Dance Pointe Shoes Quotes

Now I must give one smirk, and then we may be rational again." Catherine turned away her head, not knowing whether she might venture to laugh. "I see what you think of me," said he gravely -- "I shall make but a poor figure in your journal tomorrow." My journal!" Yes, I know exactly what you will say: Friday, went to the Lower Rooms; wore my sprigged muslin robe with blue trimmings -- plain black shoes -- appeared to much advantage; but was strangely harassed by a queer, half-witted man, who would make me dance with him, and distressed me by his nonsense." Indeed I shall say no such thing." Shall I tell you what you ought to say?" If you please." I danced with a very agreeable young man, introduced by Mr. King; had a great deal of conversation with him -- seems a most extraordinary genius -- hope I may know more of him. That, madam, is what I wish you to say." But, perhaps, I keep no journal." Perhaps you are not sitting in this room, and I am not sitting by you. These are points in which a doubt is equally possible. Not keep a journal! How are your absent cousins to understand the tenour of your life in Bath without one? How are the civilities and compliments of every day to be related as they ought to be, unless noted down every evening in a journal? How are your various dresses to be remembered, and the particular state of your complexion, and curl of your hair to be described in all their diversities, without having constant recourse to a journal? My dear madam, I am not so ignorant of young ladies' ways as you wish to believe me; it is this delightful habit of journaling which largely contributes to form the easy style of writing for which ladies are so generally celebrated. Everybody allows that the talent of writing agreeable letters is peculiarly female. Nature may have done something, but I am sure it must be essentially assisted by the practice of keeping a journal.

Whenever I get dumped, I nail the door shut so that no one can come inside, get a towel and clip it around my neck so it's like a Superman cape, take off my shoes so I can slide across the room, and...get a fake mic, like a celery stick or a pen, and I play any record that features the vocalist Ronnie James Dio. And you can just pretend you're Dio, because on every album he does, he has minimum one, usually three, *EVIL WOMAN LOOK OUT!*- songs. And if you wanna point like Dio, it's a three-finger point. (heavy metal voice) 'The exit is that way. Evil LURKS! Evil lurks in twilight! Dances in the DARK! Evil woman! Just WALK AWAY!

This young woman,” said Diana, “was responsible for the destruction of the Triumvirate’s fleet.” “Well, I had a lot of help,” Lavinia said. “I don’t understand,” I said, turning to Lavinia. “You made all those mortars malfunction?” Lavinia looked offended. “Well, yeah. Somebody had to stop the fleet. I did pay attention during siege-weapon class and ship-boarding class. It wasn’t that hard. All it took was a little fancy footwork.” Hazel finally managed to pick her jaw off the pavement. “Wasn’t that hard?” “We were motivated! The fauns and dryads did great.” She paused, her expression momentarily clouding, as if she remembered something unpleasant. “Um…besides, the Nereids helped a lot. There was only a skeleton crew aboard each yacht. Not, like, actual skeletons, but—you know what I mean. Also, look!” She pointed proudly at her feet, which were now adorned with the shoes of Terpsichore from Caligula’s private collection. “You mounted an amphibious assault on an enemy fleet,” I said, “for a pair of shoes.” Lavinia huffed. “Not just for the shoes, obviously.” She tap-danced a routine that would’ve made Savion Glover proud. “Also to save the camp, and the nature spirits, and Michael Kahale’s commandos.” Hazel held up her hands to stop the overflow of information. “Wait. Not to be a killjoy—I mean, you did an amazing thing!—but you still deserted your post, Lavinia. I certainly didn’t give you permission —” “I was acting on praetor’s orders,” Lavinia said haughtily. “In fact, Reyna helped. She was knocked out for a while, healing, but she woke up in time to instill us with the power of Bellona, right before we boarded those ships. Made us all strong and stealthy and stuff.” Hazel asked, “Is it true about Lavinia acting on your orders?” Reyna glanced at our pink-haired friend. The praetor’s pained expression said something like, I respect you a lot, but I also hate you for being right. “Yes,” Reyna managed to say. “Plan L was my idea. Lavinia and her friends acted on my orders. They performed heroically.” Lavinia beamed. “See? I told you.” The assembled crowd murmured in amazement, as if, after a day full of wonders, they had finally witnessed something that could not be explained.

1 I don't believe in omens or fear Forebodings. I flee from neither slander Nor from poison. Death does not exist. Everyone's immortal. Everything is too. No point in fearing death at seventeen, Or seventy. There's only here and now, and light; Neither death, nor darkness, exists. We're all already on the seashore; I'm one of those who'll be hauling in the nets When a shoal of immortality swims by. 2 If you live in a house - the house will not fall. I'll summon any of the centuries, Then enter one and build a house in it. That's why your children and your wives Sit with me at one table, - The same for ancestor and grandson: The future is being accomplished now, If I raise my hand a little, All five beams of light will stay with you. Each day I used my collar bones For shoring up the past, as though with timber, I measured time with geodetic chains And marched across it, as though it were the Urals. 3 I tailored the age to fit me. We walked to the south, raising dust above the steppe; The tall weeds fumed; the grasshopper danced, Touching its antenna to the horse-shoes - and it prophesied, Threatening me with destruction, like a monk. I strapped my fate to the saddle; And even now, in these coming times, I stand up in the stirrups like a child. I'm satisfied with deathlessness, For my blood to flow from age to age. Yet for a corner whose warmth I could rely on I'd willingly have given all my life, Whenever her flying needle Tugged me, like a thread, around the globe.

This is textbook Bad Idea. We're driving with a stranger, no one knows where we are, and we have no way of getting in touch with anyone. This is exactly how people become statistics." "Exactly?" I asked, thinking of all the bizarre twists and turns that had led us to this place. Ben ceded the point with a sideways shrug. "Maybe not exactly. But still..." He let it go, and the cab eventually stopped at the edge of a remote, forested area. Sage got out and paid. "Everybody out!" Ben looked at me, one eyebrow raised. He was leaving the choice to me. I gave his knee a quick squeeze before I opened the door and we piled out of the car. Sage waited for the cab to drive away, then ducked onto a forest path, clearly assuming we'd follow. The path through the thick foliage was stunning in the moonlight, and I automatically released my camera from its bag. "I wish you wouldn't," Sage said without turning around. "You know I'm not one for visitors." "I'll refrain from selling the pictures to Travel and Leisure, then," I said, already snapping away. "Besides, I need something to take my mind off my feet." My shoes were still on the beach, where I'd kicked them off to dance. "Hey, I offered to carry you," Sage offered. "No, thank you." I suppose I should have been able to move swiftly and silently without my shoes, but I only managed to stab myself on something with every other footfall, giving me a sideways, hopping gait. Every few minutes Sage would hold out his arms, offering to carry me again. I grimaced and denied him each time. After what felt like about ten miles, even the photos weren't distracting enough. "How much farther?" I asked. "We're here." There was nothing in front of us but more trees. "Wow," Ben said, and I followed his eyes upward to see that several of the tree trunks were actually stilts supporting a beautifully hidden wood-and-glass cabin, set high among the branches. I was immediately charmed. "You live in a tree house," I said. I aimed my camera the façade, answering Sage's objection before he even said it. "For me, not for Architectural Digest." "Thank you," Sage said.

In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto. In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. The dahlias sleep in the empty silence. Wait for the early owl. In that open field If you do not come too close, if you do not come too close, On a summer midnight, you can hear the music Of the weak pipe and the little drum And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie— A dignified and commodiois sacrament. Two and two, necessarye coniunction, Holding eche other by the hand or the arm Whiche betokeneth concorde. Round and round the fire Leaping through the flames, or joined in circles, Rustically solemn or in rustic laughter Lifting heavy feet in clumsy shoes, Earth feet, loam feet, lifted in country mirth Mirth of those long since under earth Nourishing the corn. Keeping time, Keeping the rhythm in their dancing As in their living in the living seasons The time of the seasons and the constellations The time of milking and the time of harvest The time of the coupling of man and woman And that of beasts. Feet rising and falling. Eating and drinking. Dung and death. Dawn points, and another day Prepares for heat and silence. Out at sea the dawn wind Wrinkles and slides. I am here Or there, or elsewhere. In my beginning.

the audience, unaccustomed to any of this, went wild: America! The high point of this whirring, pale-blue era was 1960. The average American earned more than 5,000 dollars a year; a newly built house cost 12,500 dollars, a car 2,600, a pair of shoes 13, a litre of gasoline 6.7 cents. The tail fins on the new Cadillac Eldorado were the largest and sharpest ever seen. In April, the world’s first weather satellite was launched. In the Philippines, the Japanese government tried in vain to coax the last two Japanese soldiers out of the jungle – they refused to believe the war was over. Xerox put the first commercial photocopier on the market. Chubby Checker started a new dance craze, the twist. Frank Sinatra, cigarette in hand, stood and sang in a short film called Music for

The treatment accorded the Negro during the Second World War marks, for me, a turning point in the Negro’s relation to America. To put it briefly, and somewhat too simply, a certain hope died, a certain respect for white Americans faded. One began to pity them, or to hate them. You must put yourself in the skin of a man who is wearing the uniform of his country, is a candidate for death in its defense, and who is called a “nigger” by his comrades-in-arms and his officers; who is almost always given the hardest, ugliest, most menial work to do; who knows that the white G.I. has informed the Europeans that he is subhuman (so much for the American male’s sexual security); who does not dance at the U.S.O. the night white soldiers dance there, and does not drink in the same bars white soldiers drink in; and who watches German prisoners of war being treated by Americans with more human dignity than he has ever received at their hands. And who, at the same time, as a human being, is far freer in a strange land than he has ever been at home. Home! The very word begins to have a despairing and diabolical ring. You must consider what happens to this citizen, after all he has endured, when he returns—home: search, in his shoes, for a job, for a place to live; ride, in his skin, on segregated buses; see, with his eyes, the signs saying “White” and “Colored,” and especially the signs that say “White Ladies” and “Colored Women”; look into the eyes of his wife; look into the eyes of his son; listen, with his ears, to political speeches, North and South; imagine yourself being told to “wait.” And all this is happening in the richest and freest

And what’s the solution of preventing this debacle? Plenty of ‘em! The Communists have a patent Solution they know will work. So have the Fascists, and the rigid American Constitutionalists—who call themselves advocates of Democracy, without any notion what the word ought to mean; and the Monarchists—who are certain that if we could just resurrect the Kaiser and the Czar and King Alfonso, everybody would be loyal and happy again, and the banks would simply force credit on small business men at 2 per cent. And all the preachers—they tell you that they alone have the inspired Solution. “Well, gentlemen, I have listened to all your Solutions, and I now inform you that I, and I alone, except perhaps for Walt Trowbridge and the ghost of Pareto, have the perfect, the inevitable, the only Solution, and that is: There is no Solution! There will never be a state of society anything like perfect! “There never will be a time when there won’t be a large proportion of people who feel poor no matter how much they have, and envy their neighbors who know how to wear cheap clothes showily, and envy neighbors who can dance or make love or digest better.” Doremus suspected that, with the most scientific state, it would be impossible for iron deposits always to find themselves at exactly the rate decided upon two years before by the National Technocratic Minerals Commission, no matter how elevated and fraternal and Utopian the principles of the commissioners. His Solution, Doremus pointed out, was the only one that did not flee before the thought that a thousand years from now human beings would probably continue to die of cancer and earthquake and such clownish mishaps as slipping in bathtubs. It presumed that mankind would continue to be burdened with eyes that grow weak, feet that grow tired, noses that itch, intestines vulnerable to bacilli, and generative organs that are nervous until the age of virtue and senility. It seemed to him unidealistically probable, for all the “contemporary furniture” of the 1930’s, that most people would continue, at least for a few hundred years, to sit in chairs, eat from dishes upon tables, read books—no matter how many cunning phonographic substitutes might be invented, wear shoes or sandals, sleep in beds, write with some sort of pens, and in general spend twenty or twenty-two hours a day much as they had spent them in 1930, in 1630.

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

They killed everyone in the camps. The whole world was dying there. Not only Jews. Even a black woman. Not gypsy. Not African. American like you, Mrs. Clara. They said she was a dancer and could play any instrument. Said she could line up shoes from many countries and hop from one pair to the next, performing the dances of the world. They said the Queen of Denmark honored her with a gold trumpet. But she was there, in hell with the rest of us. A woman like you. Many years ago. A lifetime ago. Young then as you would have been. And beautiful. As I believe you must have been, Mrs. Clara. Yes. Before America entered the war. Already camps had begun devouring people. All kinds of people. Yet she was rare. Only woman like her I saw until I came here, to this country, this city. And she saved my life. Poor thing. I was just a boy. Thirteen years old. The guards were beating me. I did not know why. Why? They didn't need a why. They just beat. And sometimes the beating ended in death because there was no reason to stop, just as there was no reason to begin. A boy. But I'd seen it many times. In the camp long enough to forget why I was alive, why anyone would want to live for long. They were hurting me, beating the life out of me but I was not surprised, expected no explanation. I remember curling up as I had seen a dog once cowering from the blows of a rolled newspaper. In the old country lifetimes ago. A boy in my village staring at a dog curled and rolling on its back in the dust outside a baker's shop and our baker in his white apron and tall white hat striking this mutt again and again. I didn't know what mischief this dog had done. I didn't understand why the fat man with flour on his apron was whipping it unmercifully. I simply saw it and hated the man, felt sorry for the animal, but already the child in me understood it could be no other way so I rolled and curled myself against the blows as I'd remembered the spotted dog in the dusty village street because that's the way it had to be. Then a woman's voice in a language I did not comprehend reached me. A woman angry, screeching. I heard her before I saw her. She must have been screaming at them to stop. She must have decided it was better to risk dying than watch the guards pound a boy to death. First I heard her voice, then she rushed in, fell on me, wrapped herself around me. The guards shouted at her. One tried to snatch her away. She wouldn't let go of me and they began to beat her too. I heard the thud of clubs on her back, felt her shudder each time a blow was struck. She fought to her feet, dragging me with her. Shielding me as we stumbled and slammed into a wall. My head was buried in her smock. In the smell of her, the smell of dust, of blood. I was surprised how tiny she was, barely my size, but strong, very strong. Her fingers dug into my shoulders, squeezing, gripping hard enough to hurt me if I hadn't been past the point of feeling pain. Her hands were strong, her legs alive and warm, churning, churning as she pressed me against herself, into her. Somehow she'd pulled me up and back to the barracks wall, propping herself, supporting me, sheltering me. Then she screamed at them in this language I use now but did not know one word of then, cursing them, I'm sure, in her mother tongue, a stream of spit and sputtering sounds as if she could build a wall of words they could not cross. The kapos hesitated, astounded by what she'd dared. Was this black one a madwoman, a witch? Then they tore me from her grasp, pushed me down and I crumpled there in the stinking mud of the compound. One more kick, a numbing, blinding smash that took my breath away. Blood flooded my eyes. I lost consciousness. Last I saw of her she was still fighting, slim, beautiful legs kicking at them as they dragged and punched her across the yard. You say she was colored? Yes. Yes. A dark angel who fell from the sky and saved me.

And then it actually becomes the most interesting thing in the world. A single word is embossed in fancy calligraphy letters. A single word that makes it feel like the whole room is spinning. Harksbury. What in God’s name? “What is this?” I point at it and shout in Mindy’s ear. She scrunches her eyebrows. “A coaster?” I groan. “No, I mean, the name. Harksbury.” “Oh. It’s the name of the club. I don’t know what it means, though.” I do. It’s the name of a dukedom. I wonder if that means some relative of Alex’s invested in this place or something. Or if someone borrowed their name. Or what. But it has to mean Harksbury is real, that it existed. I stare down at the word again. If the shoes weren’t enough…It has to be real. And seeing it like this reminds me of how I felt there. How it felt to be Rebecca. I tuck the coaster into my back pocket and try to ignore the stare Angela is giving me. She probably thinks I’m totally nuts, stealing a paper coaster. But it’s the closest I’ll get to a souvenir of my time-bending trip. And having it on me makes me feel stronger, somehow, like I can always be that girl at the ball. I look up when the boys file in and sit down on a bright orange couch shaped like a slug. “Ladies. This is Grant, Tim, and Alex,” door-boy says. He doesn’t even introduce himself. I guess I’m supposed to know who he is. I smile at Grant and nod at Tim, but when I get to Alex, I only stare. Alex. The Alex. No, no it can’t be. His hair is shorter, his skin smooth and shaven. He’s got on a green button-up, left open at the collar, which brings out the intense emerald shade of his eyes. There’s something different. The contour of his lips, the line of his nose. It’s almost him, but not quite. And he’s staring back at me. Does he know who I am? No, that’s silly. It’s not really him. Not Alex Thorton-Hawke, the Duke of Harksbury. Just Alex, the twenty-first-century guy standing in front of me. In a nightclub. In real life. Mindy jabs me with her elbow. “This is--” “Callie,” I say, standing and reaching my hand out. “My name is Callie.” It feels so good to say that. To be me. I grin involuntarily at the realization. He smiles and shakes it. “Hey.” For a second neither of us says anything else. We just keep shaking hands and staring at each other. My heart hammers out of control. I feel sweaty already. But it’s adrenaline. Excitement. I’m not terrified anymore. Not of Angela, not of Alex. I can do this. “Do you want to dance?” I ask. Did I really just say that out loud? That couldn’t have been me. That was someone else. “Huh?” He can’t hear me over the music. “Do you want to dance?” I say, louder this time, with a little more conviction. For emphasis, I nod my head toward the floor. I’m really doing this. “Yeah.” I’m not sure I’ve heard him correctly, but then he grabs my hand and leads me away, and I risk a glance back at the group. They’re just staring. For once in my life, I’ve upstaged them. I grin back and then turn my attention to Alex. I’ve thought about getting close to him for a month. I’m about to get my chance.

kid you not, every single person in that room stopped what they were doing to see what the most annoying sound in the world was. “Stop that!” I hissed, tightening my lips. “You’re embarrassing me!” The clown tap-danced his oversized shoes toward me, which was frightening by itself, but tap dancing apparently wasn’t enough. No, this clown also wanted to start blowing up one of those long balloons they make balloon animals out of. So yeah, this monster was staring into my soul while twisting a long balloon into an animal and also tap dancing straight at me, and in a roomful of hundreds of spectators. The silence only made the squeaking balloons and metal taps that much worse. I’m not gonna lie. I feared for my life. “Okay. I was wrong before,” I whispered. “This is how I actually die…” The clown finally stopped tapping in front of me with a finale that extended an open palm out. “The name’s Miko! My friends call me Miko, but you can call me Miko!” At that point, everyone in the room returned to what they were doing before the clown started acting out. I slouched in my seat. “My name’s Chase,” I said. “You can call me Chase.” “Pleasure to make your acquaintance, Chase!” Miko said gleefully with his hand still outstretched toward me.

answered, pulling on his overcoat. All the loneliness of the evening seemed to descend upon her at once then and she said with the suggestion of a whine in her voice, ‘Why don’t you take me with you some Saturday?’ ‘You?’ he said. ‘Take you? D’you think you’re fit to take anywhere? Look at yersen! An’ when I think of you as you used to be!’ She looked away. The abuse had little sting now. She could think of him too, as he used to be; but she did not do that too often now, for such memories had the power of evoking a misery which was stronger than the inertia that, over the years, had become her only defence. ‘What time will you be back?’ ‘Expect me when you see me,’ he said at the door. ‘Is’ll want a bite o’ supper, I expect.’ Expect him at whatever time his tipsy legs brought him home, she thought. If he lost he would drink to console himself. If he won he would drink to celebrate. Either way there was nothing in it for her but yet more ill temper, yet further abuse. She got up a few minutes after he had gone and went to the back door to look out. It was snowing again and the clean, gentle fall softened the stark and ugly outlines of the decaying outhouses on the patch of land behind the house and gently obliterated Scurridge’s footprints where they led away from the door, down the slope to the wood, through which ran a path to the main road, a mile distant. She shivered as the cold air touched her, and returned indoors, beginning, despite herself, to remember. Once the sheds had been sound and strong and housed poultry. The garden had flourished too, supplying them with sufficient vegetables for their own needs and some left to sell. Now it was overgrown with rampant grass and dock. And the house itself – they had bought it for a song because it was old and really too big for one woman to manage; but it too had been strong and sound and it had looked well under regular coats of paint and with the walls pointed and the windows properly hung. In the early days, seeing it all begin to slip from her grasp, she had tried to keep it going herself. But it was a thankless, hopeless struggle without support from Scurridge: a struggle which had beaten her in the end, driving her first into frustration and then finally apathy. Now everything was mouldering and dilapidated and its gradual decay was like a symbol of her own decline from the hopeful young wife and mother into the tired old woman she was now. Listlessly she washed up and put away the teapots. Then she took the coal-bucket from the hearth and went down into the dripping, dungeon-like darkness of the huge cellar. There she filled the bucket and lugged it back up the steps. Mending the fire, piling it high with the wet gleaming lumps of coal, she drew some comfort from the fact that this at least, with Scurridge’s miner’s allocation, was one thing of which they were never short. This job done, she switched on the battery-fed wireless set and stretched out her feet in their torn canvas shoes to the blaze. They were broadcasting a programme of old-time dance music: the Lancers, the Barn Dance, the Veleta. You are my honey-honey-suckle, I am the bee… Both she and

We take off our shoes, or we turn on our ears. We press our hands together in a gesture of prayer, or we remember the full extent of our lungs. Perhaps we even arrange ourselves cross-legged on the ground, or perhaps we dance or walk or swim instead. When we want to escape the surface, we activate our bodies, and they show us a different intelligence, pointing to a mind that resides not just in the head. Our knowing is diffused throughout all of us, distributed through muscle and bone, pulsing through organs and conveyed in the blood. We put our feet to the ground to listen with all of it. Not all that we know is verbal. Much of it--sometimes I think the vast majority--is somatic, the concern of the body. I learned this most keenly when Bert was a baby, and I used to reach towards him in the back seat on long car journeys and feel his foot press into my palm in reply. There was communication there far beyond words, and far more soothing to both of us. When I used to sit him on my lap and kiss his soft head, I was aware that information was being exchanged between us, transmitted through my lips and received through my nose. I could not even tell you what it said. Our bodies have answers to questions that we don't know how to ask.

The real meaning of the word Mandir (temple) is transcending the mind. But we reach temples with all desires and ambitions lurking in the mind… If we could listen to the reverberation caused by our own desires behind closed eyes and folded hands during prayer, then a loud, disturbing commotion would be heard. Everybody is demanding something… The point is crystal clear. Until the mind is not kept outside the meditation room along with the shoes as is inscribed on the notice board at the entry point, true meditation cannot happen. A temple is not a place, it is a state of mind. Until the demand is there, you cannot reach the temple - into that state of mind… Only he can reach the temple who has understood that demand is futile; that nothing comes out of the demand except desolation. Only he reaches the temple who goes to express gratitude and not to demand. The day when eternal gratitude starts rising from the heart, the clouds rain from the sky, and the soul dances in ecstasy, that day wherever you are, you are always in the temple.

I pointed to my left toe shoe, where I'd written (in red ink, with the calligraphy pen that no longer cursed me), 'For Becca, with love from Princess Aurora.

city – from the beach to the Olympic hillside. For tourists who don’t want to grapple with public transport, there is the Barcelona Bus Turistic made up of three bus lines – blue, red and green routes that explore different parts of the city. You can get on and off at any point. Normally, I stay away from these double‐decker tourist explorers, but for a city as large as Barcelona, the system makes getting from beach to cathedrals to hillside parks very easy. There are also walking tours for those with very comfortable shoes. Barcelona offers so much to visitors that I couldn’t possibly tell you what to visit. But items not to miss are, in my opinion, the architecture of Antoni Gaudi which includes his unique cathedral, La Sagrada Familia which remains unfinished, his apartment building, La Pedrera which has no straight lines on its exterior, and his idealistic Parc Guell, a colourful complex on a high hillside. Within the city of Barcelona you could spend a day or more walking Los Ramblas, a wide pedestrian tree‐lined promenade that is a wonderful place to watch people, taste great food, wine and enjoy life. Nearby is the Placa de Catalunya, the main square with fountains, street artists and restaurants. The Gothic Quarter is walking distance with its network of squares that stretch back to Medieval and Roman times. This city offers so much – a medieval city, art museums, flamenco dancing, cable car to the top of Montjuïc, need I go on? Tours to local vineyards are available as are boat trips that will show you the local coastline. And let’s not forget that Barcelona is a city with beautiful beaches – all relaxed, lined with cafes and restaurants. The

Josh shrugged. “Works for me.” Caroline nodded. “I think you should get married beside the loch,” Archie told them. Caroline helped herself to a cup of tea from the pot on the table in front of her. “The loch will be full of midges.” James bit into a biscuit and spoke with his mouth full. “With any luck they’ll only bite the foreigners.” Millicent blinked at the man before turning back to Caroline. “How about photos at the loch? That way you can have loch, castle and church.” “Sounds great to me.” Caroline took a sip of her tea. “Josh, what do you think?” “Whatever you decide is fine.” He couldn’t have come across less interested if he’d tried. “Now, the gentlemen were talking about having a grey colour scheme.” Millicent was clearly horrified by the idea. “What do you think?” They all looked at Caroline, who was wearing yet another second-hand grey skirt suit. Although Caroline had never bothered with fashion, she was beginning to think she might have to wear some other colours. “No, I don’t want grey,” Caroline sighed. “I like lavender.” “Lavender it is,” Millicent said. “Any thoughts on flowers?” “Heather,” Caroline said. Archie threw up his hands in disgust. “You can get heather on the damn hill. Pick something he has to pay for. The man is a gazillionaire. What’s the point in marrying him if you can’t splash out?” Caroline looked at Josh. “What kind of flowers do you want?” Josh was munching his way through a giant bag of chips. “I really don’t care about flowers.” Caroline felt her blood pressure rise. “Do you care about the wedding at all?” “Of course I do.” “Well, what ideas do you have for it?” “Fine.” He pushed himself away from the counter and sauntered towards them. Caroline bit the inside of her cheek to stop from commenting. Everything the man did was so unhurried. It was beyond irritating. He pulled up a chair, swung it around, straddled it and leaned on the back with his forearms. He was so close Caroline could feel the heat coming off him. “Okay, this is what I think.” Josh spread his hands wide. “I’m thinking a couple of hundred of our closest friends, large dance floor, great band. I might sing, but we can get someone else in too. Lots of food. I want steak. Apart from that, I don’t care what colour the thing is or what type of flowers we have.” “So, you’re going to leave the details up to me?” “Isn’t this what women do?