Chloe Charming Quotes

Holy cow,” Chloe said faintly. “No kidding,” Gwen breathed. The sexy Fae prince flashed them a smile that was pure devilish charm, sexy and playful and mischievous, briefly catching the tip of his tongue between white teeth, before his lip curved, dark eyes sparkling gold. Gabby groaned. She choked on it hastily, camouflaging it with a dry little cough. Her own private stash of eye candy had just been made available for public consumption and she didn’t like it one bit. Apparently she wasn’t the only one. “Are you thinking what I’m thinking, Dageus?” Drustan said irritably. “Och, aye,” Dageus said darkly. “You liked him better invisible too?” “Och, aye.” “Should I curse him again?” “Och, aye.” Adam threw back his head and laughed, eyes sparkling with gold fire. “Bloody hell, it’s good to be back,” he purred.

That's why I'm still a virgin, because it means something to me and I'm not going to toss my virginity at your charming feet just because you're the most gorgeous, fascinating man I've ever met and I happen to like your last name.

Each clip and zip and fastening, each button and bow, each stretch of elastic as you undress a woman reveals hidden treasure, a clavicle, a shoulder blade, the shadowy line of a breast, a hip bone carved by Michelangelo, the discreet charms and mystery of the navel, a neglected erogenous zone cherished by the Ancient Greeks.

He’s busy charming tenants in a block of flats in South Nottinghamshire. And

The notion that such a charm could also ward off evil comes from the separate medieval belief that rabbits, whose young are born with their eyes open, had the power of second sight, so could warn people if evil spirits approached.

How is it, Chloe, that your pretty skirt Is torn so badly by the winds that hurt Real people, you who, in eternity, sing The hours, sun in your hair appearing And disappearing? How is that your breasts Are pierced by shrapnel, and the oak groves burn, While you, charmed, caring not at all, turn To run through forests of machinery and concrete And haunt us with the echoes of your feet?

I took pride in finding Chloe more beautiful than a Platonist would have done. The most interesting faces generally oscillate between charm and crookedness. There is a tyranny about perfection, a certain tedium even, something that asserts itself with all the dogmatism of a scientific formula. The more tempting kind of beauty has only a few angles from which it may be seen, and then not in all lights and at all times. It flirts dangerously with ugliness, it takes risks with itself, it does not side comfortably with mathematical rules of proportion, it draws its appeal from precisely those details that also lend themselves to ugliness. As Proust once said, classically beautiful women should be left to men without imagination.

Leaning against the bonnet of the car, I watched Gibsie stalk away, muttering the words “Charm, not harm,” over and over to himself as he went.

There you go, being charming again.” The dimple popped out once more. “I promise to stop soon.

I sucked in my lips and leaned against the camper door. "Which one is the real you? The charming rogue slash professional thief or the highly trained secret undercover agent?" Jack walked over and leaned his forearm against the door above my head, his gaze never leaving mine. "Which one do you want?" My pulse kicked up a notch and a white-hot heat shot through my veins. "I want the real you." Jack cupped my jaw, tilting my face back as his lips came down on mine. "You have the real me." I melted against him, drowning in his kiss. I wanted to go back to the time when there was trust between us and life hadn't gotten in the way. He lifted my hand and brushed his lips softly over my knuckles. "I never saw a more beautiful sight than you hanging out the window of a speeding truck, screaming my name." "You didn't answer." Slowly, carefully, he kissed my hand, claiming every inch of bare skin with a gentleness I didn't know he possessed. "I had a knife between my teeth." "I suppose that's a good excuse." I tipped my head back for another kiss. Alone for the first time since the chase, knowing he was safe, I felt overwhelmed with the need to have him close, to feel his body against mine. His smell, his taste, his heat, his desire--- I wanted them all. His lips met mine and I explored the depths of his mouth, tangling my tongue with his as I slid one hand under his shirt to feel his warmth and the firm, steady beat of his heart beneath my palm. When we broke apart to take a breath, I pressed a kiss to his throat, licking the saltiness from his skin. He backed away, one step, then two, leaving me bereft. "What's wrong?" "Chloe is in the truck." "She's a very heavy sleeper." I trailed my fingers over every hard ripple of his abdomen, following the soft trail that disappeared beneath his belt.

In the domain of cinema, the latest example of such “classism” is Nomadland (Chloe Zhao, 2020) which portrays the daily lives of our “nomadic proletarians,” workers without a permanent home who live in trailers and wander around from one temporary job to another. They are shown as decent people, full of spontaneous goodness and solidarity with each other, inhabiting their own world of small customs and rituals, enjoying their modest happiness (even the occasional work in an Amazon packaging center goes quite well . . . ). That’s how our hegemonic ideology likes to see workers—no wonder the movie was the big winner of the last Oscars. Although the lives depicted are rather miserable, we are bribed into enjoying the movie with the charming details of the workers’ specific way of life, the underlying message being: enjoy being a nomadic proletarian!