"A boy and a girl run around on the grass at the park. The boy tackles the girl. The girl laughs. She gets up and runs away. She loves to run. He chases, she turns and they grab each other, tumble and land in a pile, giggling. After a few minutes, he tackles her again and she lands a bit hard. She is bigger and physical, but he more than holds his own in roughhousing. She pauses for a second. Then she laughs again; she’s still having fun.
Dad gets his attention, and says, “If she’s not having fun, you have to stop.”
He is two. He needs to hear this now, and so does she. And again, and again, and again, so that like wearing a helmet on the bike it is ingrained."
Yes Means Yes blog: “visions of female sexual power & a world without rape”
Parents, siblings, carers, cousins, teachers, tutors, mentors, aunts, uncles, etc, of young children: we have a chance to mold the gender relations of the future.
"What is REAL?" the Velveteen Rabbit asked the Skin Horse one day. "Does it mean having things that buzz inside you and a stick-out handle?"
"Real isn’t how you are made," said the Skin Horse. "It’s a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real."
"Does it hurt?" asked the Velveteen Rabbit .
"Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don’t mind being hurt."
"It doesn’t happen all at once," said the Skin Horse. "You become. It takes a long time. That’s why it doesn’t happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in your joints and very shabby. But these things don’t matter at all, because once you are Real you can’t be ugly, except to people who don’t understand. But once you are Real you can’t become unreal again. It lasts for always."
"We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the window on the sixteenth floor is a victim of accidie, or the naked woman is an exhibitionist, and it would be “interesting” to know which. We tell ourselves that it makes some difference whether the naked woman is about to commit a mortal sin or is about to register a political protest or is about to be, the Aristophanic view, snatched back to the human condition by the fireman in priest’s clothing just visible in the window behind her, the one smiling at the telephoto lens. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience."
At dinner my family and I were watching TV and there was a guy on it and I was like “I know him from somewhere!” and I couldn’t figure out where I knew him from and then it that said he was a gay porn star and dinner suddenly became very awkward.
"In your otherwise beautiful poem, one verse reads, “”Every minute dies a man, Every minute one is born;”
I need hardly point out to you that this calculation would tend to keep the sum total of the world’s population in a state of perpetual equipoise, whereas it is a well-known fact that the said sum total is constantly on the increase. I would therefore take the liberty of suggesting that in the next edition of your excellent poem the erroneous calculation to which I refer should be corrected as follows:
“Every moment dies a man, And one and a sixteenth is born.”
I may add that the exact figures are 1.067, but something must, of course, be conceded to the laws of metre."