Design Wall Quotes

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A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.
Robert A. Heinlein
You're trying to play a game designed by men. You'll never win, because the deck is stacked and marked, and also you've been blindfolded and set on fire. You can work hard and believe in yourself and be the smartest person in the room and you'll still get beat by the boys who haven't two cents to rub together. So if you can't win the game, you have to cheat. You operate outside the walls they've built to fence you in. You rob them in the dark, while they're drunk on spirits you offered them. Poison their waters and drink only wine.
Mackenzi Lee (The Lady's Guide to Petticoats and Piracy (Montague Siblings, #2))
The Encyclopedia Galactica defines a robot as a mechanical apparatus designed to do the work of a man. The marketing division of the Sirius Cybernetics Corporation defines a robot as "Your Plastic Pal Who's Fun to Be With. The Hitchhiker's Guide to the Galaxy defines the marketing devision of the Sirius Cybernetic Corporation as "a bunch of mindless jerks who'll be the first against the wall when the revolution comes,
Douglas Adams (The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide to the Galaxy, #1))
When they first built the University of California at Irvine they just put the buildings in. They did not put any sidewalks, they just planted grass. The next year, they came back and put the sidewalks where the trails were in the grass. Perl is just that kind of language. It is not designed from first principles. Perl is those sidewalks in the grass.
Larry Wall
I listened to the men's voices outside, muted by my car walls. "...went at it with a flamethrower in the online video. Didn't even pucker the paint." "Of course not. You could roll a tank over this baby. Not much of a market for one over here. Designed for Middle East Diplomats, arm dealers, and drug lords mostly." "Think she's something?" the short one asked in a softer voice. I ducked my head, cheeks flaming. "Huh," the tall one said. "Maybe. Can't imagine what you'd need missile-proof glass and four thousand pounds of body armor for around here. Must be headed somewhere more hazardous." Body armor. Four thousand pounds of body armor. And missle-proof glass? Nice. What had happened to good old-fashioned bulletproof?
Stephenie Meyer (Breaking Dawn (The Twilight Saga, #4))
I think the man who designed this should have committed suicide. A man who can conceive a thing as beautiful as this should never allowed it to be erected. He should not want to exist. But he will let it be built, so that women will hang out diapers on his terraces, so that men will spit on his stairways and draw dirty pictures on his walls. He's given it to them and he's made it part of them, part of everything. He shouldn't have offered it for men like you to look at. For men like you to talk about. He's defiled his own work by the first word you'll utter about it. He's made himself worse than you are. You'll be committing only a mean little indecency, but he's committed a sacrilege. A man who knows what he must have known to produce this should not have been able to remain alive.
Ayn Rand (The Fountainhead)
And the strangest thing about the nightmare street was that none of the millions of things for sale were made there. They were only sold there. Where were the workshops, the factories, where were the farmers, the craftsmen, the miners, the weavers, the chemists, the carvers, the dyers, the designers, the machinists, where were the hands, the people who made? Out of sight, somewhere else. Behind walls. All the people in all the shops were either buyers or sellers. They had no relation to the things but that of possession.
Ursula K. Le Guin (The Dispossessed: An Ambiguous Utopia)
At IDEO we have dedicated rooms for our brainstorming sessions, and the rules are literally written on the walls: Defer judgment. Encourage wild ideas. Stay focused on the topic. The most important of them, I would argue, is "Build on the ideas of others.
Tim Brown (Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation)
Only the very ignorant and foolish believe that a president who has surrounded himself with Wall Street darlings as cabinet ministers has any serious designs on the trusts.
Eugene V. Debs (Works of Eugene Victor Debs)
A wall is happy when it is well designed, when it rests firmly on its foundation, when its symmetry balances its part and produces no unpleasant stresses. Good design can be worked out on the mathematical principles of mechanics.
Isaac Asimov (Foundation's Edge (Foundation, #4))
I wanted to study graphic design, because I wanted to work in an office with designer desks, ergonomic chairs, pool tables, and walls so colorful it looks like a flock of flamingoes exploded and splattered evenly from floor to ceiling.
Jarod Kintz (Gosh, I probably shouldn't publish this.)
What would it be like really and absolutely to believe? (...) To know, really and absolutely know, that there's a Divine Being not set in time or space who reads your thoughts better than you ever did, and probably before you even have them? To believe that God sends you to war, God bends the path of bullets, decides which of his children will die, or have their legs blown off, or make a few hundred million on Wall Street, depending on today's Grand Design? (ch. 14)
John le Carré (The Little Drummer Girl)
You may hang your walls with tapestry instead of whitewash or paper; or you may cover them with mosaic; or have them frescoed by a great painter: all this is not luxury, if it be done for beauty's sake, and not for show: it does not break our golden rule: Have nothing in your houses which you do not know to be useful or believe to be beautiful
William Morris (The Beauty of Life: William Morris and the Art of Design)
On the opposite wall was a Damien Hirst spot painting, bought by Arabella after a decent bonus season. Roger's considered view of the painting, looking at it from aesthetic, art-historical, interior-design, and psychological points of view, was that it had cost forty-seven thousand pounds, plus VAT.
John Lanchester (Capital)
As the wall between advertising and content erodes, the aptitude required to understand the functions and design of media content becomes more complex.
Matthew P. McAllister
Housing projects are a great metaphor for the government's relationship to poor folks: these huge islands built mostly in the middle of nowhere, designed to warehouse lives. People are still people, though, so we turned the projects into real communities, poor or not. We played in fire hydrants and had cookouts and partied, music bouncing off concrete walls. But even when we could shake off the full weight of those imposing buildings and try to just live, the truth of our lives and struggle was still invisible to the larger country. The rest of the country was freed of any obligation to claim us. Which was fine, because we weren't really claiming them, either.
Jay-Z (Decoded)
...Aldersgate Street, the bottom of the A1 - which was the modern designation of the original Great North Road, built by the Romans two thousand years ago to march its garrisons to the very edge of the empire three hundred miles to the north. Their duty was to reinforce Hadrian's Wall, keeping the outer darkness at bay and the empire safe.
Peter F. Hamilton (Great North Road)
...I continued to sit there hour after hour watching the unrelenting rain slosh against the glass, thinking of our life together, Lotte's and mine, how everything in it was designed to give a sense of permanence, the chair against the wall that was there when we went to sleep and there again when we awoke, the little habits that quoted from the day before and predicted the day to come, though in truth it was all just an illusion, just as solid matter is an illusion, just as our bodies are an illusion, pretending to be one thing when really they are millions upon millions of atoms coming and going, some arriving while others are leaving us forever, as if each of us were only a great train station, only not even that since at least in a train station the stones and the tracks and the glass roof stay still while everything else rushes through it, no, it was worse than that, more like a giant empty field where every day a circus erected and dismantled itself, the whole thing from top to bottom, but never the same circus, so what hope did we really have of ever making sense of ourselves, let alone one another?
Nicole Krauss (Great House)
For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)
Alain de Botton (The Architecture of Happiness)
Mackie kneaded his forehead. "Are you sure none of you want to call your parents?" "No, thank you." "Do you know who my father is?' "My stepmother's faking a pregnancy, and she needs her rest." Mackie wasn't touching that with a ten-foot pole. He turned to the last girl, the one who'd successfully picked the lock mere seconds after he'd arrived. "What about you?" he said hopefully. "My biological father literally threatened to kill me if I become inconvenient," the girl said, leaning back against the wall of the jail cell like she wasn't wearing a designer gown. "And if anyone finds out we were arrested, I'm out five hundred thousand dollars.
Jennifer Lynn Barnes (Little White Lies (Debutantes, #1))
The trees and shrubs rear white arms to the sky on every side; and where were walls and fences, we see forms stretching in frolic gambols across the dusky landscape, as if Nature had strewn her fresh designs over the fields by night as models for man's art.
Henry David Thoreau
As observers of totalitarianism such as Victor Klemperer noticed, truth dies in four modes, all of which we have just witnessed. The first mode is the open hostility to verifiable reality, which takes the form of presenting inventions and lies as if they were facts. The president does this at a high rate and at a fast pace. One attempt during the 2016 campaign to track his utterances found that 78 percent of his factual claims were false. This proportion is so high that it makes the correct assertions seem like unintended oversights on the path toward total fiction. Demeaning the world as it is begins the creation of a fictional counterworld. The second mode is shamanistic incantation. As Klemperer noted, the fascist style depends upon “endless repetition,” designed to make the fictional plausible and the criminal desirable. The systematic use of nicknames such as “Lyin’ Ted” and “Crooked Hillary” displaced certain character traits that might more appropriately have been affixed to the president himself. Yet through blunt repetition over Twitter, our president managed the transformation of individuals into stereotypes that people then spoke aloud. At rallies, the repeated chants of “Build that wall” and “Lock her up” did not describe anything that the president had specific plans to do, but their very grandiosity established a connection between him and his audience. The next mode is magical thinking, or the open embrace of contradiction. The president’s campaign involved the promises of cutting taxes for everyone, eliminating the national debt, and increasing spending on both social policy and national defense. These promises mutually contradict. It is as if a farmer said he were taking an egg from the henhouse, boiling it whole and serving it to his wife, and also poaching it and serving it to his children, and then returning it to the hen unbroken, and then watching as the chick hatches. Accepting untruth of this radical kind requires a blatant abandonment of reason. Klemperer’s descriptions of losing friends in Germany in 1933 over the issue of magical thinking ring eerily true today. One of his former students implored him to “abandon yourself to your feelings, and you must always focus on the Führer’s greatness, rather than on the discomfort you are feeling at present.” Twelve years later, after all the atrocities, and at the end of a war that Germany had clearly lost, an amputated soldier told Klemperer that Hitler “has never lied yet. I believe in Hitler.” The final mode is misplaced faith. It involves the sort of self-deifying claims the president made when he said that “I alone can solve it” or “I am your voice.” When faith descends from heaven to earth in this way, no room remains for the small truths of our individual discernment and experience. What terrified Klemperer was the way that this transition seemed permanent. Once truth had become oracular rather than factual, evidence was irrelevant. At the end of the war a worker told Klemperer that “understanding is useless, you have to have faith. I believe in the Führer.
Timothy Snyder (On Tyranny: Twenty Lessons from the Twentieth Century)
There is a pirate in the basement. (The pirate is a metaphor but also still a person.) (The basement could rightly be considered a dungeon.) The pirate was placed here for numerous acts of a piratey nature considered criminal enough for punishment by those non-pirates who decide such things. Someone said to throw away the key, but the key rests on a tarnished ring on a book that hands on the wall nearby. (Close enough to see from behind the bars. Freedom kept in sight but out of reach, left as a reminder to the prisoner. No one remembers that now on the key side of the bars. The careful psychological design forgotten, distilled into habit and convenience.) (The pirate realizes this but withholds comment.)
Erin Morgenstern (The Starless Sea)
You're trying to play a game designed by men. You'll never win, because the deck is staked and marked, and also you've been blindfolded and set on fire. You can work hard and believe in yourself and be the smartest person in the room and you'll still get beat by the boys who haven't two cents to rub together. So if you can't win the game, you have to cheat. You operate outside the walls they've built to fence you in. You rob them in the dark, while they're drunk on spirits you offered them. Poison their waters and drink only wine.
Mackenzi Lee (The Lady's Guide to Petticoats and Piracy (Montague Siblings, #2))
Beaune plays the role of Wall Street for Burgundy wine.
Alain Bertaud (Order without Design: How Markets Shape Cities (Mit Press))
Words present us with little pictures, clear and familiar, like those that are hung on the walls of schools to give children an example of what a workbench is, a bird, an anthill, things conceived of as similar to all others of the same sort. But names present a confused image of people--and of towns, which they accustom us to believe are individual, unique like people--an image which derives from them, from the brightness or darkness of their tone, the color with which it is painted uniformly, like one of those posters, entirely blue or entirely red, in which, because of the limitations of the process used or by a whim of the designer, not only the sky and the sea are blue or red, but the boats, the church, the people in the streets.
Marcel Proust (Du côté de chez Swann (À la recherche du temps perdu, #1))
He was defiantly narrow-minded, barely educated, and at least close to functionally illiterate. His beliefs were powerful but consistently dubious, and made him seem, in the words of The New Yorker, “mildly unbalanced.” He did not like bankers, doctors, liquor, tobacco, idleness of any sort, pasteurized milk, Wall Street, overweight people, war, books or reading, J. P. Morgan and Co., capital punishment, tall buildings, college graduates, Roman Catholics, or Jews. Especially he didn’t like Jews. Once he hired a Hebraic scholar to translate the Talmud in a manner designed to make Jewish people appear shifty and avaricious.
Bill Bryson (One Summer: America, 1927)
In his original design the solicitor's clerk seemed to have forgotten the need for a staircase to link both the floors, and what he had provided had the appearance of an afterthought. Doorways had been punched in the eastern wall and a rough wooden staircase - heavy planks on an uneven frame with one warped unpainted banister, the whole covered with a sloping roof of corrugated iron - hung precariously at the back of the house, in striking contrast with the white-pointed brickwork of the front, the white woodwork and the frosted glass of doors and windows. For this house Mr.Biswas had paid five thousand five hundred dollars.
V.S. Naipaul (A House for Mr Biswas)
They had forgotten much, but they did not know it. They were as perfectly fitted to their environment as it was to them—for both had been designed together. What was beyond the walls of the city was no concern of theirs; it was something that had been shut out of their minds. Diaspar was all that existed, all that they needed, all that they could imagine. It mattered nothing to them that Man had once possessed the stars.
Arthur C. Clarke (The City and the Stars)
I will admit that I wanted to shout for standing on the top of a scaffold in front of a good new wall always goes to my head. It is a sensation something between that of an angel let out of his cage into a new sky and a drunkard turned loose in a royal cellar. And after all, what nobler elevation could you find in this world than the scaffold of a wall painter? No admiral on the bridge of a new battleship designed by the old navy, could feel more pleased with himself than Gulley, on two planks, forty feet above dirt level, with his palette table beside him, his brush in his hand, and the draught blowing up his trousers; cleared for action.
Joyce Cary (The Horse's Mouth)
The entrance hall was designed to impress. The floor was a buttery cream-colored marble and the walls were paneled in dark wood. I'm not a lumberjack, so I had no idea what kind of wood it was, but it looked expensive.
Eileen Cook (Unraveling Isobel)
[Cult] members learn a new vocabulary that is designed to constrict their thinking into absolute, black-and-white, thought-stopping clichés that conform to group ideology. (“Lock her up” and “Build the Wall” are Trumpian examples. Even his put-downs and nicknames—Crooked Hillary, Pocahontas for Elizabeth Warren—function to block other thoughts. Terms like “deep state” and “globalist” also act as triggers. They rouse emotion and direct attention.)
Steven Hassan (The Cult of Trump: A Leading Cult Expert Explains How the President Uses Mind Control)
Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.
Robert A. Heinlein (Stranger in a Strange Land)
In many ways, the heart does resemble a house. It is divided into multiple chambers, separated by doors. The walls have a characteristic texture. The house is old, designed over many millennia. Hidden from view are the wires and pipes that keep it functioning. And though the house has no intrinsic meaning, it carries meaning because of the meanings we attribute to it.
Sandeep Jauhar (Heart: A History)
The Encyclopedia Galactica defines a robot as a mechanical apparatus designed to do the work of a man. The marketing division of the Sirius Cybernetics Corporation defines a robot as “Your Plastic Pal Who’s Fun to Be With.” The Hitchhiker’s Guide to the Galaxy defines the marketing division of the Sirius Cybernetics Corporation as “a bunch of mindless jerks who’ll be the first against the wall when the revolution comes,” with a footnote to the effect that the editors would welcome applications from anyone interested in taking over the post of robotics correspondent. Curiously enough, an edition of the Encyclopedia Galactica that had the good fortune to fall through a time warp from a thousand years in the future defined the marketing division of the Sirius Cybernetics Corporation as “a bunch of mindless jerks who were the first against the wall when the revolution came.
Douglas Adams (The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide, #1))
The three of us exchanged glances but said nothing. After all, what was there to say? The truth was that hookers did take credit cards—or at least ours did! In fact, hookers were so much a part of the Stratton subculture that we classified them like publicly traded stocks: Blue Chips were considered the top-of-the-line hooker, zee crème de la crème. They were usually struggling young models or exceptionally beautiful college girls in desperate need of tuition or designer clothing, and for a few thousand dollars they would do almost anything imaginable, either to you or to each other. Next came the NASDAQs, who were one step down from the Blue Chips. They were priced between three and five hundred dollars and made you wear a condom unless you gave them a hefty tip, which I always did. Then came the Pink Sheet hookers, who were the lowest form of all, usually a streetwalker or the sort of low-class hooker who showed up in response to a desperate late-night phone call to a number in Screw magazine or the yellow pages. They usually cost a hundred dollars or less, and if you didn’t wear a condom, you’d get a penicillin shot the next day and then pray that your dick didn’t fall off. Anyway, the Blue Chips took credit cards, so what was wrong with writing them off on your taxes? After all, the IRS knew about this sort of stuff, didn’t they? In fact, back in the good old days, when getting blasted over lunch was considered normal corporate behavior, the IRS referred to these types of expenses as three-martini lunches! They even had an accounting term for it: It was called T and E, which stood for Travel and Entertainment. All I’d done was taken the small liberty of moving things to their logical conclusion, changing T and E to T and A: Tits and Ass!
Jordan Belfort (The Wolf of Wall Street)
A change in direction was required. The story you finished was perhaps never the one you began. Yes! He would take charge of his life anew, binding his breaking selves together. Those changes in himself that he sought, he himself would initiate and make them. No more of this miasmic, absent drift. How had he ever persuaded himself that his money-mad burg would rescue him all by itself, this Gotham in which Jokers and Penguins were running riot with no Batman (or even Robin) to frustrate their schemes, this Metropolis built of Kryptonite in which no Superman dared set foot, where wealth was mistaken for riches and the joy of possession for happiness, where people lived such polished lives that the great rough truths of raw existence had been rubbed and buffed away, and in which human souls had wandered so separately for so long that they barely remembered how to touch; this city whose fabled electricity powered the electric fences that were being erected between men and men, and men and women, too? Rome did not fall because her armies weakened but because Romans forgot what being Roman meant. Might this new Rome actually be more provincial than its provinces; might these new Romans have forgotten what and how to value, or had they never known? Were all empires so undeserving, or was this one particularly crass? Was nobody in all this bustling endeavor and material plenitude engaged, any longer, on the deep quarry-work of the mind and heart? O Dream-America, was civilization's quest to end in obesity and trivia, at Roy Rogers and Planet Hollywood, in USA Today and on E!; or in million-dollar-game-show greed or fly-on-the-wall voyeurism; or in the eternal confessional booth of Ricki and Oprah and Jerry, whose guests murdered each other after the show; or in a spurt of gross-out dumb-and-dumber comedies designed for young people who sat in darkness howling their ignorance at the silver screen; or even at the unattainable tables of Jean-Georges Vongerichten and Alain Ducasse? What of the search for the hidden keys that unlock the doors of exaltation? Who demolished the City on the Hill and put in its place a row of electric chairs, those dealers in death's democracy, where everyone, the innocent, the mentally deficient, the guilty, could come to die side by side? Who paved Paradise and put up a parking lot? Who settled for George W. Gush's boredom and Al Bore's gush? Who let Charlton Heston out of his cage and then asked why children were getting shot? What, America, of the Grail? O ye Yankee Galahads, ye Hoosier Lancelots, O Parsifals of the stockyards, what of the Table Round? He felt a flood bursting in him and did not hold back. Yes, it had seduced him, America; yes, its brilliance aroused him, and its vast potency too, and he was compromised by this seduction. What he opposed in it he must also attack in himself. It made him want what it promised and eternally withheld. Everyone was an American now, or at least Americanized: Indians, Uzbeks, Japanese, Lilliputians, all. America was the world's playing field, its rule book, umpire, and ball. Even anti-Americanism was Americanism in disguise, conceding, as it did, that America was the only game in town and the matter of America the only business at hand; and so, like everyone, Malik Solanka now walked its high corridors cap in hand, a supplicant at its feast; but that did not mean he could not look it in the eye. Arthur had fallen, Excalibur was lost and dark Mordred was king. Beside him on the throne of Camelot sat the queen, his sister, the witch Morgan le Fay.
Salman Rushdie (Fury)
It’s not the drug that causes the junkie it’s the laws that causes the junkie because of course the drug laws means that he can’t go and get help because he is afraid of being arrested. He also can’t have a normal life because the war on drugs has made drugs so expensive and has made drug contracts unenforceable which means they can only be enforced through criminal violence. It becomes so profitable to sell drugs to addicts that the drug dealers have every incentive to get people addicted by offering free samples and to concentrate their drug to the highest possible dose to provoke the greatest amount of addiction as possible. Overall it is a completely staggering and completely satanic human calamity. It is the new gulag and in some ways much more brutal than the soviet gulag. In the soviet gulags there was not a huge prison rape problem and in this situation your life could be destroyed through no fault of your own through sometimes, no involvement of your own and the people who end up in the drug culture are walled off and separated as a whole and thrown into this demonic, incredibly dangerous, underworld were the quality of the drugs can’t be verified. Were contracts can’t be enforced except through breaking peoples kneecaps and the price of drugs would often led them to a life of crime. People say “well, I became a drug addict and I lost my house, family, and my job and all that.” It’s not because you became a drug addict but, because there is a war on drugs which meant that you had to pay so much for the drugs that you lost your house because you couldn't go and find help or substitutes and ended up losing your job. It’s all nonsense. The government can’t keep drugs out of prisons for heaven’s sakes. The war on drugs is not designed to be won. Its designed to continue so that the government can get the profits of drug running both directly through the CIA and other drug runners that are affiliated or through bribes and having the power of terrorizing the population. To frame someone for murder is pretty hard but to palm a packet of cocaine and say that you found it in their car is pretty damn easy and the government loves having that power." -Stefan Molyneux
Stefan Molyneux
Grief is a sin. Loss is God’s design, and to mourn the dead is to insult His vision. To despair at His will is sacrilege. How dare you betray His plan by grieving what was always His to take? Unfaithful, disgusting heretic, you should be hung from the wall so the nonbelievers will know what’s coming for them.
Andrew Joseph White (Hell Followed With Us)
First, contrary to popular belief, Buddhists can actually be very anxious people. That’s often why they become Buddhists in the first place. Buddhism was made for the anxious like Christianity was made for the downtrodden or AA for the addicted. Its entire purpose is to foster equanimity, to tame excesses of thought and emotion. The Buddhists have a great term for these excesses. They refer to them as the condition of “monkey mind.” A person in the throes of monkey mind suffers from a consciousness whose constituent parts will not stop bouncing from skull-side to skull-side, which keep flipping and jumping and flinging feces at the walls and swinging from loose neurons like howlers from vines. Buddhist practices are designed explicitly to collar these monkeys of the mind and bring them down to earth—to pacify them. Is it any wonder that Buddhism has had such tremendous success in the bastions of American nervousness, on the West Coast and in the New York metro area?
Daniel B. Smith (Monkey Mind: A Memoir of Anxiety)
Paper: Some inexpensive plain bond paper A pad of Strathmore Drawing Paper, 80 lb., 11" × 14" Pencils: A #2 ordinary yellow writing pencil with an eraser at the top A #4 drawing pencil—Faber-Castell, Prismacolor Turquoise, or other brand Marking pens: Sharpie (or other brand) fine point non-permanent black A second marker, fine point permanent black Graphite stick: #4 General’s is a good brand, or other brand Pencil sharpener: A small handheld sharpener is fine Erasers: A Pink Pearl eraser A Staedtler Mars white plastic eraser A kneaded eraser—Lyra, Design, or other brand Masking tape: 3M Scotch Low Tack Artist Tape Clips: Two 1-inch-wide black clips Drawing board: A firm surface large enough to hold your 11" × 14" drawing paper—about 15" × 18" is a good size. This can be improvised from a kitchen cutting board, a piece of foam board, a piece of Masonite, or thick cardboard. Picture plane: This too can be improvised using an 8" × 10" piece of glass (you will need to tape the edges), or an 8" × 10" piece of clear plastic, about 1⁄16" thick. Viewfinders: You will make these from black paper—“construction” paper is a good thickness, or you could use thin black cardboard. You will find instructions for making the viewfinders here A small mirror: About 5" × 7" that can be taped to a wall, or any available wall mirror.
Betty Edwards (Drawing on the Right Side of the Brain: The Definitive Edition)
The worst continued to worsen. What looked one day like the end proved on the next day to have been only the beginning. Nothing could have been more ingeniously designed to maximize the suffering, and also to insure that as few people as possible escape the common misfortune. The fortunate speculator who had funds to answer the first margin call presently got another and equally urgent one, and if he met that there would still be another. In the end all the money he had was extracted from him and lost. The man with the smart money, who was safely out of the market when the first crash came, naturally went back in to pick up bargains. The bargains then suffered a ruinous fall. Even the man who waited for volume of trading to return to normal and saw Wall Street become as placid as a produce market, and who then bought common stocks would see their value drop to a third or a fourth of the purchase price in the next 24 months. The Coolidge bull market was a remarkable phenomenon. The ruthlessness of its liquidation was, in its own way, equally remarkable.
John Kenneth Galbraith (The Great Crash 1929)
Your dad said to tell you that just because you haven’t been inside the big guy’s door for a while, it doesn’t mean he hasn’t been in yours.
Shelley K. Wall (The Designated Drivers' Club)
The more obsessed with personal identity campus liberals become, the less willing they become to engage in reasoned political debate. Over the past decade a new, and very revealing, locution has drifted from our universities into the media mainstream: 'Speaking as an X' . . . This is not an anodyne phrase. It tells the listener that I am speaking from a privileged position on this matter. (One never says, 'Speaking as an gay Asian, I fell incompetent to judge on this matter'). It sets up a wall against questions, which by definition come from a non-X perspective. And it turns the encounter into a power relation: the winner of the argument will be whoever has invoked the morally superior identity and expressed the most outrage at being questioned. So classroom conversations that once might have begun, 'I think A, and here is my argument', now take the form, 'Speaking as an X, I am offended that you claim B'. This makes perfect sense if you believe that identity determines everything. It means that there is no impartial space for dialogue. White men have one "epistemology", black women have another. So what remains to be said? What replaces argument, then, is taboo. At times our more privileged campuses can seem stuck in the world of archaic religion. Only those with an approved identity status are, like shamans, allowed to speak on certain matters. Particular groups -- today the transgendered -- are given temporary totemic significance. Scapegoats -- today conservative political speakers -- are duly designated and run off campus in a purging ritual. Propositions become pure or impure, not true or false. And not only propositions but simple words. Left identitarians who think of themselves as radical creatures, contesting this and transgressing that, have become like buttoned-up Protestant schoolmarms when it comes to the English language, parsing every conversation for immodest locutions and rapping the knuckles of those who inadvertently use them.
Mark Lilla (The Once and Future Liberal: After Identity Politics)
The logical response to these converging crises would be to alter our individual and collective behavior in order to stave off disaster. It demands using less energy and raw materials. It means moving more efficiently and moving shorter distances. It means living closer together and sharing more spaces, walls, and vehicles. It means collecting experiences rather than objects.
Charles Montgomery (Happy City: Transforming Our Lives Through Urban Design)
The Encyclopedia Galactica defines a robot as a mechanical apparatus designed to do the work of a man. The marketing division of the Sirius Cybernetics Corporation defines a robot as “Your Plastic Pal Who’s Fun to Be With.” The Hitchhiker’s Guide to the Galaxy defines the marketing division of the Sirius Cybernetics Corporation as “a bunch of mindless jerks who’ll be the first against the wall when the revolution comes,” with a footnote to the effect that the editors would welcome applications from anyone interested in taking over the post of robotics correspondent.
Douglas Adams (The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide, #1))
How many were the aquarelles she painted for me; what a revelation it was when she showed me the lilac tree that grows out of mixed blue and red! Sometimes, in our St Petersburg house, from a secret compartment in the wall of her dressing room (and my birth room), she would produce a mass of jewelry for my bedtime amusement. I was very small then, and those flashing tiaras and chokers and rings seemed to me hardly inferior in mystery and enchantment to the illumination in the city during imperial fêtes, when, in the padded stillness of a frosty night, giant monograms, crowns, and other armorial designs, made of coloured electric bulbs - sapphire, emerald, ruby - glowed with a kind of charmed constraint above snow-lined cornices on housefronts along residential streets.
Vladimir Nabokov (Speak, Memory)
My Last Duchess That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat”: such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E’en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!
Robert Browning (My Last Duchess and Other Poems (Dover Thrift Editions: Poetry))
Through Jimi Hendrix's music you can almost see the assassinations of President John F. Kennedy and of Martin Luther King Junior, the beginnings of the Berlin Wall, Yuri Gagarin in space, Fidel Castro and Cuba, the debut of Spiderman, Martin Luther King Junior’s ‘I Have a Dream’ speech, Ford Mustang cars, anti-Vietnam protests, Mary Quant designing the mini-skirt, Indira Gandhi becoming the Prime Minister of India, four black students sitting down at a whites-only lunch counter in Greensboro North Carolina, President Johnson pushing the Civil Rights Act, flower children growing their hair long and practicing free love, USA-funded IRA blowing up innocent civilians on the streets and in the pubs of Great Britain, Napalm bombs being dropped on the lush and carpeted fields of Vietnam, a youth-driven cultural revolution in Swinging London, police using tear gas and billy-clubs to break up protests in Chicago, Mods and Rockers battling on Brighton Beach, Native Americans given the right to vote in their own country, the United Kingdom abolishing the death penalty, and the charismatic Argentinean Marxist revolutionary Che Guevara. It’s all in Jimi’s absurd and delirious guitar riffs.
Karl Wiggins (Wrong Planet - Searching for your Tribe)
The problem with most people, he felt, is that they build artificial walls around subjects and ideas. The real thinker sees the connections, grasps the essence of the life force operating in every individual instance. Why should any individual stop at poetry, or find art unrelated to science, or narrow his or her intellectual interests? The mind was designed to connect things, like a loom that knits together all of the threads of a fabric. If life exists as an organic whole and cannot be separated into parts without losing a sense of the whole, then thinking should make itself equal to the whole.
Robert Greene (Mastery)
Why is it 'housewife'? What would I call myself if we lived in a hotel? Nobody ever puts down just 'wife,' or even just 'mother.' If you haven't got a job, and you don't keep house, then you aren't anything. apparently. I wish I was something else. I mean, besides keeping house, I wish I was a designer, for instance. The children would think a lot more of me, if I was a designer. Maybe Tom would, too.
Elisabeth Sanxay Holding (The Blank Wall)
On your record deck, you played the sound of the middle passage, the blackest sound. You wanted the suffering you didn't have, the authority you thought it would bring. It scared you, but you thought of the swagger it would put in your walk, the admiring glances of your friends. Then came the terror when real darkness first seeped through the walls of your bedroom, the walls designed to keep you safe and dreaming. And finally your rising sense of shame when you admitted to yourself that you were relieved the walls were there. The shame of knowing that you would do nothing, that you would allow it all to carry on.
Hari Kunzru (White Tears)
There’s not one positive thing about being broke. The worst of it is the day-to-day grind of it all. You never know when that treadmill is finally going to buckle and hurl you into the wall. So you find yourself having to run faster and faster, just to keep from falling off. You can adjust to the hunger and the tiredness for the most part, having to choose between feeding yourself and feeding your electric meter; but one thing you can’t adjust to is the nagging anxiety. Whoever designed this loathsome system must think we’re all living these wonderful lives where money grows in the palms of our hands. There’s never any reassurance that everything is going to be okay; a promise that tomorrow will be slightly more bearable than today. Every minute of your life is consumed by a relentless feeling that time will only ever lead you to the worst possible outcome. And why—when you haven’t eaten a decent meal in two weeks and you’ve spent the last four days lying on a mattress just to conserve energy— should you believe any differently?
Rupert Dreyfus (B R O K E)
Fundamentalism therefore reveals a fissure in society, which is polarized between those who enjoy secular culture and those who regard it with dread. As time passes, the two camps become increasingly unable to understand one another. Fundamentalism thus begins as an internal dispute, with liberalizers or secularists within one’s own culture or nation. In the first instance, for example, Muslim fundamentalists will often oppose their fellow countrymen or fellow Muslims who take a more positive view of modernity, rather than such external foes as the West or Israel. Very often, fundamentalists begin by withdrawing from mainstream culture to create an enclave of pure faith (as, for example, within the ultra-Orthodox Jewish communities in Jerusalem or New York). Thence they will sometimes conduct an offensive which can take many forms, designed to bring the mainstream back to the right path and resacralize the world. All fundamentalists feel that they are fighting for survival, and because their backs are to the wall, they can believe that they have to fight their way out of the impasse. In this frame of mind, on rare occasions, some resort to terrorism. The vast majority, however, do not commit acts of violence, but simply try to revive their faith in a more conventional, lawful way.
Karen Armstrong (Islam: A Short History (Modern Library Chronicles))
So many years of being lonely and discounted, no one ever truly seeing me, the person that I really am. The Gabriella I so desperately wanted to be. Yet somehow he broke through the walls and barriers and penetrated my frail, dejected heart. He loves me for all that I am and what I will become, even though it scares us both to death. He accepts the darkest parts of me and doesn't try to change me, in all my shattered complexity. Meeting him has given this facade of my life new meaning. He's given me purpose, strength. He's given me love. Dorian has given me everything and, in turn, is everything to me. Designed by the Divine Power especially for me.
S.L. Jennings (Dark Light (Dark Light, #1))
The ”Dean of science fiction writers” Robert A. Heinlein once said: “A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyse a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialisation is for insects.
Neil Hawkesford (A Foolish Odyssey: An Inspirational Story Of Conformity, Awakening and Escape (A Foolish Trilogy Book 2))
What?” Damon shouted from inside the room. We all stopped, looking at each other. “It’s a boy?” he blurted out. “Are you sure?” We leaned in, and I folded my lips between my teeth to contain the laughter. A baby cried, there was some shuffling, and then we heard Damon’s playful little growl. “Ugh, what am I going to do with you?” “Damon!” Winter growled. “I’m going to kill you. You better love him. You do, right?” There was a pause, and I met Alex’s wide eyes with my own. Drama… Damon and I ran the construction business together now, him building and me designing, so I’d gotten used to his…brand of humor. Finally, he answered. “Y–yeah,” he stuttered, not sounding convincing. “Yeah, of course, baby. But like, are you sure there aren’t any more in there or something?” “Damon!” Will collapsed against the wall, shaking with laughter, and I shook my head, reaching over and taking the squirming Ivar out of Rika’s arms.
Penelope Douglas (Nightfall (Devil's Night, #4))
He hated the blue platter his mother served from, and the salt and pepper shakers, which were glass with red tops, and he hated the silverware designed in flowers, some pieces scratched almost beyond recognition. He even hated the round table and the succession of tablecloths, one pale blue with yellow leaves, one white with red and orange squares. He hated the uncomfortable chairs, particularly his own, where he sat squirming, and he hated his family and the way they talked.
Shirley Jackson (The Road Through the Wall)
Larry Wall, who created the programming language Perl, once said, “When they first built the University of California at Irvine they just put the buildings in. They did not put any sidewalks; they just planted grass. The next year, they came back and put the sidewalks where the trails were in the grass. Perl is just that kind of language. It is not designed from first principles. Perl is those sidewalks in the grass.” Hashtags, @replies, and retweets emerged in just that way.
Biz Stone (Things a Little Bird Told Me: Confessions of the Creative Mind)
Ask one question: Would a Millennial (anyone born between 1980 and 2000) look forward to working here? Try this exercise. Take a group of people into a large, open room with tackable wall surfaces or whiteboards. Give them large sheets of paper, sticky notes, markers, and tape. Ask them to create a concept for a work environment (don't say “office”) using the following words: high-energy, collaborative, healthy, productive, engaging, innovative, interactive, high-tech, and regenerating.
Rex Miller Sr.
The boy Weneluke wove hand patterns with a string, working skillfully into abstract designs on all eight fingers: one of these represented a man and woman facing each other, and, by manipulating each sex, he arrived at a nice parody of copulation.
Peter Matthiessen (Under the Mountain Wall: A Chronicle of Two Seasons in Stone Age New Guinea)
Abstract design is all right—for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce—render emotional-his audience, each time. These laddies who won’t deign to do that—and perhaps can’t—of course lost the public. If they hadn’t lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for ‘art’ that leaves him unmoved—if he does pay for it, the money has to be conned out of him, by taxes or such.” “You
Robert A. Heinlein (Stranger in a Strange Land)
Polyphiloprogenitive The sapient sutlers of the Lord Drift across the window-panes. In the beginning was the Word. In the beginning was the Word. Superfetation of to en, And at the mensual turn of time Produced enervate Origen. A painter of the Umbrian school Designed upon a gesso ground The nimbus of the Baptized God. The wilderness is cracked and browned But through the water pale and thin Still shine the unoffending feet And there above the painter set The Father and the Paraclete. . . . . . . The sable presbyters approach The avenue of penitence; The young are red and pustular Clutching piaculative pence. Under the penitential gates Sustained by staring Seraphim Where the souls of the devout Burn invisible and dim. Along the garden-wall the bees With hairy bellies pass between The staminate and pistilate, Blest office of the epicene. Sweeney shifts from ham to ham Stirring the water in his bath. The masters of the subtle schools Are controversial, polymath.
T.S. Eliot
No season lives here. This space has quite successfully shut out any such interference. The cunning designer saw to it that there is not even a mirror in which the reader might contemplate his own appearance or anxiously search for the marks of age. The climate is grammatical. Nothing here but books, as if I were swaddled in them, as if the porous walls of books were by now almost a second skin. Or as if they provided a padding like the walls of madhouses, a cushion constructed of the language of the dead.
Geoffrey O'Brien (The Browser's Ecstasy: A Meditation on Reading)
One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.
Thomas L. Friedman (Thank You for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations)
That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.
Laini Taylor (Lips Touch: Three Times)
Everything feels like a badly designed computer game in which you fall into a pit that doesn't kill you but from which there's absolutely no escape. For a while you kick against the walls, but the walls get higher no matter how hard and fast you press all the buttons you can find. And sooner or later you'll realize there's one you haven't tried yet. The power switch.[...] So she began reaching for the button herself, but she never tried quite hard enough, because some part of her was still alive. She didn't want to throw the machine away. She just wanted to start again.
Michael Marshall Smith (One of Us)
For one who sets himself to look at all earnestly, at all in purpose toward truth, into the living eyes of a human life: what is it he there beholds that so freezes and abashes his ambitious heart? What is it, profound behind the outward windows of each one of you, beneath touch even of your own suspecting, drawn tightly back at bay against the backward wall and blackness of its prison cave, so that the eyes alone shine of their own angry glory, but the eyes of a trapped wild animal, or of a furious angel nailed to the ground by his wings, or however else one may faintly designate the human 'soul,' that which is angry, that which is wild, that which is untamable, that which is healthful and holy, that which is competent of all advantaging within hope of human dream, that which most marvelous and most precious to our knowledge and most extremely advanced upon futurity of all flowerings within the scope of creation is of all these the least destructible, the least corruptible, the most defenseless, the most easily and multitudinously wounded, frustrated, prisoned, and nailed into a cheating of itself: so situated in the universe that those three hours upon the cross are but a noble and too trivial an emblem how in each individual among most of the two billion now alive and in each successive instant of the existence of each existence not only human being but in him the tallest and most sanguine hope of godhead is in a billionate choiring and drone of pain of generations upon generations unceasingly crucified and is bringing forth crucifixions into their necessities and is each in the most casual of his life so measurelessly discredited, harmed, insulted, poisoned, cheated, as not all the wrath, compassion, intelligence, power of rectification in all the reach of the future shall in the least expiate or make one ounce more light: how, looking thus into your eyes and seeing thus, how each of you is a creature which has never in all time existed before and which shall never in all time exist again and which is not quite like any other and which has the grand stature and natural warmth of every other and whose existence is all measured upon a still mad and incurable time; how am I to speak of you as 'tenant' 'farmers,' as 'representatives' of your 'class,' as social integers in a criminal economy, or as individuals, fathers, wives, sons, daughters, and as my friends and as I 'know' you?
James Agee (Let Us Now Praise Famous Men)
Melissa popped open the clattery little Rotring tin. Pencils, putty rubber, scalpel. She sharpened a 3B, letting the curly shavings fall into the wicker bin, then paused for a few seconds, finding a little place of stillness before starting to draw the flowers. Art didn't count at school because it didn't get you into law or banking or medicine. It was just a fluffy thing stuck to the side of Design and Technology, a free A level for kids who could do it, like a second language, but she loved charcoal and really good gouache, she loved rolling sticky black ink on to a lino plate and heaving on the big black arm of the Cope press, the quiet and those big white walls.
Mark Haddon (The Red House)
The rabbits and chickens lived in the courtyard space at the far end of the big two-story guardhouse. Everything wooden, the fences, the wall, the hutches on their stilts, was painted dark green, a flat ugly color against the complex natural greens of the cactus and the hedges and the trees. Trotsky put on his work gloves—he was very finicky about his hands—and got the rabbits out of their hutches, looking over each one for ticks or skin problems or signs of hairballs. He had read up on rabbit food and designed their diets himself, and learned about their diseases and habits, as absorbed in this task, as precise and methodical, as he had been in building the Red Army.
Cecelia Holland (The Death of Trotsky (Kindle Single))
She begins to strip like a roommate and climb into bed. They have fallen asleep. Dean wakes first, in the early afternoon. He unfastens her stockings and slowly rolls them off. Her skirt is next and then her underpants. She opens her eyes. The garter belt he leaves on, to confirm her nakedness. He rests his head there. Her hand touches his chest and begins to fall in excruciating slow designs. He lies still as a dog beneath it, still as an idiot. The next morning she is recovered. His prick is hard. She takes it in her hand. They always sleep naked. Their flesh is innocent and warm. In the end she is arranged across the pillows, a ritual she accepts without a word. It is half an hour before they fall apart, spent, and call for breakfast. She eats both her rolls and one of his. “There was a lot,” she says. She glistens with it. The inside of her thighs is wet. “How long does it take to make again?” she asks. Dean tries to think. He is remembering biology. “Two or three days,” he guesses. “Non, non!” she cries. That is not what she meant. She begins to make him hard again. In a few minutes he rolls her over and puts it in as if the intermission were ended. This time she is wild. The great bed begins creaking. Her breath becomes short. Dean has to brace his hands on the wall. He hooks his knees outside her legs and drives himself deeper. “Oh,” she breathes, “that’s the best.
James Salter (A Sport and a Pastime)
It’s uncomfortable, and maybe even frightening, for many of us to consider having porous borders, especially in a time when terrorism abounds around the globe. Yet Christians are not called to value the false sense of security created by closed borders and walls. We are called to trust in God and to love our neighbors, particularly our neighbors in need. Closed borders in North America are not directed toward an existing threat of invasion by a foreign army but toward poor economic immigrants seeking opportunities and toward refugees fleeing for their very lives. Hardened borders are designed to prevent the movement of the world’s poor—a people whom God says Christians should care for and not harm.
Karen González (The God Who Sees: Immigrants, the Bible, and the Journey to Belong)
Modernism was based on a kind of arrogance ... and led designers to believe that if they thought of something cool, it must be considered universally cool. That is, if something's worth doing, it's worth driving into the ground to the exclusion of all other approaches. Look at the use of parentheses in Lisp or the use of white space as syntax in Python. Or the mandatory use of objects in many languages, including Java. All of these are ways of taking freedom away from the end user "for their own good". They're just versions of Orwell's Newspeak, in which it's impossible to think bad thoughts. We escaped from the fashion police in the 1970s, but many programmers are still slaves of the cyber police.
Larry Wall
This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.
Stephanie Garber (Legendary (Caraval, #2))
We need to be raising our children for LIFE. Life is not a small system within 4 walls. Life is vast and wild. And once our children are out of school, that's where life really begins. Too many people are raising their children to conform to systems. And when they start life they will continue to simply conform to whatever system they find themselves inside of. And those are exactly the kinds of people who will never change the world. The only types of people who change this world, are the ones who think on their own, design their own lives, and create their own systems. Everybody else is just there for the train ride. Very few people are designing their own train tracks. Raise railway designers, stop raising commuters.
C. JoyBell C.
rooms. They were upstairs. At the back of the shop a spiral staircase led up to a balcony overlooking the dresses below. A dozen oak doors lined the wall behind the railing. I entered a room as big as my entire apartment and hung the gown on the door hook. The walls were a pale gold with a design of darker leaves in each corner. Beyond a jungle of mirrors, a plush couch
Angela Roquet (Graveyard Shift (Lana Harvey, Reapers Inc., #1))
Her uneasy gaze skittered along the length of his arms, which were exposed by his rolled-up shirtsleeves... and stopped at the astonishing sight of a design that had been inked onto his right forearm. It was a small black horse with wings. Noticing her mesmerized stare, Rohan lowered his arm to give her a better view. "An Irish symbol," he murmured. "A nightmare horse, called a pooka." The absurd-sounding word brought a faint smile to Daisy's lips. "Does it wash off?" she asked hesitantly. He shook his head, his lashes half lowering over his remarkable eyes. "Is a pooka like the Pegasus of the Greek myths?" Daisy asked, flattening herself as close to the wall as possible. Rohan glanced down her body, taking a kind of leisurely inventory that no man ever had before. "No. He's far more dangerous. He has eyes of yellow fire, a stride that clears mountains, and he speaks in a human voice as deep as a cave. At midnight, he may stop in front of your house and call out your name if he wants to take you for a ride. If you go with him, he'll fly you across earth and oceans... and if you ever return, your life will never be the same.
Lisa Kleypas (Devil in Winter (Wallflowers, #3))
You are the TEACHER. Some people are so stuck on what you did in the past, that they don't realize that you forgave yourself, matured, and graduated from what happened. Yet here they are stuck on that memory..wondering how you were able to move on. Time waits for no one and life keeps going. When haters try to remind you of your past, starve their attention with silence..Just realize that you don't have time to supervise adults. You got things to do and individuals to mentor. What was designed to crush you just strengthened your walk, put confidence in your talk, and encouraged you to be content with You. Their presence or opinion is only entertainment in the bleachers, tolerated decorations on the wall, and the uncelebrated clown at your events. Remember you are the teacher and they are the student...take charge of your classroom!!
Kendricks Fields (The Table Between Us)
I looked up at the ivory towers above us all. Nowhere else equals the feral design of this city. Tall skyscrapers that act as gorges hollowing out between flat cement dancing into narrow alleyways like bottomless pits. Building walls rusted the color of blood. Sometimes when you look down the horizon from afar the city looks wider than it is, like a thin field of magical lights gleaming with the hopes of children and idealists; a light on at midnight in one of the penthouses or the changing hues of the Empire State Building. Most of the time though, the city is covered with a layer of honking cars and greed, sirens and the war cry of solicitors, all full of brambles and impenetrable conscience; garbage, steaming manholes, and heat waves twirling smog and pollution through your lungs like mirages as you walk breathlessly through a boiling desert.
Bruce Crown (How Dim the Promised Land)
Those who live in retirement, whose lives have fallen amid the seclusion of schools or of other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world. Unaccountably, perhaps, and close upon some space of unusually frequent intercourse—some congeries of rather exciting little circumstances, whose natural sequel would rather seem to be the quickening than the suspension of communication—there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank; alike entire and unexplained. The letter, the message once frequent, are cut off; the visit, formerly periodical, ceases to occur; the book, paper, or other token that indicated remembrance, comes no more. Always there are excellent reasons for these lapses, if the hermit but knew them. Though he is stagnant in his cell, his connections without are whirling in the very vortex of life. That void interval which passes for him so slowly that the very clocks seem at a stand, and the wingless hours plod by in the likeness of tired tramps prone to rest at milestones—that same interval, perhaps, teems with events, and pants with hurry for his friends. The hermit—if he be a sensible hermit—will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter. He will know that Destiny designed him to imitate, on occasion, the dormouse, and he will be conformable: make a tidy ball of himself, creep into a hole of life's wall, and submit decently to the drift which blows in and soon blocks him up, preserving him in ice for the season. Let him say, "It is quite right: it ought to be so, since so it is." And, perhaps, one day his snow-sepulchre will open, spring's softness will return, the sun and south-wind will reach him; the budding of hedges, and carolling of birds and singing of liberated streams will call him to kindly resurrection. Perhaps this may be the case, perhaps not: the frost may get into his heart and never thaw more; when spring comes, a crow or a pie may pick out of the wall only his dormouse-bones. Well, even in that case, all will be right: it is to be supposed he knew from the first he was mortal, and must one day go the way of all flesh, As well soon as syne.
Charlotte Brontë
You know it’s true.” “Even if it is,” I cried, “what does it matter? You could sleep with anybody, Wesley. So what if I walk away? So what if I have feelings for you? I was just a screw to you! You would never actually commit to me. You could never commit to anyone, but especially not to Duffy. You don’t even find me attractive.” “Bullshit,” he growled, his eyes on my face as he moved closer to me again. He was so close. My back was pressed to the wall, and Wesley stood only inches away. It had only been a week, but it felt like ages since we’d been in this kind of proximity. A shiver ran up my spine as I remembered the way his hands felt on me. The way he’d always made me feel wanted, even if he had called me the Duff. Did he? Did he find me attractive despite the nickname? How? Why? “Then why would you call me that?” I whispered. “Do you know how much it hurts? Every time you call me Duffy, do you know how shitty it makes me feel?” Wesley looked surprised. “What?” “Every time you call me that,” I said, “you’re telling me how little you think of me. How ugly I am. God, how can you possibly find me attractive when you put me down all the time.” I hissed the last words through gritted teeth. “I didn’t-” His eyes fell, staring at his shoes for a moment. I could tell he felt guilty. “Bianca, I’m sorry.” He looked into my eyes again. “I didn’t mean-” His hand reached out to touch me. “Don’t,” I snapped, shrugging away from him. I slid to the side and stepped away from the wall. I wasn’t going to be cornered. I wasn’t going to let him have the power here. “Just stop, Wesley.” It didn’t matter if some part of him found me attractive. That didn’t change things. I was just another girl he’d slept with. One among many. “I didn’t mean anything to you,” I told him. “Then why am I here?” he demanded, turning to face me again. “Why the hell am I here, Bianca?
Kody Keplinger (The DUFF: Designated Ugly Fat Friend (Hamilton High, #1))
Time: 0529:45. The firing circuit closed; the X-unit discharged; the detonators at thirty-two detonation points simultaneously fired; they ignited the outer lens shells of Composition B; the detonation waves separately bulged, encountered inclusions of Baratol, slowed, curved, turned inside out, merged to a common inward-driving sphere; the spherical detonation wave crossed into the second shell of solid fast Composition B and accelerated; hit the wall of dense uranium tamper and became a shock wave and squeezed, liquefying, moving through; hit the nickel plating of the plutonium core and squeezed, the small sphere shrinking, collapsing into itself, becoming an eyeball; the shock wave reaching the tiny initiator at the center and swirling through its designed irregularities to mix its beryllium and polonium; polonium alphas kicking neutrons free from scant atoms of beryllium: one, two, seven, nine, hardly more neutrons drilling into the surrounding plutonium to start the chain reaction.
Richard Rhodes (The Making of the Atomic Bomb: 25th Anniversary Edition)
Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.
Jimmy McDonough (Shakey: Neil Young's Biography)
Obedience is freedom. Better to follow the Master’s plan than to do what you weren’t wired to do—master yourself. It is true that the thing that you and I most need to be rescued from is us! The greatest danger that we face is the danger that we are to ourselves. Who we think we are is a delusion and what we all tend to want is a disaster. Put together, they lead to only one place—death. If you’re a parent, you see it in your children. It didn’t take long for you to realize that you are parenting a little self-sovereign, who thinks at the deepest level that he needs no authority in his life but himself. Even if he cannot yet walk or speak, he rejects your wisdom and rebels against your authority. He has no idea what is good or bad to eat, but he fights your every effort to put into his mouth something that he has decided he doesn’t want. As he grows, he has little ability to comprehend the danger of the electric wall outlet, but he tries to stick his fingers in it precisely because you have instructed him not to. He wants to exercise complete control over his sleep, diet, and activities. He believes it is his right to rule his life, so he fights your attempts to bring him under submission to your loving authority. Not only does your little one resist your attempts to bring him under your authority, he tries to exercise authority over you. He is quick to tell you what to do and does not fail to let you know when you have done something that he does not like. He celebrates you when you submit to his desires and finds ways to punish you when you fail to submit to his demands. Now, here’s what you have to understand: when you’re at the end of a very long parenting day, when your children seemed to conspire together to be particularly rebellious, and you’re sitting on your bed exhausted and frustrated, you need to remember that you are more like your children than unlike them. We all want to rule our worlds. Each of us has times when we see authority as something that ends freedom rather than gives it. Each of us wants God to sign the bottom of our personal wish list, and if he does, we celebrate his goodness. But if he doesn’t, we begin to wonder if it’s worth following him at all. Like our children, each of us is on a quest to be and to do what we were not designed by our Creator to be or to do. So grace comes to decimate our delusions of self-sufficiency. Grace works to destroy our dangerous hope for autonomy. Grace helps to make us reach out for what we really need and submit to the wisdom of the Giver. Yes, it’s true, grace rescues us from us.
Paul David Tripp (New Morning Mercies: A Daily Gospel Devotional)
A Nasrudin 'joke' may at first seem unfunny, or pointless, but will after study change and begin to reveal itself: you have uncovered the first level of meaning, and will soon observe your thought patterns shift as you watch them; you will have made the first crack in the wall of assumptions, the conditioned thinking (designated 'The Old Villain') which imprisons each and every one of us, the worst of which is to think that the visible world is all there is, that a man's or a mouse's view of life is the true one.
Doris Lessing (Time Bites: Views and Reviews)
When Dad wasn’t telling us about all the amazing things he had already done, he was telling us about the wondrous things he was going to do. Like build the Glass Castle. All of Dad’s engineering skills and mathematical genius were coming together in one special project: a great big house he was going to build for us in the desert. It would have a glass ceiling and thick glass walls and even a glass staircase. The Glass Castle would have solar cells on the top that would catch the sun’s rays and convert them into electricity for heating and cooling and running all the appliances. It would even have its own water-purification system. Dad had worked out the architecture and the floor plans and most of the mathematical calculations. He carried around the blueprints for the Glass Castle wherever we went, and sometimes he’d pull them out and let us work on the design for our rooms. All we had to do was find gold, Dad said, and we were on the verge of that. Once he finished the Prospector and we struck it rich, he’d start work on our Glass Castle.
Jeannette Walls (The Glass Castle)
The attack was designed as a show of overwhelming strength for which the audience was not the already conquered people of Bukhara, but the still distant army and people of Samarkand, the next city on his march. The Mongol invaders rolled up their newly constructed siege engines—catapults, trebuchets, and mangonels that hurled not only stones and fire, as besieging armies had done for centuries, but also pots of burning liquids, exploding devices, and incendiary materials. They maneuvered immense crossbows mounted on wheels, and great teams of men pushed in portable towers with retractable ladders from which they could shoot down at the defenders of the walls. At the same time that they attacked through the air, miners went to work digging into the earth to undermine the walls by sapping. During this awesome display of technological prowess in the air, on the land, and beneath the earth, Genghis Khan heightened the psychological tension by forcing prisoners, in some cases the captured comrades of the men still in the citadel, to rush forward until their bodies filled the moat and made live ramparts over which other prisoners pushed the engines of war.
Jack Weatherford (Genghis Khan and the Making of the Modern World)
His hair was mussed, and his teeth were very white in his swarthy, dust-streaked face. With his autocratic facade stripped away, and his eyes sparkling with enjoyment, his grin was so unexpectedly engaging that Lillian experienced a curious melting sensation inside. Hanging over him, she felt her own lips curving in a reluctant smile. A loose lock of her hair dangled free of its tether, sliding silkily over his jaw. “What’s a trebuchet?” she asked. “A catapult. I have a friend who has a keen interest in medieval weaponry. He…” Westcliff hesitated, a new tension seeming to spread through his taut body as he lay beneath her. “He recently built a trebuchet using an ancient design…and enlisted me to help fire it…” Lillian was entertained by the idea that the normally reserved Westcliff was capable of such boyish antics. Realizing that she was straddling him, she colored and began to wriggle off him. “Your aim was off?” she asked, striving to sound casual. “The owner of the stone wall we demolished seemed to think so.” The earl caught his breath sharply as her body slid away from his, and remained sitting on the ground even after she had gotten to her feet.
Lisa Kleypas (It Happened One Autumn (Wallflowers, #2))
The Egyptians were by no means the only people of the ancient world to envisage an Afterlife. Indeed, there is an almost universal reluctance to accept that death might be the absolute end of all things. However, they were the only people to believe that the survival of the physical remains of the deceased was a virtual prerequisite for the survival of the spirits or life-force. Two spirits, the Ka and the Ba, would be released from the body at death; the Ka stayed close to the corpse in the tomb while the Ba was free to leave the tomb in the form of a human-headed bird. At the same time a third and entirely different aspect of the soul embarked upon the lengthy journey to the Afterlife. Both the Ka and the Ba, however, needed to be able to return to the body. If the corpse was destroyed these spirits were also destroyed and there could be no further hope of continuing life, although in an emergency they could take up residence in a substitute body such as a statue or even an illustration on the tomb wall. It was this deeply held belief which led to the development of elaborate mortuary rituals, including mummification, which were all designed as a practical means of preserving the body for all eternity.
Joyce A. Tyldesley (Daughters of Isis: Women of Ancient Egypt (Penguin History))
Our house was made of stone, stucco, and clapboard; the newer wings, designed by a big-city architect, had a good deal of glass, and looked out into the Valley, where on good days we could see for many miles while on humid hazy days we could see barely beyond the fence that marked the edge of our property. Father, however, preferred the roof: In his white, light-woolen three-piece suit, white fedora cocked back on his head, for luck, he spent many of his waking hours on the highest peak of the highest roof of the house, observing, through binoculars, the amazing progress of construction in the Valley - for overnight, it seemed, there appeared roads, expressways, sewers, drainage pipes, "planned" communities with such names as Whispering Glades, Murmuring Oaks, Pheasant Run, Deer Willow, all of them walled to keep out intruders, and, yet more astonishing, towerlike buildings of aluminum and glass and steel and brick, buildings whose windows shone and winked like mirrors, splendid in sunshine like pillars of flame; such beauty where once there had been mere earth and sky, it caught at your throat like a great bird's talons, taking your breath away. 'The ways of beauty are as a honeycomb,' Father told us, and none of us could determine, staring at his slow moving lips, whether the truth he spoke was a happy truth or not, whether even it was truth. ("Family")
Joyce Carol Oates (American Fantastic Tales: Terror and the Uncanny from the 1940s to Now)
His house was certainly peculiar, and since this was the first thing that Fenchurch and Arthur had encountered it would help to know what it was like. It was like this: It was inside out. Actually inside out, to the extent that they had had to park on the carpet. All along what one would normally call the outer wall, which was decorated in a tasteful interior-designed pink, were bookshelves, also a couple of those odd three-legged tables with semicircular tops which stand in such a way as to suggest that someone just dropped the wall straight through them, and pictures which were clearly designed to soothe. Where it got really odd was the roof. It folded back on itself like something that M. C. Escher, had he been given to hard nights on the town, which it is no part of this narrative’s purpose to suggest was the case, though it is sometimes hard, looking at his pictures, particularly the one with all the awkward steps, not to wonder, might have dreamed up after having been on one, for the little chandeliers which should have been hanging inside were on the outside pointing up. Confusing. The sign above the front door said “Come Outside,” and so, nervously, they had. Inside, of course, was where the Outside was. Rough brickwork, nicely done pointing, guttering in good repair, a garden path, a couple of small trees, some rooms leading off. And the inner walls stretched down, folded curiously, and opened at the end as if, by an optical illusion which would have had M. C. Escher frowning and wondering how it was done, to enclose the Pacific Ocean itself. “Hello,” said John Watson, Wonko the Sane. Good, they thought to themselves, “hello” is something we can cope with. “Hello,” they said, and all, surprisingly, was smiles.
Douglas Adams (So Long, and Thanks for All the Fish (The Hitchhiker's Guide to the Galaxy, #4))
Where are we going?” Arin stared out the carriage window at the trees of the Garden District, their bare branches slim and violet in the dusk. Kestrel fidgeted with her skirts. “Arin. You know that we are going to Irex’s party.” “Yes,” he said shortly, but didn’t tear his gaze away from the passing trees. Better he look at them than at her. The velvet dress was a deep red, the skirts deliberately crushed in a pattern highlighted by golden embroidered leaves that twined up toward the bodice, where they interlaced and would catch the light. Conspicuous. The dress made her conspicuous. Kestrel sank into her corner of the carriage, feeling her dagger dig into her side. This evening at Irex’s wouldn’t be easy. Arin seemed to think the same. He held himself so rigidly on the carriage seat across from her that he looked wooden. Tension seeped into the air between them. When torches lit the darkness outside the windows and the driver lined up behind other carriage waiting to access the pathway to Irex’s villa, Kestrel said, “Perhaps we should return home.” “No,” said Arin. “I want to see the house.” He opened the door. They were silent as they walked up the path to the villa. Though not as large as Kestrel’s, it was also a former Herrani home: elegant, prettily designed. Arin fell behind Kestrel, as was expected of slaves, but this made her uneasy. It was unsettling to feel him close and not see his face. They entered the house with the other guests and made their way into the receiving room, which was lined with Valorian weapons. “They don’t belong there,” she heard Arin say. She turned to see him staring in shock at the walls. “Irex is an exceptional fighter,” said Kestrel. “And not very modest.” Arin said nothing, so neither did Kestrel.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
Don’t ask where I got this idea, because I couldn’t tell you, but I knew precisely where we were going, and I was sure that this might officially make me a slut. But when we reached the door of the unused janitor’s closet, I had no feeling of shame… not yet, at least. I grasped the doorknob and noticed Wesley’s eyes narrow with suspicion. I yanked open the door, checked that no one was watching, and gestured for him to go inside. Wesley walked into the tiny closet, and I followed, shutting the door stealthily behind us. “Something tells me this isn’t about The Scarlet Letter,” he said, and even in the dark I knew he was grinning. “Be quiet.” This time he met me halfway. His hands tangled in my hair and mine clawed at his forearms. We kissed violently, and my back slammed against the wall. I heard a mop-or maybe a broom-topple over, but my brain barely registered the sound as one of Wesley’s hands moved to my hip, holding me closer to him. He was so much taller than me that I had to tilt my head back almost all the way to meet his kiss. His lips pressed hard against mine, and I let my hands explore his biceps. The smell of his cologne, rather than the lonely, stale air of the closet, filled my senses. We wrestled in the darkness for a while before I felt his hand insistently lifting the hem of my T-shirt. With a gasp, I pulled away from the kiss and grabbed his wrist. “No… not now.” “Then when?” Wesley asked in my ear, still pinning me to the wall. He didn’t even sound winded. I, on the other hand, struggled to catch my breath. “Later.” “Be more specific.” I squirmed out of his arms and moved toward the door, nearly tripping over what felt like a bucket. I raised a hand to flatten my wavy hair and reached for the doorknob. “Tonight. I’ll be at your house around seven. Okay?” But before he could answer, I slipped out of the closet and hurried down the hall, hoping it didn’t look like a walk of shame.
Kody Keplinger (The DUFF: Designated Ugly Fat Friend (Hamilton High, #1))
Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
THREE HUNDRED YEARS AFTER JESUS DIED ON A ROMAN cross, the emperor Theodosius made Christianity the official religion of the Roman Empire. Christians, who had once been persecuted by the empire, became the empire, and those who had once denied the sword took up the sword against their neighbors. Pagan temples were destroyed, their patrons forced to convert to Christianity or die. Christians whose ancestors had been martyred in gladiatorial combat now attended the games, cheering on the bloodshed. Lord, have mercy. Christ, have mercy. On July 15, 1099, Christian crusaders lay siege to Jerusalem, then occupied by Fatimite Arabs. They found a breach in the wall and took the city. Declaring “God wills it!” they killed every defender in their path and dashed the bodies of helpless babies against rocks. When they came upon a synagogue where many of the city’s Jews had taken refuge, they set fire to the building and burned the people inside alive. An eyewitness reported that at the Porch of Solomon, horses waded through blood. Lord, have mercy. Christ, have mercy. Through a series of centuries-long inquisitions that swept across Europe, hundreds of thousands of people, many of them women accused of witchcraft, were tortured by religious leaders charged with protecting the church from heresy. Their instruments of torture, designed to slowly inflict pain by dismembering and dislocating the body, earned nicknames like the Breast Ripper, the Head Crusher, and the Judas Chair. Many were inscribed with the phrase Soli Deo Gloria, “Glory be only to God.” Lord, have mercy. Christ, have mercy. In a book entitled On Jews and Their Lies, reformer Martin Luther encouraged civic leaders to burn down Jewish synagogues, expel the Jewish people from their lands, and murder those who continued to practice their faith within Christian territory. “The rulers must act like a good physician who when gangrene has set in proceeds without mercy to cut, saw, and burn flesh, veins, bone, and marrow,” he wrote. Luther’s writings were later used by German officials as religious justification of the Holocaust. Lord, have mercy. Christ, have mercy.
Rachel Held Evans (Searching for Sunday: Loving, Leaving, and Finding the Church)
The stranger drew the curtains round the bed, took up the light, and inspected the apartment. The walls of both rooms were hung with drawings of masterly excellence. A portfolio was filled with sketches of equal skill,—but these last were mostly subjects that appalled the eye and revolted the taste: they displayed the human figure in every variety of suffering,—the rack, the wheel, the gibbet; all that cruelty has invented to sharpen the pangs of death seemed yet more dreadful from the passionate gusto and earnest force of the designer. And some of the countenances of those thus delineated were sufficiently removed from the ideal to show that they were portraits; in a large, bold, irregular hand was written beneath these drawings, “The Future of the Aristocrats.” In a corner of the room, and close by an old bureau, was a small bundle, over which, as if to hide it, a cloak was thrown carelessly. Several shelves were filled with books; these were almost entirely the works of the philosophers of the time,—the philosophers of the material school, especially the Encyclopedistes, whom Robespierre afterwards so singularly attacked when the coward deemed it unsafe to leave his reign without a God.
Edward Bulwer-Lytton (Zanoni Book One: The Musician: The Magical Antiquarian Curiosity Shoppe, A Weiser Books Collection)
Beyond a fence, they came to the swimming pool, which spilled over into a series of waterfalls and smaller rocky pools. The area was planted with huge ferns. “Isn’t this extraordinary?” Ed Regis said. “Especially on a misty day, these plants really contribute to the prehistoric atmosphere. These are authentic Jurassic ferns, of course.” Ellie paused to look more closely at the ferns. Yes, it was just as he said: Serenna veriformans, a plant found abundantly in fossils more than two hundred million years old, now common only in the wetlands of Brazil and Colombia. But whoever had decided to place this particular fern at poolside obviously didn’t know that the spores of veriformans contained a deadly beta-carboline alkaloid. Even touching the attractive green fronds could make you sick, and if a child were to take a mouthful, he would almost certainly die—the toxin was fifty times more poisonous than oleander. People were so naïve about plants, Ellie thought. They just chose plants for appearance, as they would choose a picture for the wall. It never occurred to them that plants were actually living things, busily performing all the living functions of respiration, ingestion, excretion, reproduction—and defense. But Ellie knew that, in the earth’s history, plants had evolved as competitively as animals, and in some ways more fiercely. The poison in Serenna veriformans was a minor example of the elaborate chemical arsenal of weapons that plants had evolved. There were terpenes, which plants spread to poison the soil around them and inhibit competitors; alkaloids, which made them unpalatable to insects and predators (and children); and pheromones, used for communication. When a Douglas fir tree was attacked by beetles, it produced an anti-feedant chemical—and so did other Douglas firs in distant parts of the forest. It happened in response to a warning alleochemical secreted by the trees that were under attack. People who imagined that life on earth consisted of animals moving against a green background seriously misunderstood what they were seeing. That green background was busily alive. Plants grew, moved, twisted, and turned, fighting for the sun; and they interacted continuously with animals—discouraging some with bark and thorns; poisoning others; and feeding still others to advance their own reproduction, to spread their pollen and seeds. It was a complex, dynamic process which she never ceased to find fascinating. And which she knew most people simply didn’t understand. But if planting deadly ferns at poolside was any indication, then it was clear that the designers of Jurassic Park had not been as careful as they should have been.
Michael Crichton (Jurassic Park (Jurassic Park, #1))
In Amsterdam, I took a room in a small hotel located in the Jordann District and after lunch in a café went for a walk in the western parts of the city. In Flaubert’s Alexandria, the exotic had collected around camels, Arabs peacefully fishing and guttural cries. Modern Amsterdam provided different but analogous examples: buildings with elongated pale-pink bricks stuck together with curiously white mortar, long rows of narrow apartment blocks from the early twentieth century, with large ground-floor windows, bicycles parked outside every house, street furniture displaying a certain demographic scruffiness, an absence of ostentatious buildings, straight streets interspersed with small parks…..In one street lines with uniform apartment buildings, I stopped by a red front door and felt an intense longing to spend the rest of my life there. Above me, on the second floor, I could see an apartment with three large windows and no curtains. The walls were painted white and decorated with a single large painting covered with small blue and red dots. There was an oaken desk against a wall, a large bookshelf and an armchair. I wanted the life that this space implied. I wanted a bicycle; I wanted to put my key in that red front door every evening. Why be seduced by something as small as a front door in another country? Why fall in love with a place because it has trams and its people seldom have curtains in their homes? However absurd the intense reactions provoked by such small (and mute) foreign elements my seem, the pattern is at least familiar from our personal lives. My love for the apartment building was based on what I perceived to be its modesty. The building was comfortable but not grand. It suggested a society attracted to the financial mean. There was an honesty in its design. Whereas front doorways in London are prone to ape the look of classical temples, in Amsterdam they accept their status, avoiding pillars and plaster in favor of neat, undecorated brick. The building was modern in the best sense, speaking of order, cleanliness, and light. In the more fugitive, trivial associations of the word exotic, the charm of a foreign place arises from the simple idea of novelty and change-from finding camels where at home there are horses, for example, or unadorned apartment buildings where at home there are pillared ones. But there may be a more profound pleasure as well: we may value foreign elements not only because they are new but because they seem to accord more faithfully with our identity and commitments than anything our homeland can provide. And so it was with my enthusiasms in Amsterdam, which were connected to my dissatisfactions with my own country, including its lack of modernity and aesthetic simplicity, its resistance to urban life and its net-curtained mentality. What we find exotic abroad may be what we hunger for in vain at home.
Alain de Botton (The Art of Travel)
Grabbing my hair and pulling it to the point my skull throbs, I rock back and forth while insanity threatens to destroy my mind completely. Father finally did what Lachlan started. Destroyed my spirit. The angel is gone. The monster has come and killed her. Lachlan Sipping his whiskey, Shon gazes with a bored expression at the one-way mirror as Arson lights the match, grazing the skin of his victim with it as the man convulses in fear. “Show off,” he mutters, and on instinct, I slap the back of his head. He rubs it, spilling the drink. “The fuck? We are wasting time, Lachlan. Tell him to speed up. You know if you let him, he can play for hours.” All in good time, we don’t need just a name. He is saving him for a different kind of information that we write down as Sociopath types furiously on his computer, searching for the location and everything else using FBI databases. “Bingo!” Sociopath mutters, picking up the laptop and showing the screen to me. “It’s seven hours away from New York, in a deserted location in the woods. The land belongs to some guy who is presumed dead and the man accrued the right to build shelters for abused women. They actually live there as a place of new hope or something.” Indeed, the center is advertised as such and has a bunch of stupid reviews about it. Even the approval of a social worker, but then it doesn’t surprise me. Pastor knows how to be convincing. “Kids,” I mutter, fisting my hands. “Most of them probably have kids. He continues to do his fucked-up shit.” And all these years, he has been under my radar. I throw the chair and it bounces off the wall, but no one says anything as they feel the same. “Shon, order a plane. Jaxon—” “Yeah, my brothers will be there with us. But listen, the FBI—” he starts, and I nod. He takes a beat and quickly sends a message to someone on his phone while I bark into the microphone. “Arson, enough with the bullshit. Kill him already.” He is of no use to us anyway. Arson looks at the wall and shrugs. Then pours gas on his victim and lights up the match simultaneously, stepping aside as the man screams and thrashes on the chair, and the smell of burning flesh can be sensed even here. Arson jogs to a hose, splashing water over him. The room is designed security wise for this kind of torture, since fire is one of the first things I taught. After all, I’d learned the hard way how to fight with it. “On the plane, we can adjust the plan. Let’s get moving.” They spring into action as I go to my room to get a specific folder to give to Levi before I go, when Sociopath’s hand stops me, bumping my shoulder. “Is this a suicide mission for you?” he asks, and I smile, although it lacks any humor. My friend knows everything. Instead of answering his question, I grip his shoulder tight, and confide, “Valencia is entrusted to you.” We both know that if I want to destroy Pastor, I have to die with him. This revenge has been twenty-three years in the making, and I never envisioned a different future. This path always leads to death one way or another, and the only reason I valued my life was because I had to kill him. Valencia will be forever free from the evils that destroyed her life. I’ll make sure of it. Once upon a time, there was an angel. Who made the monster’s heart bleed.
V.F. Mason (Lachlan's Protégé: A Billionaire Romance (Dark Protégés Book 1))
Another howl ruptured the quiet, still too far away to be a threat. The Beast Lord, the leader, the alpha male, had to enforce his position as much by will as by physical force. He would have to answer any challenges to his rule, so it was unlikely that he turned into a wolf. A wolf would have little chance against a cat. Wolves hunted in a pack, bleeding their victim and running them into exhaustion, while cats were solitary killing machines, designed to murder swiftly and with deadly precision. No, the Beast Lord would have to be a cat, a jaguar or a leopard. Perhaps a tiger, although all known cases of weretigers occurred in Asia and could be counted without involving toes. I had heard a rumor of the Kodiak of Atlanta, a legend of an enormous, battle-scarred bear roaming the streets in search of Pack criminals. The Pack, like any social organization, had its lawbreakers. The Kodiak was their Executioner. Perhaps his Majesty turned into a bear. Damn. I should have brought some honey. My left leg was tiring. I shifted from foot to foot . . . A low, warning growl froze me in midmove. It came from the dark gaping hole in the building across the street and rolled through the ruins, awakening ancient memories of a time when humans were pathetic, hairless creatures cowering by the weak flame of the first fire and scanning the night with frightened eyes, for it held monstrous hungry killers. My subconscious screamed in panic. I held it in check and cracked my neck, slowly, one side then another. A lean shadow flickered in the corner of my eye. On the left and above me a graceful jaguar stretched on the jutting block of concrete, an elegant statue encased in the liquid metal of moonlight. Homo Panthera onca. The killer who takes its prey in a single bound. Hello, Jim. The jaguar looked at me with amber eyes. Feline lips stretched in a startlingly human smirk. He could laugh if he wanted. He didn’t know what was at stake. Jim turned his head and began washing his paw. My saber firmly in hand, I marched across the street and stepped through the opening. The darkness swallowed me whole. The lingering musky scent of a cat hit me. So, not a bear after all. Where was he? I scanned the building, peering into the gloom. Moonlight filtered through the gaps in the walls, creating a mirage of twilight and complete darkness. I knew he was watching me. Enjoying himself. Diplomacy was never my strong suit and my patience had run dry. I crouched and called out, “Here, kitty, kitty, kitty.” Two golden eyes ignited at the opposite wall. A shape stirred within the darkness and rose, carrying the eyes up and up and up until they towered above me. A single enormous paw moved into the moonlight, disturbing the dust on the filthy floor. Wicked claws shot forth and withdrew. A massive shoulder followed, its gray fur marked by faint smoky stripes. The huge body shifted forward, coming at me, and I lost my balance and fell on my ass into the dirt. Dear God, this wasn’t just a lion. This thing had to be at least five feet at the shoulder. And why was it striped? The colossal cat circled me, half in the light, half in the shadow, the dark mane trembling as he moved. I scrambled to my feet and almost bumped into the gray muzzle. We looked at each other, the lion and I, our gazes level. Then I twisted around and began dusting off my jeans in a most undignified manner. The lion vanished into a dark corner. A whisper of power pulsed through the room, tugging at my senses. If I did not know better, I would say that he had just changed. “Kitty, kitty?” asked a level male voice. I jumped. No shapechanger went from a beast into a human without a nap. Into a midform, yes, but beast-men had trouble talking. “Yeah,” I said. “You’ve caught me unprepared. Next time I’ll bring cream and catnip toys.” “If there is a next time.
Ilona Andrews (Magic Bites (Kate Daniels, #1))