Subversive Inspirational Quotes

Years ago I recognized my kinship with all living things, and I made up my mind that I was not one bit better than the meanest on the earth. I said then and I say now, that while there is a lower class, I am in it; while there is a criminal element, I am of it; while there is a soul in prison, I am not free.

The material world is all feminine. The feminine engergy makes the non-manifest, manifest. So even men (are of the feminine energy). We have to relinquish our ideas of gender in the conventional sense. This has nothing to do with gender, it has to do with energy. So feminine energy is what creates and allows anything which is non-manifest, like an idea, to come into form, into being, to be born. All that we experience in the world around us, absolutely everything (is feminine energy). The only way that anything exists is through the feminine force.

I know that many men and even women are afraid and angry when women do speak, because in this barbaric society, when women speak truly they speak subversively - they can't help it: if you're underneath, if you're kept down, you break out, you subvert. We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains. That's what I want - to hear you erupting. You young Mount St. Helenses who don't know the power in you - I want to hear you.

There are Tantrics who deliberately seek to do more active forms of renunciation, so transgression of social norms and breaking of taboo, and breaking of social taboos especially, is a form of renunciation.

Yossarian - the very sight of the name made Colonel Cathcart shudder. There were so many esses in it. It just had to be subversive. It was like the word "subversive" itself. It was like "seditious" and "insidious" too, and like "socialist," "suspicious," "fascist" and "Communist." It was an odious, alien, distasteful name, a name that just did not inspire confidence.

Grief is subversive, undermining the quiet agreement to behave and be in control of our emotions. It is an act of protest that declares our refusal to live numb and small. There is something feral about grief, something essentially outside the ordained and sanctioned behaviors of our culture. Because of that, grief is necessary to the vitality of the soul. Contrary to our fears, grief is suffused with life-force.... It is not a state of deadness or emotional flatness. Grief is alive, wild, untamed and cannot be domesticated. It resists the demands to remain passive and still. We move in jangled, unsettled, and riotous ways when grief takes hold of us. It is truly an emotion that rises from the soul.

Your thoughts are hallucinations – a spontaneous voice projected into your mind that is not real. We think of insanity as seeing people that aren’t there or hearing voices, but we all hear a voice in our head that convinces us that it is us, even though it often says crazy things and subversively tries to control us. This is a form of modern mass insanity and only by learning to quiet and tame the mind can we evolve.

A unifying factor between the different traditions and lineages of Tantra, is that it is feminine in nature. It acknowledges the feminine as the basis from which all the practices spring. Therefore, Tantra is by its nature, the understanding that all phenomenal existence, the universe, or cosmos, that we experience is feminine in nature.

In order to understand why one chooses to be a Tantric practitioner, there has to be an understanding of cause and effect, cyclic existence, the awareness that the reality that we think we are seeing is not reality as it really truly is. So enlightenment is seeing reality with bare awareness, non-conceptual reality.

Writers by nature are subversive, observant, and discerning, and their voice contains that.

Social change is a million individual acts of kindness; culture change is a million subversive acts of resistance.

There are Tantrics who deliberately break taboos and social norms and then there are other Tantrics who, by means of their practices and the way that they practice, that to society in general, it may have the appearance of breaking social norms but in fact that is just the manifestation of the progress of their practice.

There are tumults of the mind, when, like the great convulsions of Nature, all seems anarchy and returning chaos; yet often, in those moments of vast disturbance, as in the strife of Nature itself, some new principle of order, or some new impulse of conduct, develops itself, and controls, and regulates, and brings to an harmonious consequence, passions and elements which seem only to threaten despair and subversion.

Daring greatly is not about winning or losing. It's about courage. In a world where scarcity and shame dominate and feeling afraid has become second nature, vulnerability is subversive. Uncomfortable. It's even a little dangerous at times. And, without question, putting ourselves out there means there's a far greater risk of feeling hurt. But as I look back on my own life and what Daring Greatly has meant to me, I can honestly say that nothing is as uncomfortable, dangerous, and hurtful as believing that I'm standing on the outside of my life looking in and wondering what it would be like if I had the courage to show up and let myself be seen.

Writing has nothing to do with pretty manners, and less to do with sportsmanship or restraint [...] Every writer begins as a subversive, if in nothing more than the antisocial means by which he earns his keep. Finally, every fantasist who cannibalizes himself knows that misfortune is his friend, that grief feeds and sharpens his fancy, that hatred is as sufficient a spur to creation as love (and a world more common) and that without an instinct for lunacy he will come to nothing.

Over my entire career in editing, I don't think I've encountered more than half a dozen difficult authors. By "difficult," I mean a writer who simply does not want changes made to his manuscript and is not even prepared to discuss them. We know the stereotypes: The hotshot journalist jealous of every comma. The poet who claims that his misspellings and eccentric punctuation are inspired. Assistant professors writing a first book for tenure are notorious for their inflexibility, and understandably so: their futures are at stake. They take editing personally; red marks on their manuscripts are like little stab wounds. And then there are vain authors who quarrel when we lowercase their job titles, who want their photos plastered all over the piece or their names in larger type. And don't get me started on writers who don't know what they're talking about, writers who are your boss, writers who are former high school English teachers.

This belief in the truth of the image leaves us especially vulnerable to ideological coercion (which is not to say, of course, that the image cannot be subversive as well). The image, much more than the word, inspires trust, and this trust is precisely what ideology hopes to engender. This is why fascists rely so heavily on imagery. In fact, cultural theorist Paul Gilroy links the rise of the image to the rise of fascism in the mid-twentieth century.

The agency even had its own mascot—the Blue Eagle. Paying a disturbing, un-American kind of homage to this new, powerful, government agency, shopkeepers displayed the Blue Eagle in their store windows to advertise their compliance with the regulatory rules, and chorus girls wore emblems of the bird on their costumes.11 Consumers, meanwhile, were encouraged to shop only where the Blue Eagle was proudly displayed. In fact, the mascot inspired the name of the NFL franchise created in Philadelphia in 1933, the Philadelphia Eagles.

When it came to the frying of chicken, they took pity on the captors and incorporated the seasonings and spices of Africa- garlic, melegueta pepper, cloves, black peppercorns, cardamom, nutmeg, turmeric and even curry powder. They forgave them their cruelty and presented them with what can only be described as a gift born in sorrow. Food has the ability to move people in this manner. It can inspire bravery. These kitchen slaves could have been beaten for this insolence, or perhaps even killed for such an act, but they served their fried fowl anyway. Not surprisingly, their captors were entranced by it. Soon southern fried chicken became a delicacy enjoyed by both cultures- it was the one point where both captors and captive found pleasure, although the Africans were only allowed to fry the discarded wings of the bird for their own meals. Despite the continued injustice, it was an inspired and blessed act of subversion. Although born in slavery, this dish has not only brought together an entire region of people, it has transformed them. It is, as the Americans say, "democratic," and is now enjoyed by people of all walks of life and all parts of the country.

Lynum had plenty of information to share. The FBI's files on Mario Savio, the brilliant philosophy student who was the spokesman for the Free Speech Movement, were especially detailed. Savio had a debilitating stutter when speaking to people in small groups, but when standing before a crowd and condemning his administration's latest injustice he spoke with divine fire. His words had inspired students to stage what was the largest campus protest in American history. Newspapers and magazines depicted him as the archetypal "angry young man," and it was true that he embodied a student movement fueled by anger at injustice, impatience for change, and a burning desire for personal freedom. Hoover ordered his agents to gather intelligence they could use to ruin his reputation or otherwise "neutralize" him, impatiently ordering them to expedite their efforts. Hoover's agents had also compiled a bulging dossier on the man Savio saw as his enemy: Clark Kerr. As campus dissent mounted, Hoover came to blame the university president more than anyone else for not putting an end to it. Kerr had led UC to new academic heights, and he had played a key role in establishing the system that guaranteed all Californians access to higher education, a model adopted nationally and internationally. But in Hoover's eyes, Kerr confused academic freedom with academic license, coddled Communist faculty members, and failed to crack down on "young punks" like Savio. Hoover directed his agents to undermine the esteemed educator in myriad ways. He wanted Kerr removed from his post as university president. As he bluntly put it in a memo to his top aides, Kerr was "no good." Reagan listened intently to Lynum's presentation, but he wanted more--much more. He asked for additional information on Kerr, for reports on liberal members of the Board of Regents who might oppose his policies, and for intelligence reports about any upcoming student protests. Just the week before, he had proposed charging tuition for the first time in the university's history, setting off a new wave of protests up and down the state. He told Lynum he feared subversives and liberals would attempt to misrepresent his efforts to establish fiscal responsibility, and that he hoped the FBI would share information about any upcoming demonstrations against him, whether on campus or at his press conferences. It was Reagan's fear, according to Lynum's subsequent report, "that some of his press conferences could be stacked with 'left wingers' who might make an attempt to embarrass him and the state government." Lynum said he understood his concerns, but following Hoover's instructions he made no promises. Then he and Harter wished the ailing governor a speedy recovery, departed the mansion, slipped into their dark four-door Ford, and drove back to the San Francisco field office, where Lynum sent an urgent report to the director. The bedside meeting was extraordinary, but so was the relationship between Reagan and Hoover. It had begun decades earlier, when the actor became an informer in the FBI's investigation of Hollywood Communists. When Reagan was elected president of the Screen Actors Guild, he secretly continued to help the FBI purge fellow actors from the union's rolls. Reagan's informing proved helpful to the House Un-American Activities Committee as well, since the bureau covertly passed along information that could help HUAC hold the hearings that wracked Hollywood and led to the blacklisting and ruin of many people in the film industry. Reagan took great satisfaction from his work with the FBI, which gave him a sense of security and mission during a period when his marriage to Jane Wyman was failing, his acting career faltering, and his faith in the Democratic Party of his father crumbling. In the following years, Reagan and FBI officials courted each other through a series of confidential contacts. (7-8)

When we think of the historic struggles and conflicts of the current and past century, we naturally think of famous leaders: men who governed nations, commanded armies, and inspired movements in the defense of liberty, or in the service of ideologies which have obliterated liberty. Yet today, in this hour of human history, when the forces arrayed against the free spirit of man are more powerful, more brutal, and potentially more deadly than ever before, the single figure who has raised the highest flame of liberty heads no state, commands no army, and leads no movement that our eyes can see. But there is a movement—a hidden movement of human beings who have no offices and no headquarters, who are not represented in the great halls where nations meet, who every day risk or suffer more for the right to speak, to think, and to be true to themselves than any of us here are likely to risk in our lifetime. We heed this voice, not because it speaks for the left or the right or for any faction, but because it hurls truth and courage into the teeth of total power when it would be so much easier and more comfortable to submit to and embrace the lies by which that power lives. What is the strength of this voice? How has it broken through to us when others have been silenced? Its strength is art. Art illuminates the truth. It is, in a sense, subversive: subversive of hypocrisy, subversive of delusion, subversive of untruth. Few combinations in all of history have demonstrated the power of the pen coupled with the courage of free men’s minds. We need that power desperately today. We need it to teach the new and forgetful generations in our midst what it means to be free. Freedom is not an abstraction, neither is the absence of freedom. Art is a unique gift. It cannot be transmuted to another. But let us pray that this courage is contagious. We need echoes of this voice. We need to hear echoes in the White House. We need to hear the echoes in Congress and in the State Department and in the universities and media. The American ethos, from its conception to the contemporary, has been dedicated to the firm, unyielding belief in freedom. Freedom for all mankind, as well as for ourselves. It is in this spirit that we live our lives.

Many say that Western Civ and this kind of Great Books education is an elitist enterprise dominated by dead white males. But Western Civ was and remains radicalism—a subversive, revolutionary counterculture that makes it impossible to remain fat and happy within the status quo. Western Civ is Socrates, a man so dangerous, his city couldn’t tolerate him living within it. Western Civ offers ways to step out of the cave and see reality in its true colors, not just as the shadows that ideologues are content to see. Western Civ took me outside the assumption of my time, outside the values of the modern meritocracy and America’s worship of success. Western Civ inspired me to spend my life pursuing a philosophy—to spend decades trying to find a worldview that could handle the complexity of reality, but also offer a coherent vision that could frame my responses to events and guide me through the vicissitudes of life. Western Civ is the rebel base I return to when I want to recharge my dissatisfactions with the current world. Once you’ve had a glimpse of the highest peaks of the human experience, it’s hard to live permanently in the flatlands down below. It’s a little hard to be shallow later in life, no matter how inclined in that direction you might be.

I believe that enjoying your work with all your heart is the only truly subversive position left to take as a creative person these days. It’s such a gangster move, because hardly anybody ever dares to speak of creative enjoyment aloud, for fear of not being taken seriously as an artist. So say it. Be the weirdo who dares to enjoy. Best of all, though, by saying that you delight in your work, you will draw inspiration near. Inspiration will be grateful to hear those words coming out of your mouth, because inspiration—like all of us—appreciates being appreciated. Inspiration will overhear your pleasure, and it will send ideas to your door as a reward for your enthusiasm and your loyalty. More ideas than you could ever use. Enough ideas for ten lifetimes.

I am aware - and have been aware since the seed for this idea was first planted in my mind - that I would likely face two outcomes for writing this book. Firstly, I would likely be called a Fascist, both by progressives and conservatives who, in America, operate entirely within the same post-Enlightenment paradigm. Secondly it’s possible, if not likely, that I’ll face accusations of being a federal agent trying to inspire either violence or subversion. My Ashkenazi ethnicity does not help with accusations like these; when I encourage people to become traditional Christians instead of Fascists, I have - more than once - been met with the sentiment that I am “just another Jew trying to harm White people.

He began with the importance of collective action in Korea. “For the first time in all history, men of many nations are fighting under a single banner to uphold the rule of law in the world,” he said. “This is an inspiring fact. If the rule of law is not upheld we can look forward only to the horror of another war and ultimate chaos. For our part, we do not intend to let that happen.” Since World War II the communists had engaged in subversion; in Korea they had turned to brutal aggression. The United States had no choice other than to act swiftly and boldly. “If the history of the 1930s teaches us anything, it is that appeasement of dictators is the sure road to world war. If aggression were allowed to succeed in Korea, it would be an open invitation to new acts of aggression elsewhere.

In the piece of real estate we now call South Vietnam, the refugee problem that resulted in rioting and incipient banditry was derived from three sources. The huge French rubber plantation holdings and lumbering interests, the mass movement of hundreds of thousands of Vietnamese from north of the 17th parallel, and the complete collapse of the ancient rice economy, which included the destruction of potable water resources during the early years of the Diem regime—all came at about the same time to create a terroristic situation among millions of people in what would otherwise have been their ancestral homeland. Again this was attributed to subversive insurgency inspired by Communism.

Those in true spiritual authority have neither the desire nor the need to control anyone, either directly or subversively.

My conclusion at the time was that finalizing the story before production began was still a worthy goal—we just hadn’t achieved it yet. As we continued to make films, however, I came to believe that my goal was not just impractical but naïve. By insisting on the importance of getting our ducks in a row early, we had come perilously close to embracing a fallacy. Making the process better, easier, and cheaper is an important aspiration, something we continually work on—but it is not the goal. Making something great is the goal. I see this over and over again in other companies: A subversion takes place in which streamlining the process or increasing production supplants the ultimate goal, with each person or group thinking they’re doing the right thing—when, in fact, they have strayed off course. When efficiency or consistency of workflow are not balanced by other equally strong countervailing forces, the result is that new ideas—our ugly babies—aren’t afforded the attention and protection they need to shine and mature. They are abandoned or never conceived of in the first place. Emphasis is placed on doing safer projects that mimic proven money-makers just to keep something—anything!—moving through the pipeline (see The Lion King 1½, a direct-to-video effort that came out in 2004, six years after The Lion King 2: Simba’s Pride). This kind of thinking yields predictable, unoriginal fare because it prevents the kind of organic ferment that fuels true inspiration. But it does feed the Beast.

Robbie and I disagreed about guns. He believed that owning one was his right as an American, which he must’ve picked up when the Panthers out in Oakland were arming themselves. That was screamingly funny when I thought about it: a black man, one who’d been locked up twice, clinging to the Second Amendment. The strongest gun laws the country had ever passed were to prevent the men who’d inspired him, the Oakland Panthers, from having guns. If he’d been a little more intentional about his stance, it would have been subversive. But he wasn’t. He owned a gun because he liked them, and thought he was entitled to do so. Pop raised me to believe that guns weren’t for civilians. I think that stance was too soft; I think he shouldn’t have taught us to shoot. It wasn’t a beneficial skill, or even a neutral one. It was knowledge that had attracted and bred the violence in my life.

My inspiration to rest is deep and expansive. I’m inspired by invention and the opportunity to craft something new from scratch. I’m inspired by remixing and being subversive. I am inspired by disruption and tenderness. I am inspired by imagination. I am inspired by grief, mourning, and lament. I believe deeply in vulnerable, generative spaces for healing. I am inspired by rest, daydreaming, and sleep. Our collective rest will not be easy. All of culture is collaborating for us not to rest. I understand this deeply. We are sleep-deprived because the systems view us as machines, but bodies are not machines. Our bodies are a site of liberation. We are divine and our rest is divine. There is synergy, interconnectedness, and deep communal healing within our rest movement. I believe rest, sleep, naps, daydreaming, and slowing down can help us all wake up to see the truth of ourselves. Rest is a healing portal to our deepest selves. Rest is care. Rest is radical.

We need to be careful wherever art and literature, disguised in beauty, entertainment, or codes are used for subversion, rather than liberating, uplifting innocent souls.

the prophets deliver what is perhaps the most subversive element of any resistance movement: hope.