Dull Mood Quotes

My moods were a slingshot; after being locked-down and anesthetized for years my heart was zinging and slamming itself around like a bee under a glass, everything bright, sharp, confusing, wrong-but it was a clean pain as opposed to the dull misery that had plagued me for years under the drugs like a rotten tooth, the sick dirty ache of something spoiled.

He had dulled his craving for verbal truth and cared chiefly for truth of mood.

For the soul, depression is an initiation, a rite of passage. If we think that depression, so empty and dull, is void of imagination, we may overlook its initiatory aspects. We may be imagining imagination itself from a point of view foreign to Saturn; emptiness can be rife with feeling-tone, images of catharsis, and emotions of regret and loss. As a shade of mood, gray can be as interesting and as variegated as it is in black-and-white photography. If

It is difficult to speak adequately or justly of London. It is not a pleasant place; it is not agreeable, or cheerful, or easy, or exempt from reproach. It is only magnificent. You can draw up a tremendous list of reasons why it should be insupportable. The fogs, the smoke, the dirt, the darkness, the wet, the distances, the ugliness, the brutal size of the place, the horrible numerosity of society, the manner in which this senseless bigness is fatal to amenity, to convenience, to conversation, to good manners – all this and much more you may expatiate upon. You may call it dreary, heavy, stupid, dull, inhuman, vulgar at heart and tiresome in form. [...] But these are occasional moods; and for one who takes it as I take it, London is on the whole the most possible form of life. [...] It is the biggest aggregation of human life – the most complete compendium of the world.

There are times when you've personally known things to misfire--the sentence that fell badly, the dull gift, slapdash comment, hobbled punch line, tight-fisted tip--trying to be too stupid, trying to be too clever, too silly, too carefree, too caring, too free. You can think back to those long and hollow pauses when you realised that you'd misjudged a mood, weren't paying attention, had taken the wrong risk.

My job is not to sell the books - my father does that - but to look after them. Every so often I take out a volume and read a page or two. After all, reading is looking after in a manner of speaking. Though they're not old enough to be valuable for their age alone, nor improtant enough to be sought after by collectors, my charges are dear to me, even as often as not, they are as dull on the inside as on the outside. No matter how banal the contents, there is always something that touches me. For someone now dead once thought these words significant enough to write them down. People disappear when they die. Their voice, their laughter, the warmth of their breath. Their flesh. Eventually their bones. All living memory of them ceases. This is both dreadful and natural. Yet for some there is an exception to this annihilation. For in the boooks they write they continue to exist. We can rediscover them. Their humor, their tone of voice, their moods. Through the written word they can anger you or make you happy. They can comfort you. They can perplex you. They can alter you. All this, even though they are dead. Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. I clean them, do minor repairs, keep them in good order. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head. Do they sense it, these dead writers, when their books are read? Does a pinprick of light appear in their darkness? Is their soul stirred by the feather touch of another mind reading theirs? I do hope so. For it must be very lonely being dead.

seemed to myself to be dull, boring, inadequate, thick brained, unlit, unresponsive, chill skinned, bloodless, and sparrow drab.

The distressing internal state is not examined: the focus is entirely on the outside: What can Ireceive from the world that will make me feel okay, if only for a moment? Bare attention can show her that these moods and feelings have only the meaning and power that she gives them. Eventually she will realize that there is nothing to run away from. Situations might need to be changed, but there is no internal hell that one must escape by dulling or stimulating the mind.

Here's how you make absolutely sure that you'll keep getting crazier by the day: - Ignore everything your psychiatrist tells you. Disregard all his warnings about the way you're living your life - in fact, do absolutely everything he tells you not to. - Don't always take your pills. They're a hassle, and what if they make you dull? You don't need them. And if you're going to take the pills, take them with a glass of wine. It will make the mood swings even more exciting. - Don't sleep; you've got to make sure your body clock is as fucked up as possible. The less you sleep, the more manic you'll get, until soon you'll go completely over the edge. - Drink caffeine. Tons of it. Take your morning pills with coffee. It can't hurt. - Work around the clock - it's important to put yourself under as much stress as possible. - Eating normally would stabilize your blood sugar, so don't do that; it's better to keep your body in as unstable a state as you possibly can for maximum results. - And, above all else, drink like a fish.

From the time I woke up in the morning until the time I went to bed at night, I was unbearably miserable and seemingly incapable of any kind of joy or enthusiasm. Everything--every thought, word, movement--was an effort. Everything that once was sparkling now was flat. I seemed to myself to be dull, boring, inadequate, thick brained, unlit, unresponsive, chill skinned, bloodless, and sparrow drab. I doubted, completely, my ability to do anything well..... And always, everything was an effort. Washing my hair took hours to do, and it drained me for hours afterward; filling the ice-cute tray was beyond my capacity, and I occasionally slept in the same clothes I had worn during the day because I was too exhausted to undress.

My sensitive soul was no longer held down by heavy chains of duty and distraction -- it would now (I had theorized) take wing. But I was gripped by a kind of dull horror. Even in perfect conditions, I couldn't muster the perfect mood to be all that I wanted to be. I simply could not do it. If nothing was stopping me, what was stopping me?

All my life as a writer I have been committed to the idea that in fiction the story value holds dominance over every other facet of the writer's craft; characterization, theme, mood, none of those things is anything if the story is dull.

Coward,” Prudence shouted from the top of the steps. Sebastian saw several people stop and turn to stare in shock at the sight of the Countess of Angelstone yelling after her husband like a fishwife. Sebastian could not resist turning around, too. Prudence was standing in the doorway, glaring furiously. Even as he watched, she stamped one small foot in exasperation. Directly behind her loomed Flowers with an unholy grin on his normally dour face. It occurred to Sebastian that he had never seen Flowers smile like that. Sebastian’s spirits lightened abruptly. He found himself grinning, too, in spite of his bedeviled mood. In addition to a host of other endearing wifely virtues, Prudence could play the shrew. Fresh confirmation of what he already knew, Sebastian decided. Life with her would never be dull.

All my life as a writer I have been committed to the idea that in fiction the story value holds dominance over every other facet of the writer's craft; characterization, theme, mood, none of those things is anything if the story is dull. And if the story does hold you, all else can be forgiven.

I didn’t until I was older and she was diagnosed and the possibility of her leaving us became real. But she used to tell me how the moment I was born, she knew she had found her light in the dark. That one lighthouse that, no matter what, was always up. Lighting up the night and signaling her way home. And as a kid, I thought that was either corny or very dramatic.” A low and humorless chuckle left him. My heart broke all over again for him, hurting and begging me to turn around and give him any comfort I could. But I stayed put. “You must miss her so much.” “I do, every day. When she passed and my nights got a little darker, I started to understand what she’d meant.” That was a loss I hoped I wouldn’t experience in a long time. “But what your dad said—about you having this fire inside, that lightness and life, and how it dulled for a period of time …” He paused, and I swore I heard him swallow. “It just …” He trailed off, as if he was scared of his next words. And Aaron never feared speaking his mind. Aaron was never scared. “You are all that, Catalina. You are light. And passion. Your laughter alone can lift my mood and effortlessly turn my day around in a matter of seconds. Even when it’s not aimed at me. You … can light up entire rooms, Catalina. You hold that kind of power. And it’s because of all the different things that make you who you are. Each and every one of them, even the ones that drive me crazy in ways you can’t imagine. You should never forget that.

Mrs. Varden was a lady of what is commonly called an uncertain temper - a phrase which being interpreted signifies a temper tolerably certain to make everybody more or less uncomfortable. Thus it generally happened, that when other people were merry, Mrs. Varden was dull; and that when other people were dull, Mrs. Varden was disposed to be amazingly cheerful. Indeed the worthy housewife was of such a capricious nature, that she not only attained a higher pitch of genius than Macbeth, in respect of her ability to be wise, amazed, temperate and furious, loyal and neutral in an instant, but would sometimes ring the changes backwards and forwards on all possible moods and flights in one short quarter of an hour; performing, as it were, a kind of triple bob major on the peal of instruments in the female belfry, with a skilfulness and rapidity of execution that astonished all who heard her.

Who knew it was in my power to make anyone so happy? Or that I could ever be so happy myself? My moods were a slingshot; after being locked-down and anesthetized for years my heart was zinging and slamming itself around like a bee under a glass, everything bright, sharp, confusing, wrong - but it was a clean pain as opposed to the dull misery that had plagued me for years under the drugs like a rotten tooth, the sick dirty ache of something spoiled. The clarity was exhilarating; it was as if I'd removed a pair of smudged-up glasses that fuzzed everything I saw. All summer long I had been practically delirious: tingling, daffy, energized, running on gin and shrimp cocktail and the invigorating whock of tennis balls. And all I could think was Kitsey, Kitsey, Kitsey!

To pray in the midst of the mundane is simply and strongly to assert that this dull and tiring day is holy and its simple labors are the stuff of God's saving presence for me now. To pray simply because it is prayer time is no small act of immersion in the God who is willing to wait for us to be conscious, to be ready, to be willing to become new in life. Prayer, Benedictine spirituality demonstrates, is not a matter of mood. To pray only when we feel like it is more to seek consolation than to risk conversion. To pray only when it suits us is to want God on our terms. To pray only when it is convenient is to make the God-life a very low priority in a list of better opportunities. To pray only when it feels good is to court total emptiness when we most need to be filled. The hard fact is that nobody finds time for prayer. The time must be taken. There will always be something more pressing to do, something more important to be about than the apparently fruitless, empty act of prayer. But when that attitude takes over, we have begun the last trip down a very short road because, without prayer, the energy for the rest of life runs down. The fuel runs out. We become our own worst enemies: we call ourselves too tired and too busy to pray when, in reality, we are too tired and too busy not to pray. Eventually, the burdens of the day wear us down and we no longer remember why we decided to do what we're doing: work for this project, marry this woman, have these children, minister in this place. And if I cannot remember why I decided to do this, I cannot figure out how I can go on with it. I am tired and the vision just gets dimmer and dimmer.

In its individual manifestation the character of a man's anima is as a rule shaped by his mother. If he feels that his mother had a negative influence on him, his anima will often express itself in irritable, depressed moods, uncertainty, insecurity, and touchiness. (If, however he is able to overcome the negative assaults on himself, they can serve to reinforce his masculinity.) Within the soul of such a man the negative mother-anima figure will endlessly repeat this theme: "I am nothing. Nothing makes any sense. With others it's different, but for me...I enjoy nothing." These "anima moods" cause a sort of dullness, a fear of disease, of impotence, or of accidents. The whole of life takes on a sad and oppressive aspect. Such dark moods can even lure a man to suicide, in which case the anima becomes a death demon. She appears in this role in Cocteau's film Orphee.

As winter comes on, Master Kalaphates sees portents in every shadow. A pitcher cracks, a bucket leaks, a flame goes out: the new sultan is to blame. Kalaphates complains that orders have stopped arriving from the provinces; the needleworkers do not work hard enough, or they have used too much gold thread, or they have not used enough, or their faith is impure. Agata is too slow, Thekla is too old, Elyse’s designs are too dull. A single fruit fly in his wine can send a black thread twisting through his mood that lingers for days.

Fire Fire In The Heavens Fire in the heavens, and fire along the hills, and fire made solid in the flinty stone, thick-mass'd or scatter'd pebble, fire that fills the breathless hour that lives in fire alone. This valley, long ago the patient bed of floods that carv'd its antient amplitude, in stillness of the Egyptian crypt outspread, endures to drown in noon-day's tyrant mood. Behind the veil of burning silence bound, vast life's innumerous busy littleness is hush'd in vague-conjectured blur of sound that dulls the brain with slumbrous weight, unless some dazzling puncture let the stridence throng in the cicada's torture-point of song.

My habit – due to indifference chiefly at first – of giving up to you in everything had become insensibly a real part of my nature. Without my knowing it, it had stereotyped my temperament to one permanent and fatal mood. That is why, in the subtle epilogue to the first edition of his essays, Pater says that ‘Failure is to form habits.’ When he said it the dull Oxford people thought the phrase a mere wilful inversion of the somewhat wearisome text of Aristotelian Ethics, but there is a wonderful, a terrible truth hidden in it. I had allowed you to sap my strength of character, and to me the formation of a habit had proved to be not Failure merely but Ruin. Ethically you had been even still more destructive to me than you had been artistically.

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

And the worst fault I have to find with the world is, that it is dull. Do you know, I am going to justify gambling in spite of you. It is a refuge from dullness." "I don't admit the justification," said Deronda. "I think what we call the dullness of things is a disease in ourselves. Else how can any one find an intense interest in life? And many do." "Ah, I see! The fault I find in the world is my own fault," said Gwendolen, smiling at him. Then after a moment, looking up at the ivory again, she said, "Do _you_ never find fault with the world or with others?" "Oh, yes. When I am in a grumbling mood." "And hate people? Confess you hate them when they stand in your way--when their gain is your loss? That is your own phrase, you know." "We are often standing in each other's way when we can't help it. I think it is stupid to hate people on that ground." "But if they injure you and could have helped it?" said Gwendolen with a hard intensity unaccountable in incidental talk like this. Deronda wondered at her choice of subjects. A painful impression arrested his answer a moment, but at last he said, with a graver, deeper intonation, "Why, then, after all, I prefer my place to theirs." "There I believe you are right," said Gwendolen.

Nothing happens while you live. The scenery changes, people come in and go out, that’s all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition. From time to time you make a semi-total: you say: I’ve been travelling for three years, I’ve been in Bouville for three years. Neither is there any end: you never leave a woman, a friend, a city in one go. And then everything looks alike: Shanghai, Moscow, Algiers, everything is the same after two weeks. There are moments—rarely—when you make a landmark, you realize that you’re going with a woman, in some messy business. The time of a flash. After that, the procession starts again, you begin to add up hours and days: Monday, Tuesday, Wednesday. April, May, June. 1924, 1925, 1926. That’s living. But everything changes when you tell about life; it’s a change no one notices: the proof is that people talk about true stories. As if there could possibly be true stories; things happen one way and we tell about them in the opposite sense. [...] “I was out walking, I had left the town without realizing it, I was thinking about my money troubles.” This sentence, taken simply for what it is, means that the man was absorbed, morose, a hundred leagues from an adventure, exactly in the mood to let things happen without noticing them. But the end is there, transforming everything. For us, the man is already the hero of the story. His moroseness, his money troubles are much more precious than ours, they are all gilded by the light of future passions. And the story goes on in the reverse: instants have stopped piling themselves in a lighthearted way one on top of the other, they are snapped up by the end of the story which draws them and each one of them in turn, draws out the preceding instant: “It was night, the street was deserted.” The phrase is cast out negligently, it seems superfluous; but we do not let ourselves be caught and we put it aside: this is a piece of information whose value we shall subsequently appreciate. And we feel that the hero has lived all the details of this night like annunciations, promises, or even that he lived only those that were promises, blind and deaf to all that did not herald adventure. We forget that the future was not yet there; the man was walking in a night without forethought, a night which offered him a choice of dull rich prizes, and he did not make his choice. I wanted the moments of my life to follow and order themselves like those of a life remembered. You might as well try and catch time by the tail.

To those who have looked at Rome with the quickening power of a knowledge which breathes a growing soul into all historic shapes, and traces out the suppressed transitions which unite all contrasts, Rome may still be the spiritual centre and interpreter of the world. But let them conceive one more historical contrast: the gigantic broken revelations of that Imperial and Papal city thrust abruptly on the notions of a girl who had been brought up in English and Swiss Puritanism, fed on meagre Protestant histories and on art chiefly of the hand-screen sort; a girl whose ardent nature turned all her small allowance of knowledge into principles, fusing her actions into their mould, and whose quick emotions gave the most abstract things the quality of a pleasure or a pain; a girl who had lately become a wife, and from the enthusiastic acceptance of untried duty found herself plunged in tumultuous preoccupation with her personal lot. The weight of unintelligible Rome might lie easily on bright nymphs to whom it formed a background for the brilliant picnic of Anglo-foreign society; but Dorothea had no such defence against deep impressions. Ruins and basilicas, palaces and colossi, set in the midst of a sordid present, where all that was living and warm-blooded seemed sunk in the deep degeneracy of a superstition divorced from reverence; the dimmer but yet eager Titanic life gazing and struggling on walls and ceilings; the long vistas of white forms whose marble eyes seemed to hold the monotonous light of an alien world: all this vast wreck of ambitious ideals, sensuous and spiritual, mixed confusedly with the signs of breathing forgetfulness and degradation, at first jarred her as with an electric shock, and then urged themselves on her with that ache belonging to a glut of confused ideas which check the flow of emotion. Forms both pale and glowing took possession of her young sense, and fixed themselves in her memory even when she was not thinking of them, preparing strange associations which remained through her after-years. Our moods are apt to bring with them images which succeed each other like the magic-lantern pictures of a doze; and in certain states of dull forlornness Dorothea all her life continued to see the vastness of St. Peter's, the huge bronze canopy, the excited intention in the attitudes and garments of the prophets and evangelists in the mosaics above, and the red drapery which was being hung for Christmas spreading itself everywhere like a disease of the retina. Not that this inward amazement of Dorothea's was anything very exceptional: many souls in their young nudity are tumbled out among incongruities and left to "find their feet" among them, while their elders go about their business. Nor can I suppose that when Mrs. Casaubon is discovered in a fit of weeping six weeks after her wedding, the situation will be regarded as tragic. Some discouragement, some faintness of heart at the new real future which replaces the imaginary, is not unusual, and we do not expect people to be deeply moved by what is not unusual. That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity.

Even the winds that usually screamed across the mountains had gone quiet, dulled by the walls of the valley. The dwarf guide did not attempt any jokes or spouting of trivia, perhaps sensing the general mood that had settled over the Envoy’s company. Will our sacrifice be accepted? The worries rushed over him before he could stop them. Has it been accepted at all in these five dark years? Or have the Dracodei turned away from us? He had no way of knowing. For the moment, there was only the steady march of man, dwarf, and deer, the chime of clinking treasures, and the silent sky uninterrupted by the beat of dragon’s wings.

See, the main problem—the thing that really and truly holds him back, and always will—is that the thought of settling down, the thought of commitment, makes Barty want to scream at the top of his lungs and take off running. Anything past friendship and fucking, and Barty hits a brick wall. No, actually, it makes him turn and go in the opposite direction. It's just not for him. He doesn't want to do it; he doesn't want to find one person who calms him, who makes him feel safe, who can ease the brimming fire under his skin when he still wants to blaze on. He's not ready for it yet, and maybe it's not love, but it's something like it; maybe it's not love, but it could be; and that's enough for him to refuse it. Barty wants to live. He wants to make mistakes, and be reckless, and experience everything and everyone he can. He wants to care and not care in equal measure without any of the guilt. He wants to carry wild stories in the tips of his fingers and create memories that will light him up even when the world feels so dull. He wants to shag who he wants to shag, anyone he likes, and he wants to continue on to the next when the mood strikes. He wants to be young; he wants to slow down and feel every moment, not rushing, because he can't even conceptualize what he's meant to be rushing towards.

There is sadness, and there is depression. Depression is more than a dull or upset mood; it is when your negative thoughts become uncontrollable and you view the world as nothing more than negativity.

I have been the lone sober person at many of these occasions. Here’s what happens. The wine comes, and the mood changes, so the conversation is intelligent, quick-witted, and full of life. Fast-forward two or three glasses, and conversation grows a bit dull, even among some of the most intelligent people. The wine does exactly what it is supposed to; it slows your brain function and dulls your senses.

Fire In The Heavens Fire in the heavens, and fire along the hills, and fire made solid in the flinty stone, thick-mass'd or scatter'd pebble, fire that fills the breathless hour that lives in fire alone. This valley, long ago the patient bed of floods that carv'd its antient amplitude, in stillness of the Egyptian crypt outspread, endures to drown in noon-day's tyrant mood. Behind the veil of burning silence bound, vast life's innumerous busy littleness is hush'd in vague-conjectured blur of sound that dulls the brain with slumbrous weight, unless some dazzling puncture let the stridence throng in the cicada's torture-point of song.

Anne tried to dazzle him with her high spirits and her beauty. She kept her temper with him, though he was sour and dull. She danced, she gambled, she laughed, she skated, she was all joy, all light. She threw Jane Seymour into the background, no man ever had eyes for another woman when Anne was in radiant mood. Not even the king could look away from her as she went through the dancing court, her head high, that turn of the neck as someone spoke to her, surrounded by men who wrote poems to her beauty, musicians playing songs for her, the very center of the excitement of the court at play. The king could not take his eyes off her, but his gaze was no longer entranced. He stared at her as if he would understand something about her, as if he would unravel her charm so that he might see her unwoven, robbed of everything that had made her once so lovely to him. He stared at her like a man might stare at a tapestry that has cost him a fortune and that he suddenly sees one morning as valueless, and wants to unknot. He stared at her as if he could not believe that she had cost him so dear, and repaid him so little. And not even Anne’s charm and vivacity could make him think that the bargain was a good one. While

Is there a problem, ma’am?” Mitch slanted a glance in her direction. She stood military straight, vehemently shaking her head. “Everything’s fine, Officer.” “Sheriff. You sure about that?” Charlie said, sounding like a complete hard-ass. “Looked to me like you were being accosted.” “N-no—” Mitch cut her off. “Would you get the hell out of here?” “Mitch,” Maddie said, with a low hiss. Evidently in a devious mood, Charlie stalked forward, placing a hand menacingly over his baton. “What did you say?” “Fuck. Off.” Mitch fired each word like a bullet. “Mitch, please,” Maddie said, tone pleading. “Do I have to take you in?” Charlie’s attention shifted in Maddie’s direction and his mouth twisted into a smile that Mitch had seen him use on hundreds of women during their fifteen-year friendship. “I’ll be happy to look after her for you, Mitch.” A stab of something suspiciously close to possessiveness jabbed at his rib cage. Mitch shot Charlie a droll glare. “Over my dead body.” One black brow rose over his sunglasses. “That can be arranged.” “Please, don’t take him to jail,” Maddie said, sounding alarmed. Both Charlie’s and Mitch’s attention snapped to her. “Now, why would you be thinking that?” Charlie asked, in an amused voice. Maddie’s gaze darted back and forth. “He threatened you.” Mitch laughed and Charlie scoffed. “Honey, he’s nothing but a pesky little fly I’d have to bat away.” Comprehension dawned and her worried expression cleared. “Oh, I see. You know, you should tell someone this is some macho-guy act before you get rolling.” “And what fun would that be?” Charlie rocked back on his heels. Even with his eyes hidden behind the mirrored frames, it was damn clear he was scoping Maddie out from head to toe. Under his scrutiny, she started to fidget. She pressed closer to Mitch, almost as if by instinct, pleasing him immensely. “Don’t mind him, Princess.” He slid his arm around her waist, pulling her tighter against him. “He likes to abuse his power over unsuspecting women.” “Um,” Maddie said, fitting under the crook his arm as though she were made for him, which was odd considering he towered over her by a foot. “I bet it’s quite effective.” Charlie laughed. “Maddie Donovan, you’re everything I’ve heard and then some.” Maddie stiffened, pulling out of Mitch’s embrace and cocking her head to the side. “How do you know my name?” “Honey,” Charlie drawled, the endearment scraping a dull blade over Mitch’s nerves. “This is a small town. People don’t have anything else to do but talk. Give me time and I’ll know your whole life story.” That strawberry-stained mouth pulled into a frown, and two little lines formed between auburn brows. She studied the cracked concrete at her feet. Suddenly, she looked up, her cheeks flushing when she realized they were watching her. She smiled brightly. “Oh well, I guess this is what I get for making an entrance.” Charlie

She’s freaking out. If she cries, I won’t know what to do. I’m not used to crying chicks. I don’t think Carmen cried once during our entire relationship. In fact, I’m not sure Carmen has tear ducts. “Um…you okay?” I ask. “If this gets around, I’m never going to live it down. Oh, God, if Mrs. Peterson calls my parents I’m dead. Or at least I’ll wish I was dead.” She keeps talking and shaking, as if she’s a car with bad shocks and no brakes. “Brittany?” “…and my mom’ll blame it on me. It’s my fault, I know. But she’ll freak out on me and then I’ll have to explain and hope she--” Before she can get another word out I yell, “Brittany!” The girl looks up at me with an expression so confused I don’t know whether to feel sorry for her or stunned she’s rambling and can’t seem to stop. “You’re the one freakin’ out,” I comment, stating the obvious. Her eyes are usually clear and bright, but now they’re dull and blank as if she’s not all here. She looks down and around and everywhere except directly at me. “No, I’m not. I’m fine.” “The hell you are. Look at me.” She hesitates. “I’m fine,” she says, now focused on a locker across the hall. “Just forget everything I just said.” “If you don’t look at me, I’m gonna bleed all over the floor and need a fuckin’ transfusion. Look at me, dammit.” Her breathing is still heavy as she focuses on me. “What? If you want to tell me my life is out of control, I’m already aware of it.” “I know you didn’t mean to hurt me,” I tell her. “Even if you did, I probably deserved it.” I’m hoping to lighten the mood so the girl doesn’t have a complete breakdown in the hallway. “Makin’ mistakes ain’t a crime, you know. What’s the use in having a reputation if you can’t ruin it every now and then?” “Don’t try and make me feel better, Alex. I hate you.” “I hate you, too. Now please move out of the way so the janitor doesn’t have to spend all day moppin’ up my blood. He’s a relative, you know.

After all, he was afraid in his inmost heart of this mighty thing called passion. This storm-wind sweeping away everything settled and authorized and acquired in humanity as if it were dead leaves. He did not like it! This roaring flame squandering itself in its own smoke — no, he wanted to burn slowly. And yet this living on at half speed in quiet waters, always in sight of land, seemed so paltry. Would that the storm and waves would come! If he only knew how, his sails should fly to the yards for a merry run over the Spanish Main of life! Farewell to the slowly dripping days, farewell to the pleasant little hours! Peace be with you, you dull moods that have to be furbished with poetry before you can shine, you lukewarm emotions that have to be clothed in warm dreams and yet freeze to death! May you go to your own place! I am headed for a coast where sentiments twine themselves like luxuriant vines around every fibre of the heart—a rank forest; for every vine that withers, twenty are in blossom; for each one that blossoms, a hundred are in bud. Oh, that I were there!

Rhi stood in the doorway and watched Henry. He was a fighter. Maybe that’s why she saved him. There was also a slim chance it was because he helped the Kings. “It’s a good thing you called me,” Usaeil, Queen of the Light, said as she came to stand beside Rhi. Rhi could’ve brought Henry to Usaeil’s manor on the west coast of Ireland, but then it would reveal to one and all power she’s managed to keep hidden from them. That was something she wanted to keep to herself. So she got Henry out of the prison and to the outskirts of Dublin. From there, it was simply a matter of asking Usaeil for help. Now all Rhi had to worry about was finding out how much Henry remembered. If he recalled seeing her teleport him out, then she would need to convince him to lie for her. Although Usaeil would want to know how Henry got out of his prison and how Rhi found him. Usaeil hadn’t begun those questions yet. But they were coming. “I’m glad you agreed to help,” Rhi said. Usaeil shoved her black hair over her shoulders and adjusted the coral sheath dress she wore. “He’s aiding the Kings. Why wouldn’t I help him?” Rhi wanted to roll her eyes, but she didn’t. “We might be Light, but we also use humans as the Dark do.” “We don’t kill them.” “No, we sleep with them once and ruin them for any other mortal. We don’t hurt them at all,” she said sarcastically, giving Usaeil a cutting look. Usaeil slid her silver eyes to Rhi. “I can easily toss Henry North out on his ass.” “Do it. What do I care?” “I think you care more than you’re ready to admit. Why else would you want to help him?” Usaeil sighed. “Rhi, we all know you went through hell at Balladyn’s hands. We know it’s going to take time for you to heal, but you will heal.” Rhi wasn’t so sure. She could feel the darkness within her, coiling and shifting. She had to fight to remember what she should do, instead of what the darkness wanted her to do. “Henry is healing nicely,” Rhi said, changing the subject. Usaeil nodded slowly. “His injuries were extensive. Had you not found him when you did, the internal bleeding would’ve killed him in a few hours. By the way, how did you find him again?” This was what Rhi had been waiting for. Everyone knew she couldn’t lie without feeling tremendous pain. She sank her nails into her palms, held Usaeil’s gaze and lied. “I found him in Dublin. As I said, I don’t know how he got there.” “So very odd.” The pain was gut wrenching. It twisted her insides and squeezed her lungs so that she couldn’t breath. Pain exploded inside her head. She began to shake. It was time for Rhi to change the subject again. “You should tell Con we have him.” The queen twisted her lips. “If I do, Con will want to come here and finish healing Henry himself, or want us to bring Henry to him. I’m not in the mood for either.” “Henry will be finished healing soon. What then? You want him to remain? In a place full of Light Fae?” Thankfully, the pain began to dull enough that Rhi could breath easier. “No,” Usaeil said with a frown. “Already his appearance has sparked interest. They’re trying to get in to see him. He’s a mortal, so he’ll succumb to any Fae he encounters.” Rhi took exception to that. “He’s stronger than that.” “He’s human, Rhi. Not a single one can resist us. It’s a fact. Henry is no different.” Rhi didn’t argue, but she knew she was right. Henry was different. She’d seen it the first time she met him in Con’s office months ago. He took in the fact his friends at Dreagan were actually dragon shifters with a nod, his solemn hazel eyes seeing things anew. She bit back a grin as she recalled how he’d become a little flustered when he saw her and learned who she was. Henry’s smile was charming, sweet . . . honest. He looked at her as if she were the only woman on the realm. Even though Rhi understood that it was the fact she was Fae that intrigued him, enthralled him, she took an instant liking to the human who never backed down.

in fiction the story value holds dominance over every other facet of the writer's craft; characterization, theme, mood, none of those things is anything if the story is dull. And if the story does hold you, all else can be forgiven.

Women [who are] sick with an itch, dissatisfied to the point of dancing alone in their homes to music that isn’t so much music but dull pain with a tune. Women with demands that are mysterious even to themselves. Women who are runaways in their own kitchens. Women who are in no rush to respond to a world that’s only conceived them as its consequence. Who experience deep movement by playing air piano. Who are wind-oriented.

The crash in 1929, however, did have one therapeutic effect: it, somewhat exceptionally, lingered in the financial memory. For the next quarter of a century securities markets were generally orderly and dull. Although this mood lasted longer than usual, financial history was not at an end. The commitment to Schumpeter’s mania was soon to be reasserted.

I’m tired of everything,” he said. “I’m tired all the time.” He sighed again, heavily. “Mostly,” he said, “I’m tired of not being near you.” I found myself relaxing, shifting back so I was pressed against him, a wall of heat all the way down my spine. He rested his hands on my hips, his fingers creeping under the hem of my shirt just enough to dull my pain. Let the damn poison beetles come, I thought, as I felt a kiss on my neck, right behind my ear. This was inviting further pain, and I knew it. His fate wouldn’t let him choose me, and even if that wasn’t the case, I suspected the deep well of his grief wouldn’t let him choose anything at all. But I was sick of doing what was good for me. He kissed where my neck met my shoulder, lingering, his tongue tasting my skin, which was likely salty from sweat. I reached up and buried my fingers in his hair, holding him against me for a moment, and then twisting my neck so our mouths collided. Our teeth clacked together, and normally we would have drawn back and laughed, but neither of us was in a laughing mood. I pulled at his hair, and his hands tightened around my hips so hard it was just on the good side of painful. I had buried myself in rage since the destruction of the sojourn ship, and since the illusions between him and me fell away. Now I buried myself in wanting him instead, twisting into him, grabbing his body wherever my hands found purchase. Want me, I told him, with each clutch of my fingers. Choose me. Want me.

Music forms an integral part in people’s lives including its global usage as a backdrop for work, play, and serving as a stress reducer. The erumpent sounds of music serve a prime role in sheer entertainment and operate to stave off the dullness of mere silence. Musical tones evoke a wide range of emotions. Americans use music to soothe their nerves, for motivational purposes, set a romantic mood, and occupy their brain in order to thwart boredom and loneliness.

I treasured these slightly mad little escapades. They were part of the carnival spirit of the city, which seemed on the verge of breaking into a fiesta. Even the five-and-ten-cent stores, the epitome of national conformity, took on a local flavor with their displays of turquoise and silver, Aztec pottery, and hand-tooled leather simply screaming for the open marketplace, while the fake pearls crouched back in awe. But it was the gay little Mexican girls who, smiling sweet-tempered behind the counters, set the mood. Never rude, never dull, never tired, they lent a graciousness to the city that seemed to be in secret league with the sunny atmosphere to conjure up its lighthearted spell.

Now a strange mood took hold of me, as I walked silent and alone through the last of the pines and the cypress knees that seemed to float in the black water, the gray moss that coated everything. It was as if I traveled through the landscape with the sound of an expressive and intense aria playing in my ears. Everything was imbued with emotion, awash in it, and I was no longer a biologist but somehow the crest of a wave building and building but never crashing to shore. I saw with such new eyes the subtleties of the transition to the marsh, the salt flats. As the trail became a raised berm, dull, algae-choked lakes spread out to the right and a canal flanked it to the left. Rough channels of water meandered out in a maze through a forest of reeds on the canal side, and islands, oases of wind-contorted trees, appeared in the distance like sudden revelations. The stooped and blackened appearance of these trees was shocking against the vast and shimmering gold-brown of the reeds. The strange quality of the light upon this habitat, the stillness of it all, the sense of waiting, brought me halfway to a kind of ecstasy.