world itself. No barely-present side character should have that much p—Ilse, damn it all, Ilse Neumann. Goddess of summer and life and the universe and everything.

The Secret Garden, musical adaptation by Marsha Norman & Lucy Simon

The following entry may contain triggering material, and spoilers for the Broadway musical version of The Secret Garden, extending spoilers to the book of the same name by Frances Hodgson Burnett.

I was so happy to find this musical on Spotify. It’s one of my very all-time favorites simply for the music, especially the Broadway recording that polished everything up. The songs don’t always lend themselves to egoistic solos, or toe-tappingly earwyrm-hummingly catchy show tunes. The book is hardly the quotable tragicomedies of Sondheim. What makes this my favorite show is the choral arrangements, counterpoint melodies in duets or quartets, and orchestration. I listen to the strings more than the voices. It’s almost ambient in how diffusively the music carries the story. The styles range from jigs to Gregorian chants to operatic arias, yet always remain distinctly story-telling songs.

The Secret Garden, written by Frances Hodgson Burnett and published in 1911, begins with a young English girl living in India. Mary Lennox is rich and spoiled and her parents are always too busy partying with other rich English people to do any actual parenting, so they leave her to be raised by Indian servants, and they all die of plague. The End.

Oh, no, wait—Mary Lennox is the sole survivor of the plague. Now orphaned at ten years of age, the soldiers who discover her then whisk the child off to her nearest relation in Yorkshire, Not In India. Her hunchbacked uncle Archibald Craven is too busy grieving as a widow to be a parent, whether that’s to Mary or to…well, there are other children in the enormous manor and on the moors that really nobody wants to pay attention to, except to keep them apart. Mary Lennox—being far more temperamental and belligerent than a life of privilege can usually explain—is having none of it.

The musical takes some liberties with the story. The deceased Lily Craven’s soprano has far more presence onstage than in prose where her ghostly influence (of memory, of serendipitous coincidence) can afford to be more subtle. Doctor Neville Craven, Archibald’s undeformed brother, is the most passive antagonist I have ever read. In both versions, rumors about how mercenary Dr. Craven is do come up, and Neville doesn’t do anything or even scheme to do anything to pick up that plot point. He just does his job as the family doctor, as competently as an Edwardian-age physician can. This isn’t very competently at all because, in the world Burnett has constructed, people need magic, whether that’s the magic of a relationship with the land, or the magic of ghosts guiding us from the afterlife even through our grief, or the magic of friendships between upperclass children and the half-wild siblings of the sassy-but-not-too-sassy servants, or…the magic of an individual thinking so positive that they’re not disabled anymore…Anyway, versions that aren’t the book seem to really like putting Neville in a love triangle with Lily and Archibald so he’s misunderstood about being mercenary.

The music—

Hold on. One day maybe, I’ll write about Burnett’s magic as a proto-new-age sort of Law of Attraction or New Thought type belief system, or the Glamour dynamic of Mary Lennox’s and Sara Crewe’s relationship with Indian-ness and the exoticization of their ancestral home, or friendships across class/age/gender gaps (more like chasms) in The Secret Garden, but for now this video has this transcript and I recommend them for purposes of becoming wiser than fictional Edwardians when it comes to disability.

My fancasting would be Priti Ghandi as Lily Craven (warning: autoplay of music samples on every page). And, I don’t even know if Naveen Andrews sings, but he can rock a top hat so that’s my fancast/headcanon Neville.

Naveen Andrews can rock a top hat!

“A Girl in the Valley” served as the background music while I was writing The Red Room and now that I hear it again, “It’s a Maze” must have been what inspired a red-brick labyrinthine Scape that I call the 2nd Chamber (and in Western Faery, the Sienna Sierra. Sierra Sienna? One of those.) I never blog about the 2nd Chamber because it’s usually just there to slow down Point A to Point B and a Guiser named Rose may or may not sometimes be there. Rose has been too obstinately enigmatic to blog about.

My favorite song remains “Winter’s On the Wing”, which I’m beginning to associate with a personification—I call guiser—of time—I call phase, and put in a subcategory under guiser. Dickon Sowerby whistles in spring time that I, having been a tropical creature all my life, haven’t the foggiest idea what the big deal around equinoxes is in almost all pagan or occult literature. Or even a foggy idea about fog. But here he is, and next up is my personification of the summer lady: Ilse Neumann from another Broadway musical, Spring Awakening.

The Proscenium

The proscenium is a category I gave to a Scape in the Surreal, also to the process of creating it. It’s one of the turnkey concept-methods between the receptive liminal activity—receptivity?—and active liminal…activity. The preceding sentence is why I don’t like dualism, by the way, it gets everywhere into everything when the concept I’m trying to get at is really just one (third?) thing with differing things in the thing.

The library I call my “third chamber” originated as a visualization exercise called the Memory Palace, or the method of loci. As I recall, it’s ancient Roman, but I can’t recall when it became a thing and who authored what specific information about it. As I understand, concepts should become easier to remember if symbolized by an object that occupies spacetime, in the imaginary sense. While I could imagine this place that I’ve never been to, I couldn’t attach specific ideas. I ought to have been able to attach a grocery list to the banister, for instance. Instead, while I could see the banister clearly, I couldn’t help but think there was—because my mind’s eye could see, because my fetch-heart knew—this hoary old man with an eyepatch named Odin (the man’s name, not the eyepatch’s) rattling his cane impatiently against the bars and referring to me as ‘sonny’.

So, that’s one possible example of how something mundanely imaginary can overlap with spiritual significance. I could understand, at least I anxiously anticipate, the embarrassment of interacting with a symbol of my oedipal issues as though they were a cosmic power personified. I could also understand the frustration of hearing something, “Oh, you’re Jung’s Wise Old Man archetype!” over and over again by mortals who want to claim so much is just in their heads that it almost becomes a humblebrag—having so much more in yer noggin’ than most other people, eh?

However an individual decides—or feels is the best way—to interpret it, though, is probably the right way. Even if that inclination towards the psychic-like-psyche or psychic-like-psi-phenomena changes during the process, as the individual gains experience.

I liked that it was a round room. Sometimes, it would develop corners. Rather than wonder what the change in architecture symbolized, what self-work I ought to do so that my imaginary room would be round again the next time I glimpse it…I would make an effortful visualization of the room being round again. That would work well enough. It wasn’t so effortful to get it there in the first place, though, so I wouldn’t say that the mental effort alone makes it -real in the Surreal.

My Proscenium appears to operate on the wishcraft of a fiction. Once, two regular residents of that room vanished with all the furnishings. I re-established the third chamber as it used to be, but I still believe that happened. Am I deluding myself that the third chamber is still fully furnished? It feels awkward, but it doesn’t feel wrong.

I have never attempted to domesticate the landscape of Erstvale like this. I control my fetch when I quest. I wield Eidems like Heartwrench and the something Of Doom (with the pointy bit). We all have stories, and inaudible names I know, and some kind of vibrance. That’s what I experience, and whether I decide it’s in my head or some otherworldly journey, it helps to keep that possible.

~

It would feel wrong for me to summon those two residents back to the third chamber. I thought I could deliberately visualize a ghost-guardian person in Erstvale, the same way I rounded the walls of the third chamber…and, she simply wouldn’t take. I decided not to make the effort anymore, and a year or so later had an unsettling dream about her being melted (something alive or at least moving within the slurry of what used to be form.)

I write stories. I shape my mind for them: plot, aesthetic, voice and style. I let images form in my mind, emotional beats, manifesting potentials like a lucid dream (or, when writer’s block comes around, like a nonlucid dream or dreamless sleep. Is it a mineral deficiency, or do the muses leave me? Whatever.) It’s so common to speculate on the psychology of creators—while that is not the only literary analysis approach that exists, I took for granted that that would keep them safely contained.

But then Captain Marigold fired the cannons through the walls of our realities, so if I thought I made her up (which I shouldn’t have been able to—poor ghost-guardian of Erstvale,) she’s fairly self-made now.

That’s part of the Proscenium process, too: metaphorical thespians, characters, scripts and improvisation, rehearsal and orchestra, backdrops and backstage, costumes and makeup and lighting and masks. None of it strictly real; some level of it always true. Detached, we know it for what it is. Immersed, we know it for what it is.

Marcela Speaks

Excerpt from Chapter 14 of Don Quixote by Miguel de Cervantes
Translation by Edith Grossman, transcribed from audio by Recorded Books 2003
(voice by George Guidall)

(As a character, Marcela gave one of the most lucid arguments I’ve ever read against the sexual objectification of women and coerced consent. This book, and by extension this mic-drop worthy monologue, was published in 1605.)

The Shepherdess by William-Adolphe Bouguereau (1873)

There will be no need to spend much time or waste many words to persuade discerning men of truth…

Heaven made me, as all of you say, so beautiful that you cannot resist my beauty and are compelled to love me. And because of the love you show me, you claim that I am obliged to love you in return. I know, with the natural understanding that God has given me, that everything beautiful is lovable—but I cannot grasp why, simply because it is loved, the thing loved for its beauty is obliged to love the one who loves it.

Further, the lover of the beautiful thing might be ugly, and since ugliness is worthy of being avoided, it is absurd for anyone to say, “I love you because you are beautiful! You must love me, even though I am ugly.” But in the event the two are equally beautiful, it does not mean that their desires are necessarily equal, for not all beauties fall in love. Some are a pleasure to the eye, but do not surrender their will, because if all beauties loved and surrendered, there would be a whirl of confused and misled wills, not knowing where they should stop. For since beautiful subjects are infinite, desires would have to be infinite, too.

According to what I have heard, true love is not divided—and must be voluntary, not forced. If this is true, as I believe it is, why do you want to force me to surrender my will? Obliged to do so, simply because you say you love me? But if this is not true, then tell me: If the Heaven that made me beautiful had made me ugly instead, would it be fair for me to complain that none of you loved me?

Moreover, you must consider that I did not choose the beauty I have, and, such as it is, Heaven gave it to me freely, without my requesting or choosing it. And just as the viper does not deserve to be blamed for its venom, although it kills, since it was given the venom by nature, I do not deserve to be reproved for being beautiful; for beauty in the chaste woman is like a distant fire or sharp-edged sword: They do not burn or cut the person who does not approach them.

Honor and virtue are adornments of the soul without which the body is not truly beautiful (even if it seems to be so.) And if chastity is one of the virtues that most adorn and beatify both body and soul…Why should a woman, loved for being beautiful, lose that virtue in order to satisfy the desire of a man who, for the sake of his pleasure, attempts with all of his might and main to have her lose it?

I was born free, and in order to live free, I chose the solitude of the countryside. The trees of these mountains are my companions. The clear waters of these streams, my mirrors. I communicate my thoughts and my beauty to the trees and to the waters. I am a distant fire and a far-off sword. Those whose eyes force them to fall in love with me, I have discouraged with my words. If desires feed on hopes, and since I have given no hope to Gristóstomo or to any other man regarding those desires, it is correct to say that his obstinacy, not my cruelty, is what killed him. And if you claim that his thoughts were virtuous, and for this reason I was obliged to respond to them, I say that when he revealed to me the virtue of his desire, on the very spot where his grave is now being dug, I told him that mine was to live perpetually alone and have only the earth enjoy the fruit of my seclusion and the spoils of my beauty. And if he, despite that discouragement, wished to persist against all hope, and sail into the wind…why be surprised if he drowned in the middle of the gulf of his folly?

If I had kept him by me, I would have been false. If I had gratified him, I would have gone against my own best intentions and purposes. He persisted though I discouraged him. He despaired, though I did not despise him. Tell me now if it is reasonable to blame me for his grief.

Let the one I deceived complain. Let the man despair to whom I did not grant a hope I had promised, or speak if I called to him, or boast if I accepted him! But no man can call me cruel or a murderer if I do not promise, deceive, call to, or accept him.

Until now, Heaven has not ordained that I love. And to think that I shall love of my own accord is to think the impossible. Let this general discouragement serve for each of those who solicit me for his own advantage. Let it be understood from this day forth that if anyone dies because of me, he does not die of jealousy or misfortune, because she who loves no one cannot make anyone jealous, and discouragement should not be taken for disdain.

Let him who calls me ‘savage basilisk’ avoid me as he would something harmful and evil; let him who calls me ‘ungrateful’ not serve me, ‘unapproachable’ not approach me, ‘cruel’ not follow me! Let him not seek me out, serve, approach or follow in any way this savage, ungrateful, cruel, unapproachable basilisk! For if his impatience and rash desire killed Gristóstomo, why should my virtuous behavior and reserve be blamed?

If I preserve my purity in the company of trees, why should a man want me to lose it if he wants me to keep it in the company of men?

As you know, I have wealth of my own and do not desire anyone else’s. I am free and do not care to submit to another. I do not love or despise anyone. I do not deceive this one or solicit that one. I do not mock one or amuse myself with another. The honest conversation of the shepherdesses from these hamlets, and tending to my goats, are my entertainment. The limits of my desires are these mountains, and if they go beyond here, it is to contemplate the beauty of Heaven, and the steps whereby the soul travels to its first home.

Don Quixote by Gustav Dore

Let no person, whatever his circumstance or condition, dare to follow the beautiful Marcela lest he fall victim to my fury and outrage.