Ariel Quotes

Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I have a call.

If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating.

I didn’t want any flowers, I only wanted to lie with my hands turned up and be utterly empty. How free it is, you have no idea how free.

People or stars Regard me sadly, I disappoint them.

Out of the ash I rise with my red hair and I eat men like air.

I am terrified by this dark thing That sleeps in me; All day I feel its soft, feathery turnings, its malignity.

Is it the sea you hear in me? Its dissatisfactions? Or the voice of nothing, that was your madness? Love is a shadow. How you lie and cry after it. --from "Elm", written 19 April 1962

I have taken a pill to kill The thin Papery feeling. --from "Cut", written 24 October 1962

I have suffered the atrocity of sunsets. --from "Elm", written 19 April 1962

At twenty I tried to die And get back, back, back to you. I thought even the bones would do. --from "Daddy", written 12 October 1962

And I am aware of my heart: it opens and closes Its bowl of red blooms out of sheer love of me.

Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you.

Is it the sea you hear in me, Its dissatisfactions? Or the voice of nothing, that was you madness? --from "Elm", written 19 April 1962

The blood jet is poetry, There is no stopping it. --from "Kindness", written 1 February 1963

You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time― Marble-heavy, a bag full of God, Ghastly statue with one grey toe Big as a Frisco seal

I am still raw. I say I may be back. You know what lies are for. Even in your Zen heaven we shan't meet. --from "Lesbos", written 18 October 1962

I know the bottom, she says. I know it with my great tap root: It is what you fear. I do not fear it: I have been there.

I know the bottom, she says. I know it with my great tap root: It is what you fear. I do not fear it: I have been there. --from "Elm", written 19 April 1962

No day is safe from news of you. --from "The Rival", written July 1961

There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart - It really goes. And there is a charge, a very large charge, For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. --from "Lady Lazarus", written 23-29 October 1962

Now I am silent, hate Up to my neck, Thick, thick. I do not speak. --from "Lesbos", written 18 October 1962

I am learning peacefulness, lying by myself quietly, as the light lies on these white walls, this bed, these hands. I am nobody; I have nothing to do with explosions.

And I a smiling woman. I am only thirty. And like the cat I have nine times to die.

I am inhabited by a cry. Nightly it flaps out Looking, with its hooks, for something to love.

I used to pray to recover you. --from "Daddy", written 12 October 1962

Light is easy to love. Show me your darkness.

You smile. No, it is not fatal. --from "The Other", written 2 July 1962

Ash, ash —- You poke and stir. Flesh, bone, there is nothing there—— A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air.

I BET YOU DIDN’T KNOW THIS, but lots of guys have a thing for Ariel. You know, from The Little Mermaid? I’ve never been into her myself, but I can understand the attraction: she fills out her shells nicely, she’s a redhead, and she spends most of the movie unable to speak. In light of this, I’m not too disturbed about the semi I’m sporting while watching Beauty and the Beast—part of the homework Erin gave me. I like Belle. She’s hot. Well…for a cartoon, anyway. She reminds me of Kate. She’s resourceful. Smart. And she doesn’t take any shit from the Beast or that douchebag with the freakishly large arms. I stare at the television as Belle bends over to feed a bird. Then I lean forward, hoping for a nice cleavage shot… I’m going to hell, aren’t I?

The last introvert in a world of extroverts. Silence: my response to both emptiness and saturation. But silence frightens people. I had to learn how to talk. Out of politeness.

The moon is my mother. She is not sweet like Mary. Her blue garments unloose small bats and owls.

They had to call and call And pick the worms off me like sticky pearls. --From the poem "Lady Lazarus", written 23-29 October 1962

Why couldn't he say I reminded him of Ariel or something? Then again, Ariel was kind of stupid, giving up her voice for a dude.

You're a little tall to play Ariel." said Moth. "And you have way too many muscles," said Mustardseed. "But you might be able to pull it off," Cobweb said, "if you can look really constipated.

Everyone wants the fairy tale, but don’t forget there are dragons in those stories.

This is what it means to age, I think. The days are long, but the years are short.

Clouds pass and disperse. Are those the faces of love, those pale irretrievables? Is it for such I agitate my heart?

Because when everything is said and done... the world runs on kindness. It simply has to, or we'd never be a able to bear ourselves. It might not seem so to you now, but it will when you're older." ~Ariel

O love, how did you get here? --from "Nick and the Candlestick", written 29 October 1962

Your heart is the size of your fist; keep loving, keep fighting.

Love is a shadow. How you lie and cry after it --from "Elm", written 19 April 1962

I didn’t want any flowers, I only wanted To lie with my hands turned up and be utterly empty. How free it is, you have no idea how free—— The peacefulness is so big it dazes you, And it asks nothing, a name tag, a few trinkets. It is what the dead close on, finally; I imagine them Shutting their mouths on it, like a Communion tablet. --from "Tulips", written 18 March 1961

If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating. Both of you are great light borrowers. Her O-mouth grieves at the world; yours is unaffected, And your first gift is making stone out of everything.

You are the one. Solid the spaces lean on, envious. You are the baby in the barn.

I didn't care as much about reading the page as I did about flipping the page.

LADY LAZARUS I have done it again. One year in every ten I manage it-- A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy. Do I terrify?-- The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day. Soon, soon the flesh The grave cave ate will be At home on me And I a smiling woman. I am only thirty. And like the cat I have nine times to die. This is Number Three. What a trash To annihilate each decade. What a million filaments. The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot-- The big strip tease. Gentlemen, ladies These are my hands My knees. I may be skin and bone, Nevertheless, I am the same, identical woman. The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call. It's easy enough to do it in a cell. It's easy enough to do it and stay put. It's the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: 'A miracle!' That knocks me out. There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart-- It really goes. And there is a charge, a very large charge For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy. I am your opus, I am your valuable, The pure gold baby That melts to a shriek. I turn and burn. Do not think I underestimate your great concern. Ash, ash-- You poke and stir. Flesh, bone, there is nothing there-- A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air. -- written 23-29 October 1962

Why Dream? Life is a difficult assignment. We are fragile creatures, expected to function at high rates of speed, and asked to accomplish great and small things each day. These daily activities take enormous amounts of energy. Most things are out of our control. We are surrounded by danger, frustration, grief, and insanity as well as love, hope, ecstasy, and wonder. Being fully human is an exercise in humility, suffering, grace, and great humor. Things and people all around us die, get broken, or are lost. There is no safety or guarantees. The way to accomplish the assignment of truly living is to engage fully, richly, and deeply in the living of your dreams. We are made to dream and to live those dreams.

The frost makes a flower, the dew makes a star --from "Death & Co.

Daring to think that the rules do not apply is the mark of a visionary. It’s also a symptom of narcissism. —

A ring of gold with the sun in it? Lies. Lies and a grief.

People are always separable.

Sex is one of the most interesting things we as humans have to play with, and we've reduced it to polyester underpants and implants. We are selling ourselves unbelievably short.

I am inhabited by a cry. Nightly it flaps out Looking, with its hooks, for something to love I am terrified by this dark thing That sleeps in me; All day I feel its soft, feathery turnings, its malignity.

The present is the past rolled up for action, and the past is the present unrolled for understanding.

Like all mothers, I have long since mastered the art of nursing joy at one breast and grief at the other.

What is so real as the cry of a child? A rabbit's cry may be wilder But it has no soul.

I'm doped and thick from my last sleeping pill.

An old couple came running from a motorhome, scribbling as they ran. Their sign read, Can you check on our cat, Ariel? No one would answer that, because the cats had all been eaten.

This is the light of the mind, cold and planetary.

My body is precious and not separate from my soul.

Gerardo; People can die from an excessive dose of the truth, you know.

We must operate with partial knowledge, and be provisionally content with probabilities.

The sun gives you ulcers, the wind gives you T.B. Once you were beautiful.

Ariel, Belle, Cinderella, Jasmine... none of them had mothers." I was still wasn't following, but she continued, obviously excited. "When I was little, I used to think that meant that life had to make it up to them, for taking their mothers away, and so that's why they ended up having the whole fairy-tale happily-ever-after magic happen to them. The deserved it more than other girls." She looked at me intently. "Life will make it up to you, Anna.

A Gift for You I send you... The gift of a letter from your wise self. This is the part of you that sees you with benevolent, loving eyes. You find this letter in a thick envelope with your name on it, and the word YES written boldly above your name. My Dear, I am writing this to remind you of your 'essence beauty.' This is the part of you that has nothing to do with age, occupation, weight, history, or pain. This is the soft, untouched, indelible you. You can love yourself in this moment, no matter what you have, or haven't done or been. See past any masks, devices, or inventions that obscure your essence. Remember your true purpose, WHICH is only Love. If you cannot see or feel love, lie down now and cry; it will cleanse your vision and free your heart. I love you; I am you.

And unless I'm remembering it wrong, mermaids don't sing and sirens don't swim." "Ariel sang in 'The Little Mermaid'," Corey said. Sam came over to join us. "Do I even want to know why you remember her name?

Want to talk third wave feminism, you could cite Ariel Levy and the idea that women have internalized male oppression. Going to spring break at Fort Lauderdale, getting drunk, and flashing your breasts isn't an act of personal empowerment. It's you, so fashioned and programmed by the construct of patriarchal society that you no longer know what's best for yourself. A damsel too dumb to even know she's in distress.

Stupid pupil, it has to take everything in.

We are in the twilight years of a long love affair, and it has recently occurred to me that a day will come when one of us buries the other. But, I remind myself, that is the happy ending to a story like ours. It is a vow made and kept. Till death do us part. It is the only acceptable outcome to a long and happy marriage, and I am determined not to fear that day, whenever it arrives. I am equally determined to soak up all the days between.

He pulled her close. “Someday, I will win your trust, and you will be the one to set me free. I know it.” “I won’t.” Bertie recoiled from both him and the assertion she would do such a thing. “Not ever.” Ariel made no move to touch her again, though his words were a caress. “Don’t make promises you won’t be able to keep.

There is nothing I love more than traveling to a place where I know nobody, and where everything will be a surprise, and then writing about it. It’s like having a new lover—even the parts you aren’t crazy about have the crackling fascination of the unfamiliar.

I wanted what we all want: everything. We want a mate who feels like family and a lover who is exotic, surprising. We want to be youthful adventurers and middle-aged mothers. We want intimacy and autonomy, safety and stimulation, reassurance and novelty, coziness and thrills. But we can’t have it all.

The moon is no door. It is a face in its own right, White as a knuckle and terribly upset. It drags the sea after it like a dark crime; it is quiet With the O-gape of complete despair. I live here. --from "The Moon and the Yew Tree", written 22 October 1961

Memory is a wicked thing that warps and twists. But paper and ink receive the truth without emotion, and they read it back without partiality. That, I believe, is why so few women are taught to read and write. God only knows what they would do with the power of pen and ink at their disposal.

At first she was overjoyed that he would be with her, but then she recalled that human people could not live under the water, and he could only visit her father's palace as a dead man.

If you love something, love it completely, cherish it, say it, but most importantly, show it. Life is finite and fragile, and just because something is there one day, it might not be the next. Never take that for granted. Say what you need to say, then say a little more. Say too much. Show too much. Love too much. Everything is temporary but love. Love outlives us all.

A great civilization is not conquered from without until it has destroyed itself from within.

Each time a language dies, another flame goes out, another sound goes silent.

When I was young. When I had no idea that all over the city, all over the world, there were people walking around sealed in their own universes of loss, independent solar systems of suffering closed off from the regular world, where things make sense and language is all you need to tell the truth. —

History is an excellent teacher with few pupils.

It is a great paradox and a great injustice that writers write because we fear death and want to leave something indestructible in our wake and, at the same time, are drawn to all the things that kill: whiskey and cigarettes, unprotected sex, and deep-fried burritos.

Ariel contributed nothing to the speculation, instead crossing his arms one over the other. The action recalled his butterfly familiars from the skies, and they flocked to him with eager wing beats. "Bats!" Moth flailed at the air. "Vampire bats!" "Don't be ridiculous," Peaseblossom said with a sniff. "Vampire bats don't sparkle.

Building your "dream life" is filled with things that can feel like the opposite of a dream: Mistakes Delays Starting over Failure The building part is actually more of a rebuilding that is a continual process. The building is not linear in nature but far more interesting. You might start a creative dream, take the "next step", and find yourself completely bored, dissatisfied, or just not inspired.

The truth is that the new conception of raunch culture as a path to liberation rather than oppression is a convenient (and lucrative) fantasy with nothing to back it up. Or, as Susan Brownmiller put it when I asked her what she made of all this, “You think you’re being brave, you think you’re being sexy, you think you’re transcending feminism. But that’s bullshit.

That's the question, isn't it?" you said one night. "Does death bring freedom, or is it the end of freedom?

Forget about the scant hours in her brief life when Sylvia Plath was able to produce the works in Ariel. Forget about that tiny bit of time and just remember the days that spanned into years when she could not move, couldn’t think straight, could only lie in wait in a hospital bed, hoping for the relief that electroconvulsive therapy would bring. Don’t think of the striking on-screen picture, the mental movie you create of the pretty young woman being wheeled on the gurney to get her shock treatments, and don’t think of the psychedelic, photonegative image of this sane woman at the moment she receives that bolt of electricity. Think, instead, of the girl herself, of the way she must have felt right then, of the way no amount of great poetry and fascination and fame could make the pain she felt at that moment worth suffering. Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes a its by-product.

That kind of thinking [that writers must alleviate their guilt for leading a creative life] is based on the idea that the creative life is somehow self-indulgent. Artists and writers have to understand and live the truth that what we are doing is nourishing the world. William Carlos Williams said, "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there." You can't eat a book, right, but books have saved my life more often than sandwiches. And they've saved your life... But we don't say, oh, Maya Angelou should have silenced herself because other people have other destinies. It's interesting, because artists are always encouraged to feel guilty about their work. Why? Why don't we ask predatory bankers how they alleviate their guilt?

I am the magician's girl who does not flinch.

Listening is a skill acquired by the doing.

This imaginary gift is a journey for your imagination. I send you... A luxury train ride. On this train are all the inspiring people you've ever wanted to meet or talk to. You glide from car to car, sitting or lying down on velvet lounge chairs, listening and asking questions. There is also a voluminous library on the train, with every book you've ever wanted to read or look at. Kind people bring you delicious tidbits to eat and nourishing liquids to drink. If you take a nap, time stands still until you return so you never miss anything. You receive a large journal filled with photographs, drawings and descriptions of your journey to take with you when you leave. You realize that you can board this train at any time.

Over your body the clouds go High, high and icily And a little flat, as if they Floated on a glass that was invisible. Unlike swans, Having no reflections; Unlike you, With no strings attached. All cool, all blue. Unlike you You, there on your back, Eyes to the sky.

A Gift for You I send you... A cottage retreat on a hill in Ireland. This cottage is filled with fresh flowers, art supplies, and a double-wide chaise lounge in front of a wood-burning fireplace. There is a cabinet near the front door, where your favorite meals appear, several times a day. Desserts are plentiful and calorie free. The closet is stocked with colorful robes and pajamas, and a painting in the bedroom slides aside to reveal a plasma television screen with every movie you've ever wanted to watch. A wooden mailbox at the end of the lane is filled daily with beguiling invitations to tea parties, horse-and-carriage rides, theatrical performances, and violin concerts. There is no obligation or need to respond. You sleep deeply and peacefully each night, and feel profoundly healthy. This cottage is yours to return to at any time.

How can she create with all your negative energy?" "Yeah, man. You're bringing us down." "This is about as low as it gets," Ariel said. "Where did you get those ridiculous black berets?" Moth adjusted his recently donned beatnik attire. "This is what the hip cats wear , daddy-o." "Can you dig it?" Cobweb stroked a few wisps of fake chin hair, while the others nodded and snapped their fingers.

Inside Critics The critical voices in our own heads are far more vicious than what we might hear from the outside. Our "inside critics" have intimate knowledge of us and can zero in on our weakest spots. You might be told by the critics that you're too fat, too old, too young, not intelligent enough, a quitter, not logical, prone to try too many things... It's all balderdash! Some elements of these may be true, and it's completely up to you how they affect you. Inside critics are really just trying to protect you. You can: Learn to dialogue with them. Give them new jobs. Turn them into allies. You can also dismantle/exterminate them.

Women's liberation and empowerment are terms feminists started using to talk about casting off the limitations imposed upon women and demanding equality. We have perverted these words. The freedom to be sexually provocative or promiscuous is not enough freedom; it is not the only 'women's issue' worth paying attention to. And we are not even free in the sexual arena. We have simply adopted a new norm, a new role to play: lusty, busty exhibitionist. There are other choices. If we are really going to be sexually liberated, we need to make room for a range of options as wide as the variety of human desire. We need to allow ourselves the freedom to figure out what we internally want from sex instead of mimicking whatever popular culture holds up to us as sexy. That would be liberation.

Create a guidebook of creative dreams You can use a blank book or just blank paper clipped together. Put photographs or scraps from magazines in that represent your creative dreams. Draw, scribble, or paint in between the images. Make a list of creative dreams you've thought of or admire in others.

The collar had restrained his winds but not killed them. They uncoiled from behind the shadows, ready to surround her, to lift her up, to carry her away with only Ariel’s silk-clad arms wrapped about her to keep her from falling. Spirare, they whispered to her like an incantation. Breathe us in. Bertie didn’t mean to, but she inhaled, and everything inside her was a spring morning, a rose opening its petals to the sun, the light coming through the wavering glass of an old, diamond-paned window. Tendrils of wind reached for Bertie with a coaxing hand. Release him, and he will love you.

I asked her if she'd ever wanted children. She told me, "Everybody doesn't get everything." It sounded depressing to me at the time, a statement of defeat. Now admitting it seems like the obvious and essential work of growing up. Everybody doesn't get everything: as natural and unavoidable as mortality.

Years and years ago, there was a production of The Tempest, out of doors, at an Oxford college on a lawn, which was the stage, and the lawn went back towards the lake in the grounds of the college, and the play began in natural light. But as it developed, and as it became time for Ariel to say his farewell to the world of The Tempest, the evening had started to close in and there was some artificial lighting coming on. And as Ariel uttered his last speech, he turned and he ran across the grass, and he got to the edge of the lake and he just kept running across the top of the water — the producer having thoughtfully provided a kind of walkway an inch beneath the water. And you could see and you could hear the plish, plash as he ran away from you across the top of the lake, until the gloom enveloped him and he disappeared from your view. And as he did so, from the further shore, a firework rocket was ignited, and it went whoosh into the air, and high up there it burst into lots of sparks, and all the sparks went out, and he had gone. When you look up the stage directions, it says, ‘Exit Ariel.

Hitherto, the Palestinians had been relatively immune to this Allahu Akhbar style. I thought this was a hugely retrograde development. I said as much to Edward. To reprint Nazi propaganda and to make a theocratic claim to Spanish soil was to be a protofascist and a supporter of 'Caliphate' imperialism: it had nothing at all to do with the mistreatment of the Palestinians. Once again, he did not exactly disagree. But he was anxious to emphasize that the Israelis had often encouraged Hamas as a foil against Fatah and the PLO. This I had known since seeing the burning out of leftist Palestinians by Muslim mobs in Gaza as early as 1981. Yet once again, it seemed Edward could only condemn Islamism if it could somehow be blamed on either Israel or the United States or the West, and not as a thing in itself. He sometimes employed the same sort of knight's move when discussing other Arabist movements, excoriating Saddam Hussein's Ba'ath Party, for example, mainly because it had once enjoyed the support of the CIA. But when Saddam was really being attacked, as in the case of his use of chemical weapons on noncombatants at Halabja, Edward gave second-hand currency to the falsified story that it had 'really' been the Iranians who had done it. If that didn't work, well, hadn't the United States sold Saddam the weaponry in the first place? Finally, and always—and this question wasn't automatically discredited by being a change of subject—what about Israel's unwanted and ugly rule over more and more millions of non-Jews? I evolved a test for this mentality, which I applied to more people than Edward. What would, or did, the relevant person say when the United States intervened to stop the massacres and dispossessions in Bosnia-Herzegovina and Kosovo? Here were two majority-Muslim territories and populations being vilely mistreated by Orthodox and Catholic Christians. There was no oil in the region. The state interests of Israel were not involved (indeed, Ariel Sharon publicly opposed the return of the Kosovar refugees to their homes on the grounds that it set an alarming—I want to say 'unsettling'—precedent). The usual national-security 'hawks,' like Henry Kissinger, were also strongly opposed to the mission. One evening at Edward's apartment, with the other guest being the mercurial, courageous Azmi Bishara, then one of the more distinguished Arab members of the Israeli parliament, I was finally able to leave the arguing to someone else. Bishara [...] was quite shocked that Edward would not lend public support to Clinton for finally doing the right thing in the Balkans. Why was he being so stubborn? I had begun by then—belatedly you may say—to guess. Rather like our then-friend Noam Chomsky, Edward in the final instance believed that if the United States was doing something, then that thing could not by definition be a moral or ethical action.