Allegra Quotes

Allegra's Austen wrote about the impact of financial need on the intimate lives of women. If she'd worked in a bookstore, Allegra would have shelved Austen in the horror section.

The Code of the Vampires decreed that anyone who violated the Sacred Law was condemned to death, the blood burning. Charles had refused to subject Allegra to the sentence. But Mimi was a different matter. Mimi walked out of the church, knowing that if she ever saw Jack again, she would have to kill him.

You are healed." Allegra nodded. "You are no longer a Silver Blood." She paused. "But you are no longer a vampire either." Bliss started. No longer a vampire-but what did that mean? Did it mean she was just human?

How sad, he thought, that desire found new objects but did not abate, that when it came to longing there was no end.

The Children's Hour Between the dark and the daylight, When the night is beginning to lower, Comes a pause in the day's occupations, That is known as the Children's Hour. I hear in the chamber above me The patter of little feet, The sound of a door that is opened, And voices soft and sweet. From my study I see in the lamplight, Descending the broad hall stair, Grave Alice, and laughing Allegra, And Edith with golden hair. A whisper, and then a silence: Yet I know by their merry eyes They are plotting and planning together To take me by surprise. A sudden rush from the stairway, A sudden raid from the hall! By three doors left unguarded They enter my castle wall! They climb up into my turret O'er the arms and back of my chair; If I try to escape, they surround me; They seem to be everywhere. They almost devour me with kisses, Their arms about me entwine, Till I think of the Bishop of Bingen In his Mouse-Tower on the Rhine! Do you think, o blue-eyed banditti, Because you have scaled the wall, Such an old mustache as I am Is not a match for you all! I have you fast in my fortress, And will not let you depart, But put you down into the dungeon In the round-tower of my heart. And there will I keep you forever, Yes, forever and a day, Till the walls shall crumble to ruin, And moulder in dust away!

I myself was now an island. Solitary. Brambles and five-petalled flowers were my garden. Rocks my furniture. Ocean waves my lessons. Sadness overwhelmed me and sank back. Then, like the tide, joy crept in on me again.

I'm proud of you, Bliss," he said. "Michael's sword released the souls that were trapped in your blood. You freed them. You freed me." "But now I'm never going to see you again, am I?" she asked. Dylan smiled. "It's unlikely. But I never say never.' "I wish you wouldn't go. I'll miss you so much," Bliss said. "I'll miss you too." Dylan put his hand up, and so did Bliss. But this time, instead of touching air, she felt his warm hand grasping her cold one. She looked at Allegra. Somehow, she knew her mother was making this happen. Dylan leaned down, and she could feel his lips, soft and inviting, gently kissing hers. Then Dylan was gone. But Bliss did not feel anguished. She felt at peace. Dylan was not broken and incomplete anymore. He was whole.

People ask every day, "Why was I put on earth?" As if there is perhaps one reason. The truth is that there are too many reasons to count, and each reason and each soul connects to every other,

You know I don't like people," Giorgio says, already back at his newspaper. Allegra's eyes widen, and she makes an awkward laugh. "He means he doesn't like people in his personal space, not in gen-eral." "No, in general too," he deadpans.

But even if we're together, it will only kill Jack." -Sky "If he will take the risk to be with you, who are you to tell him what to do with his life?" -Allegra

Sono sempre stato un malinconico con la vocazione di essere una persona allegra.

Basta. Non mi parlare più. Mi fai piangere. Le tue bellissime parole servono solo, riescono solo a farmi piangere. Sei cattivo. Mi parli così, questi argomenti li cerchi e li sviluppi solo per vedermi piangere. No, non sei cattivo. Ma sei triste. Peggio che triste, sei tetro. Almeno piangessi anche tu. Sei triste e brutto. E io non voglio diventare triste, come te. Io sono bella e allegra. Lo ero.

She'd [Allegra] look like Foxy Brown's little sister, except her head is SHAVED SMOOTH.

He pulls the tape off Allegra's mouth. Grabs her BY THE HAIR and gives her a peck on the lips.

Prophecy is a poetry of change, social, political, moral, spiritual. It was with the prophetic model in mind that Shelley wrote of poets as the unacknowledged legislators of the world.

We've got an acquisitive gene. We want and want, and there's no way around it.

All we actually have is our body and its muscles that allow us to be under our own power.

Though experience should be our guide . . . and we see mistakes are common at the age of twenty-three, it must be acknowledged that not every youthful feeling begins unworthily and ends in error. If this were the case, mankind would have perished long ago.

Women hate each other in science. You know why? Because the few that are around were trained by men. They survived by being twice as good and twice as competitive and twice as badass as the guys.

Poor Elinor! Willoughby on one side, Brandon on the other. She is quite entre deux feux.” Prudie had a bit of lipstick on her teeth, or else it was wine. Jocelyn wanted to lean across and wipe it off with a napkin, the way she did when Sahara needed tidying. But she restrained herself; Prudie didn’t belong to her. The fire sculpted Prudie’s face, left the hollows of her cheeks hollow, brightened her deep-set eyes. She wasn’t pretty like Allegra, but she was attractive in an interesting way. She drew your eye. She would probably age well, like Angelica Houston. If only she would stop speaking French. Or go to France, where it would be less noticeable.

Inside the church, the bondsmaids were walking slowly down the aisle, with the little petal girls. Trinity turned to give Mimi her last words of motherly advice: 'Walk straight. Don't slouch. And for heavens's sake, smile! It's your bonding!?' Then she too walked through the door and down the aisle. The door shut behind her, leaving Mimi alone. Finally, Mimi heard the orchestra play the first strains of the 'Wedding March.' Wagner. Then the ushers opened the doors and Mimi moved to the threshold. There was an appreciative gasp from the crowd as they took in the sight of Mimi in her fantastic dress. But instead of acknowledging her triumph as New York?s most beautiful bride, Mimi looked straight ahead, at Jack, who was standing so tall and straight at the altar. He met her eyes and did not smile. 'Let's just get this over with.' His words were like an ice pick to the heart. He doesn't love me. He has never loved me. Not the way he loves Schuyler. Not the way he loved Allegra. He has come to every bonding with this darkness. With this regret and hesitation, doubt and despair. She couldn't deny it. She knew her twin, and she knew what he was feeling, and it wasn't joy or even relief. What am I doing? "Ready" Forsyth Llewellyn suddenly appeared by her side. Oh, right, she remembered, she had said yes when Forsyth had offered to walk her down the aisle. Here goes nothing. As if in a daze, Mimi took his arm, Jack's words still echoing in her head. She walked, zombie-like, down the aisle, not even noticing the flashing cameras or the murmurs of approval from the hard-to-impress crowd.

The new one actually reads, but only to pass judgment. This is the way kids learn today. Someone told them how you feel is more important than what you know, and so they think accusations are ideas. This is political correction run amok.

Aber man kann nicht einfach die Hälfte des Gefühlsspektrums aus seinem Leben schließen, ohne dabei auch schöne Gefühle auszusperren.

I have a dark sense of humor,' Fanny explained. 'What's that supposed to mean?' asked Honor. 'It means I'm funny once you get to know me,' Fanny said.

I want to give back.” He looked at her and said in all seriousness, “Why? What did you take?

I never knew my mother. She died the night that I was born, and so we passed each other in the dark…

I wept for joy because I could escape, and for sorrow I must leave alone.

My guardian served as my protector, but I had no one to protect me from him.

She knew for a fact that being left-handed automatically made you special. Marie Curie, Albert Einstein, Linus Pauling, and Albert Schweitzer were all left-handed. Of course, no believable scientific theory could rest on such a small group of people. When Lindsay probed further, however, more proof emerged. Michelangelo, Leonardo da Vinci, M.C. Escher, Mark Twain, Hans Christian Andersen, Lewis Carrol, H.G. Wells, Eudora Welty, and Jessamyn West- all lefties. The lack of women in her research had initially bothered her until she mentioned it to Allegra. "Chalk that up to male chauvinism," she said. "Lots of left-handed women were geniuses. Janis Joplin was. All it means is that the macho-man researchers didn't bother asking.

M'accorsi, camminando, che ripensavo a quella sera diciassette anni prima, quando avevo lasciato Torino, quando avevo deciso che una persona può amarne un'altra più di sé, eppure io stessa sapevo bene che volevo soltanto uscir fuori, metter piede nel mondo, e mi occorreva quella scusa, quel pretesto, per fare il passo. La sciocchezza, l'allegra incoscienza di Guido quando aveva creduto di portarmi con sé e mantenermi - sapevo già tutto fin dal principio. Lo lasciai fare, provare, dibattersi. L'aiutavo persino, uscivo prima dal lavoro per tenergli compagnia. Quello il mio broncio e malvolere, secondo Morelli. Avevo riso e fatto ridere tre mesi il mio Guido: era servito a qualcosa? Nemmeno di piantarmi lui era stato capace. Non si può amare un altro più di se stessi. Chi non si salva da sé, non lo salva nessuno.

He draws asparagus and cabbages, but he's obsessed with artichokes. He draws them more than any other vegetable. Why artichokes?" George drained his glass. "The artichoke is a sexy beast. Thorns to cut you, leaves to peel, lighter and lighter as you strip away the outer layers, until you reach the soft heart's core.

As I have said, my daughter, no matter what virtue and goodness you see in yourself or others, know that in this world, not one in a thousand escapes without some deception or attack on her honor, no matter how good or perfect.

Warum sind die Menschen so fasziniert vom Weltall? Fasziniert von einer kalten, dunklen und endlosen Leere, die nichts als Tod bringt? Es ist doch eigentlich eher unheimlich, nicht wahr?“ 
„Ich denke, genau darin liegt die Faszination.

Oggi, mezzo gennaio, non è giornata allegra; cielo nubiloso, aritmie, il solito disordine che a farsi potabile richiede il tempo che una sardina impiega a farsi capodoglio. Ovvio che la sardina mi abbia orientato verso l’olio, e dunque l’Oglio, e l’ingrata patria, gli ossicini io non ti do. Ecco, in un giorno come questo è difficile fare l’unica cosa che io sappia veramente fare: comprare libri. Quando la primavera si sbizzarrisce, e i capri petulchi lasciviano pe’ prati, e l’odore della mortella – erba di cui ignoro tutto, e che quindi è puramente letteraria – impreziosisce l’aria, io vado ad acquistare libri. Badate: io non ho detto che vado ad acquistare libri che ho preventivamente scelto, che voglio assolutamente, che, acquistati, porterò golosamente a casa e leggerò, scrivendo poi un mirabile saggio critico, splendore di acutezza e di segreta poesia, destinato a procurarmi lettere di appassionati lettori, sconvolti e rigenerati. Macché. L’unica faccenda che mi sta a cuore è questa appunto: comprare libri. Ora, il quesito, la quaestio quodlibetalis è come segue: colui che acquista libri è per ciò stesso un lettore? Ovviamente, la maggioranza dei leggenti queste righe, se ve ne sono, penseranno che no; lettore è colui che legge. Quale errore. Non v’ha dubbio che è naturale che il lettore legga, ma contesto che per esser lettori si debba assolutamente leggere; e soprattutto che acquistare libri non sia gesto di lettore. Ma se il libro non lo leggi, che senso avrà mai che se ne stia nella tua biblioteca? E tu stesso lo dici: forse non lo leggerò mai, magari un giorno lo regalerò. Eh no, quest’ultima facezia me la fate dire voi, io i libri acquistati non letti, forse non mai letti, nemmeno li presto. Essi ‘mi servono’. Servono a che? Servono grazie alla naturale attività magica e umbràtile e stemmica che un libro esercita. Un libro lo si compra con animo che suppongo simile a quello con cui si dipingevano bovi e capri nelle caverne paleolitiche. Una mucca dipinta non si munge né si mangia, ma è ‘la mucca’, cosa che non è consentito ad alcuna altra mucca. E così il libro non letto, acquistato e depositato sugli scaffali, è ‘il libro’. Acquistare un libro ha un effetto nervino che nessun altro gesto può avere; è una scelta del tutto onirica, isterica, fantastica, e suppone un progetto di vita, e naturalmente più libri possono alludere a più progetti di vita.

I prefer feeling insignificant," said Jess. "I don't believe that." "I didn't say worthless, I said insignificant, as in the grand scheme of things." "But why?" "Because humans have such a complex. We're so self-involved. You have to get out to a place like this to remember how small humanity really is." And Jess was right. Numbers didn't matter here. Money didn't count, and all the words and glances, the quick exchanges that built or tore down reputations had no meaning in this place. The air was moist. Fallen leaves, spreading branches, and crisscrossing roots wicked water, so that the trees seemed to drink the misty air. Jess said, "All your worries fade away, because..." Emily finished her thought. "The trees put everything in perspective.

Leaving this changeling for George, she washed his ripe fruit, and bit and broke the skin. An intense tang, the underside of velvet. Then flesh dissolved in a rush of nectar. Juice drenched her hand and wet the inside of her wrist. She had forgotten, if she'd ever know, that what was sweet could also be so complicated, that fruit could have a nap, like fabric, soft one way, sleek the other.

No! Sono stata allegra! E tu fossi sempre tanto carino con me. Ma la nostra casa non è che è una stanza di ricreazione! A casa mia dal babbo, sono stata trattata come una bambola piccina. Qui da te, come una bambola grande. I bambini sono stati le mie bambole. [...]

The roses bloomed, thousands of them in a floral amphitheater, blossoms shading from gold and coral at the top of the garden to scarlet and deep pink on tiers below. At the bottom, in the center of the rosy congregation, the palest apricots and ivories perfumed the air.

A peach, slightly unbalanced, so that it listed to one side, its hue the color of an early sunrise. Had George remembered their conversation at the party and left the peach for her to eat? Strange. For a moment she thought it might be a trompe l'oeil work of art, some fantastic piece of glass. She leaned over and sniffed. The blooming perfume was unmistakable. She touched it with the tip of her finger. The peach was not quite ripe, but it was real. The next day, she checked the kitchen as soon as she arrived. The peach lay there still, blushing deeper in the window light. She bent to smell, and the perfume was headier then before, a scent of meadows and summers home from school. Still unripe. Was George waiting to eat this beauty?

Back in the kitchen, Mummy was trying to make her [knitted] hippo stand up on the table. I had to swallow a gasp of horror -- its head was the same size as its body, none of its limbs were equal in length, and it appeared to have a fin. She didn't seem perturbed and carried on trying to make it stand with a childlike patience. Because of its grotesquely misshapen head, it looked as if it was trying to do some kind of yoga headstand. "That hippo's got five legs," observed Allegra from the window seat. "Unless you've made it very anatomically correct? In which case it's positively disturbing.

You did that. Nobody else.

Im ganzen Kosmos gibt es keinen einzigen stillstehenden Ort.

Im Zentrum der meisten Galaxien saß ein Supermassereiches Schwarzes Loch. Was aber saß in seiner Brust, das solch einen Schmerz auslösen konnte?

Menschen taten das menschlichste überhaupt: sie schrieben ihre Geschichten in die Sterne.

Sie sahen zu denselben Sternen und sahen doch so unterschiedliche Dinge.

Da war ein ganzes Universum in ihrem Verstand, das nur darauf wartete, entdeckt zu werden.

Maybe we should be looking into whether you’re part succubus,” he mutters, “since you just sucked the life out of me through my dick.

Jeanne’s sisters thought nothing of themselves.... Helen stayed up late in Brookline, baking. Lemon squares, and brownies, pecan bars, apple cake, sandy almond cookies. Alone in her kitchen, she wrapped these offerings in waxed paper and froze them in tight-lipped containers.... Helen was the baker of the family. What she felt could not be purchased. She grieved from scratch.

Ho notato spesso che siamo inclini a dotare i nostri amici della stabilità tipologica che nella mente del lettore acquistano i personaggi letterari. Per quante volte possiamo riaprire Re Lear, non troveremo mai il buon re che fa gazzarra e picchia il boccale sul tavolo, dimentico di tutte le sue pene, durante un'allegra riunione con tutte e tre le figlie e i loro cani da compagnia. Mai Emma si riavrà, animata dai sali soccorrevoli contenuti nella tempestiva lacrima del padre di Flaubert. Qualunque sia stata l'evoluzione di questo o quel popolare personaggio fra la prima di e la quarta di copertina, il suo fato si è fissato nella nostra mente, e allo stesso modo ci aspettiamo che i nostri amici seguano questo o quello schema logico e convenzionale che noi abbiamo fissato per loro. Così X non comporrà mai la musica immortale che stonerebbe con le mediocri sinfonie alle quali ci ha abituato. Y non commetterà mai un omicidio. In nessuna circostanza Z potrà tradirci. Una volta predisposto tutto nella nostra mente, quanto più di rado vediamo una particolare persona, tanto più ci dà soddisfazione verificare con quale obbedienza essa si conformi, ogni volta che ci giungono sue notizie, all'idea che abbiamo di lei. Ogni diversione nei fatti che abbiamo stabilito ci sembrerebbe non solo anomala, ma addirittura immorale. Preferiremmo non aver mai conosciuto il nostro vicino, il venditore di hot-dog in pensione, se dovesse saltar fuori che ha appena pubblicato il più grande libro di poesia della sua epoca.

Als ich jünger war, wollte ich das ganze Universum erforschen. Ich hab den Weltraum lange als dieses Mysteriöse etwas gesehen, das dort draußen irgendwo auf mich wartet. Dabei sind wir Teil des Universums.

Jess gazed at the apples arranged in all their colors: russet, blushing pink, freckled gold. She cast her eyes over heaps of pumpkins, bins of tomatoes cut from the vine, pale gooseberries with crumpled leaves. "You could buy a farm." "Why would I do that?" "To be healthy," said Jess. Emily shook her head. "I don't think I'd be a very good farmer." "You could have other people farm your farm for you," said Jess. "And you could just eat all the good things." Emily laughed. "That's what we're doing here at the Farmers' Market. We're paying farmers to farm for us. You've just invented agriculture." "Yes, but you could have your own farm and go out there and breathe the fresh air and touch the fresh earth." "I think that's called a vacation," said Emily. "Oh, you're too boring to be rich," Jess said. "And I would be so talented!

Genau wie diese verlorenen Planeten war auch er von seiner Umlaufbahn abgekommen und gefangen in mathematisch vorbestimmten Bahnen ohne Bestimmungsort, den er in den Weiten des Universums hätte ansteuern können.

Poi... sei arrivata tu. Ho dovuto credere che tu mi amassi, che amassi veramente me, non i milioni di mio padre. Non c'era altro motivo per cui avresti voluto sposare un diavolo senza un penny e con i miei ipotetici precedenti. E io provavo pena per te. Oh, sì, non nego di averti sposata perché provavo pena per te. E poi... ho scoperto che eri la migliore, la più allegra e la più cara compagna che avessi mai avuto. Spiritosa, leale, dolce. Mi hai costretto a credere nuovamente nella vera amicizia e nel vero amore. Il mondo sembrava di nuovo bello perché c'eri tu, tesoro mio. Desideravo che continuasse così per sempre tra di noi. L'ho capito la notte in cui sono tornato a casa e ho visto per la prima volta la luce della mia casa che risplendeva sull'isola. E sapevo che tu eri lì ad aspettarmi. Dopo essere stato senza una casa per tutta la vita, era bello averne una. Tornare affamato a notte inoltrata e sapere che c'era un buon pasto e un fuoco accogliente - e che c'eri tu.

To make a tarte of strawberyes," wrote Margaret Parker in 1551, "take and strayne theym with the yolkes of four eggs, and a little whyte breade grated, then season it up with suger and swete butter and so bake it." And Jess, who had spent the past year struggling with Kant's Critiques, now luxuriated in language so concrete. Tudor cookbooks did not theorize, nor did they provide separate ingredient lists, or scientific cooking times or temperatures. Recipes were called receipts, and tallied materials and techniques together. Art and alchemy were their themes, instinct and invention. The grandest performed occult transformations: flora into fauna, where, for example, cooks crushed blanched almonds and beat them with sugar, milk, and rose water into a paste to "cast Rabbets, Pigeons, or any other little bird or beast." Or flour into gold, gilding marchpane and festive tarts. Or mutton into venison, or fish to meat, or pig to fawn, one species prepared to stand in for another.

Seit Anbeginn der Zeit schauten die Menschen hinauf zum Nachthimmel, dachten und träumten von ihm, und blickten so lange hinauf, dass sie begannen, Verbindungen auszumachen. Ein kosmisches Spiel von Verbinde die Punkte. Der Versuch, Sinn in etwas so Großem zu finden.

I used to write poetry when I was younger," Jess said. She had kept a notebook by her bed, in case some line or image came to her in her dreams, but she had always been a sound sleeper, and no Xanadus or nightingales woke her. She read Coleridge or Keats and felt that they had covered the great subjects so well that she had nothing to add about beauty, or immortality of the soul. "Now I just read." She spoke cheerfully, without a hint of wistfulness. She was indignant sometimes, but never wistful. Opinionated, but still hopeful in her opinions. Oh, Jess, George thought, no one has hurt you yet.

He sounded chilly. “I’m sure she is.” Allegra was trying to back off, but she was annoyed that he had taken her father’s part, and was so willing to be compassionate toward him. “Except if you’re Jewish,” she added hastily, and Jeff suddenly backed away from her as though she were radioactive. “That’s a rotten thing to say about her. The poor woman is seventy-one years old, and she’s a product of another generation.” “The same generation that put the Jews in Auschwitz. I didn’t exactly feel like she was a warm and caring person while we were there. And what exactly would she have said if you hadn’t told her my ‘real’ name is Stanton, and not Steinberg? You know, that was a pretty shitty thing to do. Downright cowardly in fact.” She glared at him from across the room, and he was trembling with rage over the things she had said about his mother. “So is refusing to talk to your father. The poor guy has probably paid his dues for the last twenty years. He lost a son too, not just your mother. She’s had other kids, she has another life, another family, another husband. What has he got? According to you, he has absolutely nothing.” “Why are you so fucking sympathetic to him, for chrissake? Maybe all he deserves is nothing. Maybe it was his fault Paddy died. Maybe if

This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs. I'm not sure if there is any pattern to these selections. I did not spend a lot of time with those that seemed afraid to tell stories, that handled plot as if it were a hair in the soup, unwelcome and embarrassing. I also tended not to revisit stories that seemed bleak without having earned it, where the emotional notes were false, or where the writing was tricked out or primped up with fashionable devices stressing form over content. I do know that the easiest and the first choices were the stories to which I had a physical response. I read Jennifer Egan's "Out of Body" clenched from head to toe by tension as her suicidal, drug-addled protagonist moves through the Manhattan night toward an unforgivable betrayal. I shed tears over two stories of childhood shadowed by unbearable memory: "The Hare's Mask," by Mark Slouka, with its piercing ending, and Claire Keegan's Irishinflected tale of neglect and rescue, "Foster." Elizabeth McCracken's "Property" also moved me, with its sudden perception shift along the wavering sightlines of loss and grief. Nathan Englander's "Free Fruit for Young Widows" opened with a gasp-inducing act of unexpected violence and evolved into an ethical Rubik's cube. A couple of stories made me laugh: Tom Bissell's "A Bridge Under Water," even as it foreshadows the dissolution of a marriage and probes what religion does for us, and to us; and Richard Powers's "To the Measures Fall," a deftly comic meditation on the uses of literature in the course of a life, and a lifetime. Some stories didn't call forth such a strong immediate response but had instead a lingering resonance. Of these, many dealt with love and its costs, leaving behind indelible images. In Megan Mayhew Bergman's "Housewifely Arts," a bereaved daughter drives miles to visit her dead mother's parrot because she yearns to hear the bird mimic her mother's voice. In Allegra Goodman's "La Vita Nuova," a jilted fiancée lets her art class paint all over her wedding dress. In Ehud Havazelet's spare and tender story, "Gurov in Manhattan," an ailing man and his aging dog must confront life's necessary losses. A complicated, only partly welcome romance blossoms between a Korean woman and her demented

She had applied to college without her parents' knowledge, and when she got her choral scholarship she broke from childhood, choosing music as her religion. Emily and Jess pressed him, but they didn't understand. Their mother's life began when she came up to Cambridge on her own. "It's like a fairyland here," she used to say, when they walked through the ancient cloisters. She was a quiet rebel, buying a Liberty-dress pattern and sewing her own gown for the Emmanuel College ball, dancing until dawn, and then slipping barefoot onto the velvet lawns reserved for Fellows. As a soprano she sang for services and feasts. As an adventurer, she tried champagne for the first time and pork loin and frog's legs.

Who are you? She asked silently, as she laid away the collector's quotations, his drawings, his scraps of famous poetry: "Come live with me and be my love..." interleaved with menus: 'oysters, fish stew, tortoise in its shell, bread from the oven, honey from the honeycomb.' The books were unsplattered but much fingered, their pages soft with turning and re-turning, like collections of old fairy tales. Often Jess thought of Rapunzel and golden apples and enchanted gardens. She thought of Ovid, and Dante, and Cervantes, and the Pre-Raphaelites, for sometimes McClintock pictured his beloved eating, and sometimes sleeping in fields of poppies, and once throned like Persephone, with strawberry vines entwined in her long hair.