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Rise Up and Salute the Sun: The Writings of Suzy Kassem

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Suzy Kassem
Suzy Kassem

Suzy Kassem is an accomplished writer born on December 1, 1975, in the United States. Her works span across philosophy, psychology, and personal growth, captivating readers worldwide. more

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“This was it. This was what I had never felt before--an emotional connection to another human being. I'd tried kindness, I'd tried love, I'd tried friendship. I'd tried talking and sharing and watching, and nothing had ever worked until now. Until fear. I felt her fear in every inch of my body like an electric hum, and I was alive for the first time. I needed more right then or the craving would eat me alive.”

FearSerial KillerFeeling Alive
Book:I Am Not A Serial Killer
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“The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.”

ArtFear
Book:Art and Fear
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“Respectable opinion would never consider an assessment of the Reagan Doctrine or earlier exercises in terms of their actual human costs, and could not comprehend that such an assessment—which would yield a monstrous toll if accurately conducted on a global scale—might perhaps be a proper task in the United States. At the same level of integrity, disciplined Soviet intellectuals are horrified over real or alleged American crimes, but perceive their own only as benevolent intent gone awry, or errors of an earlier day, now overcome; the comparison is inexact and unfair, since Soviet intellectuals can plead fear as an excuse for their services to state violence.”

FearUnited StatesViolenceHypocrisyNationalismSoviet UnionConsensusInternational LawWar CrimesIntellectualsAmerican ImperialismRonald ReaganState TerrorismReagan DoctrineState Sponsored Terrorism
Book:The Culture of Terrorism
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“Fears arise when you look back, and they arise when you look ahead. If you're prone to disaster fantasies, you may even find yourself caught in the middle, staring at your half-finished canvas and fearing both that you lack the ability to finish it, and that no one will understand it if you do. Fears arise when you look back, and they arise when you look ahead. If you're prone to disaster fantasies, you may even find yourself caught in the middle, staring at your half-finished canvas and fearing both that you lack the ability to finish it, and that no one will understand it if you do. To which the Master replied, 'What makes you think that ever changes?' That's why they're called Masters. When he raised David's discovery from an expression of self-doubt to a simple observation of reality, uncertainty became an asset. Lesson for the day: vision is always ahead of execution -- and it should be. Vision, Uncertainty, and Knowledge of Materials are inevitabilities that all artists must acknowledge and learn from: vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue.”

ArtFear
Book:Art and Fear
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