Dexter Best Quotes

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Can I say something?' 'Go on' 'I'm a little drunk' 'Me too. That's okay.' 'Just....I missed you, you know.' 'I missed you too.' 'But so, so much, Dexter. There were so many things I wanted to talk to you about, and you weren't there-' 'same here.' 'I tell you what it is. It's.....When I didn't see you, I thought about you every day, I mean EVERY DAY in some way or another-' 'same here.' '-Even if it was just "I wish Dexter could see this" or "Where's Dexter now?" or "Christ that Dexter, what an idiot", you know what I mean, and seeing you today, well, I thought I'd got you back - my BEST friend. And now all this, the wedding, the baby- I'm so happy for you, Dex, but it feels like I've lost you again.'- -'You know what happens you have a family, your responsibilities change, you lose touch with people' 'It won't be like that, I promise.' 'Do you?' 'Absolutely' 'You swear? No more disappearing?' 'I won't if you won't.' Their lips touched now, mouths pursed tight, their eyes open, both of them stock still. The moment held, a kind of glorious confusion.
David Nicholls (One Day)
Sylvie's sort of pregnant. Well not sort of. She is. Pregnant. Actually pregnant with a baby.' 'Oh Dexter! Do you know the father? I'm kidding! Congratulations, Dex. God, aren't you meant to space your bombshells out a bit. Not just drop them all at once?' She held his face in both hands, looked at it. 'You're getting married?-' 'Yes' -'And you're going to be a father?' 'I know! Fuck me a father!' 'Is that allowed? I mean will they let you?' 'Apparently' 'I think it's wonderful. Fucking hell, Dexter, I turn my back for one minute...!' She hugged him once again her arms high round his neck. She felt drunk, full of affection and a certain sadness too, as if something was coming to an end. She wanted to say something along these lines, but thought it best to do this through a joke. 'Of course you've destroyed any chance I had of future happiness, but I'm delighted for you, really.
David Nicholls (One Day)
I took pride in being the best dressed monster in Dade County.
Jeff Lindsay (Darkly Dreaming Dexter (Dexter, #1))
We don't get to pick our kin. The best we can hope for is to survive them...
Jeff Lindsay (Double Dexter (Dexter, #6))
Happily for me, ninety-nine percent of all human life is spent simply repeating the same old actions, speaking the same tired clichés, moving like a zombie through the same steps of the dance we plodded through yesterday and the day before and the day before. It seems horribly dull and pointless-but it really makes a great deal of sense. After all, if you only have to follow the same path every day, you don't need to think at all. Considering how good humans are at any mental process more complicated than chewing, isn't that the best for everybody?
Jeff Lindsay (Double Dexter (Dexter, #6))
If the worst thing a physicist could say about a statement is that it was “false,” the best thing he could say is that it was “interesting.
Dexter Palmer (Version Control)
I tell you what it is. It's...when I didn't see you, I thought about you every day, I mean every day in some way or another -" "Same here -" "- even if it was just 'I wish Dexter could see this' or 'where's Dexter now?' or 'Christ, that Dexter, what an idiot', you know what I mean, and seeing you today, well, I thought I'd got you back - my best friend. And now all this, the wedding, the baby - I'm so happy for you, Dex. But it feels like I've lost you again.
David Nicholls (One Day)
...in the best tradition of Miami watercraft, most of the other boaters seemed to be trying to kill me. I found that very relaxing. I was right at home. This is my country; these are my people.
Jeff Lindsay (Darkly Dreaming Dexter (Dexter, #1))
I can tell you this. That in the absence of perfect information, I choose to believe in the version of events that would occur in the best of all possible worlds. What that version of events is: that’s your decision. That’s up to you. I can’t decide that for you; I wouldn’t try.
Dexter Palmer (Version Control)
If God created humans with the ability to dictate the direction of history (by imagining future states of the universe and steering its path toward one version or another), then humanity's duty to God was to direct history toward the best of all possible worlds.
Dexter Palmer (Version Control)
But honesty is not always the best policy, no matter what the Boy Scouts may tell you. So I just shook my head at his inane question. “Too soon to tell,” I said.
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
Hunter-gatherers no more live on the knife-edge of survival than wolves or lions or sparrows or rabbits. Man was as well adapted to life on this planet as any other species, and the idea that he lived on the knife-edge of survival is simply biological nonsense. As an omnivore, his dietary range is immense. Thousands of species will go hungry before he does. His intelligence and dexterity enable him to live comfortably in conditions that would utterly defeat any other primate. “Far from scrabbling endlessly and desperately for food, hunter-gatherers are among the best-fed people on earth, and they manage this with only two or three hours a day of what you would call work—which makes them among the most leisured people on earth as well. In his book on stone age economics, Marshall Sahlins described them as ‘the original affluent society.’ And incidentally, predation of man is practically nonexistent. He’s simply not the first choice on any predator’s menu. So you see that your wonderfully horrific vision of your ancestors’ life is just another bit of Mother Culture’s nonsense. If you like, you can confirm all this for yourself in an afternoon at the library.
Daniel Quinn (Ishmael: An Adventure of the Mind and Spirit)
A number of terrible things about falling in love make it not worth the time and the effort. But the worst of these is that we can never truly fall in love with a person, but only what we think that person is - more precisely, we fall in love with an image of a person that we create in our minds based on a few inconsequential traits: hair color; bloodline; timbre of voice; preference in music or literature. We are so quick to make a judgment on first sight, and it is so easy for us to decide that the object of our love is unquestionably perfect. And while people can only be human at best, these same fallible humans are more than capable of imagining each other to be infallible gods. Any relationship we have with another human being is an ongoing process of error correction, altering this image that we see in our mind's eye whenever we lay love-blinded eyes on our beloved. It changes bit by bit until it matches the beloved herself, who is invariably less than perfect, often unworthy of love, and often incapable of giving love. This is why any extended interpersonal relationship other than the most superficial, be it a friendship, a romance, or a tie between father and daughter, must by necessity involve disappointment and pain. When the woman you worship behaves as a human being eventually will, she does not merely disappoint; she commits sacrilege, as if the God we worship were to somehow damn Himself.
Dexter Palmer (The Dream of Perpetual Motion)
But space shrinks when you get old, and things lose their wonder, and the wisest thing to do then is to try your best to sleep.
Dexter Palmer (The Dream of Perpetual Motion)
We want all possible things made actual, the perpetual possibility of perfection, the best of all futures all at once.
Dexter Palmer (The Dream of Perpetual Motion)
Whoever claimed honesty is the best policy, or even a good one, clearly had very limited experience with the real world.
Jeff Lindsay (Dexter Is Dead (Dexter, #8))
I took pride in being the best-dressed monster in Dade County. Yes, certainly, he chopped up that nice Mr. Duarte, but he was so well dressed! Proper clothing for all occasions - by the way, what did one wear to attend an early morning decapitation? A day-old bowling shirt and slacks, naturally. I was à la mode. But aside from this morning's hasty costume, I really was careful. It was one of Harry's lessons: stay neat, dress nicely, avoid attention.
Jeff Lindsay (Darkly Dreaming Dexter (Dexter, #1))
So I wanted to make you a nice French meal,” she said. “Coq au vin.” She said it with her best Bad French accent, caca van, and a very small lightbulb came on in my head. “Caca van?” I said, and I looked at Astor. She nodded. “Poop van,” she said.
Jeff Lindsay (Dexter by Design (Dexter, #4))
It is always at this time, just before he slips into unconsciousness, when the voice comes to him: not as loud and snide and insistent as it once was, but still there, still hounding him from behind, still trying to drive him stumbling forward. Is this the best you can do? Tonight, for the first time in many, many years, Philip chooses not to ignore it: he answers. It is. It really is. Then say it, and shout down the darkness. 'It is," Philip whispers between clenched teeth as Alicia mumbles and stirs in her slumber. 'It is!
Dexter Palmer (Version Control)
Nevertheless she feels a great wave of affection for Dexter Mayhew. In eight years not a day has gone by when she hasn't thought of him. She misses him and she wants him back. I want my best friend back, she thinks, because without him nothing is good and nothing is right.
David Nicholls (One Day)
When I live in the age of miracles," Allan said, "your mother was the greatest miracles of all. Just by standing near me she made me better than I am. she brought out that in me that makes me best. I'd think, I don't deserve her, and then I'd think again and say, wait, yes I do.Because her mere presence made me become someone who deserved her love. Do you see?
Dexter Palmer (The Dream of Perpetual Motion)
These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
Robert Louis Stevenson (Essays in the Art of Writing)
The constant clamor of the booths and barkers served as an exhausting reminder that he had to choose a fate, and that no matter which fate he chose he could be certain that it would not be the best, that in other timelines rendered inaccessible with each spent coin, other versions of himself would be having more fun, or winning golden ribbons, or becoming taller. The thought was unbearable.
Dexter Palmer (The Dream of Perpetual Motion)
There is a certain climax in life, at which, notwithstanding all our freedom, and however much we may have denied all directing reason and goodness in the beautiful chaos of existence, we are once more in great danger of intellectual bondage, and have to face our hardest test. For now the thought of a personal Providence first presents itself before us with its most persuasive force, and has the best of advocates, apparentness, in its favor, now when it is obvious that all and everything that happens to us always turns out for the best. (...) We want to leave the Gods alone and (...) wish to content ourselves with the assumption that our own practical and theoretical skillfulness in explaining and suitably arranging events has now reached its highest point. (...) We do not want either to think too highly of this dexterity of our wisdom, when the wonderful harmony which results from playing on our instrument sometimes surprises us too much: a harmony which sounds too well for us to dare to ascribe it to ourselves. In fact, now and then there is one who plays with us beloved Chance: he leads our hand occasionally, and even the all wisest Providence could not devise any finer music than that of which our foolish hand is then capable.
Friedrich Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
But I cannot accept a vision of You as an engineer who spends His days maintaining the machine of morality. I cannot take the idea of You as an optimizer, introducing evil into human affairs in an attempt to create the best of all possible worlds. I cannot bear this cold mathematician's God who sees all the universe as nothing more than an elaborate problem to be solved. Such a world is a world with no meaning, one in which one history is no more or less preferable to any other.
Dexter Palmer (Version Control)
Axonal remapping in blind or deaf individuals is great, exciting, and moving. It’s cool that your hippocampus expands if you drive a London cab. Ditto about the size and specialization of the auditory cortex in the triangle player in the orchestra. But at the other end, it’s disastrous that trauma enlarges the amygdala and atrophies the hippocampus, crippling those with PTSD. Similarly, expanding the amount of motor cortex devoted to finger dexterity is great in neurosurgeons but
Robert M. Sapolsky (Behave: The Biology of Humans at Our Best and Worst)
And a Rottweiler named Sadie he keeps chained in the backyard pretty much around the clock from the looks of it.” “The goodest girl,” Noah said dreamily. “We’re gonna steal her.” “We’re not stealing her,” Adam said, exasperated. Noah gave Adam a withering glare. “Dexter needs a friend.” Adam snorted. “Dexter needs a doctor to fix his gas problem. You need more friends.” “Dogs are man’s best friend,” Noah countered, pivoting in his lap just enough to look him dead in the eye. “I want that dog.” “You’re not getting the dog,” Adam snapped, eyes immediately going wide when he realized he’d raised his voice. “Ooh,” Zane said under his breath to Felix. “He’s so getting that dog,” Felix muttered
Onley James (Lunatic (Necessary Evils, #6))
But one of the things Dexter is truly good at is learning and following patterns of behavior. I have lived my life among humans, and they all think and feel and act in ways that are completely alien to me—but my survival depends on presenting a perfect imitation of the way they behave. Happily for me, ninety-nine percent of all human life is spent simply repeating the same old actions, speaking the same tired clichés, moving like a zombie through the same steps of the dance we plodded through yesterday and the day before and the day before. It seems horribly dull and pointless—but it really makes a great deal of sense. After all, if you only have to follow the same path every day, you don’t need to think at all. Considering how good humans are at any mental process more complicated than chewing, isn’t that best for everybody? So I learned very young to watch people stumbling through their one or two basic rituals, and then perform the same steps myself with flawless mimicry. This morning that talent served me well, because as I staggered out of bed and into the bathroom, there was absolutely nothing in my head except phlegm, and if I had not learned by rote what I was supposed to do each morning I don’t think I could have done it. The dull ache of a major cold had seeped into my bones and pushed all capacity for thinking out of my brain. But
Jeff Lindsay (Double Dexter (Dexter #6))
Over those 20,000 years humankind moved from hunting mammoth with stone-tipped spears to exploring the solar system with spaceships not thanks to the evolution of more dexterous hands or bigger brains (our brains today seem actually to be smaller). 17 Instead, the crucial factor in our conquest of the world was our ability to connect many humans to one another. 18 Humans nowadays completely dominate the planet not because the individual human is far smarter and more nimble-fingered than the individual chimp or wolf, but because Homo sapiens is the only species on earth capable of co-operating flexibly in large numbers. Intelligence and toolmaking were obviously very important as well. But if humans had not learned to cooperate flexibly in large numbers, our crafty brains and deft hands would still be splitting flint stones rather than uranium atoms. If cooperation is the key, how come the ants and bees did not beat us to the nuclear bomb even though they learned to cooperate en masse millions of years before us? Because their cooperation lacks flexibility. Bees cooperate in very sophisticated ways, but they cannot reinvent their social system overnight. If a hive faces a new threat or a new opportunity, the bees cannot, for example, guillotine the queen and establish a republic. Social mammals such as elephants and chimpanzees cooperate far more flexibly than bees, but they do so only with small numbers of friends and family members. Their cooperation is based on personal acquaintance. If I am a chimpanzee and you are a chimpanzee and I want to cooperate with you, I must know you personally: what kind of chimp are you? Are you a nice chimp? Are you an evil chimp? How can I cooperate with you if I don’t know you? To the best of our knowledge, only Sapiens can cooperate in very flexible ways with countless numbers of strangers. This concrete capability–rather than an eternal soul or some unique kind of consciousness–explains our mastery of planet Earth.
Yuval Noah Harari (Homo Deus: A Brief History of Tomorrow)
Over those 20,000 years humankind moved from hunting mammoth with stone-tipped spears to exploring the solar system with spaceships not thanks to the evolution of more dexterous hands or bigger brains (our brains today seem actually to be smaller).17 Instead, the crucial factor in our conquest of the world was our ability to connect many humans to one another.18 Humans nowadays completely dominate the planet not because the individual human is far smarter and more nimble-fingered than the individual chimp or wolf, but because Homo sapiens is the only species on earth capable of co-operating flexibly in large numbers. Intelligence and toolmaking were obviously very important as well. But if humans had not learned to cooperate flexibly in large numbers, our crafty brains and deft hands would still be splitting flint stones rather than uranium atoms. If cooperation is the key, how come the ants and bees did not beat us to the nuclear bomb even though they learned to cooperate en masse millions of years before us? Because their cooperation lacks flexibility. Bees cooperate in very sophisticated ways, but they cannot reinvent their social system overnight. If a hive faces a new threat or a new opportunity, the bees cannot, for example, guillotine the queen and establish a republic. Social mammals such as elephants and chimpanzees cooperate far more flexibly than bees, but they do so only with small numbers of friends and family members. Their cooperation is based on personal acquaintance. If I am a chimpanzee and you are a chimpanzee and I want to cooperate with you, I must know you personally: what kind of chimp are you? Are you a nice chimp? Are you an evil chimp? How can I cooperate with you if I don’t know you? To the best of our knowledge, only Sapiens can cooperate in very flexible ways with countless numbers of strangers. This concrete capability – rather than an eternal soul or some unique kind of consciousness – explains our mastery of planet Earth. Long
Yuval Noah Harari (Homo Deus: A History of Tomorrow)
Though it’s best not to be born a chicken at all, it is especially bad luck to be born a cockerel. From the perspective of the poultry farmer, male chickens are useless. They can’t lay eggs, their meat is stringy, and they’re ornery to the hens that do all the hard work of putting food on our tables. Commercial hatcheries tend to treat male chicks like fabric cutoffs or scrap metal: the wasteful but necessary by-product of an industrial process. The sooner they can be disposed of—often they’re ground into animal feed—the better. But a costly problem has vexed egg farmers for millennia: It’s virtually impossible to tell the difference between male and female chickens until they’re four to six weeks old, when they begin to grow distinctive feathers and secondary sex characteristics like the rooster’s comb. Until then, they’re all just indistinguishable fluff balls that have to be housed and fed—at considerable expense. Somehow it took until the 1920s before anyone figured out a solution to this costly dilemma. The momentous discovery was made by a group of Japanese veterinary scientists, who realized that just inside the chick’s rear end there is a constellation of folds, marks, spots, and bumps that to the untrained eye appear arbitrary, but when properly read, can divulge the sex of a day-old bird. When this discovery was unveiled at the 1927 World Poultry Congress in Ottawa, it revolutionized the global hatchery industry and eventually lowered the price of eggs worldwide. The professional chicken sexer, equipped with a skill that took years to master, became one of the most valuable workers in agriculture. The best of the best were graduates of the two-year Zen-Nippon Chick Sexing School, whose standards were so rigorous that only 5 to 10 percent of students received accreditation. But those who did graduate earned as much as five hundred dollars a day and were shuttled around the world from hatchery to hatchery like top-flight business consultants. A diaspora of Japanese chicken sexers spilled across the globe. Chicken sexing is a delicate art, requiring Zen-like concentration and a brain surgeon’s dexterity. The bird is cradled in the left hand and given a gentle squeeze that causes it to evacuate its intestines (too tight and the intestines will turn inside out, killing the bird and rendering its gender irrelevant). With his thumb and forefinger, the sexer flips the bird over and parts a small flap on its hindquarters to expose the cloaca, a tiny vent where both the genitals and anus are situated, and peers deep inside. To do this properly, his fingernails have to be precisely trimmed. In the simple cases—the ones that the sexer can actually explain—he’s looking for a barely perceptible protuberance called the “bead,” about the size of a pinhead. If the bead is convex, the bird is a boy, and gets thrown to the left; concave or flat and it’s a girl, sent down a chute to the right.
Joshua Foer (Moonwalking with Einstein: The Art and Science of Remembering Everything)
There is an art to the business of making sandwiches which it is given to few ever to find the time to explore in depth. It is a simple task, but the opportunities for satisfaction are many and profound: choosing the right bread for instance. The Sandwich Maker had spent many months in daily consultation and experiment with Grarp the baker and eventually they had between them created a loaf of exactly the consistency that was dense enough to slice thinly and neatly, while still being light, moist and having that fine nutty flavour which best enhanced the savour of roast Perfectly Normal Beast flesh. There was also the geometry of the slice to be refined: the precise relationships between the width and height of the slice and also its thickness which would give the proper sense of bulk and weight to the finished sandwich: here again, lightness was a virtue, but so too were firmness, generosity and that promise of succulence and savour that is the hallmark of a truly intense sandwich experience. The proper tools, of course, were crucial, and many were the days that the Sandwich Maker, when not engaged with the Baker at his oven, would spend with Strinder the Tool Maker, weighing and balancing knives, taking them to the forge and back again. Suppleness, strength, keenness of edge, length and balance were all enthusiastically debated, theories put forward, tested, refined, and many was the evening when the Sandwich Maker and the Tool Maker could be seen silhouetted against the light of the setting sun and the Tool Maker’s forge making slow sweeping movements through the air trying one knife after another, comparing the weight of this one with the balance of another, the suppleness of a third and the handle binding of a fourth. Three knives altogether were required. First there was the knife for the slicing of the bread: a firm, authoritative blade which imposed a clear and defining will on a loaf. Then there was the butter-spreading knife, which was a whippy little number but still with a firm backbone to it. Early versions had been a little too whippy, but now the combination of flexibility with a core of strength was exactly right to achieve the maximum smoothness and grace of spread. The chief amongst the knives, of course, was the carving knife. This was the knife that would not merely impose its will on the medium through which it moved, as did the bread knife; it must work with it, be guided by the grain of the meat, to achieve slices of the most exquisite consistency and translucency, that would slide away in filmy folds from the main hunk of meat. The Sandwich Maker would then flip each sheet with a smooth flick of the wrist on to the beautifully proportioned lower bread slice, trim it with four deft strokes and then at last perform the magic that the children of the village so longed to gather round and watch with rapt attention and wonder. With just four more dexterous flips of the knife he would assemble the trimmings into a perfectly fitting jigsaw of pieces on top of the primary slice. For every sandwich the size and shape of the trimmings were different, but the Sandwich Maker would always effortlessly and without hesitation assemble them into a pattern which fitted perfectly. A second layer of meat and a second layer of trimmings, and the main act of creation would be accomplished.
Douglas Adams (Mostly Harmless (Hitchhiker's Guide to the Galaxy, #5))
Still, maybe a good challenge was just what she needed to bring her back to herself. So perhaps the best thing to do was simply to call her and tell her—let loose the dogs of war and let the chips fall where they may. It was a wonderfully mangled metaphor, which made it seem even more convincing, so I stepped away from the group of cops and reached for my cell phone. Deborah
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
Dear Rebecca— You may have picked up on my growing disappointment with you this afternoon as our first meeting progressed. I have to say that though you seem quite personable in your electronic communications, in person your behavior is a little lacking in some of the traits that would let you get from a first to a second date with regularity. If Lovability had a rating system, I would award you 2.5 out of 5 stars; however, if it used a scale that only allowed for integral values, I would unfortunately be forced to round down to two. Here are some suggestions for what you could do to improve the initial impression you make. I am speaking here as a veteran of the online dating scene in LA, which is MUCH more intense than New Jersey’s—there, you are competing with aspiring actors and actresses, and a professionally produced headshot and a warm demeanor are the bare minimum necessary to get in the game. By the end of my first year in LA my askback rate (the rate at which my first dates with women led to second dates) was a remarkable 68%. So I know what I’m talking about. I hope you take this constructive criticism in the manner in which it is intended. 1. Vary your responses to inquiries. When our conversation began, you seemed quite cheerful and animated, but as it progressed you became much less so. I asked you a series of questions that were intended to give you opportunities to reveal more about yourself, but you offered only binary answers, and then, troublingly, no answers at all. If you want your date to go well, you need to display more interest. 2. Direct the flow of conversation. Dialogue is collaborative! One consequence of your reticence was that I was forced to propose all of the topics of discussion, both before and after the transition to more personal subjects. If you contribute topics of your own then it will make you appear more engaged: you should aim to bring up one new subject for every one introduced by your date. 3. Take control of the path of the date. If you want the initial meeting to extend beyond the planned drinks, there are many ways you can go about doing this. You can directly say, for instance, “So I wasn’t thinking about this when you showed up, but…do you have any plans for dinner? I’m starving, and I could really go for some pad thai.” Or you can make a vaguer, more general statement such as “After this, I’m up for whatever,” or “Hey, I don’t really want to go home yet, Bradley: I’m having a lot of fun.” Again, this comes down to a general lack of engagement on your part. Without your feedback I was left to offer a game of Scrabble, which was not the best way to end the meeting. 4. Don’t lie about your ability in Scrabble. I won’t go into an analysis of your strategic and tactical errors here, in the interest of brevity, but your amateurish playing style was quite evident. Now, despite my reservations as expressed above, I really do feel that we had some chemistry. So I would like to give things another chance. Would you respond to this message within the next three days, with a suggestion of a place you’d like us to visit together, or an activity that you believe we would both enjoy? I would be forced to construe a delay of more than three days as an unfortunate sign of indifference. I hope to hear from you soon. Best, Bradley
Dexter Palmer (Version Control)
If there really is a God, which is, at very best, extremely debatable, he has a terrible sense of humor. Because the detective in charge of deciphering the carnage is Detective Anderson, a man who has lived his life without making a friend of intelligence, wit, or competence. And
Jeff Lindsay (Dexter Is Dead (Dexter, #8))
But Dexter was raised on danger and bred on bluff, and this was exactly the kind of crisis that brought out the very best in me. So I took the initiative and broke the ice.
Jeff Lindsay (Double Dexter (Dexter #6))
Uh-huh,” she said. “Very logical, Dex. So what kind of psycho asshole would kill Camilla just to drop you in the shit?” It was an awkward question. I knew what psycho asshole had done it. My Witness had said he was moving closer, and he had; that had been him watching me at the crime scene and taking pictures. And he had killed Camilla Figg, purely as a way to get at me. It really was remarkably wicked, killing an innocent person merely to cause me inconvenience, and it would have been very tempting to pause and ponder the absolute depths of callous perfidy that this act revealed. But there really wasn’t a lot of time to ponder at present, and in any case worrying about moral turpitude is best left to those with morals. The
Jeff Lindsay (Double Dexter (Dexter #6))
Of all the odd thoughts I could have, that might seem the oddest, but there it was. Dexter was in a dither over doing what he does best, merely because it would be a rush job. Was my new life of luxury rotting away the hard and happy core of the monster that is me? Turning me into an old maid incapable of the simplest and most well-justified endings? Was I really so straitlaced?
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
I finally gave up and blotted my shirt dry the best I could. I left the restroom wearing my semi-wet stained shirt and headed for the lab, hoping I might get some sartorial sympathy from Vince Masuoka.
Jeff Lindsay (Double Dexter (Dexter #6))
She stared at me with a slight frown. “He’s waiting for you,” she said. “In the conference room. Go right in.” It was not much of a zinger, but Gwen had never been known for her sparkling sense of humor, so I gave her my best fake smile anyway and said, “Wit and beauty! A devastating combination!” “Go right in,” she repeated, with a face that might have been carved from stone, or at least very hard pudding. I breezed past her and went through the door and into the conference room. Captain Matthews sat at the head of the table, looking earnest, manly, and at least semi-noble, as he almost always did. Sitting to one side of him was my sister, Sergeant Deborah Morgan, and she did not look happy. Of course, she very seldom did; between her carefully cultivated Cop Scowl and her general outlook of surly watchfulness, the most cheerful expression she had ever managed in my presence was a look of grudging acquiescence. Still, this morning she looked very much displeased, even for her. I turned my gaze to the other three people sitting around the table, hoping for some clue to my sister’s malaise. Sitting
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
But surviving in this life almost always means making the best of bad situations, and if a small moment of creativity is called for, I am usually up to the task—especially since I am not burdened by any compulsion to tell the truth. And so I took a breath and let my giant brain lead me out of the woods. “Rita,” I said. “My work is important to me. I help to catch some really bad people—not even people. They’re animals. The kind of animal that’s a real threat to all of us—even …” And I paused shamelessly for dramatic effect. “Especially the kids. Even Lily Anne.
Jeff Lindsay (Double Dexter (Dexter #6))
But after all, there was no alternative. I just had to make the best of it, and lie here like a lox until I was discovered—which seemed to me to be a long-overdue event. I had been sprawled here in direct sunlight for at least half an hour: Can a corpse get a sunburn? I was certain dead people avoided tanning booths—even in zombie movies—but here in the midday sun, was it possible for dead skin to tan? It didn’t seem right; we all like to think of cadavers as pale and ghostly, and a healthy sun-kissed epidermis would certainly spoil the effect. But now I hear a rising chorus of fuss and bother nearby: A metallic door thumps shut, hushed voices murmur urgently, and finally I hear the sound for which I have been yearning: the hurried clatter of approaching footsteps. They stutter to a stop beside me and a woman gasps and cries out, “Nooo!” At last: some real concern for my tragic condition. A trifle melodramatic, perhaps, but it’s touching, and would even be heartwarming, if only Dexter had a heart to warm. The woman bends over me, and in the bright halo of sunlight surrounding her head, I can’t make out her features. But there is no mistaking the shape of the gun that appears in her right hand. A woman with a gun—could this be Dexter’s dear sister, Sergeant Deborah Morgan, stumbling across her beloved brother’s tragically murdered self? Who else could possibly put on such a rare display of well-armed grief for me? And there is real tenderness in her left hand as it drops to my neck to feel for a pulse: in vain, alas, or whatever it is we say instead of “vain” nowadays. Her left hand drops away from my neck and she raises her head to the heavens and says through a tightly clenched jaw, “I’ll get the bastards who did this. I swear it.…” It is a sentiment I approve completely—and actually, it does sound a little bit like Deborah, but not quite enough. There is a hesitant, musical fluctuation in the voice that my sister would never permit. No,
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
Have you ever noticed that no matter how often we all talk about freedom we never seem to have any? There were few things in the world I wanted to do less than follow my sister into the park, where a very obvious trap was set for us and, if everything went really well, the best I could hope for was having Samantha Aldovar ruin my life. If I truly had any freedom at all I would have taken Deborah’s car and gone down to Calle Ocho for a palomilla steak and an Ironbeer. But
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
We stalked carefully through the park in best paramilitary fashion, the lost patrol on its mission into the land of the B movie. To Deborah’s credit, she was very careful. She moved stealthily from one piece of cover to the next, frequently looking right to Chutsky and then left at me. It was getting harder to see her, since the sun had now definitely set, but at least that meant it was harder for them to see us, too—whoever them might turn out to be. We leapfrogged through the first part of the park like this, past the ancient souvenir stand, and then I came up to the first of the rides, an old merry-go-round. It had fallen off its spindle and lay there leaning to one side. It was battered and faded and somebody had chopped the heads off the horses and spray-painted the whole thing in Day-Glo green and orange, and it was one of the saddest things I had ever seen. I circled around it carefully, holding my gun ready, and peering behind everything large enough to hide a cannibal. At the far side of the merry-go-round I looked to my right. In the growing darkness I could barely make out Debs. She had moved up into the shadow of one of the large posts that held up the cable car line that ran from one side of the park to the other. I couldn’t see Chutsky at all; where he should have been there was a row of crumbling playhouses that fringed a go-kart track. I hoped he was there, being watchful and dangerous. If anything did jump out and yell boo at us, I wanted him ready with his assault rifle. But there was no sign of him, and even as I watched, Deborah began to move forward again, deeper into the dark park. A warm, light wind blew over me and I smelled the Miami night: a distant tang of salt on the edge of rotting vegetation and automobile exhaust. But even as I inhaled the familiar smell, I felt the hairs go up on the back of my neck and a soft whisper came up at me from the lowest dungeon of Castle Dexter, and a rustle of leather wings rattled softly on the ramparts. It was a very clear notice that something was not right here and this would be a great time to be somewhere else; I froze there by the headless horses, looking for whatever had set off the Passenger’s alarm. I saw and heard nothing. Deborah had vanished into the darkness and nothing moved anywhere, except a plastic shopping bag blowing by in the gentle wind. My stomach turned over, and for once it was not from hunger. My
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
Commissioner upholds law, even when it hurts,’ ” I said in my best headline-news voice. He looked at me with an anger that was almost physical, and I shrugged. “You can come up with something better if you want,” I said. He
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
But Deborah looked at her anyway. “He knows Samantha,” she said. “And I have witnesses that say he sold them Tyler’s car. That’s felony car theft and accessory to murder, and that’s just the beginning.” “I am not aware that any charges have been filed,” Acosta said, and we both swung our heads back to face him. “Not yet,” Deborah said. “But they will be.” “Then perhaps we should have a lawyer here,” Alana said. Deborah looked at her briefly, then back to Acosta. “I wanted to talk to you first,” she said. “Before the lawyers get into it.” Acosta nodded, as if he expected a police officer to show that kind of consideration for his money. “Why?” he said. “Bobby is in trouble,” she said. “I think he knows that. But his best chance at this point is to walk into my office, with a lawyer, and surrender himself.
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
The police did not like to come to neighborhoods like this one, where the best they could hope for was hostile indifference.
Jeff Lindsay (Double Dexter (Dexter #6))
could have said that the best way to catch a psycho motherfucker is by understanding what makes him a psycho motherfucker, but I doubted that Deborah would be very receptive to that message right now. Besides, it wasn’t really true. Based on my years of experience in the business, the best way to catch a killer is by getting lucky.
Jeff Lindsay (Double Dexter (Dexter #6))
Well,” I said pleasantly, “if you know a way to make a database hurry up, I’m sure we’d all love to hear it.” “Goddamn it, you’re not even trying!” she said. I will freely admit that nine times out of ten, I would have had a little more patience with Deborah’s patently impossible request and rotten attitude. But with things as they were lately, I really didn’t want to knuckle my forehead and leap into worshipful compliance. I took a deep breath instead and spoke with audible patience and steely control. “Deborah. I am doing my job the best I can. If you think you can do it better, then please feel free to try.” She ground her teeth even harder, and for a moment I thought the canines might splinter and burst through her cheeks. But happily for her dental bill, they did not. She just glared at me instead, and then nodded her head twice, very hard. “All right,” she said. And then she turned around and walked rapidly away without even looking back at me to snarl one last time. I sighed. Perhaps I should have stayed home in bed, or at least checked my horoscope. Nothing seemed to be going right. The whole world was slightly off-kilter, leaning just a bit out of its normal axis. It had a strange and mean tint to it, too, as if it had sniffed out my fragile mood and was probing for further weakness. Ah,
Jeff Lindsay (Double Dexter (Dexter #6))
I have always felt that the Art of Conversation is best served when all the parties involved have some vague idea of what they are talking about, and in this case, I had been left out of the loop. I was beginning to feel like I had wandered into some kind of Surrealist Performance piece—maybe one of those that tries to provoke the audience to some extreme reaction. But at least Robert seemed to be having a good time. He laughed again, a loud and brassy laugh that didn’t sound quite sane, and he pushed Renny toward me one more time.
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
I said nothing. After all, you really should understand a remark before you respond to it, and I didn’t. Clearly Jackie was in a philosophical mood—but whether the evening would turn toward Aristotle or existentialism, I couldn’t tell from her comment on Benny’s Normalness. And as the best philosophers will tell you, the rest is silence anyway, so I kept quiet.
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
Before I could open my mouth and let out the cranky comeback that was lurking there, a massive foot clomped at the doorway, and a large dark shadow fell over the shreds of my pleasant morning. I looked around, and there, in person, was the end of all happy thoughts. Detective Hood leaned against the doorframe and gave us his very best mean smile. “Looka this,” he said. “Wall-to-wall loser.
Jeff Lindsay (Double Dexter (Dexter #6))
Wow,” Jackie said, and she looked at me with new respect. “How did you learn to do that?” Of course, that was exactly the question I did not want to answer. The only honest reply was not something I felt I could profitably discuss with Jackie. So I did my best to steer the conversation onto something a little less personal. “Oh,” I said modestly, “I took a psychology course in college. I assume you ran a missing-persons check, sis?” Deborah flipped her hand dismissively at that. “First thing we did,” she said. “Come on, Dex; let’s get serious.” She put her arms on her thighs and leaned toward me. “I really want to collar this bastard, and I want him before Anderson fucks up the trail. And before this guy does it again. Because you know he’s going to do it again.
Jeff Lindsay (Dexter's Final Cut (Dexter, #7))
SureShot26 stands up and quietly embraces her. He doesn't know what to say, but both of them are confident that the right words will come in their own time; their whole lives together are ahead of them, and they will have plenty of time to speak to each other with care and truth. But silence, now, is best.
Dexter Palmer (Version Control)
... It took him one minute to write. Bill stood over him, watching. "I don't know how you do that," he said. "Like the words are already inside the pen." "It's just what's in your brain," Charley said. "The way the words come to you naturally is the best way to put them down." Bill said, "The things in my head don't come in words.
Pete Dexter (Deadwood)
The best hobbies are the ones that take us furthest from our primary occupation.
Vogel on Dexter
I can tell you this. That in the absence of perfect information, I choose to believe in the version of events that would occur in the best of all possible worlds.
Dexter Palmer (Version Control)
I shouldn't tell you this, but I've been having these weird dreams like every single night for three weeks now where I'm being contacted. Not by ghosts, exactly, but people from other histories, where things turned out differently than they did here. And they're all envious. And they all say: You are so lucky. You live in the best of all possible worlds. And you don't even know it.
Dexter Palmer (Version Control)
Best, perhaps to keep one's nickels forever in one's pockets, to savor delicious possibility over mundane experience.
Dexter Palmer (The Dream of Perpetual Motion)
What we are proposing,' Alicia said, 'is that the laws of physics are such that causality violation is subject to a form of version control, one that prevents a forking of history. That instead of causality violation creating an alternate universe, one version of history is outright overwritten by another. One past is replaced with another future. Which means that the memories of the past of the people in that future are replaced with memories of a different past.' Carson interrupted. 'Including the memories of any—' 'Purely hypothetical—' '—time travelers.' 'So take our time traveler from the traditional story,' Carson continued. 'He leaves his utopian future for the past. He kills the butterfly. The Magna Carta is never written. He returns to the dystopian future that his misstep created. But he doesn't see it as a dystopia: he sees it as home, the world he grew up in, the world he left to go back in time. Because he doesn't remember that first future, and has no other world to which he can compare this one. Maybe he even sees it as a utopia. Maybe everyone does. Maybe everyone in this dark place believes that they live in the best of all possible worlds.
Dexter Palmer (Version Control)
In the moment when he died at my hand he had his own heart's desire—not the actual future, but a hope for the best possible future, one that he could not himself imagine.
Dexter Palmer (The Dream of Perpetual Motion)
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I’m very self-motivated,” she’d state with an assertiveness that she didn’t quite feel in her gut, and the HR guy would look down at the paper in front of him and then back up at her blankly, as if to say, No, that’s not today’s password. Then she’d follow with something like “I’m also committed to life-long learning,” and the response would be dead silence. A few days later, she’d get a no-reply e-mail expressing perfunctory pro forma regret, telling her the spot had been filled and wishing her the best of luck.)
Dexter Palmer (Version Control)
Hello, Tracey Wilson, from the great state of Illinois! I think Fanny and Alexander is a great choice for a weekend rental. It’s one of the best Christmas movies because it’s about so much more than Christmas.
Dexter Palmer (Version Control)
The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.
Chris Morris (Los Lobos: Dream in Blue)
Fish and the old woman An old woman, selling fish, Crying at all those who passed by, “Try my fish that you shall relish,” Most of them ignored her calls but many asked why? She answered all whys, all ifs, all questions, As long as you were someone she thought would buy, And I stood there listening to her witty quotations, That addressed all doubts and answered every why, Her greasy hands often patted and placed the fish in order, In the round wicker basket that was wet but clean, And in this fish market she looked much wiser and older, Her face was round, her eyes sharp, with a body frame that was lean, Few minutes passed, unlike the fish she was unable to catch a reliable prospect, Then a man stopped and looked at her basket full of fish, And she had found her much needed suspect, The providence had granted her her wish, She turned the fish around and showed him the best ones, Her greasy hands held them with twin feelings, A feeling that still wanted to retain the best ones, And a feeling that was willing to let go of the few in her commercial dealings, And there was her struggle, and her eyes revealed it clearly, She shuffled the best ones around and then mixed them with the rest, And she did this with a professional dexterity, Creating a mix of the good fish and the best, Because to her all customers are the same, They all deserve to savour the fish that she thinks are the finest, So she had to indulge in this necessary hypnotic game, And she performed it in ways sharp and tidiest, She scrubbed off the scales carefully, And cleaned them with a unique fondness, And when ready she handed them to the man lovingly, He held them with a sense of quickness, And walked away, leaving behind the old woman and her basket full of fish, Who once again shouted in her typical melody, “Try my fish that you shall relish, The fish that will make the tastiest dish, The fish from the lake that breeds the best fish!” While I watched her and her teary eyes, Because she missed the fish that were being taken away, Away from her everyday, with her daily lot gone a part of her in that basket dies, But she does not let her feelings give in or sway, Because this is who she is, the seller of life and joy, Who shouts on the bridge on a cold November day, For she too has a home, where she has to feed her girl and her always waiting boy, It has been so for many decades, and was so today, In the evening when the wicker basket is dry with no fish left in it, She lifts the basket, mops the floor, and places it on her head, Well I guess not all of us can do it, Because she carries the physical load over the head that with a million thoughts is also fed, Yet she walks with a smile and vivaciousness that is radiant, Because she sells the fish that are the best, And in the wicker basket they look magnificent and brilliant, I guess for her, the fish and the basket are her test, Where fate pushes her to the extreme every day, But she never gets tired to shout and say, “Try my fish that you shall relish anyday, Why not let that day be today, your luckiest day!” With the old woman gone, the bridge is still crowded but the spot is empty, So, I turn around and look at it, and I hear her echoes, And I feel a wave of humility induced by my realistaion of her piety, Towards a different God, the God she invokes often in her melody that resides there in the form of her echoes, I may never see her again, or maybe I will, Whenever I cross the bridge, the bridge that leads people to their destinations, But for me it begins there and it ends there too, there time holds still, Because we all respect her courage and we love her melodious incantations!
Javid Ahmad Tak (They Loved in 2075!)
Fish and the old woman An old woman, selling fish, Crying at all those who passed by, “Try my fish that you shall relish,” Most of them ignored her calls but many asked why? She answered all whys, all ifs, all questions, As long as you were someone she thought would buy, And I stood there listening to her witty quotations, That addressed all doubts and answered every why, Her greasy hands often patted and placed the fish in order, In the round wicker basket that was wet but clean, And in this fish market she looked much wiser and older, Her face was round, her eyes sharp, with a body frame that was lean, Few minutes passed, unlike the fish she was unable to catch a reliable prospect, Then a man stopped and looked at her basket full of fish, And she had found her much needed suspect, The providence had granted her her wish, She turned the fish around and showed him the best ones, Her greasy hands held them with twin feelings, A feeling that still wanted to retain the best ones, And a feeling that was willing to let go of the few in her commercial dealings, And there was her struggle, and her eyes revealed it clearly, She shuffled the best ones around and then mixed them with the rest, And she did this with a professional dexterity, Creating a mix of the good fish and the best, Because to her all customers are the same, They all deserve to savour the fish that she thinks are the finest, So she had to indulge in this necessary hypnotic game, And she performed it in ways sharp and tidiest, She scrubbed off the scales carefully, And cleaned them with a unique fondness, And when ready she handed them to the man lovingly, He held them with a sense of quickness, And walked away, leaving behind the old woman and her basket full of fish, Who once again shouted in her typical melody, “Try my fish that you shall relish, The fish that will make the tastiest dish, The fish from the lake that breeds the best fish!” While I watched her and her teary eyes, Because she missed the fish that were being taken away, Away from her everyday, with her daily lot gone a part of her in that basket dies, But she does not let her feelings give in or sway, Because this is who she is, the seller of life and joy, Who shouts on the bridge on a cold November day, For she too has a home, where she has to feed her girl and her always waiting boy, It has been so for many decades, and was so today, In the evening when the wicker basket is dry with no fish left in it, She lifts the basket, mops the floor, and places it on her head, Well I guess not all of us can do it, Because she carries the physical load over the head that with a million thoughts is also fed, Yet she walks with a smile and vivaciousness that is radiant, Because she sells the fish that are the best, And in the wicker basket they look magnificent and brilliant, I guess for her, the fish and the basket are her test, Where fate pushes her to the extreme every day, But she never gets tired to shout and say, “Try my fish that you shall relish any day, Why not let that day be today, your luckiest day!” With the old woman gone, the bridge is still crowded but the spot is empty, So, I turn around and look at it, and I hear her echoes, And I feel a wave of humility induced by my realisation of her piety, Towards a different God, the God she invokes often in her melody that resides there in the form of her echoes, I may never see her again, or maybe I will, Whenever I cross the bridge, the bridge that leads people to their destinations, But for me it begins there and it ends there too, there time holds still, Because we all respect her courage and we love her melodious incantations!
Javid Ahmad Tak (They Loved in 2075!)
Five Best Campus Crime Novels Gaudy Night by Dorothy Sayers The Case of the Gilded Fly by Edmund Crispin Last Seen Wearing . . . by Hillary Waugh The Silent World of Nicholas Quinn by Colin Dexter The Secret History by Donna Tartt
Peter Swanson (All the Beautiful Lies)
Different looks like the mentality that repels your best future possible from connecting with your past.
Dexter A. Daniels (Consistent, Not Different: Why We Stray from the Path and Reasons to Return)
WE MUST DEVELOP AND MAINTAIN THE CAPACITY TO FORGIVE. HE WHO IS DEVOID OF THE POWER TO FORGIVE IS DEVOID OF THE POWER TO LOVE. THERE IS SOME GOOD IN THE WORST OF US AND SOME EVIL IN THE BEST OF US. WHEN WE DISCOVER THIS, WE ARE LESS PRONE TO HATE OUR ENEMIES.” —Martin Luther King Jr., from “Loving Your Enemies,” a sermon delivered at the Dexter Avenue Baptist Church in Montgomery, Alabama,
Stephen Mansfield (Mansfield's Book of Manly Men: An Utterly Invigorating Guide to Being Your Most Masculine Self)
Physics will speak where voices won’t, and this, I think, is best.
Dexter Palmer (Version Control)
Arrogance: that featured among Philip's colleagues, too, though that was more a matter of mien than anything else. If there was one subject about which they tended to be cavalier, it was the ease of doing anything in life besides physics. They were quick to let you know that, in addition to practicing that best and most worthy of all the sciences, they were, as Philip said about himself, "intrinsically multidisciplinary": they'd casually mention that they'd just cycled their first century, or were doing a show with a local band, or were nearly finished with building a kiln. It was as if the stereotype of the physicist as a bespectacled dweeb was something they felt it was their duty and obligation to strive against. And though they never seemed to be quite as skilled at their extracurricular activities as their pride in them might have indicated, if they were perhaps unlikely to play in professional orchestras or chalk up record-beating times in marathons, then it was even more unlikely that top-level violinists and athletes were doing science on the side, as a hobby. Rebecca was never sure whether there was something about physics as an occupation that made it a magnet for the arrogant, or whether the process of becoming acclimated to the culture of physics involved developing a certain conceit about oneself if one was to succeed, but either way she got the impression that arrogance was often a benefit to physicists, rather than a liability.
Dexter Palmer (Version Control)
Dad: Why have your grades gone down so much during this school term, son? Son: Because they moved my friend Dexter to the next classroom! *** A gang of default computer fonts walk into a bar.
Various (Best Jokes 2014)
Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood Lying by omission turns inevitably into positive lying. The implications of literature are that human beings are controlled, if not by reason, at least by comprehensible, well-organized, avowable sentiments. Whereas the facts are quite different. Sometimes the sentiments come in, sometimes they don’t. All for love, or the world well lost; but love may be the title of nobility given to an inordinate liking for a particular person’s smell or texture, a lunatic desire for the repetition of a sensation produced by some particular dexterity. Or consider those cases (seldom published, but how numerous, as anyone in a position to know can tell!), those cases of the eminent statesmen, churchmen, lawyers, captains of industry—seemingly so sane, demonstrably so intelligent, publicly so high-principled; but, in private, under irresistible compulsion towards brandy, towards young men, towards little girls in trains, towards exhibitionism, towards gambling or hoarding, towards bullying, towards being whipped, towards all the innumerable, crazy perversions of the lust for money and power and position on the one hand, for sexual pleasure on the other. Mere tics and tropisms, lunatic and unavowable cravings—these play as much part in human life as the organized and recognized sentiments. And imaginative literature suppresses the fact. Propagates an enormous lie about the nature of men and women.
Aldous Huxley (Eyeless in Gaza)