A Little Bit Dramatic Quotes

What if we all carried little timers that counted down the days of our lives?  Maybe the timer's a bit dramatic. Just the date would do. It could be tattooed on our foreheads like the expiration date on a milk bottle. It might be a good thing. Maybe we'd stop wasting our lives worrying about things that never happen or collecting things that we can't take with us. We'd probably treat people better. We certainly wouldn't be screaming at someone who had a day left. Maybe people would finally stop living like they're immortal. Maybe we could finally learn how to live.

Love heals the body. Look at any woman on the day after she was made love to by a man she adores, and who adores her too. A man’s body might register a difference, but a woman’s body literally transforms in ways a man’s does not seem to do. Our breasts, our skin, not to mention our faces, are filled with some voluptuous spirit. Both men and women walk a little bit above the sidewalk on days that follow our better nights. If there was enough happy sex in America, our crime level would be cut dramatically. We

Puberty hit me the way Hemingway once described people going broke -- gradually, and then suddenly. It was delicious. And dramatic. And exciting. And, at times, a little bit scary.

Indeed, in the majority of cases the dying person has already lost consciousness. Death had been dissected, cut to bits by a series of little steps, which finally makes it impossible to know which step was the real death, the one in which consciousness was lost, or the one in which breathing stopped. All these little silent deaths have replaced and erased the great dramatic act of death, and no one any longer has the strength or patience to wait over a period of weeks for a moment which has lost a part of its meaning.

One of the funny things about it, in retrospect, was its slowness, the lack of any dramatic Moment When It Had Happened. It was a little bit like the world’s adoption of the Internet, which had started with a few nerds and within decades become so ubiquitous that no person under thirty could really grasp what life had been like before you could Google everything.

Who’s the fifth?” I’m surprised he’s been keeping count. “John Ambrose McClaren.” Peter’s eyes widen. “McClaren? When did you like him?” “Eighth grade.” “I thought you liked me in eighth grade!” “There may have been a little bit of overlap,” I admit. Stirring my straw, I say, “There was this one time, in gym…he and I had to pick up all the soccer balls, and it started to rain…” I sigh. “It was probably the most romantic thing that ever happened to me.” “What is it with girls and rain?” Peter wonders. “I don’t know…I guess maybe because everything feels more dramatic in the rain,” I say with a shrug. “Did anything actually happen with you two, or were you just standing out in the rain picking up soccer balls?” “You wouldn’t understand.” Someone like Peter could never understand.

I want to taste that sweet little mouth of yours,” he says, but he’s not done. He’s just using a dramatic pause to build the tension for the next bit. And it’s good that he does, because the next part is this: “Before I make you come so hard you forget who you are.

Furthermore, I refuse to be affected by these cheap theatrics!" She gestured to the boiling sky. "Gor!" Shelton covered his eyes with one hand. Dougal instantly went from mad to furious, and the clouds rumbled to life. Yet in that instant, he realized that this tiny little bit of a woman had just reduced centuries of a dramatic and secretive curse to "cheap theatrics." He didn't know whether to rage or laugh, but somehow, looking up into her amazing blue eyes, laughter was beginning to win. "Furthermore," she continued in high dudgeon, "I won't be cowed by a few damned drops of rain!" Shelton groaned loudly. "Law,here it comes now." But it didn't. Instead, a chuckle rippled through Dougal. Sophia appeared outraged. "Are you laughing at me?" "No,sweetheart. I'm laughing at us. We cannot even ride from the field to the house without racing. We're doomed to challenge each other forever,and if we don't have a care, my temper will try the two of us like sausages over a spit." Her lips quivered in response. "I don't particularly care for that image." "I haven't time for elegance, my love. It is getting ready to rain, so sausages are all you'll get.

It’s a stupid question, really, as we’ve all got an expiration date. I guess the real question is not if, but when. As I was walking through the South Dakota Badlands—before I knew something was wrong with me—I had this thought: What if we all carried little timers that counted down the days of our lives? Maybe the timer’s a bit dramatic. Just the date would do. It could be tattooed on our foreheads like the expiration date on a milk bottle. It might be a good thing. Maybe we’d stop wasting our lives worrying about things that never happen, or collecting things that we can’t take with us. We’d probably treat people better. We certainly wouldn’t be screaming at someone who had a day left. Maybe people would finally stop living like they’re immortal. Maybe we would finally learn how to live. I’ve wondered

Are you being unreasonable to start a fight?” he asks. “It’s fine if you are, but can you save your rage until we get home? If we’re going to fight about this, we should fight about it somewhere we can make up.” “We’re not fighting, and I’m not being unreasonable.” “My bad. I meant dramatic.” I mumble that I’m not and he tugs a little on my ponytail to force me to look up at him. “And you are.” He pecks my lips and I melt like the weak woman I am. “But I don’t mind. We haven’t had a fight yet. It’s a good experience for you.” “If you tell me I’m dramatic one more time we are going to be fighting.” He grins, and after a losing streak, seeing him genuinely happy after a game is a dream. “You’re not doing a lot for your ‘I’m not dramatic’ case.” “We’re officially fighting,” I declare. In my head I sound serious and intimidating, but he gives me that damn smile and kisses the tip of my nose, and it’s clear he does not care one bit. “Two wins and a fight with you? I’m so lucky.

I grabed one of his hands that was hanging loosely at his side.I took a little bit of work to pry the fat silver ring off his finger, but when I had it free I held it up between the two of us and looked him dead in the eye. He was watching me caustiously, but didn't ask me what I was doing. Do you love me Jet? Dispite it all. Do you love me? Aden I'm here of course I love you. I love you before, I love you after, and I'll love you for everything in between. Had we not been in a grungy motel room in Kentucky,there was a good chance I would have gotten down on one kneeto make the moment more dramatic, to prove to him just how serious I was about not running away anymore but a girl had to have standards. I grad his left hand and put a kiss in his left palm. Jet Keller I love you and there is no future for me without you in it. I'm never going to bed with a man that isn't you again. I don't care if you're a rock star or a a car salesman.I just want there to be a you and me forever. Will you marry me?

It’s like that hoary Robert Frost poem, but without the false dichotomy: Two paths diverged in our woods, and because we are women, and women’s choices change dramatically with every single generation, both paths were less traveled by. And because there is no one way to have a family, no instruction book, and no trustworthy set of rules (and, trust me, I’ve looked), it is likely that both paths are just a little bit wrong and just a little bit right, and which one we take is simply a matter of luck and happenstance.

Sometimes, she said, she could recognize a place just by the quality of the light. In Lisbon, the light at the end of spring leans madly over the houses, white and humid, and just a little bit salty. In Rio de Janeiro, in the season that the locals instinctively call ‘autumn’, and that the Europeans insist disdainfully is just a figment of their imagination, the light becomes gentler, like a shimmer of silk, sometimes accompanied by a humid grayness, which hangs over the streets, and then sinks down gently into the squares and gardens. In the drenched land of the Pantanal in Mato Grosso, really early in the morning, the blue parrots cross the sky and they shake a clear, slow light from their wings, a light that little by little settles on the waters, grows and spreads and seems to sing. In the forests of Taman Negara in Malaysia, the light is like a liquid, which sticks to your skin, and has a taste and a smell. It’s noisy in Goa, and harsh. In Berlin the sun is always laughing, at least during those moments when it manages to break through the clouds, like in those ecological stickers against nuclear power. Even in the most unlikely skies, Ângela Lúcia is able to discern shines that mustn’t be forgotten; until she visited Scandinavia she’d believed that in that part of the world during the winter months light was nothing but the figment of people’s imagination. But no, the clouds would occasionally light up with great flashes of hope. She said this, and stood up, adopting a dramatic pose: ‘And Egypt? In Cairo? Have you ever been to Cairo?… To the pyramids of Giza?…’ She lifted her hands and declaimed: ‘The light, majestic, falls; so potent, so alive, that it seems to settle on everything like a sort of luminous mist.

Oh,Ella. I wish you'd had a better time at the ball." "Fuhgeddaboudit," I muttered. Greaseball. Freddy. Freak. "It's not like she and I were ever going to be BFFs." "I wasn't just referring to Amanda." Of course he wasn't. "I'll try," I moaned into the crook of my elbow. "Oh, Lord.I'll try to carry on." "That sounds rather dramatic, even for you." "It's Styx," I told him. "After your time, before mine. I don't know all the words,but those work for the moment. And for the record, I'm being ironic, not dramatic." "If you say so." I ignored him. "I have had my last flutter over Alex Bainbridge. I mean it. Frankie was right.How many signs do I need that we are never, ever going to have...anything...before I get it? Obviously, it doesn't matter that we realte to the same schizo seventies songs. Or that we can discuss antique Japanese woodblock prints. Or that when he sits next to me, he kinda takes my breath away. You would think that would count for a lot,wouldn't you?" Edward gets the concept of rhetorical questions, so I went on. "I wouldn't even want to hazard a guess about what makes Amanda's pulse go all skittery, but I would bet anything it's not Alex. And he's still with her. He doesn't belong with her, but apparently he feels he belongs to her. Explain that,please." "Oh,Ella.We men are not always the best at looking beyond the...er..." "Boobs,Edward. You can say it. Amanda Alstead has boobs and blonda hair. Beyond that, I can't see a single thing that's special about her." "Because there isn't a single thing. Beyond the...er, obvious. You,on the other hand,are a creature of infinite charms. Shall I list them alphabetically or from the top down?" I scowled up at him. "Y'know, you are beginning to sound a little too much like Frankie and Sadie,my deluded Greek chorus." "yes,well,I rather thought that's what friends are for." "You're not supposed to be my friend," I muttered. "You're supposed to be my Prince Charming." "Ahem." Edward's sculpted lips compressed into a grim line. "Have you looked at me lately? I am supposed to be startling and even a bit scary." "Nope.Neither." I rested my chin on my forearm. "To me,you are perfect. You are loyal and reliable and completely lacking in surprises." "That is a good thing?" "Absolutely," I said. "It's an excellent thing.I don't want any more surprises, over." "Hardly an admirable goal,that." "Maybe not," I agreed, "but pleasant. Among all the other bizarreness tonight, I found something new to be afraid of. Evil girlfriends." "Now,Ella. You can't go on being afraid forever." "Oh,yes,I can. As far as Amanda Alstead is concerned, I can." Edward tilted his head and studied me for a moment. He looked annoyed. "Why do you insist on having these conversations with me when you ignore everything I have to say?" It was a pretty good question. "Fine." I sat up straight and folded my hands in my lap. Home Truth time. "Go ahead. On this night when we celebrate the mysteries of life and death..Say something profound, something startling." There was a long silence. Then, "Boo," Edward said. "Thank you,Mr. Willing." "Don't mention it, Miss Marino. I am yours to command.

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.

I also told him about the dramatic, vivid verbal picture of God that the nuns drew for us—an enormous, slightly dangerous and very touchy guy with white hair and a long white beard. “It’s all the talk of feeble minds,” he whispered to me in confidence. “Those nuns know as much about prayer as they do about sex. Listen to me, now. God is everywhere and alive in everything, while them nuns figured God is as good as dead, a recluse in a permanently bad mood. Well, I refuse to believe that to my God, my maker and creator, my life is little more than a dice game.” He stopped and turned and looked at me and said, “Never believe that a life full of sin puts you on a direct route to hell. Even if you only know a little bit about God, you learn pretty quick that he’s big on U-turns, dead stops and starting over again.” As each day passes and my memories of Father O’Leary and Sister Emmarentia fade, and I can no longer recall their faces or the sounds of their voices as clearly as I could a decade ago, what remains, clear and uncluttered, are the lessons I took from them.

Like my prehistoric hunter-gatherer ancestors, I hit the road fairly often in my footloose youth. From Yale’s Dramat to Afghanistan’s Bamiyan Buddhas, from the tantric ashrams of Kathmandu to the libertine scenes of the Côte D’Azur and deep down into the dungeons of New York’s aptly named meat-packing district, I searched and researched sex, love and the politics of pleasure (mostly among humans)... All of that searching and researching climaxed when I met my favorite research subject, who turned into my primary research partner and “prime mate,” my charming Prince Max. Unlike so many sex researchers who fall in and out of love (with their research as well as each other), we’re still researching, still married and, almost three decades later, more in love than ever thanks to a little bit of luck and the Bonobo Way.

Flowing egoism is not objectionable but if it is caught-up even a little-bit; it is known as obstinacy. Flowing egoism is dramatic egoism. It is not problematic.

Jamie got back to her apartment in nineteen minutes and forty-nine seconds.  It wasn’t a personal best for a five-kilometre run, but it was still fast.  She showered and dressed, pulled on her boots, and was out the door in seventeen minutes flat. Which probably was close to a personal best.  She was wearing jeans she picked up from a supermarket. She liked them because they had a three percent lycra content woven into the denim, which stretched a little and meant that she could more easily crouch, walk, and kick someone in the side of the head if the situation called for it. It hadn’t yet, but she had a long career ahead of herself, she hoped.  She jumped into her car — a small and economical hybrid hatchback which squeezed around the city easily — and headed north towards the Lea.  It took nearly forty minutes to get there in rush hour traffic, and by the time she pulled up, Roper was leaning against the bonnet of his ten-year-old Volvo saloon, smoking a cigarette. He was tall with thinning, short hair, and a face that looked like he was always squinting into a stiff wind.  His long black coat was pinned to his right leg in the breeze and his shirt looked like it’d been pulled out of the laundry hamper rather than a clean drawer. He was perpetually single, and it showed. There was no one to hold him accountable when he decided it was okay to skip a morning shower for an extra ten minutes sleeping off his hangover. What she hated most about him, beyond the cigarette stink and the pissed-at-life attitude, was that she always had to look twice to make sure he wasn’t her father.  Her mother had dragged her away from him in Sweden, and now, she’d been thrown together with a guy who seemingly had inherited all his bad habits. Her mum said it was because all detectives were like it if they did the job long enough. They saw too much and didn’t talk about it enough. Which led inevitably to drink, and drugs, and other women. She’d spoken from experience of course. And Jamie knew she hadn’t exaggerated.  Though moving them both to Britain seemed like a bit of a dramatic reaction. But then again, her father had given her mother gonorrhoea and couldn’t say which woman he’d gotten it from. So Jamie figured it was reasonable.  He would have turned sixty-one this year. Roper pushed off the Volvo and ground out his cigarette under the heel of his battered Chelsea boot. Jamie looked at it, stopping short of his odour-radius. ‘You gonna just leave that there?’ He looked between his feet, rolling onto the outsides of them as he inspected the flattened butt. ‘It’ll wash away in the rain.’ ‘Into the ocean, yeah, where some poor fish is going to eat it,’ Jamie growled, coming to a stop in front of him.

Having settled on the Shavian style of Higgins’s songs, Lerner and Loewe weave two other levels of musical style into the score—just as Rodgers and Loesser wove multiple musical styles into mirrors of class and character. Eliza, the lowly flower seller whom Higgins turns into a lady, could sing with the conventional fire and passion of operetta and musical heroines. The passionate, full-throated sound of her songs—the longing of “Wouldn’t It Be Loverly?” the anger of “Just You Wait, ’Enry ‘lggins,” the joy of “I Could Have Danced All Night,” the insistence of “Show Me”—contrasts with the dry wit of Higgins’s talk-songs. This contrast not only gives the score musical variety and color but embodies the essential dramatic conflict between intellect and emotion. The third musical style belongs to Alfred Doolittle, Eliza’s working-class dad, who, like Higgins, is an unconventional moralist—resisting such constraints of middle-class morality as work, sobriety, thrift, and marriage. Lerner and Loewe saw Doolittle as a refugee from the English music hall—literally, since the veteran music-hall performer, Stanley Holloway, created the role. Doolittle’s “With a Little Bit of Luck” and “Get Me to the Church on Time” are bouncy, raucous music-hall numbers, oom-pah marches with conventional major harmonies and not a trace of American syncopation.

There will be a poverty trap whenever the scope for growing income or wealth at a very fast rate is limited for those who have too little to invest but expands dramatically for those who can invest a bit more. On the other hand, if the potential for fast growth is high among the poor, and then tapers off as one gets richer, there is no poverty trap.

I come to see the trucking industry as structurally vampiric. I don’t say this to be dramatic. It is an industry that creeps along the margins of society and seduces the vulnerable, feeding itself on their aspirations, coaxing them to lend a little bit of their lives and credit in exchange for a promise that is almost never delivered: a stable job and control over their own destiny. Debt is the financial instrument that best expresses hope. Industrial trucking is brilliant at this precise exchange.

The other distinctive thing about them, and the reason I like to go to Hazlitt's, is that they cannot bear to admit that they don't know the location of something they feel they ought to know, like a hotel, which I think is rather sweet. to become a London cab driver you have to master something called The Knowledge--in effect, learn every street, hospital, hotel, police station, cricket ground, cemetery, and other notable landmarks in this amazingly vast and confusing city. It takes years and the cabbies are justifiably proud of their achievement. It would kill them to admit that there could exist in central London a hotel that they have never heard of. So what the cabbie does is probe. He drives in no particular direction for a block or two, then glances at you in the mirror and in an over casual voice says, “Hazlitt’s–that’s the one on Curzon Street, innit, guv? Opposite the Blue Lion?” But the instant he sees a knowing smile of demure forming on your lips, he hastily says, “No, hang on a minute, I’m thinking of Hazelbury. Yeah, Hazelbury. You want Hazlitt’s, right?” He’ll drive on a bit in a fairly random direction. “That’s this side of Shepherd’s Bush, innit?” he’ll suggest speculatively. When you tell him that it’s on Frith Street, he says, “Yeah, that’s the one. Course it is. I know it–modern place, lots of glass.” “Actually, it’s an eighteenth-century brick building.” “Course it is. I know it.” And he immediately executes a dramatic U-turn, causing a passing cyclist to steer into a lamppost (but that’s all right because he has on cycle clips and one of those geeky slip-stream helmets that all but invite you to knock him over). “Yeah you had me thinking of the Hazelbury,” the driver adds, chuckling as if to say it’s a lucky thing he sorted that one out for you, and then lunges down a little side street off the Strand called Running Sore Lane or Sphincter Passage, which, like so much else in London, you had never noticed was there before. Hazlitt’s is a nice hotel, but the thing I like about it is that it doesn’t act like a hotel. It’s been there for years, and the employees are friendly–always a novelty in a big-city hotel– but they do manage to give the slight impression that they haven’t been doing this for very long. Tell them that you have a reservation and want to check in and they get a kind of panicked look and begin a perplexed search through drawers for registration cards and room keys. It’s really quite charming. And the delightful girls who cleans the rooms–which, let me say, are always spotless and exceedingly comfortable–seldom seem to have what might be called a total command of English, so that when you ask them for a bar of soap or something you see that they are watching your mouth closely and then, pretty generally, they return after a bit with a hopeful look bearing a potted plant or a commode or something that is manifestly not soap. It’s a wonderful place. I wouldn’t go anywhere else.

Let me pass," I snapped. He gave me a strange look. "What was that?" That caught me a bit off guard, too. That he noticed the brief emotion I had allowed to flinch over my face. "Let me pass." "Or what?" "Or I'll stab you again." "How much higher?" For a moment, I actually considered doing it. Maybe this was the best opportunity I'd get, right now, when he was acting like it was all a big fucking joke. What a luxury that must be. It was only the thought of that flash of black, then white—Asteris, I was sure of it—that stilled my hand. Instead, I made a dramatic show of looking him up and down—lingering at his thigh and trailing up to the crotch of his leather pants, and said, "A little.

Aren’t you afraid of me?” She glanced at his sword belt. “Or are you as deft at handling your sword Captain Westfall?” He stepped closer, tightening his grip. “Better,” he whispered in her ear. There: she was blushing and blinking. “Well,” she began, but the timing was off. He’d won. She crossed her arms. ”Very amusing, Your Highness.” He bowed dramatically. “I do what I can. But you can’t have Princess Nehemia here with you.” “And why is that? Do you believe I’m going to kill her? Why would I kill the one person in this castle who isn’t a babbling idiot?” She gave him a look that suggested he was part of the majority. “Not to mention, her guards would kill me before I even lifted a finger.” “It simply can’t happen. She’s here to learn our customs, not to spar.” “She’s a princess. She can do what she likes.” “And I suppose you’re going to teach her about weaponry?” She cocked her head. “Perhaps you’re just a little bit afraid of me.

Geographically the island had dramatic coastline of secret coves and forests. It was surrounded by water of turquoise color and reef. It had rich, fertile lands and a very hot temperature all year round. All year the temperature averaged 105 degrees. It got a bit cooler at night but people could still sleep under the stars and sky. It had very little rainfall and no snow or frost. Temperatures dropped a little in the winter”.

Now, are you going to waste this entire day trying to locate your misgivings, or will you share an apple tart with a hungry tiger?” Ellen smiled as he bit her neck playfully. “I do have misgivings.” “I know, dear heart.” Val growled and teethed her shoulder this time. “But I’ve put them out in the springhouse where they will not trouble you as much. Did you know tigers are fond of apple tarts, particularly when consumed naked in bed?” “I prefer my apple tarts properly clad,” Ellen rejoined, reaching around to pinch Val’s bottom. “She pinched me.” Val sighed dramatically. “If I didn’t adore her before, I am thoroughly smitten now.” “You are ridiculous,” Ellen said, though the sheer ease of his humor was marvelous to her. “I appreciate the effort.” “What effort?” “To tease and distract me, though I have to say I like the feel of you draped around me too. You are trying to preserve me from awkwardness.” Val closed his eyes. “Is it working?” Ellen laced her fingers through his. “It is, a little anyway, but you mentioned apple tarts for the tiger. Posthaste.

Aunt Lucy, sitting beside her on the settee, glanced at Amelia. “Is something wrong, my dear? You just heaved a very mournful sigh and you’re looking quite flushed and bothered.” Amelia flashed her godmother an apologetic smile. “No, Aunt Lucy, I’m fine. Just a trifle, um, hot.” Her gaze drifted back to Nigel. He was crouched down, his green robe flared out in a dramatic sweep, as he spoke with little Ned Haythrop. Ned’s ancient spaniel had died only last week and, according to his grandmother, Lady Peterson, he’d been inconsolable. But Nigel got him smiling and soon drew a giggle from the boy with a joke about swallowing the bean in the Twelfth Night cake. Even Amelia’s sister, Penelope, who at fourteen considered herself too old for such things as holiday pantomimes, had clearly fallen victim to Nigel’s quiet charm. As had Amelia. She’d only been too stupid to realize it until it bashed her over the head. Aunt Lucy looked at her skeptically but didn’t probe. Like Amelia, she turned to watch Nigel laughing with Ned and Lady Peterson. “He does make a splendid Father Christmas, doesn’t he?” her godmother said with approval. “Much better than Philbert. That man carried on as if he were about to submersed in a vat of flaming wassail. Just between us, I suspect his twisted ankle might be more imaginary than real. Philbert can be so dramatic.” Amelia blinked. One could characterize Philbert as rather mysterious, but dramatic? “Er, I’m sure you’re right, Aunt Lucy, and I agree about Mr. Dash. He’s a perfectly splendid, considerate man. He didn’t blink an eyelash when Lord Broadmore so rudely made fun of his costume.” She scowled at the memory of his lordship’s jeers when Nigel came into the drawing room dressed as Father Christmas, leading Thomas the footman who carried the large tray of treats. Amelia thought Nigel looked wonderful in the dark velvet robe. The ermine trim brought out the cobalt depths in his eyes and the mistletoe wreath looked positively kingly atop his thick brown hair. Amelia had helped him with the wreath, and when he’d bent down a bit so she could adjust the fit, she’d been tempted to stroke her fingers through his silky locks. She’d blushed madly when he straightened up and thanked her with a teasing smile. Aunt

Such a woeful face!" he teased, adjusting the overcoat. "Cheer up, lest they all think you do not want me!" "It's not that, Lord Gareth." "Then what is it?" "It doesn't matter. Come, let's just get on with it." Let's just get on with it. Her air of resigned defeat alarmed and hurt him. What was wrong? Did she find him wanting? Was she angry with him, thinking he was marrying her only to get back at Lucien? Or was she — please God, no — comparing him to Charles and finding him lacking? After all, that's what everyone else had always done. As he offered his elbow, she stayed him with gentle pressure on his arm. "But then again, maybe the reverend's right, Lord Gareth," she said slowly, for his ears alone. "I'm just a colonial nobody, and you can do much better than me." "I'm not even going to honor that remark with an answer," he said with false brightness. Bloody hell. Is it Charles? "And furthermore, I think it's time we dispense with the 'Lord Gareth' and 'Miss Paige' bit, don't you? After all, we shall soon be married." "Marriage is not a union in which to enter lightly —" "I can assure you, my sweet, we are not entering it lightly. You need a husband. Charlotte needs a father. And I —" he grinned and dramatically clapped a hand to his chest before executing a little bow — "am in a position to help you both. One cannot get any more serious than that, eh?" "This isn't funny, Lord Gareth." "It's not so very terrible, either." "I don't think this is quite what Charles had in mind when he bade me to come to England —" "Look Juliet, Charles is dead. Whatever he had in mind no longer matters. You and I are alive, and we must seek the best solution to your — and Charlotte's — predicament."  He lifted her chin with his finger and smiled down into her troubled eyes. "Now, let's see some joy on that pretty face of yours. I don't want my friends to think you're miserable about marrying me." Juliet

Miss Dunlap, you see, put on quite a dramatic display after she went back to the ballroom, far more dramatic than anything that dreary production she was trying to direct could have achieved. You won’t like hearing this, but the woman actually took to the stage and told everyone the rehearsal, as well as the final production, had been canceled. Then she told everyone in the ballroom about you and Miss Plum—and that Miss Plum had been the very unattractive Miss Fremont—and that Miss Plum had obviously gone to great lengths to pull the wool over everyone’s eyes, embarrassing the good folk of Tarrytown in the process by mocking their theatrical efforts.” “Oh . . . no,” Bram said. “Indeed,” Tilda agreed. “And unfortunately, it gets worse.” “Maybe you shouldn’t tell me everything all in one sitting, Tilda,” Bram said a little weakly. “Don’t be a coward, Mr. Haverstein. It’s always best to hear all the bad instead of parceling it out bit by painful bit.” Retaking his seat, he buried his face in his hands. “Very well, carry on.” “Well, you see, Miss Dunlap was clearly distraught, as well as disappointed, that you’d been discovered kissing Miss Plum. Because of that, she said some very disparaging things about Miss Plum, and before long Mr. Skukman joined her on stage.” “Oh . . . no.” “Exactly. Well, Miss Dunlap didn’t take kindly to him arguing with her, and she . . . attacked him.” Bram lifted his head. “She . . . attacked him?” Tilda nodded. “She did, but to give Mr. Skukman credit, he didn’t bat an eye as she went about the unpleasant business of pummeling him. It wasn’t harming him at all, of course, but when she started throwing things—and not just at him but at members of your staff as well—Mr. Skukman saved quite a few people from suffering injuries by picking up Miss Dunlap, tossing her over his shoulder, and carting her offstage.” “Should I ask what happened next?” “He was run out of Tarrytown by a horde of angry townswomen, and . . . to add further chaos to the evening, someone let Geoffrey out of the barn again and he chased Miss Dunlap and Miss Cooper all the way down the drive, until they were rescued by Ernie. Although . . . he was apparently in the process of creating some new gravestones for the back graveyard in case you needed some disturbing inspiration some night, and . . . there is now a rumor swirling about town that we’re up to some concerning shenanigans here at Ravenwood.” “The

Although the preceding examples have been dramatic, codependency doesn’t necessarily have to be so intense. And it doesn’t always involve experiences with deeply troubled people. Kristen is married, has two young children, and knows of no alcoholism or compulsive disorders in her immediate or extended family. Yet, she calls herself codependent. Her problem, she says, is that other people’s moods control her emotions; she, in turn, tries to control their feelings. “If my husband is happy, and I feel responsible for that, then I’m happy. If he’s upset, I feel responsible for that, too. I’m anxious, uncomfortable, and upset until he feels better. I try to make him feel better. I feel guilty if I can’t. And he gets angry with me for trying. “And it’s not only with him that I behave codependently,” she added. “It’s with everyone: my parents, my children, guests in my home. Somehow, I just seem to lose myself in other people. I get enmeshed in them. “I’d like to do something about it—this thing called codependency—before it gets any worse. I’m not terribly unhappy,” she said, “but I’d like to learn how to relax and start enjoying myself and other people.” A minister summarized the condition this way: “Some people are really codependent, and some of us are a little bit codependent.

Nana’s funeral was packed wall-to-wall. And I cried hard and dramatically, completely unable to keep it together despite having known for the better part of a year that she was going to die. Death was the worst, and I hated the way it reminded me of how out of control I was. But the older I go, the more death became a constant. Friends lost loved ones, my family lost friends, and my dad and mom put our family cat down after 17 years. With every death, I taught myself to emote a little bit less, pushing the acknowledgment of loss down as far as I could, desperate for a sense of control over the uncontrollable.

How much science fiction have you read?” “A little. Not much.” “Well, lucky for you, I’ve read quite a bit.” He grinned. “In fact, you could say that’s why I’m here. I got hooked on that stuff when I was a kid, and by the time I got out of college, I’d pretty much decided that I wanted to see Mars.” He became serious again. “Okay, try to follow me. Although people have been writing about Mars since the 1700’s, it wasn’t until the first Russian and American probes got out here in the 1960’s that anyone knew what this place is really like. That absence of knowledge gave writers and artists the liberty to fill in the gap with their imaginations… or at least until they learned better. Understand?” “Sure.” I shrugged. “Before the 1960’s, you could have Martians. After that, you couldn’t have Martians anymore.” “Umm… well, not exactly.” Karl lifted his hand, teetered it back and forth. “One of the best stories on the disk is ‘A Rose For Ecclesiastes’ by Roger Zelazny. It was written in 1963, and it has Martians in it. And some stories written before then were pretty close to getting it right. But for the most part, yes… the fictional view of Mars changed dramatically in the second half of the last century, and although it became more realistic, it also lost much of its romanticism.” Karl folded the penknife, dropped it on his desk. “Those aren’t the stories Jeff’s reading. Greg Bear’s ‘A Martian Ricorso’, Arthur C. Clarke’s ‘Transit of Earth’, John Varley’s ‘In the Hall of the Martian Kings’… anything similar to the Mars we know, he ignores. Why? Because they remind him of where he is… and that’s not where he wants to be.” “So…” I thought about it for a moment. “He’s reading the older stuff instead?” “Right.” Karl nodded. “Stanley Weinbaum’s ‘A Martian Odyssey’, Otis Albert Kline’s ‘The Swordsman of Mars’, A.E. van Vogt’s ‘The Enchanted Village’… the more unreal, the more he likes them. Because those stories aren’t about the drab, lifeless planet where he’s stuck, but instead a planet of native Martians, lost cities, canal systems…” “Okay, I get it.” “No, I don’t think you do… because I’m not sure I do, either, except to say that Jeff appears to be leaving us. Every day, he’s taking one more step into this other world… and I don’t think he’s coming back again.