Clarissa Pinkola Estés Quotes

Long ago the word alone was treated as two words, all one.20 To be all one meant to be wholly one, to be in oneness, either essentially or temporarily.

"The naive woman tacitly agrees to remain "not knowing." Women who are gullible or those with injured instincts still, like flowers, turn in the direction of whatever sun is offered."

How does Wild Woman affect women? With her as ally, as leader, model, teacher, we see, not through two eyes, but through the eyes of intuition which is many-eyed. When we assert intuition, we are therefore like the starry night: we gaze at the world through a thousand eyes.

Lo más importante es resistir y perseverar, pues la vida salvaje promete lo siguiente: después del invierno, viene siempre la primavera.

Anyone close to a woman is in fact in the presence of two women; an outer being and an interior criatura, one who lives in the topside world, one who lives in the world not so easily seeable. The outer being lives by the light of day and is easily observed. She is often pragmatic, acculturated, and very human. The criatura, however, often travels to the surface from far away, often appearing and then as quickly disappearing, yet always leaving behind a feeling: something surprising, original, and knowing.

New seed is faithful. It roots deepest in the places that are the most empty.

فالمرأة الوحشية كنموذج بدئي هي قوة لا توصف قابلة للمحاكاة، وهي معين لا ينضب للأفكار والتخيلات وخصوصيات الجنس البشري، نموذج بدئي موجود في كل مكان، إلا أنه لا يُرى بالحواس العادية، فما يمكن أن نراه في الظلام ليس باستطاعتنا أن نراه في وضح النهار.

We all begin as a bundle of bones lost somewhere in a desert, a dismantled skeleton that lies under the sand. It is our work to recover the parts. It is a painstaking process best done when the shadows are just right, for it takes much looking. La Loba indicates what we are to look for — the indestructible life force, the bones.

I’ve not forgotten the song of those dark years, hambre del alma, the song of the starved soul. But neither have I forgotten the joyous canto hondo, the deep song, the words of which come back to us when we do the work of soulful reclamation.

These are some good questions to ask till one decides on the song, one’s true song: What has happened to my soul-voice? What are the buried bones of my life? In what condition is my relationship to the instinctual Self? When was the last time I ran free? How do I make life come alive again? Where has La Loba gone to? The old woman sings over the bones, and as she sings, the bones flesh out. We too “become” as we pour soul over the bones we have found. As we pour our yearning and our heartbreaks over the bones of what we used to be when we were young, of what we used to know in the centuries past, and over the quickening we sense in the future, we stand on all fours, four-square. As we pour soul, we are revivified. We are no longer a thin solution, a dissolving frail thing. No, we are in the “becoming” stage of transformation.

Her kadın,geniş etekli elbiseler giyinmiş bir halde sonsuz yeşil ve şehvetli ormanın içine atını sürmek ister.

However, the miracle we are seeking takes time: time to find it, time to bring it to life.

Women had to beg for the instruments and the spaces needed for their arts, and if none were forthcoming, they made space in trees, caves, woods, and closets.

the Life/Death/Life forces are part of our own nature, an inner authority that knows the steps, knows the dance of Life and Death. It is composed of the parts of ourselves who know when something can, should, and must be born and when it must die. It is a deep teacher if we can only learn its tempo. Rosario Castellanos, the Mexican mystic and ecstatic poet, writes about surrender to the forces that govern life and death: “... dadme la muerte que me falta .../give me the death I need . . .” Poets understand that there is nothing of value without death

The pathologizing of variation in women's bodies is a deep bias endorsed by many psychological theorists, most certainly by Freud.