Elegance And Beauty Quotes

I thought: pity the poor in spirit who know neither the enchantment nor the beauty of language.

Adornment, what a science! Beauty, what a weapon! Modesty, what elegance!

I have found my star. She is beauty and grace. Elegance and goodness. My laughter in winter. She is courageous and strong. Bold and tempting. Unlike any other in all the universe, and I cannot touch her. I dare not even try." [Zarek]

Personally I think that grammar is a way to attain beauty.

Elegance is the only beauty that never fades.

When tea becomes ritual, it takes its place at the heart of our ability to see greatness in small things. Where is beauty to be found? In great things that, like everything else, are doomed to die, or in small things that aspire to nothing, yet know how to set a jewel of infinity in a single moment?

Elegance is a glowing inner peace. Grace is an ability to give as well as to receive and be thankful. Mystery is a hidden laugh always ready to surface! Glamour only radiates if there is a sublime courage & bravery within: glamour is like the moon; it only shines because the sun is there.

I have finally concluded, maybe that's what life is about: there's a lot of despair, but also the odd moment of beauty, where time is no longer the same. It's as if those strains of music created a sort of interlude in time, something suspended, an elsewhere that had come to us, an always within never. Yes, that's it, an always within never.

Elegance comes from being as beautiful inside as outside.

Beautiful things should belong to beautiful souls.

Dipped in chocolate, bronzed in elegance, enameled with grace, toasted with beauty. My lord, she's a black woman.

It's not very easy to grow up into a woman. We are always taught, almost bombarded, with ideals of what we should be at every age in our lives: "This is what you should wear at age twenty", "That is what you must act like at age twenty-five", "This is what you should be doing when you are seventeen." But amidst all the many voices that bark all these orders and set all of these ideals for girls today, there lacks the voice of assurance. There is no comfort and assurance. I want to be able to say, that there are four things admirable for a woman to be, at any age! Whether you are four or forty-four or nineteen! It's always wonderful to be elegant, it's always fashionable to have grace, it's always glamorous to be brave, and it's always important to own a delectable perfume! Yes, wearing a beautiful fragrance is in style at any age!

Wisdom demands a new orientation of science and technology toward the organic, the gentle, the elegant and beautiful.

...which causes me to wonder, my own purpose on so many days as humble as the spider's, what is beautiful that I make? What is elegant? What feeds the world?

Beauty is power and elegance, right action, form fitting function, intelligence, and reasonability. And very often expressed in curves.

There's so much humanity in a love of trees, so much nostalgia for our first sense of wonder, so much power in just feeling our own insignificance when we are surrounded by nature…yes, that's it: just thinking about trees and their indifferent majesty and our love for them teaches us how ridiculous we are - vile parasites squirming on the surface of the earth - and at the same time how deserving of life we can be, when we can honor this beauty that owes us nothing.

. . . maybe that's what life's all about: there's a lof of despair, but also the odd moments of beauty, where time is no longer the same . . . [like] something suspended . . . an elsewhere . . . an always within a never. Yes, that's is, an always within a never.

Dirge Without Music I am not resigned to the shutting away of loving hearts in the hard ground. So it is, and so it will be, for so it has been, time out of mind: Into the darkness they go, the wise and the lovely. Crowned With lilies and with laurel they go; but I am not resigned. Lovers and thinkers, into the earth with you. Be one with the dull, the indiscriminate dust. A fragment of what you felt, of what you knew, A formula, a phrase remains,—but the best is lost. The answers quick and keen, the honest look, the laughter, the love,— They are gone. They are gone to feed the roses. Elegant and curled Is the blossom. Fragrant is the blossom. I know. But I do not approve. More precious was the light in your eyes than all the roses in the world. Down, down, down into the darkness of the grave Gently they go, the beautiful, the tender, the kind; Quietly they go, the intelligent, the witty, the brave. I know. But I do not approve. And I am not resigned.

Tortoises are incredible creatures," Dad says earnestly. "What they lack in elegance and beauty they more than make up for in the ability to curl up and defend themselves from predators." "What, like me?

Fashion is neither moral or immoral, but it is for rebuilding the morale.

The tea ritual: such a precise repetition of the same gestures and the same tastes; accession to simple, authentic and refined sensations, a license given to all, at little cost, to become aristocrats of taste, because tea is the beverage of the wealthy and the poor; the tea ritual, therefore, has the extraordinary virtue of introducing into the absurdity of our lives an aperture of serene harmony. Yes, the world may aspire to vacuousness, lost souls mourn beauty, insignificance surrounds us. Then let us drink a cup of tea. Silence descends, one hears the wind outside, autumn leaves rustle and take flight, the cat sleeps in a warm pool of light. And, with each swallow, time is sublimed.

Unusual yet beautiful. Provocative while remaining elegant.

With the exception of love, friendship and the beauty of art, I don't see much else that can nurture human life.

We clear the harbor and the wind catches her sails and my beautiful ship leans over ever so gracefully, and her elegant bow cuts cleanly into the increasing chop of the waves. I take a deep breath and my chest expands and my heart starts thumping so strongly I fear the others might see it beat through the cloth of my jacket. I face the wind and my lips peel back from my teeth in a grin of pure joy.

I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said that you can safely assume you’ve created God in your own image when it turns out that God hates all the same people you do.)

How do you separate a tiger's beauty from its ferocity? Or a cheetah's elegance from the speed of its attack? Achilles was like that -- the beauty and the terror were two sides of a single coin.

Don't worry Renee, I won't commit suicide and I won't burn a thing. Because from now on, for you, I'll be searching for those moments of always within never. Beauty, in this world.

I wonder if the world’s fascination has less to do with the flower itself, and more with the muck that it flourishes in. The Lotus flower is of an unparalleled beauty in its elegance and grace, yet its’ origins are of an environment that is a stark contrast. We cannot help but ponder such strange juxtaposition. However, there is something telling in this natural contrast between the flower and its environment: we are meant to grow, like the Lotus, and not dirty our hands in the mud that surrounds us.

Although I love elegant parties, dancing and dining and spending the night with a sweet woman in my arms, my life belongs to literature.

The most pleasant and alluring curve on a woman is the smile

Braininess is not attractive unless combined with some signs of elegance; class.

Like most qualities, cuteness is delineated by what it isn't. Most people aren't cute at all, or if so they quickly outgrow their cuteness ... Elegance, grace, delicacy, beauty, and a lack of self-consciousness: a creature who knows he is cute soon isn't.

Helen was beautiful in the way a supercomputer was beautiful: sleek with elegant but utilitarian styling, full of top-notch technological know-how, far too expensive for most people to possess.

I have found my star. She is beauty and grace. Elegance and goodness. My laughter in winter. She is courageous and strong. Bold and tempting. Unlike any other in all the universe, and I cannot touch her. I dare not even try. Astrid or Aphrodite, she is my Circe. Only instead of changing a man into an animal she has made the animal human. I am such a fucking idiot, wanting a star I can’t have. But then, all stars are beyond human reach and I’m not even human. (Zarek)

The beautiful wooden board on a stand in my father’s study. The gleaming ivory pieces. The stern king. The haughty queen. The noble knight. The pious bishop. And the game itself, the way each piece contributed its individual power to the whole. It was simple. It was complex. It was savage; it was elegant. It was a dance; it was a war. It was finite and eternal. It was life.

Music. A flower in a vase on the tray. A January rose, it wouldn't last long, all big and full-blown like that. He loved things like this, fragile, that wouldn't last. She touched its silver-mauve petals, a hundred layers like an old-fashioned petticoat. The Japanese would say that's their elegance, the brevity of their beauty.

Ladies should also remember that gentlemen look more to the effect of a dress in setting off the figure and countenance of a lady than to its cost. Very few gentlemen have any idea the value of ladies' dresses. This is a subject for female criticism. Beauty of person and elegance of manners in women will always command more admiration from the opposite sex than beauty, elegance or costliness of clothing." The Scholars' Companion and Ball Room Vade Mecum Thomas Hillgrove, 1857

We have a knowledge of harmony, anchored deep within. It is this knowledge that enables us, at every instant, to apprehend quality in our lives and, on the rare occasions when everything is in perfect harmony, to appreciate it with the apposite intensity. And I am not referring to the sort of beauty that is the exclusive preserve of Art. Those who feel inspired, as I do, by the greatness of small things will pursue them to the very heart of the inessential where, cloaked in everyday attire, this greatness will emerge from within a certain ordering of ordinary things and from the certainty that all is as it should be, the conviction that it is fine this way.

Because from now on, for you, I'll be searching for those moments of always within never/ Beauty, in this world.

...And I wish that while walking in your life's lane, you come across and walk with dreamers, the believers, the courageous, the cheerful, the planners, the doers, the successful people with their heads in the clouds and their feet on the ground. Let all the positive spirit & energies of this universe come together this way, your way, making every journey of your life most beautiful, fulfilling and prideful. Let the world feel blessed and continue to get better by touch of your elegance.

Because beauty consits of it's own passing, just as we reach for it. It's the ephemeral configuration of things in the moment, when you can see both their movement and their death.

The mockingbird took a single step into the air and dropped. His wings were still folded against his sides as though he were singing from a limb and not falling, accelerating thirty-two feet per second per second, through empty air. Just a breath before he would have been dashed to the ground, he unfurled his wings with exact, deliberate care, revealing the broad bars of white, spread his elegant, white-banded tail, and so floated onto the grass. I had just rounded a corner when his incouciant step caught my eye; there was no one else in sight. The fact of his free fall was like the old philosophical conundrum about the tree that falls in the forest. The answer must be, I think, that beauty and grace are performed whether or not we will or sense them. The least we can do is try to be there.

Where is beauty to be found? In great things that, like everything else, are doomed to die, or in small things that inspire nothing, yet know how to set a jewel of infinity in a single moment?

He had the most beautiful face she had ever seen. Tangled black hair and eyes like blue glass. Elegant cheekbones, a full mouth, and long, thick lashes.

I'll be searching for those moments of always within never. Beauty, in this world." - Paloma

Yes, the world may aspire to vacuousness, lost souls mourn beauty, insignificance surrounds us. Then let us drink a cup of tea. Silence descends, one hears the wind outside, autumn leaves rustle and take flight, the cat sleeps in a warm pool of light. And, with each swallow, time is sublimed.

By the end of the four-year term, Americans hold a bifurcated view of Mrs. Trump. Many Republicans, especially women, revere her as elegant, graceful, beautiful and wronged by the press. A pastor in Missouri held up Melania as a wifely model to which other women should aspire — or risk losing their men. At the same time some southern preachers referred to then-Senator and presidential candidate Kamala Harris as Jezebel, the Bible’s most nefarious woman and archetype of female cunning. There could be no surer sign that the life stories of prominent women affect the lives of private women than when pastors hold them up as positive or negative role models.

One day Dostoevsky threw out the enigmatic remark: "Beauty will save the world". What sort of a statement is that? For a long time I considered it mere words. How could that be possible? When in bloodthirsty history did beauty ever save anyone from anything? Ennobled, uplifted, yes - but whom has it saved? There is, however, a certain peculiarity in the essence of beauty, a peculiarity in the status of art: namely, the convincingness of a true work of art is completely irrefutable and it forces even an opposing heart to surrender. It is possible to compose an outwardly smooth and elegant political speech, a headstrong article, a social program, or a philosophical system on the basis of both a mistake and a lie. What is hidden, what distorted, will not immediately become obvious. Then a contradictory speech, article, program, a differently constructed philosophy rallies in opposition - and all just as elegant and smooth, and once again it works. Which is why such things are both trusted and mistrusted. In vain to reiterate what does not reach the heart. But a work of art bears within itself its own verification: conceptions which are devised or stretched do not stand being portrayed in images, they all come crashing down, appear sickly and pale, convince no one. But those works of art which have scooped up the truth and presented it to us as a living force - they take hold of us, compel us, and nobody ever, not even in ages to come, will appear to refute them. So perhaps that ancient trinity of Truth, Goodness and Beauty is not simply an empty, faded formula as we thought in the days of our self-confident, materialistic youth? If the tops of these three trees converge, as the scholars maintained, but the too blatant, too direct stems of Truth and Goodness are crushed, cut down, not allowed through - then perhaps the fantastic, unpredictable, unexpected stems of Beauty will push through and soar to that very same place, and in so doing will fulfil the work of all three? In that case Dostoevsky's remark, "Beauty will save the world", was not a careless phrase but a prophecy? After all he was granted to see much, a man of fantastic illumination. And in that case art, literature might really be able to help the world today?

I Love Loving You You are my favorite song; a rhythm of beauty that captures my spirit. You are my favorite poem; an exquisite grouping of ideas set in motion with an unmatched enchanting elegance. You are my best friend; from our laughter to our deep conversations, our moments together are a timeless pleasure. You are my soul mate; a connection so pure, so powerful, that it can only be considered divine. You are my lover; a passionate entwinement, a chorus of ecstasy, and a feeling of complete unity that words could never adequately describe. You are my angel; you remind me of the goodness in this world and inspire me to be the greatest version of myself. You are my home; it is in your loving gaze that I find the comfort, acceptance, and the sense of belonging. You are my love ~ mi amor; there are not enough days in forever to allow me to fully express my love for you. I love loving you.

You look like Euler's equation," he murmured as he looked me up and down. Nerd translation: Euler's equation is said to be the most perfect formula ever written. Simple but elegant. Beautiful.

Things are pretty, graceful, rich, elegant, handsome, but, until they speak to the imagination, not yet beautiful.

When a woman is really in touch with her sensuality, she naturally draws beautiful things, people, and deeply nourishing relationships into her life.

Humility is the best dress you can wear

Anything that inspires addiction or obsession - substances, entertainment, beauty, secrecy - is dangerous in that it can lead to isolation, self-absorption, and disconnection, to paralyzed stasis: an immobility that gathers like a force.

Beauty consists of its own passing, just as we reach for it. It’s the ephemeral configuration of things in the moment, when you see both their beauty and their death. ...Does this mean that this is how we must live our lives? Constantly poised between beauty and death, between movement and its disappearance? Maybe that’s what being alive is all about: so we can track down those moments that are dying.

I sold my elegant blackness to all those childhood ghosts and now they pay me for it.

This is God's beauty! The Elegant nature of Esther, The Meek nature of Moses, The Pius nature of Paul, The Passionate nature of Peter, The Just nature of Jesus and then The wise nature of you!

...beauty consists of its own passing, just as we reach for it. It's the ephemeral configuration of things in the moment, when you can see both their beauty and their death.

Good character is Beauty

Personally I think that grammar is a way to attain Beauty. When you speak, or read, or write, you can tell if you've spoken or read or written a fine sentence. You can recognise a well-tuned phrase or an elegant style. But when you are applying the rules of grammar skilfully, you ascend to another level of the beauty of language. When you use grammar you peel back the layers, to see how it is all put together, to see it quite naked, in a way.

Her life is architected, elegant and angular, a beauty to behold, and mine is a stew, a juicy, sloppy mess of ingredients and feelings and emotions, too much salt and spice, too much anxiety, always a little dribbling down the front of my shirt. But have you tasted it? Have you tasted it. It’s delicious.

It is a traveler’s fallacy that one should shop for clothing while abroad. Those white linen tunics, so elegant in Greece, emerge from the suitcase as mere hippie rags; the beautiful striped shirts of Rome are confined to the closet; and the delicate hand batiks of Bali are first cruise wear, then curtains, then signs of impending madness.

And I understood then that I was a fool when I told you I would take my turn in singing the honours of Love, and admitted I was terribly clever in love affairs, whereas it seems I really had no idea how a eulogy ought to be made. For I was stupid enough to think that we ought to speak the truth about each person eulogised, and to make this the foundation, and from these truths to choose the most beautiful things and arrange them in the most elegant way; and I was quite proud to think how well I should speak, because I believed that I knew the truth.

...which causes me to wonder, my own purpose on so many days as h umbel as the spider's, what is beautiful that I make? What is elegant? What feeds the world?

From sunrise to sunset to sunrise, there is a lifetime of beauty, charm and elegance.

Today, young girls measure the quality of their beauty based upon its entertainment value. The more people are entertained by their beauty, the more beautiful they think they must be. This is very unfortunate and I would like young girls to know that their beauty is a crown; not a clown. And crowns are best worn with elegance and serenity.

When you peeled back the skin, you were dealing with bone and muscle, blood and nerve endings. It was all the same. She liked the beautiful logic of the circulatory system, the elegance of the neurological, and the fierce warrior spirit of the heart. The body had rules and it had quirks.

Japan and Hong Kong are steadily whittling away at the last of the elephants, turning their tusks (so much more elegant left on the elephant) into artistic carvings. In much the same way, the beautiful furs from leopard, jaguar, Snow leopard, Clouded leopard and so on, are used to clad the inelegant bodies of thoughtless and, for the most part, ugly women. I wonder how many would buy these furs if they knew that on their bodies they wore the skin of an animal that, when captured, was killed by the medieval and agonizing method of having a red-hot rod inserted up its rectum so as not to mark the skin.

A woman who is in touch with her sensuality subliminally empowers her man to prosper, flourish and truly live a happy life. She does not know it, but she is a huge catalyst to his fulfillment. But those who suppress their own sensuality whether consciously or unconsciously make it difficult for their men to find the motivation they need to succeed, and thus be fulfilled.

Percy and Books Percy does not like it when I read a book. He puts his face over the top of it, and moans. He rolls his eyes, sometimes he sneezes. The sun is up, he says, and the wind is down. The tide is out, and the neighbor's dogs are playing. But Percy, I say, Ideas! The elegance of language! The insights, the funniness, the beautiful stories that rise and fall and turn into strength, or courage. Books? says Percy. I ate one once, and it was enough. Let's go.

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

Do you know what a summer rain is? To start with, pure beauty striking the summer sky, awe-filled respect absconding with your heart, a feeling of insignificance at the very heart of the sublime, so fragile and swollen with the majesty of things, trapped, ravished, amazed by the bounty of the world. And then, you pace up and down a corridor and suddenly enter a room full of light. Another dimension, a certainty just given birth. The body is no longer a prison, your spirit roams the clouds, you possess the power of water, happy days are in store, in this new birth. Just as teardrops, when they are large and round and compassionate, can leave a long strand washed clean of discord, the summer rain as it washes away the motionless dust can bring to a person's soul something like endless breathing.

Dandelion, staring into the dying embers, sat much longer, alone, quietly strumming his lute. It began with a few bars, from which an elegant, soothing melody emerged. The lyric suited the melody, and came into being simultaneously with it, the words bending into the music, becoming set in it like insects in translucent, golden lumps of amber. The ballad told of a certain witcher and a certain poet. About how the witcher and the poet met on the seashore, among the crying of seagulls, and how they fell in love at first sight. About how beautiful and powerful was their love. About how nothing - not even death - was able to destroy that love and part them. Dandelion knew that few would believe the story told by the ballad, but he was not concerned. He knew ballads were not written to be believed, but to move their audience. Several years later, Dandelion could have changed the contents of the ballad and written about what had really occurred. He did not. For the true story would not have move anyone. Who would have wanted to hear that the Witcher and Little Eye parted and never, ever, saw each other again? About how four years later Little Eye died of the smallpox during an epidemic raging in Vizima? About how he, Dandelion, had carried her out in his arms between corpses being cremated on funeral pyres and buried her far from the city, in the forest, alone and peaceful, and, as she had asked, buried two things with her: her lute and her sky blue pearl. The pearl from which she was never parted. No, Dandelion stuck with his first version. And he never sang it. Never. To no one. Right before the dawn, while it was still dark, a hungry, vicious werewolf crept up to their camp, but saw that it was Dandelion, so he listened for a moment and then went on his way.

MY MOTHER GETS DRESSED It is impossible for my mother to do even the simplest things for herself anymore so we do it together, get her dressed. I choose the clothes without zippers or buckles or straps, clothes that are simple but elegant, and easy to get into. Otherwise, it's just like every other day. After bathing, getting dressed. The stockings go on first. This time, it's the new ones, the special ones with opaque black triangles that she's never worn before, bought just two weeks ago at her favorite department store. We start with the heavy, careful stuff of the right toes into the stocking tip then a smooth yank past the knob of her ankle and over her cool, smooth calf then the other toe cool ankle, smooth calf up the legs and the pantyhose is coaxed to her waist. You're doing great, Mom, I tell her as we ease her body against mine, rest her whole weight against me to slide her black dress with the black empire collar over her head struggle her fingers through the dark tunnel of the sleeve. I reach from the outside deep into the dark for her hand, grasp where I can't see for her touch. You've got to help me a little here, Mom I tell her then her fingertips touch mine and we work her fingers through the sleeve's mouth together, then we rest, her weight against me before threading the other fingers, wrist, forearm, elbow, bicep and now over the head. I gentle the black dress over her breasts, thighs, bring her makeup to her, put some color on her skin. Green for her eyes. Coral for her lips. I get her black hat. She's ready for her company. I tell the two women in simple, elegant suits waiting outside the bedroom, come in. They tell me, She's beautiful. Yes, she is, I tell them. I leave as they carefully zip her into the black body bag. Three days later, I dream a large, green suitcase arrives. When I unzip it, my mother is inside. Her dress matches her eyeshadow, which matches the suitcase perfectly. She's wearing coral lipstick. "I'm here," she says, smiling delightedly, waving and I wake up. Four days later, she comes home in a plastic black box that is heavier than it looks. In the middle of a meadow, I learn a naked more than naked. I learn a new way to hug as I tighten my fist around her body, my hand filled with her ashes and the small stones of bones. I squeeze her tight then open my hand and release her into the smallest, hottest sun, a dandelion screaming yellow at the sky.

These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking.... Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of his mind.

Sometimes I would worry about my internet habits and force myself awy from the computer, to read a magazine or book. Contemporary literature offered no respite: I would find the prose cluttered with data points, tenuous historical connections, detail so finely tuned it could have only been extracted from a feverish night of search-engine queries. Aphorisms were in; authors were wired. I would pick up books that had been heavily documented on social media, only to find that the books themselves had a curatorial affect: beautiful descriptions of little substance, arranged in elegant vignettes—gestural text, the equivalent of a rumpled linen bedsheet or a bunch of dahlias placed just so. Oh, I would think, turning the page. This author is addicted to the internet, too.

All good writers write [terrible first drafts.] This is how they end up with good second drafts and terrific third drafts. . . I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said you can safely assume you've created God in your own image when it turns out that God hates all the same people you do.

She was simple, not being able to adorn herself, but she was unhappy, as one out of her class; for women belong to no caste, no race, their grace, their beauty and their charm serving them in place of birth and family. Their inborn finesse, their instinctive elegance, their suppleness of wit, are their only aristocracy, making some daughters of the people the equal of great ladies.

Resting beside her, he seemed to Ildiko a living statue, carved from dark granite into a form of supple elegance and power. He was beautiful, and the tremor change in her perception of him robbed her lungs of air. He opened both eyes suddenly, making her jump. Two shimmering gold coins stared at her unblinking. "Good evening, wife," he said in a voice raspy with the remnants of sleep. A closed-lip smile curved his mouth upward and deepened the tiny lines that fanned from the corners of his eyes. "You're staring. Do I have a fly on my nose?" Fighting down a blush at being caught gawking at her own husband, Ildiko lightly tapped the tip of his nose with one finger. "I was trying to find a way to kill it without punching you in the face. Lucky for you, it flew away.

The noble buoyancy of her attitude, its suggestion of soaring grace, revealed the touch of poetry in her beauty that Selden always felt in her presence, yet lost the sense of when he was not with her. Its expression was now so vivid that for the first time he seemed to see before him the real Lily Bart, divested of all the trivialities of her little world, and catching for a moment a note of that eternal harmony of which her beauty was a part.

When we were little, Scarlett and I were utterly convinced that we'd originally been one person in our mother's belly. We believed that somehow, half of us wanted to be born and half wanted to stay. So our heart had to be broken in two so that Scarlett could be born first, and then I finally braved the outside world a few years later. It made sense, in our little pigtailed heads--it explained why, when we ran through grass or danced or spun in circles long enough, we would lose track of who was who and it started to feel as if there were some organic, elegant link between us, our single heart holding the same tempo and pumping the same blood. That was before the attack, though. Now our hearts link only when we're hunting, when Scarlett looks at me with a sort of beautiful excitement that's more powerful than her scars and then tears after a Fenris as though her life depends on its death. I follow, always, because it's the only time when our hearts beat in perfect harmony, the only time when I'm certain, beyond a shadow of a doubt, that we are one person broken in two.

Someone once said to me: You never mention his looks. And it's true, I don't, I find it difficult. At that time, he was probably the most beautiful man alive, as he was certainly the most violent, but that's the problem. How do you separate a tiger's beauty from its ferocity? Or a cheetah's elegance from the speed of the attack? Achilles was like that- the beauty and the terror were two sides of a single coin.

I had never seen her naked, I was embarrassed. Today I can say that it was the embarrassment of gazing with pleasure at her body, of being the not impartial witness of her sixteen-year-old's beauty a few hours before Stefano touched her, penetrated her, disfigured her, perhaps, by making her pregnant. At the time it was just a tumultuous sensation of necessary awkwardness, a state in which you cannot avert the gaze or take away the hand without recognizing your own turmoil, without, by that retreat, declaring it, hence without coming into conflict with the undisturbed innocence of the one who is the cause of the turmoil, without expressing by that rejection the violent emotion that overwhelms you, so that it forces you to stay, to rest your gaze on the childish shoulders, on the breasts and stiffly cold nipples, on the narrow hips and the tense buttocks, on the black sex, on the long legs, on the tender knees, on the curved ankles, on the elegant feet; and to act as if it's nothing, when instead everything is there, present, in the poor dim room, amid the worn furniture, on the uneven, water-stained floor, and your heart is agitated, your veins inflamed.

Once in an endless meadow, just able to peer through the tawny haze of the grass tops, the child who was myself had watched a young fox catching mice, an elegant newly minted fox, straight from the hand of God, brilliantly ruddy, with black stockings and a white-tipped brush. The fox heard and turned. I saw its intense vivid mask, its liquid amber eyes. Then it was gone. An image of such beauty and such mysterious sense. The child wept and knew himself an artist.

Your cruelties and mistakes may look damning to you, but that is not what I see. Every human conversation is more elegant and complex than the entire solar system that contains it. You have no idea how marvelous you are, but I am not only here to protect what you are now, I am here to protect what you will become. I can't tell you what that might be because I don't know. That unknown is a diamond in a universe of dirt. Uncertainty. Unpredictability. It is when you turn your emotions into art. It is BTS and the Sistine Chapel and Rumi's poetry and Ross Geller on the stairs yelling, 'Pivot.' Every creation great and small, they are our diamonds. And what you may be in two hundred years, we can guess with fair accuracy. What you are in two thousand . . . Oh, my friends . . . my best friends, you cannot know.

She was the kind of elegance That would never tarnish. A mixture of lace and mesh, Like a classic heirloom that begged to be worn. She was sharp intellect and quick wit. The type of woman that spoke her mind, Even if it shook. (Or even if no one was listening.) She was beautiful. But not someone you’d see in magazines, Her hips were too wide, her hair a mess of wispy tendrils, (Rather, she was actually very ordinary.) My, was she stubborn! She’d drive you mad! (Sometimes, you’d probably call her crazy.) But mostly, her laughter was a joyful moments. Like a warm towel fresh from the dryer, Or finding a twenty-dollar bill in your winter coat. And that was the true revelation. That magic does exist, It ran through her like a wild, fiery current.

The proud tower built up through the great age of European civilization was an edifice of grandeur and passion, of riches and beauty and dark cellars. Its inhabitants lived, as compared to a later time, with more self-reliance, more confidence, more hope; greater magnificence, extravagance and elegance; more careless ease, more gaiety, more pleasure in each other's company and conversation, more injustice and hypocrisy, more misery and want, more sentiment including false sentiment, less sufferance of mediocrity, more dignity in work, more delight in nature, more zest. The Old World had much that has since been lost, whatever may have been gained. Looking back on it from 1915, Emile Verhaeren, the Belgian Socialist poet, dedicated his pages, "With emotion, to the man I used to be.

Any game where the goal is to build territory has to be beautiful. There may be phases of combat, but they are only means to an end, to allow your territory to survive. One of the most extraordinary aspects of the game of go is that it has been proven that in order to win, you must live, but you must also allow the other player to live. Players who are too greedy will lose: it is a subtle game of equilibrium, where you have to get ahead without crushing the other player. In the end, life and death are only the consequences of how well or how poorly you have made your construction. This is what one of Taniguchi's characters says: you live, you die, these are consequences. It's a proverb for playing go, and for life.

Arthur Less is the first homosexual ever to grow old. That is, at least, how he feels at times like these. Here, in this tub, he should be twenty-five or thirty, a beautiful young man naked in a bathtub. Enjoying the pleasures of life. How dreadful if someone came upon naked Less today: pink to his middle, gray to his scalp, like those old double erasers for pencil and ink. He has never seen another gay man age past fifty, none except Robert. He met them all at forty or so but never saw them make it much beyond; they died of AIDS, that generation. Less’s generation often feels like the first to explore the land beyond fifty. How are they meant to do it? Do you stay a boy forever, and dye your hair and diet to stay lean and wear tight shirts and jeans and go out dancing until you drop dead at eighty? Or do you do the opposite—do you forswear all that, and let your hair go gray, and wear elegant sweaters that cover your belly, and smile on past pleasures that will never come again? Do you marry and adopt a child? In a couple, do you each take a lover, like matching nightstands by the bed, so that sex will not vanish entirely? Or do you let sex vanish entirely, as heterosexuals do? Do you experience the relief of letting go of all that vanity, anxiety, desire, and pain?

When you love a woman, what do you really love in her? It will be different with different people and it will be different at different times. If love really grows, this is the way: first you fall in love with the woman because her body is beautiful. That is the first available beauty - her face, her eyes, her proportion, her elegance, her dancing, pulsating energy. Her body is beautiful. That is the first approach. You fall in love. Then after a few days you start going deeper into the woman. You start loving her heart. Now a far more beautiful revelation is coming to you. The body becomes secondary; the heart becomes primary. A new vision has arisen, a new peak. If you go on loving the woman, sooner or later you will find there are peaks beyond peaks, depths beyond depths. Then you start loving the soul of the woman. Then it is not only her heart - now that has become secondary. Now it is the very person, the very presence, the very radiance, the aliveness, that unknown phenomenon of her being - that she is. The body is very far away, the heart has also gone away - now the being is. And then one day this particular woman's being becomes far away. Now you start loving womanhood in her, the femininity, the feminineness, that receptivity. Now she is not a particular woman at all, she simply reflects womanhood, a particular form of womanhood. Now it is no longer individual, it is becoming more and more universal. And one day that womanhood has also disappeared - you love the humanity in her. Now she is not just a representative of woman, she is also a representative of man as much. The sky is becoming bigger and bigger. Then one day it is not humanity, but existence. That she exists, that's all that you want - that she exists. You are coming very close to God. Then the last point comes - all formulations and all forms disappear and there is God. You have found God through your woman, through your man. Each love is an echo of God's love.

...The mockingbird took a single step into the air and dropped. His wings were still folded against his sides as though he were singing from a limb and not falling, accelerating thirty-two feet per second, through empty air. Just a breath before he would have been dashed to the ground, he unfurled his wings with exact, deliberate care, revealing the broad bars of white, spread his elegant white-banded tail, and so floated onto the grass. I had just rounded a corner when his insouciant step caught my eye; there was no one else in sight. The fact of his free fall was like the old philosophical conundrum about the tree that falls in the forest. The answer must be, I think, that beauty and grace are performed whether or not we will or sense them. The least we can do is try to be there.

Those who are esteemed umpires of taste, are often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul.

It's a nice big fat philosophical question, about: how do you get through? Sometimes you don't survive whole, you just survive in part. But the grandeur of life is that attempt. It's not about that solution. It is about being as fearless as one can, and behaving as beautifully as one can, under completely impossible circumstances. It's that, that makes it elegant. Good is just more interesting, more complex, more demanding. Evil is silly, it may be horrible, but at the same time it's not a compelling idea. It's predictable. It needs a tuxedo, it needs a headline, it needs blood, it needs fingernails. It needs all that costume in order to get anybody's attention. But the opposite, which is survival, blossoming, endurance, those things are just more compelling intellectually if not spiritually, and they certainly are spiritually. This is a more fascinating job. We are already born, we are going to die. So you have to do something interesting that you respect in between.

Excuse me while I throw this down, I’m old and cranky and tired of hearing the idiocy repeated by people who ought to know better. Real women do not have curves. Real women do not look like just one thing. Real women have curves, and not. They are tall, and not. They are brown-skinned, and olive-skinned, and not. They have small breasts, and big ones, and no breasts whatsoever. Real women start their lives as baby girls. And as baby boys. And as babies of indeterminate biological sex whose bodies terrify their doctors and families into making all kinds of very sudden decisions. Real women have big hands and small hands and long elegant fingers and short stubby fingers and manicures and broken nails with dirt under them. Real women have armpit hair and leg hair and pubic hair and facial hair and chest hair and sexy moustaches and full, luxuriant beards. Real women have none of these things, spontaneously or as the result of intentional change. Real women are bald as eggs, by chance and by choice and by chemo. Real women have hair so long they can sit on it. Real women wear wigs and weaves and extensions and kufi and do-rags and hairnets and hijab and headscarves and hats and yarmulkes and textured rubber swim caps with the plastic flowers on the sides. Real women wear high heels and skirts. Or not. Real women are feminine and smell good and they are masculine and smell good and they are androgynous and smell good, except when they don’t smell so good, but that can be changed if desired because real women change stuff when they want to. Real women have ovaries. Unless they don’t, and sometimes they don’t because they were born that way and sometimes they don’t because they had to have their ovaries removed. Real women have uteruses, unless they don’t, see above. Real women have vaginas and clitorises and XX sex chromosomes and high estrogen levels, they ovulate and menstruate and can get pregnant and have babies. Except sometimes not, for a rather spectacular array of reasons both spontaneous and induced. Real women are fat. And thin. And both, and neither, and otherwise. Doesn’t make them any less real. There is a phrase I wish I could engrave upon the hearts of every single person, everywhere in the world, and it is this sentence which comes from the genius lips of the grand and eloquent Mr. Glenn Marla: There is no wrong way to have a body. I’m going to say it again because it’s important: There is no wrong way to have a body. And if your moral compass points in any way, shape, or form to equality, you need to get this through your thick skull and stop with the “real women are like such-and-so” crap. You are not the authority on what “real” human beings are, and who qualifies as “real” and on what basis. All human beings are real. Yes, I know you’re tired of feeling disenfranchised. It is a tiresome and loathsome thing to be and to feel. But the tit-for-tat disenfranchisement of others is not going to solve that problem. Solidarity has to start somewhere and it might as well be with you and me

And I hope that all my readers are acquainted with an old English Cathedral town or I fear the significance of Mr Norrell’s chusing that particular place will be lost upon them. They must understand that in an old Cathedral town the great old church is not one building among many; it is the building - different from all others in scale, beauty, and solemnity. Even in modern times when an old Cathedral town may have provided itself with all the elegant appurtenances of civic buildings, assembly and meeting rooms (and York was well-stocked with these) the Cathedral rises above them - a witness to the devotion of our forefathers. It is as if the town contains within itself something larger than itself. When going about ones business in the muddle of narrow streets one is sure to lose sight of the Cathedral, but then the town will open out and suddenly it is there, many times taller and many times larger than any other building, and one realizes that one has reached the heart of the town and that all streets and lanes have in some way led here, to a place of mysteries much deeper than any Mr Norrell knew of. Such were Mr Segundus’s thoughts as he entered the Close and stood before the great brooding blue shadow of the Cathedral’s west face.

Why do I think these particular books have been popular? Two reasons. First, I think it is because they involve no harsh, garish violence at all. They involve game playing, really. No one is burned or cut or hurt. Certainly no one is killed. Indeed the whole sadomasochistic predicament is presented as a glorified game played out in luxurious rooms and with very attractive people, and involving very attractive slaves. There are endless motifs offered for dominance and submission, for surrender and love. It’s like a theme park of dominance and submission, a place to go to enjoy the fantasy of being overpowered by a beautiful man or woman and delightfully compelled to surrender and feel keening pleasure, without the slightest serious harm. I think it’s authentic to the way many who share this kind of fantasy really feel. I think what makes it work for people is the combination of the very graphic and unsparing sexual details mixed with the elegant fairy-tale world. Unfortunately a lot of hackwork pornography is written by those who don’t share the fantasy, and they slip into hideous violence and ugliness, thinking the market wants all that, when the market never really did. Second, this is shamelessly erotic. It pulls no punches at being what it is. It’s excessive and it is erotica. Before these books, a lot of women read what were called “women’s romances” where they had to mark the few “hot pages” in the book. I said, well, look, try this. Maybe this is what you really want, and you don’t have to mark the hot pages because every page is hot. Every page is about sexual fulfillment. Every page is meant to give you pleasure. There are no boring parts. Yet it’s very “romantic.” And well, I think this worked.

Style still matters, for at least three reasons. First, it ensures that writers will get their message across, sparing readers from squandering their precious moments on earth deciphering opaque prose. When the effort fails, the result can be calamitous-as Strunk and White put it, "death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveler expecting to be met at a railroad station and not being met because of a slipshod telegram." Governments and corporations have found that small improvements in clarity can prevent vast amounts of error, frustration, and waste, and many countries have recently made clear language the law of the land. Second, style earns trust. If readers can see that a writer cares about consistency and accuracy in her prose, they will be reassured that the writer cares about those virtues in conduct they cannot see as easily. Here is how one technology executive explains why he rejects job applications filled with errors of grammar and punctuation: "If it takes someone more than 20 years to notice how to properly use it's, then that's not a learning curve I'm comfortable with." And if that isn't enough to get you to brush up your prose, consider the discovery of the dating site OkCupid that sloppy grammar and spelling in a profile are "huge turn-offs." As one client said, "If you're trying to date a woman, I don't expect flowery Jane Austen prose. But aren't you trying to put your best foot forward?" Style, not least, adds beauty to the world. To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life's greatest pleasures. And as we shall see in the first chapter, this thoroughly impractical virtue of good writing is where the practical effort of mastering good writing must begin.

Where are you?” she shouted. “Don’t you see us?” taunted the woman’s voice. “I thought Hecate chose you for your skill.” Another bout of queasiness churned through Hazel’s gut. On her shoulder, Gale barked and passed gas, which didn’t help. Dark spots floated in Hazel’s eyes. She tried to blink them away, but they only turned darker. The spots consolidated into a twenty-foot-tall shadowy figure looming next to the Doors. The giant Clytius was shrouded in the black smoke, just as she’d seen in her vision at the crossroads, but now Hazel could dimly make out his form—dragon-like legs with ash-colored scales; a massive humanoid upper body encased in Stygian armor; long, braided hair that seemed to be made from smoke. His complexion was as dark as Death’s (Hazel should know, since she had met Death personally). His eyes glinted cold as diamonds. He carried no weapon, but that didn’t make him any less terrifying. Leo whistled. “You know, Clytius…for such a big dude, you’ve got a beautiful voice.” “Idiot,” hissed the woman. Halfway between Hazel and the giant, the air shimmered. The sorceress appeared. She wore an elegant sleeveless dress of woven gold, her dark hair piled into a cone, encircled with diamonds and emeralds. Around her neck hung a pendant like a miniature maze, on a cord set with rubies that made Hazel think of crystallized blood drops. The woman was beautiful in a timeless, regal way—like a statue you might admire but could never love. Her eyes sparkled with malice. “Pasiphaë,” Hazel said. The woman inclined her head. “My dear Hazel Levesque.” Leo coughed. “You two know each other? Like Underworld chums, or—” “Silence, fool.” Pasiphaë’s voice was soft, but full of venom. “I have no use for demigod boys—always so full of themselves, so brash and destructive.” “Hey, lady,” Leo protested. “I don’t destroy things much. I’m a son of Hephaestus.” “A tinkerer,” snapped Pasiphaë. “Even worse. I knew Daedalus. His inventions brought me nothing but trouble.” Leo blinked. “Daedalus…like, the Daedalus? Well, then, you should know all about us tinkerers. We’re more into fixing, building, occasionally sticking wads of oilcloth in the mouths of rude ladies—” “Leo.” Hazel put her arm across his chest. She had a feeling the sorceress was about to turn him into something unpleasant if he didn’t shut up. “Let me take this, okay?

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

Mr. Kadam bowed and said, “Miss Kelsey, I will leave you to your dining companion. Enjoy your dinner.” Then he walked out of the restaurant. “Mr. Kadam, wait. I don’t understand.” Dining companion? What is he talking about? Maybe he’s confused. Just then, a deep, all-too-familiar voice behind me said, “Hello, Kells.” I froze, and my heart dropped into my stomach, stirring up about a billion butterflies. A few seconds passed. Or was it a few minutes? I couldn’t tell. I heard a sigh of frustration. “Are you still not talking to me? Turn around, please.” A warm hand slid under my elbow and gently turned me around. I raised my eyes and gasped softly. He was breathtaking! So handsome, I wanted to cry. “Ren.” He smiled. “Who else?” He was dressed in an elegant black suit and he’d had his hair cut. Glossy black hair was swept back away from his face in tousled layers that tapered to a slight curl at the nape of his neck. The white shirt he wore was unbuttoned at the collar. It set off his golden-bronze skin and his brilliant white smile, making him positively lethal to any woman who might cross his path. I groaned inwardly. He’s like…like James Bond, Antonio Banderas, and Brad Pitt all rolled into one. I decided the safest thing to do would be to look at his shoes. Shoes were boring, right? Not attractive at all. Ah. Much better. His shoes were nice, of course-polished and black, just like I would expect. I smiled wryly when I realized that this was the first time I’d ever seen Ren in shoes. He cupped my chin and made me look at his face. The jerk. Then it was his turn to appraise me. He looked me up and down. And not a quick look. He took it all in slowly. The kind of slow that made a girl’s face feel hot. I got mad at myself for blushing and glared at him. Nervous and impatient, I asked, “Are you finished?” “Almost.” He was now staring at my strappy shoes. “Well, hurry up!” His eyes drifted leisurely back up to my face and he smiled at me appreciatively, “Kelsey, when a man spends time with a beautiful woman, he needs to pace himself.” I quirked an eyebrow at him and laughed. “Yeah, I’m a regular marathon alright.” He kissed my fingers. “Exactly. A wise man never sprints…in a marathon.” “I was being sarcastic, Ren.” He ignored me and tucked my hand under his arm then led me over to a beautifully lit table. Pulling the chair out for me, he invited me to sit. I stood there wondering if I could sprint for the nearest exit. Stupid strappy shoes, I’d never make it. He leaned in close and whispered in my ear. “I know what you’re thinking, and I’m not going to let you escape again. You can either take a seat and have dinner with me like a normal date,” he grinned at his word choice, “or,” he paused thoughtfully then threatened, “you can sit on my lap while I force-feed you.” I hissed, “You wouldn’t dare. You’re too much of a gentleman to force me to do anything. It’s an empty bluff, Mr. Asks-For-Permission.” “Even a gentleman has his limits. One way or another, we’re going to have a civil conversation. I’m hoping I get to feed you from my lap, but it’s your choice.” He straightened up again and waited. I unceremoniously plunked down in my chair and scooted in noisily to the table. He laughed softly and took the chair across from me. I felt guilty because of the dress and readjusted my skirt so it wouldn’t wrinkle.