Dancer In The Dark Quotes

I closed my eyes to watch tiny dancers like jeweled birds cross the dark screen of my eyelids.

Felicity and I watch the dancers moving as one. They spin about like the earth on it's axis, enduring the dark, waiting for the sun.

My peer would have to be dark-haired and handsome, a wonderful dancer... and he would never ask permission before he kissed me." -Lillian Bowman

The sight filled the northern sky; the immensity of it was scarcely conceivable. As if from Heaven itself, great curtains of delicate light hung and trembled. Pale green and rose-pink, and as transparent as the most fragile fabric, and at the bottom edge a profound and fiery crimson like the fires of Hell, they swung and shimmered loosely with more grace than the most skillful dancer.

I am spinning the silk threads of my story, weaving the fabric of my world. The tiny elf dancer became a wooden doll whose strings were jerked by people not paying attention. I spun out of control. Eating was hard. Breathing was hard. Living was hardest. I wanted to swallow the bitter seeds of forgetfulness. Cassie did, too. We leaned on each other, lost in the dark and wandering in endless circles. She got too tired an went to sleep. Somehow, I dragged myself out of the dark and asked for help. I spin and weave and knit my words and visions until a life starts to take shape. There is no magic cure, no making it all go away forever. There are only small steps upward; an easier day, an unexpected laugh, a mirror that doesn't matter anymore. I am thawing.

The Great Dancer is my husband," Mira says, "rain washes off all the other colors.

Come on, Wind Dancer, it’s time to go. It’ll be just you and me asking for the night’s companionship.

Empires die, like all of us dancers in the strobe-lit dark. See how the light needs shadows.

He was a nifty dancer and his charm bowled her over.

If you are wise you step through the darkness only one foot at a time.

I dream dark dreams. I dream of a figure moving through the forest, of children flying from his path, of young women crying at his coming. I dream of snow and ice, of bare branches and moon-cast shadows. I dream of dancers floating in the air, stepping lightly even in death, and my own pain is but a faint echo of their suffering as I run. My blood is black on the snow, and the edges of the world are silvered with moonlight. I run into the darkness, and he is waiting. I dream in black and white, and I dream of him. I dream of Caleb, who does not exist, and I am afraid.

When yet another woman old enough to be his grandmother headed Reyes off and demanded his attention before he could get to me, I giggled at the forced smile on his face. She flirted, batted her lashes, and patted his biceps about twelve times too many for his comfort. He took out his phone and typed as the woman spoke to him, her movements exaggerated. I couldn't be certain but I had a feeling she was talking to him about how she used to be a pole dancer until her hip gave out. My phone chimed. I took it out of the delicate clutch that matched my dress and read Reyes's text. Aren't you going to save me? I don't know. I'm having a lot of fun right now. Wanna sext? He crossed an arm over his chest while holding his phone. One corner of his mouth twitched as he leaned back against the tree and typed. Absolutely. Sweet. What are you wearing? His eyes sparkled with mirth. Animal print boxers and striped socks I burst out laughing, gaining the attention of everyone around me.

Outside, the dark brushed the city and the wind unleashed the snow

Ballet was full of dark fairy tales, and how a dancer prepared her pointe shoes was a ritual as mysterious and private as how she might pleasure herself. It was often indistinguishable.

Empires die, like all of us dancers in the strobe-lit dark. See how the light needs shadows. Look: wrinkles spread like mildew over our peachy sheen; beat-by-beat-by-beat-by-beat-by-beat-by-beat, varicose veins worm through plucked calves; torsos and breasts fatten and sag...as last year's song hurtles into next year's song and the year after that, and the dancers' hairstyles frost, wither, and fall in chemotherapeutic tufts; cancer spatters inside this tarry lung, in that ageing pancreas, in this aching bollock; DNA frays like wool, and down we tumble; a fall on the stairs, a heart-attack, a stroke; not dancing but twitching...They knew it in the Middle Ages. Life is a terminal illness.

But Malone was thinking now and as he watched the men lighting cigarettes for each other in the dark, having sex beneath the trees, he turned to his friend and said in a wondering voice: “Isn’t it strange that when we fall in love, this great dream we have, this extraordinary disease, the only thing in which either one of us is interested, it’s inevitably with some perfectly ordinary drip who for some reason we cannot define is the magic bearer, the magician, the one who brings all this to us. Why?

I don’t care if you dance for other men, or even women, but I don’t want his f*cking hands anywhere near you again. And if he touches you again, his blood will be on your hands.

I’m not losing you again. You’re only mine and I’ll f*cking m*rder anyone who challenges me.

I tell you this. As war becomes dishonored and its nobility called into question those honorable men who recognize the sanctity of blood will become excluded from the dance, which is the warrior's right, and thereby will the dance become a false dance and the dancers false dancers. And yet there will be one there always who is a true dancer and can you guess who that might be? You aint nothin. You speak truer than you know. But I will tell you. Only that man who has offered himself up entire to the blood of war, who has been to the floor of the pit and seen horror in the round and learned at last that it speaks to his innermost heart, only that man can dance. Even a dumb animal can dance. The judge set the bottle on the bar. Hear me, man, he said. There is room on the stage for one beast and one alone. All others are destined for a night that is eternal and without name. One by one they will step down into the darkness before the floodlamps. Bears that dance, bears that dont.

I see we have a problem.’ Lucas gripped her other arm and gave her a non-too-gentle shake. ‘Are you in a relationship? or...’ Those dark eyes searching hers narrowed into slits. ‘Are you married?

Miss Peyton,” Lillian Bowman asked, “what kind of man would be the ideal husband for you?” “Oh,” Annabelle said with irreverent lightness, “any peer will do.” “Any peer?” Lillian asked skeptically. “What about good looks?” Annabelle shrugged. “Welcome, but not necessary.” “What about passion?” Daisy inquired. “Decidedly unwelcome.” “Intelligence?” Evangeline suggested. Annabelle shrugged. “Negotiable.” “Charm?” Lillian asked. “Also negotiable.” “You don’t want much,” Lillian remarked dryly. “As for me, I would have to add a few conditions. My peer would have to be dark-haired and handsome, a wonderful dancer…and he would never ask permission before he kissed me.” “I want to marry a man who has read the entire collected works of Shakespeare,” Daisy said. “Someone quiet and romantic—better yet if he wears spectacles— and he should like poetry and nature, and I shouldn’t like him to be too experienced with women.” Her older sister lifted her eyes heavenward. “We won’t be competing for the same men, apparently.” Annabelle looked at Evangeline Jenner. “What kind of husband would suit you, Miss Jenner?” “Evie,” the girl murmured, her blush deepening until it clashed with her fiery hair. She struggled with her reply, extreme bashfulness warring with a strong instinct for privacy. “I suppose…I would like s-s-someone who was kind and…” Stopping, she shook her head with a self-deprecating smile. “I don’t know. Just someone who would l-love me. Really love me.” The words touched Annabelle, and filled her with sudden melancholy. Love was a luxury she had never allowed herself to hope for—a distinctly superfluous issue when her very survival was so much in question. However, she reached out and touched the girl’s gloved hand with her own. “I hope you find him,” she said sincerely. “Perhaps you won’t have to wait for long.

However, Dorian's acceptance of Andrew only went so far. And it was nowhere near enough to allow him this close to Ashaya. "What are you doing here?" Though SnowDancer and DarkRiver had free range over each other's territory, the wolves preferred to stick to the higher elevations. Andrew's eyes shifted over Dorian's shoulder. "I can smell her." "Don't." The younger male grinned. "She's all over you, too. Is she as sexy as she smells?" Dorian knew Andrew was deliberately jerking his chain. "Why don't you come closer and find out?" "Do I look stupid?" "You look like a wolf." Andrew bared his teeth. "I thought we were friends." "And I thought you got posted back to San Diego." The other man shrugged. "I came back to visit my baby sister, check up on that mate of hers." "She's fine," Dorian said, relaxing a little at Andrew's deliberately nonaggressive stance. "I've been keeping an eye on her." "Yeah, I know. She's always muttering about how she has three over protective morons for brothers now. Andrew snorted. "Wait till she has a baby girl. I can't exactly see Judd being any less feral.

Ohhhhh." A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed. She's not thinking such a thought! Not her. She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath. "Oh! Ohhhhh." It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch. "Ohhhhhh." Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.

It was a dark and clouded night, but the tracks led to the lake like a broad path. Sylvie walked in front of me. We stepped on every other tie, although that made our stride uncomfortably long, because stepping on every tie made it uncomfortably short. But it was easy enough. I followed after Sylvie with slow, long, dancer's steps, and above us the stars, dim as dust in their Babylonian multitudes, pulled through the dark along the whorls of an enormous vortex--for that is what it is, I have seen it in pictures--were invisible, and the moon was long down. I could barely see Sylvie. I could barely see where I put my feet. Perhaps it was only the certainty that she was in front of me, and that I need only put my foot directly before me, that made me think I saw anything at all.

The room where they were dancing was very dark.... It was queer to be in his arms.... She had known better dancers.... He had looked ill.... Perhaps he was.... Oh, poor Valentine-Elisabeth.... What a funny position!.... The good gramophone played.... Destiny!.... You see, father! ... In his arms! Of course, dancing is not really.... But so near the real thing! So near!... 'Good luck to the special intention!...' She had almost kissed him on the lips ... All but!... Effleurer, the French call it.... But she was not as humble.... He had pressed her tighter.... All these months without.... My lord did me honour.... Good for Malbrouck s'en va-t-en guerre.... He knew she had almost kissed him on the lips.... And that his lips had almost responded.... The civilian, the novelist, had turned out the last light.... Tietjens said, 'Hadn't we better talk?...' She said: 'In my room, then! I'm dog-tired.... I haven't slept for six nights.... In spite of drugs...' He said: 'Yes. Of course! Where else?....

…especially the young ones, come into the canyon for the first time, quiet as deer, some of them, coming to your hand for salt: their dark eyes wide and gleaming with the wonder and the fear we had all felt at seeing for the first time life as our dreams had always imagined it… at seeing so many people with whom they could fall in love. The old enchantment composed of lights, music, people was transfixing them for the first time, and it made their faces even more touching.

They went to the tree. Daemon dismounted and leaned against the tree, staring in the direction of the house. The stallion jiggled the bit, reminding him he wasn’t alone. “I wanted to say good-bye,” Daemon said quietly. For the first time, he truly saw the intelligence—and loneliness—in the horse’s eyes. After that, he couldn’t keep his voice from breaking as he tried to explain why Jaenelle was never going to come to the tree again, why there would be no more rides, no more caresses, no more talks. For a moment, something rippled in his mind. He had the odd sensation he was the one being talked to, explained to, and his words, echoing back, lacerated his heart. To be alone again. To never again see those arms held out in welcome. To never hear that voice say his name. To… Daemon gasped as Dark Dancer jerked the reins free and raced down the path toward the field. Tears of grief pricked Daemon’s eyes. The horse might have a simpler mind, but the heart was just as big.

Nursing a bottle from a half-floor above, Johnny Jukes stared at her and knew. She was all edges. She stood erect on the wall, like the scabbard of a sword. She did not slouch. Her clothes were crisp, like whole numbers. They were dark, except for her boots, which were red. Thorn of love. A screeching solo tore off a dozen dancers' heads. (67)

I thought seeing you again was going to hurt, but the moment I saw you, I knew it was not seeing you that was killing me.

Forever used to scare me. In my world, nothing is forever. But when I’m with you, forever seems doesn’t seem long enough.

Dark trees leaped across his vision like aghast dancers in the nacreous light.

What’s past is past, Conrad. Now you must learn from it and move on. If I’d had your mentality, I would always have been a burlesque dancer. I never would have aspired to being a ballerina, a profession that brought me great joy. Imagine all the things you’re missing out on. Your Bride, a family, contentment. Unlike me, you can have a future—it’s out there, just waiting for you to claim it. You have so much to look forward to, if you’d just stop looking back.” This

I hired you because you’re not only an amazing dancer, but you radiate a darkness that fits in perfectly here. I know that may feel like a curse rather than a blessing, but here, it’s not. We accept you for all that you are. Inside and out.

Is it really ten ladies dancing?" Lillian asked him, and Swift grinned. "My lady, I've never been able to remember any part of that song." "You know," Annabelle said contemplatively, "I've always understood why the swans are swimming and the geese are a-laying. But why in heaven's name are the lords a-leaping?" "They're chasing after the ladies," Swift said reasonably. "Actually I believe the song was referring to Morris dancers, who used to entertain between courses at long medieval feasts," Daisy informed them. "And it was a leaping sort of dance?" Lillian asked, intrigued. "Yes, with longswords, after the manner of primitive fertility rites." "A well-read woman is a dangerous creature," Swift commented with a grin, leaning down to press his lips against Daisy's dark hair.

In the morning it was raining. A fog had come over the mountains from the sea. You could not see the tops of the mountains. The plateau was dull and gloomy, and the shapes of the trees and the houses were changed. I walked out beyond the town to look at the weather. The bad weather was coming over the mountains from the sea. The flags in the square hung wet form the with poles and the banners were wet and hung damp against the front of the houses, and in between the steady drizzle the rain came down and drove every one under the arcades and made pools of water in the square, and the streets were dark and deserted; yet the fiesta kept up without any pause. It was only driven under covers. The covered seats of the bull-ring had been crowded with people sitting out of the rain watching the concourse of Basque and Navarrais dancers and singers, and afterward the Val Carlos dancers in their costumes danced down the street in the rain, the drums sounding hallow and damp, and the chiefs of the bands riding ahead of their big, heavy-footed horse, their costumes wet, the horses’ coats wet in the rain. The crowd was in the cafés and the dancers came in, too, and sat, their tight-wound white legs under the tables, shaking the water from their belled caps, and spreading their red and purple jackets over the chairs to dry. It was raining hard outside.

[...]They offended Hood,' he stated flatly. 'And How they did that?' Silk enquired. 'They demanded a tithe upon the temple. I demonstrated Hood's tithe.' 'And who are you to judge?' Smokey demanded. The lad's Dark, almost blue-black eyes edged aside to Smokey. 'I am Hood's Sword.

Achilles’ miracle was his speed. His spear, as he began the first pass, moved faster than my eye could follow. It whirled, flashing forward, reversed, then flashed behind. The shaft seemed to flow in his hands, the dark gray point flickered like a snake’s tongue. His feet beat the ground like a dancer, never still.

She isn’t particularly beautiful, come to think of it. She’s taller than most women are, and there’s something about her jaw line that throws off the beauty of her face. And yet – the grace of her movements, the flash of her eyes, the way she dances…everything could be forgiven for the way she danced. – Night Dancer

She cried when she opened the little dancer charm for her bracelet and held my hand while we got matching tattoos – a design I’d worked on for weeks. Our initials intertwined and distorted to make them unrecognisable, with the words so small and vine-like, not even Stacey knows that they say “I choose who I love, and I choose you”.

I skanked deep on Wolt's pipe an' four days march from our free Windward to Kona Leeward seemed like four mil'yun, yay, babbybies o' blissweed cradled me that night, then the drummin' started up, see ev'ry tribe had its own drums. Foday o' Lotus Pond Dwellin' an' two-three Valleysmen played goatskin'n'pingwood tom-toms, an' Hilo beardies thumped their flumfy-flumfy drums an' a Honokaa fam'ly beat their sash-krrangers an' Honomu folk got their shell-shakers an' this whoah feastin' o' drums twanged the young uns' joystrings an' mine too, yay, an' blissweed'll lead you b'tween the whack-crack an' boom-doom an' pan-pin-pon till we dancers was hoofs thuddin' an' blood pumpin' an' years passin' an' ev'ry drumbeat one more life shedded off me, yay, I glimpsed all the lifes my soul ever was till far-far back b'fore the Fall, yay, glimpsed from a gallopin' horse in a hurrycane, but I cudn't describe 'em 'cos there ain't the words no more but well I mem'ry that dark Kolekole girl with her tribe's tattoo, yay, she was a saplin' bendin' an' I was that hurrycane, I blowed her she bent, I blowed harder she bent harder an' closer, then I was Crow's wings beatin' an' she was the flames lickin' an' when the Kolekole saplin' wrapped her willowy fingers around my neck, her eyes was quartzin' and she murmed in my ear, Yay, I will, again, an' yay, we will, again.

Over two days, the remaining superheroic population of the Earth had heeded the call--by ship, teleport, magical portal, elemental transduction...the H-Man, Pangolin the Protector, Glass Tambourine, Omega-Mur, Hammer and Sickle, Jackdaw, the Infinite Wisdom, Doctor Mandragora, Czar and Tzar and Star, Kalamari Karl, Lightening Dancer, Doctor Chlorophyll, Jack Viking, Monomaniac, the Gin Fairy, the Holy Ghanta, the Bandolier, the Nuclear Atom, the Mysterious Flame, Moonstalker, Cataclysm and Inferno, the Skyguard II, Your Imaginary Pal, Dark Storm, the Hate Witch, Psychofire, Rabid, Riot, Fox and Hound, Hydrolad, Captain Fuji, Captain Cape Town, Captain Australia, Captain...Jeannie lost count, one uniform and one costume blurring into another.

Inside the terminal at Keahole, they sat waiting to board, watching husky Hawaiians load luggage onto baggage ramps. Arriving tourists smiled at their dark, muscled bodies, handsome full-featured faces, the ease with which they lifted things of bulk and weight. Departing tourists took snapshots of them. 'That's how they see us', Pono whispered. 'Porters, servants. Hula Dancers, clowns. They never see us as we are, complex, ambiguous, inspired humans.' 'Not all haole see us that way...'Jess argued. Vanya stared at her. 'Yes, all Haole and every foreigner who comes here puts us in one of two categories: The malignant stereotype of vicious, drunken, do-nothing kanaka and their loose-hipped, whoring wahine. Or, the benign stereotype of the childlike, tourist-loving, bare-foot, aloha-spirit natives.

People come to New Orleans to forget themselves and party like a pagan. They gorge themselves on exotic spicy foods and five to seven course meals, taking hours to consume. They behave badly in bars and routinely encourage their willing female counterparts to flash their tits for cheap plastic beads. Beads women would never wear anywhere else but in New Orleans become triumphant symbols of one’s insatiable allure.

AUTHOR’S NOTE The Morris dance . . . . . . is traditionally danced on May 1, to welcome in the summer. Its history is a bit confused, possibly because it’s often danced near pubs, but it is now the English folk dance. The dancers usually wear white, and have bells sewn on their clothes. It is danced by both men and women, and is certainly now danced in the United States too. I know this because I saw the Dark Morris danced in a bookshop in Chicago some years ago. I’d invented the Dark Morris for another book called Reaper Man (at least I think I invented it), and a Morris team (officially known as a side) turned up in all black, just for me. They danced it in silence and perfect time, without the music and bells of the “summer” dance. It was beautifully done. But it was also a bit creepy. So it might not be a good idea to try it at home. .

We had the run of the Palace after dark, if we kept clear of the gates and walls. No runaway had ever passed them. It was said too that there was a curse on the attempt, and that your next bull after always killed you. Apart from that, bull-dancers went everywhere, as the Corinthian had said; though it was such a warren that lovers and mistresses would always send a servant for a guide. But the girls were locked in at night and watched all day. Their maidenhood was closely kept.

In each club we went the dancers had the same moves, none nearly as sensuous as mine on any dance floor, but because they are scantily clad and stripping off the men go nuts and throw money at them. In the largest club and the last we went to I watched one pretty girl with big boobs pull a handful of twenties in one set. I followed her to the ladies-room to learn she only danced a few rounds per night and averaged $250 every night and with my face and body she said I would bank much more.

Play it, Eddie, don't be foolish;' she urges. 'Now's the time, break the spell once and for all, prove to yourself that it can't hurt you. If you don't do it now, you'll never get over the idea. It'll stay with you all your life. Go ahead. I'll dance it just like I am.' 'Okay,' he says. He taps. It's been quite some time, but he can rely on his outfit. Slow and low like thunder far away, coming nearer. Boom-putta-putta-boom! Judy whirls out behind him, lets out the first preliminary screech, Eeyaeeya! She hears a commotion in back of her and stops as suddenly as she began. Eddie Bloch's fallen flat on his face and doesn't move again after that. They all know, somehow. There's an inertness, a finality about it that tells them. The dancers wait a minute, mill about, then melt away in a hush. Judy Jarvis doesn't scream, doesn't cry, just stands there staring, wondering. That last thought - did it come from inside his own mind just now - or outside? Was it two months on its way, from the other side of the grave, looking for him, looking for him, until it found him tonight when he played the Chant once more and laid his mind open to Africa? No policeman, no detective, no doctor, no scientist, will ever be able to tell her. Did it come from inside or from outside? All she says is: 'Stand close to me, boys - real close to me, I'm afraid of the dark.' ("Papa Benjamin" aka "Dark Melody Of Madness")

I’m your friend now,” she told Harley as she massaged his neck and shoulders. “I have plenty of soul to spare. I’m rubbing it into you right now, can you tell?” She was kneading his lower back with her knuckles, and Harley nodded because the warmth was spreading. Pumpkin was making her way into his heart, lighting the corners of his empty soul with a red-gold flame. “You won’t be alone now,” Pumpkin crooned. “I’m part of you, like it or not.” And Harley could sleep. He could close his eyes without spinning away in darkness. He though that sleeping beside Pumpkin must be better than Frank Pike’s crazy sex adventures, but he would keep her a secret. He would keep her locked in that little chamber she’d reached with her fingers through the very walls of his back.

May we imagine for them a vector, passing through the invisible, the "imaginary," the unimaginable, carrying them safely into this postwar Paris where the taxis, battered veterans of the mythic Marne, now carry only lovers and cheerful drunks, and music which cannot be marched to goes on uninterrupted all night, in the bars and bals musettes for the dancers who will always be there, and the nights will be dark enough for whatever visions must transpire across them, no longer to be broken into by light displaced from Hell, and the difficulties they find are no more productive of evil than the opening and closing of too many doors, or of too few. A vector through the night into a morning of hosed pavements, birds heard everywhere but unseen, bakery smells, filtered green light, a courtyard still in shade...

Yet, the cosmic view comes with a hidden cost. When I travel thousands of miles to spend a few moments in the fast-moving shadow of the moon during a total solar eclipse, sometimes I lose sight of Earth. When I pause and reflect on our expanding universe with its galaxies hurdling away from one another, embedded within the ever-stretching four-dimensional fabric of space and time, sometimes I forget that uncounted people walk this Earth without food or shelter, and that children are disproportionally represented among them. When I pour over the data that established the mysterious presence of dark matter and dark energy throughout the universe, sometimes I forget that every day, every 24 hour rotation of Earth, people kill and get killed in the name of someone else's conception of God, and that some people who do not kill in the name of God kill in the name of needs or wants of political dogma. When I track the orbits of asteroids, comets, and planets, each one a pirouetting dancer in a cosmic ballet, choreographed by the forces of gravity, sometimes I forget that too many people act in wanton disregard for the delicate interplay of Earth's atmosphere, oceans, and land, with consequences that our children and our children's children will witness and pay for with their health and wellbeing. And sometimes I forget that powerful people rarely do all they can to help those who cannot help themselves. I occasionally forget these things because however big the world is in our hearts, our minds, and our outsized digital maps, the universe is even bigger. A depressing thought to some, but a liberating thought to me.

Magnus’s head was tipped back, his shimmering white suit rumpled like bedsheets in the morning, his white cloak swaying after him like a moonbeam. His mirrorlike mask was askew, his black hair wild, his slim body arching with the dance, and wrapped around his fingers like ten shimmering rings was the light of his magic, casting a spotlight on one dancer, then another. The faerie Hyacinth caught one radiant stream of magic and whirled, holding on to it as if the light were a ribbon on a maypole. The vampire woman in the violet cheongsam, Lily, was dancing with another vampire who Alec presumed was Elliott, given the blue and green stains around his mouth and all down his shirtfront. Malcolm Fade joined in the dance with Hyacinth, though he appeared to be doing a jig and she seemed very puzzled. The blue warlock who Magnus had called Catarina was waltzing with a tall horned faerie.The dark-skinned faerie whom Magnus had addressed as a prince was surrounded by others whom Alec presumed were courtiers, dancing in a circle around him. Magnus laughed as he saw Hyacinth using his magic like a ribbon, and sent shimmering streamers of blue light in several directions. Catarina batted away Magnus’s magic, her own hand glowing faintly white. The two vampires Lily and Elliott both let a magic ribbon wrap around one of their wrists. They did not seem like trusting types, but they instantly leaned into Magnus with perfect faith, Lily pretending to be a captive and Elliott shimmying enthusiastically as Magnus laughed and pulled them toward him in the dance. Music and starshine filled the room, and Magnus shone brightest in all that bright company. As Alec made for the stairs, he brushed past Raphael Santiago, who was leaning against the balcony rail and looking down at the dancing crowd, his dark eyes lingering on Lily and Elliott and Magnus. There was a tiny smile on the vampire’s face. When Raphael noticed Alec, the scowl snapped immediately back on. “I find such wanton expressions of joy disgusting,” he declaimed. “If you say so,” said Alec. “I like it myself.” He reached the foot of the stairs and was crossing the gleaming ballroom floor when a voice boomed out from above. “This is DJ Bat, greatest werewolf DJ in the world, or at least in the top five, coming to you live from Venice because warlocks make irresponsible financial decisions, and this one is for the lovers! Or people with friends who will dance with them. Some of us are lonely jerks, and we’ll be doing shots at the bar.

The King of Hell was everything they said he was, both less and more. He was reputed to have the ability to seduce an abbess or the pope himself, and she could see why. It wasn't his physical beauty, which was considerable. He had dark blue eyes behind a fringe of ridiculously long lashes, pale, beautiful skin, the kind of mouth that could bring despair and delight- and what the hell was she doing, thinking about such things? He looked younger than his reputed age, around forty, and while his long dark hair was streaked with silver it only made him seem more leonine, more dangerous. He was tall, and he moved with an elegant grace that put dancers to shame. He was standing far too close to her, to the gun she'd stolen from Jacobs while he was busy with the carriage, and he was looking at her with far too much interest and absolutely no fear.

I saw the power this respect holds in traditional cultures on our family sabbatical to Thailand and Bali. My daughter Caroline studied Balinese dance for two months with a wonderful teacher, and he proposed to stage a farewell recital for her at his school, which is also his home. When we arrived, they set up the stage, got the music ready, and then started to dress Caroline. They took a very long time dressing a six-year-old whose average attention span is about five minutes. First they draped her in a silk sarong, with a beautiful chain around her waist. Then they wrapped embroidered silk fifteen times around her chest. They put on gold armbands and bracelets. They arranged her hair and put golden flowers in it. They put on more makeup than a six-year-old could dream of. Meanwhile, I sat there getting impatient, the proud father eager to take pictures. It was getting dark. “When are they going to finish dressing her and get on with the recital?” Thirty minutes, forty-five minutes. Finally the teacher’s wife came out and took off her own golden necklace and put it around my daughter’s neck. Caroline was thrilled. When I let go of my impatience, I realized what a wonderful thing was happening. In Bali, whether a dancer is six or twenty-six, she is equally honored and respected. She is an artist who performs not for the audience but for the gods. The level of respect that Caroline was given as an artist allowed her to dance beautifully. Imagine how you would feel if you were given that respect as a child. We need to learn respect for ourselves, for one another, to value our children through valuing their bodies, their feelings, their minds. Children may be limited in what they can do, but their spirit isn’t limited.

She remembers blood. A fine mist which goes deep into her lungs, over her skin and through the air. She remembers a desert at dusk. The sky indigo blue and the fire bright, so bright that she can see everything. Near the fire, in the night, all she knows is chaos wrapped in crimson. All is death and nightmare with a single solitary dancer who smiles cruelly as he moves. He is power and darkness. He is man and beast, silver coin eyes and that face, those claws and the agony of loss. Time stretches wide; seconds like vast eons swallow up her world. Vince is dead, his mother, his brother and her small son ripped apart and gushing as he/it moves. She is screaming, a howl of agony beyond words, primal and wordless. Still he moves, faster than air, faster than she could ever be. Blood drips from her face as she grunts, running with her lungs on fire and her last remaining hope wrapped in her arms.

I feel as if there’s a gnome inside my head, banging away at my skull with an axe. I ought to give him a name. Something nice and gnomish. Snorgoth the Skullcrusher.” “Now,” said James, “that was witty and charming. Think of Snorgoth. Think of him taking an axe to people you don’t like. The Inquisitor, for instance. Perhaps that can help you get through the party. Or—” “Who is Snortgoth?” It was Eugenia, who had come up to them, her yellow cap askew on her dark hair. “Never mind. I am not interested in your dull friends. Matthew, will you dance with me?” “Eugenia.” Matthew looked at her with weary affection. “I am not in a dancing mood.” “Matthew.” Eugenia looked woebegone. “Piers keeps stepping on my feet, and Augustus is lurking about as if he wants a waltz, which I just can’t manage. One dance,” she wheedled. “You’re an excellent dancer, and I’d like to have a bit of fun.” Matthew looked long-suffering but allowed Eugenia to lead him out onto the floor.

Before he could answer, it started. It sounded like a murmur, and then someone said it out loud, and the whisper became outright laughter. “Is eht Gaylord?” said a rat-faced boy at the front. The room erupted. “Big Bobby Bender?” said another. Shuggie tried to talk over them. His face burned red. “It’s Shuggie, sir. Hugh Bain. I’m transferred here from Saint Luke’s.” “Listen tae that voice!” said another boy, with tight curly hair. He opened his eyes wide like he had hit the bullying jackpot. “Ere, posh boy. Whaur did ye get that fuckin’ accent? Are ye a wee ballet dancer, or whit?” This went down the best of all. It was a divine inspiration to the others. “Gies a wee dance!” they squealed with laughter. “Twirl for us, ye wee bender!” Shuggie sat there listening to them amuse themselves. He took the red football book and dropped it into the dark drawer of this strange school desk. He was glad, at least, to be done with that. It was clear now: nobody would get to be made brand new.

The King Horse was so near that I could see the lashes of his dark eyes. His forelock fell between them like a white waterfall between shining stones. His teeth were as big as the ivory plates upon a war helm; but his lip, when he licked the salt out of my palm, felt softer than my mother’s breast. When the salt was finished, he brushed my cheek with his, and snuffed at my hair. Then he trotted back to his hillock, whisking his long tail. His feet, with which as I learned later he had killed a mountain lion, sounded neat on the meadow, like a dancer’s. Now I found myself snatched from all sides, and hustled from the pasture. It surprised me to see the Horse Master as pale as a sick man. He heaved me on his mount in silence, and hardly spoke all the way home. After so much to-do, I feared my grandfather himself would beat me. He gave me a long look as I came near; but all he said was, “Theseus, you went to the horse field as Peiros’ guest. It was unmannerly to give him trouble. A nursing mare might have bitten your arm off. I forbid you to go again.” This happened when I was six years old; and the Horse Feast fell next year.

What?” Clarissa glanced blankly at the dark blur beside her. “Keep your eyes closed, and you will not lose your balance,” the man suggested, and she saw his hand move closer to her. He was offering it so that she would rise. Clarissa opened her mouth to refuse, then paused as his hand suddenly enclosed hers, sending a shock of sensation racing up her arm. It was such an odd feeling—excitement, wild excitement—coursing across her flesh. “I do not….” she began faintly with bewilderment, pausing when his hand lifted her chin and the man bent to stare into her eyes. Close enough to kiss, she thought vaguely. Good God, Clarissa realized, close enough to see! For one brief second she stared into the most beautiful set of clear brown eyes she’d ever seen; then he pulled back slightly, out of focus. “Trust me.” It was not so much a request as an order. But Clarissa remembered those eyes, so dark, so kind—and she nodded. Then he was tugging her out of her seat, directing her through the crowd of dancers to the middle of the floor. “Now…” His voice was calm and soothing as he turned her to face him. “Close your eyes,” he instructed, lifting her free hand to his shoulder. “Relax.” His voice was almost hypnotic, Clarissa thought vaguely. “Follow me. I will not allow you to stumble.” -Clarissa & Adrian

“All I know is that the pain wants to be shared.” “Does it?” The dancer smiled a little. “Even with Akos?” “The pain isn’t me; it doesn’t discriminate,” I said. “The pain is my curse.” “No, no,” the dancer said, her dark eyes locked on mine. But they weren’t brown anymore, as they had been when I saw her perform in the dining room; they were gray, and wary. Akos’s eyes, familiar to me even in a dream. He had taken her place, perched at the edge of the seat as if ready to take flight, his long body dwarfing the chair. “Every currentgift carries a curse,” he said. “But no gift is only a curse.” “The gift part of it is that no one can hurt me,” I said. But even as I said it, I knew it wasn’t true. People could still hurt me. They didn’t need to touch me to do it--they didn’t even need to torture me to do it. As long as I cared about my life, as long as I cared about Akos’s life, or the lives of renegades I barely knew, I was as vulnerable as everyone else was to hurt. I blinked at him as a different answer came to me. “You told me I was more than a knife, more than a weapon,” I said. “Maybe you’re right.” He smiled that small, familiar smile that creased his cheek. “The gift,” I said, “is the strength the curse has given me.” The new answer was like a blooming hushflower, petals unfurling. “I can bear it. I can bear pain. I can bear anything.” He reached for my cheek. He became the dancer, and my mother, and Otega, in turn.

A flamenco dancer, lurking under a shadow, prepares of the terror of her dance. Somebody has wounded her with words, alluding to the fact that she has no fire, or ‘duende’. She knows she has to dance her way past her limitations, and that this may destroy her forever. She has to fail, or she has to die. I want to dwell for a little while on this dancer because, though a very secular example, she speaks very well for the power of human transcendence. I want you to imagine this frail woman. I want you to see her in deep shadow, and fear. When the music starts, she begins to dance, with ritual slowness. Then she stamps out the dampness from her soul. Then she stamps fire into her loins. She takes on a strange enchanted glow. With a dark tragic rage, shouting, she hurls her hungers, her doubts, her terrors, and her secular prayer for more light into the spaces around her. All fire and fate, she spins her enigma around us, and pulls into the awesome risk of her dance. She is taking herself apart before our sceptical gaze. She is disintegrating, shouting and stamping and dissolving the boundaries of her body. Soon, she becomes a wild unknown force, glowing in her death, dancing from her wound, dying in her dance. And when she stops – strangely gigantic in her new fiery stature – she is like one who has survived the most dangerous journey of all. I can see her now as she stands shining in celebration of her own death. In the silence that follows, no one moves. The fact is that she has destroyed us all. Why do I dwell on this dancer? I dwell on her because she represents for me the courage to go beyond ourselves. While she danced she became the dream of the freest and most creative people we had always wanted to be, in whatever it is we do. She was the sea we never ran away to, the spirit of wordless self-overcoming we never quite embrace. She destroyed us because we knew in our hearts that rarely do we rise to the higher challenges in our lives, or our work, or our humanity. She destroyed us because rarely do we love our tasks and our lives enough to die and thus be reborn into the divine gift of our hidden genius. We seldom try for that beautiful greatness brooding in the mystery of our blood. You can say in her own way, and in that moment, that she too was a dancer to God. That spirit of the leap into the unknown, that joyful giving of the self’s powers, that wisdom of going beyond in order to arrive here – that too is beyond words. All art is a prayer for spiritual strength. If we could be pure dancers in spirit, we would never be afraid to love, and we would love with strength and wisdom. We would not be afraid of speech, and we would be serene with silence. We would learn to live beyond words, among the highest things. We wouldn't need words. Our smile, our silences would be sufficient. Our creations and the beauty of our functions would be enough. Our giving would be our perpetual gift.

I agree with Miss Erstwhile, you are acting like a scarecrow. I do not know why you put on this act, Nobley, when around the port table or out in the field you’re rather a pleasant fellow.” “Really? That is curious,” Jane said. “Why, Mr. Nobley, are you generous in your attentions with gentlemen and yet taciturn and withdrawn around the fairer sex?” Mr. Nobley’s eyes were back on the printed page, though they didn’t scan the lines. “Perhaps I do not possess the type of conversation that would interest a lady.” “You say ‘perhaps’ as though you do not believe it yourself. What else might be the reason, sir?” Jane smiled. Needling Mr. Nobley was feeling like a very productive use of the evening. “Perhaps another reason might be that I myself do not find the conversation of ladies to be very stimulating.” His eyes were dark. “Hm, I just can’t imagine why you’re still unmarried.” “I might say the same for you.” “Mr. Nobley!” cried Aunt Saffronia. “No, it’s all right, Aunt,” Jane said. “I asked for it. And I don’t even mind answering.” She put a hand on her hip and faced him. “One reason why I am unmarried is because there aren’t enough men with guts to put away their little boy fears and commit their love and stick it out.” “And perhaps the men do not stick it out for a reason.” “And what reason might that be?” “The reason is women.” He slammed his book shut. “Women make life impossible until the man has to be the one to end it. There is no working it out past a certain point. How can anyone work out the lunacy?” Mr. Nobley took a ragged breath, then his face went red as he seemed to realize what he’d said, where he was. He put the book down gently, pursed his lips, cleared his throat. No one in the room made eye contact. “Someone has issues,” said Miss Charming in a quiet, singsongy voice. “I beg you, Lady Templeton,” Colonel Andrews said, standing, his smile almost convincingly nonchalant, “play something rousing on the pianoforte. I promised to engage Miss Erstwhile in a dance. I cannot break a promise to such a lovely young thing, not and break her heart and further blacken her view of the world, so you see my urgency.” “An excellent suggestion, Colonel Andrews,” Aunt Saffronia said. “It seems all our spirits could use a lift. I think we feel the lack of Sir Templeton’s presence, indeed I do.” Mr. Nobley, of course, declined to dance, so Jane and the colonel stood up with Captain East and Miss Charming, whose spirits were speedily improving. Twice she turned the wrong way, ramming herself into the captain’s shoulder, saying “pip, pip” and “jolly good.” Jane spied Mr. Nobley on the sofa, staring at the window and a reflection of the dancers.

In the uncertain hour before the morning Near the ending of interminable night At the recurrent end of the unending After the dark dove with the flickering tongue Had passed below the horizon of his homing While the dead leaves still rattled on like tin Over the asphalt where no other sound was Between three districts whence the smoke arose I met one walking, loitering and hurried As if blown towards me like the metal leaves Before the urban dawn wind unresisting. And as I fixed upon the down-turned face That pointed scrutiny with which we challenge The first-met stranger in the waning dusk I caught the sudden look of some dead master Whom I had known, forgotten, half recalled Both one and many; in the brown baked features The eyes of a familiar compound ghost Both intimate and unidentifiable. So I assumed a double part, and cried And heard another's voice cry: 'What! are you here?' Although we were not. I was still the same, Knowing myself yet being someone other— And he a face still forming; yet the words sufficed To compel the recognition they preceded. And so, compliant to the common wind, Too strange to each other for misunderstanding, In concord at this intersection time Of meeting nowhere, no before and after, We trod the pavement in a dead patrol. I said: 'The wonder that I feel is easy, Yet ease is cause of wonder. Therefore speak: I may not comprehend, may not remember.' And he: 'I am not eager to rehearse My thoughts and theory which you have forgotten. These things have served their purpose: let them be. So with your own, and pray they be forgiven By others, as I pray you to forgive Both bad and good. Last season's fruit is eaten And the fullfed beast shall kick the empty pail. For last year's words belong to last year's language And next year's words await another voice. But, as the passage now presents no hindrance To the spirit unappeased and peregrine Between two worlds become much like each other, So I find words I never thought to speak In streets I never thought I should revisit When I left my body on a distant shore. Since our concern was speech, and speech impelled us To purify the dialect of the tribe And urge the mind to aftersight and foresight, Let me disclose the gifts reserved for age To set a crown upon your lifetime's effort. First, the cold friction of expiring sense Without enchantment, offering no promise But bitter tastelessness of shadow fruit As body and soul begin to fall asunder. Second, the conscious impotence of rage At human folly, and the laceration Of laughter at what ceases to amuse. And last, the rending pain of re-enactment Of all that you have done, and been; the shame Of motives late revealed, and the awareness Of things ill done and done to others' harm Which once you took for exercise of virtue. Then fools' approval stings, and honour stains. From wrong to wrong the exasperated spirit Proceeds, unless restored by that refining fire Where you must move in measure, like a dancer.' The day was breaking. In the disfigured street He left me, with a kind of valediction, And faded on the blowing of the horn. -T.S. Eliot, "Little Gidding

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.

Olya “Lynx” Federov sat in the cockpit of her fighter. The Lightning-class attack craft that formed the mainstay of the Confederation’s fighter corps were sleek and powerful. The pilots of the fleet almost universally loved the design, save for one factor. The cockpits were too small, too cramped. But Federov didn’t care. She was slight in build, barely forty-five kilograms, and not much taller than a meter and a half. Her body was lithe, flexible. She’d wanted to be a dancer when she was younger, until she’d seen a squadron of fighters putting on a show on the vid. Flight had captured her imagination that day, and her life became a relentless pursuit of a slot at the Academy, one which saw success three days after her nineteenth birthday, when she received her billet in the following year’s class

Let's grab something for you from the kitchen, and then we'll go find Magnus." The "something" turned out to be a wedge of the most amazing cake he'd ever tasted. It had cream in the middle, a crust of honey and almonds on top. He crammed half a wedge into his mouth and moaned aloud. "Damn, that's good," he said around the mouthful. "Damn." "I already ordered it for my wedding breakfast," said Tess. "It's called Bienenstich- bee sting cake," said Isabel, coming into the kitchen. "Appropriate, under the circumstances." He turned to face her, his cheeks stuffed with food like a chipmunk's. Then he swallowed the bite of food. "It's delicious. Did you make it?" he asked, not taking his eyes off her. While Tess had red hair and freckles, Isabel had olive-toned skin, dark eyes and full lips, like a flamenco dancer or maybe an Italian film star swathed in veils. "I did," she said. "It's a German tradition.

You feel so overwritten you're like a palimpsest; the original girl almost lost under years of scrawling yet you nurture an illusion of beauty, brush your hair in the dark so when your reflection finally catches up with you you stare straight past that older woman to the skateboard dancers behind hitting the frosty air with exuberant grace. On the loose in the morning city reminds you of lovers, catching the tram to work in last night's laddered stockings, the sharp-edged day already intruding like a hangover. It's not the sex you miss or the hotel mornings but the reassurance of strangers and that wild card. Now everything's played out the same, no surprises in the pack except those dealt by disaster. Early this morning such certainty dragged on your thoughts they stumbled flat-footed through the breakfast silence and you knew neither the apples orchard fresh, crisp as snow nor the blue bowl they posed in were enough. People disappear all the time, emerge like summer snakes newly marked and glittering into a clean desert. Without the photo of a child you carry in your wallet which reminds you who you have become you'd catch a train to Musk or Mollymook, some place your fingers have strayed over. Even thinking that, you turn your face into the wind, keep walking that same old line in your new flamboyant shoes. Oh my treacherous heart.

On my right, beyond the dark waters of the bay dotted with small craft, some anchored and some under way from one end of the harbor toward the other, the lights on the Balboa peninsula glittered like jewels. Not more than a hundred yards from me was a small sandy beach, a few feet beyond it the color and movement of the Balboa Fun Zone. Occasionally the sound of a merry-go-round there mingled raucously with the combo's more delicate harmonies, and lights from the Ferris wheel spun slowly over the amusement booths below it. As I passed the dance area, the music stopped. I walked to the portable bar farther back on the stern and asked the uniformed bartender for another bourbon highball. I got it, went back near the dancers and leaned against the rail, looking them over. The combo swung into Manhattan, and half a dozen couples started dancing.

After the dancers leave in music schools, you continue to hear the music in the silence and watch the silhouettes of the dancers in the shadows of the darkness!

I bore this with an overt detachment unknown to me in mortal life and came to understand this as a part of vampire nature: that I might sit at home at Pointe du Lac and think for hours of my brother's mortal life and see it short and rounded in unfathomable darkness, understanding now the vain and senseless passion with which I'd mourned his loss and turned on other mortals like a maddened animal. All that confusion was then like dancers frenzied in a fog; and now, now in this strange vampire nature, I felt a profound sadness. But I did not brood over this. Let me not give you that impression, for brooding would have been to me the most terrible waste; but rather I looked around me at all the mortals that I knew and saw all life as precious, condemning all fruitless guilt and passion that would let it slip through the fingers like sand.

They stood leaning on the balcony railing, ignoring the current of people that passed behind them. “This always makes me feel as if I’m in a movie,” Eddi said, looking down at the spangled darkness of the dancers below, the glittering bottles behind the bar, and the empty VIP seats in the opposite balcony. “As the star?” Willy smiled. “Oh, always the star.” She felt a moment’s foolish melancholy, and voiced it. “We’re only cast as extras in real life.

I noticed a still face in the maelstorm of activity; a white-skinned face, that did not smile. Shadow eyes. A veil about the head. I felt suddenly cold. The whirling corynantic dancers became mere phantoms in the aura of this motionless figure, this other woman. Her body was wrapped in a thick, dark cloak; only her face was visible. As if she’d been waiting for me to notice her, she came towards me, this true harpy-woman; her white face expressionless.

You are a fine dancer, Dubh Burton.” I smile, giving her a soft kiss on her cheek. “And you are flourishing like a flower, mo chreach. You’ve embraced your darkness, and my, it is beautiful.

The only way out of the darkness was to plunge through it and just go.

Two figures dressed in dark walk an empty street at night. Ice crystals of sleet swirl about them. One is short, his walk a side to side duck-like waddle, the other tall and slim, his walk smooth and gliding, utterly silent. The short one taps a walking stick as he goes; the other holds his arms hidden within his cloak.

One day a fellow countryman from Valencia, Jorge Esteban, arrived to stay with the sisters. He had a travel agency back home and was driving around West Africa collecting materials for a tourist brochure. Jorge was a cheerful, merry, energetic man, naturally convivial. He felt at home everywhere, at ease with everyone. He spent only one day with us. He paid no heed to the scorching sun; the heat only seemed to energize him. He unpacked a bag full of cameras, lenses, filters, rolls of film, and began walking around the street, chatting with people, joking, making various sorts of promises. That done, he placed his Canon on a tripod, took out a loud referee’s whistle, and blew it. I was looking out the window and couldn’t believe my eyes. Instantly, the street filled with people. In a matter of seconds they formed a large circle and began to dance. I don’t know where the children came from. They had empty cans, which they beat rhythmically. Everyone was keeping the rhythm, clapping their hands and stomping their feet. People woke up, the blood flowed again through their veins, they became animated. Their pleasure in this dance, their happiness in finding themselves alive again, was palpable. Something started to happen in this street, around them, within them. The walls of the houses moved, the shadows stirred. More and more people joined the ring of dancers, which grew, swelled, and accelerated. The crowd of onlookers was also dancing, the whole street, everyone. Colorful bou-bous, white djellabahs, blue turbans, all were swaying. There is no asphalt or pavement here, so billows of dust soon began to rise above the dancers, dark, thick, hot, choking, and these clouds, just like ones from a raging fire, drew more people still from the surrounding areas. Before long the entire neighborhood was shimmying, shaking, partying—right in the middle of the worst, most debilitating and unbearable noontime heat. Partying? No, this was something different, something bigger, something loftier and more important. You had only to look at the faces of the dancers. They were attentive, listening intently to the loud rhythm the children beat on their tin cans, concentrating, so that the sliding of their feet, the swaying of their hips, the turns of their arms, and the bobbing of their heads corresponded to it. And they looked determined, decisive, alive to the significance of this moment in which they were able to express themselves, participate, prove their presence. Idle and superfluous all day long, all at once they had become visible, needed, and important. They existed. They created.

Pilgrims WHEN MY OLD MAN said he’d hired her, I said, “A girl?” A girl, when it wasn’t that long ago women couldn’t work on this ranch even as cooks, because the wranglers got shot over them too much. They got shot even over the ugly cooks. Even over the old ones. I said, “A girl?” “She’s from Pennsylvania,” my old man said. “She’ll be good at this.” “She’s from what?” When my brother Crosby found out, he said, “Time for me to find new work when a girl starts doing mine.” My old man looked at him. “I heard you haven’t come over Dutch Oven Pass once this season you haven’t been asleep on your horse or reading a goddamn book. Maybe it’s time for you to find new work anyhow.” He told us that she showed up somehow from Pennsylvania in the sorriest piece of shit car he’d ever seen in his life. She asked him for five minutes to ask for a job, but it didn’t take that long. She flexed her arm for him to feel, but he didn’t feel it. He liked her, he said, right away. He trusted his eye for that, he said, after all these years. “You’ll like her, too,” he said. “She’s sexy like a horse is sexy. Nice and big. Strong.” “Eighty-five of your own horses to feed, and you still think horse is sexy,” I said, and my brother Crosby said, “I think we got enough of that kind of sexy around here already.” She was Martha Knox, nineteen years old and tall as me, thick-legged but not fat, with cowboy boots that anyone could see were new that week, the cheapest in the store and the first pair she’d ever owned. She had a big chin that worked only because her forehead and nose worked, too, and she had the kind of teeth that take over a face even when the mouth is closed. She had, most of all, a dark brown braid that hung down the center of her back, thick as a girl’s arm. I danced with Martha Knox one night early in the season. It was a day off to go down the mountain, get drunk, make phone calls, do laundry, fight. Martha Knox was no dancer. She didn’t want to dance with me. She let me know this by saying a few times that she wasn’t going to dance with me, and then, when she finally agreed, she wouldn’t let go of her cigarette. She held it in one hand and let that hand fall and not be available. So I kept my beer bottle in one hand, to balance her out, and we held each other with one arm each. She was no dancer and she didn’t want to dance with me, but we found a good slow sway anyway, each of us with an arm hanging down, like a rodeo cowboy’s right arm, like the right arm of a bull rider, not reaching for anything. She wouldn’t look anywhere but over my left shoulder, like that part of her that was a good dancer with me was some part she had not ever met and didn’t feel

You are American,” he says, as if I’m a mythical creature. I nod. “Yes. And, uh, we have different dances where I come from.” “Can you show us one?” The second boy, a dark-haired kid, steps forward, looking intrigued. I stifle a laugh. “Oh, uh, no. I’m a horrible dancer.” “Please?” the redheaded boy asks. “I have never seen an American dance.” I just laughed at them thirty seconds ago. Wouldn’t that make me mean if I just blow them off now? “I doubt you’d want to see these dances,” I say, stalling. I feel kind of bad. But I really can’t dance. I’ll make a fool of myself. “Oh, but I do. Most certainly.” “Oh.” Well, then. I could try, right? Just some tiny little thing? But what do I share? MC Hammer? The Running Man? The Electric Slide? A little Macarena? “Uh,” I say, stepping forward. “How about, um, the Robot?” “The Robot?” the two boys ask in unison. Did the word robot even exist in 1815? “Yeah. You, uh, hold your arms out like this,” I say, demonstrating the proper way to stand like a scarecrow. I can’t believe I’m doing this. “And then relax your elbows and let your hands swing. Like this.” I’m really not doing it well, but by the way their eyes widen, you’d think I just did a full-on pop-and-lock routine with Justin Timberlake. They mimic my maneuver, making it look effortless. The drummer guy stands up and gets in on the action, swinging his arms freely. The guy’s better than me after a two-second demo. Figures. “Okay, then, uh, you sort of walk and you try to make everything look stiff and, uh, unnatural. Like this.” I show him my best robotic walk, my arms mechanical in their movements. The two boys and the drummer immediately copy me, and by the time they’ve taken four or five steps, they seriously look like robots. In no time they’re improvising, and their laughter trickles up toward the rafters of the barn. Yeah. That’s my cue to leave before inspiration strikes and I try to show them how to break-dance but only succeed in breaking my neck. I slip out of the barn unnoticed, grinning to myself as I walk the gravel path back toward the house, my skirts brushing the dirt. At least somewhere, I’m not Callie the Klutz. Even if it’s just some smelly old barn. There’s hope for me after all.

Standing near one of the potted shrubs that isolated the food and drink, I sipped at the punch and started picking out individual voices from the chatter around me, and individual dancers from the mass. I overheard a conversation from the other side of the shrub. “…see Tamara? That’s the third time she’s gotten him.” Curious, I looked at the dancers and easily found Lady Tamara--dancing with Shevraeth. They made a very handsome couple, her pale blue gown and dark hair, his colors the opposite. Her eyes gleamed through her famous lashes as she smiled up into his face; she then spoke, though the words were inaudible. He, of course, was exactly as unreadable as always. “Tsk tsk.” A new voice joined in, drawling with sardonic amusement. “I suppose it’s inevitable. She’s always gotten what she’s wanted; and beware whoever gets in her way.” “Everything?” the first voice said with a tinkly sort of laugh. “Compassing marriage to either of the cousins?” “Come now, she’s dropped the lesser prospect. Why settle for a duke when there’s a king in reach?” “Perhaps she’s been dropped” was the answer. “Or else the glare while Savona danced with the little Tlanth countess was a sham to provide entertainment for our speculation.” Laughing, the speakers moved away. I stood where I was, watching Lady Tamara happily whirling about the room in Shevraeth’s grasp, and I realized that he hadn’t been near me since the beginning of the evening. Uncomfortable emotions began eroding my enjoyment. I tried to banish them, and also what I’d heard. It’s nothing to do with me, I told myself firmly, hoping there wasn’t some like conversation taking place elsewhere in the room--only with me as its subject. I didn’t do anything wrong. Still, it was hard during the remaining dances to recapture the earlier joy, and at the end I was glad to follow Bran and Nee back upstairs to our rooms, Nee yawning all the way. My feet were tired, but I buoyed myself with the reminder that my Name Day came with dawn.

My blood goes out. With it go Dancer’s hopes, my father’s sacrifice, Eo’s dream. I can hardly think of them. The mud is dark and cold. This hurts so much. Eo. I miss her. I miss home. What was her second gift? I never found out. Her sister never told me. Now I know pain. Nothing is worth this. Nothing. Let me be a slave again, let me see Eo, let me die. Just not this.

Aegean Islands 1940-41 Where white stares, smokes or breaks, Thread white, white of plaster and of foam, Where sea like a wall falls; Ribbed, lionish coast, The stony islands which blow into my mind More often than I imagine my grassy home; To sun one's bones beside the Explosive, crushed-blue, nostril-opening sea (The weaving sea, splintered with sails and foam, Familiar of famous and deserted harbours, Of coins with dolphins on and fallen pillars.) To know the gear and skill of sailing, The drenching race for home and the sail-white houses, Stories of Turks and smoky ikons, Cry of the bagpipe, treading Of the peasant dancers; The dark bread The island wine and the sweet dishes; All these were elements in a happiness More distant now than any date like '40, A. D. or B. C., ever can express.

Like all dancers, so much of her body fat had been converted to muscle that she needed to eat regularly.

Life’s upheaval is often announced with a torrential rain of tears. It is a dark cloud designed to cleanse the mind of regret and allow us to plant seeds of optimism with water enough to grow a silver lining.

Ye shall not make any cuttings in your flesh nor print any marks upon you. Some people interpret the passage to mean that piercings and tattoos are marks of the devil.

But the dream of creational dancing in respectful harmony has devolved into the disrespectful and destructive nightmare of ecological devastation. And we know that this nightmare has everything to do with one particular dancer in the cosmic ballet. Humans. When creation dreams become ecological nightmares, it is invariably the human creature who is at the heart of it all. So,

I waited as Sorcha rose, and when she was ready we walked off toward the trees. No one else seemed to follow us, and the day was pleasant as we enjoyed each other’s company and soaked up the sunshine. I admired the way she carried herself – it was graceful; not in an intentional way, but a natural one. She seemed limber like a dancer, and she was lovely: from the shimmer of her long, dark hair to the liveliness in her eyes that not even uncertainty could drive away.

You own me, Christy. Not my brothers. Not Malik. Not my dark past. Not the ghosts that haunt me. Not the walls of this castle and the memories within them, nor the monster that still lingers inside my chest. You. Own. Me. My heart is yours. You can carve it out of my chest right here and now, and I wouldn’t stop you. Just know that it’s yours to do what you want with. It’s yours.

It wasn't until we were able to sustain a chain reaction that we could be certain Einstein's theories were true." Oppenheimer’s gaze moved past the dancers to the dark mirror windows of the laboratory. "The work she did in Berlin, the work she brought to Chicago, that's the discovery that made the gadget feasible.

Your soul is a seeker, lover and artist, shape shifting through archetypal fields of energy, between your darkness and light, your body and spirit, your heaven and hell, until you land in the sweet moment of surrender when you, as dancer, disappear in the dance.” Gabrielle Roth

Bryce examined the relief. Took in the dancing, the stars, the idyllic islands in the background. And she said softly, “It means that there was once joy in this world.” Silence. Then Nesta said, “That’s it?” Bryce kept her eyes on the dancers, the stars, the lush lands. Ignored the darkness beneath. Focused on the good—always the good. “Isn’t that all that matters?

A pas de deux is more than just a partnered dance. Two souls. One body. Entwining together and weaving a story--- evoking a sensation, a memory, a thought. I shut my eyes, remembering how Damien laid me upon the petals and joined his soul with mine. In the heat of summer, he vowed to love me, and we became a part of each other. We separate, taking our places across the sea. The tension pent up inside my body slips away as the darkness spills into the water. My dance was always powerful, even when I'm imperfect and fragile and completely surrendered. I know that now. I fall into my adagio, weightless. Technique no longer matters. Instead, I'm passive to the waves, allowing the current to spin me in pirouettes. The darkness fans out, blooming like a flower. As I lunge into an arabesque, my fingertips release a nebula. Stars explode across the darkness and create my own galaxy. I fall into a piqué manège, birthing stardust strokes. With quick bourrée steps, constellations sprout across the sea. The water illuminates as I leap into a grand jeté, sending shooting stars as I fly. The sirens coo, and I welcome them to join me. They spin tendrils of gold into the darkness, using their fish tails like paintbrushes. As they circle me, the ragged dress I wear transforms into a glittering gown, reflecting rainbows when hit by the light. Finally, I embrace the angel I always was. Filling the distance between me and Damien, I leap into his arms. When he catches me, his darkness feathers into the sea. We entwine, twirling in a whirlpool as the sirens hold us in a glittering lattice.

Thankfully, since the men who touched her had begun to die, the word on the street usually kept them away from her or making demands of her. Gaze briefly flickering to the devil responsible for each death, she saw his face completely neutral, his eyes on the dancers onstage. With no cue from him on how to behave or what to do, she did the only thing she could without inviting punishment. She moved and tentatively sat down on the guy’s lap, keeping her eyes fixed on a light away as he palmed her breasts. She didn’t make a sound. “Moan for me, darling.” She wouldn’t. That was something she could control. She stayed silent, wondering if the devil would kill this one at all since they were sitting together. “Tough bitch,” the man chuckled, clapping his hands to get the attention of the table. “A wager. Whoever gets her to moan gets a hundred thousand.

Walking over the moonlit bridge, Tom found himself drawn deeper and deeper into the world of the market. Here, it was crowded, noisy; buzzing with scents both familiar and strange. The sharp aroma of some herbal stuff seemed to dominate this part of the bridge; the scented smoke was strongest around a little stall named Madcap, from which a pipe-smoking vendor was selling brightly colored pouches, marked at the price of Three days a twist. Next to him, a person of indeterminate gender was folding sheets of colored paper into origami birds, which they released into the air with a papery flutter of wings. In spite of the crow woman's warning, Tom snapped a few more pictures. A dancer on the side of the bridge, her wings spread wide against the night. A diminutive woman with a whole haberdasher's shop balanced on her head: tiny drawers full of bobbins and lace, and packs of slender needles, and pincushions, and safety pins, and multicolored twists of silk. Next to her, cross-legged on the ground, an old woman in a drab overcoat was making garlands and buttonholes from baskets of strange-looking flowers that released an unfamiliar, intoxicating aroma. Her brown face lit up when she caught sight of Tom. 'Collector! What's it to be today? Another adventure? Your heart's desire? I know. True love!' And she picked up a white flower from one of her baskets and held it out to him with a smile. Its scent was complex, dark and sweet; the scent of a summer garden at night.

It is true that the worlds of the other gods are not without paradox. But none of these worlds is as disrupted by it as the world of Dionysus. He, the nurturer and the god of rapture; he, the god who is forever praised as the giver of wine which removes all sorrow and care; he, the deliverer and healer, “the delight of mortals”, “the god of many joys”, the dancer and ecstatic lover, “the bestower of riches”, the “benefactor” – this god who is the most delightful of all the gods is also the most frightful. No single Greek god even approaches Dionysus in the horror of his epithets, which bear witness to a savagery that is absolutely without mercy. In fact, one must evoke the memory of the monstrous horror of eternal darkness to find anything at all comparable. He is called the “render of men”, “the eater of raw flesh”, “who delights in the sword and bloodshed”. Correspondingly we hear not only of human sacrifice in his cult but also of the ghastly ritual in which a man is torn to pieces.

That evening I went to a dance class held in an old yellow school whose window frames were painted sky blue. I love to dance, but by the time I came to understand that I ought to have tried to become a dancer instead of a writer, it was too late. More and more it seems to me that dancing is where my true happiness lies, and that when I write, what I am really trying to do is dance, and because it is impossible, because dancing is free of language, I am never satisfied with writing. To write is, in a sense, to seek to understand, and so it is always something that happens after the fact, is always a process of sifting through the past, and the results of this, if one is lucky, are permanent marks on a page. But to dance is to make oneself available (for pleasure, for an explosion, for stillness); it only ever takes place in the present—the moment after it happens, dance has already vanished. Dance constantly disappears,

The credits arrive like a seedy, after-dark bikini lightshow live from an underground car park, the text projected onto belly dancers’ arms, legs and breasts.

Dylan, Duende, Death and Lorca Does Bob Dylan have Duende? DUENDE dancers perform moving, unique, unrepeatable performances Does Bob Dylan have duende? Do you have duende? What is duende? Duende is a Spanish word with two meanings. A duende is a goblin or a pixie that probably lives at the bottom of the garden and gives three wishes to old ladies who deserve a break. The duende was best defined by Spain’s great poet Federico García Lorca during a lecture he gave in New York in 1929 on Andalusian music known as cante jondo, or deep voice. ‘The duende,’ he said, ‘is a momentary burst of inspiration, the blush of all that is truly alive, all that the performer is creating at a certain moment.’ The difference between a good and a bad singer is that the good singer has the duende and the bad singer doesn’t. ‘There are no maps nor disciplines to help us find the duende. We only know that he burns the blood like a poultice of broken glass, that he exhausts, that he rejects all the sweet geometry we have learned.’ Some critics say Bob Dylan does not have a great voice. But more than any other performer since the birth of recorded music, Dylan has revealed the indefinable, spine-tingling something captured in Lorca’s interpretation of duende. ‘It is an inexplicable power of attraction, the ability to send waves of emotion through those watching and listening to them.’ ‘The duende,’ he continues, ‘resembles what Goethe called the demoniacal. It manifests itself principally among musicians and poets of the spoken word, for it needs the trembling of the moment and then a long silence.’ painting off hell by Hieronymus Bosch Hell & Hieronymus Bosch Four elements can be found in Lorca’s vision of duende: irrationality, earthiness, a heightened awareness of death and a dash of the diabolical. I agree with Lorca that duende manifests principally among singers, but would say that same magic may touch us when confronted by great paintings: Picasso’s Guernica, Edvard Munch’s The Scream, the paintings of heaven and hell by Hieronymus Bosch. The duende is found in the bitter roots of human existence, what Lorca referred to as ‘the pain which has no explanation.’ Artists often feel sad without knowing why. They sense the cruel inevitability of fate. They smell the coppery scent of death. All artists live in a permanent state of angst knowing that what they have created could have been better. Death with Duende It is not surprising that Spain found a need for the word duende. It is the only country where death in the bullring is a national spectacle, the only nation where death is announced by the explosion of trumpets and drums. The bullring, divided in sol y sombre – the light and shade, is the perfect metaphor for life and death, a passing from the light into darkness. Every matador who ever lived had duende and no death is more profound than death in the bullring.

I spent nearly two hundred years alone, and then I found you.” He shook his head. “You charming, funny, magnetic, brilliant woman, of course I want you forever.

Stay with me. Stay forever. Stay in the darkness and be my light.

On what basis do we humans possess this stunning ability to affirm graciousness and love as the heart of reality when the here and now demands the opposite affirmation? The answer to that can only be that somehow we apprehend in the here and now - despite its often brutal suggestion that death and darkness are the final answer - a gracious absolute that lies beyond. Like the classical theist who looks at a rose and is able to perceive the creator and sustainer who gives it existence at that precise moment, so too do we sense the gracious Dancer who is Lord over all dances, including the horrible one that now threatens us, and who will bring us all to a new day and a new loving dance.

A glance back from the door showed me Lainey leaning down with her forehead to his. My heart did a little twist. That was another good thing to come out of all this darkness, and I’d hold onto that spark of light with everything I had.