Borderland Quotes

Dreams and death were old friends of his. He knew how to navigate their dark borderland.

The borderlands of madness used to have much sterner signage around them than they do now.

Wild tongues can't be tamed, they can only be cut out.

To survive the Borderlands you must live sin fronteras be a crossroads.

Who is to say that robbing a people of its language is less violent than war?

They are twilight creatures, beings of dawn and dusk, of standing between one thing and another, of not quite and almost, of borderlands and shadows.

We''re all misfits here,” he says, almost proudly. “That's why I started this squat, after all.  For people like us, who don't fit in anywhere else.  Halfies and homos and hopeless romantics, the outcast and outrageous and terminally weird.  That's where art comes from, Jimmy, my friend.  From our weirdnesses and our differences, from our manic fixations, our obsessions, our passions.  From all those wild and wacky things that make each of us unique.

I can't seem to stay out of my own way.

I will have my serpent’s tongue - my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.

I live in the borderlands. The word ghost sounds like memory. The word therapy means exorcism. My visions echo and multiplymultiply. I don't know how to figure out what they mean. I can't tell where they start or if they will end. But I know this. If they shrink my head any more, or float me away on an ocean of pills, I will never return.

The U.S-Mexican border es una herida abierta where the Third World grates against the first and bleeds. And before a scab forms it hemorrhages again, the lifeblood of two worlds merging to form a third country — a border culture. Borders are set up to define the places that are safe and unsafe, to distinguish us from them. A border is a dividing line, a narrow strip along a steep edge. A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants.

This land was Mexican once, was Indian always and is. And will be again.

I am convinced that poets are toddlers in a cathedral, slobbering on wooden blocks and piling them up in the light of the stained glass. We can hardly make anything beautiful that wasn’t beautiful in the first place. We aren’t writers, but gleeful rearrangers of words whose meanings we can’t begin to know. When we manage to make something pretty, it’s only so because we are ourselves a flourish on a greater canvas. That means there’s no end to the discovery. We may crawl around the cathedral floor for ages before we grow up enough to reach the doorknob and walk outside into a garden of delights. Beyond that, the city, then the rolling hills, then the sea. And when the world of every cell has been limned and painted and sung, we lie back on the grass, satisfied that our work is done. Then, of course, the sun sets and we see above us the dark dome of glittering stars. On and on it goes, all the way to the lightless borderlands of time and space, which we come to discover in some future age are but the beginnings or endings of a single word spoken from the mouth of God. Some nights, while I traipse down the hill, I imagine that word isn’t a word at all, but a burst of laughter.

Like all people, we perceive the version of reality that our culture communicates. Like others having or living in more than one culture, we get multiple, often opposing messages. The coming together of two self-consistent but habitually incomparable frames of reference causes un choque, a cultural collision.

She lifted her head. "It's easier," she said, slowly, "to be angry on someone else's behalf than on my own. And yet I find I have a well of anger in me, that I have been filling for years from my own hurts. If I spill it out in defense of another, I can deny it's mine.

The greatest mathematics has the simplicity and inevitableness of supreme poetry and music, standing on the borderland of all that is wonderful in Science, and all that is beautiful in Art.

Why is language in the Borderlands so weird? Some of it’s modern, and some of it’s medieval, and I guess that makes sense with the influx of a certain amount of new blood to the training camp every year, but how do some words and phrases transfer, while others don’t? Why do you know the word ‘jerk’ and not the word ‘bisexual’?” “I guess people say the first word more,” said Luke.

I am in between. Trying to write to be understood by those who matter to me, yet also trying to push my mind with ideas beyond the everyday. It is another borderland I inhabit. Not quite here nor there. On good days I feel I am a bridge. On bad days I just feel alone.

when he possessed her, they seemed to swoon together at the very borderland of life’s mystery.

Does Britannia, when she sleeps, dream? Is America her dream?-- in which all that cannot pass in the metropolitan Wakefulness is allow'd Expression away in the restless Slumber of these Provinces, and on West-ward, wherever 'tis not yet mapp'd, nor written down, nor ever, by the majority of Mankind, seen,-- serving as a very Rubbish-Tip for subjunctive Hopes, for all that may yet be true,-- Earthly Paradise, Fountain of Youth, Realms of Prester John, Christ's Kingdom, ever behind the sunset, safe til the next Territory to the West be seen and recorded, measur'd and tied in, back into the Net-Work of Points already known, that slowly triangulates its Way into the Continent, changing all from subjunctive to declarative, reducing Possibilities to Simplicities that serve the ends of Governments,-- winning away from the realm of the Sacred, its Borderlands one by one, and assuming them unto the bare mortal World that is our home, and our Despair.

At some point, on our way to a new consciousness, we will have to leave the opposite bank, the split between the two mortal combatants somehow healed so that we are on both shores at once and, at once, see through serpent and eagle eyes. -- Borderlands/La Frontera (1987)

I took comfort, as a kid, in knowing that things had always been as awful and as wonderful as they were now, that the world was always on the edge of total destruction.

Nothing happens in the "real" world unless it first happens in the images in our heads

Esos movimientos de rebeldia que tenemos en la sangre nosotros los mexicanos surgen como rios desbocanados en mis venas.

I guess even at nine I had a serious lack of spiritual purity, for my wounds soured within two days, and for nine weeks I lay in fever, chasing dark dreams along death’s borderlands.

Literature, like magic, has always been about the handling of secrets, about the pain, the destruction, and the marvelous liberation that can result when they are revealed. Telling the truth when the truth matters most is almost always a frightening prospect. If a writer doesn't give away secrets, his own or those of the people he loves; if she doesn't court disapproval, reproach, and general wrath, whether of friends, family, or party apparatchiks; if the writer submits his work to an internal censor long before anyone else can get their hands on it, the result is pallid, inanimate, a lump of earth.

I preferred the world of imagination to the death of sleep

Living on borders and in margins, keeping intact one's shifting and multiple identity and integrity, is like trying to swim in a new element, an 'alien' element.

I’ve always liked edges, places where one thing becomes another…… transition zones, boundaries and borderlands. I like the mixing that happens, the juxtapositions, the collisions and connections. I like the way they help me see the world from a fresh angle.

Grief is always sudden as winter, no matter how long the autumn.

You have to break an omelette to make eggs.

Yeah, but I thought mushrooms were a kind of fungus!' Teddy says. 'You know, like mould. You can't get mould growing on mould, can you? It'd be like a weird incestuous fungal party.

Only five of the Bodyguards reached Fal Moran alive, every man wounded, but they had the child unharmed. From the cradle they taught him all they knew. He learned weapons as other children learn toys, and the Blight as other children their mother’s garden. The oath sworn over his cradle is graven in his mind. There is nothing left to defend, but he can avenge. He denies his titles, yet in the Borderlands he is called the Uncrowned, and if ever he raised the Golden Crane of Malkier, an army would come to follow. But he will not lead men to their deaths. In the Blight he courts death as a suitor courts a maiden, but he will not lead others to it.

Outside our consciousness there lies the cold and alien world of actual things. Between the two stretches the narrow borderland of the senses. No communication between the two worlds is possible excepting across the narrow strip. For a proper understanding of ourselves and of the world, it is of the highest importance that this borderland should be thoroughly explored.” Heinrich Hertz’ Keynote Address at the Imperial Palace, Berlin, August, 1891

Is negative space the space you don't like, or the space that is not there? And if it's not there how can you tell?

One thing I hate about being ill is that no one believes it unless I share it all with them, and even then they don’t act on it.

There had stood a great house in the centre of the gardens, where now was left only that fragment of ruin. This house had been empty for a great while; years before his—the ancient man's—birth. It was a place shunned by the people of the village, as it had been shunned by their fathers before them. There were many things said about it, and all were of evil. No one ever went near it, either by day or night. In the village it was a synonym of all that is unholy and dreadful.

I sit here before my computer, Amiguita, my altar on top of the monitor with the Virgen de Coatlalopeuh candle and copal incense burning. My companion, a wooden serpent staff with feathers, is to my right while I ponder the ways metaphor and symbol concretize the spirit and etherealize the body. The Writing is my whole life, it is my obsession. This vampire which is my talent does not suffer other suitors. Daily I court it, offer my neck to its teeth. This is the sacrifice that the act of creation requires, a blood sacrifice. For only through the body, through the pulling of flesh, can the human soul be transformed. And for images, words, stories to have this transformative power, they must arise from the human body--flesh and bone--and from the Earth's body--stone, sky, liquid, soil. This work, these images, piercing tongue or ear lobes with cactus needle, are my offerings, are my Aztecan blood sacrifices.

All literature, highbrow or low, from the Aeneid onward, is fan fiction....Through parody and pastiche, allusion and homage, retelling and reimagining the stories that were told before us and that we have come of age loving--amateurs--we proceed, seeking out the blank places in the map that our favorite writers, in their greatness and negligence, have left for us, hoping to pass on to our own readers--should we be lucky enough to find any--some of the pleasure that we ourselves have taken in the stuff that we love: to get in on the game. All novels are sequels; influence is bliss.

It is our custom to consume the person we love. Taboo flesh: swollen genitalia nipples the scrotum the vulva the soles of the feet the palm of the hand heart and liver taste best. Cannibalism is blessed. I'll wear your jawbone round my neck listen to your vertebrae bone tapping bone in my wrists. I'll string your fingers round my waist - what a rigorous embrace. Over my heart I'll wear a brooch with a lock of hair. Nights I'll sleep cradling your skull sharpening my teeth on your toothless grin. Sundays there's Mass and communion and I'll put your relics to rest.

Poverty ennobles no one; it brutalizes common people and makes them hungry and old.

Entertainment has a bad name...The word wears spandex, pasties, a leisure suit studded with blinking lights.

There is a moment between waking and sleeping and between sleeping and waking when the mind seems to be in many places at once, when memories mingle with dreams, when what has been and what is yet to be exist side by side, and when the mind slips free of time and personality to wander in strange halls where the familiar and the strange become indistinguishable and ghosts and visions walk hand in hand. Aelis tumbled toward sleep and fell into this place, to the mind's borderlands, where magic is.

The immutable, awful quiet of a dying world.

With death staring you in the face, you truly understand what it means to be alive.

Country folk talked, that was all. Whether in the borderlands or the baronies, gossip was ever the chief sport.

Who has searched or sought All the unexplored and spacious Universe of thought? Who, in his own skill confiding, Shall with rule and line Mark the border-land dividing Human and divine?

When I read these words I saw at once a connection to my own work. Anything good that I have written has, at some point during its composition, left me feeling uneasy and afraid. It has seemed, for a moment at least, to put me at risk.

Reason is always reasonable, even in the last limbo, in the lost borderland of all things. I know that people charge the Church with lowering reason, but it is really the other way. Alone on earth, the Church makes reason really supreme. Alone on earth, the Church affirms that God Himself is bound by reason.

Do you know what the first poet said about our kind, young Ren? 'Cats are the great mystery, born in that space where shadow meets light ... that borderland of dreams and death, and death and life. No door is closed against us. No secret can defy us. We exist in every world, every universe, every possibility. We cannot be denied, not even by the dead.' We are magnificent, Ren Mormorian. We are fucking glorious.

The boundary between the real and the unreal had been let down in Foote's mind, and between the comings and goings of the cloud-shadows and the dark errands of the ghosts there was no longer any way of making a selection. He had entered the cobwebby borderland between the human and the animal, where nothing is ever more than half true, and only as much as half true for the moment. ("There Shall Be No Darkness")

And then, suddenly, an extraordinary question rose in my mind, whether this stupendous globe of green fire might not be the vast Central Sun—the great sun, round which our universe and countless others revolve. I felt confused. I thought of the probable end of the dead sun, and another suggestion came, dumbly—Do the dead stars make the Green Sun their grave? The idea appealed to me with no sense of grotesqueness; but rather as something both possible and probable.

The only proper response to privilege is to grip it like a baseball bat and shatter injustice with all of your might.

It seems odd that a story about a gift-the possibility of a new life in a new and prosperous country-begins with a thief, but in some ways this one does.

Supernatural fiction contains its own generic borderland: a neutral territory, which Tzvetan Todorov calls 'the fantastic,' between 'the marvelous' and 'the uncanny.' According to Todorov, 'The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.' Once the event is satisfactorily explained (and sometimes it is never explained), we have left the fantastic for an adjacent genre - either 'the uncanny,' where the apparently supernatural is revealed as illusory, or 'the marvelous,' where the laws of ordinary reality must be revised to incorporate the supernatural. As long as uncertainty reigns, however, we are in the ambiguous realm of the fantastic.

It seems to Werner that the space between whatever has happened already and whatever is to come hovers an invisible borderland, the known on one side and the unknown on the other. He thinks of the girl who may or may not be in the city behind him.

Horror grows impatient, rhetorically, with the Stoic fatalism of Ecclesiastes. That we are all going to die, that death mocks and cancels every one of our acts and attainments and every moment of our life histories, this knowledge is to storytelling what rust is to oxidation; the writer of horror holds with those who favor fire. The horror writer is not content to report on death as the universal system of human weather; he or she chases tornadoes. Horror is Stoicism with a taste for spectacle.

The answer to the problem between the white race and the colored, between males and females, lies in healing the split that originates in the very foundation of our lives, our culture, our languages, our thoughts. A massive uprooting of dualistic thinking in the individual and collective consciousness is the beginning of a long struggle, but one that could in our best hopes, bring us to the end of rape, of violence, of war.

Reading about Bordertown was the first time I saw people like me in speculative fiction. Messed-up kids, making messsed-up choices. I couldn't be a magician's apprentice or a pig keeper who might or might not be a king's son or a princess with a prophecy hanging over my head. But I could, maybe, somehow, be part of a community of artists who loved magic.

And though I had misgiving--obvious ones, too--one overwhelming thing drove me on: on the borderlands, my father would need me as much as I'd need him. That's what made me so blindly ready to go off with him. What boy doesn't wait his whole childhood to walk alongside his father on equal terms?

It was the pleasure that a liar takes in his lie as it enters the world wearing the accent and raiment of the truth, sounding so right and plausible that--if he is any kind of liar at all--he begins, himself, to believe it. It was the pleasure that a maker of golems takes as the force of his words, the rhythm and accuracy of his alphabetical spells, blow life into the cold clay nostrils, and the great stony hand unclenches and reaches for his own.

Quantum mechanics. What a repository, a dump, of human aspiration it was, the borderland where mathematical rigor defeated common sense, and reason and fantasy irrationally merged. Here the mystically inclined could find whatever they required and claim science as their proof. And for these ingenious men in their spare time, what ghostly and beautiful music it must be--spectral asymmetry, resonances, entanglement, quantum harmonic oscillators--beguiling ancient airs, the harmony of the spheres that might transmute a lead wall into gold and bring into being the engine that ran on virtually nothing, on virtual particles, that emitted no harm and would power the human enterprise as well as save it. Beard was stirred by the yearnings of these lonely men. And why should he think they were lonely? It was not, or not only, condescension that made him think them so. They did not know enough, but they knew too much to have anyone to talk to. What mate waiting down the pub or in the British Legion, what hard-pressed wife with job and kids and housework, was going to follow them down these warped funnels in the space-time continuum, into the wormhole, the shortcut to a single, final answer to the global problem of energy?

Yet entertainment--as I define it, pleasure and all--remains the only sure means we have of bridging, or at least of feeling as if we have bridged, the gulf of consciousness that separates each of us from everybody else. The best response to those who would cheapen and exploit it is not to disparage or repudiate but to reclaim entertainment as a job fit for artists and for audiences, a two-way exchange of attention, experience, and the universal hunger for connection.

The Borderlander’s combative culture has provided a large proportion of the nation’s military, from officers like Andrew Jackson, Davy Crockett, and Douglas MacArthur to the enlisted men fighting in Afghanistan and Iraq. They also gave the continent bluegrass and country music, stock car racing, and Evangelical fundamentalism.

But the recurrent ambiguity of the American tale of the supernatural reveals both a fascination with the possibility of numinous experience and a perplexity about whether there was, in fact, anything numinous to be experienced. Writers often delighted in leading readers into, but not out of, the haunted dusk of the borderland.

No,” said the other priest; “reason is always reasonable, even in the last limbo, in the lost borderland of things. I know that people charge the Church with lowering reason, but it is just the other way. Alone on earth, the Church makes reason really supreme. Alone on earth, the Church affirms that God himself is bound by reason.

Chorea—a twinkling movement or motor scintillation—does not have its origin in the cerebral cortex, but in the deeper parts of the brain, the basal ganglia and upper brainstem, which are the parts that mediate normal awakening. Thus these observations of chorea during migraine support the notion that migraine is a form of arousal disorder, something located in the strange borderlands of sleep—a disorder which has its origin deep in the brainstem, and not superficially, in the cortical mantle, as is often supposed (a

Do you know the origin of the word “utopia”? The English philosopher, Thomas More, created this word with intense irony in mind. In Greek, it means “A place that does not exist”. Maybe this is for the best... A paradise... Is not something man should be able to create.

Here march the eaters of earth, the swallowers of rain.

You’re a surly, misanthropic git, aren’t you, Ryan?” she said, rhetorically. “I have no idea why I like you so much.

Even as the world sleeps, radio lives on.

You're not bothering me. I'm not doing anything." Well, I was breathing, and my heart was beating. But the rest of me wasn't busy.

I only laid the cobbles for the streets of Bordertown; it took all of us, an entire community, to bring the city to life. And that’s as it should be. Community, friendship, art: stirred together, they make a powerful magic. Used wisely, it can save your life. I know that it saved mine.

(Humans, take note: You can refer to the Realm as “Faerie” without causing offense, but do not make the mistake of referring to its citizens as “fairies”—unless you want to be punched.) Elfhaeme

Deep Southerners assumed Appalachia would rally to the Confederacy because of a shared doctrine of white supremacy. Instead, Borderlanders did as they always had: they took up arms against whatever enemy they felt was the greatest threat, and fought ferociously against them. To the planters’ shock, most Appalachian people regarded them as a greater threat to their liberty than the Yankees.

I mean, there’s like a natural law, like the law of gravity. But you don’t go to jail for violating gravity, right?” She snorted. “No, usually you go to the hospital for trying to violate gravity.

I've often been accused of harnessing genre strategies to mainstream ends. I do concede that relationships, characters, and introspection are my primary interest. The fanciful is of a secondary order of importance; I usually use it to approach the large issue of perception, so that my fantastical elements, while intended as real within the stories, occupy some borderland between reality and psychology.

Six days, and I have eaten nothing. It is night. I am sitting in my chair. Ah, God! I wonder have any ever felt the horror of life that I have come to know? I am swathed in terror. I feel ever the burning of this dread growth. It has covered all my right arm and side, and is beginning to creep up my neck. To-morrow, it will eat into my face. I shall become a terrible mass of living corruption. There is no escape. Yet, a thought has come to me, born of a sight of the gun-rack, on the other side of the room. I have looked again—with the strangest of feelings. The thought grows upon me. God, Thou knowest, Thou must know, that death is better, aye, better a thousand times than This. This! Jesus, forgive me, but I cannot live, cannot, cannot! I dare not! I am beyond all help—there is nothing else left. It will, at least, spare me that final horror… … . "I think I must have been dozing. I am very weak, and oh! so miserable, so miserable and tired—tired. The rustle of the paper, tries my brain[…]

Harlan that allowed them to reproduce in the New World the culture of honor they had created in the Old World. “To the first settlers, the American backcountry was a dangerous environment, just as the British borderlands had been,” the historian David Hackett Fischer writes in Albion’s Seed. Much of the southern highlands were “debatable lands” in the border sense of a contested territory without established government or the rule of law. The borderers were more at home

Back in the "leather and lace" eighties, I was the fantasy editor for a publishing company in New York City. It was a great time to be young and footloose on the streets of Manhattan—punk rock and folk music were everywhere; Blondie, the Eurythmics, Cyndi Lauper, and Prince were all strutting their stuff on the newly created MTV; and the eighties' sense of style meant I could wear my scruffy black leather into the office without turning too many heads. The fantasy field was growing by leaps and bounds, and I was right in the middle of it, working with authors I'd worshiped as a teen, and finding new ones to encourage and publish.

A story is never really moving and successful without the imperturbable continuity which is never part of real life, but which is to be found on the borderland between reality and reverie. If Gobineau himself had gone to Vilna he would have got bored and come back, or would have settled down comfortably. But Casimir never experienced any desire to change nor did he ever wake cured of his love. He went to the bitter end, like Heathcliff, who wanted to go beyond death in order to reach the very depths of hell. Here we have an imaginary world, therefore, which is created by the rectification of the actual world—a world where suffering can, if it wishes, continue until death, where passions are never distracted, where people are prey to obsessions and are always present to one another. Man is finally able to give himself the alleviating form and limits which he pursues in vain in his own life. The novel creates destiny to suit any eventuality. In this way it competes with creation and, provisionally, conquers death.

The fantastic postulates that there are forces in the outside world, and in our own natures, which we can neither know nor control, and these forces may even constitute the essence of our existence, beneath the comforting rational surface. The fantastic is, moreover, a product of human imagination, perhaps even an excess of imagination. It arises when laws thought to be absolute are transcended, in the borderland between life and death, the animate and the inanimate, the self and the world; it arises when the real turns into the unreal, and the solid presence into vision, dream or hallucination. The fantastic is the unexpected occurrence, the startling novelty which goes contrary to all our expectations of what is possible. The ego multiplies and splits, time and space are distorted.

but a mind is blown when something that you always feared but knew to be impossible turns out to be true; when the world turns out to be far vaster, far more marvelous or malevolent than you ever dreamed; when you get proof that everything is connected to everything else, that everything you know is wrong, that you are both the center of the universe and a tiny speck sailing off its nethermost edge.

[Author's note:] When I decided to write this book, I worried that my privilege would make me blind to certain truths, that I would get things wrong, as I may well have. I worried that, as a non-immigrant and non-Mexican, I had no business writing a book set almost entirely in Mexico, set entirely among migrants. I wished someone slightly browner than me would write it. But then I thought, 'If you're a person who has the capacity to be a bridge, why not be a bridge?' So I began. In the early days of my research, before I'd fully convinced myself that I should undertake the telling of this story, I was interviewing a very generous scholar, a remarkable woman who was chair of the Chicana and Chicano studies Department at San Diego State University. Her name is Norma Iglesias Prieto, and I mentioned my doubts to her. I told her I felt compelled, but unqualified, to write this book. She said, "Jeanine. We need as many voices as we can get, telling this story." Her encouragement sustained me for the next four years. I was careful and deliberate in my research. I traveled extensively on both sides of the border and learned as much as I could about Mexico and migrants, about people living throughout the borderlands. The statistics in this book are all true, and though I changed some names, most of the places are real, too. But the characters, while representative of the folks I met during my travels, are fictional.

Humans fear the supernatural, both the undivine ( the animal impulses such as sexuality, the unconscious, the unknown, the alien) and the divine (the superhuman, the god in us). Culture and religion seek to protect us from these two forces. The female, by virtue of creating entities of flash and blood in her stomach (she bleeds every month but does not die) by virtue of being in tune with nature's cycles, is feared. Because, according to Christianity and most other major religions, woman is carnal, animal, and closer to the undivine, she must be protected. Protected from herself. Woman is the stranger, the other. She is man's recognized nightmarish pieces, his Shadow-Beast. The sight of her sends him into a frenzy of anger and fear.

Like many of the kids I write about, I once was a runaway myself—and a few (but not all) of the other writers in the series also come from troubled backgrounds. That early experience influences my fiction, no doubt, but I don't think it's necessary to come from such a background in order to write a good Bordertown tale. To me, "running away to Bordertown" is as much a metaphorical act as an actual one. These tales aren't just for kids who have literally run away from home, but also for every kid, every person, who "runs away" from a difficult or constrictive past to build a different kind of life in some new place. Some of us "run away" to college . . . or we "run away" to a distant city or state . . . or we "run away" from a safe, secure career path to follow our passions or artistic muse. We "run away" from places we don't belong, or from families we have never fit into. We "run away" to find ourselves, or to find others like ourselves, or to find a place where we finally truly belong. And that kind of "running away from home"—the everyday, metaphorical kind—can be just as hard, lonely, and disorienting as crossing the Nevernever to Bordertown . . . particularly when you're in your teens, or early twenties, and your resources (both inner and outer) are still limited. I want to tell stories for young people who are making that journey, or contemplating making that journey. Stories in which friendship, community, and art is the "magic" that lights the way. (speaking about the Borderland series she "founded")

Ukraine, in contrast, had deep ethnic, cultural, and economic ties to Russia—and to Putin. It was the historical root of Russia itself: Kievan Rus, the medieval fief whose leader, Vladimir the Great, adopted Christianity in 988, and the frontier of the tsarist empires that followed—its name translated literally as the Ukraine, or “the border.” Its borders had shifted over time: Parts of its western territory had belonged to Poland or the Austro-Hungarian Empire; Stalin seized some of it with his secret pact with Hitler in 1939 and the rest after the end of the Great Patriotic War. Ukraine’s modern shape took form, but it seemed ephemeral, subject to the larger forces of geopolitics, as most borderlands have been throughout history. In 1954, Nikita Khrushchev decreed that Crimea, conquered by Catherine the Great in the eighteenth century and heroically defended against the Nazis, would be governed by the Ukrainian Soviet Socialist Republic from Kiev, not from Moscow. No

On various occasions, especially in trying to think of western American history in the context of the worldwide history of colonialism, it has struck me that much of the mental behavior that we sometimes denounce as ethnocentrism and cultural insensitivity actually derives less from our indifference or hostility than from our clumsiness and awkwardness when we leave the comfort of the English language behind... [V]enturing outside the bounds of the English language exercises and stretches our minds in ways that are essential for getting as close as we can to the act of seeing the world from what would otherwise remain unfamiliar and alien perspectives.

Given the obstacles to merging these fragile and diverse forms of storytelling into a single tale, it is, paradoxically, by venturing in the opposite direction -- by listening for the silences between accounts; by discovering what each genre of recordkeeping cannot tell us -- that we can capture most fully the human struggle to understand our elusive past. What this past asks of us in return is a willingness to recount all our stories -- our darkest tales as well as our most inspiring ones -- and to ponder those stories that violence has silenced forever. For until we recognize our shared capacity for inhumanity, how can we ever hope to tell stories of our mutual humanity?

The idea of Appalachia is well understood; the real place, less so. It is a borderland, not truly of the South or the North, and West Virginia is the only state entirely within its bounds. Because of its enormous natural resources and their subsequent extraction, which has largely profited corporations based elsewhere, the relationship between the people of West Virginia and the broader United States of America is often compared to that between a colonized people and their colonizers. The programs of Lyndon Johnson’s War on Poverty that funneled national dollars and aid workers to central Appalachia, though founded on humanitarian ideas, also furthered this troubled interdependency.

Quantum mechanics. What a repository, a dump, of human aspiration it was, the borderland where mathematical rigor defeated common sense, and reason and fantasy irrationally merged. Here the mystically inclined could find whatever they required and claim science as their proof. And for these ingenious men in their spare time, what ghostly and beautiful music it must be—spectral asymmetry, resonances, entanglement, quantum harmonic oscillators—beguiling ancient airs, the harmony of the spheres that might transmute a lead wall into gold and bring into being the engine that ran on virtually nothing, on virtual particles, that emitted no harm and would power the human enterprise as well as save it.

So the Juárez/El Paso area before the recent drug violence was not a bilingual, bi-national, bicultural Zion, but it was one world. One entity. One place. One city where you could live in between worlds, and have the hope of creating something new. A third way to be, not along the border, but on the border. That is what the violence has destroyed, that unity, however tenuous it ever was. It has destroyed the idea of that unity and the reality of living so uniquely astride an international border. This ‘real idea’ was always a work-in-progress, and for the moment it is lost. Yet that real idea of unity had great value.

I step on the stage and find the lights blazing against me and yet in the same distance pulling me forward. I am like something left over after a storm. Slight, a waif. It is like I am underwater in a pool of brightness. Slowly slowly I walk down towards the men. (...) I guess they don't know what they are seeing. I guess it is true they are seeing a lovely woman. Soft-breasted woman (...) I might be one of the footlights, with a burning wick for a heart. I don't utter a blessed word. (...) John Cole all spit and polish approaches from the far side of the stage and we hear the men draw in their breath like a sea tide drawing back on the shingle of a beach. He approaches and approaches. They know I'm a man because they have read it on the bill. But I'm suspecting that every one of them would like to touch me and now John Cole is their ambassador of kisses. Slowly slowly he edges nearer. He reaches out a hand, so openly and plainly that I believe I am going to expire. The held-in breath of the audience is not let out again. Half a minute passes. It is unlikely any of them could of holded their breath like this underwater. They have found new lungs. Down down we go under them waters of desire. Every last man, young and old, wants John Cole to touch my face, hold my narrow shoulders, put his mouth against my lips. Handsome John Cole, my beau. Our love in plain sight. Then the lungs of the audience giving out, and a rasping rush of sound. We have reached the very borderland of our act, the strange frontier. (…) We part like dancers, we briefly go down to our patrons, we briefly bow, and then we have turned and are gone. As if for ever. They have seen something they don’t understand and partly do, in the same breath. We have done something we don’t understand neither and partly do.

An addiction (a repetitious act) is a ritual to help one through a trying time; its repetition safeguards the passage, it becomes one's talisman, one's touchstone. If it sticks around after having outlived its usefulness, we become "stuck" in it and it takes possession of us. But we need to be arrested. Some past experience or condition has created this need. This stopping is a survival mechanism, but one which must vanish when it's no longer needed if growth is to occur.

(W.D.) Howells asserted that the Americans' 'love of the supernatural is their common inheritance from no particular ancestry.' Their fiction, he added, often gathers in the gray 'twilight of the reason,' on 'the borderland between experience and illusion." Howells's geographical metaphor was derived, of course, from Hawthorne's idea of a moonlit 'neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other.' Whether literally, as in Cooper's The Spy, or metaphorically, as in Hawthorne's works, the neutral territory/borderland was the familiar setting of the American romance. As American writers came to realize, not only was there a borderland between East and West, civilization and wilderness, but also between the here and the hereafter, between conscious and unconscious, 'experience and illusion' - psychic frontiers on the edge of territories both enticing and terrifying.

This is the moment of Lydia's crossing. Here at the back of this cave somewhere in the Tumacacori Mountains, Lydia sheds the violent skin of everything that's happened to her. It rolls down from her tingling scalp off the mantle of her shoulders and down the length of her body. She breathes it out. She spits it into the dirt. Javier. Marta. Everything. Her entire life before this moment. Every person she loved who is gone. Her monumental regret. She will leave it here. She stands at Lorenzo's feet. She turns away from him. 'I forgive you,' she says.

The Road is not a record of fatherly fidelity; it is a testament to the abyss of a parent’s greatest fears. The fear of leaving your child alone, of dying before your child has reached adulthood and learned to work the mechanisms and face the dangers of the world, or found a new partner to face them with. The fear of one day being obliged for your child’s own good, for his peace and comfort, to do violence to him or even end his life. And, above all, the fear of knowing—as every parent fears—that you have left your children a world more damaged, more poisoned, more base and violent and cheerless and toxic, more doomed, than the one you inherited. It is in the audacity and single-mindedness with which The Road extends the metaphor of a father’s guilt and heartbreak over abandoning his son to shift for himself in a ruined, friendless world that The Road finds its great power to move and horrify the reader.

Al’Akir and his Queen, el’Leanna, had Lan brought to them in his cradle. Into his infant hands they placed the sword of Malkieri kings, the sword he wears today. A weapon made by Aes Sedai during the War of Power, the War of the Shadow that brought down the Age of Legends. They anointed his head with oil, naming him Dai Shan, a Diademed Battle Lord, and consecrated him as the next King of the Malkieri, and in his name they swore the ancient oath of Malkieri kings and queens.” Agelmar’s face hardened, and he spoke the words as if he, too, had sworn that oath, or one much similar. “To stand against the Shadow so long as iron is hard and stone abides. To defend the Malkieri while one drop of blood remains. To avenge what cannot be defended.” The words rang in the chamber. “El’Leanna placed a locket around her son’s neck, for remembrance, and the infant, wrapped in swaddling clothes by the Queen’s own hand, was given over to twenty chosen from the King’s Bodyguard, the best swordsmen, the most deadly fighters. Their command: to carry the child to Fal Moran. “Then did al’Akir and el’Leanna lead the Malkieri out to face the Shadow one last time. There they died, at Herat’s Crossing, and the Malkieri died, and the Seven Towers were broken. Shienar, and Arafel, and Kandor, met the Halfmen and the Trollocs at the Stair of Jehaan and threw them back, but not as far as they had been. Most of Malkier remained in Trolloc hands, and year by year, mile by mile, the Blight has swallowed it.” Agelmar drew a heavyhearted breath. When he went on, there was a sad pride in his eyes and voice. “Only five of the Bodyguards reached Fal Moran alive, every man wounded, but they had the child unharmed. From the cradle they taught him all they knew. He learned weapons as other children learn toys, and the Blight as other children their mother’s garden. The oath sworn over his cradle is graven in his mind. There is nothing left to defend, but he can avenge. He denies his titles, yet in the Borderlands he is called the Uncrowned, and if ever he raised the Golden Crane of Malkier, an army would come to follow. But he will not lead men to their deaths. In the Blight he courts death as a suitor courts a maiden, but he will not lead others to it. “If you must enter the Blight, and with only a few, there is no man better to take you there, nor to bring you safely out again. He is the best of the Warders, and that means the best of the best.

Compañera, cuando amábamos (for Juanita Ramos and other spik dykes) ¿Volverán, campañera, esas tardes sordas Cuando nos amábamos tiradas en las sombras bajo otoño? Mis ojos clavados en tu mirada Tu mirada que siempre retiraba al mundo Esas tardes cuando nos acostábamos en las nubes Mano en mano nos paseábamos por las calles Entre niños jugando handball Vendedores y sus sabores de carne chamuzcada. La gente mirando nuestras manos Nos pescaban los ojos y se sonreían cómplices en este asunto del aire suave. En un café u otro nos sentábamos bien cerquita. Nos gustaba todo: las bodegas tiznadas La música de Silvio, el ruido de los trenes Y habichuelas. Compañera, ¿Volverán esas tardes sordas cuando nos amábamos? ¿Te acuerdas cuando te decía ¡tócame!? ¿Cuándo ilesa carne buscaba carne y dientes labios En los laberintos de tus bocas? Esas tardes, islas no descubiertas Cuando caminábamos hasta la orilla. Mis dedos lentos andaban las lomas de tus pechos, Recorriendo la llanura de tu espalda Tus moras hinchándose en mi boca La cueva mojada y racima. Tu corazón en mi lengua hasta en mis sueños. Dos pescadoras nadando en los mares Buscando esa perla. ¿No te acuerdas como nos amábamos, compañera? ¿Volverán esas tardes cuando vacilábamos Pasos largos, manos entrelazadas en la playa? Las gaviotas y las brizas Dos manfloras vagas en una isla de mutua melodía. Tus tiernas palmas y los planetas que se caián. Esas tardes tiñadas de mojo Cuando nos entregábamos a las olas Cuando nos tirábamos En el zacate del parque Dos cuerpos de mujer bajo los árboles Mirando los barcos cruzando el río Tus pestañas barriendo mi cara Dormitando, oliendo tu piel de amapola. Dos extranjeras al borde del abismo Yo caía descabellada encima de tu cuerpo Sobre las lunas llenas de tus pechos Esas tardes cuando se mecía el mundo con mi resuello Dos mujeres que hacían una sola sombra bailarina Esas tardes andábamos hasta que las lámparas Se prendían en las avenidas. ¿Volverán, Compañera, esas tardes  cuando nos amábanos?

I lived in New York City back in the 1980s, which is when the Bordertown series was created. New York was a different place then -- dirtier, edgier, more dangerous, but also in some ways more exciting. The downtown music scene was exploding -- punk and folk music were everywhere -- and it wasn't as expensive to live there then, so a lot of young artists, musicians, writers, etc. etc. were all living and doing crazy things in scruffy neighborhoods like the East Village. I was a Fantasy Editor for a publishing company back then -- but in those days, "fantasy" to most people meant "imaginary world" books, like Tolkien's Lord of the Rings. A number of the younger writers in the field, however, wanted to create a branch of fantasy that was rooted in contemporary, urban North America, rather than medieval or pastoral Europe. I'd already been working with some of these folks (Charles de Lint, Emma Bull, etc.), who were writing novels that would become the foundations for the current Urban Fantasy field. At the time, these kinds of stories were considered so strange and different, it was actually hard to get them into print. When I was asked by a publishing company to create a shared-world anthology for Young Adult readers, I wanted to create an Urban Fantasy setting that was something like a magical version of New York...but I didn't want it to actually be New York. I want it to be any city and every city -- a place that anyone from anywhere could go to or relate to. The idea of placing it on the border of Elfland came from the fact that I'd just re-read a fantasy classic called The King of Elfland's Daughter by the Irish writer Lord Dunsany. I love stories that take place on the borderlands between two different worlds...and so I borrowed this concept, but adapted it to a modern, punky, urban setting. I drew upon elements of the various cities I knew best -- New York, Boston, London, Dublin, maybe even a little of Mexico City, where I'd been for a little while as a teen -- and scrambled them up and turned them into Bordertown. There actually IS a Mad River in southern Ohio (where I went to college) and I always thought that was a great name, so I imported it to Bordertown. As for the water being red, that came from the river of blood in the Scottish folk ballad "Thomas the Rhymer," which Thomas must cross to get into Elfland. [speaking about the Borderland series she "founded" and how she came up with the setting. Link to source; Q&A with Holly, Ellen & Terri!]