We practice conscious forgetting by refusing to summon up the fiery material, we refuse to recollect. To forget is an active, not a passive, endeavor. It means to not haul up certain materials, or turn them over and over, to not work oneself up by repetitive thought, picture, or emotion.

The point of art is not simply to express ourselves, but to create an external, concrete form in which the soul of our lives can be evoked and contained.

The doors to the world of the wild Self are few but precious. If you have a deep scar, that is a door, if you have an old, old story, that is a door. If you love the sky and the water so much you almost cannot bear it, that is a door. If you yearn for a deeper life, a full life, a sane life, that is a door.

The most important thing is to hold on, hold out, for your creative life, for your solitude, for your time to be and do, for your very life.

Stories set the inner life into motion, and this is particularly important where the inner life is frightened, wedged, or cornered. Story greases the hoists and pulleys, it causes adrenaline to surge, shows us the way out, down, or up, and for our trouble, cuts for us fine wide doors in previously blank walls, openings that lead to the dreamland, that lead to love and learning, that lead us back to our own real lives as knowing wildish women.

To be ourselves causes us to be exiled by many others, and yet to comply with what others want causes us to be exiled from ourselves.

The body remembers, the bones remember, the joints remember, even the little finger remembers. Memory is lodged in pictures and feelings in the cells themselves. Like a sponge filled with water, anywhere the flesh is pressed, wrung, even touched lightly, a memory may flow out in a stream.