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In an essay titled A View From the Front Line, Jencks described her experience with cancer as like being woken up midflight on a jumbo jet and then thrown out with a parachute into a foreign landscape without a map: "There you are, the future patient, quietly progressing with other passengers toward a distant destination when, astonishingly (Why me?) a large hole opens in the floor next to you. People in white coats appear, help you into a parachute and — no time to think — out you go. "You descend. You hit the ground....But where is the enemy? What is the enemy? What is it up to?...No road. No compass. No map. No training. Is there something you should know and don't? "The white coats are far, far away, strapping others into their parachutes. Occasionally they wave but, even if you ask them, they don't know the answers. They are up there in the Jumbo, involved with parachutes, not map-making. ↗
I hate people saying anything stupid. I don't really suffer fools very well at all. When people are acting like idiots, not that I'm not guilty of doing the odd idiotic thing myself from time to time, but when people say stupid things, it stresses me out. ↗
Once Incarceron became a dragon, and a Prisoner crawled into his lair. They made a wager. They would ask each other riddles, and the one who could not answer would lose. It it was the man, he would give his life. The Prison offered a secret way of Escape. But even as the man agreed, he felt its hidden laughter. They played for a year and a day. The lights stayed dark. The dead were not removed. Food was not provided. The Prison ignored the cries of its inmates. Sapphique was the man. He had one riddle left. He said, "What is the Key that unlocks the heart?" For a day Incarceron thought. For two days. For three. Then it said, "If I ever knew the answer, I have forgotten it." --Sapphique in the Tunnels of Madness ↗
What happened was that sometimes I was, from a young age, put in the theater to watch movies because they kept me quiet and they kept me entertained, and they got me out from under the feet of my parents. So from a very early age, I went to the movies and I soon grew to prefer the life of the movies to my own life. The reality that the movies offered was preferable to the reality that I was experiencing. I became a child movie addict. I would go in with great pleasure and I'd never look at what was playing -- what was playing was unimportant. The fact was that I was entering a new world, an environment where not only was it much more attractive than my life was ordinarily, but also I could manipulate it to an extent by coming and going, and by looking at scenes or not, which I could not in my own life. I was subjected to my own domestic life. But I discovered a kind of power at the movies. ↗
Stories are the collective wisdom of everyone who has ever lived. Your job as a storyteller is not simply to entertain. Nor is it to be noticed for the way you turn a phrase. You have a very important job--one of the most important. Your job is to let people know that everyone shares their feelings--and that these feelings bind us. Your job is a healing art, and like all healers, you have a responsibility. Let people know they are not alone. You must make people understand that we are all the same. ↗
Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance. ↗
