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“The Tantric sages tell us that our in-breath and out-breath actually mirror the divine creative gesture. With the inhalation, we draw into our own center, our own being. With the exhalation, we expand outward into the world.”
― Sally Kempton, Awakening Shakti: The Transformative Power of the Goddesses of Yoga

“I am Shakti, as well as Shiva. I am everything male and female, light and dark, flesh and spirit. Perfectly balanced in one single moment lasting an eternity...”
― Robin Rumi, Naked Morsels: short stories of spiritual erotica

“Starting from the source of vibrant Consciousness, the first two tattvas of Shaivism are (1) Shiva tattva and (2) Shakti tattva. It is important to understand at the beginning that these two tattvas are only linguistic conventions and are not actually part of creation. According to the deep yogic experience of the sages of this philosophy, there is no difference between Shiva tattva and Shakti tattva. They are both actually one with Paramasiva. They are considered to be two tattvas only for the convenience of philosophical thinking and as a way of clarifying the two aspects of the one absolute reality, Paramasiva. These two aspects are Shiva, the transcendental unity, and Shakti, the universal diversity. The changeless, absolute and pure consciousness is Shiva, while the natural tendency of Shiva towards the outward manifestation of the five divine activities is Shakti. So, even though Shiva is Shakti, and Shakti is Shiva, and even though both are merely aspects of the same reality called Paramasiva, still, these concepts of Shiva-hood and Shakti-hood are counted as the first two tattvas. These two tattvas are at the plane of absolute purity and perfect unity.

�� B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 73.”
― Balajinnatha Pandita, Specific Principles of Kashmir Saivism [Hardcover] [Apr 01, 1998] Paṇḍita, BalajinnaÌ"tha

“It is important to understand that, according to Kashmir Shaivism, this analysis of all phenomena into thirty six tattvas is not an absolute truth. It has been worked out by the authors of the philosophy as a tool of understanding for the ever-active and inquiring mind and as a form for contemplative meditation. Through further analysis, the number of tattvas can be increased to any level. Similarly, through synthesis, they can be decreased down to one tattva alone. In fact this has been done in the Tantraloka, where one can find doctrines of contemplation on fifteen, thirteen, eleven, nine, seven, five, and as few as three tattvas as well. The practitioners of the Trika system use only three tattvas in the process of a quick sadhana: Shiva representing the absolute unity, Shakti representing the link between duality and unity, and Nara representing the extreme duality. [Shakti is the path through which Shiva descends to the position of Nara and the latter ascends to the position of Shiva.] Finally, a highly advanced Shiva yogin sees only the Shiva tattva in the whole of creation. However, since the contemplative practice of tattvadhvadharana used in anava upaya includes meditation on all thirty sex tattvas, that is the number commonly accepted by the Shaivas of both northern and southern India.

�� B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 79.”
― Balajinnatha Pandita, Specific Principles of Kashmir Saivism [Hardcover] [Apr 01, 1998] Paṇḍita, BalajinnaÌ"tha

“Our problems are like Raktbeeja demon slayed by Mahakaali. His blood worked like seed that produced more demons.

One problem contains seed of more problems. The trick is: Do whatever you can to get the solution but don’t let the blood spill. i.e. Don’t get involved in the blame game.”
― Shunya

“Don't let them rob your feminine in the name of feminism. Amputation is not a cure of the wound.”
― Shunya

“When Shakti
takes over, Shiva steps back”
― Sapan Saxena, The Tenth Riddle

“The essential nature of samvit is the subtle stir of spanda. The introverted and extroverted movements of spanda cause samvit to manifest itself in both the noumenal and phenomenal aspects of creation. These two aspects of samvit are known in Shaivism as Shiva (transcendent) and Shakti (universal). Shiva and Shakti are the two names given to the monistic Absolute (Paramasiva) when it is being considered in its dual aspects of eternal and transcendent changelessness (Shiva), and the ever-changing and immanent manifestation of universal appearances (Shakti).

�� B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 17��18.”
― Balajinnatha Pandita, Specific Principles of Kashmir Saivism [Hardcover] [Apr 01, 1998] Paṇḍita, BalajinnaÌ"tha

“Tantrics flow with the rhythm of the universe, treating the universe as a manifestation of Shakti.They open themselves to receive universal energy and become a reservoir of those energies.When a Tantric blesses or curses, it materialises as accumulated energy, which when directed at someone has a massive impact”
― Anupama Garg, The Tantric Curse

“In Tantric tradition, Shiva and Shakti or Purusha and Prakriti represent the two fundamental forces that sustain the universe; all that exists is an interplay of these forces.”
― Anupama Garg, The Tantric Curse

“What is more of a symbol of eternal growth and change than the Goddess? The eternal spiral of creation. Coiled like a serpent, our Shakti energy sits, waiting to be awakened within all of us.”
― Emma Mildon, Evolution of Goddess: A Modern Girl's Guide to Activating Your Feminine Superpowers

“You dislike some things and want to remove them from the face of the Earth. This is Maya, the Karmic trap. But it turns into Leela, the Karmic play, if you are aware that there is a universal intelligence bigger than your intelligence. The universe has brought those things into existence and the same universe wants you to try and remove those things.”
― Shunya

“Indiana was such a devout disciple of Shakti that she had once considered taking her name until her father, Blake Jackson, managed to convince her that a Hindu goddess's name was not appropriate for a tall, voluptuous blond American with the looks of an inflatable doll.”
― Isabel Allende, Ripper

“What is more transformative than the female form? What is more of a symbol of eternal growth and change than the Goddess? The eternal spiral of cre- ation. Coiled like a serpent, our shakti energy sits, waiting to be awakened within all of us. What our bodies and beings were built for. What we were created to do. Change. Create. Create the change.”
― Emma Mildon, Evolution of Goddess: A Modern Girl's Guide to Activating Your Feminine Superpowers

“God's creation was linguistic, & the letters of the first potent word that (S)He uttered contained all the forms of creation, each form presided over by the name of a letter of the alphabet, which is in turn composed of letters, each of which has a name, & so on to infinity... Creation, on other words, is eternal & ongoing: "the multitude of letters swells out into the infinitude," & "letters are continually generating other letters." The alphabet speaks a divine language, ... each letter calling up, but never pinning down, the enigmatic nature of reality, the word of God. (S.177)”
― Guy L. Beck, Sonic Theology: Hinduism and Sacred Sound

“If Goddess appears before you, what will you do? Your body-mind might do something, not you. You will discover that you are nothingness. You don't do anything. You remain in the eternal state of being.”
― Shunya

“Every single loss, every single humiliation, teaches us to strive for
more. Failure is the best teacher”
― Sapan Saxena, The Tenth Riddle

“Yes you can be a time traveler, journeying to various lokas. You
have such powers. Without travelling you can reach far fl ung places.
Through telepathy you can know communicate with people living in
far off places and through transfer of energy you can travel. As for your
question regarding your not knowing about your own powers, then all
I can say is that you have never explored yourself. Go on and fi nd out
what your role is in the scheme of things of the almighty. Then only can
you be at peace with yourself. We have been monitoring your progress
from the day you were born and we have found certain inherent talents
in you which can help us in our hour of crisis. Yamini how many of us
know our true potential? This is the reason that we need people who tell
us about our own skills and knowledge.�� the priest explained in detail.”
― Aporva Kala, The Chronicle of Sapta Sindhu

“Now as the train moved towards Calcutta, Malay felt as if his life was coming full circle. It had been a strange decision to visit the city at a time when post-Partition vomit and excreta was splattered on Calcutta streets. Marked by communal violence, anger and unemployment, the streets smelled of hunger and disillusionment. Riots were still going on. The wound of a land divided lingered, refugees from East Pakistan (now Bangladesh) continued to arrive in droves. And since they did not know where to go, they occupied the pavements, laced the streets with their questions, frustrations and a deep need to be recognised as more than an inconvenient presence on tree-lined avenues.

The feeling of being uprooted was everywhere. Political leaders decided that the second phase of the five-year planning needed to see the growth of heavy industries. The land required for such industries necessitated the evacuation of farmers. Devoid of their ancestral land and in the absence of a proper rehabilitation plan, those evicted wandered aimlessly around the cities—refugees by another name.

Calcutta had assumed different dimensions in Malay’s mind. The smell of the Hooghly wafted across Victoria Memorial and settled like an unwanted cow on its lawns. Unsung symphonies spilled out of St Paul’s Cathedral on lonely nights; white gulls swooped in on grey afternoons and looked startling against the backdrop of the rain-swept edifice. In a few years, Naxalbari would become a reality, but not yet. Like an infant Kali with bohemian fantasies, Calcutta and its literature sprouted a new tongue �� that of the Hungry Generation. Malay, like Samir and many others, found himself at the helm of this madness, and poetry seemed to lick his body and soul in strange colours. As a reassurance of such a huge leap of faith, Shakti had written to Samir:

Bondhu Samir,

We had begun by speaking of an undying love for literature, when we suddenly found ourselves in a dream. A dream that is bigger than us, and one that will exist in its capacity of right and wrong and beyond that of our small worlds.

Bhalobasha juriye

Shakti”
― Maitreyee Bhattacharjee Chowdhury, The Hungryalists

“Even amid the erratic crowd and the loud voices that drowned everything in coffee, Ginsberg commanded attention. Samir had recalled to Malay:

He approached our table, where Sunil, Shakti, Utpal and I sat, with no hesitation whatsoever. There was no awkwardness in talking to people he hadn’t ever met. None of us had seen such sahibs before, with torn clothes, cheap rubber chappals and a jhola. We were quite curious. At that time, we were not aware of how well known a poet he was back in the US. But I remember his eyes—they were kind and curious. He sat there with us, braving the most suspicious of an entire cadre of wary and sceptical Bengalis, shorn of all their niceties—they were the fiercest lot of Bengali poets—but, somehow, he had managed to disarm us all. He made us listen to him and tried to genuinely learn from us whatever it was that he’d wanted to learn, or thought we had to offer. Much later, we came to know that there had been suspicions about him being a CIA agent, an accusation he was able to disprove. In the end, we just warmed up to him, even liked him. He became one of us—a fagging, crazy, city poet with no direction or end in sight.”
― Maitreyee Bhattacharjee Chowdhury, The Hungryalists

“��) শক্ত�� চট্টোপাধ্যায়ের অনিপুণ নপুংসকরূ�� আশ�� কর�� এযাব�� পাঠকপাঠিকা স্বচক্ষে দেখা�� সুযো�� পানন�� ; সরকা�� পৃষ্ঠপোষকত�� কর�� অবস্হাকে বে�� মজাদার করেছেন ; পদলেহী কুকুরে�� নিয়োগকারিণী চালচুলোহী�� এক নারী�� আত্মার নির্দেশন�� অনুসার�� উক্ত কব�� নিজেকে মহিল�� মন�� কর�� কবিত�� লেখে�� ; আর কথপোকথনকাল�� দেখি মহিলার অভিন�� করায় শ্রীমানটির কোনো ভাবলেশ উপস্হি�� হয় না ; অথ�� ক্রম��-ক্রম�� আমার দাসীত্�� দিয়ে সে�� বেয়াদপ আত্মাটিক�� শায়েস্তা করেছ�� আর অঙ্কশাস্ত্রে শ্রীমত�� এখ�� মতাম�� জ্ঞাপনের মত�� স্হূলত�� দেখাবা�� বিপদের ঝুঁক�� নিতে সক্ষ�� হব�� কি ? কবিটির জন্ম কি কুকু�� আর গাধা�� সঙ্গমজাত ফল ��

��) স্হাপত্যবিদ্যা�� ফে�� মেরে-মেরে এক ছাগছান�� বীর্যজাত নির্মল মৈত্রে�� জীবিকা�� হাস্যক�� ভিক্ষাবৃত্তি ঝুলে আছ�� �� তব�� ভয় নে��, যতক্ষা�� তা�� কচ�� পায়ু আছ��, দালালী রয়েছ�� ��

��) সন্দীপন, হে শ্রীমা��, দা��-অনুদাস শব্দটি শুনেছিলা�� কব�� যে ঠি�� মন�� নে�� �� তব�� এট�� নিশ্চিতই কবুল করতে হব�� �� দাসী-অনুদাস বল�� কোনো শব্দ �� যাবৎ আম�� তো শুনিনি �� ফল�� যথাযথরূপ�� তোমা�� অবস্হা প্রকাশের স্বচ্ছতা, বৎ��, ভবিষ্যতে ভেবে দেখা যাবে ��

��) দল পাকাবা�� আগ��, পরেও তাদে��, রেকটাম বী�� কর�� দিয়েছি বলেই, এইসব কেঁচোবৃন্দ বীটনিক না�� নিয়েছি�� ��”
― Binoy Majumdar, আত্মপরিচয়

“বিশ্বস্তসূত্রে এই উড়োখবর আমরা পা�� যে শক্ত�� চাইবাসার সেন্ট্রা�� জেলে রয়েছ��, তছরুপে�� কথাই আম�� শুনি �� এট�� শুনে, তখ�� আমরা ছেলেমানু�� ছিলু�� বল��, আমার �� সুনী�� গঙ্গোপাধ্যায়ের খু�� মনোকষ্�� হয় �� আম�� �� সুনী�� গঙ্গোপাধ্যায়, শক্তির দু�� বন্ধ��, আমরা সেদি�� রাত্রে��, সম্বলপুর প্যাসেঞ্জা�� ধর�� �� এট�� ডিসেম্বরের শে�� সপ্তাহ �� আম�� নি�� হাওড়ার চেনা দোকা�� থেকে তিনট�� খালি সোডা�� বোতল, চাইবাসায় এক্সচেঞ্�� করার কথ�� ভেবে, এট�� সুনীলও যুক্তিযুক্�� মন�� করেছিল �� সুনী�� একটা ক্যাপস্টানের টি�� নিয়েছি��, যা গরাদের ফাঁক দিয়ে গলিয়�� ডোরাকাটা শক্তির হাতে ওর দেবা�� ইচ্ছ�� ছি�� �� টিনট�� আমরা ট্রেনে খুলিনি �� মাইর�� ।��

“চাইবাসা�� গিয়ে এবার�� সমীরক�� পেলু�� না, ট্যুরে �� কিন্তু শক্ত�� ? পরদি�� জেলে গিয়ে খব�� নিলে�� হব�� এরকম ভেবে, ড্রেসি�� টেবিলে�� ড্রয়ার�� টিনট�� �� ওপরে তিনট�� সোডা�� বোতল রেখে, ডাকবাংলো ছেড়ে আমরা বেরিয়ে পড়লু�� নদী�� দিকে, চাইবাসার শ্মশানের দিকে শীতে�� রাত্তিরে আমরা এগিয়�� যেতে লাগলুম গা�� গাইত�� গাইত�� �� মধুটোলার কাছে ফটাস কর�� একটা বাড়ি�� দরোজ�� খুলে গে��, ‘এতো রাত্তিরে চাইবাসায় রবীন্দ্রসঙ্গী�� গা�� কে রে��, বলতে বলতে শক্ত�� বেরিয়ে এল�� �� এখান�� হঠাৎ�� মন�� পড়��, এই মধুটোলার রাস্তাতে��, ‘সাইকে�� কি সাঁতার কে�� কখনো ভোলে ভাই��, বল�� তড়��”
― Sandipan Chattopadhyay, সন্দীপন চট্টোপাধ্যায়ে�� ডায়ের��

“यद�� आप शक्तिशाली है��, तो लो�� आपकी बा�� सुनत�� हैं।”
― Ravi Ranjan Goswami, एक अपूर्व समस्या

“In the domain of the spiritual life, the same term S'akti signifies the celestial energy that allows one to enter into contact with the Divinity.”
― Laurence Galian, Jesus, Muhammad and the Goddess

“The Bhairava Tantra is set as a conversation between the Goddess Who Is the Creative Power of the Universe and the God Who Is the Consciousness that Permeates Everywhere. For short, they call each other Devi and Bhairava, or Shakti and Shiva. They are lovers and inseparable partners, and one of their favorite places of dwelling is in the human heart.”
― Lorin Roche, The Radiance Sutras

“One of life's most nurturing notions is to realise that this is a finite and unpredictable experience.”
― Kayo K.

“The division between sexes is largely a division between the static and the kinetic elements in life... The Yogi who would make the most of his devotions must transplant his psyche into the all-embracing aura of the Goddess-Woman.”
― Bernard Bromage

“No, Princess," whispered her lover, wishing she would hear and understand, "you are neither Kali, the eater of human flesh, nor Durga, the fighter of battles. On the contrary, you are Shakti, the custodian of sexuality.”
― Santosh Kalwar, The Royal Regiment

“The great erotic sculptures of Khajuraho are not depictions of life but emblems of the union of Shiv(a) and his Shakti, which result in the creation of all that is. The tourist is titillated by the linga that he sees around temples; his guide who is likely to be a divinity student, tirelessly repeats that they are emblems of universality, but his earnest insistence falls on deaf ears. The tourist assumes that the Hindus are as lecherous as he is.”
― Germaine Greer

“So, the creative energy for the universe is the destructive energy for shiva- it is the revealing energy for the universe and the concealing energy for Lord Shiva. And the destructive energy for the universe is the creative energy for shiva i.e it is the concealing energy for the universe and the revealing energy for Lord Shiva. Para kundalini is the supreme visarga of Shiva. As you know from studying the theory of matrikachakra, visarga(:) comprises two points. The points are said to be Shiva and Shakti. In the real sense, however these points are not shiva and shakti: they are the revealing point and the concealing point”
― Swami Lakshmanjoo, Kashmir Shaivism: The Secret Supreme