Dozen Love Quotes

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But love is always new. Regardless of whether we love once, twice, or a dozen times in our life, we always face a brand-new situation. Love can consign us to hell or to paradise, but it always takes us somewhere. We simply have to accept it, because it is what nourishes our existence. If we reject it, we die of hunger, because we lack the courage to stretch out a hand and pluck the fruit from the branches of the tree of life. We have to take love where we find it, even if that means hours, days, weeks of disappointment and sadness. The moment we begin to seek love, love begins to seek us. And to save us.
Paulo Coelho (By the River Piedra I Sat Down and Wept)
Relationships are mysterious. We doubt the positive qualities in others, seldom the negative. You will say to your partner: do you really love me? Are you sure you love me? You will ask this a dozen times and drive the person nuts. But you never ask: are you really mad at me? Are you sure you’re angry? When someone is angry, you don’t doubt it for a moment. Yet the reverse should be true. We should doubt the negative in life, and have faith in the positive.
Christopher Pike (Remember Me (Remember Me, #1-3))
We turned at a dozen paces, for love is a duel, and looked at each other for the last time.
Jack Kerouac
Love flows like flowers, and grows like water. I’m so thirsty for romance I could drink a dozen roses.
Jarod Kintz (This Book is Not for Sale)
I don’t believe in destiny or fate—I believe in choice. Love wasn’t just a choice—it was dozens, hundreds, thousands of choices. Every day was a choice.
Jennifer Lynn Barnes (The Final Gambit (The Inheritance Games, #3))
What can I say about love that’s never been said by me or anyone else? Well, sometimes love smells like my farts, after I eat a dozen roses.
Jarod Kintz (This Book is Not for Sale)
In my experience, when a woman's cruelty is combined with love and devotion, it is almost always without exception an act performed not out of treachery, but as a painful self-sacrifice for the good of her beloved, to obtain for him a future bounty where he would not know how to obtain it for himself, or have the courage, patience, or foresight to obtain it. Womankind always seems to be able to see a dozen steps into the future, far ahead of what men are able to see. And they have strength where we do not.
Roman Payne (The Wanderess)
And how we burned in the camps later, thinking: What would things have been like if every Security operative, when he went out at night to make an arrest, had been uncertain whether he would return alive and had to say good-bye to his family? Or if, during periods of mass arrests, as for example in Leningrad, when they arrested a quarter of the entire city, people had not simply sat there in their lairs, paling with terror at every bang of the downstairs door and at every step on the staircase, but had understood they had nothing left to lose and had boldly set up in the downstairs hall an ambush of half a dozen people with axes, hammers, pokers, or whatever else was at hand?... The Organs would very quickly have suffered a shortage of officers and transport and, notwithstanding all of Stalin's thirst, the cursed machine would have ground to a halt! If...if...We didn't love freedom enough. And even more – we had no awareness of the real situation.... We purely and simply deserved everything that happened afterward.
Aleksandr Solzhenitsyn (The Gulag Archipelago 1918–1956 (Abridged))
Ham turned back, still smiling. "You make it sound so desperate, El." Elend looked over at him. "The Assembly is a mess, a half-dozen warlords with superior armies are breathing down my neck, barely a month passes without someone sending assassins to kill me, and the woman I love is slowly driving me insane." Vin snorted at this last part. "Oh is that all?" Ham said. "See? It's not so bad after all. I mean, we could be facing an immortal god and his all-powerful priests instead.
Brandon Sanderson (The Well of Ascension (Mistborn, #2))
But love is always new. Regardless of whether we love once, twice, or a dozen times in our life, we always face a brand-new situation.
Paulo Coelho (By the River Piedra I Sat Down and Wept)
A lover exists only in fragments, a dozen or so if the romance is new, a thousand if we're married to him, and out of those fragments our heart constructs an entire person. What we each create, since whatever is missing is filled by our imagination, is the person we wish him to be. The less we know him, of course, the more we love him. And that's why we always remember that first rapturous night when he was a stranger, and why this rapture returns only when he's dead.
Andrew Sean Greer (The Story of a Marriage)
Emotionlessly she kissed me in the vineyard and walked off down the row. We turned at a dozen paces, for love is a duel, and looked up at each other for the last time.
Jack Kerouac
So, what do you do when you know you have two days to live? Eat an entire Bitter Chocolate Death cake all by myself. Reread my favorite novel. Buy eight dozen roses from the best florist in town--the super expensive ones, the ones that smell like roses rather than merely looking like them--and put them all over my apartment. Take a good long look at everyone I love.
Robin McKinley (Sunshine)
Poison." he said, deadpan. "That's an unusual name to give your child. You must love her very much." She's a treasure." Bram agreed, blithely ignoing the sarcasm. .... Then went a few dozen feet in silence, until they were out of eaarshor of the gaurd. She's a treasure." Poison mimicked, and Bram burst out laughing.
Chris Wooding (Poison)
You experience life alone, you can be as intimate with another as much as you like, but there has to be always a part of you and your existence that is incommunicable; you die alone, the experience is yours alone, you might have a dozen spectators who love you, but your isolation, from birth to death, is never fully penetrated.
Steve Toltz (A Fraction of the Whole)
There is something about you. That you tirelessly study people. Figure out who they are, what they want, and then mold yourself into whatever shape you think will fit them. I’ve seen you play half a dozen different roles for half a dozen different situations, switching personalities like you’re channel surfing, and I still have no idea who you are.
Ali Hazelwood (Love, Theoretically)
And then he left, and came back, and our lives fell apart, like a well-loved book that you’d read and read again, until one night you picked it up to read yourself to sleep and the binding collapsed, sending dozens of pages spiraling toward the floor.
Jennifer Weiner (Good in Bed (Cannie Shapiro, #1))
Arnesians had a dozen ways to say hello, but no word for good-bye. When it came to parting ways, they sometimes said vas ir, which meant in peace, but more often they chose to say anoshe–until another day. Anoshe was a word for strangers in the street, and lovers between meetings, for parents and children, friends and family. It softened the blow of leaving. Eased the strain of parting. A careful nod to the certainty of today, the mystery of tomorrow. When a friend left, with little chance of seeing home, they said anoshe. When a loved one was dying, they said anoshe. When corpses were burned, bodies given back to the earth and souls to the stream, those grieving said anoshe. Anoshe brought solace. And hope. And the strength to let go.
Victoria E. Schwab (A Conjuring of Light (Shades of Magic, #3))
I am sure we both loved a different man. Because a lover exists only in fragments, a dozen or so if the romance is new, a thousand if we’ve married him, and out of those fragments our heart constructs an entire person. What we each create, since whatever is missing is filled in by our imagination, is the person we wish him to be. The less we know him, of course, the more we love him.
Andrew Sean Greer (Less (Arthur Less, #1))
I thought it was the other girl who had drawn your fancy. Your princess.” Mark gave a choked laugh. “By the Angel,” he said, and saw Kieran blanch at the Shadowhunter words. “Your imagination is limited by your jealousy. Kieran . . . everyone who lives under this roof, whether they are bound by blood or not, we are tied together by an invisible net of love and duty and loyalty and honor. That is what it means to be a Shadowhunter. Family—” “What would I know of family? My father sold me to the Wild Hunt. I do not know my mother. I have three dozen brothers, all of whom would gladly see me dead. Mark, you are all I have.” “Kieran—” “And I love you,” Kieran said. “You are all that exists on the earth and under the sky that I do love.
Cassandra Clare (Lady Midnight (The Dark Artifices, #1))
All right, then,” she snapped, “do as you please! Perhaps afterward we could manage a coherent discussion.” Twisting beneath him, she flopped onto her stomach. Christopher went still. After a long hesitation, she heard him ask in a far more normal voice, “What are you doing?” “I’m making it easier for you,” came her defiant reply. “Go on, start ravishing.” Another silence. Then, “Why are you facing downward?” “Because that’s how it’s done.” Beatrix twisted to look at him over her shoulder. A twinge of uncertainty caused her to ask, “Isn’t it?” His face was blank. “Has no one ever told you?” “No, but I’ve read about it.” Christopher rolled off her, relieving her of his weight. He wore an odd expression as he asked, “From what books?” “Veterinary manuals. And of course, I’ve observed the squirrels in springtime, and farm animals and-” She was interrupted as Christopher cleared his throat loudly, and again. Darting a confused glance at him, she realized that he was trying to choke back amusement. Beatrix began to feel indignant. Her first time in a bed with a man, and he was laughing. “Look here,” she said in a businesslike manner, “I’ve read about the mating habits of over two dozen species, and with the exception of snails, whose genitalia is on their necks, they all—” She broke off and frowned. “Why are you laughing at me? Christopher had collapsed, overcome with hilarity. As he lifted his head and saw her affronted expression, he struggled manfully with another outburst. “Beatrix. I’m . . . I’m not laughing at you.” “You are!” “No I’m not. It’s just . . .” He swiped a tear from the corner of his eye, and a few more chuckles escaped. “Squirrels . . .” “Well, it may be humorous to you, but it’s a very serious matter to the squirrels.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
oxygen Everything needs it: bone, muscles, and even, while it calls the earth its home, the soul. So the merciful, noisy machine stands in our house working away in its lung-like voice. I hear it as I kneel before the fire, stirring with a stick of iron, letting the logs lie more loosely. You, in the upstairs room, are in your usual position, leaning on your right shoulder which aches all day. You are breathing patiently; it is a beautiful sound. It is your life, which is so close to my own that I would not know where to drop the knife of separation. And what does this have to do with love, except everything? Now the fire rises and offers a dozen, singing, deep-red roses of flame. Then it settles to quietude, or maybe gratitude, as it feeds as we all do, as we must, upon the invisible gift: our purest, sweet necessity: the air.
Mary Oliver (Thirst)
Maybe that's why I tend to equate physical beauty with qualities with which it has absolutely nothing to do. I see a pretty mouth or a moody pair of eyes and imagine all sorts of deep affinities, private kinships. Never mind that half a dozen jerks are clustered round the same person, just because they've been duped by the same pair of eyes.
Donna Tartt (The Secret History)
You can be broken into a dozen shattered pieces and still heal the world because service has its own medicine--hope.
Shannon L. Alder
The most important thing we've learned, So far as children are concerned, Is never, NEVER, NEVER let Them near your television set -- Or better still, just don't install The idiotic thing at all. In almost every house we've been, We've watched them gaping at the screen. They loll and slop and lounge about, And stare until their eyes pop out. (Last week in someone's place we saw A dozen eyeballs on the floor.) They sit and stare and stare and sit Until they're hypnotised by it, Until they're absolutely drunk With all that shocking ghastly junk. Oh yes, we know it keeps them still, They don't climb out the window sill, They never fight or kick or punch, They leave you free to cook the lunch And wash the dishes in the sink -- But did you ever stop to think, To wonder just exactly what This does to your beloved tot? IT ROTS THE SENSE IN THE HEAD! IT KILLS IMAGINATION DEAD! IT CLOGS AND CLUTTERS UP THE MIND! IT MAKES A CHILD SO DULL AND BLIND HE CAN NO LONGER UNDERSTAND A FANTASY, A FAIRYLAND! HIS BRAIN BECOMES AS SOFT AS CHEESE! HIS POWERS OF THINKING RUST AND FREEZE! HE CANNOT THINK -- HE ONLY SEES! 'All right!' you'll cry. 'All right!' you'll say, 'But if we take the set away, What shall we do to entertain Our darling children? Please explain!' We'll answer this by asking you, 'What used the darling ones to do? 'How used they keep themselves contented Before this monster was invented?' Have you forgotten? Don't you know? We'll say it very loud and slow: THEY ... USED ... TO ... READ! They'd READ and READ, AND READ and READ, and then proceed To READ some more. Great Scott! Gadzooks! One half their lives was reading books! The nursery shelves held books galore! Books cluttered up the nursery floor! And in the bedroom, by the bed, More books were waiting to be read! Such wondrous, fine, fantastic tales Of dragons, gypsies, queens, and whales And treasure isles, and distant shores Where smugglers rowed with muffled oars, And pirates wearing purple pants, And sailing ships and elephants, And cannibals crouching 'round the pot, Stirring away at something hot. (It smells so good, what can it be? Good gracious, it's Penelope.) The younger ones had Beatrix Potter With Mr. Tod, the dirty rotter, And Squirrel Nutkin, Pigling Bland, And Mrs. Tiggy-Winkle and- Just How The Camel Got His Hump, And How the Monkey Lost His Rump, And Mr. Toad, and bless my soul, There's Mr. Rat and Mr. Mole- Oh, books, what books they used to know, Those children living long ago! So please, oh please, we beg, we pray, Go throw your TV set away, And in its place you can install A lovely bookshelf on the wall. Then fill the shelves with lots of books, Ignoring all the dirty looks, The screams and yells, the bites and kicks, And children hitting you with sticks- Fear not, because we promise you That, in about a week or two Of having nothing else to do, They'll now begin to feel the need Of having something to read. And once they start -- oh boy, oh boy! You watch the slowly growing joy That fills their hearts. They'll grow so keen They'll wonder what they'd ever seen In that ridiculous machine, That nauseating, foul, unclean, Repulsive television screen! And later, each and every kid Will love you more for what you did.
Roald Dahl (Charlie and the Chocolate Factory (Charlie Bucket, #1))
I am burdened with what the Buddhists call the monkey mind. The thoughts that swing from limb to limb, stopping only to scratch themselves, spit and howl. My mind swings wildly through time, touching on dozens of ideas a minute, unharnessed and undisciplined. You are, after all, what you think. Your emotions are the slaves to your thoughts, and you are the slave to your emotions.
Elizabeth Gilbert
I love this man sitting before me now, because I do not possess him and he does not possess me. We are free in our mutual surrender; I need to repeat this dozens, hundreds, millions of times, until I finally believe my own words.
Paulo Coelho (Eleven Minutes)
I love you, Eve.” She looked away from the sun, the ocean, and into his eyes. And it was wonderful, and for the moment, it was simple. “I missed you.” She pressed her cheek to his and held him tightly. “I really missed you. I wore one of your shirts.” She could laugh at herself now because he was here. She could smell him, touch him. “I actually went into your closet and stole one of your shirts—one of the black silk ones you have dozens of. I put it on, then snuck out of the house like a thief so Summerset wouldn’t catch me.” Absurdly touched, he nuzzled her neck. “At night, I’d play your transmissions over, just so I could look at you, hear your voice.” “Really?” She giggled, a rare sound from her. “God, Roarke, we’ve gotten so sappy.” “We’ll keep it our little secret.” “Deal.” She leaned back to look at his face.
J.D. Robb (Glory in Death (In Death, #2))
A mockingbird has moved into our neighborhood. It perches atop a telephone pole behind our backyard. Every morning it is the first thing I hear. It is impossible to be unhappy when listening to a mockingbird. So stuffed with songs it is, it can't seem to make up it's mind which to sing first, so it sings them all, a dozen different songs at once, in a dozen different voices. On and on it sings without a pause, so peppy, even frantic, as if its voice alone is keeping the world awake.
Jerry Spinelli (Love, Stargirl (Stargirl, #2))
You aren't even angry with me anymore, Stefan, so let me up." He didn't budge. "It would be a misconception on your part, little Tanya, if you are thinking I have to be angry to make love to you." His head bent, his lips grazing her cheek all the way to her ear. With his warm breath sending tingles all over her, he continued in a whisper, "I wanted you last night, today a dozen times, right now more than ever. Tell me to love you, Tanya. Demand it of me!
Johanna Lindsey (Once a Princess (Cardinia's Royal Family, #1))
And I couldn't stop loving you if I tried.There's so much good in you, Smiley. You're strong, you're giving, you're sweet. Your smile lights me up inside like a dozen suns, and your kiss turns me to putty. You're with every risk . Any risk.
Pamela Palmer (Ecstasy Untamed (Feral Warriors, #6))
I don’t believe in the Law of Attraction. There were things I wanted in my life that no amount of positive thinking was going to make it a reality for me. However, I have learned to believe in the Law of Tough Love. Life has thrown a dozen tragedies at me. I did what any Christian would do--prayed for the outcome I wanted, but God was tough and only gave me what I needed. I now realize that life is not about fulfilling a wish list; rather a need list. Good and bad experiences are on the horizon. How else does a person change, grow and evolve? And just like any warrior woman, I won’t simply survive-- but thrive!
Shannon L. Alder
I was recently living more comfortably surrounded by secrets... Like dozens of luxurious satiny pillows, they were embracing me from all directions into safe lulling warmth, thus isolating me from the sharp dead-cold edges of the truth hiding behind their endearingly smooth textures and tender soothing colours. Secrets could be so irresistibly beautiful...
Simona Panova (Nightmarish Sacrifice (Cardew))
Ian cupped her chin and turned her face up to his. Then he did what he’d been practicing since the night on the train – he looked her fully in the eyes. He couldn’t always do it. Sometimes his gaze simply refused to obey, and he’d turn away with a growl. But more and more he’d been able to focus directly on her. Ian’s eyes were beautiful, even more so when his pupils widened with desire. “Have I told you today that I love you?” he asked. “A few dozen times. Not that I mind.” As a young woman who’d been starved for love much of her life, Beth lapped up Ian’s generous outpouring of the words. He’d surprise her with them, catching her as she walked down the hall, pushing her up against a wall, breathing, “I love you.” Or he’d tickle her awake and tell her while she tried to hit him with a pillow. The best was when he lay against her in the dark, fingers tracing her body. She treasured his whispered, “I love you.
Jennifer Ashley (The Madness of Lord Ian Mackenzie (Mackenzies & McBrides, #1))
It’s loneliness. Even though I’m surrounded by loved ones who care about me and want only the best, it’s possible they try to help only because they feel the same thing—loneliness—and why, in a gesture of solidarity, you’ll find the phrase “I am useful, even if alone” carved in stone. Though the brain says all is well, the soul is lost, confused, doesn’t know why life is being unfair to it. But we still wake up in the morning and take care of our children, our husband, our lover, our boss, our employees, our students, those dozens of people who make an ordinary day come to life. And we often have a smile on our face and a word of encouragement, because no one can explain their loneliness to others, especially when we are always in good company. But this loneliness exists and eats away at the best parts of us because we must use all our energy to appear happy, even though we will never be able to deceive ourselves. But we insist, every morning, on showing only the rose that blooms, and keep the thorny stem that hurts us and makes us bleed hidden within. Even knowing that everyone, at some point, has felt completely and utterly alone, it is humiliating to say, “I’m lonely, I need company. I need to kill this monster that everyone thinks is as imaginary as a fairy-tale dragon, but isn’t.” But it isn’t. I wait for a pure and virtuous knight, in all his glory, to come defeat it and push it into the abyss for good, but that knight never comes. Yet we cannot lose hope. We start doing things we don’t usually do, daring to go beyond what is fair and necessary. The thorns inside us will grow larger and more overwhelming, yet we cannot give up halfway. Everyone is looking to see the final outcome, as though life were a huge game of chess. We pretend it doesn’t matter whether we win or lose, the important thing is to compete. We root for our true feelings to stay opaque and hidden, but then … … instead of looking for companionship, we isolate ourselves even more in order to lick our wounds in silence. Or we go out for dinner or lunch with people who have nothing to do with our lives and spend the whole time talking about things that are of no importance. We even manage to distract ourselves for a while with drink and celebration, but the dragon lives on until the people who are close to us see that something is wrong and begin to blame themselves for not making us happy. They ask what the problem is. We say that everything is fine, but it’s not … Everything is awful. Please, leave me alone, because I have no more tears to cry or heart left to suffer. All I have is insomnia, emptiness, and apathy, and, if you just ask yourselves, you’re feeling the same thing. But they insist that this is just a rough patch or depression because they are afraid to use the real and damning word: loneliness. Meanwhile, we continue to relentlessly pursue the only thing that would make us happy: the knight in shining armor who will slay the dragon, pick the rose, and clip the thorns. Many claim that life is unfair. Others are happy because they believe that this is exactly what we deserve: loneliness, unhappiness. Because we have everything and they don’t. But one day those who are blind begin to see. Those who are sad are comforted. Those who suffer are saved. The knight arrives to rescue us, and life is vindicated once again. Still, you have to lie and cheat, because this time the circumstances are different. Who hasn’t felt the urge to drop everything and go in search of their dream? A dream is always risky, for there is a price to pay. That price is death by stoning in some countries, and in others it could be social ostracism or indifference. But there is always a price to pay. You keep lying and people pretend they still believe, but secretly they are jealous, make comments behind your back, say you’re the very worst, most threatening thing there is. You are not an adulterous man, tolerated and often even admired, but an adulterous woman, one who is ...
Paulo Coelho (Adultery)
First came bright Spirits, not the Spirits of men, who danced and scattered flowers. Then, on the left and right, at each side of the forest avenue, came youthful shapes, boys upon one hand, and girls upon the other. If I could remember their singing and write down the notes, no man who read that score would ever grow sick or old. Between them went musicians: and after these a lady in whose honour all this was being done. I cannot now remember whether she was naked or clothed. If she were naked, then it must have been the almost visible penumbra of her courtesy and joy which produces in my memory the illusion of a great and shining train that followed her across the happy grass. If she were clothed, then the illusion of nakedness is doubtless due to the clarity with which her inmost spirit shone through the clothes. For clothes in that country are not a disguise: the spiritual body lives along each thread and turns them into living organs. A robe or a crown is there as much one of the wearer's features as a lip or an eye. But I have forgotten. And only partly do I remember the unbearable beauty of her face. “Is it?...is it?” I whispered to my guide. “Not at all,” said he. “It's someone ye'll never have heard of. Her name on earth was Sarah Smith and she lived at Golders Green.” “She seems to be...well, a person of particular importance?” “Aye. She is one of the great ones. Ye have heard that fame in this country and fame on Earth are two quite different things.” “And who are these gigantic people...look! They're like emeralds...who are dancing and throwing flowers before here?” “Haven't ye read your Milton? A thousand liveried angels lackey her.” “And who are all these young men and women on each side?” “They are her sons and daughters.” “She must have had a very large family, Sir.” “Every young man or boy that met her became her son – even if it was only the boy that brought the meat to her back door. Every girl that met her was her daughter.” “Isn't that a bit hard on their own parents?” “No. There are those that steal other people's children. But her motherhood was of a different kind. Those on whom it fell went back to their natural parents loving them more. Few men looked on her without becoming, in a certain fashion, her lovers. But it was the kind of love that made them not less true, but truer, to their own wives.” “And how...but hullo! What are all these animals? A cat-two cats-dozens of cats. And all those dogs...why, I can't count them. And the birds. And the horses.” “They are her beasts.” “Did she keep a sort of zoo? I mean, this is a bit too much.” “Every beast and bird that came near her had its place in her love. In her they became themselves. And now the abundance of life she has in Christ from the Father flows over into them.” I looked at my Teacher in amazement. “Yes,” he said. “It is like when you throw a stone into a pool, and the concentric waves spread out further and further. Who knows where it will end? Redeemed humanity is still young, it has hardly come to its full strength. But already there is joy enough int the little finger of a great saint such as yonder lady to waken all the dead things of the universe into life.
C.S. Lewis (The Great Divorce)
I could win you a goldfish." "I don't think that's be fair to the goldfish," Gemma said. "I've had about a dozen of them, and they all seem to die within days of me getting them." "Oh, yeah." Alex smiled crookedly. "I remember you making your dad bury them out in the backyard." "They were my pets, and they deserved a proper burial." "I better be careful around you." Alex stepped back from her cautiously, giving her a wide berth. "You're a goldfish mass murderer. I don't know what you're capable of." "Stop!" Gemma laughed. "I didn't kill them on purpose! I was little. I think I overfed them. Out of love, though." "That's even scarier," he teased. "Do you plan to kill me with kindness?" "Maybe." She narrowed her eyes at him and tried to look menacing, making him laugh.
Amanda Hocking (Wake (Watersong, #1))
Kizzy was so busy wishing she was Sarah Ferris or Jenny Glass that she could scarcely see herself at all and she was certainly blind to her own weird beauty: her heavy spell-casting eyes too-wide mouth wild hair and hips that could be wild too if they learned how. No one else in town looked anything like her and if she lived to womanhood she was the one artists would want to draw not the Sarahs and Jennys. She was the one who would some day know a dozen ways to wear a silk scarf how to read the sky for rain and coax feral animals near how to purr throaty love songs in Portuguese and Basque how to lay a vampire to rest how to light a cigar how to light a man's imagination on fire.
Laini Taylor (Lips Touch: Three Times)
Dude, now you’re flirting? Even to my own ears, my comment sounds suggestive. The sad thing is, it was meant that way. There are literally a dozen things I’d love for her to do for me. Or to me. Or let me do to her. -Nash
M. Leighton (Down to You (The Bad Boys, #1))
When the laundry is for the dozen arms of children or the dozen legs, it's true, I think I'm due some appreciation. So comes a storm of trouble and lightning strikes joy. But when Christ is at the center, when dishes, laundry, work, is my song of thanks to Him, joy rains. Passionately serving Christ alone makes us the loving servant to all.
Ann Voskamp (One Thousand Gifts: A Dare to Live Fully Right Where You Are)
I just want you to know, before I make my promises, that I'm super stubborn. You already know I'm hard to live with, and you've made it clear on dozens of occasions that I drive you crazy. And I'm sure I've driven anyone who's watched these last few months crazy with my indecision and uncertainty. But I want you to know that whatever love is, this has got to be it. We were best friends first, and we tried not to fall in love, and we did anyway. If you're not with me, it's not where I want to be. I'm in this. I'm with you. We might be impulsive, and absolutely insane to be standing here at our age, six months after we met. This whole thing might play out to be a completely wonderful, beautiful disaster, but I want that if it's with you.
Jamie McGuire (A Beautiful Wedding (Beautiful, #2.5))
Someone once asked Dad: “But what do you want to save time for? What are you going to do with it?” “For work, if you love that best,” said Dad. “For education, for beauty, for art, for pleasure.” He looked over the top of his pince-nez. “For mumblety-peg, if that's where your heart lies.
Ernestine Gilbreth Carey (Cheaper by the Dozen)
In no way did God want me to settle for one of the typical “jerks” who were a dime a dozen. He wanted me to save myself for a man who had His very nature and character within him. And He wanted me to trust Him enough to bring that special man to me in His perfect time.
Leslie Ludy (When God Writes Your Love Story: The Ultimate Approach to Guy/Girl Relationships)
It's a fact...that in societies like ours sex truly represents a second system of differentiation, completely independent of money; and as a system of differentiation it functions just as mercilessly. The effects of these two systems are, furthermore, strictly equivalent. Just like unrestrained economic liberalism, and for similar reasons, sexual liberalism produces phenomena of absolute pauperization . Some men make love every day; others five or six times in their life, or never. Some make love with dozens of women; others with none. It's what's known as 'the law of the market'...Economic liberalism is an extension of the domain of the struggle, its extension to all ages and all classes of society. Sexual liberalism is likewise an extension of the domain of the struggle, its extension to all ages and all classes of society.
Michel Houellebecq (Whatever)
I'm not sure how far the decent is, because I'm still falling. But I've hit rock-bottom about half a dozen times in my life,
Zack Love (The Syrian Virgin (The Syrian Virgin, #1))
I love you, he tells me in a dozen different ways, and I say it back every time.
Emily Henry (People We Meet on Vacation)
...love wasn't just a choice-it was dozens, hundreds, thousands of choices.
Jennifer Lynn Barnes (The Final Gambit (The Inheritance Games, #3))
German is a much more precise language than English. Americans throw the word love around for everything: I love my wife! I love all my friends! I love rock music! I love the rain! I love comic books! I love peanut butter! The word you use to describe your feelings for your wife should not be the same word you use to describe your feelings for peanut butter. In German, there are a dozen different words that describe varying degrees of liking something a lot. Germans almost never use the word love, unless they mean a deep romantic love. I have never told my parents I love them, because it would sound melodramatic, inappropriate, and almost incestuous. In German, you tell your mother that you hold her very dear, not that you are in love with her.
Oliver Markus Malloy (Bad Choices Make Good Stories - The Heroin Scene in Fort Myers (How the Great American Opioid Epidemic of The 21st Century Began #2))
Stamp: "Fine Maddy, Whatever. Take your little punk loser to the dance. I don't need you, Maddy. I can ask two dozen, three dozen chicks right now to go with me." Maddy: "Well then," I guess you better start stocking up on corsages.
Rusty Fischer (Zombies Don't Cry (Living Dead Love Story, #1))
Max. God, but she was stubborn. And tough. And closed in. Closed off. Except when she was holding Angel, or ruffling the Gasman’s hair, or pushing something closer to Iggy’s hand so he could find it easily without knowing anyone had helped him. Or when she was trying to untangle Nudge’s mane of hair. Or-sometimes-when she was looking at Fang. He shifted on the hard ground, a half-dozen flashes of memory cycling through his brain. Max looking at him and laughing. Max leaping off a cliff, snapping out her wings, flying off, so incredibly powerful and graceful that it took his breath away. Max punching someone’s lights out, her face like stone. Max kissing that weiner Sam on Anne’s front porch. Gritting his teeth, Fang rolled onto his side. Max kissing him on the beach, after Ari had kicked Fang’s butt. Just now, her mouth soft under his. He wished she were here, if not next to him, then somewhere in the cave, so he could hear her breathing. It was going to be hard to sleep without that tonight.
James Patterson (Saving the World and Other Extreme Sports (Maximum Ride, #3))
That evening, as I watched the sunset’s pinwheels of apricot and mauve slowly explode into red ribbons, I thought: The sensory misers will inherit the earth, but first they will make it not worth living on. When you consider something like death, after which (there being no news flash to the contrary) we may well go out like a candle flame, then it probably doesn’t matter if we try too hard, are awkward sometimes, care for one another too deeply, are excessively curious about nature, are too open to experience, enjoy a nonstop expense of the senses in an effort to know life intimately and lovingly. It probably doesn’t matter if, while trying to be modest and eager watchers of life’s many spectacles, we sometimes look clumsy or get dirty or ask stupid questions or reveal our ignorance or say the wrong thing or light up with wonder like the children we all are. It probably doesn’t matter if a passerby sees us dipping a finger into the moist pouches of dozens of lady’s slippers to find out what bugs tend to fall into them, and thinks us a bit eccentric. Or a neighbor, fetching her mail, sees us standing in the cold with our own letters in one hand and a seismically red autumn leaf in the other its color hitting our sense like a blow from a stun gun, as we stand with a huge grin, too paralyzed by the intricately veined gaudiness of the leaf to move.
Diane Ackerman (A Natural History of the Senses)
Shall I show you the half-dozen other rooms in this hospital where these scenes are repeated? And what of the other hospitals? Printing House Square is small and tame. Even in the private institutions uptown you can see a show just like this: there is nothing as disgusting as an obese cadaver in which all the futile pleasures of many years finally arise to fill it full-blown with stinking rotten gases. The city is burning and under siege. And we are in a war in which everyone is killed and no one is remembered." "What am I supposed to do, then," Peter Lake asked, "if it's like you say?" "Is there someone you love?" "Yes." "A woman?" "Yes." "Then go home to her." "And who will remember her?" "No one. That's just the point. You must take care of all that now.
Mark Helprin (Winter's Tale)
When you read a book, it’s like you’re becoming an actor, taking on the roles of a dozen different people, coming to know and love them like you know yourself. It’s one of the best ways to experience another life, to become something that you are not.
Brandon Sanderson
Lying on her side, the warm fire at her feet, Helen's laughter died away as Lucas suddenly went from tuning to playing. It was like an orchestra in an instrument. He played with both hands-not one hand picking and the other holding down strings-but with both hands so that it sounded like more than one guitar was playing. Sometimes he hit the strings to make them hum like a harp, and sometimes he hit the body of the guitar like a drum to add bass and keep time. It was the most fascinating thing Helen had ever watched, like Lucas had a dozen voices in his head, all singing the same song, and he'd figured a way to make them come out of ten fingers. Helen looked at his face and could tell why he loved it. It was like thinking for him, only this was a puzzle that he could share with her as he solved it. He'd walked into her head when he'd come to her world. And she'd walked into his when she finally heard him play. It was heaven.
Josephine Angelini (Goddess (Starcrossed, #3))
There were oil wells everywhere. The soil had been abandoned to dust and lizards, and the backyard of every wind-blistered bungalow in town had thrown over ideas of shade or geraniums in favor of the whiskey promise in the mutter of those green grasshopper pumps...A dozen ravenous steel insects sucked at the shit-caked loam in the mile-square meatfield of empty pens where the beeves, when there were beeves, milled waiting for the knife. (125)
Katherine Dunn (Geek Love)
Your mere presence makes me wish for a fifty-story window to jump out of and a cement sidewalk below. Or a moat. A moat with a dozen hungry alligators in it.” He smirked. “You always paint such lovely pictures with your words, little bird.” “I’m going to paint lovely pictures with your intestines,” I shot back. Drake laughed. I hated him. Seriously.
Jennifer L. Armentrout (Torn (Wicked Trilogy, #2))
But I’m going to need you to love me on the bus, dude. And first thing in the morning. Also, when I’m drunk and refuse to shut up about getting McNuggets from the drive-thru. When I fall asleep in the middle of that movie you paid extra to see in IMAX. When I wear the flowered robe I got at Walmart and the sweatpants I made into sweatshorts to bed. When I am blasting “More and More” by Blood Sweat & Tears at seven on a Sunday morning while cleaning the kitchen and fucking up your mom’s frittata recipe. When I bring a half dozen gross, mangled kittens home to foster for a few nights and they shit everywhere and pee on your side of the bed. When I go “grocery shopping” and come back with only a bag of Fritos and five pounds of pork tenderloin. When I’m sick and stumbling around the crib with half a roll of toilet paper shoved in each nostril. When I beg you fourteen times to read something I’ve written, then get mad when you tell me what you don’t like about it and I call you an uneducated idiot piece of shit. Lovebird city.
Samantha Irby (We Are Never Meeting in Real Life.)
Fiction has two uses. Firstly, it’s a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it’s hard, because someone’s in trouble and you have to know how it’s all going to end … that’s a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you’re on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a post-literate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading. People who cannot understand each other cannot exchange ideas, cannot communicate, and translation programs only go so far. The simplest way to make sure that we raise literate children is to teach them to read, and to show them that reading is a pleasurable activity. And that means, at its simplest, finding books that they enjoy, giving them access to those books, and letting them read them. I don’t think there is such a thing as a bad book for children. Every now and again it becomes fashionable among some adults to point at a subset of children’s books, a genre, perhaps, or an author, and to declare them bad books, books that children should be stopped from reading. I’ve seen it happen over and over; Enid Blyton was declared a bad author, so was RL Stine, so were dozens of others. Comics have been decried as fostering illiteracy. It’s tosh. It’s snobbery and it’s foolishness. There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn’t hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is a route to other books you may prefer. And not everyone has the same taste as you. Well-meaning adults can easily destroy a child’s love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian “improving” literature. You’ll wind up with a generation convinced that reading is uncool and worse, unpleasant. We need our children to get onto the reading ladder: anything that they enjoy reading will move them up, rung by rung, into literacy. [from, Why our future depends on libraries, reading and daydreaming]
Neil Gaiman
ERIC: What are you always writin' in that book anyway? RODNEY: Poetry. TYRONE: Poetry? Rodney stops sketching and sentimentally flips through a few dozen pages of sketches and handwritten poems and notes. RODNEY: Poetry and pictures. Snapshots of our lives developed in the darkrooms of our souls." From CENTRAL PARK SONG -- a screenplay
Zack Love (Stories and Scripts: an Anthology)
This womens skin is shimmering and pale, her long black hair is tied with dozens of silver ribbons that fall over her shoulders. Her gown is white, covered in what to Bailey looks like looping black embroidery, but as he walks closer he sees that the black marks are actually words written across the fabric. When he is near enough to read parts of the gown, he realizes that they are love letters, inscribed in handwritten text. Words of desire and longing wrapping around her waist, flowing down the train of her gown as it spills over the platform. The statue herself is still, but her hand is held out and only then does Bailey notice the young woman with a red scarf standing in front of her, offering the love letter-clad statue a sungle crimson rose. The movement is so subtle that it is almost undetectable, but slowly, very, very slowly, the statue reaches to accept the rose. Her fingers open, and the young woman with the rose waits patiently as the statue gradually closes her hand around the stem, releasing it only when it is secure. ....The statue is lifting the rose, gradually, to her face. Her eye lids slowly close.
Erin Morgenstern (The Night Circus)
I can honestly say I could go two or three days without wondering what Savannah was doing or even thinking about her. Did this make my love less real? I asked myself that question dozens of times during that trip, but I always decided it didn't, for the simple reason that her image would ambush me when I least expected it, overwhelming me with the same ache I had the day I'd left. Anything might set it off: a friend talking about his wife, the sight of a couple holding hands, or even the way some of the villagers would smile as we passed.
Nicholas Sparks (Dear John)
Like most humanoids, I am burdened with what the Buddhists call the "monkey mind"--the thoughts that swing from limb to limb, stopping only to scratch themselves, spit and howl. From the distant past to the unknowable future, my mind swings wildly through time, touching on dozens of ideas a minute, unharnessed and undisciplined. This in itself is not necessarily a problem; the problem is the emotional attachment that goes along with the thinking. Happy thoughts make me happy, but-whoop!-how quickly I swing again into obsessive worry, blowing the mood; and then it's all over again; and then my mind decides it might be a good time to start feeling sorry for itself, and loneliness follows promptly. You are, after all, what you think. Your emotions are the slaves to your thoughts, and you are the slave to your emotions.
Elizabeth Gilbert (Eat, Pray, Love)
Maybe. But in my experience poetry speaks to you either at first sight or not at all. A flash of revelation and a flash of response. Like lightning. Like falling in love.’ Like falling in love. Do the young still fall in love, or is that mechanism obsolete by now, unnecessary, quaint, like steam locomotion? He is out of touch, out of date. Falling in love could have fallen out of fashion and come back again half a dozen times, for all he knows.
J.M. Coetzee (Disgrace)
A dozen or more boats on the lake swung their rosy and moon–like lanterns low on the water, that reflected as from a fire. In the distance, the steamer twanged and thrummed and washed with her faintly–splashing paddles, trailing her strings of coloured lights, and occasionally lighting up the whole scene luridly with an effusion of fireworks, Roman candles and sheafs of stars and other simple effects, illuminating the surface of the water, and showing the boats creeping round, low down. Then the lovely darkness fell again, the lanterns and the little threaded lights glimmered softly, there was a muffled knocking of oars and a waving of music. Gudrun paddled almost imperceptibly. Gerald could see, not far ahead, the rich blue and the rose globes of Ursula’s lanterns swaying softly cheek to cheek as Birkin rowed, and iridescent, evanescent gleams chasing in the wake. He was aware, too, of his own delicately coloured lights casting their softness behind him.
D.H. Lawrence (Women in Love)
My father then said, ‘Mike, I’ve told you how dinosaurs went extinct. An asteroid crashed into the Earth. The world first became a sea of fire, and then sank into a prolonged period of darkness and coldness.… One night, you woke from a nightmare, saying that you had dreamt that you were back in that terrifying age. Let me tell you now what I wanted to tell you that night: If you really lived during the Cretaceous Period, you’d be fortunate. The period we live in now is far more frightening. Right now, species on Earth are going extinct far faster than during the late Cretaceous. Now is truly the age of mass extinctions! So, my child, what you’re seeing is nothing. This is only an insignificant episode in a much vaster process. We can have no sea birds, but we can’t be without oil. Can you imagine life without oil? Your last birthday, I gave you that lovely Ferrari and promised you that you could drive it after you turned fifteen. But without oil, it would be a pile of junk metal and you’d never drive it. Right now, if you want to visit your grandfather, you can get there on my personal jet and cross the ocean in a dozen hours or so. But without oil, you’d have to tumble in a sailboat for more than a month.… These are the rules of the game of civilization: The first priority is to guarantee the existence of the human race and their comfortable life. Everything else is secondary.
Liu Cixin (The Three-Body Problem (Remembrance of Earth’s Past, #1))
I'm smart enough to know that Elizabeth had no doubt seen dozens of men leap over curbs without her falling in love with the leaper, but I do believe this: When an endeavor is special in a person's life, others discern it intuitively and appreciate it more, like the praise a child receives for a lumpy clay sculpture. And as ordinary as such an event might be, it can be instilled with uncommon power.
Steve Martin (The Pleasure of My Company)
My mom absolutely LOVED all things English, so it’s not too surprising that she loved English tea parties. When she and I traveled—which was frequently—we often found ourselves in locations (Vancouver, Ottawa, London, Bath, Cardiff, to name a few) where we could take advantage of that lovely English custom of “taking tea.” So, for a special surprise party, I invited a dozen of Mom’s Gainesville friends to “take tea” with us. Even though it was December, it was warm enough to use the screen porch and the deck. That’s the “Florida advantage!
Mallory M. O'Connor (The Kitchen and the Studio: A Memoir of Food and Art)
For my sake,” he said firmly, addressing the air in front of him as though it were a tribunal, “I dinna want ye to bear another child. I wouldna risk your loss, Sassenach,” he said, his voice suddenly husky. “Not for a dozen bairns. I’ve daughters and sons, nieces and nephews, grandchildren—weans enough.” He looked at me directly then, and spoke softly. “But I’ve no life but you, Claire.” He swallowed audibly, and went on, eyes fixed on mine. “I did think, though . . . if ye do want another child . . . perhaps I could still give ye one.
Diana Gabaldon (The Fiery Cross (Outlander, #5))
Stay." The strangled word, spoken in anguish, tore at her heart, ripped through her resolve. She swiped at the tears raining over her cheeks and slowly turned, forcing the painful truth past her lips. "I can't stay. I can no longer give you what you want. I can't give you a son." Dallas stepped off the veranda and extended a bouquet of wildflowers toward her. "Then stay and give me what I need." Her heart lurched at the abundance of flowers wilting within his smothering grasp. She shook her head vigorously. "You don't need me. There are a dozen eligible women in Leighton who would happily give you a son and within the month there will be at least a dozen more—" "I'll never love any of them as much as I love you. I know that as surely as I know the sun will come up in the morning." Her breath caught, her trembling increased, words lodged in her throat. He loved her? She watched as he swallowed. "I know I'm not an easy man. I don't expect you to ever love me, but if you'll tolerate me, I give you my word that I'll do whatever it takes to make you happy—" Quickly stepping forward, she pressed her shaking fingers against his warm lips. "My God, don't you know that I love you? Why do you think I'm leaving? I'm leaving because I do love you—so much. Dallas, I want you to have your dream, I want you to have your son." Closing his eyes, he laid his roughened hand over hers where it quivered against his lips and pressed a kiss against the heart of her palm. "I can't promise that I won't have days when I'll look toward the horizon and feel the aching emptiness that comes from knowing we'll never have a child to pass our legacy on to…"Opening his eyes, he captured her gaze. "But I know the emptiness you'll leave behind will eat away at me every minute of every day." -Dallas and Dee
Lorraine Heath (Texas Glory (Texas Trilogy, #2))
But Orlando was a woman — Lord Palmerston had just proved it. And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is woman’s whole existence. And if we look for a moment at Orlando writing at her table, we must admit that never was there a woman more fitted for that calling. Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk and Sunday dusk will come; and the gamekeeper will whistle under the window — all of which is, of course, the very stuff of life and the only possible subject for fiction. Surely Orlando must have done one of these things? Alas,— a thousand times, alas, Orlando did none of them. Must it then be admitted that Orlando was one of those monsters of iniquity who do not love? She was kind to dogs, faithful to friends, generosity itself to a dozen starving poets, had a passion for poetry. But love — as the male novelists define it — and who, after all, speak with greater authority?— has nothing whatever to do with kindness, fidelity, generosity, or poetry. Love is slipping off one’s petticoat and — But we all know what love is. Did Orlando do that? Truth compels us to say no, she did not. If then, the subject of one’s biography will neither love nor kill, but will only think and imagine, we may conclude that he or she is no better than a corpse and so leave her.
Virginia Woolf (Orlando)
Dear Mr. Peter Van Houten (c/o Lidewij Vliegenthart), My name is Hazel Grace Lancaster. My friend Augustus Waters, who read An Imperial Affliction at my recommendationtion, just received an email from you at this address. I hope you will not mind that Augustus shared that email with me. Mr. Van Houten, I understand from your email to Augustus that you are not planning to publish any more books. In a way, I am disappointed, but I'm also relieved: I never have to worry whether your next book will live up to the magnificent perfection of the original. As a three-year survivor of Stage IV cancer, I can tell you that you got everything right in An Imperial Affliction. Or at least you got me right. Your book has a way of telling me what I'm feeling before I even feel it, and I've reread it dozens of times. I wonder, though, if you would mind answering a couple questions I have about what happens after the end of the novel. I understand the book ends because Anna dies or becomes too ill to continue writing it, but I would really like to mom-wether she married the Dutch Tulip Man, whether she ever has another child, and whether she stays at 917 W. Temple etc. Also, is the Dutch Tulip Man a fraud or does he really love them? What happens to Anna's friends-particularly Claire and Jake? Do they stay that this is the kind of deep and thoughtful question you always hoped your readers would ask-what becomes of Sisyphus the Hamster? These questions have haunted me for years-and I don't know long I have left to get answers to them. I know these are not important literary questions and that your book is full of important literally questions, but I would just really like to know. And of course, if you ever do decide to write anything else, even if you don't want to publish it. I'd love to read it. Frankly, I'd read your grocery lists. Yours with great admiration, Hazel Grace Lancaster (age 16)
John Green (The Fault in Our Stars)
I love you,” she said, speaking clearly so that there might be no confusion. “I love you utterly and completely. I love your elegant hands and the way you smile with only one side of your mouth — when you smile at all — and I love how grave your eyes are. I love that you let me invade your house with nearly my entire family and yours, and never even turned a hair. I love that you made love to me when I asked you, purely for politeness’ sake, and I love that you got mad at me later and made me make love to you. I love that you let Her Grace and her puppies construct a nest out of your shirts in your dressing room. I love that you’ve spent years selflessly saving people in St. Giles — although I want you to stop right now. I love that you killed a man for me, even if I’m still mad at you about it. I love that you saved my letters before we even knew each other well, and I love the curt, overly serious letters you wrote to me in return.” She looked at him very seriously. “I love you, Godric St. John, and now I’m breaking my word. I will not leave you. You may either come with me to Laurelwood or I’ll stay here with you in your musty old house in London and drive you mad with all my talking and relatives and… and exotic sexual positions until you break down and love me back, for I’m warning you that I’m not giving up until you love me and we’re a happy family with dozens of children.” She paused at that point because she’d run out of breath and looked at him. His face had gone still and for a moment her heart sank and she had to fortify herself for a battle. But then his mouth quirked like that and he said, “Exotic sexual positions?” And she knew even before he said anything else that it was all going to be fine—more than fine. It was going to be wonderful.
Elizabeth Hoyt (Lord of Darkness (Maiden Lane, #5))
Come along, Sally," she called out to her maid, who was lagging at least a dozen steps behind. "it's eraly," Sally moaned. "It's half seven," Olivia told her, holding steady for a few moments to allow Sally to catch up. "That's early." "Normally, I would agree with you, but as it happens I believe I am turning over a new leaf. Just see how lovely it is outside. The sun is shinning, there is music in the air..." "I hear no music," Sally grumbled. "Birds, Sally. The birds are singing." Sally remained unconvinced. "That leaf of yours - I don't suppose you'd consider turning it back over again?
Julia Quinn (What Happens in London (Bevelstoke, #2))
And so, though Smith was not at all the man Knight would have deliberately chosen as a friend—or even for one of a group of a dozen friends—he somehow was his friend. Circumstance, as usual, did it all. How many of us can say of our most intimate alter ego, leaving alone friends of the outer circle, that he is the man we should have chosen, as embodying the net result after adding up all the points in human nature that we love, and principles we hold, and subtracting all that we hate? The man is really somebody we got to know by mere physical juxtaposition long maintained, and was taken into our confidence, and even heart, as a makeshift.
Thomas Hardy (A Pair of Blue Eyes)
(Lily and Rule discussing wedding plans...) "You want to get married by Carl?" "Your father's cook?" "Yes, and I've been wanting to talk about the doves." "Doves." Her eyes widened in horror. "My mother wanted doves." "Perhaps she had a point. Wouldn't it look splendid, releasing a few dozen white doves all at once to carry our message of hope and love up to --" "Your are so full of shit." But she started laughing. "Doves, sure. Our guests would love some flying hors d'oeuvres. Maybe we should have some cute little bunnies for them to chase after the ceremony instead of cake, sending our message of fuzzy, yummy love to flesh eaters everywhre.
Eileen Wilks (Death Magic (World of the Lupi, #8))
He was twenty years old, and he had fallen in love with Rosa Saks, in the wild scholastic manner of twenty-year-old men, seeing, in the tiniest minutiae, evidence of the systematic perfection of the whole and proof of a benign creation.... The two dozen commonplace childhood photographs -- snowsuit, pony, tennis racket, looming fender of a Dodge -- were an inexhaustible source of wonder for him, at her having existed before he met her, and of sadness for his possessing nothing of the ten million minutes of that black-and-white scallop-edged existence save these few proofs.
Michael Chabon (The Amazing Adventures of Kavalier & Clay)
Anyway, how can you say things like that? You don't know me at all." She wasn't really caught up in this game, but she was enjoying it, as she had enjoyed the dozens of declarations that had been made to her since she was eleven. Her earliest memories were of being told how beautiful she was. Something in her never believed the words, never felt satisfied. It wasn't modesty; it was a craving for more proof than anyone had ever yet given her. Her mind worked constantly at trying to understand for herself exactly what other people saw when they looked at her. She could never grasp it whole and living. Her deepest fantasy was to step outside of her skin and look at herself and find out just what people were thinking about. She spent her life experimenting with people to see how she could make them react, as if, in their response, she could discover herself.
Judith Krantz (Scruples)
It must be this overarching commitment to what is really an abstraction, to one's children right or wrong, that can be even more fierce than the commitment to them as explicit, difficult people, and that can consequently keep you devoted to them when as individuals they disappoint. On my part it was this broad covenant with children-in-theory that I may have failed to make and to which I was unable to resort when Kevin finally tested my maternal ties to a perfect mathematical limit on Thursday. I didn't vote for parties, but for candidates. My opinions were as ecumenical as my larder, then still chock full of salsa verde from Mexico City, anchovies from Barcelona, lime leaves from Bangkok. I had no problem with abortion but abhorred capital punishment, which I suppose meant that I embraced the sanctity of life only in grown-ups. My environmental habits were capricious; I'd place a brick in our toilet tank, but after submitting to dozens of spit-in-the-air showers with derisory European water pressure, I would bask under a deluge of scalding water for half an hour. My closet wafter with Indian saris, Ghanaian wraparounds, and Vietnamese au dais. My vocabulary was peppered with imports -- gemutlich, scusa, hugge, mzungu. I so mixed and matched the planet that you sometimes worried I had no commitments to anything or anywhere, though you were wrong; my commitments were simply far-flung and obscenely specific. By the same token, I could not love a child; I would have to love this one. I was connected to the world by a multitude of threads, you by a few sturdy guide ropes. It was the same with patriotism: You loved the idea of the United States so much more powerfully than the country itself, and it was thanks to your embrace of the American aspiration that you could overlook the fact that your fellow Yankee parents were lining up overnight outside FAO Schwartz with thermoses of chowder to buy a limited release of Nintendo. In the particular dwells the tawdry. In the conceptual dwells the grand, the transcendent, the everlasting. Earthly countries and single malignant little boys can go to hell; the idea of countries and the idea of sons triumph for eternity. Although neither of us ever went to church, I came to conclude that you were a naturally religious person.
Lionel Shriver (We Need to Talk About Kevin)
Dany "Bring me that book I was reading last night." She wanted to lose herself in the words, in other times and other places. The fat leather-bound volume was full of songs and stories from the Seven Kingdoms. Children's stories, if truth be told; too simple and fanciful to be true history. All the heroes were tall and handsome, and you could tell the traitors by their shifty eyes. Yet she loved reading them all the same. Last night she had been reading of the three princesses in the red tower, locked away by the king for the crime of being beautiful. When her handmaiden brought the book, dany had no trouble finding the page where she had left off, but is was no good. She found herself reading the same passage half a dozen times. "Ser Jorah gave me this book as a bride's gift, the day I we'd Khal Drogo" She played at at being a queen, yet sometimes she felt like a scared little girl.
George R.R. Martin (A Storm of Swords (A Song of Ice and Fire, #3))
She had no need in her heart for either book or magazine. She had her own way of escape, her own passage into contentment: her rosary. That string of white beads, the tiny links worn in a dozen places and held together by strands of white thread which in turn broke regularly, was, bead for bead, her quiet flight out of the world. Hail Mary, full of grace, the Lord is with thee. And Maria began to climb. Bead for bead, life and living fell away. Hail Mary, Hail Mary. Dream without sleep encompassed her. Passion without flesh lulled her. Love without death crooned the melody of belief. She was away: she was free; she was no longer Maria, American or Italian, poor or rich, with or without electric washing machines and vacuum cleaners; here was the land of all-possessing. Hail Mary, Hail Mary, over and over, a thousand and a hundred thousand times, prayer upon prayer, the sleep of the body, the escape of the mind, the death of memory, the slipping away of pain, the deep silent reverie of belief. Hail Mary and Hail Mary. It was for this that she lived.
John Fante (Wait Until Spring, Bandini (The Saga of Arturo Bandini, #1))
The grassy park was lined with dozens of kissing booths. Twinkle lights draped back-and-forth between tall trees, making a canopy of stars above the red and pink tables below. People were lined up at each booth, applying lipstick and perfume as they readied for their purchased kisses. Behind the booths stood a large white gazebo housing a group of musicians. As a love song filled the air, couples intertwined their bodies and swayed to the melody. Here and there, children ran about wearing red hats and eating lip-shaped chocolates, while women waited impatiently for quickie makeovers under a flashy pink tent. The park was littered with couples kissing behind trees and making out on park benches. And paper stars were everywhere; in trees, on the ground, above heads, inside mouths…. It was like Valentine’s Day. On crack.
Chelsea Fine
I told my plan to Fritz once, and he said it was just what he would like, and agreed to try it when we got rich. Bless his dear heart, he's been doing it all his life—helping poor boys, I mean, not getting rich, that he'll never be. Money doesn't stay in his pocket long enough to lay up any. But now, thanks to my good old aunt, who loved me better than I ever deserved, I'm rich, at least I feel so, and we can live at Plumfield perfectly well, if we have a flourishing school. It's just the place for boys, the house is big, and the furniture strong and plain. There's plenty of room for dozens inside, and splendid grounds outside. They could help in the garden and orchard. Such work is healthy, isn't it, sir? Then Fritz could train and teach in his own way, and Father will help him. I can feed and nurse and pet and scold them, and Mother will be my stand-by. I've always longed for lots of boys, and never had enough, now I can fill the house full and revel in the little dears to my heart's content. Think what luxury— Plumfield my own, and a wilderness of boys to enjoy it with me.
Louisa May Alcott (Little Women)
The tractors came over the roads and into the fields, great crawlers moving like insects, having the incredible strength of insects … Snub-nosed monsters, raising the dust and sticking their snouts into it, straight down the country, across the country, through fences, through dooryards, in and out of gullies in straight lines. They did not run on the ground, but on their own roadbeds. They ignored hills and gulches, water courses, fences, houses. That man sitting in the iron seat did not look like a man; gloved, goggled, rubber dust mask over nose and mouth, he was a part of the monster, a robot in the seat … The driver could not control it – straight across country it went, cutting through a dozen farms and straight back. A twitch at the controls could swerve the ‘cat, but the driver’s hands could not twitch because the monster that built the tractor, the monster that sent the tractor out, had somehow gotten into the driver’s hands, into his brain and muscle, had goggled him and muzzled him – goggled his mind, muzzled his speech, goggled his perception, muzzled his protest. He could not see the land as it was, he could not smell the land as it smelled; his feet did not stamp the clods or feel the warmth and power of the earth. He sat in an iron seat and stepped on iron pedals. He could not cheer or beat or curse or encourage the extension of his power, and because of this he could not cheer or whip or curse or encourage himself. He did not know or own or trust or beseech the land. If a seed dropped did not germinate, it was no skin off his ass. If the young thrusting plant withered in drought or drowned in a flood of rain, it was no more to the driver than to the tractor. He loved the land no more than the bank loved the land. He could admire the tractor – its machined surfaces, its surge of power, the roar of its detonating cylinders; but it was not his tractor. Behind the tractor rolled the shining disks, cutting the earth with blades – not plowing but surgery … The driver sat in his iron seat and he was proud of the straight lines he did not will, proud of the tractor he did not own or love, proud of the power he could not control. And when that crop grew, and was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past his fingertips. No man had touched the seed, or lusted for the growth. Men ate what they had not raised, had no connection with the bread. The land bore under iron, and under iron gradually died; for it was not loved or hated, it had no prayers or curses.
John Steinbeck (The Grapes of Wrath)
Slow to anger.” The Hebrew phrase is literally “long of nostrils.” Picture an angry bull, pawing the ground, breathing loudly, nostrils flared. That would be, so to speak, “short-nosed.” But the Lord is long-nosed. He doesn’t have his finger on the trigger. It takes much accumulated provoking to draw out his ire. Unlike us, who are often emotional dams ready to break, God can put up with a lot. This is why the Old Testament speaks of God being “provoked to anger” by his people dozens of times (especially in Deuteronomy; 1–2 Kings; and Jeremiah). But not once are we told that God is “provoked to love” or “provoked to mercy.” His anger requires provocation; his mercy is pent up, ready to gush forth. We tend to think: divine anger is pent up, spring-loaded; divine mercy is slow to build. It’s just the opposite. Divine mercy is ready to burst forth at the slightest prick.
Dane C. Ortlund (Gentle and Lowly: The Heart of Christ for Sinners and Sufferers)
He looked around at that one room, and the few things in it. He'd always thought retiring would be going back to his life after some nightmare pause. Some stretch of exile in the land of the dead. Now it came to him that all his life worth living had happened while he was holding a sword. Standing alongside his dozen. Laughing with Whirrun, and Brack, and Wonderful. Clasping hands with his crew before the fight, knowing he'd die for them and they for him. The trust, the brotherhood, the love, the knit closer than family. Standing by Threetrees on the walls of Uffrith, roaring their defiance at Bethod's great army. The day he charged at the Cunmur. And at Dunbrec. And in the High Places, even though they lost. The day he earned his name. Even the day he got his brothers killed. Even when he'd stood at the top of the Heroes as the rain came down, watching the Union come, knowing every dragged out moment might be the last. Like Whirrun said - you can't live more than that. Certainly not by fixing a chair.
Joe Abercrombie (The Heroes)
I know I get crazy when it comes to you, but God knows I’m tryin’, Pidge. I don’t wanna screw this up.” “Then don’t.” “This is hard for me, ya know. I feel like any second you’re going to figure out what a piece of shit I am and leave me. When you were dancing last night, I saw a dozen different guys watching you. You go to the bar, and I see you thank that guy for your drink. Then that douchebag on the dance floor grabs you.” “You don’t see me throwing punches every time a girl talks to you. I can’t stay locked up in the apartment all the time. You’re going to have to get a handle on your temper.” “I will. I’ve never wanted a girlfriend before, Pigeon. I’m not used to feeling this way about someone…about anyone. If you’ll be patient with me, I swear I’ll get it figured out.” “Let’s get something straight; you’re not a piece of shit, you’re amazing. It doesn’t matter who buys me drinks, or who asks me to dance, or who flirts with me. I’m going home with you. You’ve asked me to trust you, and you don’t seem to trust me.” He frowned. “That’s not true.” “If you think I’m going to leave you for the next guy that comes along, then you don’t have much faith in me.” He tightened his grip. “I’m not good enough for you, Pidge. That doesn’t mean I don’t trust you, I’m just bracing for the inevitable.” “Don’t say that. When we’re alone, you’re perfect. We’re perfect. But then you let everyone else ruin it. I don’t expect a one-eighty, but you have to pick your battles. You can’t come out swinging every time someone looks at me.” He nodded. “I’ll do anything you want. Just…tell me you love me.” “You know I do.” “I need to hear you say it,” he said, his brows pulling together. “I love you,” I said, touching my lips to his. “Now quit being such a baby.” He laughed, crawling into the bed with me. We spent the next hour in the same spot under the covers, giggling and kissing, barely noticing when Kara returned from the shower.
Jamie McGuire (Beautiful Disaster (Beautiful, #1))
A DOZEN PHALLACIES WOMEN BUY Phallacy 1. If he love me, he'll be faithful forever. Truth His loving you has nothing to do with his being faithful. Some men are monogamous. Most aren't. The sexy ones usually aren't. Monogamy lasts three, days, three weeks, three months, or at best three years with most men. Often it lasts just about long enough to get you pregnant. Nature has a reason for this. Men are programmed to spread their seed as widely as possible and women to raise live, healthy babies. Human babies take a long time to grow up to self-sufficiency.... Some few paragons of maleness are faithful. Most others cheat. The question is: can you stand it? If the cheating is not blatant and disrespectful and you get a lot out of the relationship in other ways (a friend, a lover, a father to your kids, an economic partner), then consider these alternatives: you can accept his cheating gracefully, and at the same time extract emotional and financial benefits from his guilt. You can cheat discreetly yourself -- if (and only if) you enjoy it (not for spite). You can realize it has nothing to do with you. He does it for his manhood, not against your womanhood.
Erica Jong (Fear of Fifty: A Midlife Memoir)
To belong to a clan, to a tight group of people allied by blood and loyalties and the mutual ownership of closeted skeletons. To see the family vices and virtues in a dozen avatars instead of in two or three. To know always, whether you were in Little Rock or Menton, that there was one place to which you belonged and to which you would return. To have that rush of sentimental loyalty at the sound of a name, to love and know a single place, from the newest baby-squall on the street to the blunt cuneiform of the burial ground . . . Those were the things that not only his family, but thousands of Americans had missed. The whole nation had been footloose too long, Heaven had been just over the next range for too many generations. Why remain in one dull plot of earth when Heaven was reachable, was touchable, was just over there? The whole race was like the fir tree in the fairy-tale which wanted to be cut sown and dressed up with lights and bangles and colored paper, and see the world and be a Christmas tree. Well, he said, thinking of the closed banks, the crashed market that had ruined thousands and cut his father’s savings in half, the breadlines in the cities, the political jawing and the passing of the buck. Well, we’ve been a Christmas tree, and now we’re in the back yard and how do we like it?
Wallace Stegner
Life, it has been agreed by everyone whose opinion is worth consulting, is the only fit subject for novelist or biographer; life, the same authorities have decided, has nothing whatever to do with sitting still in a chair and thinking. Thought and life are as the poles asunder. Therefore — since sitting in a chair and thinking is precisely what Orlando is doing now — there is nothing for it but to recite the calendar, tell one’s beads, blow one’s nose, stir the fire, look out of the window, until she has done… Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk… She was kind to dogs, faithful to friends, generosity itself to a dozen starving poets, had a passion for poetry. But love — as the male novelists define it — and who, after all, speak with greater authority? — has nothing whatever to do with kindness, fidelity, generosity, or poetry. Love is slipping off one’s petticoat and — But we all know what love is… If then, the subject of one’s biography will neither love nor kill, but will only think and imagine, we may conclude that he or she is no better than a corpse and so leave her.
Virginia Woolf (Orlando)
He stumbled, almost fell, and decided to sit down, with his back against the tunnel wall, his feet resting against the opposite wall. Roaring out of the morass of pity, terror, happiness, joy, sadness, elation that he had inherited - shooting forth from this void, the single sharp thought: She does not love me. It was almost more than he could take. But he was not the kind of person to fold, to crack, to be broken, and so instead, in those moments after the realization, he bent - and bent, and kept on bending beneath the pressure of this new and terrible knowledge. Soon he would bend into a totally new shape altogether. He welcomed that. He wanted that. Maybe the new thing he would become would no longer hurt, would no longer fear, would no longer look back down into the void and wonder what was left of him. She did not love him. It made him laugh as he sat there -- great belly laughs that doubled him over in the dust, where he lay for a long moment, recovering. It was funny beyond bearing. He had fought through a dozen terrors all for love of her. And she did not love him. He felt like a character in a holovid - the jester, the clown, the fool.
Jeff VanderMeer (Veniss Underground)
The people are hungry,” Mihali said. He lifted his hands, spreading them to encompass the city. “The people need to be fed. They need bread and wine and soup and meat. But not just that. They need friendship.” He pointed to a minor noble, some viscount decked out in his finest foppish frills, who poured a bottle of St. Adom’s Festival wine into the cups of a half-dozen street urchins. “They need companionship,” Mihali said. “They need love and brotherhood.” He turned to Tamas. He reached out with one hand, putting a palm to Tamas’s cheek. Instinct told Tamas to step back. He found that he couldn’t. “You gorged them on the blood of the nobility,” Mihali said gently. “They drank, but were not filled. They ate of hatred and grew hungrier.” He took a deep breath. “Your intentions were… well, not pure, but just. Justice is never enough.” He let go of Tamas and turned to the square. “I will put things right,” he said. He puffed out his chest and spread his arms. “I will feed all of Adro. It is what they need.
Brian McClellan (Promise of Blood (Powder Mage, #1))
I’d spent months carefully winding my gift into a tight spool, only letting it out by inches, and only when I needed it. The strain of keeping it bound up had been a steady, constant reminder that I had to work to keep the life I’d built for myself out here. It was a muscle I’d carefully toned to withstand nearly any pressure. Letting it all go felt like shaking a bottle of soda and ripping off the cap. It fizzed and flooded and swept out of me, searching for the connections waiting to be made. I didn’t guide it, and I didn’t stop it—I don’t know if I could have if I tried. I was the burning center of a galaxy of faces, memories, loves, heartbreaks, disappointments, and dreams. It was like living dozens of different lives. I was lifted and shattered by it, how strangely beautiful it was to feel their minds linked with my own. The spinning inside my head slowed with the movement around me. I felt time hovering nearby, waiting to resume its usual tempo. The darkness slid into the edges of my vision, seeping through my mind like a drop of ink in water. But I was in control of the moment, and there was one last thing that I needed to say to them, one last idea to imprint in their minds. “I’m Green.
Alexandra Bracken (In the Afterlight (The Darkest Minds, #3))
Besides, there are always pet names to tide one over: a practice of Bengali nomenclature grants, to every single person, two names. In Bengali, the word for pet name is daknam, meaning, literally, the name by which one is called, by friends, family and other intimates, at home and in other private unguarded moments. Pet names are a persistent remnant of childhood; a reminder that life is not always so serious, so formal, so complicated. They are a reminder; too, that one is a not thing to all people. These are the names by which they are known in their respective families, the names by which they are adored and scolded and missed and loved. Every pet name is paired with a good name, a bhalonam, for identification in the outside world. Consequently, good names appear on envelopes, on diplomas, in telephone directories, and in all other public places. Good names tend to represent dignified and enlightened qualities. Pet names have no such aspirations. Pet names are never recorded officially, only uttered, and remembered. Unlike good names, pet names are frequently meaningless, deliberately silly, ironic, and even onomatopoetic. Often in one’s infancy, one answers unwittingly to dozens of pet names, until one eventually sticks.
Jhumpa Lahiri (The Namesake)
1 The summer our marriage failed we picked sage to sweeten our hot dark car. We sat in the yard with heavy glasses of iced tea, talking about which seeds to sow when the soil was cool. Praising our large, smooth spinach leaves, free this year of Fusarium wilt, downy mildew, blue mold. And then we spoke of flowers, and there was a joke, you said, about old florists who were forced to make other arrangements. Delphiniums flared along the back fence. All summer it hurt to look at you. 2 I heard a woman on the bus say, “He and I were going in different directions.” As if it had something to do with a latitude or a pole. Trying to write down how love empties itself from a house, how a view changes, how the sign for infinity turns into a noose for a couple. Trying to say that weather weighed down all the streets we traveled on, that if gravel sinks, it keeps sinking. How can I blame you who kneeled day after day in wet soil, pulling slugs from the seedlings? You who built a ten-foot arch for the beans, who hated a bird feeder left unfilled. You who gave carrots to a gang of girls on bicycles. 3 On our last trip we drove through rain to a town lit with vacancies. We’d come to watch whales. At the dock we met five other couples—all of us fluorescent, waterproof, ready for the pitch and frequency of the motor that would lure these great mammals near. The boat chugged forward—trailing a long, creamy wake. The captain spoke from a loudspeaker: In winter gray whales love Laguna Guerrero; it’s warm and calm, no killer whales gulp down their calves. Today we’ll see them on their way to Alaska. If we get close enough, observe their eyes—they’re bigger than baseballs, but can only look down. Whales can communicate at a distance of 300 miles—but it’s my guess they’re all saying, Can you hear me? His laughter crackled. When he told us Pink Floyd is slang for a whale’s two-foot penis, I stopped listening. The boat rocked, and for two hours our eyes were lost in the waves—but no whales surfaced, blowing or breaching or expelling water through baleen plates. Again and again you patiently wiped the spray from your glasses. We smiled to each other, good troopers used to disappointment. On the way back you pointed at cormorants riding the waves— you knew them by name: the Brants, the Pelagic, the double-breasted. I only said, I’m sure whales were swimming under us by the dozens. 4 Trying to write that I loved the work of an argument, the exhaustion of forgiving, the next morning, washing our handprints off the wineglasses. How I loved sitting with our friends under the plum trees, in the white wire chairs, at the glass table. How you stood by the grill, delicately broiling the fish. How the dill grew tall by the window. Trying to explain how camellias spoil and bloom at the same time, how their perfume makes lovers ache. Trying to describe the ways sex darkens and dies, how two bodies can lie together, entwined, out of habit. Finding themselves later, tired, by a fire, on an old couch that no longer reassures. The night we eloped we drove to the rainforest and found ourselves in fog so thick our lights were useless. There’s no choice, you said, we must have faith in our blindness. How I believed you. Trying to imagine the road beneath us, we inched forward, honking, gently, again and again.
Dina Ben-Lev
It was quite unlike any other party they had seen that day. The crier who went before it shouting, “Way, way!” was the only Calormene in it. And there was no litter; everyone was on foot. There were about half a dozen men and Shasta had never seen anyone like them before. For one thing, they were all as fair-skinned as himself, and most of them had fair hair. And they were not dressed like men of Calormen. Most of them had legs bare to the knee. Their tunics were of fine, bright, hardy colours – woodland green, or gay yellow, or fresh blue. Instead of turbans they wore steel or silver caps, some of them set with jewels, and one with little wings on each side of it. A few were bare-headed. The swords at their sides were long and straight, not curved like Calormene scimitars. And instead of being grave and mysterious like most Calormenes, they walked with a swing and let their arms and shoulders go free, and chatted and laughed. One was whistling. You could see that they were ready to be friends with anyone who was friendly, and didn’t give a fig for anyone who wasn’t. Shasta thought he had never seen anything so lovely in his life.
C.S. Lewis (The Horse and His Boy (Chronicles of Narnia, #3))
Want to know the coolest thing about the coming? Not that the One who played marbles with the stars gave it up to play marbles with marbles. Or that the One who hung the galaxies gave it up to hang doorjambs to the displeasure of a cranky client who wanted everything yesterday but couldn't pay until tomorrow. Not that he, in an instant, went from needing nothing to needing air, food, a tub of hot water and salts for his tired feet, and, more than anything, needing somebody - anybody - who was more concerned about where he would spend eternity rather than where he would spend Friday's paycheck. Or that he resisted the urge to fry the two=bit, self-appointed hall monitors of holiness who dared suggest that he was doing the work of the devil. Not that he kept his cool while the dozen best friends he ever had felt the heat and got out of the kitchen. Or that he gave no command to the angels who begged, "Just give us the nod, Lord. One word and these demons will be deviled eggs." Not that he refused to defend himself when blamed for every sin of every slut and sailor since Adam. Or that he stood silent as a million guilty verdicts echoed in the tribunal of heaven and the giver of light was left in the chill of a sinner's night. Not even that after three days in a dark hole he stepped into the Easter sunrise with a smile and a swagger and a question for lowly Lucifer - "Is that your best punch?" That was cool, incredibly cool. But want to know the coolest thing about the One who gave up the crown of heaven for a crown of thorns? He did it for you. Just for you.
Max Lucado (He Chose the Nails: What God Did to Win Your Heart)
A DOZEN PHALLACIES WOMEN BUY Phallacy 4. Men love it when you tell the truth about your relationship. Truth They hate it. Their truth and your truth are, anyway, different. Their truth is about their priorities (conquest, winning, fucking). Our truth is about our priorities (nurturing, creativity, love). Our priorities make life possible. Their priorities make their winning possible. They see our priorities as trivial, but they couldn't live without them. They are in denial about their human dependencies, and our priorities enable them to keep up their denial. How can you talk about this? It's like one person talking Greek and the other Swahili. Cross-babble. Don't talk about the relationship -- do something. Love it or leave it. Make your needs clear. Seize legitimate power. Always speak of how you feel, or what you need, and never accuse. Be gentile but firm. Know what you want and ask for it. If he says no once too often, then consider what your options are. If you are masochistic, get straight with yourself. This world is too cruel for you to compound the felony by being cruel to yourself. Love yourself. Men are mimics. If you love yourself, they love you too.
Erica Jong (Fear of Fifty: A Midlife Memoir)
Is that a no?" I said. "No. I mean.." He struggled for the smile again. "I'm just waiting for the punch line. Something about making it date so I need to pay. Or you expecting flowers. Or.." He trailed off. "There isn't a punch line," I said. I rose onto my knees and inched over, in front of him. Then I stopped about a foot away. "No punch line, Daniel," I said. "I'm asking if you'll go out with me." He didn't answer. Just reched out, his hand sliding between my hair and face, pulling me toward him and.. And he kissed me. His lips touched mine, tentatively, still unsure, and I eased closer, my arms going around his neck. He kissed me for real then, a long kiss that I felt in the bottom of my soul, a click, some deep part of me saying, "Yes, this is it." Even when the kiss broke off, it didn't end. It was like coming to the surface for a quick gasp of air, then plunging back down again, finding that sweet spot again, and holding onto it for as long as we could. Finally it tapered off, and we were lying on the picnic blanket, side by side, his hand on my hip, kissing slower now, with more breaks for air. until I said, "We should have done that sooner." He smiled, a lazy half smile, and he just looked at me for a moment, our gazes locked, lying there in drowsy happiness, before he said, "I think now's just fine." And he kissed me again, slower and softer now, as we rested there, eyes half closed. "So, about Saturday, did you ask me?" he said after a minute, "Because I'm pretty sure that means yo're paying." "Nope. You were imaging it. Considering how you eat, the meal bill is all yours. But I will spring for the movie. And bring you flowers." He chuckled. "Will you?" "Yep, a dozen pink roses, which you'll have to carry all night or risk offending me." "And what happens if I offend you?" "You don't get any more of this." I leaned in and kissed him again. And we stayed out there, on the blanket, as the sun fell, talking and kissing mostly, just being together. We had a long road ahead of us, and I knew it wasn't going to be easy. But I had everything I wanted-everything I needed-and I'd get through it just fine. We all would.
Kelley Armstrong (The Rising (Darkness Rising, #3))
Mr Bankes expected her to answer. And she was about to say something criticizing Mrs Ramsay, how she was alarming, too, in her way, high-handed, or words to that effect, when Mr Bankes made it entirely unnecessary for her to speak by his rapture. For such it was considering his age, turned sixty, and his cleanliness and his impersonality, and the white scientific coat which seemed to clothe him. For him to gaze as Lily saw him gazing at Mrs Ramsay was a rapture, equivalent, Lily felt, to the loves of dozens of young men (and perhaps Mrs Ramsay had never excited the loves of dozens of young men). It was love, she thought, pretending to move her canvas, distilled and filtered; love that never attempted to clutch its object; but, like the love which mathematicians bear their symbols, or poets their phrases, was meant to be spread over the world and become part of the human gain. So it was indeed. The world by all means should have shared it, could Mr Bankes have said why that woman pleased him so; why the sight of her reading a fairy tale to her boy had upon him precisely the same effect as the solution of a scientific problem, so that he rested in contemplation of it, and felt, as he felt when he had proved something absolute about the digestive system of plants, that barbarity was tamed, the reign of chaos subdued.
Virginia Woolf (To the Lighthouse)
The most direct path to Party was raising pigs. The company had several dozen of these and they occupied an unequaled place in the hearts of the soldiers; officers and men alike would hang around the pigsty, observing, commenting, and willing the animals to grow. If the pigs were doing well, the swine herds were the darlings of the company, and there were many contestants for this profession. Xiao-her became a full-time swineherd. It was hard, filthy work, not to mention the psychological pressure. Every night he and his colleagues took turns to get up in the small hours to give the pigs an extra feed. When a sow produced piglets they kept watch night after night in case she crushed them. Precious soybeans were carefully picked, washed, ground, strained, made into 'soybean milk," and lovingly fed to the mother to stimulate her milk. Life in the air force was very unlike what Xiao-her had imagined. Producing food took up more than a third of the entire time he was in the military. At the end of a year's arduous pig raising, Xiao-her was accepted into the Party. Like many others, he put his feet up and began to take it easy. After membership in the Party, everyone's ambition was to become an officer; whatever advantage the former brought, the latter doubled it. Getting to be an officer depended on being picked by one's superiors, so the key was never to displease them. One day Xiao-her was summoned to see one of the college's political commissars. Xiao-her was on tenterhooks, not knowing whether he was in for some unexpected good fortune or total disaster. The commissar, a plump man in his fifties with puffy eyes and a loud, commanding voice, looked exceedingly benign as he lit up a cigarette and asked Xiao-her about his family background, age, and state of health. He also asked whether he had a fiance to which Xiao-her replied that he did not. It struck Xiao-her as a good sign that the man was being so personal. The commissar went on to praise him: "You have studied Marxism-Leninism-Mao Zedong Thought conscientiously. You have worked hard. The masses have a good impression of you. Of course, you must keep on being modest; modesty makes you progress," and so on. By the time the commissar stubbed out his cigarette, Xiao-her thought his promotion was in his pocket.
Jung Chang (Wild Swans: Three Daughters of China)