Acres Of Skin Quotes

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I'm sure the makers of Downy would be pleased to know that their product makes even mummified human skin soft and fragrant.
William M. Bass (Death's Acre: Inside the Legendary Forensic Lab the Body Farm Where the Dead Do Tell Tales)
There was, in fact, a street sign to that effect—the first I’d seen in all of Devil’s Acre. Louche Lane, it read in fancy handwritten script. Piracy discouraged. “Discouraged?” I said. “Then what’s murder? Frowned upon?” “I believe murder is ‘tolerated with reservations.’ ” “Is anything illegal here?” Addison asked. “Library late fines are stiff. Ten lashes a day, and that’s just for paperbacks.” “There’s a library?” “Two. Though one won’t lend because all the books are bound in human skin and quite valuable.
Ransom Riggs (Library of Souls (Miss Peregrine's Peculiar Children, #3))
Shame is a distinct feeling. I couldn’t look at my hands around the coffee cup or hear my own laments without feeling appalled, wanting desperately to fall silent, grow smaller. More than that, I was uncomfortably conscious of my whole body, from the awkward way that the shafts of my hair were thrusting out of my scalp to my feet, which felt dirty as well as cold. Everywhere, I seemed to feel my skin from the inside, as if it now stood away from my flesh, separated by a millimeter of mortified space.
Jane Smiley (A Thousand Acres)
Howard had a pine display case, fastened by fake leather straps and stained to look like walnut. Inside, on fake velvet, were cheap gold-plated earrings and pendants of semiprecious stones. He opened this case for haggard country wives when their husbands were off chopping trees or reaping the back acres. He showed them the same half-dozen pieces every year the last time he came around, when he thought, This is the season - preserving done, woodpile high, north wind up and getting cold, night showing up earlier every day, dark and ice pressing down from the north, down on the raw wood of their cabins, on the rough-cut rafters that sag and sometimes snap from the weight of the dark and the ice, burying families in their sleep, the dark and the ice and sometimes the red in the sky through trees: the heartbreak of a cold sun. He thought, Buy the pendant, sneak it into your hand from the folds of your dress and let the low light of the fire lap at it late at night as you wait for the roof to give out or your will to snap and the ice to be too thick to chop through with the ax as you stand in your husband's boots on the frozen lake at midnight, the dry hack of the blade on ice so tiny under the wheeling and frozen stars, the soundproof lid of heaven, that your husband would never stir from his sleep in the cabin across the ice, would never hear and come running, half-frozen, in only his union suit, to save you from chopping a hole in the ice and sliding into it as if it were a blue vein, sliding down into the black, silty bottom of the lake, where you would see nothing, would perhaps feel only the stir of some somnolent fish in the murk as the plunge of you in your wool dress and the big boots disturbed it from its sluggish winter dreams of ancient seas. Maybe you would not even feel that, as you struggled in clothes that felt like cooling tar, and as you slowed, calmed, even, and opened your eyes and looked for a pulse of silver, an imbrication of scales, and as you closed your eyes again and felt their lids turn to slippery, ichthyic skin, the blood behind them suddenly cold, and as you found yourself not caring, wanting, finally, to rest, finally wanting nothing more than the sudden, new, simple hum threading between your eyes. The ice is far too thick to chop through. You will never do it. You could never do it. So buy the gold, warm it with your skin, slip it onto your lap when you are sitting by the fire and all you will otherwise have to look at is your splintery husband gumming chew or the craquelure of your own chapped hands.
Paul Harding (Tinkers)
It was a childhood of mud, barking dogs, barbed wire, dilapidated farm buildings, squealing pigs with their flaking skin and squashed-in faces, and little human contact, beyond a mother who sat most of the day at the kitchen table wearing the slack, staring aspect of someone who had been lobotomized, and his father, who ruled their acres of pig shit and ruin with his angry laughter and his fists.
Joe Hill (Heart-Shaped Box)
Psychoanalysis: An Elegy" What are you thinking about? I am thinking of an early summer. I am thinking of wet hills in the rain Pouring water. Shedding it Down empty acres of oak and manzanita Down to the old green brush tangled in the sun, Greasewood, sage, and spring mustard. Or the hot wind coming down from Santa Ana Driving the hills crazy, A fast wind with a bit of dust in it Bruising everything and making the seed sweet. Or down in the city where the peach trees Are awkward as young horses, And there are kites caught on the wires Up above the street lamps, And the storm drains are all choked with dead branches. What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.
Jack Spicer (My Vocabulary Did This to Me: The Collected Poetry)
Darwin’s Bestiary PROLOGUE Animals tame and animals feral prowled the Dark Ages in search of a moral: the canine was Loyal, the lion was Virile, rabbits were Potent and gryphons were Sterile. Sloth, Envy, Gluttony, Pride—every peril was fleshed into something phantasmic and rural, while Courage, Devotion, Thrift—every bright laurel crowned a creature in some mythological mural. Scientists think there is something immoral in singular brutes having meat that is plural: beasts are mere beasts, just as flowers are floral. Yet between the lines there’s an implicit demurral; the habit stays with us, albeit it’s puerile: when Darwin saw squirrels, he saw more than Squirrel. 1. THE ANT The ant, Darwin reminded us, defies all simple-mindedness: Take nothing (says the ant) on faith, and never trust a simple truth. The PR men of bestiaries eulogized for centuries this busy little paragon, nature’s proletarian— but look here, Darwin said: some ants make slaves of smaller ants, and end exploiting in their peonages the sweating brows of their tiny drudges. Thus the ant speaks out of both sides of its mealy little mouth: its example is extolled to the workers of the world, but its habits also preach the virtues of the idle rich. 2. THE WORM Eyeless in Gaza, earless in Britain, lower than a rattlesnake’s belly-button, deaf as a judge and dumb as an audit: nobody gave the worm much credit till Darwin looked a little closer at this spaghetti-torsoed loser. Look, he said, a worm can feel and taste and touch and learn and smell; and ounce for ounce, they’re tough as wrestlers, and love can turn them into hustlers, and as to work, their labors are mythic, small devotees of the Protestant Ethic: they’ll go anywhere, to mountains or grassland, south to the rain forests, north to Iceland, fifty thousand to every acre guzzling earth like a drunk on liquor, churning the soil and making it fertile, earning the thanks of every mortal: proud Homo sapiens, with legs and arms— his whole existence depends on worms. So, History, no longer let the worm’s be an ignoble lot unwept, unhonored, and unsung. Moral: even a worm can turn. 3. THE RABBIT a. Except in distress, the rabbit is silent, but social as teacups: no hare is an island. (Moral: silence is golden—or anyway harmless; rabbits may run, but never for Congress.) b. When a rabbit gets miffed, he bounds in an orbit, kicking and scratching like—well, like a rabbit. (Moral: to thine own self be true—or as true as you can; a wolf in sheep’s clothing fleeces his skin.) c. He populates prairies and mountains and moors, but in Sweden the rabbit can’t live out of doors. (Moral: to know your own strength, take a tug at your shackles; to understand purity, ponder your freckles.) d. Survival developed these small furry tutors; the morals of rabbits outnumber their litters. (Conclusion: you needn’t be brainy, benign, or bizarre to be thought a great prophet. Endure. Just endure.) 4. THE GOSSAMER Sixty miles from land the gentle trades that silk the Yankee clippers to Cathay sift a million gossamers, like tides of fluff above the menace of the sea. These tiny spiders spin their bits of webbing and ride the air as schooners ride the ocean; the Beagle trapped a thousand in its rigging, small aeronauts on some elusive mission. The Megatherium, done to extinction by its own bigness, makes a counterpoint to gossamers, who breathe us this small lesson: for survival, it’s the little things that count.
Philip Appleman
After what seemed like acres of endless white, Horatia spotted a dark shape in the distance. As she drew closer she realized with horror that it was Lucien’s body. “Oh God!” she gasped. “Faster, damn you!” she shouted at the draft horse and it increased its pace. When she was within a few yards she slid from the saddle and ran to Lucien. He was face down in the snow, cloak wrapped about him. Horatia rolled him onto his back and paled when she saw the bloody gash above his forehead. His eyes were closed and his pale lips parted. She couldn’t lose him now, not after everything that had passed between them. Memories flashed across her eyes— the way he’d twist his lips up in a wicked smile, the brush of his lips against hers, the sweetly whispered words he’d spoken to her when they’d shared the room at the Midnight Garden. “Lucien!” She bent her ear to his lips, praying to feel the warmth of his breath. It was there, but barely. Horatia put her palms on either side of his cheek, letting her warmth seep into his cold skin. Once her hands grew too cold she dragged his body into her lap and held him close, rubbing him, praying her body heat would have some effect. After what felt like an eternity, Lucien’s dark lashes fluttered. When his hazel eyes focused at last, it was not on her face but on her bosom, which was mere inches from him. He managed a weak smile. “Heaven looks quite lovely from this angle.” The smile changed into a playful leer, even as Horatia’s eyes narrowed. “I’ll ignore that because you are alive.” She cupped his cheek and pressed her trembling lips to his forehead in a thankful kiss.
Lauren Smith (His Wicked Seduction (The League of Rogues, #2))
Where is he?” “Gabby.  Before you do anything else, I’d like two minutes of your time.  You need to hear what I have to say.” My anger at Sam still lay in a dark, dormant pool inside me.  I didn’t want to listen to anything he had to say.  Some of my anger and frustration collapsed in on itself as I acknowledged the truth.  Sam’s dishonesty bothered me, but my brush with freedom, to have it so close and then ripped away in the last few seconds, hurt more.  Besides, if I didn’t hear him out, I’d wonder what he had wanted to tell me.  Defeated, I agreed. “Fine, but please hurry.” Sam turned and walked back to his bed.  I followed. “His name is Clay,” Sam said, sitting on the lumpy mattress.  “Clayton Michael Lawe.”  He looked up at me as I moved closer and eyed me from head to toe. In the brighter light of the living area, I really did look like I’d been dragged, or at least rolled, in mud.  How had I slept through someone carrying me for miles? “He’s twenty-five and completely alone.  His mother died when he was young.  An accident.  Shot by a hunter while she was in her fur.  His dad took him to the woods.” That meant he’d been raised more wolf than boy.  Sam had explained much of the recent pack history to me when we’d first started coming to the Compound.  They’d only maintained enough of the original buildings to keep up appearances and used the 360 acres that came with it to live as wolves.  Charlene’s arrival had brought about huge changes, mostly in the social aspect of the pack.  Afterward, most pack members started acclimating to their skin.  Only a few of the old school werewolves still preferred their fur. “His father died a few years back,” Sam continued, pulling me from my own thoughts.  “Clay’s been on his own ever since, still choosing to live in his fur more than his skin.  He’s quiet and has never been trouble.  He comes when an Elder calls for him but still claims no pack as his own.  So, by pack law, he’s considered Forlorn.” Forlorn.
Melissa Haag (Hope(less) (Judgement of the Six #1))
up the pathway to the front door.  She’d called and left him a message, letting him know that she was coming, and that she’d leave the documents with the housekeeper if he wasn’t there.  Ringing the doorbell, she couldn’t stop the blush that stole up her cheeks as she remembered the last time she’d been here.  Had it really been only two days ago?  It seemed like a lot longer.  Did he still have those stockings?  Surely he’d tossed them out by now.  And no, she hadn’t dared to purchase another pair.  Not after the last debacle.  When the door opened, she was bracing herself to face Hunter once again.  Her plan was to congratulate him, just as she would any other client, hand him the champagne and the closing documents, and then leave as quickly as possible.  Just as she would all of her other clients.  They were all trying to unpack, overwhelmed with the process but excited about their new purchase.  She very seriously doubted if anything overwhelmed Hunter, but she was going to go through her routine anyway.  All of her clients deserved the same treatment, and she shouldn’t slack off with Hunter simply because…well, because he could make her feel things that… “Goodness, come in out of the heat, my dear!” the housekeeper urged, waving Kara into the cool interior.  “Mr. West is out back in the pool, but he said he was expecting you and that you’d know the way.  If he needs anything at all,” she said, as she hefted a purse onto her shoulder that Kara suspected could substitute for a suitcase, “just tell him to give me a ring.” Kara opened her mouth to stop the woman as the two of them exchanged places, the housekeeper moving to the outside even as Kara was nudged inside.  Kara went so far as to lift her hand, trying to indicate that she wanted to say something, but the efficient woman bustled out of the house, closing the front door in the process.  Kara stared at the closed door for several long moments, wondering how that had just happened.  Her plan had been simple.  Just hand over the bottle and documents, convey her congratulations and head back.  What had just happened?  Kara turned around.  It felt strange to be standing here, alone, in Hunter’s house.  She’d been here two days ago, but the house hadn’t been his.  The man now owned the house, all the furniture, and the acres of land and waterfront.  It felt much more intimate now for some reason.  Looking around, she wished that she could just leave the documents on the kitchen counter or the rough, wooden coffee table that looked perfect next to the white sofas.  Everything felt and looked clean and comfortable, exactly as she would have decorated this area.  The pops of green were vibrant and exhilarating, a perfect accompaniment to the fresh, white furniture.  With a sigh, she turned away from the alluring great room décor and searched out the man of the moment.  As she stepped past the sofas, she saw him.  In the pool.  Without any clothes on! Oh goodness, she thought with a strangled breath.  It took her several moments to realize that she needed to inhale, her breath caught in her throat as she watched the man’s bare skin, and all the muscles, and…well, all of him!  Okay, so he wasn’t naked, he was wearing a bathing suit but his broad, muscular back and those arms…they were even more ridged with muscles than she’d thought.  He was spectacular!  Never in her wildest imaginings had she pictured him that buff, but there
Elizabeth Lennox (His Indecent Proposal (The Jamison Sisters Book 3))
And if you neglect your sun care, twenty to thirty years down the line you’ll regret that you didn’t plant a few dozen acres of soybeans and red beans. Your regret might even be written right across your face—in the form of age spots, wrinkles, and sagging skin.
Charlotte Cho (The Little Book of Skin Care: Korean Beauty Secrets for Healthy, Glowing Skin)
It is strange to think that indeed this grinding, this plowing in solid rock, is responsible for our existence. A cornbelt soil in the United States is an extraordinary machine, even after half a century of rapine at the hands of industrial agriculture. The soil as a body is continually doing work. An acre of good natural Iowa soil burns carbon at the rate of 1.6 pounds of soft coal per hour. It breathes out twenty-five times as much CO2 in a day as does a man. Every acre puts out a horsepower’s worth of energy every day. Without a soil this productive, we would still be hunting and gathering in small
William Bryant Logan (Dirt: The Ecstatic Skin of the Earth)
In my life I've done more suffering than thinking— though I believe one understands better that way. You see, dogs aren't enough any more. People feel so damned lonely, they need company, they need something bigger, stronger, to lean on, something that can really stand up to it all. Dogs aren't enough; what we need is elephants. . . It seems that the elephants Morel was trying to save were purely imaginary and symbolic, a parable, as they say, and that the poor bastard was really defending the old human rights, the rights of man, those noble, clumsy, gigantic, anachronistic survivals of another age - another geological epoch. . . you announce this salvation as coming *soon’— though I suppose that in the language of paleontology, which is not exactly that of human suffering, the word soon’ means a few trifling hun- dred thousands of years. Earth was his kingdom, his place, his field— he belonged. . The lorry was literally stuffed with ‘trophies’: tusks, tails, heads, skins— an orgy of butch- ery. De Vries, was certainly not collecting for museums, because most of them had been so riddled with shot as to be unrecognizable and in any case unsuitable for the pleasure of the eye. I suppose there are things that nothing can kill and that remain forever intact. It’s as if nothing could ever j^ppen to human beings. They’re a species over which it’s not easy to triumph. They’ve a way of rising from the ashes, smiling and holding hands. "Well, I finally got an idea. When he fails, do like me: think about free elephant ride through Africa for hundreds and hundreds of wonderful animals that nothing could be built—either a wall or a fence of barbed wire—passing large open spaces and crush everything in its path, and destroying everything—while they live, nothing is able to stop them—what freedom! And even when they are no longer alive, who knows, perhaps continue to race elsewhere still free. So you begin to torment your claustrophobia, barbed wire, reinforced concrete, complete materialism imagine herds of elephants of freedom, follow them with his eyes never left them on their run and will see you soon feel better ... " years of isolation in the depths of the jungle have no power against a tenacious hope, and that a hundred acres of land at the height of the rainy season are easier to clear than are certain little intimate nooks of our soul. she understood perfectly well how unconvincing this sounded, but she couldn’t help it: it was the truth. He felt that, at his age, patience was ceasing to be a virtue and was becoming a luxury he could less and less afford. He strove for one last time to look at the affair with all the detachment and all the serenity suitable to a man of science. the immense sky, filled with absence. with the impassive face of a man who feels perfectly sure of having the last word. Of course to the pure all things are pure.
Romain Gary
Art soaked it in alcohol to toughen it up and draw out the water. (If he’d had the opposite problem—if the skin had been dry and stiff—he’d have soaked it in Downy fabric softener; I’m sure the makers of Downy would be pleased to know that their product makes even mummified human skin soft and fragrant.)
William M. Bass (Death's Acre: Inside the Legendary Forensic Lab the Body Farm Where the Dead Do Tell Tales)
My clothes aren’t going to get dried until you wash them. Which involves putting them in the washer, and that involves picking them off the floor.” Marshell wiggled his eyebrows at me, then turned and stepped into the shower. I did drool when I got a look at his ass. “Oh my….” Did I mention I was an ass man? “Remi?” “Uh-huh?” My vocabulary had taken a hike, it appeared. “I can smell your desire. If you’re still here by the count of five, I’m getting out and coming after you. One of us is going to get fucked in this awesome shower of yours, so….” Marshell said from the shower. “One.” The sound I made was a cross between a squeak and a growl, thanks to acres and acres of wet, glistening skin. I wanted to run my tongue over every square— “Two…. “Three….” I grabbed his jeans and ran. The softly whispered word “chicken” followed me out of there. I was halfway to the laundry room before I could take a deep breath. Then it hit me what I’d done. I ran out on him. Honestly calling me a chicken was too kind. I was a coward. The only reason I ran was because I was afraid to bottom. I was a top. I always topped. I threw his clothes in the washer, tossed in one of those little pods, and turned it on. Then banged my head against it. What was I doing? Why was I standing here and not in the shower with him? Yes, I topped because I was afraid to do anything else. My one and only experience with bottoming was an unmitigated disaster. A painful, excruciating, unbearable disaster, and I hadn’t repeated the experience since. “I’m an idiot.” What happened was a long time ago. A really, really long time ago, and I let it shape me. Not only shape me, but run my life. I knew that, but it didn’t really seem to matter. The males I hooked up with were bottoms. They wanted me to top, so it was never an issue. Now things had changed. Marshell was my mate. I knew perfectly well he’d take care not to hurt me. How did I know? Because when I got a chance at that ass of his—and I certainly planned to—I’d take care not to hurt him either. All I had to do was… trust him. Trust him. But I really didn’t know him. Then again, I nearly lost him too. My goddess wouldn’t match me with someone I couldn’t love. Maybe I needed to trust her. Maybe… maybe I needed to trust myself. Something deep inside me said Marshell was a good man. I hurried out of the laundry and back to the bathroom.
M.A. Church (It Takes Two to Tango (Fur, Fangs, and Felines #3))
Put your hands on me; get comfortable with being close to me, taking what you want. Nothing is off limits." Oh, God. I want that. He is acres of smooth, slick skin and rippling muscles. I'd touch him all night and then lose my ever-loving mind. "How is that not sex?" "Because it's only you touching me." His gaze glides over me like liquid silk. "Do you want to?" The breathy "Yes" is out of my mouth before I can think. His nostrils flare, the look in his eyes pure temptation. "Then touch me, Delilah.
Kristen Callihan (Dear Enemy)