Why are certain disturbing or even humiliating scenes exciting to conjure? How can a woman fantasise about being overpowered by a group of men when she's a feminist? How does a sexual fantasy actually stand apart from a belief system or set of laws? What is it in the primal brain that hits the penny? A lot of this is still a mystery, but it is only through penetrating the darker aspects of the personal and archetypal self that "The Yield" will be made accessible, like the mature, golden harvest that it is. That is the reward we are already welcoming, in our lives and through new language.
"Introduction" by Laura Chester in Deep Down: Sensual New Writing by Women.ed Laura Chester. London: Faber and Faber,1988.1-4.2-3;4.
The Paradox of Opposites in the Tao te Ching
We cannot know the Tao itself,
nor see its qualities direct,
but only see by differentiation,
that which it manifests.
only when sound ceases is quietness known,
In comparison, the sage,
in harmony with the Tao,
needs no comparisons,
and when he makes them, knows
that comparisons are judgements,
and just as relative to he who makes them,
and to the situation,
as they are to that on which
the judgement has been made.
Future and past form a circle.
So there's nothing to do but remain in the emptiness
from which all these notions emerge and into which they are released.
The speech of the sage is silence; his silence, speech.
Things come and go, and he lets them.
He doesn't seize them, and so participates in their own spontaneity.
He does his job and lets go.
Because he does, he acts in eternity as he finds repose in time.
From Stan Rosenthal's and Crispin Sartwell's translations of the Tao te Ching
