Baker Girl Quotes

So go, girl. We should have been one person all along, not two.

Peeta,” I say lightly. “You said at the interview you’d had a crush on me forever. When did forever start?” “Oh, let’s see. I guess the first day of school. We were five. You had on a red plaid dress and your hair... it was in two braids instead of one. My father pointed you out when we were waiting to line up,” Peeta says. “Your father? Why?” I ask. “He said, ‘See that little girl? I wanted to marry her mother, but she ran off with a coal miner,’” Peeta says. “What? You’re making that up!” I exclaim. “No, true story,” Peeta says. “And I said, ‘A coal miner? Why did she want a coal miner if she could’ve had you?’ And he said, ‘Because when he sings... even the birds stop to listen.’” “That’s true. They do. I mean, they did,” I say. I’m stunned and surprisingly moved, thinking of the baker telling this to Peeta. It strikes me that my own reluctance to sing, my own dismissal of music might not really be that I think it’s a waste of time. It might be because it reminds me too much of my father. “So that day, in music assembly, the teacher asked who knew the valley song. Your hand shot right up in the air. She stood you up on a stool and had you sing it for us. And I swear, every bird outside the windows fell silent,” Peeta says. “Oh, please,” I say, laughing. “No, it happened. And right when your song ended, I knew—just like your mother—I was a goner,” Peeta says. “Then for the next eleven years, I tried to work up the nerve to talk to you.” “Without success,” I add. “Without success. So, in a way, my name being drawn in the reaping was a real piece of luck,” says Peeta. For a moment, I’m almost foolishly happy and then confusion sweeps over me. Because we’re supposed to be making up this stuff, playing at being in love not actually being in love. But Peeta’s story has a ring of truth to it. That part about my father and the birds. And I did sing the first day of school, although I don’t remember the song. And that red plaid dress... there was one, a hand-me-down to Prim that got washed to rags after my father’s death. It would explain another thing, too. Why Peeta took a beating to give me the bread on that awful hollow day. So, if those details are true... could it all be true? “You have a... remarkable memory,” I say haltingly. “I remember everything about you,” says Peeta, tucking a loose strand of hair behind my ear. “You’re the one who wasn’t paying attention.” “I am now,” I say. “Well, I don’t have much competition here,” he says. I want to draw away, to close those shutters again, but I know I can’t. It’s as if I can hear Haymitch whispering in my ear, “Say it! Say it!” I swallow hard and get the words out. “You don’t have much competition anywhere.” And this time, it’s me who leans in.

Hello, boys and girls. Hannah Baker here. Live and in stereo. No return engagements. No encore. And this time, absolutely no requests. I hope you’re ready, because i’m about to tell you the story of my life. More specifically, why my life ended. And if you’re listening to theses tapes, you’re one of the reasons why. Now, why would a dead girl lie?

Unfortunately being born princess doesn't autimatically make a girl graceful or confident, a fact I've lamented for most of my fourteen years

Girls who are ignored can learn to be impossible, can learn to listen, and look, and learn more than they were ever meant to know.

Beauty is something that is everywhere. The sunset is beautiful. Human connection is beautiful. Kindness is beautiful. Bodies are beautiful --all of them. Beauty is ubiquitous, inherent, and found in all of us: on the outside and the inside.

Look at history,” Eva continued, rubbing a temple. “Roxanne Shanté out-rapping grown men at fourteen. Serena winning the US Open at seventeen. Mary Shelley writing Frankenstein at eighteen. Josephine Baker conquering Paris at nineteen. Zelda Fitzgerald’s high school diary was so fire that her future husband stole entire passages to write The Great Gatsby. The eighteenth-century poet Phillis Wheatley published her first piece at fourteen, while enslaved. Joan of Arc. Greta Thunberg. Teen girls rearrange the fucking world.

Right then I wasn't a freak. I wasn't an ice queen. I didn't have powers. What I had was a friend comforting me when I needed it most. Right then I was just a normal girl, and Ryan was the superhero.

Our bodies are our physical bookmarks that hold space for us in the world.

The way we view our bodies impacts the way we participate in the world . .

I still think of Oregon Trail as a great leveler. If, for example, you were a twelve-year-old girl from Westchester with frizzy hair, a bite plate, and no control over your own life, suddenly you could drown whomever you pleased. Say you have shot four bison, eleven rabbits, and Bambi's mom. Say your wagon weighs 9,783 pounds and this arduous journey has been most arduous. The banker's sick. The carpenter's sick. The butcher, the baker, the algebra-maker. Your fellow pioneers are hanging on by a spool of flax. Your whole life is in flux and all you have is this moment. Are you sure you want to forge the river? Yes. Yes, you are.

I’m here to propose something that I believe too few of us realize: “Health” is our new “beauty myth.

You're not a better person if you eat carrots, and you're not a fuckup if you eat pie.

That's right. I, Jamie Baker, the world's only superpowered girl, come complete with supersenses, deadly lightning bolts, and - you guessed it - the ability to superkiss someone. Evildoers of the world, beware.

Hello boys and girls, Hannah Baker here. Live and in stereo. No return engagements, no encore. And this time? Absolutely no requests.

No one looks like a girl, or a boy, or an elm tree, or anything else. Someone either is or isn't a thing, and the world can put as many layers on top of the thing as it likes; won't change what's underneath.

There’s such a thing as too much sweetness, Quincy, he told me. All the best bakers know this. There needs to be a counterpoint. Something dark. Or bitter. Or sour. Unsweetened chocolate. Cardamom and cinnamon. Lemon and lime. They cut through all the sugar, taming it just enough so that when you do taste the sweetness, you appreciate it all the more.

So I made the best decision of my life: I decided to love my body.

Cora thinks about the Girl with a Pearl Earring, and the Mona Lisa, and all the beautiful women immortalized in oil paint, and wonders if they said cruel things too, if their words had mattered at all or just the roundness of their eyes and softness of their cheeks, if beautiful people are allowed to break your heart and get away with it.

...be sure to wash every day, even if it is with your own spit; don't squat down to play marbles—you are not a boy, you know; don't pick people's flowers—you might catch something; don't throw stones at blackbirds, because it might not be a blackbird at all; this is how to make a bread pudding; this is how to make doukona; this is how to make pepper pot; this is how to make a good medicine for a cold; this is how to make a good medicine to throw away a child before it even becomes a child; this is how to catch a fish; this is how to throw back a fish you don't like, and that way something bad won't fall on you; this is how to bully a man; this is how a man bullies you; this is how to love a man; and if this doesn't work there are other ways, and if they don't work don't feel too bad about giving up; this is how to spit up in the air if you feel like it, and this is how to move quick so that it doesn't fall on you; this is how to make ends meet; always squeeze bread to make sure it's fresh; but what if the baker won't let me feel the bread?; you mean to say that after all you are really going to be the kind of woman who the baker won't let near the bread?

Happiness is about finding what you love about yourself and sharing it. Happiness is about taking what you hate about yourself and learning to love it. Happiness is an internal sanctuary where you are enough just as you are, right now.

People who love their bodies don’t try to purposely make other people hate their own.

When we foster appreciation for and love ourselves, we start to contribute to the world in a way that allows equality, inclusivity, and all forms of kindness.

In ancient Greek you use the verb ἁρπάζειν, which comes over into Latin as rapio, rapper, raptus sum and gives us English rapture and rape—words stained with the very early blood of girls, with the very late blood of cities, with the hysteria of the end of the world.

It seemed to me that the baker had an honest response to the painting. Van Ruijven tried too hard when he looked at paintings, with his honeyed words and studied expressions. He was too aware of having an audience to perform for, whereas the baker merely said what he thought.

If you pick a flower, if you snatch a handbag, if you possess a woman, if you plunder a storehouse, ravage a countryside or occupy a city, you are a taker. You are taking. In ancient Greek you use the verb άρπάζειν, which comes over into Latin as rapio, rapere, raptus sum and gives us English rapture and rape — words stained with the very early blood of girls, with the very late blood of cities, with the hysteria of the end of the world. Sometimes I think language should cover its own eyes when it speaks.

And then comes the exhaustion after trying so hard yet still feeling inadequate, which only reminds you how much you truly hate yourself.

And as for girls, his mother needn’t have worried. By then, Linus had already noticed how his skin had tingled when his seventeen-year-old neighbor, Timmy Wellington, mowed the lawn without his shirt on. No, girls weren’t going to bring about Linus Baker’s downfall.

We become too embarrassed to meet up with the friend we haven’t seen in years because we might have gained weight. We sabotage relationships by thinking we’re unworthy of physical affection. We hide our face when we have breakouts. We opt out of the dance class because we’re worried we’ll look ridiculous. We miss out on sex positions because we’re afraid we’ll crush our partner with our weight. We dread family holidays because someone might say something about how we look. We don’t approach potential friends or lovers because we assume they will immediately judge our appearance negatively. We try to shrink when walking in public spaces in order to take up as little room as possible. We build our lives around the belief that we are undeserving of attention, love, and amazing opportunities, when in reality this couldn’t be further from the truth.

Because I kissed you? Seriously? You only like me because I’m a good kisser? That’s it. We’re not doing this. I’m not letting you risk your life just because you can’t think with your upstairs brain.” “No, you twit.” Ryan laughed. “Because you kissed me that day. I expected the ice queen and got a funny, go-with-the-flow girl that didn’t care what anyone thought about her. A girl willing to stir up gossip just so that I could win a date with someone else. “You didn’t have to help me. In fact, you probably should have been insulted, but you weren’t. You kissed me, you smiled, and then you wished me good luck. No one’s ever surprised me like that. I couldn’t figure out why you did it, and I just had to get to know you after that.” I had no idea that stupid kiss had that kind of effect on him. Charged him up like a battery, sure, but do all that? All this time I really thought it was just the superkissing that kept him coming back. I looked down at my lunch, feeling a little ashamed of my lack of faith in him, but Ryan couldn’t stop there. Oh, no, not Ryan Miller. “After that day, every time I was with you I got brief glimpses of the real Jamie, the one who is dying to break out, and she was this fun, relaxed, smart, funny, caring girl. Finding out the truth about you only made you that much more incredible. You’re so strong. You’ve gone through so much, you’re going through so much, but you never stop trying. You’re amazing.” I was surprised when I felt Ryan’s hand lift my chin up. I didn’t want to look at him, I knew what would happen to my heart if I did, but I couldn’t stop myself. I craved him too much. When we made eye contact, his face lit up and he whispered, “I love you, Jamie Baker.” It came out of nowhere, and it stole the breath from me, leaving me speechless. Ryan stared at me, just waiting for some kind of reaction, and then I was the one who broke the no-kissing rule. It wasn’t my fault. He totally cheated! Like anyone could resist Ryan Miller when he’s touching your face and saying he loves you? I threw myself at him so fast that I startled him for a change, and he was the one who had to pull me off him when his hair started to stick up. “Sorry,” I breathed as he pulled away. “Don’t be sorry,” he teased. “Just stop.” “Sorry,” I said again when I noticed that his leg was now bouncing under the table. “Yeah. Looks like I don’t get to sleep through economics today.” “On the bright side, Coach could make you run laps all practice long and you’d be fine.

I'm not a detective from Baker Street or an old lady who solves crimes while she's knitting in an easy chair. I'm just a book girl. So I can't make a deduction, only take a flight of fancy--er, forget I said that. I meant, I can only take a guess.

If you have read this far in the chronicle of the Baudelaire orphans - and I certainly hope you have not - then you know we have reached the thirteenth chapter of the thirteenth volume in this sad history, and so you know the end is near, even though this chapter is so lengthy that you might never reach the end of it. But perhaps you do not yet know what the end really means. "The end" is a phrase which refers to the completion of a story, or the final moment of some accomplishment, such as a secret errand, or a great deal of research, and indeed this thirteenth volume marks the completion of my investigation into the Baudelaire case, which required much research, a great many secret errands, and the accomplishments of a number of my comrades, from a trolley driver to a botanical hybridization expert, with many, many typewriter repairpeople in between. But it cannot be said that The End contains the end of the Baudelaires' story, any more than The Bad Beginning contained its beginning. The children's story began long before that terrible day on Briny Beach, but there would have to be another volume to chronicle when the Baudelaires were born, and when their parents married, and who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another, and what was hidden inside that violin, and the childhood of the man who orphaned the girl who put it there, and even then it could not be said that the Baudelaires' story had not begun, because you would still need to know about a certain tea party held in a penthouse suite, and the baker who made the scones served at the tea party, and the baker's assistant who smuggled the secret ingredient into the scone batter through a very narrow drainpipe, and how a crafty volunteer created the illusion of a fire in the kitchen simply by wearing a certain dress and jumping around, and even then the beginning of the story would be as far away as the shipwreck that leftthe Baudelaire parents as castaways on the coastal shelf is far away from the outrigger on which the islanders would depart. One could say, in fact, that no story really has a beginning, and that no story really has an end, as all of the world's stories are as jumbled as the items in the arboretum, with their details and secrets all heaped together so that the whole story, from beginning to end, depends on how you look at it. We might even say that the world is always in medias res - a Latin phrase which means "in the midst of things" or "in the middle of a narrative" - and that it is impossible to solve any mystery, or find the root of any trouble, and so The End is really the middle of the story, as many people in this history will live long past the close of Chapter Thirteen, or even the beginning of the story, as a new child arrives in the world at the chapter's close. But one cannot sit in the midst of things forever. Eventually one must face that the end is near, and the end of The End is quite near indeed, so if I were you I would not read the end of The End, as it contains the end of a notorious villain but also the end of a brave and noble sibling, and the end of the colonists' stay on the island, as they sail off the end of the coastal shelf. The end of The End contains all these ends, and that does not depend on how you look at it, so it might be best for you to stop looking at The End before the end of The End arrives, and to stop reading The End before you read the end, as the stories that end in The End that began in The Bad Beginning are beginning to end now.

As Katie J. M. Baker observed in her Jezebel article, “In Missoula…drunk guys who may have ‘made mistakes’ nearly always get the benefit of the doubt. Drunk girls, however, do not.

Religion has always been an irrelevant aspect if my life. The people here are either pissed of atheists, or religious freaks waiting for God to save them.

That's Pete Seeger,' Joy said, indicating the snake with a nod. 'Baker beaned 'im, Dad stuffed 'im, and I named 'im.

Selfies are not only not selfish, they’re absolutely necessary. It’s the truth, and I’m sticking by it.

My girl,” Master Bouts said, “the rules of human behavior are absurd much more often than they’re reasonable.

Richard knows a bar that's open until two and they go off in search of it, the two girls tottering on their heels and swaying against the men, who seem all too happy to support them.

Failure was a luxury we couldn't afford, all chained together as we were, our fates locked up tight. One box office flop from a female director and no one wanted "girl" movies, one stock market plunge from a company with a woman CEO and women couldn't lead, one false accusation and we were liars, all of us. Because when we failed it was because of our chromosomes, it wasn't because of a market dip or an ineffective advertising campaign or plain bad luck.

Oh for ’Shael’s sweet sake, girl, you think you can rule an empire without lying? You think your father didn’t lie? Or his father? Or any of your goldy-eyed great-great-founders of Annur? It’s built into the job. Bakers have flour, fishermen have nets, and leaders have lies.

Girls from my graduating class come into the store brandishing solitaire diamonds like Legion of Honor medals, as if they’ve accomplished something significant—which I guess they think they have, though all I can see is a future of washing some man’s clothes stretching ahead of them.

That was a sauna parlor, there, where I found you," the baker said. "They'll just think you were working the late shift." Gaia was baffled. "A sauna parlor?" She saw the baker and his wife hesitate. The girl clarified in her open, childish voice. "He means it's a brothel." The baked clapped a hand to his forehead. "What?" the girl said. "It's a very discreet, high-class brothel.

The word “pretty,” however, when used to describe a woman’s physical appearance, signifies to me a physical ideal that’s fabricated by companies to make you believe that you’ll never be enough until you reach it. Pretty is what they want you to believe in. Pretty is what causes women to battle each other. Pretty has been created to always be exclusive. Pretty is a made-up lie created to line the pockets of money-hungry assholes.

This may have been a phone call with one man, but his opinions are ubiquitous. We hate watching women step out of line, speak up, and take up space. It instigates the fear Virgie talked about, which comes from not being able to control others, from not having the organized complacency that we need so desperately to feel safe. Paulo Freire said it best in one sentence: “Functionally, oppression is domesticating.”8 Oppression certainly serves its purpose—it makes outspoken and confident women a threat to our comfortable system. Which means that outspoken and confident women who are also FAT? Well, they’re another rule-breaking satanic breed altogether.

There she is, that girl, on a planet of grass. Her wants are simple: to tilt her face to the sun and feel its warmth. To clutch the earth beneath her fingers. To escape from and return to the house she was born in. To see her life from a distance, as clear as a photograph, as mysterious as a fairy tale. This is a girl who has lived through broken dreams and promises. Still lives. Will always live on that hillside, at the center of a world that unfolds all the way to the edges of the canvas. Her people are witches and persecutors, adventurers and homebodies, dreamers and pragmatists. Her world is both circumscribed and boundless, a place where the stranger at the door may hold a key to the rest of her life. What she wants most—what she truly yearns for—is what any of us want: to be seen. And look. She is.

Like a pebble dropped into a stream, his arrival had made a ripple in the surface of things. He’d felt that; he’d seen it in the way they looked at him, Sarah and Mrs. Hill and the little girl. But the ripples were getting fainter as they spread,

The locker room is so quiet around them. Older girl walks away and Amber has to slowly continue changing her clothes and try not to shake from a more potent blend of confusion and embarrassment than I had yet experienced or imagined or knew to fear.

The other girl, Daisy, made an attempt to rise--she leaned slightly forward with a conscientious expression--then she laughed, an absurd, charming little laugh, and I laughed too and came forward into the room. 'I'm p-paralyzed with happiness.' She laughed again, as if she said something very witty, and held my hand for a moment, looking up into my face, promising that there was no one in the world she so much wanted to see. That was a way she had. She hinted in a murmur that the surname of the balancing girl was Baker. (I've heard it said that Daisy's murmur was only to make people lean toward her; an irrelevant criticism that made it no less charming.)

So young Collins was there to select one of the girls, as you'd choose an apple from a costermonger's stall. A brisk look over the piled-up stock: one of the bigger ones, the riper ones --that one will do. They were all the same, after all, weren't they? The were of good stock. All the same variety , from the same tree. Why bother looking any further, or making any particular scrutiny of the individual fruits?

Our bodies are installation art that we curate publicly. Our bodies are the first message those around us receive. Our bodies are our physical bookmarks that hold space for us in the world. Our bodies are magnificent houses for everything else that we are. Our bodies are a part of us, just as our kindness, talents, and passion are a part of us. Yes, we are so much more than our outer shells, but our outer shells are an integral part of our being, too.

I had long since managed a degree of detachment when dealing with photographs from homicide cases. They no longer upset me as they once did, although I make it a point not to dwell on them. By the time I stood in Shirley Lewis’s office, I had seen thousands of body pictures. I had seen pictures of Kathy Devine and Brenda Baker in Thurston County, but that was months before it was known there was a “Ted.” Of course, there were no bodies to photograph in the other Washington cases, and I had had no access to Colorado or Utah pictures. Now, I was staring down at huge color photographs of the damage done to girls young enough to be my daughters—at pictures of damage alleged to be the handiwork of a man I thought I knew. That man who only minutes before had smiled the same old grin at me, and shrugged as if to say, “I have no part of this.” It hit me with a terrible sickening wave. I ran to the ladies’ room and threw up.

First, all I could see was this beautiful face, this beautiful girl's face; like a white, slightly luminous mask, swimming detachedly against enfolding darkness. As if a little private spotlight of its own was trained on it from below. It was so beautiful and so false, and I seemed to know it so well, and my heart was wrung. There was no danger yet, just this separate, shell-like face mask standing out. But there was danger somewhere around, I knew that already; and I knew that I couldn't escape it. I knew that everything [ was about to do, I had to do, I couldn't avoid doing. And yet, oh, I didn't want to do it. I wanted to turn and flee, I wanted to get out of wherever this was. ("Nightmare")

Oh my darlings, they tell you you’re born with a precious pearl. Truth is, it’s a disaster to be a girl.

Defining worthiness by health and fitness level is not just about size discrimination. It’s also about classism. Racism. Ableism. And much more. Thanks

This girl may never go anywhere. She should at least know that adventure is in her bones.” When

Self-esteem isn’t a crime. Self-love isn’t something to be earned. Most importantly, loving your fat body as it is is not delusional and does not amount to self-deception.

Your size is irrelevant to your ability to find fulfillment, purpose, love, a sense of worthiness, and the ovaries to not give a fuck.

In the rules of dieting lives the centuries-old legacy of the second-class citizenship of women.

I’m going to miss you, girls,” he told the plants. “You have names for them?” croaked Jane. “This is Beatrice.” “You’re not really a people person, are you?” “Humans piss me off.

Sometimes you don’t look for perfect. Sometimes enough is the most you can hope for.

How can a place be both Up and Under," Avery asks at one point. "Up a tree’s still under the sky," the Crow Girl answers.

We build our lives around the belief that we are undeserving of attention, love, and amazing opportunities, when in reality this couldn’t be further from the truth.

Fat” is just the current catchall word for all the things that we as a culture are afraid of: women’s rights, people refusing to acquiesce to cultural pressures of conformity, fear of mortality. [People who hate fat people] see body love as a move toward people taking charge of their lives and choosing what they want to do, no matter what the culture says. This is really scary to a lot of people. The anger they express is actually toward themselves. A person who hates seeing a happy, liberated person wishes they had the strength to do that, but they are too entrenched or “bought in” to the way things are right now to see it as a beautiful thing. So they see it and they hate it . . . People have invested a lot of time and a lot of resources into this game that says “thin wins.” So when people see exceptions to that rule, they feel personally invalidated, personally stolen from, personally affronted.

When he can't take anymore, Galen plucks his phone from his pocket and dials, then hangs up. When the call is returned, he says, "Hey, sweet lips." The females at the table hush each other to get a better listen. A few of them whip their heads toward Emma to see if she's on the other end of the conversation. Satisfied she's not, they lean closer. Rachel snorts. "If only you liked sweets." "I can't wait to see you tonight. Wear that pink shirt I like." Rachel laughs. "Sounds like you're in what we humans like to call a pickle. My poor, drop-dead-gorgeous sweet pea. Emma still not talking to you, leaving you alone with all those hormonal girls?" "Eight-thirty? That's so far away. Can't I meet you sooner?" One of the females actually gets up and takes her tray and her attitude to another table. Galen tries not to get too excited. "Do you need to be checked out of school, son? Are you feeling ill?" Galen tosses a glance at Emma, who's picking a pepperoni off her pizza and eyeing it as if it were dolphin dung. "I can't skip school to meet you again, boo. But I'll be thinking about you. No one but you." A few more females get up and stalk their trays to the trash. The cheerleader in front of him rolls her eyes and starts a conversation with the chubby brunette beside her-the same chubby brunette she pushed into a locker to get to him two hours ago. "Be still my heart," Rachel drawls. "But seriously, I can't read your signals. I don't know what you're asking me to do." "Right now, nothing. But I might change my mind about skipping. I really miss you." Rachel clears her throat. "All right, sweet pea. You just let your mama know, and she'll come get her wittle boy from school, okay?" Galen hangs up. Why is Emma laughing again? Mark can't be that funny. The girl beside him clues him in: "Mark Baker. All the girls love him. But not as much as they love you. Except maybe Emma, I guess." "Speaking of all these girls, how did they get my phone number?" She giggles. "It's written on the wall in the girls' bathroom. One hundred hall." She holds her cell phone up to his face. An image of his number scrawled onto a stall door lights up the screen. In Emma's handwriting.

This also applies to the beauty standards we were raised with. I’m going to challenge you to mentally pick up each rule that you’ve been taught and ask yourself: Does this bring me joy?

it was found that girls who were exposed to an attempt at date rape were three times more likely to resume their relationship with the man concerned if his attempt succeeded than if it failed

Recipe for Goodbye From the Kitchen of Lila Reyes Ingredients: One Cuban girl. One English boy. One English city. Preparation: Give Polly her kitchen back and share a genuine smile, from one legitimate baker to another. Ride through the countryside on a vintage Triumph Bonneville. Walk through Winchester, all through town and on the paths you ran. Drink vanilla black tea at Maxwell’s. Eat fish and chips and curry sauce at your friend’s pub. Sleep in fits and bits curled up together on St. Giles Hill. *Leave out future talk. Any form of the word tomorrow. Cooking temp: 200 degrees Celsius. You know the conversion by heart.

Janet was a pretty blooming girl, of about nineteen or twenty, and a perfect picture of neatness. Though I made no further observation of her at the moment, I may mention here what I did not discover until afterwards, namely, that she was one of a series of protegees whom my aunt had taken into her service expressly to educate in a renouncement of mankind, and who had generally completed their abjuration by marrying the baker.

Even I can appreciate a cute guy. How can a girl not? It's not the looking part that counts anyway. It's the touching. My theory is you can look at all the eye candy you want and still appreciate what you have at home

Oh dear,” Linus Baker said, wiping the sweat from his brow. “This is most unusual.” That was an understatement. He watched in rapt wonder as an eleven-year-old girl named Daisy levitated blocks of wood high above her head.

look at the painting again. Despite the obvious differences, this girl is deeply, achingly familiar. In her I see myself at twelve years old, on a rare afternoon away from my chores. In my twenties, seeking refuge from a broken heart. Only a few days ago, visiting my parents’ graves in the family cemetery, halfway between the dory in the haymow and the wheelchair in the sea. From the recesses of my brain a word floats up: synecdoche. A part that stands in for the whole. Christina’s World. The

Anna Schrader was another of the women who came to Portland during the Girl Rush, arriving in 1910. Census records indicate she was married at the age of eighteen, presumably in Minnesota, where she was born and raised. She became a gadfly for the local Portland police and provided them with a great deal of useful information regarding bootlegging during Prohibition. This was possible because of her affair with police lieutenant William Breuning, who had gotten her the job of "private detective.

Bury Me Deep, Megan Abbott Red Baker, Robert Ward Ghost Story, Peter Straub The Getaway, Jim Thompson The Godfather, Mario Puzo Suggested Viewing Misery (1990) The King of Comedy (1982) A Place in the Sun (1951) I Want to Live! (1958) The Wire, season 2

Self-love isn’t something to be earned. Most importantly, loving your fat body as it is is not delusional and does not amount to self-deception. But believing that you are less of a person just because greedy assholes said so? I propose that is, and does.

We hate watching women step out of line, speak up, and take up space. It instigates the fear Virgie talked about, which comes from not being able to control others, from not having the organized complacency that we need so desperately to feel safe. Paulo Freire said it best in one sentence: “Functionally, oppression is domesticating.”8 Oppression certainly serves its purpose—it makes outspoken and confident women a threat to our comfortable system. Which means that outspoken and confident women who are also FAT? Well, they’re another rule-breaking satanic breed altogether.

Suppose you are particularly rich and well-to-do, and say on that last day, 'I am very rich; I am tolerably well known; I have lived all my life in the best society, and, thank Heaven, come of a most respectable family. I have served my King and country with honour. I was in Parliament for several years, where, I may say, my speeches were listened to, and pretty well received. I don't owe any man a shilling: on the contrary, I lent my old college friend, Jack Lazarus, fifty pounds, for which my executors will not press him. I leave my daughters with ten thousand pounds a piece--very good portions for girls: I bequeath my plate and furniture, my house in Baker Street, with a handsome jointure, to my widow for her life; and my landed property, besides money in the Funds, and my cellar of well-selected wine in Baker Street, to my son. I leave twenty pound a year to my valet; and I defy any man after I am gone to find anything against my character.' Or suppose, on the other hand, your swan sings quite a different sort of dirge, and you say, 'I am a poor, blighted, disappointed old fellow, and have made an utter failure through life. I was not endowed either with brains or with good fortune: and confess that I have committed a hundred mistakes and blunders. I own to having forgotten my duty many a time. I can't pay what I owe. On my last bed I lie utterly helpless and humble: and I pray forgiveness for my weakness, and throw myself with a contrite heart at the feet of the Divine Mercy.' Which of these two speeches, think you, would be the best oration for your own funeral? Old Sedley made the last; and in that humble frame of mind, and holding by the hand of his daughter, life and disappointment and vanity sank away from under him.

When she was a girl, and still growing, ravenous, whenever there had been a cake - a sponge cake, dusted with sugar, which Mrs. Hill had conjured up out of eggs and flour and creamy butter - Sarah would never even let herself look at it, because she knew that it was not for her. Instead, she would carry it upstairs to be rendered into crumbs, and the crumbs lifted from the plate by a moistened Bennet finger, and the empty smeared plate carried back again. So Sarah would stare instead at the carpet underneath her feet, or at the painting of a horse with a strangely small head that hung at the end of the hall, or the rippled yellow curtains in the parlour, and would do her best not to breathe, not to inhale the scent of vanilla or lemon or almonds; event to glance at the cake was an impossible agony. And for months, she realized, James had hardly looked at her at all.

It makes for a very interesting culture on the shared bus system. Take for instance, Josh Baker. He is pretty much the it guy in the St. Guadalupe’s 5th grade. I know of at least three girls in my class that would shave her head to go out with him (whatever "going out" means to a 5th-grader).

Hello, boys and girls. Hannah Baker here. Live and in stereo. No return engagements. No encore. And this time, absolutely no requests. I hope you're ready, because I'm about to tell you about the story of my life. More specifically, why my life ended. And if you're listening to these tapes, you're one of the reasons why. -pg 7

But maybe she wants this monster to have teeth, wants it to be some intangible, hungry darkness that can swallow all her rage like a black hole. She doesn’t want him to have a name, a job, a wife that he holds with the same hands he uses to gut Asian girls like fish. The thought sickens her, the idea that the kind of person who carves people like her open could smile at other people. That he could be loved by other people. Because what does that make Delilah and Yuxi and Zihan and Ai and Officer Wang? Subhuman, bat eaters, garbage to be taken out, people who don’t deserve his humanness. Cora wants him to be a formless ephemeral ball of pure evil, but she knows that he’s not. And she doesn’t care about his redeeming traits but she knows that other people will, that the newspapers will highlight his accomplishments, that the courts will talk about him being a good father or diligent worker or a thousand other things he did that matter infinitely less than what he took from Cora.

Something’s not right. The kid’s not talking to me. That much I know because she’s not even looking my direction. She’s looking in the mirror. My eyes focus on the mirror and I fall backwards trying to get away from the image there. Bloody, broken bits of flesh make up what I think is a face, but it’s hard to tell. It looks like someone carved it up with a cleaver. I don’t even know if it’s a boy or a girl staring at me and I’m not sure I want to know, either. The bullet hole in its head is there, but it blends in with the sticky black and red of the shredded face. Whatever got Emma got this… person, too. But why is it stopping her from telling me where they are?

The next thing I knew Jamie was in my lap wrapping her arms around my neck as if she planned on keeping me hostage for eternity. If that were the case, bring on the shackles babe, because no way was I going to be the one to end this epic kiss. I felt like I was on fire—like warm energy was spilling out of Jamie, washing over me and causing all my hair to stand on end. I started shaking—just a slight tremor in my hands at first, but it quickly progressed to violent, uncontrollable shivers. The energy was filling my body so full I thought I’d literally burst apart at my seams. Then, when I was ready to combust Jamie finally stilled. She pulled her face back and smiled at me with a cool expression, but I know she was affected as I was. I wasn’t the only one breathing hard and shaking. “You can keep the gum,” she said, trying to mask her feelings with a smirk. She couldn’t quite manage it though. Her eyes were bright and full of disbelief. She was as surprised as I was. She climbed off me and with a wink said, “Have fun at the dance.” And then she was gone. She walked out of the cafeteria as if that hadn’t just happened. As if she hadn’t just completely wrecked me. I had no idea if what I felt meant we were soul mates or something crazy like that, but I knew two things for certain. One: Jamie Baker wasn’t the ice queen she pretended to be. And two: I wanted her more than anything I’d ever wanted in my entire life. I had a feeling this wasn’t going to be easy, but I knew deep down in my gut it would be worth it. “Game on, Ice Queen,” I muttered as I stumbled back over to Mike to rub my victory in his face. “You’re already mine. You just don’t know it yet.

There’s no such a thing as too much sweetness, Quincy”, he told me. “All the best bakers know this. There needs to be a counterpoint. Something dark. Or bitter. Or sour. Unsweetened chocolate. Cardamom and cinnamon. Lemon and lime. They cut through all the sugar, taming it just enough so that when you do taste the sweetness, you appreciate it all the more.

I hold back too and remain like the last-minute toppings of things. My stories are dusted powdered sugar and mango glaze. I can’t tell my friend about the thick, bittersweet fillings of castles and vanilla black tea, or the rich, spongy cake of new friends and songs. I can’t talk about the motorbike wind and green and stone I baked into crusty bread and into the baker.

I think about all the ways I’ve been perceived by others over the years: as a burden, a dutiful daughter, a girlfriend, a spiteful wretch, an invalid… This is my letter to the World that never wrote to Me. “You showed what no one else could see,” I tell him. He squeezes my shoulder. Both of us are silent, looking at the painting. There she is, that girl, on a planet of grass. Her wants are simple: to tilt her face to the sun and feel its warmth. To clutch the earth beneath her fingers. To escape from and return to the house she was born in. To see her life from a distance, as clear as a photograph, as mysterious as a fairy tale. This is a girl who has lived through broken dreams and promises. Still lives. Will always live on that hillside, at the center of a world that unfolds all the way to the edges of the canvas. Her people are witches and persecutors, adventures and homebodies, dreamers and pragmatists. Her world is both circumscribed and boundless, a place where the stranger at the door may hold a key to the rest of her life. What she most wants—what she most truly yearns for—is what any of us want: to be seen. And look. She is.

They called on the parents of the girl and filled them with alarm by suggesting that the empress would withdraw the yearly pension of two hundred ducats if their daughter’s sight were restored, and, further, that the young pianist would lose half her attraction on the concert platform if she possessed normal vision. The possibility of having to forgo the yearly income worked like a charm upon Father and Mother Paradies.

Those men In Scene 34 who decided not to rape the young girl did not live to produce more children who would inherit their compassion, whereas one of the men who raped her did produce a child to inherit his lack of compassion. It is by this process of weeding the genes that do not enhance reproductive success that evolution has saddled the majority of men with the propensity to behave as rapists in the appropriate situation.

There are three types of boys a girl can meet. The first one makes her believe that everything’s her fault and she’ll never be good enough for anybody. The second one would do anything for her, but she’s just not that into him. And the third type who’s not perfect, who doesn’t show up like a fairy tale prince, he only arrives when you already gave up on him. With him even the imperfect becomes perfect and she gives her heart to him without fear.

fear of the unknown, fear of what outcomes may result from our differences. This fear creates a disconnection between individuals. This disconnection from one another can produce a strong reaction called psychological “reactance.” Reactance is the motivational state aroused when a person perceives a threat to his or her own freedom, and feels a need to take action to regain a sense of control. In essence, someone who fears another person’s differences may become verbally or physically violent toward the person.

after a quarter of an hour the bug-eyed Marie-Louise had sensed her mater’s approval and settled I would be her Prince Charming. She asked this: “Mr. Frobisher, are you well acquainted with Sherlock Holmes of Baker Street?” Well, thought I, the day might not be a complete wreck. A girl with a taste for irony must conceal some depths. But Marie-Louise was serious! A congenital dunce. No, I replied, I didn’t know Mr. Holmes personally, but he and David Copperfield could be seen playing billiards at my club every Wednesday.

Look at history,” Eva continued, rubbing a temple. “Roxanne Shanté out-rapping grown men at fourteen. Serena winning the US Open at seventeen. Mary Shelley writing Frankenstein at eighteen. Josephine Baker conquering Paris at nineteen. Zelda Fitzgerald’s high school diary was so fire that her future husband stole entire passages to write The Great Gatsby. The eighteenth-century poet Phillis Wheatley published her first piece at fourteen, while enslaved. Joan of Arc. Greta Thunberg. Teen girls rearrange the fucking world.” An electrified

Don’t worry, baby girl,” she’d whispered. “It’s all going to get better now.” She raised her hand, and that’s when I’d seen the knife. By then it was too late. I pitched forward off the couch when she ripped the knife out of me. Pain lanced through my chest, and I screamed. She brought the knife down again and again, her eyes calm and peaceful the whole time. She kissed my cheek and told me to go to sleep. Raising the knife once more, she pushed it deep into her own throat before pulling it out. She collapsed beside me, her face inches from mine.

At night she runs her fingertips over her father’s model: the bell tower, the display windows. She imagines Jules Verne’s characters walking along the streets, chatting in shops; a half-inch-tall baker slides speck-sized loaves in and out of his ovens; three minuscule burglars hatch plans as they drive slowly past the jeweler’s; little grumbling cars throng the rue de Mirbel, wipers sliding back and forth. Behind a fourth-floor window on the rue des Patriarches, a miniature version of her father sits at a miniature workbench in their miniature apartment, just as he does in real life, sanding away at some infinitesimal piece of wood; across the room is a miniature girl, skinny, quick-witted, an open book in her lap; inside her chest pulses something huge, something full of longing, something unafraid.

I'm here, Papa," she whispered, saying the words she had longed to say for her entire life. "I'm here, and I'm never going to leave you again." He made a sound of contentment and closed his eyes. Just as Evie thought he had fallen asleep, he murmured, "Where shall we walk first today, lovey? The biscuit baker, I s'pose..." Realizing that he imagined this was one of her long-ago childhood visits, Evie replied softly, "Oh, yes." Hastily she knuckled away the excess moisture from her eyes. "I want an iced bun... and a cone of broken biscuits... and then I want to come back here and play dice with you." A rusty chuckle came from his ravaged throat, and he coughed a little. "Let Papa take forty winks before we leaves... there's a good girl..." "Yes, sleep," Evie murmured, turning the cloth over on his forehead. "I can wait, Papa.

When she was a girl, and still growing, ravenous, whenever there had been a cake – a sponge cake, dusted with sugar, which Mrs Hill had conjured up out of eggs and flour and creamy butter – Sarah would never even let herself look at it, because she knew that it was not for her. Instead, she would carry it upstairs to be rendered into crumbs, and the crumbs lifted from the plate by a moistened Bennet finger, and the empty smeared plate carried back again. So Sarah would stare instead at the carpet underneath her feet, or at the painting of a horse with a strangely small head that hung at the end of the hall, or the rippled yellow curtains in the parlour, and would do her best not to breathe, not to inhale the scent of vanilla or lemon or almonds; even to glance at the cake was an impossible agony. And for months, she realized, James had hardly looked at her at all.

She knows she should feel excited about her acceptance to Emory and the promise of spring break. She should feel infinite and hopeful, like the growing earth around her. Like the sunlight, which stretches longer each day, asking for one more minute, one more oak tree to shimmer on. Like the late March mornings, which arrive carrying a gentle heat, rocking it back and forth over the pavement in the parking lot, letting it crawl forth over the grass and the tree roots, nurturing it while it is still nascent and tender, before it turns into swollen summer. But while the whole earth prepares for spring, Hannah feels a great anxiety in her heart, for something dangerous has grown in her, something she never planted or even wanted to plant. It’s there. She knows it’s there. If she’s truthful with herself, she’s probably known it all along. But now, as the days grow longer and the Garden District grows greener, she can actually see it. It has sprung up at last, and it refuses to be unseen. She tells herself it’s passing. It’s temporary. It’s intensified only because she’s a senior and all of her emotions are heightened. It’s innocent. It’s typical for a girl her age. It’s no more or less of a feeling than everyone else has had at 17. But deep down, deep below the topsoil of her heart, she knows it’s not. Still, she pushes it down inside of her, buries it as far as it can go, suffocates it in the space between her stomach and her heart. She tells herself that she is stronger, that she can fight it, that she has control. That no one else has to know. I can ignore it, she thinks. I can refuse to look at it. I can stomp on it every time it springs up within me. So she lies to herself that everything is normal. That she is normal. She carries herself through the end of the school week by refusing to acknowledge it. By refusing to align her heart with the growing sunlight and the nurturing heat and the flowering plants and the tall, proud trees. ‘You alright?’ Baker asks, when Hannah says goodbye to her after school on Friday. Hannah stomps, buries, suffocates, wishes for death. ‘Yeah,’ she says. ‘I’m good.

Nobody ever talked about what a struggle this all was. I could see why women used to die in childbirth. They didn't catch some kind of microbe, or even hemorrhage. They just gave up. They knew that if they didn't die, they'd be going through it again the next year, and the next. I couldn't understand how a woman might just stop trying, like a tired swimmer, let her head go under, the water fill her lungs. I slowly massaged Yvonne's neck, her shoulders, I wouldn't let her go under. She sucked ice through threadbare white terry. If my mother were here, she'd have made Melinda meek cough up the drugs, sure enough. "Mamacita, ay," Yvonne wailed. I didn't know why she would call her mother. She hated her mother. She hadn't seen her in six years, since the day she locked Yvonne and her brother and sisters in their apartment in Burbank to go out and party, and never came back. Yvonne said she let her boyfriends run a train on her when she was eleven. I didn't even know what that meant. Gang bang, she said. And still she called out, Mama. It wasn't just Yvonne. All down the ward, they called for their mothers. ... I held onto Yvonne's hands, and I imagined my mother, seventeen years ago, giving birth to me. Did she call for her mother?...I thought of her mother, the one picture I had, the little I knew. Karin Thorvald, who may or may not have been a distant relation of King Olaf of Norway, classical actress and drunk, who could recite Shakespeare by heart while feeding the chickens and who drowned in the cow pond when my mother was thirteen. I couldn't imagine her calling out for anyone. But then I realized, they didn't mean their own mothers. Not those weak women, those victims. Drug addicts, shopaholics, cookie bakers. They didn't mean the women who let them down, who failed to help them into womanhood, women who let their boyfriends run a train on them. Bingers and purgers, women smiling into mirrors, women in girdles, women in barstools. Not those women with their complaints and their magazines, controlling women, women who asked, what's in it for me? Not the women who watched TV while they made dinner, women who dyed their hair blond behind closed doors trying to look twenty-three. They didn't mean the mothers washing dishes wishing they'd never married, the ones in the ER, saying they fell down the stairs, not the ones in prison saying loneliness is the human condition, get used to it. They wanted the real mother, the blood mother, the great womb, mother of a fierce compassion, a woman large enough to hold all the pain, to carry it away. What we needed was someone who bled, someone deep and rich as a field, a wide-hipped mother, awesome, immense, women like huge soft couches, mothers coursing with blood, mothers big enough, wide enough, for us to hide in, to sink down to the bottom of, mothers who would breathe for is when we could not breathe anymore, who would fight for us, who would kill for us, die for us. Yvonne was sitting up, holding her breath, eyes bulging out. It was the thing she should not do. "Breathe," I said in her ear. "Please, Yvonne, try." She tried to breathe, a couple of shallow inhalations, but it hurt too much. She flopped back on the narrow bed, too tired to go on. All she could do was grip my hand and cry. And I thought of the way the baby was linked to her, as she was linked to her mother, and her mother, all the way back, insider and inside, knit into a chain of disaster that brought her to this bed, this day. And not only her. I wondered what my own inheritance was going to be. "I wish I was dead," Yvonne said into the pillowcase with the flowers I'd brought from home. The baby came four hours later. A girl, born 5:32 PM.

At such a time [at dawn] I would dream of being a baker who delivers bread, a fitter from the electric company, or an insurance man collecting the weekly installments. Or at least a chimney sweep. In the morning, at dawn, I would enter some half-opened gateway, still lighted by the watchman's lantern. I would put two fingers to my hat, crack a joke, and enter the labyrinth to leave late in the evening, at the other end of the city. I would spend all day going from apartment to apartment, conducting one never-ending conversation from one end of the city to the other, divided into parts among the householders; I would ask something in one apartment and receive a reply in another, make a joke in one place and collect the fruits of laughter in the third or fourth. Among the banging of doors I would squeeze through narrow passages, through bedrooms full of furniture, I would upset chamberpots, walk into squeaking perambulators in which babies cry, pick up rattles dropped by infants. I would stop for longer than necessary in kitchens and hallways, where servant girls were tidying up. The girls, busy, would stretch their young legs, tauten their high insteps, play with their cheap shining shoes, or clack around in loose slippers.

Colette"s "My Mother's House" and "Sido" After seeing the movie "Colette" I felt so sad that it didn't even touch the living spirit of her that exists in her writing. 'What are you doing with that bucket, mother? Couldn't you wait until Josephine (the househelp) arrives?' "And out I hurried. But the fire was already blazing, fed with dry wood. The milk was boiling on the blue-tiled charcoal stove. Nearby, a bar of chocolate was melting in a little water for my breakfast, and, seated squarely in her cane armchair, my mother was grinding the fragrant coffee which she roasted herself. The morning hours were always kind to her. She wore their rosy colours in her cheeks. Flushed with a brief return to health, she would gaze at the rising sun, while the church bell rang for early Mass, and rejoice at having tasted, while we still slept, so many forbidden fruits. "The forbidden fruits were the over-heavy bucket drawn up from the well, the firewood split with a billhook on an oaken block, the spade, the mattock, and above all the double steps propped against the gable-windows of the attic, the flowery spikes of the too-tall lilacs, the dizzy cat that had to be rescued from the ridge of the roof. All the accomplices of her old existence as a plump and sturdy little woman, all the minor rustic divinities who once obeyed her and made her so proud of doing without servants, now assumed the appearance and position of adversaries. But they reckoned without that love of combat which my mother was to keep till the end of her life. At seventy-one dawn still found her undaunted, if not always undamaged. Burnt by fire, cut with the pruning knife, soaked by melting snow or spilt water, she had always managed to enjoy her best moments of independence before the earliest risers had opened their shutters. She was able to tell us of the cats' awakening, of what was going on in the nests, of news gleaned, together with the morning's milk and the warm loaf, from the milkmaid and the baker's girl, the record in fact of the birth of a new day.

If we consider the possibility that all women–from the infant suckling her mother’s breast, to the grown woman experiencing orgasmic sensations while suckling her own child, perhaps recalling her mother’s milk-smell in her own; to two women, like Virginia Woolf’s Chloe and Olivia, who share a laboratory; to the woman dying at ninety, touched and handled by women–exist on a lesbian continuum, we can see ourselves as moving in and out of this continuum, whether we identify ourselves as lesbian or not. It allows us to connect aspects of woman-identification as diverse as the impudent, intimate girl-friendships of eight- or nine-year-olds and the banding together of those women of the twelfth and fifteenth centuries known as Beguines who “shared houses, rented to one another, bequeathed houses to their room-mates … in cheap subdivided houses in the artisans’ area of town,” who “practiced Christian virtue on their own, dressing and living simply and not associating with men,” who earned their livings as spinners, bakers, nurses, or ran schools for young girls, and who managed–until the Church forced them to disperse–to live independent both of marriage and of conventual restrictions. It allows us to connect these women with the more celebrated “Lesbians” of the women’s school around Sappho of the seventh century B.C.; with the secret sororities and economic networks reported among African women; and with the Chinese marriage resistance sisterhoods–communities of women who refused marriage, or who if married often refused to consummate their marriages and soon left their husbands–the only women in China who were not footbound and who, Agnes Smedley tells us, welcomed the births of daughters and organized successful women’s strikes in the silk mills. It allows us to connect and compare disparate individual instances of marriage resistance: for example, the type of autonomy claimed by Emily Dickinson, a nineteenth-century white woman genius, with the strategies available to Zora Neale Hurston, a twentieth-century black woman genius. Dickinson never married, had tenuous intellectual friendships with men, lived self-convented in her genteel father’s house, and wrote a lifetime of passionate letters to her sister-in-law Sue Gilbert and a smaller group of such letters to her friend Kate Scott Anthon. Hurston married twice but soon left each husband, scrambled her way from Florida to Harlem to Columbia University to Haiti and finally back to Florida, moved in and out of white patronage and poverty, professional success and failure; her survival relationships were all with women, beginning with her mother. Both of these women in their vastly different circumstances were marriage resisters, committed to their own work and selfhood, and were later characterized as “apolitical ”. Both were drawn to men of intellectual quality; for both of them women provided the ongoing fascination and sustenance of life.