Cluster Quotes

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Research on organised abuse emphasises the diversity of organised abuse cases, and the ways in which serious forms of child maltreatment cluster in the lives of children subject to organised victimisation (eg Bibby 1996b, Itziti 1997, Kelly and Regan 2000). Most attempts to examine organised abuse have been undertaken by therapists and social workers who have focused primarily on the role of psychological processes in the organised victimisation of children and adults. Dissociation, amnesia and attachment, in particular, have been identified as important factors that compel victims to obey their abusers whilst inhibiting them from disclosing their abuse or seeking help (see Epstein et al. 2011, Sachs and Galton 2008). Therapists and social workers have surmised that these psychological effects are purposively induced by perpetrators of organised abuse through the use of sadistic and ritualistic abuse. In this literature, perpetrators are characterised either as dissociated automatons mindlessly perpetuating the abuse that they, too, were subjected to as children, or else as cruel and manipulative criminals with expert foreknowledge of the psychological consequences of their abuses. The therapist is positioned in this discourse at the very heart of the solution to organised abuse, wielding their expertise in a struggle against the coercive strategies of the perpetrators. Whilst it cannot be denied that abusive groups undertake calculated strategies designed to terrorise children into silence and obedience, the emphasis of this literature on psychological factors in explaining organised abuse has overlooked the social contexts of such abuse and the significance of abuse and violence as social practices.

Michael Salter
As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message - And Lo! There shall be Two Hot Boys, one of them your Heart's Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love - I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing. I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there's no problem. But past a certain point, the numbers begin to tell - and that poses a tricky question. In the case of actual mobs, you'll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren't so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories - or, for that matter, to hold one particular narrative accountable for the whole.

Foz Meadows
I feel as though dispossessed from the semblances of some crystalline reality to which I'd grown accustomed, and to some degree, had engaged in as a participant, but to which I had, nevertheless, grown inexplicably irrelevant. But the elements of this phenomenon are now quickly dissolving from memory and being replaced by reverse-engineered Random Access actualizations of junk code/DNA consciousness, the retro-coded catalysts of rogue cellular activity. The steel meshing titters musically and in its song, I hear a forgotten tale of the Interstitial gaps that form pinpoint vortexes at which fibers (quanta, as it were) of Reason come to a standstill, like light on the edge of a Singularity. The gaps, along their ridges, seasonally infected by the incidental wildfires in the collective unconscious substrata. Heat flanks passageways down the Interstices. Wildfires cluster-spread down the base trunk Axon in a definitive roar: hitting branches, flaring out to Dendrites to give rise to this release of the very chemical seeds through which sentience is begotten. Float about the ether, gliding a gentle current, before skimming down, to a skip over the surface of a sea of deep black with glimmering waves. And then, come to a stop, still inanimate and naked before any trespass into the Field, with all its layers that serve to veil. Plunge downward into the trenches. Swim backwards, upstream, and down through these spiraling jets of bubbles. Plummet past the threshold to trace the living history of shadows back to their source virus. And acquire this sense that the viruses as a sample, all of the outlying populations withstanding: they have their own sense of self-importance, too. Their own religion. And they mine their hosts barren with the utilitarian wherewithal that can only be expected of beings with self-preservationist motives.

Ashim Shanker
What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition - tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star... Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city - an old city, like London - underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly - past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple... click click click... the Pyramids... the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here, ' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know, ' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum... click click click... the Pantheon. 'I'm not dead, ' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted, ' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly, ' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me, ' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

Donna Tartt
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