She was also cognizant that the series of treatments

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She was also cognizant that the series of treatments for depression could not lift the veil; she had to write about the warm, gentle man who exemplified courage. Mollie had to bring her father to life through her writing; she needed to share the man who taught her courage, sought to live as Christ, the gentle revolutionary, and gave her a place in the sun. The writing process is as varied and as complex as those involved in it. There is no simple formula to the magic of weaving words into vicarious adventures for others. The integrity with which Mollie Hunter approaches the task is reflective of the spiritual depth and personal philosophy of the author, and reflective of the Scottish propensity for language and lore. Mollie Hunter has defined a hero as a person of courage, and has identified the true battlefield of good versus evil as the human psyche. 27 The premise that exploring our psychological darkness as the path to creative light has long been explored through literature. 28 It is the journey to self- knowledge and the one that provides the opportunity to emerge courageous. A Stranger Shore 25 Hunter, Mollie, Cat Herself (New York: Harper & Row, 1985):187. 26 Hunter, Mollie, A Sound of Chariots (New York: Harper & Row, 1972). 27 Hunter, Mollie, The Pied Piper Syndrome (New York: HarperCollins, 1992): 60. 28 LeGuin, Ursula, ―The Child and the Shadow,‖ The Language of the Night (New York: HarperCollins, 1992):59 71.
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Forum on Public Policy 10 In 1998, Betty Greenway wrote of Ms Hunter’s quest. She spoke of the fact that the author had to leave school at the age of fourteen in order to take a financial burden off of her mother. While working in he r maternal grandfather’s floral shop , Mollie Hunter took night classes, and pursued knowledge through systematic research at the National Library of Scotland. Her first chosen subject was God, because He knew everything. 29 Ms Greenway concluded that Mollie’s research on God led her to explore prim itive beliefs that were reflected in many of the tales she had heard as a child. She realized that the power of those stories connected her to the folklore that defined cultures across centuries. It was thus that Mollie Hunter decided that all fantasy writing must be approached in a matter of fact way. The Otherworld that permeates Celtic lore is defined by Ms Hunter as a ―world beyond the grave…peopled with the gods, the dead heroes, and the …ancestors.‖ 30 The cornerstone of her belief about the Otherworld is that it is a place of perfection, void of sickness, pain or death, but also void of love. That makes it safe, and therefore tempting, but her absolute conviction that it is love that transforms, also makes it a dangerous haven. Ms Hunter’s writing about the propelling force of love to humanize is evident in all of her work, and in her life. She consistently writes on these two levels: the engrossing story, and her philosophical beliefs.
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