Cynthia Bourgeault Quotes

“As we enter the path of transformation, the most valuable thing we have working in our favor is our yearning.”

“As we enter the path of transformation, the most valuable thing we have working in our favor is our yearning.”

“To mourn is to touch directly the substance of divine compassion.”

“As we actually taste the flavor of what he's teaching, we begin to see that it's not proverbs for daily living, or ways of being virtuous. He's proposing a total meltdown and recasting of human consciousness, bursting through the tiny acorn-selfhood that we arrived on the planet with into the oak tree of our fully realized personhood. He pushes us toward it, teases us, taunts us, encourages us, and ultimately walks us there.”

“A sophiological Christianity focuses on the path.”

“What the theologian shrinks from, the poet grasps intuitively.”

“It's not about right belief”

“If you love beauty, it’s because beauty lives within you. If you love art, it’s because you are creative. If it wakes up your heart, a receptor for it already exists within you. Your soul is drawn to the things that will help you unfold your most glorious expression. Give in. ― Cynthia Occelli”

“A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me - the capacity sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-grey sofa, between two flushed, happily disintegrating ladies.At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, he would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman's husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtatious anger, of clumsy pursuit-and the quiet half smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs. ("The Vane Sisters")”

“I’ve learned that sometimes, when you’re afraid but you keep on moving forward, that’s the biggest kind of courage there is.”

“In 1952, I had gone to England on a literary pilgrimage, but what I also saw, even at that distance from the blitz, were bombed-out ruins and an enervated society, while the continent was still, psychologically, in the grip of its recent atrocities.”