Emily Browning Quotes

How happy is the little stone That rambles in the road alone, And doesn't care about careers, And exigencies never fears; Whose coat of elemental brown A passing universe put on; And independent as the sun, Associates or glows alone, Fulfilling absolute decree In casual simplicity.

The house is silent now and she feels like a stranger here. “This life was never ours,” she whispers to the dog, who has been following her from room to room, and Luli wags her tail and stares at Miranda with wet brown eyes. “We were only ever borrowing it.

His golden-brown eyes slowly rise. "If it isn't the woman who 'isn't stalking me'." I grind out, "If it isn't the man who 'didn't try to ravish me in the middle of a hurricane'.

But I regret, with every fiber of my being, that for even one moment you suffered under my hands.” Her eyes widen, the beautiful shades of brown glossing over. “You are, without a doubt, the only good I’ve ever known.” I rest my forehead on hers, my shaky breaths ghosting across her lips, my thumb rubbing against her cheek. “So… don’t lie to me, Wendy, darling. Because my heart won’t survive it if you do.

He also knew that whenever he recalled her kissing his cheek with such unqualified trust and acceptance, it was going to ache just a little in the vicinity of his heart. It ached now.

More than anything, I began to hate women writers. Frances Burney, Jane Austen, Elizabeth Browning, Mary Shelley, George Eliot, Virginia Woolf. Bronte, Bronte, and Bronte. I began to resent Emily, Anne, and Charlotte—my old friends—with a terrifying passion. They were not only talented; they were brave, a trait I admired more than anything but couldn't seem to possess. The world that raised these women hadn't allowed them to write, yet they had spun fiery novels in spite of all the odds. Meanwhile, I was failing with all the odds tipped in my favor. Here I was, living out Virginia Woolf's wildest feminist fantasy. I was in a room of my own. The world was no longer saying, "Write? What's the good of your writing?" but was instead saying "Write if you choose; it makes no difference to me.

Right then, hearing the tears that had to be falling from her beautiful brown eyes, I wanted nothing more than to take each piece and put it back together again until she was whole. I had to do it. I had to for her and for me. Maybe if Emily can be restored and healed, then maybe, just maybe, so could I.

I wish it were different. I wish that we privileged knowledge in politicians, that the ones who know things didn't have to hide it behind brown pants, and that the know-not-enoughs were laughed all the way to the Maine border on their first New Hampshire meet and greet. I wish that in order to secure his party's nomination, a presidential candidate would be required to point at the sky and name all the stars; have the periodic table of the elements memorized; rattle off the kings and queens of Spain; define the significance of the Gatling gun; joke around in Latin; interpret the symbolism in seventeenth-century Dutch painting; explain photosynthesis to a six-year-old; recite Emily Dickinson; bake a perfect popover; build a shortwave radio out of a coconut; and know all the words to Hoagy Carmichael's "Two Sleepy People," Johnny Cash's "Five Feet High and Rising," and "You Got the Silver" by the Rolling Stones. After all, the United States is the greatest country on earth dealing with the most complicated problems in the history of the world--poverty, pollution, justice, Jerusalem. What we need is a president who is at least twelve kinds of nerd, a nerd messiah to come along every four years, acquire the Secret Service code name Poindexter, install a Revenge of the Nerds screen saver on the Oval Office computer, and one by one decrypt our woes.

But far beyond my reach is the Enchanted Mountain, And you are on the other side, ten thousand peaks away.

This life was never ours,” she whispers to the dog, who has been following her from room to room, and Luli wags her tail and stares at Miranda with wet brown eyes. “We were only ever borrowing it.

Cold in the earth—and fifteen wild Decembers, From those brown hills, have melted into spring: Faithful, indeed, is the spirit that remembers After such years of change and suffering!

Tis not that Dying hurts us so— ‘Tis Living—hurts us more— — Emily Dickinson, from “’Tis not that Dying hurts us so—,” [335], The Complete Poems of Emily Dickinson (Little, Brown & Co.,1960)

These outward identities we build for ourselves are not all that we are. A person is made of so many layers. Skin is just the top layer. It's the part you can see, so when you walk into a room, others won't run into you. It's the brown-hair, brown-eyes layer; the you-look-good-in-green layer. Your outside is important because God made that part. He made you on purpose, uniquely beautiful. But you can't stop there, because that's your body, your skin, your outside. Dead people have all that stuff too.

Mam once told me the name Margaret means pearl. She said a pearl’s the only jewel that needs no cutting or polishing. Comes perfect from the hand of God Himself. And I ought to be treasuring myself like one.

Brian Wilson went to bed for three years. Jean-Michel Basquiat would spend all day in bed. Monica Ali, Charles Bukowski, Marcel Proust, Elizabeth Barrett Browning, Tracey Emin, Emily Dickinson, Edith Sitwell, Frida Kahlo, William Wordsworth, René Descartes, Mark Twain, Henri Matisse, Kathy Acker, Derek Jarman and Patti Smith all worked or work from bed and they’re productive people. (Am I protesting too much?) Humans take to their beds for all sorts of reasons: because they’re overwhelmed by life, need to rest, think, recover from illness and trauma, because they’re cold, lonely, scared, depressed – sometimes I lie in bed for weeks with a puddle of depression in my sternum – to work, even to protest (Emily Dickinson, John and Yoko). Polar bears spend six months of the year sleeping, dormice too. Half their lives are spent asleep, no one calls them lazy. There’s a region in the South of France, near the Alps, where whole villages used to sleep through the seven months of winter – I might be descended from them. And in 1900, it was recorded that peasants from Pskov in northwest Russia would fall into a deep winter sleep called lotska for half the year: ‘for six whole months out of the twelve to be in the state of Nirvana longed for by Eastern sages, free from the stress of life, from the need to labour, from the multitudinous burdens, anxieties, and vexations of existence’.‡ Even when I’m well I like to lie in bed and think. It’s as if

So we must meet apart— You there—I—here With just the Door ajar That Oceans are—and Prayer— And that White Sustenance— Despair— — Emily Dickinson, from “I Cannot Live with You,” The Complete Poems of Emily Dickinson (Little,Brown and Company, 1960)

Edwin’s gaze drifted away from the man’s face, to the mild decrepitude of the September garden. The salvias were bare now, for the most part, brown stalks and dried leaves, a few last blooms wisping blue and violet in the failing light. He was struck by an understanding of what his life could be from this moment: he could live here quietly, and care for the garden, and that might eventually be enough.

I think I was enchanted When first a sombre Girl — I read that Foreign Lady** — The Dark — felt beautiful — And whether it was noon at night — Or only Heaven — at Noon — For very Lunacy of Light I had not power to tell — The Bees — became as Butterflies — The Butterflies — as Swans — Approached — and spurned the narrow Grass — And just the meanest Tunes That Nature murmured to herself To keep herself in Cheer — I took for Giants — practising Titanic Opera — The Days — to Mighty Metres stept — The Homeliest — adorned As if unto a Jubilee 'Twere suddenly confirmed — I could not have defined the change — Conversion of the Mind Like Sanctifying in the Soul — Is witnessed — not explained — 'Twas a Divine Insanity — The Danger to be Sane Should I again experience — 'Tis Antidote to turn — To Tomes of solid Witchcraft — Magicians be asleep — But Magic — hath an Element Like Deity — to keep —

2. “Chandeliering.” This is Brené Brown’s term for the sudden, overwhelming burst of pain so intense you can no longer contain it, and you jump as high as the chandelier. It’s out of proportion to what’s happening in the here and now, but it’s not out of proportion to the suffering you’re holding inside. And it has to go somewhere. So it erupts. That

How am I supposed to believe you when you're obviously carrying a fake monogram Gucci Bag?

Cold in the earth—and fifteen wild Decembers, From those brown hills, have melted into spring.

There are no fortunes to be told, although, Because I love you more than I can say, If I could tell you I would let you know.

It only took a couple of minutes before my eyes closed but after I fell asleep I dreamed about dark brown eyes, tattoos and piercings.

I am black - and I am brown, too: Brown is the body I was born into. Black is the body of the stories I tell.

Then came a moment of renaissance, I looked up - you again are there, A fleeting vision, the quintessence Of all that`s beautiful and rare.

If you could walk with me upon the strand to-day, And tell me that my longing love had won your own, I think all my sad thoughts would then be put away, And I could give back laughter for the Ocean's moan!

Autumn The morns are meeker than they were, The nuts are getting brown; The berry's cheek is plumper, The rose is out of town. The maple wears a gayer scarf, The field a scarlet gown. Lest I should be old-fashioned, I'll put a trinket on.

It is hard to remember just when you first became aware of being alive. It is like looking through rain onto a bald, new lawn; as you watch, the brown is all pricked with pale green. You did not see the points pierce, did not hear the stab - there they are!

He’s only a few inches taller than me, but I’m above average height at five foot seven. His brown eyes match his hair, and a stubbly beard is present on his face. I’ve never been a facial hair girl—only certain people can pull it off, and he most certainly is.

To be a successful wife is a career in itself, requiring among other things, the qualities of a diplomat, a businesswoman, a good cook, a trained nurse, a schoolteacher, a politician and a glamour girl. —Emily Mudd, “Woman’s Finest Role,” Reader’s Digest, 1959

Who do you think you are, Julius Shakespeare?” The man sincerely thought that was Shakespeare’s first name, and if you think I should have corrected him, you are ignorant about the art of survival. He also referred to me as Miss Brown-Nose-in-a-Book and occasionally as Miss Emily-Big-Head-Diction. He meant Dickinson, but again, there are things you let go by.

Emily could hardly believe her luck. She had gotten the job! She gazed at the gray envelope containing the contract. She was so happy she almost jumped up and down like a little girl. She was a pert and pretty young woman with deep brown eyes and curly, dark hair. Even on a normal day, Emily’s smile and warmth could light up a small room; today she was positively radiant.

But I regret, with every fiber of my being, that for even one moment you suffered under my hands.” Her eyes widen, the beautiful shades of brown glossing over. “You are, without a doubt, the only good I’ve ever known.” I rest my forehead on hers, my shaky breaths ghosting across her lips, my thumb rubbing against her cheek. “So don’t lie to me, Wendy darling. Because my heart won’t survive it if you do.

Many friends have helped me in writing this book. Some are dead and so illustrious that I scarcely dare name them, yet no one can read or write without being perpetually in the debt of Defoe, Sir Thomas Browne, Sterne, Sir Walter Scott, Lord Macaulay, Emily Bronte, De Quincey, and Walter Pater — to name the first that come to mind. Others are alive, and though perhaps as illustrious in their own way, are less formidable for that very reason.

Of course one’s sense of identification with the nation is inflected by all kinds of particulars, including one’s class, race, gender, and sexual identification. … But [regarding] national character …, aside from references to a national aesthetic — literary, musical, and choreographic, there are two poles I reference: minimalist and maximalist. I love them both — the cryptic poems of Emily Dickinson folded up in tiny packets and hidden away in a box, the sparse, understated choreographies of Merce; but also the “trashy, profane and obscene” poems of Whitman and Ginsberg, [and] Martha Graham’s expressionism. I am, myself, a minimalist. But I love distortion guitar and the wild exhibitionism of so many American artists. Also, these divisions are false. Emily Dickinson, in fact, can be as trashy and obscene as the best of them! Anyway, Dickinson and Whitman are at the heart of this narrative. They are the Dancing Queen and the Guitar Hero.

I smiled again at my two beautiful girls as I sat down on the edge of the bed and wrapped an arm around my sweetheart. Luck was definitely on my side the day I ran into Isabelle Katherine Clark. Literally. I looked down to see Idea sucking on her mommy's pinky and then I saw the biggest smile come across Isabelle's face. I tried to get a few brown curls under control on Idea's head and then Isabelle kissed her on the forehead. "Idea. Our Idea." I smiled and then said, "Our beautiful Idea.

Everything was so beautiful in this magical moment before sunrise. The wild blue irises around the pond, the violet shadows in the curves of the dunes, the white, filmy mist hanging over the buttercup valley across the pond, the cloth of gold and silver thtat was called a field of daisies, thye cool, delicious gulf breeze, the blue of far lands beyond the harbour, plumes of purple and mauve smoke going up on the still, golden air from the chimneys of Stovepipe Town where the fishermen rose early. And Teddy lying at her feet, his slim brown hands clasped behind his head. Again she felt thye magnetic attraction of his personality. Felt it so strongly that she dared not meet his eyes. Yet she was admitting to herself with a secret cadour which would have horrified Aunt Elizabeth that she wanted to run her fingers through his sleek black hair- feel his arms about her- press her face against his dark tender ne- feel his lips on her lips- Teddy took one of his hands from under his head and put it over hers.

Snowflakes stick to his sooty eyelashes, his eyes warm brown. I am no more afraid of him than I was in the lower level of the temple. He radiates warmth and safety, riveting me with the trust he engenders. I want to tuck myself against his tall, muscled form and curl into his body heat, like a rabbit in a burrow. My cheeks flame in embarrassment. I should not feel this way. I did not react so favorably to the rajah. His touch, his voice, and his smell were repulsive. But every nerve ending in my body comes alive near Captain Naik. Beside him, my slenderness feels delicate, curvy, and even womanly.

He had stood there looking around him, hunting someone, and had not found whoever it was and turned to go; but in turning, he caught sight of Emily and paused and looked at her again, and then frowned and went on out. She had not actually been introduced to him for another week. But now it seemed to her that at his entrance--swinging through the library door, carrying a single book in his hand (his fingers fine-textured and brown, his shirtcuffs so perfectly white)--her life had suddenly bee set in motion. Everything had started up, as if complicated wheels and gears had finally connected, and had raced along in a blur from then on. It was only now, in this slowed-down room, that she had a chance to examine what had happened

Next morning, Emma had more of unusual impressions, from the nightdream she saw before the moment she woke up: The girl flew inside some darkness, feeling really tired; soon, she decided to have a nap laying onto… some Galaxy! She was herself as big as the Universe… Or was it she the part of that macrocosm? Then, Emma jumped down from the space, landing in… her bedroom where she used to fall asleep… and there she noticed her cousin Billy who was entering the room, accidentally touching Clifford’s brown scarf that hung on the moose antlers (which really were there, nailed to the wall and serving as hangers)… The scarves fall down… and she wakes up. Emily closed her eyes again, scrolling her memories about how it felt—to rest on the top of the Galaxy. “Who are we people, in all that global greatness of the space? …Considering things in the ecumenical measure, we are the microbes of the Universe,” the girl discoursed her thoughts.

But since we’re on the topic of identity and narrative voice - here’s an interesting conundrum. You may know that The Correspondence Artist won a Lambda Award. I love the Lambda Literary Foundation, and I was thrilled to win a Lammy. My book won in the category of “Bisexual Fiction.” The Awards (or nearly all of them) are categorized according to the sexual identity of the dominant character in a work of fiction, not the author. I’m not sure if “dominant” is the word they use, but you get the idea. The foregrounded character. In The Correspondence Artist, the narrator is a woman, but you’re never sure about the gender of her lover. You’re also never sure about the lover’s age or ethnicity - these things change too, and pretty dramatically. Also, sometimes when the narrator corresponds with her lover by email, she (the narrator) makes reference to her “hard on.” That is, part of her erotic play with her lover has to do with destabilizing the ways she refers to her own sex (by which I mean both gender and naughty bits). So really, the narrator and her lover are only verifiably “bisexual” in the Freudian sense of the term - that is, it’s unclear if they have sex with people of the same sex, but they each have a complex gender identity that shifts over time. Looking at the various possible categorizations for that book, I think “Bisexual Fiction” was the most appropriate, but better, of course, would have been “Queer Fiction.” Maybe even trans, though surely that would have raised some hackles. So, I just submitted I’m Trying to Reach You for this year’s Lambda Awards and I had to choose a category. Well. As I said, the narrator identifies as a gay man. I guess you’d say the primary erotic relationship is with his boyfriend, Sven. But he has an obsession with a weird middle-aged white lady dancer on YouTube who happens to be me, and ultimately you come to understand that she is involved in an erotic relationship with a lesbian electric guitarist. And this romance isn’t just a titillating spectacle for a voyeuristic narrator: it turns out to be the founding myth of our national poetics! They are Emily Dickinson and Walt Whitman! Sorry for all the spoilers. I never mind spoilers because I never read for plot. Maybe the editor (hello Emily) will want to head plot-sensitive readers off at the pass if you publish this paragraph. Anyway, the question then is: does authorial self-referentiality matter? Does the national mythos matter? Is this a work of Bisexual or Lesbian Fiction? Is Walt trans? I ended up submitting the book as Gay (Male) Fiction. The administrator of the prizes also thought this was appropriate, since Gray is the narrator. And Gray is not me, but also not not me, just as Emily Dickinson is not me but also not not me, and Walt Whitman is not my lover but also not not my lover. Again, it’s a really queer book, but the point is kind of to trip you up about what you thought you knew about gender anyway.

Hareton, with a streaming face, dug green sods, and laid them over the brown mould himself: at present it is as smooth and verdant as its companion mounds—and I hope its tenant sleeps as soundly. But the country folks, if you ask them, would swear on the Bible that he walks: there are those who speak to having met him near the church, and on the moor, and even within this house. Idle tales, you’ll say, and so say I. Yet that old man by the kitchen fire affirms he has seen two figures looking out of his chamber window on every rainy night since his death:—and an odd thing happened to me about a month ago. I was going to the Grange one evening—a dark evening, threatening thunder—and, just at the turn of the Heights, I encountered a little boy with a sheep and two lambs before him; he was crying terribly; and I supposed the lambs were skittish, and would not be guided. “What is the matter, my little man?” I asked. “There’s Heathcliff and a woman there under the hill,” he blubbered, “an’ I daren't pass ’em.” I saw nothing; but neither the sheep nor he would go on, so I bid him take the road lower down.

We turned off the path then, following a line of red, cup-shaped wildflowers that I had not seen before. And then abruptly, we came to a door-- an actual door, because the Folk are maddeningly inconsistent, even when it comes to their inconsistencies--- tucked into a little hollow. It was only about two feet tall and painted to look like the mountainside, a scene of grey-brown scree with a few splashes of green, so realistic that it was like a reflection on still water. The only thing that gave it away was the doorknob, which looked like nothing that I can put into human terms; the best I can do is compare it to a billow of fog trapped in a shard of ice. "It has the look of a brownie house," Wendell said. "But perhaps I should make sure." He shoved the door open and vanished into the shadows within--- I cannot relate how he accomplished this; it seemed for a moment as if the door grew to fit him, but I was unable to get a handle on the mechanics as not one second later he was racing out again and the door had shrunk to its old proportions. Several porcelain cups and saucers followed in his wake, about the right size for a doll, and one made contact, smashing against his shoulder. Behind the hail of pottery came a little faerie who barely came up to my knee, wrapped so tightly in what looked like a bathrobe made of snow that I could see only its enormous black eyes. Upon its head it wore a white sleeping cap. It was brandishing a frying pan and shouting something--- I think--- but its voice was so small that I could only pick out the odd word. It was some dialect of Faie that I could not understand, but as the largest difference between High Faie and the faerie dialects lies in the profanities, the sentiment was clear. "Good Lord!" Rose said, leaping out of range of the onslaught. "I don't--- what on--- would you stop?" Wendell cried, shielding himself with his arm. "Yes, all right, I should have knocked, but is this really necessary?" The faerie kept on shrieking, and then it launched the frying pan at Wendell's head--- he ducked--- and slammed its door. Rose and I stared at each other. Ariadne looked blankly from Wendell to the door, clutching her scarf with both hands. "Bloody Winter Folk," Wendell said, brushing ceramic shards from his cloak. "Winter Folk?" I repeated. "Guardians of the seasons--- or anyway, that is how they see themselves," he said sourly. "Really I think they just want a romantic excuse to go about blasting people with frost and zephyrs and such. It seems I woke him earlier than he desired." I had never heard of such a categorization, but as I was somewhat numb with surprise, I filed the information away rather than questioning him further. I fear that working with one of the Folk is slowly turning my mind into an attic of half-forgotten scholarly treasures.

Joanne Sanders, a broad woman in her forties, posed with friends, family, and Snowball in photographs displayed on the mantel of the fake fireplace. She had shoulder-length brown hair and bangs teased high above her brow. I could picture her behind ten inches of bulletproof glass sneering at me with gloss-encased lips for filling out my deposit slip incorrectly. I fed Snowball half a cup of kibble and a spoonful of wet food as my envelope of information directed. She ate it quickly while making funny little squeaking noises. Once she had licked her bowl to a bright sheen, we headed out for my first walk as a dog-walker. I steered us off of East End Avenue and onto the esplanade that runs along the river. The water reflected the sun in bright silver glints. I smelled oil and brine. We reached Carl Schurz Park and turned into the dog run for small dogs. The gate leading into the run reached only to my knees, as did the rest of the fence designed to keep small dogs in and big ones out. A sign on the gate read, "Dogs over 25 pounds not permitted." Ten dogs under 25 pounds, and one who was probably a little over, played together in the pen. Their owners, in groups of three or four, sat on worn wooden benches and talked about dogs. Snowball ran to join a poodle growling at a puppy. They intimidated it behind its owner's calves. Then the poodle, a miniature gray curly thing with long ears, mounted Snowball. I turned to the river and watched a giant barge inch by.

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

He was tall, with curly light brown hair, and from the rear, at least, very nice looking Emily had come to a halt, watching the jogger, noticing how his muscles gleamed in the morning sun.

I put a row of toys on the bed. A brown-haired Barbie doll, then a Lego ambulance...then a gray Buckbeak the Hippogriff.

A beautiful woman with shiny brown hair pulled back in a high ponytail, designer clothes dripping from her body. “That’s Dorothy Westerly, Farrell’s kid.

Hope is a thing with feather,   but does it know how to fly?

But I regret, with every fiber of my being, that for even one moment you suffered under my hands.” Her eyes widen, the beautiful shades of brown glossing over. “You are, without a doubt, the only good I’ve ever known.

this close, the dark browns swirl with yellow and a dash of green, creating a kaleidoscope of color so deep and fucking beautiful they suck me in and drag me under like quicksand.

But there was a big difference between Maria and Emily. Maria had only been fifteen when we started training, so there’d never been a sexual nature to our relationship. Our friendship was purely platonic and one I could easily manage. Despite the mask Emily showed to the world, I could see that same unrest in her gaze. Everything about training with her would be different. She was a good ten years older than Maria had been. Emily was a woman—young, but still a grown woman—and an electric charge buzzed between us already. Training privately would only make that worse. However, just like Maria, Emily wasn’t there for recreational purposes, regardless of what she claimed. Her expressive brown eyes told a far more complicated, harrowing story than her words had admitted.

The moment Jace Calder saw his sister's face, he feared the worst. His heart sank. Emily, his troubled little sister, had been doing so well since she'd gotten the job at the Sarah Hamilton Foundation in Big Timber, Montana. "What's wrong?" he asked as he removed his Stetson, pulled up a chair at the Big Timber Java coffee shop and sat down across from her. Tossing his hat on the seat of an adjacent chair, he braced himself for bad news. Emily blinked her big blue eyes. Even though she was closing in on twenty-five, he often caught glimpses of the girl she'd been. Her pixie cut, once a dark brown like his own hair, was dyed black. From thirteen on, she'd been piercing anything she could. At sixteen she'd begun getting tattoos and drinking. It wasn't until she'd turned seventeen that she'd run away, taken up with a thirty-year-old biker drug-dealer thief and ended up in jail for the first time. But while Emily still had the tattoos and the piercings, she'd changed after the birth of her daughter, and after snagging this job with Bo Hamilton. "What's wrong is Bo," his sister said. Bo had insisted her employees at the foundation call her by her first name. "Pretty cool for a boss, huh?" his sister had said at the time. He'd been surprised. That didn't sound like the woman he knew. But who knew what was in Bo's head lately. Four months ago her mother, Sarah, who everyone believed dead the past twenty-two years, had suddenly shown up out of nowhere. According to what he'd read in the papers, Sarah had no memory of the past twenty-two years. He'd been worried it would hurt the foundation named for her. Not to mention what a shock it must have been for Bo. Emily leaned toward him and whispered, "Bo's… She's gone.

should just fall right out. Preheat oven to 350°F. Line muffin cups with paper baking cups. Melt semisweet chocolate in a metal bowl set over a pan of barely simmering water. (Do not let any of the water get into the chocolate.) Stir constantly while the chocolate melts. Remove bowl from heat and let cool slightly. Whisk together flour, baking soda, baking powder, and salt. In a separate bowl, whisk vanilla and almond extracts into milk. Beat butter with brown sugar in a large bowl until pale and fluffy. This might take a while if doing by hand. Then add eggs 1 at a time, beating well with each addition. Slowly add melted chocolate; beat well. Alternately mix in flour mixture and milk, starting and ending with flour, scraping down sides of bowl after each addition. Fold in milk chocolate chips. Divide batter among lined muffin cups. Bake for

PEETA’S BUTTERCREAM FROSTING Peeta is quite skilled when it comes to frosting and decorating his family’s bakery cakes. This buttercream frosting can be used for cakes, cupcakes, or any dessert concoction, and is likely used by Peeta for many of the desserts that Prim and Katniss admired in the bakery window. (The Hunger Games, Chapter 7) Yields about 8 cups 11⁄2 cups shortening 1⁄2 cup (1 stick) butter 8 cups confectioners’ sugar 1 teaspoon salt 3 teaspoons clear imitation vanilla extract 3⁄4 cup heavy cream Tips from Your Sponsor The flavor of clear imitation vanilla extract pales in comparison to natural vanilla extract. However, for a white frosting, clear imitation vanilla extract is a must, as real vanilla extract is a light brown color. Using an electric mixer, cream shortening and

How did you two meet?” she asks. She tilts her head to the side. Something tells me that she already knows the story, but her husband has set aside his Blackberry and is listening now. Emily looks up at me and blinks her pretty brown eyes. “I went into his tattoo shop to get a tattoo.” She grins. “And he put the moves on me.” She nudges me in the side. “Can I tell them what happened next?” I can feel her laughter against my side. “She punched me in the face, Mrs. Madison.” I reach up and absently stroke across my nose. “He tried to put the moves on me, and I was angry.” She shrugs, but she’s still laughing. “I’ll never forget the look on his face.” “One minute I think I’m going to get to spend some time with a pretty girl,” I say. Emily squeezes my hand when I say “spend some time” because we both know I tried to lay her, just like I used to do with every woman I met. “And the next, she breaks my nose.” Emily laughs. She tugs my sleeve until I look down at her. “You never tried that move on anyone else, did you? After that?” “You cured me of that particular move,” I say. I laugh because it’s funny now. It wasn’t nearly as funny then. It fucking hurt. “Was it love at first sight?” her mom asks. I look down into Emily’s eyes. I was intrigued by her the moment I saw that tattoo she wanted. There was so much in that drawing that made me want to get to know her. But she wouldn’t let me. “It was almost instantaneous for me,” I admit. Trip jabs a finger toward his throat like he wants to make himself throw up, but I think I’m the only one who sees it. “It took me a little longer,” she says.

VI Love me with thy voice, that turns Sudden faint above me; Love me with thy blush that burns When I murmur 'Love me!

Down In Virginia Well, I don't know why I always go for the unreachable Sometimes my head is so cluttered with da-my-dear's I must seem unteachable Last night I fell in love and this morning I just feel sad Thinking about all that I lost and once had Down In Virginia visiting true friends Trying my best to put on a smile for their new friends But my heart is aching for what they took down here Always aching for something that I have some other year There have been obstacles, but I've had it better than most Death doesn't scare me much, so many of my friends are ghost's If all the pain I feel is the price of life then I'll pay 'Cause it's getting to be a part of me now and you can't just take it away I used to think it was good enough just to be here But holding my place in this old race seems harder each year And emptying down a brown bottle don't make it clear

ATTACK OF THE CHOCOLATE CHUNK MUFFINS These gooey chocolate muffins are made with pure, high-quality semisweet chocolate chunks and milk chocolate chips. As such, they will definitely cure whatever sweet tooth Haymitch may acquire in an attempt to find some pleasantness while guiding Katniss and Peeta safely through the Hunger Games. (The Hunger Games, Chapter 4) Yields 12 muffins 10 ounces high-quality semisweet chocolate chunks 11⁄4 cups all-purpose flour 1⁄2 teaspoon baking soda 1 teaspoon baking powder 1⁄2 teaspoon salt 1⁄2 teaspoon vanilla extract 1⁄2 teaspoon almond extract 2⁄3 cup whole milk 1⁄2 cup (1 stick) unsalted butter, softened 1 cup packed light brown sugar 2 large eggs 1 cup high-quality milk chocolate chips

Are congratulations in order?” She leans toward him like she’s going to tell him a secret, but I can see her lips as plain as day. “He hasn’t officially asked me yet, but I’m stating my plans up front so he’ll know how I feel.” Henry smiles. “I see.” He leans toward me this time. “She’ll have you walking the straight and narrow in no time.” He motions to Emily. “Just look at her. She’s gorgeous.” “She’s mine,” I say, wrapping my arms around her. “So, don’t get any ideas.” I smile at him and look down into her brown eyes. She blinks up at me. God, she’s so pretty. “If I were one day younger, I would have to fight you for her,” he warns. But then he chuckles. He looks at Emily and winks.

The sisters' voices were almost identical, laughing mezzos tuned in childhood to the same pitch and timbre. To the ear, they were twins; to the eye, nothing alike. Emily was tall and slender with her hair cropped short. She wore a pinstriped suit, elegant slacks, tiny, expensive glasses. She was an MBA, not a programmer, and it showed. Magnified by her glasses, her hazel eyes were clever, guarded, and also extremely beautiful. Her features were delicate, her fingers long and tapered. She scarcely allowed her back to touch her chair, while Jess curled up with her legs tucked under her. Jess was small and whimsical. Her face and mouth were wider than Emily's, her cheeks rounder, her eyes greener and more generous. She had more of the sun and sea in her, more freckles, more gold in her brown hair. She would smile at anyone, and laugh and joke and sing. She wore jeans and sweaters from Mars Mercantile, and her hair... who knew when she'd cut it last?

I looked deep into her brown eyes for solace, for the quietness that made everyone admire her, want her in their drawing rooms or circles.

I love you," I told the library, staring at the mezzanine level with its intricate gold railings, marble columns, and marble busts of famous authors and poets—I spotted Elizabeth Barrett Browning, Shakespeare, Jane Austen, Rudyard Kipling, and Emily Dickinson.

I was not alone in my illness, nor alone in being blamed for my illness. The illness was chronic. We grew fibroids. Nobody knew why more Black and brown women were afflicted at a higher rate. From Audre Lorde: "When you live on the edge of any structure, you have to know that survival is not theoretical." Our uterine linings began appearing in unexpected parts of our bodies, including our brains. Endometriosis. Prolapse. Fibromyalgia. Some of us dissociated. Some of us had panic attacks. The level of cortisol in our bloodstreams grew toxic. They removed the uterus of my friend. They put children in cages at the border. We were angry at the lies of women's lib and civil rights, at the failed experiment of our country. We admitted to ourselves that white people could not be redeemed. We were taunted by our president's tweets. Unsure what to do with our rage, we turned it on ourselves. Our immune systems attacked us. We grew tumors. Me, too, we repeated. Me, too. The previous season we'd begun saying, Black lives matter. Nobody listened. Nobody knew how to balance our hormones. Probably there was not enough money in it. They theorized it was because we were not bearing enough children. We begged for estrogen and were refused. Our perception was either extremely distorted or crystal clear. Our trauma was too complex to diagnose.

in terms that ignored the claims of the Dickinson camp: she had been painstaking in her scholarship, re-copying from manuscript instead of relying on her mother’s transcriptions, but in the many instances of poems jotted illegibly on cast-off scraps (on the inside of used envelopes—a favourite source of paper—on tiny bits of stationery pinned together, on discarded bills, on invitations and programmes, on leaves torn from old notebooks, on brown paper bags, on soiled, mildewed subscription blanks, on drugstore bargain flyers, on a wrapper of Chocolat Menier, on the reverse of recipes, on shopping lists and on the cut-off margins of newspapers), the editor had been daunted for a long time and it was only in the last three years that she had brought herself to decipher these.

Seven Devils” by Florence + The Machine “Paint it, Black” by Ciara “Monsters” by Ruelle “One Way or Another” by Until The Ribbon Breaks “Paranoid” by Post Malone “Royals” by Lorde “So Thick” by Whipped Cream featuring Baby Goth “Sweet But Psycho” by Parker Jenkins “My Blood” by Twenty One Pilots “Candy” by Guccihighwaters “Birthday Cake” by Rihanna “Horns” by Bryce Fox “No One” by Mothica “All The Time” by Jeremih, Lil Wayne and Natasha Mosley “I Wanna Be Yours” by Arctic Monkeys “Monster” by Meg Myers “Soldier” by Fleurie “Fuck It I Love You” by Lana Del Rey “Kill Our Way to Heaven” by Michl “Sweet Dreams” by Emily Browning “Everybody Wants to Rule The World” by Lorde

Smee comes by silently to clear our plates, making Wendy jump in her chair. “Oh my god, I didn’t know anyone else was here.” I smirk. “That’s Smee. My first mate, if you will.” He smiles, his brown hair bouncing under his ridiculous red beanie as he inclines his head. “Pleasure, miss.” “First mate.” She giggles. “Like a pirate? Does that make you the captain?

Round eyes blink up at him, and Iohmar is struck by the color - brown as the rich soils of his mountains stretching to the sky, browner than a fawn's coat and just as warm.

But it was the little parcel that was responsible for her excitement. It was stamped with the sign manual of the House of Wareham and Emily knew what it must hold. Her book—her Moral of the Rose. She hurried home by the cross-lots road—the little old road over which the vagabond wandered and the lover went to his lady and children to joy and tired men home—the road that linked up eventually with the pasture field by the Blair Water and the Yesterday Road. Once in the grey-boughed solitude of the Yesterday Road Emily sat down in a bay of brown bracken and opened her parcel. There lay her book. Her book, spleet-new from the publishers. It was a proud, wonderful, thrilling moment. The crest of the Alpine Path at last? Emily lifted her shining eyes to the deep blue November sky and saw peak after peak of sunlit azure still towering beyond. Always new heights of aspiration. One could never reach the top really. But what a moment when one reached a plateau and outlook like this! What a reward for the long years of toil and endeavour and disappointment and discouragement.

my pretty girl is not this black-haired chick with piercings that cover the length of her ears and brown eyes that stare so deep they char my skin.

One prominent source was the Instagram account Glossier Brown by blogger Devin McGhee that showcased Glossier fans of color. McGhee told Glamour, “Women of color, black women specifically, spend more money than any other demographic on cosmetics. I believe this is mainly because we

The house in the hollow was “a mile from anywhere”—so Maywood people said. It was situated in a grassy little dale, looking as if it had never been built like other houses but had grown up there like a big, brown mushroom. It was reached by a long, green lane and almost hidden from view by an encircling growth of young birches. No other house could be seen from it although the village was just over the hill.

Savannah and Emilie had mentioned he wasn’t here for a match, but they’d also told me brown cows made chocolate milk when we were in preschool.

Tom turned and looked up just in time to make eye contact with Marie, who was still across the street. She waved and gave him an eyebrow raise to indicate that she understood what had just gone down. He raised a fingertip to his lips. He thought he was so cool, but he also sort of was cool. She crossed the street to meet him, and he greeted her by holding out his hand, which was almost as good as a kiss. Inside his hand was a little plastic bag full of brown twigs. “Want to come over and eat mushrooms?” Obviously, she said yes.

I am half afraid to hope for what I long for.

The custom is so ancient that no one takes offence. In Zanzibar the secondary wives had a system of sub-distinctions. The handsome and expensive Circassians, fully conscious of their superior merits and value, refused to sit at table with the brown Abyssinian women. Thus each race, in accordance with a tacit understanding, kept to itself when eating.

Hey there, have you seen a dog? Cute white and brown?" "Uh, no sorry," Allison said while mouthing to me, 'Roll the window up'. Allison rolled her eyes, "I haven't," I said, "But I'd be willing to help you." "Really?" The girl and Allison asked in unison. "Yea, sure anything to help another dog lover. Hang on." I opened the door and grabbed my purse. Once I got out of the car the girl looked down at my Louis Vuittons, "Those aren't really dog finding shoes." "Oh yeah? Watch me." I grabbed her hand and ran towards the sidewalk. I walked up the bustling sidewalk. "Are you new to New York? Or the Upper East Side? You stick out like a sore thumb.

Her tall, willowy stature was made more striking by the sea of drapey white things she’d dressed herself in. She smiled down at me, equal parts Galadriel Lady of the Golden Wood and aging Stevie Nicks, and the wrinkled corners of her brown eyes crinkled sweetly.

she had been painstaking in her scholarship, re-copying from manuscript instead of relying on her mother’s transcriptions, but in the many instances of poems jotted illegibly on cast-off scraps (on the inside of used envelopes—a favourite source of paper—on tiny bits of stationery pinned together, on discarded bills, on invitations and programmes, on leaves torn from old notebooks, on brown paper bags, on soiled, mildewed subscription blanks, on drugstore bargain flyers, on a wrapper of Chocolat Menier, on the reverse of recipes, on shopping lists and on the cut-off margins of newspapers),

高仿AIS毕业证咨询办理【Q微202-661-44-33】办（奥克兰商学院毕业证2021年版本）一模一样证书，在新西兰办AIS毕业证成绩单认证书，去哪办奥克兰商学院毕业证文凭证书 KJSNBSSBNSSBSVSBNVSBSNVSBNSVBSNVSBNSNBCSBVSC Royce's prose is taut and propulsive. Ruby Falls inhabits a hallucinatory Hollywood where fact and fiction mingle freely and even the smallest acts can feel ominous..an enjoyable pastiche with plenty of twists and turns." --Kirkus Reviews "Imaginative, unique, spine-tingling, and just the right amount of eerie, Ruby Falls is what a reader wants a psychological thriller to be." --Sandra Brown, New York Times bestselling author "Ruby Falls will sweep you headfirst into the life of Eleanor Russell, an actress setting up house in the glamorous Hollywood Hills with her handsome new husband, Orlando. Secrets abound in this bang of a book, a haunting tale sure to give readers chills. A stunner with some serious Gothic vibes." --Kimberly Belle, internationally bestselling author of "Dear Wife" and "Stranger in the Lake" "A tribute to Daphne du Maurier's Rebecca, this unnerving story about a Hollywood starlet haunted by her past will captivate you right up until the shocking ending. A must-read for anyone who loves an expertly plotted thriller with multidimensional characters." --Emily Liebert, USA Today bestselling author of "Perfectly Famous" "In 1968, young Ruby Russell loses her father while touring an underground cave. She recalls the moment his hand left hers, and nearly twenty years later, his disappearance remains a mystery. Ruby has reinvented herself as Eleanor Russell, married the man of her dreams, and is acting in a feature film. But as her new life begins to go awry, the mystery surrounding her past and present collide in a well-crafted and head spinning twist that I did not see coming. Ruby Falls is a skillfully plotted page turner!" --W

A White Rose **   The red rose whispers of passion, And the white rose breathes of love; O, the red rose is a falcon, And the white rose is a dove. But I send you a cream-white rosebud With a flush on its petal tips; For the love that is purest and sweetest Has a kiss of desire on the lips

You have been mine before, How long ago I may not know: But just when at that swallow's soar Your neck turned so, Some veil did fall---I knew it all of yore.

See, the mountains kiss high heaven,  And the waves clasp one another;  No sister flower could be forgiven  If it disdained its brother;  And the sunlight clasps the earth,  And the moonbeams kiss the sea: What are all these kissings worth,  If thou kiss not me?

Is it too late to touch you, Dear?  We this moment knew --  Love Marine and Love terrene --  Love celestial too –

can but know thee as my'star, My angel, and my dream! When stars are in the quiet skies, Then most I pine for thee ; Bend on me then thy tender eyes, As stars look on the sea!

How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim Soul in you, And loved the sorrows of your changing face;

Knitting was never something Maria could understand. However, as she watched Emily Hayward make stitch after repetitive stitch as the woman sat on her spotless couch, Maria began to understand its beauty. The constant brainless movement massaged Maria’s over-stimulated senses. It relaxed her thoughts, and soothed her desire to be fast, speedy, always going somewhere. “You don’t mind do you?” asked Emily, raising her knitting and gesturing toward Maria. “It relaxes me.” “I can see how,” Maria responded. “And no, I don’t mind.

I am a man, and therefore have all devils in my heart. –Father Brown