Appealing To The Eye Quotes

We have eyes, and we're looking at stuff all the time, all day long. And I just think that whatever our eyes touch should be beautiful, tasteful, appealing, and important.

Gentle reader, may you never feel what I then felt! May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine. May you never appeal to Heaven in prayers so hopeless and so agised as in that hour left my lips: for never may you, like me, dread to be the instrument of evil to what you wholly love.

I love you,' Buttercup said. 'I know this must come as something of a surprise to you, since all I've ever done is scorn you and degrade you and taunt you, but I have loved you for several hours now, and every second, more. I thought an hour ago that I loved you more than any woman has ever loved a man, but a half hour after that I knew that what I felt before was nothing compared to what I felt then. But ten minutes after that, I understood that my previous love was a puddle compared to the high seas before a storm. Your eyes are like that, did you know? Well they are. How many minutes ago was I? Twenty? Had I brought my feelings up to then? It doesn't matter.' Buttercup still could not look at him. The sun was rising behind her now; she could feel the heat on her back, and it gave her courage. 'I love you so much more now than twenty minutes ago that there cannot be comparison. I love you so much more now then when you opened your hovel door, there cannot be comparison. There is no room in my body for anything but you. My arms love you, my ears adore you, my knees shake with blind affection. My mind begs you to ask it something so it can obey. Do you want me to follow you for the rest of your days? I will do that. Do you want me to crawl? I will crawl. I will be quiet for you or sing for you, or if you are hungry, let me bring you food, or if you have thirst and nothing will quench it but Arabian wine, I will go to Araby, even though it is across the world, and bring a bottle back for your lunch. Anything there is that I can do for you, I will do for you; anything there is that I cannot do, I will learn to do. I know I cannot compete with the Countess in skills or wisdom or appeal, and I saw the way she looked at you. And I saw the way you looked at her. But remember, please, that she is old and has other interests, while I am seventeen and for me there is only you. Dearest Westley--I've never called you that before, have I?--Westley, Westley, Westley, Westley, Westley,--darling Westley, adored Westley, sweet perfect Westley, whisper that I have a chance to win your love.' And with that, she dared the bravest thing she'd ever done; she looked right into his eyes.

Watching him with one eye, she wondered if men ever figured out that they were more appealing when they were pursuing their own work than when they were pursuing a woman.

[novan]: bassists are very good with their fingers [novan]: and some of us sing backup vocals, so that means we're good with our mouths too... (~ IM chat with Novan Chang, 18, bassist)

I know you’ll speak no truth at this time. I’ve to be guided solely by your silence, your eyes and the inaudible appeals of your heart.

Postmen have a legendary aura. A ring at the doorbell may inflame a sense of expectation, suspense, secrecy, hazard or even intrigue. Ringing twice may imply a warning that trouble is on the way or an appeal to make the coast clear. Not all mailmen, though, will ring twice and await an eye-catching Lana Turner, whom they can whisper: "With my brains and your looks, we could go places.” ("The postman always rings twice")

I narrowed my eyes at it. Ming-de’s little gift, I assumed. “You look better in color,” I snapped. He sent me a sultry look over his shoulder. “Really? Most women think I look better in nothing at all.

Chase looked like a drowning man without a life preserver, and by the look in his eyes, he was going under for the third time. “I knew you would be like the waters of the South Pacific Ocean.” “I beg your pardon?” “I liken people to different bodies of water,” he quickly explained. “You what?” “Each ocean has a different personality,” he said to clarify. “The Pacific Ocean is warmer and inviting, but the color is muddied in places. The Arctic Ocean is cold and very uninviting, one might even say that it is not very appealing, but it’s full of life. Then there is the South Pacific Ocean, warm, inviting, and crystal clear. It has this purity to it. Why, the coloring of the water is some of the brightest blue I’ve ever seen in my entire life. There are even places that you can see thirty meters down.

I had to admit the man looked amazing in jeans. The ancient denim clung lightly to his hips and followed the long lines of some remarkable thigh muscles. And although I made a point of not checking out his rear view, my peripheral vision was having a very good day.” ~ Haven Travis on Hardy Cates

The written word, obviously, is very inward, and when we're reading, we're thinking. It's a sort of spiritual, meditative activity. When we're looking at visual objects, I think our eyes are obviously directed outward, so there's not as much reflective time. And it's the reflectiveness and the spiritual inwardness about reading that appeals to me.

If we challenge the inertia of our awareness and look at the appealing beauty around us, we can meet the core of our deeper selves. When we venture to open our eyes to the little wonders that arise from innocent daily incidents, we can allow ourselves to reconnect, spurn pressure, step out of our comfort retreat, and spend quality time with our friends without any sense of guilt of wasting time. ("Waiting for Eureka")

He lifted his head, the sight of his dark, disheveled hair, eyes glinting with longing in the lamp light, the gorgeous spread of his shoulders, tapering down to the narrow thrust of his hips, made my ovaries ache deep in my belly.

Oh, God. I'm in big trouble. Because I'm staring. I can't keep my eyes from ogling his chiseled triceps and biceps and every other "eps ' he has. The butterflies in my stomach have just multiplied tenfold as my wandering gaze meets his.

Oh. My. God. You're Rose Hathaway aren't you?" "Yeah." I said with surprise. "Do you know me?" "Everyone knows you. I mean, everyone heard about you. You're the one who ran away. And then you came back and killed the Strigoi. That is so cool! Did you get molnija marks?" Her words came out in one long string. She hardly took a breath. "Yeah. I have two." Thinking about the tiny tattoos on the back of my neck made my skin itch. Her pale green eyes—if possible—grew wider. "Oh my God. Wow." I usually grew irate when people made a big deal about molnija marks. After all, the circumstances had not been cool. But this girl was young, and there was something appealing about her. "What's your name?" I asked. "Jillian—Jill. I mean, just Jill. Not both. Jillian's my full name. Jill's what everyone calls me." "Right." I said, hiding a smile. "I figured it out." "I heard Moroi used magic on that trip to fight. Is that true? I would love to do that. I wish someone would teach me. I use air. Do you think i could fight Strigoi with that? Everyone says I'm crazy!" For centuries, Moroi using magic to fight had been viewed as a sin. Everyone believed it should be used peacefully. Recently, some had started to question that, particularly after Christian had proved useful in the Spokane escape. "I don't know." I said. "You should talk to Christian Ozera." She gaped. "Would he talk to me?" "If you bring up fighting the establishment, yeah he'll talk to you." "Okay, cool. Was that Guardian Belikov?" she asked, switching subjects abruptly. "Yeah." I swore I thought she might faint then and there. "Really? He's even cuter then I heard. He's your teacher right? Like, your own personal teacher?" "Yeah." I wondered where he was. Talking to Jill was exhausting. "Wow. You know you guys don't even act like teacher and student. You seem like friends. Do you hang out when you're not training?" "Er, well, kind of. Sometimes." I remembered my earlier thoughts, about how I was one of the few people Dimitri was social with outside of his guardian duties. "I knew it! I can't even imagine that—I'd be freaking out all the time around him. I'd never get anything done, but your so cool about it all, kind of like, 'Yeah. I'm with this totally hot guy, but whatever it doesn't matter!'" I laughed in spite of myself. "I think you're giving me more credit than I deserve." "No way. And I don't believe any of those stories, you know." "Um, stories?" "Yeah about you beating up Christian Ozera." "Thanks." I said.

The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.

Yet I liked him too much… way too much, and I ripped him out of my heart so it wouldn’t get to hurt me more than it did. Oh, he’s magnetic, he’s charming; you could fall into his eyes. Let’s face it: his sex appeal was unbearably strong. I wanted to know him—- the thoughts, the ideas behind the handsome, confident, wisecracking mask… then the friction increased, centered. His nearness was electric in itself. ‘Can’t you see,’ he said. ‘I want to kiss you.’ So he kissed me, hungrily, his eyes shut, his hand warm, curved burning into my stomach. ‘I wish I hated you,’ I said

And if we dare to look into those eyes, then we shall feel their suffering in our hearts. More and more people have seen that appeal and felt it in their hearts. All around the world there is an awakening of understanding and compassion, and understanding that reaches out to help the suffering animals in their vanishing homelands. That embraces hungry, sick, and desperate human beings, people who are starving while the fortunate among us have so much more than we need. And if, one by one, we help them, the hurting animals, the desperate humans, then together we shall alleviate so much of the hunger, fear, and pain in the world. Together we can bring change to the world, gradually replacing fear and hatred with compassion and love. Love for all living beings.

What distinguishes candle from other lights is that it appeals to our soul, not our eyes!

One of the many facets of Navajo culture that appeals to me is the lack of value attached to vengeance. This ‘eye for an eye’ notion pervading white culture is looked upon by the Diné as a mental illness.

Because Carter’s not your only fan.” When I looked back up, I saw Roman’s green eyes were deadly serious. “You’re a remarkable woman, just by your own nature. Smart. Funny. Compassionate. But what’s really great is that you’re so easy to underestimate. I did when we first met, you know. And Hell is now. No matter what their reaction to your appeal is, I guarantee most of them doubt you have a chance. You’re going to prove them wrong. You’re going to break the unbreakable. And I’ll be there helping you, as much as I can.

Brent…” She gasps, fingers running through my hair. “This is real. Tell me this is real.” My eyes jerk up to hers and I cup her jaw in one hand. “It’s real. This is so real I can’t stop shaking.

No season appeals to the eyes as much as autumn; no season touches the souls as powerfully as autumn and no season invites us to the world of mournful thoughts as intensely as autumn!

From his soft fur, golden and brown, Goes out so sweet a scent, one night I might have been embalmed in it By giving him one little pet. He is my household's guardian soul; He judges, he presides, inspires All matters in his royal realm; Might he be fairy? or a god? When my eyes, to this cat I love Drawn as by a magnet's force, Turn tamely back upon that appeal, And when I look within myself, I notice with astonishment The fire of his opal eyes, Clear beacons glowing, living jewels, Taking my measure, steadily.

Perhaps it was an old flame he was in mourning for from the days beyond recall. She thought she understood. She would try to understand him because men were so different. The old love was waiting, waiting with little white hands stretched out, with blue appealing eyes. Heart of mine! She would follow, her dream of love, the dictates of her heart that told her he was her all in all, the only man in all the world for her for love was the master guide. Nothing else mattered. Come what might she would be wild, untrammelled, free.

Perhaps someone will have seen mine, the one I’m waiting for, just as I saw him, in a ditch when his hands were making their last appeal and his eyes no longer could see. Someone who will never know what that man was to me; someone whose name I’ll never know.

Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple the population. Films and radios, magazines, books levelled down to a sort of paste pudding norm, do you follow me?

... one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do no have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous achievement of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is - a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed) - a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.

She felt the cold blast from the sterile air conditioning on her bare arms and thighs, as she ambled down the center of the shopping complex's ground floor. The scene was a swirl of candy bright lights--the Victoria's Secret fuchsia signboard, signboards which lured one to purchase "confidence," or "sexual appeal," or whatever it was that was being advertised--the fluorescent lights in each store, contrasting with the shiny, black-tiled walls and eye-catching speckled marble tiles on the ground. One could lick the floor--the tiles were spotless, clean like the fake air she was breathing in, like the atoms and cells in her that were decaying in stale neglect.

Madame de Nucingen was already there, dressed with the deliberate aim of appealing to all eyes, knowing that thereby she would seem even more attractive to Eugène.

Do I perceive a softening in your heart for me, damoiselle?" He laughed at her scowl. "Beware maid. I will tell you true. After you will come another and then another. There are no strings that can tether me to any woman. So guard your heart." "My lord, you greatly exaggerate your appeal," she replied indignantly. "If I fell anything for you, 'tis hatred. You are the enemy and you are to be despised as such." "Indeed?" He smiled slowly into her eyes. "Then tell me, damoiselle, do you always kiss the enemy so warmly?

The thirst for vengeance did not wait for Islam to appear in the world, and the appeal to the law of an eye for an eye and a tooth for a tooth is universal.

Challenge rises in her eyes. “You’re assuming I actually liked you to begin with. You know what they say about people who assume, ass.

Our personal identities are socially situated. We are where we live, eat, work, and make love. [...] Our sense of identity is in large measure conferred on us by others in the ways they treat or mistreat us, recognize or ignore us, praise us or punish us. Some people make us timid and shy; others elicit our sex appeal and dominance. In some groups we are made leaders, while in others we are reduced to being followers. We come to live up to or down to the expectations others have of us. The expectations of others often become self-fulfilling prophecies. Without realizing it, we often behave in ways that confirm the beliefs others have about us. Those subjective beliefs create new realities for us. We often become who other people think we are, in their eyes and in our behavior.

All i knew was that i couldn't get Echo Emerson out of my mind. No doubt, i wanted her. I couldn't rid my mind of images of her body writhing in pleasure against mine. That siren voice whispering my name. But she appealed to me in more than physical way. I loved her smile, the light in her eyes when she laughed, and damn if she couldn't keep up with me.

Abuse of the military metaphor may be inevitable in a capitalist society, a society that increasingly restricts the scope and credibility of appeals to ethical principle, in which it is thought foolish not to subject one's actions to the calculus of self-interest and profitability. War-making is one of the few activities that people are not supposed to view 'realistically'; that is, with an eye to expense and practical outcome. In all-out war, expenditure is all-out, unprudent--war being defined as as an emergency in which no sacrifice is excessive.

Instead of being regarded as intelligent or knowledgeable, many a woman would rather be regarded as beautiful or good in the kitchen; many a man, as handsome or good in bed.

I’m not going to let us fall this time, Kennedy.” Her eyes are back on my chest. “I’m not sure--” “All you have to do is take my hand.

I have often wished in vain,' said she, 'for another's judgment to appeal to when I could scarcely trust the direction of my own eye and head, they having been so long occupied with the contemplation of a single object as to become almost incapable of forming a proper idea respecting it.' 'That,' replied I, 'is only one of many evils to which a solitary life exposes us.

Sophronia had no idea why Felix was so intent upon her. She had not yet received lessons in seduction, or she might have understood the appeal of sharp confidence, a topping figure, and green eyes. All Sophronia’s intellect was directed at something other than attracting male companionship. These things combined to make her particularly appealing to gentlemen. Soap could have told her that.

...indeed it is very true that, just as the finest air in the world is vulgarized beyond all bearing once the public has taken to hum it and the street organs to play it, so the work of art that has appealed to the sham connoisseurs, that is admired by the uncritical, that is not content to rouse the enthusiasm of only a chosen few, becomes for this very reason, in the eyes of the elect, a thing polluted, commonplace, almost repulsive.

He saw her as the passionate spirit of innocent youth, now beleaguered by the trick which is played on youth - the trick of treachery in the body, which turns flesh into green bones. Her stupid finery was not vulgar to him, but touching. The girl was still there, still appealing from behind the breaking barricade of rouge. She had made the brave protest: I will not be vanquished. Under the clumsy coquetry, the undignified clothes, there was the human cry for help. The young eyes were puzzled, saying: It is I, inside here - what have they done to me? I will not submit. Some part of her spirit knew that the powder was making a guy of her, and hated it, and tried to hold her lover with the eyes alone. They said: Don't look at all this. Look at me. I am still here, in the eyes. Look at me, here in the prison, and help me out. Another part said: I am not old, it is illusion. I am beautifully made-up. See, I will perform the movements of youth. I will defy the enormous army of age.

She exhaled curtly. ‘I’m a serryn. That’s all you see. I’m just something to be tortured, slain or sold off as a commodity. That’s hardly the most appealing of traits.’ ‘Tell your eyes that. Because you really shouldn’t look at me the way you do. No serryn has looked at me like that.

She opens her eyes and wipes her hands together as if to say enough of that. Then she reconsiders and adds a final appeal. “Please don’t die. I can understand why you’d want to, but think about this: If you die, there’s going to be one of those cheesy Princess Diana memorials at school, where everyone puts flowers and candles and notes next to your locker.” She wipes away a renegade tear with the back of her hand. “I know you’d hate that kind of thing.

Boys are adorable. Boys trail off their sentences in an appealing way. Boys bring a knapsack to work. Boys get haircuts from their roommate, who “totally knows how to cut hair.” Boys can pack up their whole life in a duffel bag and move to Brooklyn for a gig if they need to. Boys have “gigs.” Boys are broke. And when they do have money, they spend it on a trip to Colorado to see a music festival. Boys don’t know how to adjust their conversation when they’re talking to their friends or to your parents. They put parents on the same level as their peers and roll their eyes when your dad makes a terrible pun. Boys let your parents pay for dinner when you all go out. It’s assumed.

It is unfortunately true that there is in blasphemy a certain outlet which solaces the burdened heart. When an atheist, drawing his watch, gave God a quarter of an hour in which to strike him dead, it is certain that it was a quarter of an hour of wrath and of atrocious joy. It was the paroxysm of despair, a nameless appeal to all celestial powers; it was a poor, wretched creature squirming under the foot that was crushing him; it was a loud cry of pain. Who knows? In the eyes of Him who sees all things, it was perhaps a prayer.

She was tipping her head back to inquire, when two men entered the great hall and the question flew right out of her head. They were simply two of the most gorgeous men she'd ever seen. Twins, though different. They were both tall and powerfully built. One was taller by a few inches, with dark hair that swept just past his shoulders and eyes like shard of silver and ice while the other had long black hair falling in a single braid to his waist, and eyes as gold as Adam's torque. They were elegantly dressed in tailored clothing of dark hues, with magnificent bodies that dripped with raw sex appeal. Oh, my, she marveled, they don't amek men like these in the States. Were these typical Scotsmen? If so, she was going to have to get Elizabeth over here somehow. A connoisseur of romance novels, Elizabeth's favorites were the Scottish ones, and these two men looked as if they'd just stepped straight off one of those covers. "Try not to gape, ka-lyrra. They're only human. Mortal. Puny. And married. Both of them. Happily.

Gilan,” she said, “you’re looking well.” And apart from those wrinkles, he was. He smiled at her. “And you grow more beautiful every day, Pauline,” he replied. “What about me?” Halt said, with mock severity. “Do I grow more handsome every day? More impressive, perhaps?” Gilan eyed him critically, his head to one side. Then he announced his verdict. “Scruffier,” he said. Halt raised his eyebrows. “’Scruffier’?” he demanded. Gilan nodded. I’m not sure if you’re aware of recent advances in technology, Halt,” he said. “But there a wonderful new invention called scissors. People use them for trimming beards and hair.” “Why?” Gilan appealed to Pauline. “Still using his saxe knife to do his barbering, is he?” Pauline nodded, slipping her hand inside her husband’s arm. “Unless I can catch him at it,” she admitted. Halt regarded them both with a withering look. They both refused to wither, so he abandoned the expression. “You show a fine lack of respect for your former mentor,” he told Gilan. The younger man shrugged. “It goes with my exalted position as your commander.” “Not mine,” Halt said. “I’ve retired.” “So I can expect little in the way of deference from you?” Gilan grinned. “No. I’ll show proper deference….the day you train your horse to fly back around the castle’s turrets.

I take my time raising my eyes to hers. There’s a difference between pity and compassion, and I’ve had twenty-two years of practice in noting the distinction. Pity is feeling sorry for someone, while being glad you’re not them. Compassion is a shared pain—you hurt with them; their pain becomes your own.

will share a secret: this is how talents are bestowed. Before newborns open their eyes, we circle them, appearing as brilliant colors, and when they clench their tiny hands for the first time, they are actually grabbing the colors they find most appealing. Those talents are with them for life. The lucky ones (well, in my opinion, the lucky ones) choose me. Music.

Her nervous, wild eyes boomeranging back to me every few seconds, almost as if she’s waiting for me to say something. Sexy little mouse. The woman defines the meaning of sex appeal hidden under her good girl persona. I just bet she’s terrified to step outside of the box she’s been told she can never come out of to have a little fun. Lucky for Delaney Sloan, she’s met me now. I don’t believe in boxes or holding back if I want something. Or someone. And I want to fuck her again. Badly, as it turns out.

I expected them (men) to see my drunken wordiness as a kind of coy gesture, as though I were saying, “I’m just a child, innocent to my own foolishness. Aren’t I cute? Love me and I’ll turn a blind eye to your faults.” With those other men, this tactic earned me brief sessions of affection until I became soured and saw that I had defiled myself by appealing to them in the first place.

Talking with you and seeing the world through your eyes that night was different, from the very first words you said to me.” Sylvie cringed. “Was there something particularly appealing about, ‘Get lost, you nosey gutter-crawler’?” “That, and the rotten apple you threw at me. That doesn’t happen to a king very often.

In the eyes of the other, we each had an undefinable emotional appeal that was at once adventurous, mysterious, and idealized. In other words, it was exciting in that pit-of-the-stomach way. This kind of immediate connection is rare, so when it happens it’s incredible—as in not credible, as in so magical it’s difficult to believe.

Some stories consumed you, they made time stop, your worries float into the ether, and when it came to my reading habits I chose romance over any other genre. The appeal of the happy ever after, the winsome heroine being adored for who she was, and the devastatingly handsome hero with more to him than met the eye tugged at my heart.

The physical marvels of the universe produce little more reflection than the profoundest moral truths. A million of eyes shall pass over the firmament, on a cloudless night, and not a hundred minds shall be filled with a proper sense of the power of the dread Being that created all that is there--not a hundred hearts glow with the adoration that such an appeal to the senses and understanding ought naturally to produce.

There's no being out too late in Whileaway, or up too early, or in the wrong part of town, or unescorted. You cannot fall out of the kinship web and become sexual prey for strangers, for there is no prey and there are no strangers -- the web is world-wide. In all of Whileaway there is no one who can keep you from going where you please (though you may risk your life, if that sort of thing appeals to you), no one who will follow you and try to embarrass you by whispering obscenities in your ear, no one who will attempt to rape you, no one who will warn you of the dangers of the street, no one who will stand on street corners, hot-eyed and vicious, jingling loose change in his pants pocket, bitterly bitterly sure that you're a cheap floozy, hot and wild, who likes it, who can't say no, who's making a mint off it, who inspires him with nothing but disgust, and who wants to drive him crazy.

Spontaneity is overrated. Movies and television shows would like us to believe that life is better for party goers who dare to jump into pools with their clothes on. But behind the scenes, it's all carefully scripted. The water is the right temperature. Lighting and angles are carefully considered. Dialogue is memorized. And that's why it's so appealing - because someone carefully planned it all. Once you realize this, life gets a whole lot simpler.

You don't stare the devil in the eyes and come out without some of his sin. You can't beat the devil without becoming like him. You can't appeal to his kindness, so you have to learn to play his games. You lie, you fuck, you manipulate, you fight, you hurl insults, until you do whatever it takes to win the battle. Every time you do those things, you understand him a little more. Until finally, he becomes your ally. You think you've won, that you've made him more like you. But the truth is, it's the other way around. So that even when you win, you've lost.

Okay, let’s say you’re a cat and Hadrian’s a dog and you want to make him happy. You give him a dead mouse and are surprised when he isn’t thrilled. The problem is that you need to see the world through the eyes of a dog to understand what’s best for him. If you did, you would see that a nice juicy bone would be a better choice, even though to a cat it’s not very appealing.

I hear her pacing the house, mumbling, words I can barely make out and am frightened to hear. The words 'Carpe Diem' come from her lips like she's a broken, skipping record, and I clutch the pendant of my necklace tightly, fighting back tears. Because I know she's talking to him, appealing to an invisible man named John, the one who walked out on her when I was born. I know it's not my fault. Not my fault she's this way. Not my fault he left her. But fuck if I don't feel guilty anyway.

Gentlemen?” Dr Nari Zhang appeared at the door. Angus jumped. “Jesus.” He looked down at the thick socks on her feet, which were intriguingly dainty. The new doc was way too appealing for him to be this irritated with her. Which only pissed him off more. “New rule. You keep the loud shoes on all day. No changing into socks.” She rolled her eyes. “I had hoped to talk to all three of you about the shooting yesterday. It had to have brought up difficult memories. How did everyone sleep?” “Fantastic,” West said smoothly. “Never better,” Wolfe agreed. “Like a baby,” Angus said. Nari sighed. “You’re all morons. You can take that as my professional opinion.

There were some that were of so rare a beauty that my pleasure on catching sight of them was enhanced by surprise. By what privilege, on one morning rather than another, did the window on being uncurtained disclose to my wondering eyes the nymph Glauconome, whose lazy beauty, gently breathing, had the transparence of a vaporous emerald beneath whose surface I could see teeming the ponderable elements that coloured it? She made the sun join in her play, with a smile rendered languorous by an invisible haze which was nought but a space kept vacant about her translucent surface, which, thus curtailed, became more appealing, like those goddesses whom the sculptor carves in relief upon a block of marble, the rest of which he leaves unchiselled. So, in her matchless colour, she invited us out over those rough terrestrial roads, from which, seated beside Mme. de Villeparisis in her barouche, we should see, all day long and without ever reaching it, the coolness of her gentle palpitation.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

Turnus, brought low, raised his eyes and an outstretched right hand in humble entreaty, and said: "This is my own desert; I make no appeal. Enjoy the fortune which falls to you. And if a poor father's sorrow can affect you - and you yourself had in Anchises such a father as mine - I beg of you, take pity on Daunus in his old age, and restore me, or, if you so prefer it, my dead body despoiled of life, to my own people. You have conquered; and Ausinian men have seen me hold forth hands uplifted in defeat. Lavinia is yours to wed. Stretch not your hatred further.

Love was more than just a fleeting desire, or a brief glimpse into a fairy tale, or a flash of playful flirtation in her beautiful hazel eyes. It was more than infatuation with a person’s best qualities, or reluctant acceptance of their less appealing traits. Real love meant loving the whole person, in every form, in every state, in every way. It was what transformed the ordinary monotony of everyday life into extraordinary moments of warmth and compassion and joy.

On the most basic levels, I desire fullness, and fleshly lusts seduce me by attaching themselves to this basic desire. They exploit the empty spaces in me, and they promise that fulness will be mine if I give in to their demands. When my soul sits empty and is aching for something to fill it, such deceptive promises are extremely difficult to resist. Consequently, the key to mortifying fleshly lusts is to eliminate the emptiness within me and replace it with fullness; and I accomplish this by feasting on the gospel. Indeed, it is in the gospel that I experience a God who glorifies Himself by filling me with His fullness. . . . This is the God of the gospel, a God who is satisfied with nothing less than my experience of fullness in Him! . . . Indeed, as I perpetually feast on Christ and all His blessings found in the gospel, I find that my hunger for sin diminishes and the lies of lust simply lose their appeal. Hence, to the degree that I am full, I am free. Eyes do not rove, nor do fleshly lusts rule, when the heart is fat with the love of Jesus!

Now I'll never see him again, and maybe it's a good thing. He walked out of my life last night for once and for all. I know with sickening certainty that it's the end. There were just those two dates we had, and the time he came over with the boys, and tonight. Yet I liked him too much - - - way too much, and I ripped him out of my heart so it wouldn't get to hurt me more than it did. Oh, he's magnetic, he's charming; you could fall into his eyes. Let's face it: his sex appeal was unbearably strong. I wanted to know him - - - the thoughts, the ideas behind the handsome, confident, wise-cracking mask. "I've changed," he told me. "You would have liked me three years ago. Now I'm a wiseguy." We sat together for a few hours on the porch, talking, and staring at nothing. Then the friction increased, centered. His nearness was electric in itself. "Can't you see," he said. "I want to kiss you." So he kissed me, hungrily, his eyes shut, his hand warm, curved burning into my stomach. "I wish I hated you," I said. "Why did you come?" "Why? I wanted your company. Alby and Pete were going to the ball game, and I couldn't see that. Warrie and Jerry were going drinking; couldn't see that either." It was past eleven; I walked to the door with him and stepped outside into the cool August night. "Come here," he said. "I'll whisper something: I like you, but not too much. I don't want to like anybody too much." Then it hit me and I just blurted, "I like people too much or not at all. I've got to go down deep, to fall into people, to really know them." He was definite, "Nobody knows me." So that was it; the end. "Goodbye for good, then," I said. He looked hard at me, a smile twisting his mouth, "You lucky kid; you don't know how lucky you are." I was crying quietly, my face contorted. "Stop it!" The words came like knife thrusts, and then gentleness, "In case I don't see you, have a nice time at Smith." "Have a hell of a nice life," I said. And he walked off down the path with his jaunty, independent stride. And I stood there where he left me, tremulous with love and longing, weeping in the dark. That night it was hard to get to sleep.

The really destructive feature of their relationship is its inherent quality of boredom. It is quite natural for Peter often to feel bored with Otto - they have scarecely a single interest in common - but Peter, for sentimental reasons, will never admit that this is so. When Otto, who has no such motives for pretending, says, "It's so dull here!" I invariably see Peter wince and looked pained. Yet Otto is actually far less often bored than Peter himself; he finds Peter's company genuinely amusing, and is quite glad to be with him most of the day. Often, when Otto has been chattering rubbish for an hour without stopping, I can see that Peter really longs for him to be quiet and go away. But to admit this would be, in Peter's eyes, a total defeat, so he only laughs and rubs his hands, tacitly appealing to me to support him in his pretense of finding Otto inexhaustibly delightful and funny.

We could just chill if you want." Emma raises a brow at Rachel. Rachel shrugs her innocence. "Nuh-uh. Don't look at me. I didn't teach him that." "Picked it up all on my own," he says, retrieving his pencil from the floor. "Figures," Emma sneers. "Aww, don't hate on me, boo." "Okay, I'm drawing the line at 'boo.' And don't call me 'shorty' either," Emma says. He laughs. "That was next." "No doubt. So, did anyone explain how you chill?" Galen shrugs. "As far as I can tell, chillin' is the equivalent of being in a coma, only awake." "That's about right." "Yeah. Doesn't sound that appealing. Are all humans lazy?" "Don't push it, Highness." But she's smirking. "If I'm Highness, then you're 'boo.' Period." Emma growls, but it doesn't sound as fierce as she intends. In fact, it's adorable. "Jeez! I won't call you Majesty either. And you Will. Not. Ever Call me 'boo' again." His grin feels like it reaches all the way to his ears as he nods. "Did...did I just win an argument?" She rolls her eyes. "Don't be stupid. We tied." He laughs. "If you say I won, I'll let you open your present." She glances at the gift bag and bites her lip-also adorable. She looks back at him. "Maybe I don't care about the present." "Oh, you definitely care," he says, confident. "No. I definitely do NOT," she says, crossing her arms. He runs a hand through his hair. If she makes it any more difficult, he'll have to tell her where they're going. He gives his best nonchalant shrug. "That changes everything. I just figured since you like history...Anyway, just forget it. I won't bother you about it anymore." He stands and walks over to the bag, fingering the polka-dot tissue paper Rachel engorged it with. "Even if I say you win, it's still a lie, you know." Emma huffs. Galen won't take the bait. Not today. "Fine. It's a lie. I just want to hear you say it." With an expression mixing surprise and suspicion in equal parts, she says it. And it sounds so sweet coming from those lips. "You won.

Curiously enough, one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do not have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and then can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous masterpiece of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is—a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed)—a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.

THIS IS NOT, to say the least, an appealing prospect. People naturally prefer to avoid the subject of their decrepitude. There have been dozens of bestselling books on aging, but they tend to have titles such as Younger Next Year, The Fountain of Age, Ageless, or—my favorite—The Sexy Years. Still, there are costs to averting our eyes from the realities. We put off dealing with the adaptations that we need to make as a society. And we blind ourselves to the opportunities that exist to change the individual experience of aging for the better.

I, to whom nature had denied the impromptu faculty; who, in public, was by nature a cypher; whose time of mental activity, even when alone, was not under the meridian sun; who needed the fresh silence of morning, or the recluse peace of evening, to win from the Creative Impulse one evidence of his presence, one proof of his force; I, with whom that Impulse was the most intractable, the most capricious, the most maddening of masters (him before me always excepted)--a deity, which sometimes, under circumstances apparently propitious, would not speak when questioned, would not hear when appealed to, would not, when sought, be found; but would stand, all cold, all indurated, all granite, a dark Baal with carven lips and blank eye-balls, and breast like the stone face of a tomb; and again, suddenly, at some turn, some sound, some long-trembling sob of the wind, at some rushing past of an unseen stream of electricity, the irrational demon would wake unsolicited, would stir strangely alive, would rush from its pedestral like a perturbed Dagon, calling to its votary for a sacrifice, whatever the hour--to its victim for some blood or some breath, whatever the circumstance or scene--rousing its priest, treacherously promising vaticanation, perhaps filling its temple with a strange hum of oracles, but sure to give half the significance to fateful winds, and grudging to the desperate listener even a miserable remnant--yielding it sordidly, as though each word had been a drop of the deathless ichor of its own dark veins.

You meet a wizard in downtown Chicago. The wizard tells you he can make you more attractive if you pay him money. When you ask how this process works, the wizard points to a random person on the street. You look at this random stranger. The wizard says, "I will now make them a dollar more attractive." He waves his magic wand. Ostensibly, this person does not change at all; as far you can tell, nothing is different. But - somehow - this person is suddenly more appealing. The tangible difference is invisible to the naked eye, but you can't deny that this person is vaguely sexier. This wizard has a weird rule, though - you can only pay him once. You can't keep giving him money until you're satisfied. You can only pay him one lump sum up front. How much cash do you give the wizard?

Forty-five minutes later, Benedict was slouching in his chair, his eyes glazed. Every now and then he had to stop and make sure his mouth wasn't hanging open. His mother's conversation was that boring. The young lady she had wanted to discuss with him had actually turned out to be seven young ladies, each of which she assured him was better than the last. Benedict thought he might go mad. Right here in his mother's sitting room he was going to go stark, raving mad. He'd suddenly pop out of his chair, fall to the floor in a frenzy his arms and legs waving, mouth frothing- "Benedict, are you even listening to me?" He looked up and blinked. Damn. Now he would have to focus on his mother's list of possible brides. The prospect of losing his sanity had been infinitely more appealing.

We are friends of the lento, I and my book. I have not been a philologist in vain—perhaps I am one yet: a teacher of slow reading. I even come to write slowly. At present, it is not only my habit but even my taste—a perverted taste, maybe—to write nothing but what will drive to despair every one who is “in a hurry.” For philology is that venerable art which exacts from its followers one thing above all—to step to one side, to leave themselves spare moments, to grow silent, to become slow—the leisurely art of the goldsmith applied to language: an art which must carry out slow, fine work, and attains nothing if not lento. For this very reason philology is now more desirable than ever before; for this very reason it is the highest attraction and incitement in an age of “work”: that is to say, of haste, of unseemly and immoderate hurry-scurry, which is intent upon “getting things done” at once, even every book, whether old or new. Philology itself, perhaps, will not “get things done” so hurriedly: it teaches how to read well: i.e. slowly, profoundly, attentively, prudently, with inner thoughts, with the mental doors ajar, with delicate fingers and eyes ... my patient friends, this book appeals only to perfect readers and philologists: learn to read me well!

When we examine , not the language of propaganda, but the witness of the combatants themselves, religion does not occupy the first place. Their motivations are more often secular, they mention their sympathy for a population reduced to poverty, the victims of the whim of ruling classes that live in luxury and corruption- rulers able to maintain themselves in power thanks only to the support of the American government ( as in Pakistan, Saudi Arabia and Egypt). They speak of the members of their families or their local communities who have suffered or died by the fault of these governments ( and thus of their protectors); and they want to avenge them. The thirst for vengeance did not wait for Islam to appear in the world, and the appeal to the law of an eye for an eye and a tooth for a tooth is universal.

First Love I ne’er was struck before that hour With love so sudden and so sweet, Her face it bloomed like a sweet flower And stole my heart away complete. My face turned pale as deadly pale, My legs refused to walk away, And when she looked, what could I ail? My life and all seemed turned to clay. And then my blood rushed to my face And took my eyesight quite away, The trees and bushes round the place Seemed midnight at noonday. I could not see a single thing, Words from my eyes did start— They spoke as chords do from the string, And blood burnt round my heart. Are flowers the winter’s choice? Is love’s bed always snow? She seemed to hear my silent voice, Not love's appeals to know. I never saw so sweet a face As that I stood before. My heart has left its dwelling-place And can return no more.

thus it is that egoists have always the last word; having posited at the start that their resolution is unshakeable, the more susceptible the feeling to which one appeals in them to make them abandon their resolution, the more reprehensible they find, not themselves who resist that appeal, but those who put them under the necessity of resisting it, so that their own harshness may be carried to the utmost degree of cruelty without having any effect in their eyes but to aggravate the culpability of the person who is so indelicate as to be hurt, to be in the right, and to cause them thus treacherously the pain of acting against their natural instinct of pity.

The real problem here is that we’re all dying. All of us. Every day the cells weaken and the fibres stretch and the heart gets closer to its last beat. The real cost of living is dying, and we’re spending days like millionaires: a week here, a month there, casually spunked until all you have left are the two pennies on your eyes. Personally, I like the fact we’re going to die. There’s nothing more exhilarating than waking up every morning and going ‘WOW! THIS IS IT! THIS IS REALLY IT!’ It focuses the mind wonderfully. It makes you love vividly, work intensely, and realise that, in the scheme of things, you really don’t have time to sit on the sofa in your pants watching Homes Under the Hammer. Death is not a release, but an incentive. The more focused you are on your death, the more righteously you live your life. My traditional closing-time rant – after the one where I cry that they closed that amazing chippy on Tollington Road; the one that did the pickled eggs – is that humans still believe in an afterlife. I genuinely think it’s the biggest philosophical problem the earth faces. Even avowedly non-religious people think they’ll be meeting up with nana and their dead dog, Crackers, when they finally keel over. Everyone thinks they’re getting a harp. But believing in an afterlife totally negates your current existence. It’s like an insidious and destabilising mental illness. Underneath every day – every action, every word – you think it doesn’t really matter if you screw up this time around because you can just sort it all out in paradise. You make it up with your parents, and become a better person and lose that final stone in heaven. And learn how to speak French. You’ll have time, after all! It’s eternity! And you’ll have wings, and it’ll be sunny! So, really, who cares what you do now? This is really just some lacklustre waiting room you’re only going to be in for 20 minutes, during which you will have no wings at all, and are forced to walk around, on your feet, like pigs do. If we wonder why people are so apathetic and casual about every eminently avoidable horror in the world – famine, war, disease, the seas gradually turning piss-yellow and filling with ringpulls and shattered fax machines – it’s right there. Heaven. The biggest waste of our time we ever invented, outside of jigsaws. Only when the majority of the people on this planet believe – absolutely – that they are dying, minute by minute, will we actually start behaving like fully sentient, rational and compassionate beings. For whilst the appeal of ‘being good’ is strong, the terror of hurtling, unstoppably, into unending nullity is a lot more effective. I’m really holding out for us all to get The Fear. The Fear is my Second Coming. When everyone in the world admits they’re going to die, we’ll really start getting some stuff done.

And because they had mass, they became simpler,” said Beatty. “Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books leveled down to a sort of paste pudding norm, do you follow me?” “I think so.” Beatty peered at the smoke pattern he had put out on the air. “Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume.

Honda... knew that to retain Kiyoaki's affection he must check the unthinking roughness that friendship ordinarily permitted. He had to treat him as warily as one would a freshly painted wall, on which the slightest careless touch would leave an indelible fingerprint. Should the circumstances demand it, he would have to go so far as to pretend not to notice Kiyoaki's mortal agony. Especially if such assumed obtuseness served to point up the elegance that would surely characterize Kiyoaki's ultimate suffering. At such moments, Honda could even love Kiyoaki for the look of mute appeal in his eyes. Their beautiful gaze seemed to hold a plea: leave things as they are, as gloriously undefined as the line of the seashore.

There she was. Roarke stood in the office doorway, took a few enjoyable minutes to just watch her. She had such a sense of purpose, such a sense of focus on that purpose. It had appealed to him from the first instant he’d seen her, across a sea of people at a memorial for the dead. He found it compelling, the way those whiskey-colored eyes could go flat and cold as they were now. Cop’s eyes. His cop’s eyes. She’d taken off her jacket, tossed it over a chair, and still wore her weapon harness. Which meant she’d come in the door and straight up. Armed and dangerous, he thought. It was a look, a fact of her, that continually aroused him. And her tireless and unwavering dedication to the dead—to the truth, to what was right—had, and always would, amaze him. She’d set up her murder board, he noted, filling it with grisly photos, with reports, notes, names. And somewhere along the line in her day, she’d earned herself a black eye. He’d long since resigned himself to finding the woman he loved bruised and bloody at any given time. Since she didn’t look exhausted or ill, a shiner was a relatively minor event. She sensed him. He saw the moment she did, that slight change of body language. And when her eyes shifted from her comp screen to his, the cold focus became an easy, even casual warmth. That, he thought, just that was worth coming home for.

President Barack Obama and many liberal-minded commentators have been hesitant to call this Islamist ideology by its proper name. They seem to fear that both Muslim communities and the religiously intolerant will hear the word “Islam” and simply assume that all Muslims are being held responsible for the excesses of the jihadist few. I call this the Voldemort effect, after the villain in J.K. Rowling’s Harry Potter books. Many well-meaning people in Ms. Rowling’s fictional world are so petrified of Voldemort’s evil that they do two things: They refuse to call Voldemort by name, instead referring to “He Who Must Not Be Named,” and they deny that he exists in the first place. Such dread only increases public hysteria, thus magnifying the appeal of Voldemort’s power. The same hysteria about Islamism is unfolding before our eyes. But no strategy intended to defeat Islamism can succeed if Islamism itself and its violent expression in jihadism are not first named, isolated and understood. From: Maajid Nawaz's article titled, 'How to Beat Islamic State', December 11th, 2015.

And it was in that moment of distress and confusion that the whip of terror laid its most nicely calculated lash about his heart. It dropped with deadly effect upon the sorest spot of all, completely unnerving him. He had been secretly dreading all the time that it would come - and come it did. Far overhead, muted by great height and distance, strangely thinned and wailing, he heard the crying voice of Defago, the guide. The sound dropped upon him out of that still, wintry sky with an effect of dismay and terror unsurpassed. The rifle fell to his feet. He stood motionless an instant, listening as it were with his whole body, then staggered back against the nearest tree for support, disorganized hopelessly in mind and spirit. To him, in that moment, it seemed the most shattering and dislocating experience he had ever known, so that his heart emptied itself of all feeling whatsoever as by a sudden draught. 'Oh! oh! This fiery height! Oh, my feet of fire! My burning feet of fire...' ran in far, beseeching accents of indescribable appeal this voice of anguish down the sky. Once it called - then silence through all the listening wilderness of trees. And Simpson, scarcely knowing what he did, presently found himself running wildly to and fro, searching, calling, tripping over roots and boulders, and flinging himself in a frenzy of undirected pursuit after the Caller. Behind the screen of memory and emotion with which experience veils events, he plunged, distracted and half-deranged, picking up false lights like a ship at sea, terror in his eyes and heart and soul. For the Panic of the Wilderness had called to him in that far voice - the Power of untamed Distance - the Enticement of the Desolation that destroys. He knew in that moment all the pains of someone hopelessly and irretrievably lost, suffering the lust and travail of a soul in the final Loneliness. A vision of Defago, eternally hunted, driven and pursued across the skyey vastness of those ancient forests fled like a flame across the dark ruin of his thoughts... It seemed ages before he could find anything in the chaos of his disorganized sensations to which he could anchor himself steady for a moment, and think... The cry was not repeated; his own hoarse calling brought no response; the inscrutable forces of the Wild had summoned their victim beyond recall - and held him fast. ("The Wendigo")

In addition, unlike Othello, whose profession of arms is socially honorable, Shylock is a professional usurer who, like a prostitute, has a social function but is an outcast from the community. But, in the play, he acts unprofessionally; he refuses to charge Antonio interest and insists upon making their legal relation that of debtor and creditor, a relation acknowledged as legal by all societies. Several critics have pointed to analogies between the trial scene and the medieval Processus Belial in which Our Lady defends man against the prosecuting Devil who claims the legal right to man’s soul. […] But the differences between Shylock and Belial are as important as their similarities. The comic Devil of the mystery play can appeal to logic, to the letter of the law, but he cannot appeal to the heart or to the imagination, and Shakespeare allows Shylock to do both. In his "Hath not a Jew eyes…" speech in Act III, Scene I, he is permitted to appeal to the sense of human brotherhood, and in the trial scene, he is allowed to argue, with a sly appeal to the fear a merchant class has of radical social evolution: You have among you many a purchased slave Which like your asses and your dogs and mules, You use in abject and in slavish parts, which points out that those who preach mercy and brotherhood as universal obligations limit them in practice and are prepared to treat certain classes of human beings as things.

This afternoon, being on Fair Haven Hill, I heard the sound of a saw, and soon after from the Cliff saw two men sawing down a noble pine beneath, about forty rods off. I resolved to watch it till it fell, the last of a dozen or more which were left when the forest was cut and for fifteen years have waved in solitary majesty over the sprout-land. I saw them like beavers or insects gnawing at the trunk of this noble tree, the diminutive manikins with their cross-cut saw which could scarcely span it. It towered up a hundred feet as I afterward found by measurement, one of the tallest probably in the township and straight as an arrow, but slanting a little toward the hillside, its top seen against the frozen river and the hills of Conantum. I watch closely to see when it begins to move. Now the sawers stop, and with an axe open it a little on the side toward which it leans, that it may break the faster. And now their saw goes again. Now surely it is going; it is inclined one quarter of the quadrant, and, breathless, I expect its crashing fall. But no, I was mistaken; it has not moved an inch; it stands at the same angle as at first. It is fifteen minutes yet to its fall. Still its branches wave in the wind, as it were destined to stand for a century, and the wind soughs through its needles as of yore; it is still a forest tree, the most majestic tree that waves over Musketaquid. The silvery sheen of the sunlight is reflected from its needles; it still affords an inaccessible crotch for the squirrel’s nest; not a lichen has forsaken its mast-like stem, its raking mast,—the hill is the hulk. Now, now’s the moment! The manikins at its base are fleeing from their crime. They have dropped the guilty saw and axe. How slowly and majestic it starts! as it were only swayed by a summer breeze, and would return without a sigh to its location in the air. And now it fans the hillside with its fall, and it lies down to its bed in the valley, from which it is never to rise, as softly as a feather, folding its green mantle about it like a warrior, as if, tired of standing, it embraced the earth with silent joy, returning its elements to the dust again. But hark! there you only saw, but did not hear. There now comes up a deafening crash to these rocks , advertising you that even trees do not die without a groan. It rushes to embrace the earth, and mingle its elements with the dust. And now all is still once more and forever, both to eye and ear. I went down and measured it. It was about four feet in diameter where it was sawed, about one hundred feet long. Before I had reached it the axemen had already divested it of its branches. Its gracefully spreading top was a perfect wreck on the hillside as if it had been made of glass, and the tender cones of one year’s growth upon its summit appealed in vain and too late to the mercy of the chopper. Already he has measured it with his axe, and marked off the mill-logs it will make. And the space it occupied in upper air is vacant for the next two centuries. It is lumber. He has laid waste the air. When the fish hawk in the spring revisits the banks of the Musketaquid, he will circle in vain to find his accustomed perch, and the hen-hawk will mourn for the pines lofty enough to protect her brood. A plant which it has taken two centuries to perfect, rising by slow stages into the heavens, has this afternoon ceased to exist. Its sapling top had expanded to this January thaw as the forerunner of summers to come. Why does not the village bell sound a knell? I hear no knell tolled. I see no procession of mourners in the streets, or the woodland aisles. The squirrel has leaped to another tree; the hawk has circled further off, and has now settled upon a new eyrie, but the woodman is preparing [to] lay his axe at the root of that also.

I shall be as willing as the next man to fall down in worship before the System, if only I can manage to set eyes on it. Hitherto I have had no success; and though I have young legs, I am almost weary from running back and forth... Once or twice I have been on the verge of bending the knee. But at the last moment, when I already had my handkerchief spread on the ground, to avoid soiling my trousers, and I made a trusting appeal to one of the initiated who stood by: "Tell me now sincerely, is it entirely finished; for if so I will kneel down before it, even at the risk of ruining a pair of trousers (for on account of the heavy traffic to and from the system, the road has become quite muddy)," - I always receive the same answer: "No, it is not yet quite finished." And so there was another postponement - of the system, and of my homage. System and finality are pretty much one and the same, so much so that if the system is not finished, there is no system.

Exoneration of Jesus Christ If Christ was in fact God, he knew all the future. Before Him like a panorama moved the history yet to be. He knew how his words would be interpreted. He knew what crimes, what horrors, what infamies, would be committed in his name. He knew that the hungry flames of persecution would climb around the limbs of countless martyrs. He knew that thousands and thousands of brave men and women would languish in dungeons in darkness, filled with pain. He knew that his church would invent and use instruments of torture; that his followers would appeal to whip and fagot, to chain and rack. He saw the horizon of the future lurid with the flames of the auto da fe. He knew what creeds would spring like poisonous fungi from every text. He saw the ignorant sects waging war against each other. He saw thousands of men, under the orders of priests, building prisons for their fellow-men. He saw thousands of scaffolds dripping with the best and bravest blood. He saw his followers using the instruments of pain. He heard the groans—saw the faces white with agony. He heard the shrieks and sobs and cries of all the moaning, martyred multitudes. He knew that commentaries would be written on his words with swords, to be read by the light of fagots. He knew that the Inquisition would be born of the teachings attributed to him. He saw the interpolations and falsehoods that hypocrisy would write and tell. He saw all wars that would be waged, and-he knew that above these fields of death, these dungeons, these rackings, these burnings, these executions, for a thousand years would float the dripping banner of the cross. He knew that hypocrisy would be robed and crowned—that cruelty and credulity would rule the world; knew that liberty would perish from the earth; knew that popes and kings in his name would enslave the souls and bodies of men; knew that they would persecute and destroy the discoverers, thinkers and inventors; knew that his church would extinguish reason’s holy light and leave the world without a star. He saw his disciples extinguishing the eyes of men, flaying them alive, cutting out their tongues, searching for all the nerves of pain. He knew that in his name his followers would trade in human flesh; that cradles would be robbed and women’s breasts unbabed for gold. And yet he died with voiceless lips. Why did he fail to speak? Why did he not tell his disciples, and through them the world: “You shall not burn, imprison and torture in my name. You shall not persecute your fellow-men.” Why did he not plainly say: “I am the Son of God,” or, “I am God”? Why did he not explain the Trinity? Why did he not tell the mode of baptism that was pleasing to him? Why did he not write a creed? Why did he not break the chains of slaves? Why did he not say that the Old Testament was or was not the inspired word of God? Why did he not write the New Testament himself? Why did he leave his words to ignorance, hypocrisy and chance? Why did he not say something positive, definite and satisfactory about another world? Why did he not turn the tear-stained hope of heaven into the glad knowledge of another life? Why did he not tell us something of the rights of man, of the liberty of hand and brain? Why did he go dumbly to his death, leaving the world to misery and to doubt? I will tell you why. He was a man, and did not know.

Noemy says, “I guess it’s just the idea of love I miss. And, well, it was a good kiss.” Her smile turns rueful. “At least I got some practice.” A wonderful idea occurs to Abel. “Do you need more practice?” “Huh?” “We could practice, if you wanted."He smiles as he starts to explain."Remember what I told you on Genesis? I’m programmed with a wide array of techniques for providing physical pleasure, via every activity from kissing to the more arcane positions for sexual intercourse. Although I’ve never performed any of them before, I’m confident I could do so very skillfully.” She stares at him, eyes wide. Since she is swift to voice objections if she has them, Abel takes her silence as an encouraging sign. So he sits up on the bed to explain the further compelling reasons now coming to mind. “Humans need a certain amount of physical release and comfort in order to be psychologicallly healthy. You’ve been away from your family and friends for some time, and have endured considerable trauma, suggesting you are in even greater need than usual. I have all the information and technique necessary to be an excellent partner, my body is designed to be appealing, and of course I can neither carry disease nor impregnate you. We have total privacy and many hours of spare time. Conditions for intercourse would seem to be ideal.

As I learned the house, and began to read, and began to see more of the Quality, I saw that just as the fields and its workers were the engine of everything, the house itself would have been lost without those who tasked within it. My father, like all the masters, built an entire apparatus to disguise this weakness, to hide how prostrate they truly were. The tunnel, where I first entered the house, was the only entrance that the Tasked were allowed to use, and this was not only for the masters’ exaltation but to hide us, for the tunnel was but one of the many engineering marvels built into Lockless so as to make it appear powered by some imperceptible energy. There were dumbwaiters that made the sumptuous supper appear from nothing, levers that seemed to magically retrieve the right bottle of wine hidden deep in the manor’s bowels, cots in the sleeping quarters, drawn under the canopy bed, because those charged with emptying the chamber-pot must be hidden even more than the chamber-pot itself. The magic wall that slid away from me that first day and opened the gleaming world of the house hid back stairways that led down into the Warrens, the engine-room of Lockless, where no guest would ever visit. And when we did appear in the polite areas of the house, as we did during the soirées, we were made to appear in such appealing dress and grooming so that one could imagine that we were not slaves at all but mystical ornaments, a portion of the manor’s charm. But I now knew the truth—that Maynard’s folly, though more profane, was unoriginal. The masters could not bring water to boil, harness a horse, nor strap their own drawers without us. We were better than them—we had to be. Sloth was literal death for us, while for them it was the whole ambition of their lives. It occurred to me then that even my own intelligence was unexceptional, for you could not set eyes anywhere on Lockless and not see the genius in its makers—genius in the hands that carved out the columns of the portico, genius in the songs that evoked, even in the whites, the deepest of joys and sorrows, genius in the men who made the fiddle strings whine and trill at their dances, genius in the bouquet of flavors served up from the kitchen, genius in all our lost, genius in Big John. Genius in my mother.

Such was the Arab of the desert, the dweller in tents, in whom was fulfilled the prophetic destiny of his ancestor Ishmael. "He will be a wild man; his hand will be against every man, and every man's hand against him." Nature had fitted him for his destiny. His form was light and meagre, but sinewy and active, and capable of sustaining great fatigue and hardship. He was temperate and even abstemious, requiring but little food, and that of the simplest kind. His mind, like his body, was light and agile. He eminently possessed the intellectual attributes of the Shemitic race, penetrating sagacity, subtle wit, a ready conception, and a brilliant imagination. His sensibilities were quick and acute, though not lasting; a proud and daring spirit was stamped on his sallow visage and flashed from his dark and kindling eye. He was easily aroused by the appeals of eloquence, and charmed by the graces of poetry. Speaking a language copious in the extreme, the words of which have been compared to gems and flowers, he was naturally an orator; but he delighted in proverbs and apothegms, rather than in sustained flights of declamation, and was prone to convey his ideas in the oriental style, by apologue and parable.

One," said the recording secretary. "Jesus wept," answered Leon promptly. There was not a sound in the church. You could almost hear the butterflies pass. Father looked down and laid his lower lip in folds with his fingers, like he did sometimes when it wouldn't behave to suit him. "Two," said the secretary after just a breath of pause. Leon looked over the congregation easily and then fastened his eyes on Abram Saunders, the father of Absalom, and said reprovingly: "Give not sleep to thine eyes nor slumber to thine eyelids." Abram straightened up suddenly and blinked in astonishment, while father held fast to his lip. "Three," called the secretary hurriedly. Leon shifted his gaze to Betsy Alton, who hadn't spoken to her next door neighbour in five years. "Hatred stirreth up strife," he told her softly, "but love covereth all sins." Things were so quiet it seemed as if the air would snap. "Four." The mild blue eyes travelled back to the men's side and settled on Isaac Thomas, a man too lazy to plow and sow land his father had left him. They were not so mild, and the voice was touched with command: "Go to the ant, thou sluggard, consider her ways and be wise." Still that silence. "Five," said the secretary hurriedly, as if he wished it were over. Back came the eyes to the women's side and past all question looked straight at Hannah Dover. "As a jewel of gold in a swine's snout, so is a fair woman without discretion." "Six," said the secretary and looked appealingly at father, whose face was filled with dismay. Again Leon's eyes crossed the aisle and he looked directly at the man whom everybody in the community called "Stiff-necked Johnny." I think he was rather proud of it, he worked so hard to keep them doing it. "Lift not up your horn on high: speak not with a stiff neck," Leon commanded him. Toward the door some one tittered. "Seven," called the secretary hastily. Leon glanced around the room. "But how good and how pleasant it is for brethren to dwell together in unity," he announced in delighted tones as if he had found it out by himself. "Eight," called the secretary with something like a breath of relief. Our angel boy never had looked so angelic, and he was beaming on the Princess. "Thou art all fair, my love; there is no spot in thee," he told her. Laddie would thrash him for that. Instantly after, "Nine," he recited straight at Laddie: "I made a covenant with mine eyes; why then should I think upon a maid?" More than one giggled that time. "Ten!" came almost sharply. Leon looked scared for the first time. He actually seemed to shiver. Maybe he realized at last that it was a pretty serious thing he was doing. When he spoke he said these words in the most surprised voice you ever heard: "I was almost in all evil in the midst of the congregation and assembly." "Eleven." Perhaps these words are in the Bible. They are not there to read the way Leon repeated them, for he put a short pause after the first name, and he glanced toward our father: "Jesus Christ, the SAME, yesterday, and to-day, and forever!" Sure as you live my mother's shoulders shook. "Twelve." Suddenly Leon seemed to be forsaken. He surely shrank in size and appeared abused. "When my father and my mother forsake me, then the Lord will take me up," he announced, and looked as happy over the ending as he had seemed forlorn at the beginning. "Thirteen." "The Lord is on my side; I will not fear; what can man do unto me?" inquired Leon of every one in the church. Then he soberly made a bow and walked to his seat.

There were twenty-three females on the Keltar estate--not counting Gwen, Chloe, herself, or the cat--Gabby knew, because shortly after Adam had become visible last night, she'd met each and every one, from tiniest tot to tottering ancient. It had begun with a plump, thirtyish maid popping in to pull the drapes for the evening and inquire if the MacKeltars "were wishing aught else?" The moment her bespectacled gaze had fallen on Adam, she'd begun stammering and tripping over her own feet. It had taken her a few moments to regain a semblance of coordination, but she'd managed to stumble from the library, nearly upsetting a lamp and a small end table in her haste. Apparently it had been haste to alert the forces, for a veritable parade had ensued: a blushing curvaceous maid had come offering a warm-up of tear (they'd not been having any), followed by a giggling maid seeking a forgotten dust cloth (which--was anyone surprised?--was nowhere to be found), then a third one looking for a waylaid broom (yeah, right--they swept castles at midnight in Scotland--who believed that?), then a fourth, fifth, and sixth inquiring if the Crystal Chamber would do for Mr. Black (no one seemed to care what chamber might do for her; she half-expected to end up in an outbuilding somewhere). A seventh, eighth, and ninth had come to announce that his chamber was ready would he like an escort? A bath drawn? Help undressing? (Well, okay, maybe they hadn't actually asked the last, but their eyes certainly had.) Then a half-dozen more had popped in at varying intervals to say the same things over again, and to stress that they were there to provide "aught, aught at all Mr. Black might desire." The sixteenth had come to extract two tiny girls from Adam's lap over their wailing protests (and had stayed out of his lap herself only because Adam had hastily stood), the twenty-third and final one had been old enough to be someone's great-great-grandmother, and even she'd flirted shamelessly with the "braw Mr. Black," batting nonexistent lashes above nests of wrinkles, smoothing thin white hair with a blue-veined, age-spotted hand. And if that hadn't been enough, the castle cat, obviously female and obviously in heat, had sashayed in, tail straight up and perkily curved at the tip, and would her furry little self sinuously around Adam's ankles, purring herself into a state of drooling, slanty-eyed bliss. Mr. Black, my ass, she'd wanted to snap (and she liked cats, really she did; she'd certainly never wanted to kick one before, but please--even cats?), he's a fairy and I found him, so that him my fairy. Back off.

She was a mimicry of a façade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean...

The way I feel about you, Jacinda...I know you feel it, too." He stares at me so starkly, so hungrily that I can only nod. Agree. Of course, I feel it. "I do," I admit. But I don't understand him. Don't get why he should feel this way about me. Why should he want me so much? What do I offer him? Why did he save me that day in the mountains? And why does he pursue me now? When no girl spiked his interest before? "Good," he says. "Then how about a date?" "A date?" I repeat, like I've never heard the word. "Yeah. A real date. Something official. You. Me. Tonight. We're long overdue." His smile deepens, revealing the deep grooves on the sides of his cheeks. "Dinner. Movie. Popcorn." "Yes." The word slips past. For a moment I forget. Forget that I'm not an ordinary girl. That he's not an ordinary boy. For the first time, I understand Tamra. And the appeal of normal. "Yes." It feels good to say it. To pretend. To drink in the sight of him and forget there's an ulterior reason I need to go out with him. A reason that's going to tear us apart forever. Stupid. Did you think you might have a future with him? Mom's right. Time to grow up. He smiles. Then he's gone. Out the door. For a second, I'm confused. Then he's at my door, opening it, helping me out. Together we walk through the parking lot. Side by side. We move only a few feet before he slips his hand around mine. As we near the front of the building, I see several kids hanging out around the flagpole. Tamra with her usual crowd. Brooklyn at the head. I try to tug my hand free. His fingers tighten on mine. I glance at him, see the resolve in his eyes. His hazel eyes glint brightly in the already too hot morning. "Coward." "Oh." The single sound escapes me. Outrage. Indignation. I stop. Turn and face him. Feel something slip, give way, and crumble loose inside me. Set free, it propels me. Standing on my tiptoes, I circle my hand around his neck and pull his face down to mine. Kiss him. Right there in front of the school. Reckless. Stupid. I stake a claim on him like I've got something to prove, like a drake standing before the pride in a bonding ceremony. But then I forget our audience. Forget everything but the dry heat of our lips. My lungs tighten, contract. I feel my skin shimmer, warm as my lungs catch. Crackling heat works its way up my chest. Not the smartest move I've ever made.

Your Lordship tempts his servant to see whether he remembers the revelations imparted to him. Trifle not with me, my Lord; I crave, I thirst, for more knowledge. Doubtless we cannot see that other higher Spaceland now, because we have no eye in our stomachs. But, just as there was the realm of Flatland, though that poor puny Lineland Monarch could neither turn to left nor right to discern it, and just as there was close at hand, and touching my frame, the land of Three Dimensions, though I, blind senseless wretch, had no power to touch it, no eye in my interior to discern it, so of a surety there is a Fourth Dimension, which my Lord perceives with the inner eye of thought. And that it must exist my Lord himself has taught me. Or can he have forgotten what he himself imparted to his servant? In One Dimension, did not a moving Point produce a Line with two terminal points? In Two Dimensions, did not a moving Line produce a Square with four terminal points? In Three Dimensions, did not a moving Square produce—did not this eye of mine behold it—that blessed Being, a Cube, with eight terminal points? And in Four Dimensions shall not a moving Cube—alas, for Analogy, and alas for the Progress of Truth, if it be not so—shall not, I say, the motion of a divine Cube result in a still more divine Organization with sixteen terminal points? Behold the infallible confirmation of the Series, 2, 4, 8, 16: is not this a Geometrical Progression? Is not this—if I might quote my Lord’s own words—“strictly according to Analogy”? Again, was I not taught by my Lord that as in a Line there are two bounding Points, and in a Square there are four bounding Lines, so in a Cube there must be six bounding Squares? Behold once more the confirming Series, 2, 4, 6: is not this an Arithmetical Progression? And consequently does it not of necessity follow that the more divine offspring of the divine Cube in the Land of Four Dimensions, must have 8 bounding Cubes: and is not this also, as my Lord has taught me to believe, “strictly according to Analogy”? O, my Lord, my Lord, behold, I cast myself in faith upon conjecture, not knowing the facts; and I appeal to your Lordship to confirm or deny my logical anticipations. If I am wrong, I yield, and will no longer demand a fourth Dimension; but, if I am right, my Lord will listen to reason. I ask therefore, is it, or is it not, the fact, that ere now your countrymen also have witnessed the descent of Beings of a higher order than their own, entering closed rooms, even as your Lordship entered mine, without the opening of doors or windows, and appearing and vanishing at will? On the reply to this question I am ready to stake everything. Deny it, and I am henceforth silent. Only vouchsafe an answer.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

ultimately, most of us would choose a rich and meaningful life over an empty, happy one, if such a thing is even possible. “Misery serves a purpose,” says psychologist David Myers. He’s right. Misery alerts us to dangers. It’s what spurs our imagination. As Iceland proves, misery has its own tasty appeal. A headline on the BBC’s website caught my eye the other day. It read: “Dirt Exposure Boosts Happiness.” Researchers at Bristol University in Britain treated lung-cancer patients with “friendly” bacteria found in soil, otherwise known as dirt. The patients reported feeling happier and had an improved quality of life. The research, while far from conclusive, points to an essential truth: We thrive on messiness. “The good life . . . cannot be mere indulgence. It must contain a measure of grit and truth,” observed geographer Yi-Fu Tuan. Tuan is the great unheralded geographer of our time and a man whose writing has accompanied me throughout my journeys. He called one chapter of his autobiography “Salvation by Geography.” The title is tongue-in-cheek, but only slightly, for geography can be our salvation. We are shaped by our environment and, if you take this Taoist belief one step further, you might say we are our environment. Out there. In here. No difference. Viewed that way, life seems a lot less lonely. The word “utopia” has two meanings. It means both “good place” and “nowhere.” That’s the way it should be. The happiest places, I think, are the ones that reside just this side of paradise. The perfect person would be insufferable to live with; likewise, we wouldn’t want to live in the perfect place, either. “A lifetime of happiness! No man could bear it: It would be hell on Earth,” wrote George Bernard Shaw, in his play Man and Superman. Ruut Veenhoven, keeper of the database, got it right when he said: “Happiness requires livable conditions, but not paradise.” We humans are imminently adaptable. We survived an Ice Age. We can survive anything. We find happiness in a variety of places and, as the residents of frumpy Slough demonstrated, places can change. Any atlas of bliss must be etched in pencil. My passport is tucked into my desk drawer again. I am relearning the pleasures of home. The simple joys of waking up in the same bed each morning. The pleasant realization that familiarity breeds contentment and not only contempt. Every now and then, though, my travels resurface and in unexpected ways. My iPod crashed the other day. I lost my entire music collection, nearly two thousand songs. In the past, I would have gone through the roof with rage. This time, though, my anger dissipated like a summer thunderstorm and, to my surprise, I found the Thai words mai pen lai on my lips. Never mind. Let it go. I am more aware of the corrosive nature of envy and try my best to squelch it before it grows. I don’t take my failures quite so hard anymore. I see beauty in a dark winter sky. I can recognize a genuine smile from twenty yards. I have a newfound appreciation for fresh fruits and vegetables. Of all the places I visited, of all the people I met, one keeps coming back to me again and again: Karma Ura,

Discreet as you are, Rohan, one can’t help but notice how ardently you are pursued. It seems you hold quite an appeal for the ladies of London. And from all appearances, you’ve taken full advantage of what’s been offered.” Cam stared at him without expression. “Pardon, but are you leading to an actual point, my lord?” Leaning back in his chair, St. Vincent made a temple of his elegant hands and regarded Cam steadily. “Since you’ve had no problem with lack of desire in the past, I can only assume that, as happens with other appetites, yours has been sated with an overabundance of sameness. A bit of novelty may be just the thing.” Considering the statement, which actually made sense, Cam wondered if the notorious former rake had ever been tempted to stray. Having known Evie since childhood, when she had come to visit her widowed father at the club from time to time, Cam felt as protective of her as if she’d been his younger sister. No one would have paired the gentle-natured Evie with such a libertine. And perhaps no one had been as surprised as St. Vincent himself to discover their marriage of convenience had turned into a passionate love match. “What of married life?” Cam asked softly. “Does it eventually become an overabundance of sameness?” St. Vincent’s expression changed, the light blue eyes warming at the thought of his wife. “It has become clear to me that with the right woman, one can never have enough. I would welcome an overabundance of such bliss—but I doubt such a thing is mortally possible.” Closing the account book with a decisive thud, he stood from the desk. “If you’ll excuse me, Rohan, I’ll bid you good night.” “What about finishing the accounting?” “I’ll leave the rest in your capable hands.” At Cam’s scowl, St. Vincent shrugged innocently. “Rohan, one of us is an unmarried man with superior mathematical abilities and no prospects for the evening. The other is a confirmed lecher in an amorous mood, with a willing and nubile young wife waiting at home. Who do you think should do the damned account books?” And, with a nonchalant wave, St. Vincent had left the office.