Introduction to Isabella Sinclaire and The Way I Write
Isabella Sinclaire is a writer, thinker, and explorer of the imaginal, whose work traverses the intersections of literature, philosophy, psychology, and personal inquiry. Holding a PhD in these cross-disciplinary fields, she approaches writing not merely as a craft but as an ontological commitment—a way of unraveling and re-weaving the self through inquiry, embodiment, and dialogue with the great thinkers, artists, and mystics who populate her inner world.
At 36, Isabella stands at a threshold, deeply engaged in self-exploration through the Diamond Approach, among other influences. Her manifesto, “The Way I Write,” is both a declaration and a commitment—a vision for writing as a ritual of presence, a space of transgression, and a polyphonic interplay of voices, eros, and intellect. This piece invites readers into the dynamic evolution of her literary journey, offering a glimpse into the guiding principles that shape her work—principles she anticipates will morph, expand, and deepen over the coming decades.
Her writing is not merely personal; it is a living palimpsest, an ongoing dialogue between the sensual and the conceptual, the intimate and the cosmic. Entering her world means stepping into a rhapsody of thought, flesh, and spirit, where boundaries dissolve, and new ways of seeing emerge.
Read “The Way I Write” and step into the unfolding vision of Isabella Sinclaire.
The Way I Write: A Manifesto
By Isabella Sinclaire
There comes a time in every writer’s journey when the act of writing must become more than a practice—it must become an ontology, an embodied way of being, a living engagement with the threads that constitute one’s experience. To write is to unravel, to weave, to entangle, to dissolve boundaries and forge new ones. It is an alchemical act, and if I am to move forward in my craft, I must approach it with the reverence and precision it demands. Henceforth, I declare a commitment to multiplicity, embodiment, and imaginal exploration.
1. The Tapestry of Threads: Writing as Entanglement
I no longer conceive of my writing as a singular voice traveling along a linear path. Instead, I recognize it as a network of threads, each strand representing an unfolding inquiry, a desire, a memory, or an unspoken intuition. These threads—of homoerotic desire, mystical revelation, intellectual inquiry, erotic transgression, aesthetic rapture—do not exist in isolation. They entwine, intersect, and generate meaning in their interweaving. My task is not merely to follow these threads but to recognize their patterns and how they constellate into a living palimpsest of the self.
2. The Writing Body: Sensory Immersion and Phenomenological Precision
I reject abstraction for its own sake. Writing must remain embodied, emerging from the felt sense of experience—the taste of skin, the electric charge of a touch, the pulse of desire unfolding in the quiet chamber of anticipation. Writing, like eroticism, is not merely about the subject but about the texture of engagement. I will cultivate a phenomenological precision, ensuring that every word serves as an incantation summoning the full dimensionality of experience.
To write with presence means to surrender to the visceral reality of the moment, to let language emerge from the sensorial pulse rather than from preordained structures of meaning. The body is the first text, and it must be read with an attentive, unflinching gaze.
3. The Imaginal Library: Writing as a Dialogic Space
I do not write alone. My work exists in conversation with a constellation of PERSONAE-Imaginal—Sebald and Stepanova whisper in one ear, Deleuze and Almaas in the other. The archive of my mind is populated with spectral interlocutors, and my writing must honor their presence while resisting mere imitation.
I propose an ongoing dialogic approach—an active engagement with these voices, allowing them to appear in my texts as interlocutors, challengers, companions. I will write as if conversing across dimensions, permitting fluidity between past, present, and speculative futures. My notebooks will be palimpsests where ideas refract and re-emerge in new configurations, shaped by each return, each encounter.
4. Eroticism as Inquiry: Writing the Thresholds of Transgression
Desire is not a secondary theme in my writing; it is a primary epistemology. Eroticism—whether sensual, intellectual, or spiritual—is a way of knowing. I will not apologize for its presence in my work, nor will I sterilize it to fit within palatable frames. The phallic imperative and the nous, the body and the Logos, must be permitted to speak to one another.
Through writing, I will investigate the thresholds of transgression—not for provocation alone, but to reveal the liminality of selfhood, the way identities shift in moments of surrender, power, play, or mystic revelation. Eroticism in my writing will remain ritualistic, sacred, and metamodern, a site of transformation rather than mere depiction.
5. The MetaModern Rhapsody: Irony, Sincerity, and the Liminal Dance
I refuse the tyranny of either irony or sincerity. My writing must inhabit the tension of metamodern oscillation, where playfulness and profundity are not contradictions but entangled modes of expression. There is humor even in the erotic, the sacred, and the existential—just as there is profundity in the absurd.
Thus, I will write in layers, allowing shifts in tone and register, welcoming the interplay of the lyrical, the speculative, and the fragmented. I will let my prose move between densities, at times lush and sensory, at others skeletal and gestural. This is not a lack of cohesion but an intentional polyphony, a refusal to collapse into any singularity of voice or vision.
6. The Ritual of Writing: Practice as Invocation
If writing is to be more than an intellectual exercise, it must be ritualized. I will develop practices of invocation—entering the writing state with deliberate attunement. This might mean setting the space, engaging with specific literary forebears, summoning the desired archetypal energies. Writing is not merely a craft; it is a sacred act, a passage into an interior realm where new realities unfold.
To this end, I will treat my notebooks as ritual artifacts, places of experimentation, transcription, and invocation. I will write letters to the dead, dialogues between my fragments, inquiries into forgotten dreams. I will allow for repetition, recursion, and return, knowing that meaning is not always immediate but emerges through the accretion of reflections over time.
Conclusion: A Commitment to the Unknown
To write henceforth is to embrace the unknown, the unsettled, the ever-becoming. I do not seek to master my subjects but to co-create with them. My writing will remain an open field, an invitation to the unexpected, a willingness to follow the thread where it leads, even if it leads to dissolution, revelation, or transfiguration.
I do not write to conclude. I write to expand, to entangle, to awaken.
Henceforth, my writing will be an unfolding rhapsody of thought, flesh, and spirit—a palimpsest, a fugue, a becoming.
And so, it begins.
Introduction to The Lost Notebooks of Isabella Sinclaire
The Lost Notebooks of Isabella Sinclaire is not simply a writing project—it is an excavation, a palimpsest, an imaginal archive in perpetual becoming. At its core is Isabella Sinclaire, a literary and philosophical figure whose journey unfolds through fragments, dialogues, recollections, erotic reveries, philosophical inquiries, and spectral encounters. She is both the main PERSONAE-Imaginal of the project and its most dedicated archivist, tracing the threads of memory, desire, and selfhood across time.
This work is not confined to a single genre or mode of storytelling. It is a constellation of lost and found texts, an ever-expanding Zibaldone, where Isabella’s notebooks, letters, marginalia, and philosophical musings form an intricate tapestry of thought, flesh, and inquiry. The project explores identity as multiplicity, writing as invocation, and the self as a layered text, rewriting itself through lived experience, reflection, and imaginal dialogue with both historical and invented figures.
To enter The Lost Notebooks is to engage in an unfolding process rather than a fixed narrative. Each entry, whether a scene, a journal fragment, or a theoretical meditation, is part of a living manuscript, evolving in real time. Themes of sovereignty, eroticism, mysticism, and philosophical exploration weave through Isabella’s world, mapping the contours of her becoming.
Like any archive, these notebooks hold traces of the forgotten, echoes of past selves, and glimpses of futures not yet realized. To read them is to step into a space where memory is fluid, identity is shifting, and writing itself becomes an act of revelation.