Dispatch Love Quotes

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Not everyone gets sex when they want it. Not everyone gets love when they want it. This is true for men and women. A relationship is not your reward for being a nice guy, no matter what the movies tell you.
Roxane Gay (Not That Bad: Dispatches from Rape Culture)
Our culture is now one of masculine triumphalism, in which transhistorically feminine expressions – empathy, sweetness, volubility, warmth – are seen as impediments to a woman’s professional trajectory in many sectors.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
I have spoken here of heavenly help, of angels dispatched to bless us in time of need. But when we speak of those who are instruments in the hand of God, we are reminded that not all angels are from the other side of the veil. Some of them we walk with and talk with—here, now, every day. Some of them reside in our own neighborhoods. Some of them gave birth to us, and in my case, one of them consented to marry me. Indeed heaven never seems closer than when we see the love of God manifested in the kindness and devotion of people so good and so pure that angelic is the only word that comes to mind.
Jeffrey R. Holland
The love of a man for his wife, his child, of the land where he lives and works, is for me the real meaning of mystical experience.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
It is only through my daughter that I have come to realise that a life without femininity – devoid of mystery, emotion, gentleness and the unerring power of a woman’s love – is no life at all.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
I suppose each of us has his own fantasy of how he wants to die. I would like to go out in a blaze of glory, myself, or maybe simply disappear someday, far out in the heart of the wilderness I love, all by myself, alone with the Universe and whatever God may happen to be looking on. Disappear - and never return. That's my fantasy.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
She liked a very particular kind of plot: the sort where the pirate kidnaps some virgin damsel, rapes her into loving him, and then dispatches lots of seamen while she polishes his cutlass. Or where the Highland clan leader kidnaps some virginal English Rose, rapes her into loving him, and then kills entire armies Sassenachs while she stuffs his haggis. Or where the Native American warrior kidnaps a virginal white settler, rapes her into loving him, and then kills a bunch of colonists while she whets his tomahawk. I hated to get Freudian on Linda, but her reading patterns suggested some interesting insight into why she is such a bitch.
Nicole Peeler (Tempest Rising (Jane True, #1))
This is written in the night. In war the dark is on nobody's side, in love the dark confirms that we are together.
John Berger (Hold Everything Dear: Dispatches on Survival and Resistance)
Vonnegut is one of America's basic artists, a true and worthy heir to the grand tradition of Thoreau, Whitman, Twain, Dreiser, Traven, Tom Wolfe (the real Tom Wolfe, I mean) and Steinbeck. In other words, he writes out of a concern for justice, love, honesty, and hope.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
To the Technocrats: Have mercy on us. Relax a bit, take time out for simple pleasures. For example, the luxuries of electricity, indoor plumbing, central heating, instant electronic communication and such, have taught me to relearn and enjoy the basic human satisfactions of dipping water from a cold clear mountain stream; of building a wood fire in a cast-iron stove; of using long winter nights for making music, making things, making love; of writing long letters, in longhand with a fountain pen, to the few people on this earth I truly care about.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
My friends and I live in the American SW because we love it, and love it for its own sake - not merely because it's the last region of the forty-eight states to be buried under asphalt and greed.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
The children are innocent until proven guilty. For their sake, not ours, we must soldier on, muddling our way toward frugality, simplicity, liberty, community, until some kind of sane and rational balance is achieved between our ability to love and our cockeyed ambition to conquer and dominate everything in sight. No wonder the galaxies recede from us in every direction, fleeing at velocities that approach the speed of light. They are frightened. We humans are the Terror of the Universe.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
In demonstrating that humans behave with justice, tolerance, reason, love toward other forms of life, we are doing no more than demanding that humans be human -- that is, be true to the best aspects of human nature. Humans being human, therefore, cannot consider themselves morally superior to, say, bears being bear-like, eagles being eagle-like, etc.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
It's not that I don't want to love unharmed people; I just don't understand them.
Roxane Gay (Not That Bad: Dispatches from Rape Culture)
There is this to be said for walking: it is the one method of human locomotion by which a man or woman proceeds erect, upright, proud and independent, not squatting on the haunches like a frog. Little boys love machines. Grown-up mean and women like to walk.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
For years, I had used these fractured men to justify my cynicism and workaholism, and the grief, insomnia and casual anorexia were no longer of any interest to me.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
How Giuliani is not Trump's running mate no one will ever understand. Theirs is the most passionate love story since Beavis and Butthead.
Matt Taibbi (Insane Clown President: Dispatches from the 2016 Circus)
How about this, I would counter: try not commenting on your own looks—on the size of your thighs or the tightness of your jeans. At least not in front of your daughter. Girls receive enough messages every day reducing them to their appearance without women they love delivering them, too.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
In a world of intrusive technology, we must engage in a kind of struggle if we wish to sustain moments of solitude. E-reading opens the door to distraction. It invites connectivity and clicking and purchasing. The closed network of a printed book, on the other hand, seems to offer greater serenity. It harks back to a pre-jacked-in age. Cloth, paper, ink: For these read helmet, cuirass, shield. They afford a degree of protection and make possible a less intermediated, less fractured experience. They guard our aloneness. That is why I love them, and why I read printed books still.
Mohsin Hamid (Discontent and Its Civilizations: Dispatches from Lahore, New York, and London)
This to hear Would Desdemona seriously incline: But still the house-affairs would draw her thence: Which ever as she could with haste dispatch, She'ld come again, and with a greedy ear Devour up my discourse: which I observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd. My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story. And that would woo her. Upon this hint I spake: She loved me for the dangers I had pass'd, And I loved her that she did pity them. This only is the witchcraft I have used: Here comes the lady; let her witness it.
William Shakespeare (Othello)
I've been here in Richmond for six years and I still don't get it. To me, having the principal Richmond monuments dedicated to the Lost Cause is like saying we're dedicated to no hope, no future. It's like having a monument to unrequited love.
Tony Horwitz (Confederates in the Attic: Dispatches from the Unfinished Civil War)
she died of alcoholism wrapped in a blanket on a deck chair on an ocean steamer. all her books of terrified loneliness all her books about the cruelty of loveless love were all that was left of her as the strolling vacationer discovered her body notified the captain and she was quickly dispatched to somewhere else on the ship as everything continued just as she had written it.
Charles Bukowski (The Pleasures of the Damned)
But for the overcrowded, for those who have little or nothing except, sometimes, courage and love, hope works differently. Hope is then something to bite on, to put between the teeth. Don't forget this. Be a realist. With hope between the teeth comes the strength to carry on even when fatigue never lets up, comes strength, when necessary, to choose not to shout at the wrong moment, comes the strength above all not to howl. A person, with hope between her or his teeth, is a brother or sister who commands respect.
John Berger (Hold Everything Dear: Dispatches on Survival and Resistance)
The demons are not easily dispatched, instead attaching themselves to otherwise beautiful things, a favorite food or a love note left for you, to see how you react when they rear up.
Thomm Quackenbush (Find What You Love and Let It Kill You)
The bar is masculine, and women must adopt traditionally masculine characteristics – cultivated insensitivity, goal-orientated thinking, the prioritising of the material – to compete.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Although my body and I have reached if not peace, at least a state of détente, “fat” remains how I experience anger, dissatisfaction, disappointment. I feel “fat” if I can’t master a task at work. I feel “fat” if I can’t please those I love. “Fat” is how I blame myself for my failures. “Fat” is how I express my anxieties. A psychologist once told me, “Fat is not a feeling.” If only it were that simple. As for so many women, the pathology of self-loathing is permanently ingrained in me. I can give in to it, I can modify it, I can react against it with practiced self-acceptance, but I cannot eradicate it. It frustrates me to consider what else I might have done with the years of mental energy I have wasted on this single, senseless issue.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Climbing mountains is an act I happen to love, but it is only one form of adventure. There are thousands. In fact, there's one for every human with the passion to push personal boundaries.
Mark Jenkins (A Man's Life: Dispatches from Dangerous Places)
People who think that love, sex, marriage, work, play, life and death are serious matters are urged NOT to read this book. Buy it, yes, but don't read it. [Regarding "The Fool's Progress"]
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
You’re beautiful’ is not something you want to say over and over to your daughter, because it’s not something that you want her to think is so important. “That said,” she continued, “there are times when it is important to say it: when she’s messy or sweaty, when she’s not dressed up, so that she gets a sense that there is something naturally beautiful about her as a person. And it’s also important to connect beauty and love. To say, ‘I love you so much. Everything about you is beautiful to me—you are beautiful to me.’ That way you’re not just objectifying her body.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
For years, I worked seven-day weeks, through birthdays and most public holidays, Christmases and New Year’s Eves included. I worked mornings and afternoons, resuming work after dinner. I remember feeling as if life were a protracted exercise in pulling myself out of a well by a rope, and that rope was work.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Marriage is never static. There are peaks and troughs, cycles. It is easy to forget that this shifting landscape is really only ever a reflection of the self. Our capacity for attachment determines the kind of mate we attract, and it is through this mate that we are forever transformed – marriage as alchemy, but also as a mirror.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
This human need for mysticism – surrender to an unknown truth, union – stands at the helm of all romantic feeling. It is, in essence, the same intimacy known in a mother’s arms; in those who are deprived of the experience, the need freezes and, distorted, it can rent a life. All addiction has as its foundation skewed yearning for the same transcendence. For me, the spell of the material was broken by my brother’s death; after his suicide, all I wanted was the renewal of my connection to the intangible.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
There was religion, then there was God. Lianne wanted to disbelieve. Disbelief was the line of travel that led to clarity of thought and purpose. Or was this simply another form of superstition? She wanted to trust in the forces and processes of the natural world, this only, perceptible reality and scientific endeavor, men and women alone on earth. She knew there was no conflict between science and God. Take one with the other. But she didn't want to. There were the scholars and philosophers she'd studied in school, books she'd read at thrilling dispatches, personal, making her shake at times, and there was the sacred art she'd always loved. Doubters created this work, and ardent believers, and those who'd doubted and then believed, and she was free to think about doubt and believe simultaneously. But she didn't want to. God would crowd her, make her weaker. God would be a presence that remained unimaginable. She wanted this only, to snuff out the pulse of the shaky faith she'd held for much of her life.
Don DeLillo (Falling Man)
On first hearing that little voice – as fine and friable, I felt, as cotton thread, the impact on my soul was that of the highest magnitude of earthquake, those that occur every hundred years, say, or every thousand. The old shell I called myself cracked and was swallowed by a sudden crevasse, and just as suddenly was lost in the commotion.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
In our circle, stress was a valuable status marker: I stress, therefore I am.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Whenever someone is a threat to the enemy there will be an attack dispatched against that person to try to minimise their effectiveness.
Patience Johnson (Why Does an Orderly God Allow Disorder)
Messersmith, in a dispatch, observed that even smart, well-traveled Germans will “sit and calmly tell you the most extraordinary fairy tales.
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
Delirious as it can be, sex is only one kind of intimacy, and yet has become the cultural catchment area for all kinds of needs because our understanding of intimacy is so poor. Brutal work schedules, related geographic isolation, and the concomitant fracturing of families has meant that there is little time for intimacy, and even less to teach the necessary skills. But intimacy, the axis of romance, is slow, based on the sharing of a life rather than show. In terms of intimacy, folding laundry together or sharing the feeding of a child can have more impact than the most extravagant bouquet.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
A veteran reporter knows there is a disconnect between how an event in a region is experienced and the way it is perceived in distant capitals. He sends dispatches about violent insurrections, riots and clashes, and feels his words loom large in his mind, then become small, minuscule, in the sending,until eventually he discovers that none of his reporting produces more than a twinge or yawn in the wider world.
Kyo Maclear (Stray Love)
There were times when I would sob until I shook, until my eyelids were so swollen that it pained me to open them, and through hiccoughs, trembling, I would hiss, don’t touch me! as he moved to place a gentle hand on my shoulder. There were times when we seemed locked into our chairs, discrete, the static between us more eloquent than words. But there was never a moment when I doubted Peter’s ability to heal me.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Because in Atlas Shrugged, alpha male Francisco d’Anconia tells railroad company VP Dagny Taggart that she sounds happy in her new relationship: “‘But, you see, the measure of the hell you’re able to endure is the measure of your love.
Roxane Gay (Not That Bad: Dispatches from Rape Culture)
It’s a very fine line indeed, and a seductive message at its core: God loves some of us, and is coming for us—and he’ll destroy everything and everyone we don’t like. It’s a great galactic game of “Just wait until your Father gets home!
Cherie Priest (Chapelwood (The Borden Dispatches, #2))
I must accept my Father’s loving help in resisting and overcoming. Sin is like an octopus with many tentacles trying to crush out my life. Seldom do all tentacles loosen their hold on me at once. It is one tentacle at a time. In this war against sin, it is a victory won through one soldier dying at a time. Seldom does the entire enemy army fall dead at a single blast. It is hand-to-hand combat. It is one small victory at a time. But God doesn’t send me out to do battle without a war plan. He is my Commander; I will fight—inch by inch, hour by hour—under His direction. He dispatches the Holy Spirit to me, with clear directions on how to fight, when to run, where to strike next. This battle against principalities and powers is His
David Wilkerson (Have You Felt Like Giving Up Lately?: Finding Hope and Healing When You Feel Discouraged)
Outside the White House, Wilson’s many notes to Germany and their replies became the target of wry humor, as when one editor wrote: “Dear Kaiser: In spite of previous correspondence on the subject another ship with American citizens on board has been sunk. Under the circumstances we feel constrained to inform you, in a spirit of utmost friendliness, that a repetition of the incident will of necessity require the dispatch of another note to your majesty’s most estimable and peace-loving government.” As
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
Dodd read dispatch after dispatch in which Messersmith described Germany’s rapid descent from democratic republic to brutal dictatorship. Messersmith spared no detail—his tendency to write long had early on saddled him with the nickname “Forty-Page George.
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
Actually, using the Daleks would be a masterstroke. Everyone loves Doctor Who - who wouldn't be thrilled by the sight of a real-life Dalek squadron rolling down the high street, glinting in the sun? The sheer excitement would genuinely make the accompanying loss of liberty seem worthwhile. To liven things up even more, our rasping pepperpot overlords would be colour-coded. Blue Daleks would deal with minor infractions, and would spend most of their time issuing warnings and administering minor shocks - but they'd also be chummy and approachable, and willing to pose for photographs with your nephew. Red Daleks, on the other hand, would be emotionless killing machines. Imagine the atmosphere outside a pub on a hot summer's day: a Red Dalek trundles past, and the convivial hubbub suddenly fades to a whisper. Everyone stiffens. And then he turns the corner and a communal sigh of relief goes up, and the drinking continues and the jukebox plays louder and louder... community spirit lives again. Admit it: it'd be fantastic.
Charlie Brooker (Dawn of the Dumb: Dispatches from the Idiotic Frontline)
My generation was, in effect, the product of a social experiment. If we did not understand marital intimacy, it was because we had not seen it modelled. We lurched from relationship to relationship, dazzled by the newness of meaninglessness, relentless in our search for something even the most perceptive of us could not identify.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Well, I devoutly hope Churchill is safe," Atkins wrote in his dispatch that night., hardly believing that the young man who held so much promise could be so quickly lost. "But I half fear the gods love too much a man, only twenty-four years old, who... is that rare combination, the soldier, the reckless soldier even, and the bookman.
Candice Millard (Hero of the Empire: The Boer War, a Daring Escape, and the Making of Winston Churchill)
And proceeded past Trevor Williams, former hunter, seated before the tremendous heap of all the animals he had dispatched in his time: hundreds of deer, thirty-two black bear, three bear cubs, innumerable coons, lynx, foxes, mink, chipmunks, wild turkeys, woodchucks, and cougars; scores of mice and rats, a positive tumble of snakes, hundreds of cows and calves, one pony (carriage-struck), twenty thousand or so insects, each of which he must briefly hold, with loving attention, for a period ranging from several hours to several months, depending on the quality of loving attention he could muster and the state of fear the beast happened to have been in at the time of its passing.
George Saunders (Lincoln in the Bardo)
If Thecla had symbolized love of which I felt myself undeserving, as I know now that she did, then did her symbolic force disappear when I locked the door of her cell behind me? That would be like saying that the writing of this book, over which I have labored for so many watches, will vanish in a blur of vermillion when I close it for the last time and dispatch it to the eternal library maintained by the old Ultan. The great question then, that I pondered as I watched the floating island with longing eyes and chafed at my bonds and cursed the hetman in my heart, is that of determining what these symbols mean in and of themselves. We are like children who look at print and see a serpent in the last letter but one, and a sword in the last.
Gene Wolfe
In his dispatches Messersmith reprised one theme again and again: how impossible it was for casual visitors to understand what was really happening in this new Germany. “The Americans coming to Germany will find themselves surrounded by influences of the Government and their time so taken up by pleasant entertainment, that they will have little opportunity to learn what the real situation is.
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
We watched each other evolve into parents, with all the fear, rage and confusion evolution can involve. Our eight-year-old is the incarnation of our union; we are forever fused by her blood. My old take on romance seemed vaguely ludicrous, as affected as a pair of spats. I no longer saw the point in 'getting back to normal', that pantomime of pretending nothing had changed; I wanted to evolve from sexual posturing into a deeper consciousness, that of love.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
When a man seats before his eyes the bronze face of his helmet and steps off from the line of departure, he divides himself, as he divides his ‘ticket,’ in two parts. One part he leaves behind. That part which takes delight in his children, which lifts his voice in the chorus, which clasps his wife to him in the sweet darkness of their bed. “That half of him, the best part, a man sets aside and leaves behind. He banishes from his heart all feelings of tenderness and mercy, all compassion and kindness, all thought or concept of the enemy as a man, a human being like himself. He marches into battle bearing only the second portion of himself, the baser measure, that half which knows slaughter and butchery and turns the blind eye to quarter. He could not fight at all if he did not do this.” The men listened, silent and solemn. Leonidas at that time was fifty-five years old. He had fought in more than two score battles, since he was twenty; wounds as ancient as thirty years stood forth, lurid upon his shoulders and calves, on his neck and across his steel-colored beard. “Then this man returns, alive, out of the slaughter. He hears his name called and comes forward to take his ticket. He reclaims that part of himself which he had earlier set aside. “This is a holy moment. A sacramental moment. A moment in which a man feels the gods as close as his own breath. “What unknowable mercy has spared us this day? What clemency of the divine has turned the enemy’s spear one handbreadth from our throat and driven it fatally into the breast of the beloved comrade at our side? Why are we still here above the earth, we who are no better, no braver, who reverenced heaven no more than these our brothers whom the gods have dispatched to hell? “When a man joins the two pieces of his ticket and sees them weld in union together, he feels that part of him, the part that knows love and mercy and compassion, come flooding back over him. This is what unstrings his knees. “What else can a man feel at that moment than the most grave and profound thanksgiving to the gods who, for reasons unknowable, have spared his life this day? Tomorrow their whim may alter. Next week, next year. But this day the sun still shines upon him, he feels its warmth upon his shoulders, he beholds about him the faces of his comrades whom he loves and he rejoices in their deliverance and his own.” Leonidas paused now, in the center of the space left open for him by the troops. “I have ordered pursuit of the foe ceased. I have commanded an end to the slaughter of these whom today we called our enemies. Let them return to their homes. Let them embrace their wives and children. Let them, like us, weep tears of salvation and burn thank-offerings to the gods. “Let no one of us forget or misapprehend the reason we fought other Greeks here today. Not to conquer or enslave them, our brothers, but to make them allies against a greater enemy. By persuasion, we hoped. By coercion, in the event. But no matter, they are our allies now and we will treat them as such from this moment. “The Persian!
Steven Pressfield (Gates of Fire)
We drank a glass of wine on the front porch, and the Thompsons made some generalizations about black people that made us feel uncomfortable, although I had certainly heard worse from my father and his friends in London. They loved Lucy and Monk like family, and Cadi loved to go to black church, but there were a lot of worthless blacks on welfare who didn’t want to work, and we should never stop in Tchula, even if we ran down a pedestrian, because the people there would surely rob us, and quite possibly rape Mariah by the side of the road.
Richard Grant (Dispatches from Pluto: Lost and Found in the Mississippi Delta)
Those who say marriage is no different to cohabitation are perhaps less sensitive to issues of continuity. Legally and socially, marriage provided us with an framework, struts: as a tradition, it predates history. And yet it is still trivialised as no more than “a piece of paper”, or by the perception of it as a kind of country club from which those demarcated as undesirable are excluded. But marriage is not about religion or gender; it is an admission of vulnerability, a commitment to the perpetual evaluation of priorities and a social stabiliser.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
To be honest, I am still grateful to the United States. If I am arrested crossing the border, I understand it’s part of the system. I realize that I am crossing illegally. But it’s complicated, you see. I know I’m breaking the rules, but it is necessary because my family is there. I don’t want to cause harm to the country, but I have to break the law. I have to. Es una necesidad. It is a situation of emotion, of love. Those who accept staying apart from their family are without love. Their children grow up without love. So I must fight against this.
Francisco Cantú (The Line Becomes a River: Dispatches from the Border)
TO DODD, PAPEN’S REMARK ranked as one of the most idiotic he had heard since his arrival in Berlin. And he had heard many. An odd kind of fanciful thinking seemed to have bedazzled Germany, to the highest levels of government. Earlier in the year, for example, Göring had claimed with utter sobriety that three hundred German Americans had been murdered in front of Independence Hall in Philadelphia at the start of the past world war. Messersmith, in a dispatch, observed that even smart, well-traveled Germans will “sit and calmly tell you the most extraordinary fairy tales.
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
There was also in his nature a trait which some people might have called laziness, though it was not quite that. No one was capable of harder work, when it had to be done, and few could better shoulder responsibility; but the facts remained that he was not passionately fond of activity, and did not enjoy responsibility at all. Both were included in his job, and he made the best of them, but he was always ready to give way to any one else who could function as well or better. It was partly this, no doubt, that had made his success in the Service less striking than it might have been. He was not ambitious enough to shove his way past others, or to make an important parade of doing nothing when there was really nothing doing. His dispatches were sometimes laconic to the point of curtness, and his calm in emergencies, though admired, was often suspected of being too sincere. Authority likes to feel that a man is imposing some effort on himself, and that his apparent nonchalance is only a cloak to disguise an outfit of well-bred emotions. With Conway the dark suspicion had sometimes been current that he really was as unruffled as he looked, and that whatever happened, he did not give a damn. But this, too, like the laziness, was an imperfect interpretation. What most observers failed to perceive in him was something quite bafflingly simple—a love of quietness, contemplation, and being alone.
James Hilton (Lost Horizon)
She sorted through the clothes. “Do you mind wearing Emilio’s underwear?” She turned back to him with the two different styles that she’d found. “You’re about the same size. And they’re clean. They were wrapped in a paper package, like from a laundry service.” Max gave her a look, because along with the very nice, very expensive pair of black silk boxers she’d pilfered from Emilio, she’d also borrowed one of his thongs. “What?” Gina said. It was definitely a man-thong. It had all that extra room for various non-female body parts. “Don’t be ridiculous.” “I’m not,” she said, trying to play it as serious. “One, it’s been a while, maybe your tastes have changed. And two, these might actually be more comfortable, considering the placement of your bandage and—” He took the boxers from her. “Apparently I was wrong.” She turned away and started sorting through the pairs of pants and Bermuda shorts she’d grabbed, trying not to be too obvious about the fact that she was watching him out of the corner of her eye. To make sure he didn’t fall over. Right. After he got the boxers on, he took off the bathrobe and . . . Okay, he definitely wasn’t as skinny as he’d been after his lengthy stint in the hospital. Emilio’s pants probably weren’t going to fit him, after all. Although, there was one pair that looked like they’d be nice and loose . . . There they were. The Kelly green Bermuda shorts. Max gave her another one of those you’ve-got-to-be-kidding glances as he put the bathrobe over the back of another chair. “Do I really look as if I’ve ever worn shorts that color in my entire life?” She tried not to smile. “I honestly don’t think you have much choice.” She let herself look at him. “You know, you could just go with the boxers. At least until your pants dry. You know what would really work with that, though? A bowtie.” She turned, as if to go back to the closet. “I’m sure Emilio has a tux. Judging from his other clothes, it’s probably polyester and chartreuse, but maybe the bowtie is—” “Gina.” Max stopped her before she reached the door. He motioned for her to come back. She held out the green shorts, but instead of taking them, he took her arm, pulled her close. “I love you,” Max said, as if he were dispatching some terrible, dire news that somehow still managed to amuse him at least a little. Gina had been hoping that he’d say it, praying even, but the fact that he’d managed to smile, even just a bit while he did, was a miracle. And then, before her heart even had a chance to start beating again, he kissed her. And oh, she was also beyond ready for that particular marvel, for the sweet softness of his mouth, for the solidness of his arms around her. There was more of him to hold her since he’d regained his fighting weight—and that was amazing, too. She skimmed her hands across the muscular smoothness of his back, his shoulders, as his kiss changed from tender to heated. And, God. That was a miracle, too. Except she couldn’t help but wonder about those words, wrenched from him, as if it cost him his soul to speak them aloud. Why tell her this right now? Yes, she’d been waiting for years for him to say that he loved her, but . . . Max laughed his surprise. “No. Why do you . . .?” He figured it out himself. “No, no, Gina, just . . . I should’ve said it before. I should have said it years ago, but I really should have said it, you know, instead of hi.” He laughed again, clearly disgusted with himself. “God, I’m an idiot. I mean, hi? I should have walked in and said, ‘Gina, I need you. I love you, don’t ever leave me again.’” She stared at him. It was probably a good thing that he hadn’t said that at the time, because she might’ve fainted. It was obvious that he wanted her to say something, but she was completely speechless.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Well, good luck,’ the Vietnam verbal tic...It was as though people couldn’t stop themselves from saying it, even when they actually meant to express the opposite wish, like, ‘Die, motherfucker.’ Usually it was only an uninhabited passage of dead language, sometimes it came out five times in a sentence, like punctuation, often it was spoken flat side up to telegraph the belief that there wasn’t any way out; tough shit, sin loi, smack it, good luck. Sometimes, though, it was said with such feeling and tenderness that it could crack your mask, that much love where there was so much war. Me too, every day, compulsively, good luck: to friends in the press corps going out on operations, to grunts I’d meet at firebases and airstrips, to the wounded, the dead and all the Vietnamese I ever saw getting fucked over by us and each other, less often but most passionately to myself, and though I meant it every time I said it, it was meaningless. It was like telling someone going out in a storm not to get any on him, it was the same as saying, ‘Gee, I hope you don’t get killed or wounded or see anything that drives you insane.’ You could make all the ritual moves, carry your lucky piece, wear your magic jungle hat, kiss your thumb knuckle smooth as stones under running water, the Inscrutable Immutable was still out there, and you kept on or not at its pitiless discretion. All you could say that wasn’t fundamentally lame was something like, ‘He who bites it this day is safe from the next,’ and that was exactly what nobody wanted to hear.
Michael Herr (Dispatches)
Shortly after he had dispatched his “letter of tears,” Paul’s fortunes plummeted to a new low. Claudius’s last years had been clouded by court intrigues, and in October 54, he was poisoned by his wife and succeeded by Nero, his adopted seventeen-year-old son. The accession of the new emperor was hailed with relief and joy and an empire-wide resurgence of the imperial cult. But Rome was in trouble: The Parthians threatened the eastern frontier and there were uprisings in Judea. Scapegoats were needed, and Marcus Junius Silanus, governor of Asia, was murdered by Nero’s agents on suspicion of treason and, in a roundup of local malcontents, Paul was imprisoned in Ephesus. Luke, always the champion of Rome and reluctant to admit that Paul was ever regarded as an enemy of the empire, tells us nothing of this. Instead, he claims that Paul’s mission in Ephesus came to an end after a riot in the Temple of Artemis, when the silversmiths who crafted figurines of the goddess accused him of putting them out of business by undermining the cult.24
Karen Armstrong (St. Paul: The Apostle We Love to Hate (Icons))
Do you ever feel that same need? Your life is so very different from my own. The grandness of the world, the real world, the whole world, is a known thing for you. And you have no need of dispatches because you have seen so much of the American galaxy and its inhabitants—their homes, their hobbies—up close. I don’t know what it means to grow up with a black president, social networks, omnipresent media, and black women everywhere in their natural hair. What I know is that when they loosed the killer of Michael Brown, you said, “I’ve got to go.” And that cut me because, for all our differing worlds, at your age my feeling was exactly the same. And I recall that even then I had not yet begun to imagine the perils that tangle us. You still believe the injustice was Michael Brown. You have not yet grappled with your own myths and narratives and discovered the plunder everywhere around us. Before I could discover, before I could escape, I had to survive, and this could only mean a clash with the streets, by which I mean not just physical blocks, nor simply the people packed into them, but the array of lethal puzzles and strange perils that seem to rise up from the asphalt itself. The streets transform every ordinary day into a series of trick questions, and every incorrect answer risks a beat-down, a shooting, or a pregnancy. No one survives unscathed. And yet the heat that springs from the constant danger, from a lifestyle of near-death experience, is thrilling. This is what the rappers mean when they pronounce themselves addicted to “the streets” or in love with “the game.” I imagine they feel something akin to parachutists, rock climbers, BASE jumpers, and others who choose to live on the edge. Of course we chose nothing. And I have never believed the brothers who claim to “run,” much less “own,” the city. We did not design the streets. We do not fund them. We do not preserve them. But I was there, nevertheless, charged like all the others with the protection of my body. The crews, the young men who’d transmuted their fear into rage, were the greatest danger. The crews walked the blocks of their neighborhood, loud and rude, because it was only through their loud rudeness that they might feel any sense of security and power. They would break your jaw, stomp your face, and shoot you down to feel that power, to revel in the might of their own bodies.
Ta-Nehisi Coates (Between the World and Me)
War means endless waiting, endless boredom. There is no electricity, so no television. You can't read. You can't see friends. You grow depressed but there is no treatment for it and it makes no sense to complain — everyone is as badly off as you. It's hard to fall in love, or rather, hard to stay in love. If you are a teenager, you seem halted in time. If you are critically ill — with cancer, for instance — there is no chemotherapy for you. If you can't leave the country for treatment, you stay and die slowly, and in tremendous pain. Victorian diseases return — polio, typhoid and cholera. You see very sick people around you who seemed in perfectly good health when you last saw them during peacetime. You hear coughing all the time. Everyone hacks — from the dust of destroyed buildings, from disease, from cold. As for your old world, it disappears, like the smoke from a cigarette you can no longer afford to buy. Where are your closest friends? Some have left, others are dead. The few who remain have nothing new to talk about. You can't get to their houses, because the road is blocked by checkpoints. Or snipers take a shot when you leave your door, so you scurry back inside, like a crab retreating inside its shell. Or you might go out on the wrong day and a barrel bomb, dropped by a government helicopter, lands near you. Wartime looks like this.
Janine Di Giovanni (The Morning They Came for Us: Dispatches from Syria)
TO DODD, PAPEN’S REMARK ranked as one of the most idiotic he had heard since his arrival in Berlin. And he had heard many. An odd kind of fanciful thinking seemed to have bedazzled Germany, to the highest levels of government. Earlier in the year, for example, Göring had claimed with utter sobriety that three hundred German Americans had been murdered in front of Independence Hall in Philadelphia at the start of the past world war. Messersmith, in a dispatch, observed that even smart, well-traveled Germans will “sit and calmly tell you the most extraordinary fairy tales.” Now here was the nation’s vice-chancellor claiming not to understand why the United States had entered the world war against Germany. Dodd looked at Papen. “I can tell you that,” he said, his voice just as level and even as before. “It was through the sheer, consummate stupidity of German diplomats.” Papen looked stunned. His wife, according to Sigrid Schultz, looked strangely pleased. A new silence filled the table—not one of anticipation, as before, but a charged emptiness—until suddenly everyone sought to fill the chasm with flecks of diverting conversation. In another world, another context, it would have been a minor incident, a burst of caustic banter readily forgotten. Amid the oppression and Gleichschaltung of Nazi Germany, however, it was something far more important and symbolic.
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
Hold Everything Dear for John Berger as the brick of the afternoon stores the rose heat of the journey as the rose buds a green room to breathe and blossoms like the wind as the thinning birches whisper their silver stories of the wind to the urgent in the trucks as the leaves of the hedge store the light that the moment thought it had lost as the nest of her wrist beats like the chest of a wren in the turning air as the chorus of the earth find their eyes in the sky and unwrap them to each other in the teeming dark hold everything dear the calligraphy of birds across the morning the million hands of the axe, the soft hand of the earth one step ahead of time the broken teeth of tribes and their long place steppe-scattered and together clay's small, surviving handle, the near ghost of a jug carrying itself towards us through the soil the pledge of offered arms, the single sheet that is our common walking the map of the palm held in a knot but given as a torch hold everything dear the paths they make towards us and how far we open towards them the justice of a grass that unravels palaces but shelters the songs of the searching the vessel that names the waves, the jug of this life, as it fills with the days as it sinks to become what it loves memory that grows into a shape the tree always knew as a seed the words the bread the child who reaches for the truths beyond the door the yearning to begin again together animals keen inside the parliament of the world the people in the room the people in the street the people hold everything dear 19th May 2005 Gareth Evans
John Berger (Hold Everything Dear: Dispatches on Survival and Resistance (Vintage International))
It was when they determined that I had been born dead That my life became easier to understand. For a long time, I wondered why rooms felt colder when I entered them, Why nothing I said seemed to stick in anyone’s ear, Frankly, why I never had any money. I wondered Why the cities I walked through drifted into cloud Even as I admired their architecture, as I pointed out The cornerstones marked “1820,” “1950.” The only songs I ever loved were filled with scratch, dispatches from A time when dead ones like me were a dime a dozen. I spent my life in hotels: some looked like mansions, Some more like trailer parks, or pathways toward A future I tried to point to, but how could I point, With nothing but a hand no hand ever matched, With fingers that melted into words that no one read. I rehearsed names that others taught me: Caravaggio, Robert Brandom, Judith, Amber, Emmanuelle Cat. I got hungry the way only the dead get hungry, The hunger that launches a thousand dirty wars, But I never took part in the wars, because no one lets A dead man into their covert discussions. So I drifted from loft to cellar, ageless like a ghost, And America became my compass, and Europe became The way that dead folks talk, in short, who cares, There’s nothing to say because nobody listens, There’s no radio for the dead and the pillows seem Like sand. Let me explain: when you’re alive, As I understand it, pillows cushion the head, the way A lover might soothe the heart. The way it works for me, In contrast, is everything is sand. Beds are sand, The women I profess to love are sand, the sound of music In the darkest night is sand, and whatever I have to say Is sand. This is not, for example, a political poem, Because the dead have no politics. They might have A hunger, but nothing you’ve ever known Could begin to assuage it.
John Beer (The Waste Land and Other Poems)
My handsome husband and I didn’t make love for almost six months. I was enraptured, lost to my old life, and, in this obsession, disregarded author Ayelet Waldman – who famously wrote of her 'smug well-being' and 'always vital, even torrid' sex life in the wake of childbirth: I ignored my husband as a man. Instead, I revelled in him as a different thing altogether, far more seductive and important, and infinitely more resonant. My husband was no longer just a man: he was the father of my child.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Repudiating the vulnerability I felt had wrecked the lives of women around me, I modelled myself on my controlled father. I wanted his freedom and his focus. To him, a family was an aquarium: controlled, contained. To the women I knew, a family was everything.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
Oh, Raphael. Maybe just kill it next time instead of skinning it?” He looked to his hands and flicked the thick liquid off. “My apologies, Abigail Wright. It has been quite some time since I dispatched a demon. I became carried away. I will try to remember your request for a cleaner kill.” A second wave of bile rose. I couldn’t stop looking at it. “Thanks, Raphael, me and my stomach would be grateful.
Ashlan Thomas (To Love (The To Fall Trilogy #3))
Do you think the people you preach to have a feeling of love?” the young man asked. “Well, I’m not talking about weak love,” King explained. “I’m talking about love with justice. Weak love can be sentimental and empty. I’m talking about the love that is strong, so that you love your fellow men enough to lead them to justice.
Calvin Trillin (Jackson, 1964: And Other Dispatches from Fifty Years of Reporting on Race in America)
So theirs was not like Hollywood movie love; more like the love between crocodiles.
James Rebanks (The Shepherd's Life: Modern Dispatches from an Ancient Landscape)
Most of them [the soldiers—Warriors in New Pentagon Speak—of the all-volunteer military] come from small towns in the South or the rustbelt of the Midwest or the big city ghettoes. Many are following a family heritage of military service that has made veterans of past wars a relatively privileged class, enjoying special access to higher education, jobs, and a nationwide system of socialized medicine. But so many of them are so very young, enticed or strong-armed by smartly uniformed recruiters who work the corridors and classrooms of America's most impoverished and thoroughly militarized high schools. So many are badly educated, knowing nothing of the world and how it operates. So many are immigrants, risking their lives for a fast track to citizenship. So many are poor and short on promise. So many have such a slim chance of another job, another line of work [like the one who tells the author "where else can I get a job doing the stuff I love? . . . Shootin' people. Blowin' shit up. It's fuckin' fun. I fuckin' love it."], let alone a decent wage or a promotion. And because the Pentagon lowered standards to fill the ranks of the volunteer army, so many are high school dropouts, or gangbangers, or neo-Nazi white supremacists, or drug addicts, or convicted felons with violent crimes on their record. In just three years following the invasion of Iraq, the military issued free passes—so called "moral waivers"—to one of every five recruits, including more than 58,000 convicted drug users and 1,605 with "serious" felony convictions for offenses including rape, kidnapping, and murder. When the number of free passes rose in the fourth year, the Pentagon changed the label to "conduct waiver.
Ann Jones (They Were Soldiers: How the Wounded Return from America's Wars: The Untold Story (Dispatch Books))
Well, I devoutly hope Churchill is safe," Atkins wrote in his dispatch that night, hardly believing that the young man who held so much promise could be so quickly lost. "But I half fear the gods love too much a man, only twenty-four years old, who... is that rare combination, the soldier, the reckless soldier even, and the bookman.
Candice Millard (Hero of the Empire: The Boer War, a Daring Escape, and the Making of Winston Churchill)
the task of education in most liberal societies becomes that of providing information for students to "make up their own minds." The most feared perversion of such education we call indoctrination. It never seems to occur to us that in the name of respecting students' individual desires, we indoctrinate them to believe that their own individual desires should matter. Any education that is worthy is obviously indoctrination. Our inability to acknowledge it as such in the name of respect and love for the student is but a sign of our corruption.
Stanley Hauerwas (Dispatches From the Front: Theological Engagements With the Secular)
You know, my mother said, it’s not just your safety I worry about. I know how a person can become lost in a job, how the soul can buckle when placed within a structure. You asked me once how it felt looking back on my career. Well, the Park Service is an institution, an admirable one, but an institution nonetheless. If I’m honest, I can see now that I spent my career slowly losing a sense of purpose even though I was close to the outdoors, close to places I loved. You see, the government took my passion and bent it to its own purpose. I don’t want that for you.
Francisco Cantú (The Line Becomes a River: Dispatches from the Border)
Forgive me. I merely came to—” “I’ve invited Captain Phelan to join us,” Beatrix announced. “He doesn’t want to talk. Do not ask him direct questions unless absolutely necessary.” The rest of the family received this unorthodox pronouncement without turning a hair. A footman was dispatched to set a place for him. “Come in, Phelan,” Leo said easily. “We love silent guests—it allows us to talk all the more. By all means, sit and say nothing.” “But if you can manage it,” Catherine added with a smile, “try to look impressed by our wit and intelligence.” “I will attempt to add to the conversation,” Christopher ventured, “if I can think of anything relevant.” “That never stops the rest of us,” Cam remarked.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
We're not migrating people,' she said. 'We live in our old houses, and eat on our old dishes and use our old silverware everyday. We're close to the past and comfortable with it. We've surrounded our lives with the pictures of all our relatives hanging on the walls, and we grow up hearing stories about them. It gives these things personality beyond just the material they're made of.
Tony Horwitz (Confederates in the Attic: Dispatches from the Unfinished Civil War)
After ordering, they’d sniffed around at each other at first, talking about the weather and state politics until their food arrived. She didn’t know what she thought of him yet. He was polite enough, more formal than she was used to, and had stood up when she came in. His big mustache hid his mouth and he had the dead-eyed cop look down cold. His hands were huge and reminded her of bear paws when he grasped them together on the table. Legerski seemed serious, if somehow forced, as if he were playacting at being vigilant and extremely sincere. He had a gruff low voice and a drawn-out, western way of speaking. Legerski chose his words carefully and seemed to want to use as few of them as possible. He didn’t wear a wedding ring. She’d said, “I understand you were married to the sister of our dispatcher, Edna.” He’d nodded, and said, “Love is grand, but divorce is a hundred grand.” It was the kind of thing men said to each other and generally didn’t say to women, she thought. But she gave him the benefit of the doubt and hoped he thought of her as serious, as well as a colleague. Since he was a state trooper and she was an investigator for an out-of-county sheriff’s department, the hierarchy was clear. But he didn’t act superior. “Thanks for meeting me this morning,” she said. “You bet,” he said, between mouthfuls of food. “But it’s kind of a busy time.
C.J. Box (The Highway (Highway Quartet #2))
I’ve invited Captain Phelan to join us,” Beatrix announced. “He doesn’t want to talk. Do not ask him direct questions unless absolutely necessary.” The rest of the family received this unorthodox pronouncement without turning a hair. A footman was dispatched to set a place for him. “Come in, Phelan,” Leo said easily. “We love silent guests--it allows us to talk all the more. By all means, sit and say nothing.” “But if you can manage it,” Catherine added with a smile, “ try to look impressed by our wit and intelligence.” “I will attempt to add to the conversation,” Christopher ventured, “if I can think of anything relevant.” “That never stops the rest of us,” Cam remarked.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
Captain Phelan,” came the crisp voice of one of the Sisters of Charity. With her stern demeanor and forbidding expression, the nun was so intimidating that some of the soldiers had suggested--out of her hearing, of course--that if she were dispatched to fight the Russians, the war would be won in a matter of hours.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
You’ll be remembered for decades,” Fenwick said. “Perhaps centuries. Don’t tell me that it means nothing to you.” Christopher shook his head slightly, his gaze locked on the other man’s face. “There is an ancient tradition of military honor in my family,” Fenwick said. “I knew that I would achieve the most, and be remembered the longest. No one ever thinks about the ancestors who led small lives, who were known principally as husbands and fathers, benevolent masters, loyal friends. No one cares about those nameless ciphers. But warriors are revered. They are never forgotten.” Bitterness creased his face, leaving it puckered and uneven like the skin of an overripe orange. “A medal like the Victoria Cross--that is all I’ve ever wanted.” “A half ounce of die-stamped gunmetal?” Christopher asked skeptically. “Don’t use that supercilious tone with me, you arrogant ass.” Oddly, despite the venom of the words, Fenwick was calm and controlled. “From the beginning, I knew you were nothing more than an empty-headed fop. Handsome stuffing for a uniform. But you turned out to have one useful gift--you could shoot. And then you went to the Rifles, where somehow you became a soldier. When I first read the dispatches, I thought there had to be some other Phelan. Because the Phelan of the reports was a warrior, and I knew you hadn’t the makings of one.” “I proved you wrong at Inkerman,” Christopher said quietly. The jab brought a smile to Fenwick’s face, the smile of a man standing at a distance from life and seeing unimaginable irony. “Yes. You saved me, and now you’re to get the nation’s highest honor for it.” “I don’t want it.” “That makes it even worse. I was sent home while you became the lauded hero, and took everything that should have been mine. Your name will be remembered, and you don’t even care. Had I died on the battlefield, that would have at least been something. But you took even that away.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
That would be splendid! I’d love to attend?” “Several Roman designers and I are showing at this function, I’ll make sure VIP invitations for our upcoming autumn show are dispatched to the Sekham household.
Young (Unbridled (A Harem Boy's Saga, #2))
Instinctively she tried to push him away, only to find that he was too strong to be so easily dispatched. By the time she realized that, the delicious pull of his mouth swept her mind clean of all rational thought. Instead of shoving, she made fists in his hair and drew him closer, her body arching against the solid wall of his. He slipped an arm around her waist and drew her even nearer, one large hand splayed on her buttock. The familiarity of his touch and the shocking heat of his skin against hers jerked her back to reality. Glancing down, she saw what was to her unthinkable, a man suckling at her breast, her white body clasped to his bronzed chest. “What are you-- White people don’t do things like this. I’m sure they don’t. Stop! Please?” Alarmed by her tone, Hunter lifted his head to search her eyes. The last thing he wanted was to frighten her. The tosi tivo had strange customs, especially when it came to women’s bodies. At this point he wasn’t concerned with how he made love to her, as long as he got it done. “You say it, and I will do it.” Confusion played upon her face. “What?” “You say to me how.” Scarlet dotted her cheeks. She nibbled her lip, staring at him. “I don’t know how. It’s just, well, there are certain things I’m sure no decent woman would--” Her pupils flared, turning her eyes dark. “Just get it finished.” Finished? Hunter regarded her for several charged seconds. Then an amused twinkle crept into his gaze. “Blue Eyes, if you do not know the tosi tivo way, we must do it the Comanche way.” “Well…yes, I suppose. It’s just that I--Hunter?” He bent his dark head and trailed his lips to her other breast, nibbling and nudging her rigidly cupped fingers. “H-Hunter?” “Be easy,” he whispered. “It is well.
Catherine Anderson (Comanche Moon (Comanche, #1))
When everyone had been dispatched, he turned to Loretta, one dark eyebrow cocked, his indigo eyes twinkling with laughter. “One wife and only one wife, forever with no horizon?” Loretta’s gaze chased off, and her cheeks went scarlet. Clasping her hands behind her, she rocked back on her heels, then forward onto her toes, pursing her lips. “I told you, Hunter, I refuse to play second fiddle.” He smiled--a slow, dangerous smile that made her nerves leap. His heated gaze drifted slowly down the length of her. He grasped her arm and led her toward his lodge. “Now you will show this Comanche how good you play number one fiddle, yes?” “I--” Loretta’s mouth went as dry as dust as she tripped along beside him, her arm vised in his grip. “Surely you don’t mean right now.” Her startled gaze focused on the lodge door. “It’s not even dark yet. People are still awake. You haven’t eaten. There’s no fire built. We can’t just--” He lifted the door flap and drew her into the dark lodge. “Blue Eyes, I have no hunger for food,” he said huskily. “But I will make a fire if you wish for one.” Any delay, no matter how short, appealed to Loretta. “Oh, yes, it’s sort of chilly, don’t you think?” It was a particularly muggy evening, the kind that made clothing stick to the skin, but that hardly seemed important. “Yes, a fire would be lovely.” He left her standing alone in the shadows to haul in some wood, which he quickly arranged in the firepit. Moments later golden flames lit the room, the light dancing and flickering on the tan walls. Remaining crouched by the flames, he tipped his head back and gave her a lazy perusal, his eyes touching on her dress, eyebrows lifting in a silent question. “Do you hunger for food?” he asked her softly.
Catherine Anderson (Comanche Moon (Comanche, #1))
And proceeded past Trevor Williams, former hunter, seated before the tremendous heap of all the animals he had dispatched in his time: hundreds of deer, thirty-two black bear, three bear cubs, innumerable coons, lynx, foxes, mink, chipmunks, wild turkeys, woodchucks, and cougars; scores of mice and rats, a positive tumble of snakes, hundreds of cows and calves, one pony (carriage-struck), twenty thousand or so insects, each of which he must briefly hold, with loving attention, for a period ranging from several hours to several months, depending on the quality of loving attention he could muster and the state of fear the beast happened to have been in at the time of its passing. Being thus held (the product of time and loving attention and being found sufficient, that is), that particular creature would heave up, then drive or fly or squirm away, diminishing Mr. Williams heap by one.
George Saunders (Lincoln in the Bardo)
Love is no buoy.
Cameron Awkward-Rich (Dispatch: Poems)
Some of us loved the French, our patron, and some hated the French, our colonizers, but all of us had been seduced by them. It is difficult to be loved by someone, as the French imagined their relationship with us, or to be abused by someone, though the French pretended otherwise, without being shaped by their hand and touched by their tongue. Thus we learned French literature and language under the tutelage of this professor who had actually stepped foot on the soil of la Gaule, our fatherland, as a scholarship student dispatched to absorb the best of French culture. He returned as a sopping wet sponge to us benighted natives, applying himself to foreheads that might be feverish with revolution.
Viet Thanh Nguyen (The Committed (The Sympathizer #2))
In the Netherlands, where euthanasia was legalized in 2002, some legislators have argued that the law should go even further, so that all people above a certain threshold age can receive a physician-assisted death, even if they aren’t suffering at all. In 2016, the country’s health minister, Edith Schippers, proposed a measure that would have allowed elderly people with “a well-considered opinion that their life is complete” to qualify. This, she said in a statement to parliament, would help “older people who do not have the possibility to continue life in a meaningful way, who are struggling with the loss of independence and reduced mobility, and who have a sense of loneliness, partly because of the loss of loved ones, and who are burdened by general fatigue, deterioration, and loss of personal dignity.
Katie Engelhart (The Inevitable: Dispatches on the Right to Die)
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There are some strange cold people in this world. It is priests, I think. Saving your presence. Training themselves out of natural feeling. They mean it for the best, of course.’ ‘It was not a mistake. We did have a year. I think of her every day.’ The door opens; it is Alice bringing in lights. ‘This is your daughter?’ Rather than explain his family, he says, ‘This is my lovely Alice. This is not your job, Alice?’ She bobs, a small genuflection to a churchman. ‘No, but Rafe and the others want to know what you are talking about so long. They are waiting to know if there will be a dispatch to the cardinal tonight. Jo is standing by with her needle and thread.’ ‘Tell them I will write in my own hand, and we will send it tomorrow.
Hilary Mantel (Wolf Hall (Thomas Cromwell, #1))
She talked to Sidelnikov, and all the material on the serf composer is here. His name was Maxim Sasontovich Beriozovsky, and he was born on 16 October 1745 in Glukhov. In 1765 he was sent to the Musical Academy of Bologna, where he studied under Padre Tartini the Elder, who was a pupil of Mozart. He became an honorary member of the Bologna Academy, as well as being a member of other musical academies. He wrote the opera Demophones, based on texts by Metastasio, for the Livorno Opera. He composed a great deal of superb music and became very well known in Italy In 1774 he returned to Russia at the wish of Potyomkin, who proposed that he found a musical academy in Kremenschug. He fell in love with a serf actress belonging to Count Razoumovsky. When the Count heard of it he raped the girl and dispatched her to Siberia. Beriozovsky went to St. Petersburg where he started to drink heavily and in 1777 took his own life. In Bologna there lives someone called Napoleone Fonti, aged seventy, who knows a lot about Beriozovsky and what happened to him. His scores are in Bologna and Livorno
Andrei Tarkovsky
Cagayn police have issued an all-officer dispatch for vans of that description to be pulled over and checked.” “The boss would have loved that one: proper police work.
Peter F. Hamilton (Judas Unchained (Commonwealth Saga, #2))
always loved this sentence in Our Bodies, Ourselves, the Eighties edition I had in college: “The previous edition of Our Bodies, Ourselves included a brief section on astrological birth control, which just doesn’t work.” So much going on in that sentence, dispatched with no drama. Maybe a shade of irony, but no hand-wringing—just a change of mind announced as efficiently and discreetly and decisively as possible.
Rob Sheffield (Dreaming the Beatles: The Love Story of One Band and the Whole World)
Dispatch love, to the aching parts of your heart.
Elelwani Anita Ravhuhali (The Voice Of Adequacy: Silencing Self-Doubt, Embracing Self-Love)
In a dangerous atmosphere of cynicism and gullibility, personal belief, spin and gut feeling are pitted against complex evidence and academics in their ivory towers. In modern life, politicians can ignore data, research is a luxury and conspiracy theories are easy to set loose, but far more difficult to catch and dispatch. The general public, living in a world full of experts, have largely fallen out of love with the real thing.
John Darlington (Fake Heritage: Why We Rebuild Monuments)
I hate you,” said twelve-year-old Kania, through gritted teeth, to ten-year-old Marra. “I hate you and I hope you die.” Marra carried the knowledge that her sister hated her snugged up against her ribs. It did not touch her heart, but it seemed to fill her lungs, and sometimes when she tried to take a deep breath, it caught on her sister’s words and left her breathless. She did not talk to anyone about it. There was no point. Her father was not unkind, but he was mostly absent, even if he was physically present. At best he would have patted her awkwardly on the back and sent her to the kitchen for a treat, as if she were small. And her mother, the queen, would have said, “don’t be absurd, your sister loves you,” in a distracted voice, opening the latest dispatch from her spymasters, making the political decisions to keep the kingdom from falling into ruin.
T. Kingfisher (Nettle & Bone)
Tyrone graduated with honors, earning a B.S. in sociology with a minor in psychology. He then applied and was accepted to the University of Missouri-Columbia School of Law, and received the CALI Excellence for the Future Award for his work when he graduated. Instead of practicing law, Tyrone and Rene—his wife, whom he met in Bible study class as an undergraduate—established Higher M-Pact, a nonprofit organization that provides tutoring, job training, counseling, and recreational activities to inner city youths in one of the most violent housing projects in Kansas City. I know that this will sound weird, but in many ways my paralysis saved my life. Before that, I was floating through the only kind of life I had ever known. I didn’t have a lot of direction or purpose. All I knew is that I wanted a better life than I had ever experienced, but I didn’t know what that would look like. I could’ve stayed floating, but misery doesn’t just love company, it loves pain. I didn’t want to be in misery forever.
John Aarons (Dispatches from Juvenile Hall: Fixing a Failing System)
The Police Dispatch radio crackled to life breaking the silence of an otherwise dead night. Tammy listened to a dialogue of unfamiliar ten codes between the beach zone car and the nightshift Watch Commander. Tammy was alone as her supervisor Patty had gone outside for a cigarette break. She heard an officer say, “…possible signal-five at MacWilliams Park.” She checked the police radio code list posted on her console. It read: murder. She frantically ran to the window and banged on the glass to get Patty’s attention.
Jim Kelly (Lost In Paradise: The Rick Edwards File)
What a horrible reason to shoot someone, as if any decent god gives a damn how he’s worshipped, so long as it’s directed heavenward with love?
Cherie Priest (Chapelwood (The Borden Dispatches, #2))
Maybe tangled will be a spectacular rump. maybe i will adore it: it could happen. But one thing is for sure: tangled will not be rapunzel. And thats too bad , because rapunzel is an specially layered and relevant fairytale, less about the love between a man and a woman than the misguided attempts of a mother trying to protect her daughter from (what she perceives ) as the worlds evils. The tale, you may recall, begins with a mother-to-bes yearning for the taste of rapunzel, a salad green she spies growing in the garden of the sorceress who happens to live next door. The womans craving becomes so intense , she tells her husband that if he doesn't fetch her some, she and their unborn baby will die. So he steals into the baby's yard, wraps his hands around a plant, and, just as he pulls... she appears in a fury. The two eventually strike a bargain: the mans wife can have as much of the plant as she wants- if she turns over her baby to the witch upon its birth. `i will take care for it like a mother,` the sorceress croons (as if that makes it all right). Then again , who would you rather have as a mom: the woman who would do anything for you or the one who would swap you in a New York minute for a bowl of lettuce? Rapunzel grows up, her hair grows down, and when she is twelve-note that age-Old Mother Gothel , as she calls the witch. leads her into the woods, locking her in a high tower which offers no escape and no entry except by scaling the girls flowing tresses. One day, a prince passes by and , on overhearing Rapunzel singing, falls immediately in love (that makes Rapunzel the inverse of Ariel- she is loved sight unseen because of her voice) . He shinnies up her hair to say hello and , depending on the version you read, they have a chaste little chat or get busy conceiving twins. Either way, when their tryst is discovered, Old Mother Gothel cries, `you wicked child! i thought i had separated you from the world, and yet you deceived me!` There you have it : the Grimm`s warning to parents , centuries before psychologists would come along with their studies and measurements, against undue restriction . Interestingly the prince cant save Rapuzel from her foster mothers wrath. When he sees the witch at the top of the now-severed braids, he jumps back in surprise and is blinded by the bramble that breaks his fall. He wanders the countryside for an unspecified time, living on roots and berries, until he accidentally stumbles upon his love. She weeps into his sightless eyes, restoring his vision , and - voila!- they rescue each other . `Rapunzel` then, wins the prize for the most egalitarian romance, but that its not its only distinction: it is the only well-known tale in which the villain is neither maimed nor killed. No red-hot shoes are welded to the witch`s feet . Her eyes are not pecked out. Her limbs are not lashed to four horses who speed off in different directions. She is not burned at the stake. Why such leniency? perhaps because she is not, in the end, really evil- she simply loves too much. What mother has not, from time to time, felt the urge to protect her daughter by locking her in a tower? Who among us doesn't have a tiny bit of trouble letting our children go? if the hazel branch is the mother i aspire to be, then Old Mother Gothel is my cautionary tale: she reminds us that our role is not to keep the world at bay but to prepare our daughters so they can thrive within it. That involves staying close but not crowding them, standing firm in one`s values while remaining flexible. The path to womanhood is strewn with enchantment , but it also rifle with thickets and thorns and a big bad culture that threatens to consume them even as they consume it. The good news is the choices we make for our toodles can influence how they navigate it as teens. I`m not saying that we can, or will, do everything `right,` only that there is power-magic-in awareness.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)