Explorer Woman Quotes

I had a feeling that Pandora's box contained the mysteries of woman's sensuality, so different from a man's and for which man's language was so inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored.

What is a Wanderess? Bound by no boundaries, contained by no countries, tamed by no time, she is the force of nature’s course.

The softness, warmth and weight of her breast filled his palm. “I’ve imagined this for weeks,” he murmured. Thinking of her out there on the battlefield. In his tent. What more could a woman want? Quite a lot, actually.

My Aspasia. With her, he’d discovered the sweetness in life . . . and she might like to know that. He’d tell her sometime. But he knew he’d given this lovely woman what she’d wanted most, their son’s name. He leaned over to the child. “So, you’re Little Pericles.

On the Acropolis, he’d thought she’d seen too much sun for a woman but in the courtyard, under the moon, her face, neck, and arms were as pale as the moon goddess. Allowing himself to imagine it was the moon goddess leading him upward was a way of climbing to the second story.

A woman must prefer her liberty over a man. To be happy, she must. A man to be happy, however, must yearn for his woman more than his liberty. This is the rightful order.

But I also think when we embark on intimate relationships, we make a basic human promise to be decent, to hold a flattering mirror up to each other, to be respectful as we explore each other.

When a Wanderess has been caged, or perched with her wings clipped, She lives like a Stoic, She lives most heroic, smiling with ruby, moistened lips once her cup of Death is welcome sipped.

And yes, I came over here fully intending to seduce you." He lifted his head and whispered in my ear, "It's what I'm good at. Just like you're good at evading demons and kicking ass." "Kicking ass?" I questioned as he dropped his head back to the arm of the couch. His hand was exploring again, and I didn't want to move. "Yeah," he said, and I jumped as he found a ticklish spot. "I like a woman who takes care of herself." "Not much of a white knight on a horse, huh?" He raised one eyebrow. "Oh, I could," he said. "But I'm a lazy son of a bitch.

Woman’s role in creation should be parallel to her role in life. I don’t mean the good earth. I mean the bad earth too, the demon, the instincts, the storms of nature. Tragedies, conflicts, mysteries are personal. Man fabricated a detachment which became fatal. Woman must not fabricate. She must descend into the real womb and expose its secrets and its labyrinths. She must describe it as the city of Fez, with its Arabian Nights gentleness, tranquility and mystery. She must describe the voracious moods, the desires, the worlds contained in each cell of it. For the womb has dreams. It is not as simple as the good earth. I believe at times that man created art out of fear of exploring woman. I believe woman stuttered about herself out of fear of what she had to say. She covered herself with taboos and veils. Man invented a woman to suit his needs. He disposed of her by identifying her with nature and then paraded his contemptuous domination of nature. But woman is not nature only. She is the mermaid with her fish-tail dipped in the unconscious.

When no possessions keep us, when no countries contain us, and no time detains us, man becomes a heroic wanderer, and woman, a wanderess.

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

She will try to find the nice way to exercise intelligence. But intelligence is not ladylike. Intelligence is full of excesses. Rigorous intelligene abhors sentimentality, and women must be sentimental to value the dreadful silliness of the men around them. Morbid intelligence abhors the cheery sunlight of positive thinking and eternal sweetness; and women must be sunlight and cheery and sweet, or the woman could not bribe her way with smiles through a day. Wild intelligence abhors any narrow world; and the world of women must stay narrow, or the woman is an outlaw. No woman could be Nietzsche or Rimbaud without ending up in a whorehouse or lobotomized. Any vital intelligence has passionate questions, aggressive answers; but women cannot be explorers; there can be no Lewis or Clark of the female mind.

I am a city of sounds. I will keep you safe. I know I am supposed to feel ugly. They all tell me that no woman should look so well-traveled, but they do not know. I am earth. I am sun and skies. I am the high road, the low road. I am every poem about skin. I am a world that cannot be explored in one day. I am not a place for cowards.

He was the kind of young man whose handsome face has brought him plenty of success in the past and is now ever-ready for a new encounter, a fresh-experience, always eager to set off into the unknown territory of a little adventure, never taken by surprise because he has worked out everything in advance and is waiting to see what happens, a man who will never overlook any erotic opportunity, whose first glance probes every woman's sensuality, and explores it, without discriminating between his friend's wife and the parlour-maid who opens the door to him. Such men are described with a certain facile contempt as lady-killers, but the term has a nugget of truthful observation in it, for in fact all the passionate instincts of the chase are present in their ceaseless vigilance: the stalking of the prey, the excitement and mental cruelty of the kill. They are constantly on the alert, always ready and willing to follow the trail of an adventure to the very edge of the abyss. They are full of passion all the time, but it is the passion of a gambler rather than a lover, cold, calculating and dangerous. Some are so persistent that their whole lives, long after their youth is spent, are made an eternal adventure by this expectation. Each of their days is resolved into hundreds of small sensual experiences - a look exchanged in passing, a fleeting smile, knees brushing together as a couple sit opposite each other - and the year, in its own turn, dissolves into hundreds of such days in which sensuous experience is the constantly flowing, nourishing, inspiring source of life.

Part of the urge to explore is a desire to become lost.

Scent is such a powerful tool of attraction, that if a woman has this tool perfectly tuned, she needs no other. I will forgive her a large nose, a cleft lip, even crossed-eyes; and I’ll bathe in the jouissance of her intoxicating odour.

I feel there is something unexplored about woman that only a woman can explore.

I glide my fingers across the diaphanous garment barely covering my skin and the increasingly aroused womanly features underneath. Just as his hands would, I explore, slowly— amazed at the heat I’m generating.

A woman's income appeal is a bell-shaped curve: men do not want to date low-earning women, but once a woman starts earning too much, they seem to be scared off.

It means ‘female dog,’” I’d explained to my sisters, “but it also means ‘a woman who’s crabby and won’t let you be yourself.

All these young mothers chauffeuring their volcanic three-year-olds through the grocery store. The child's name always sounds vaguely presidental, and he or she tends to act accordingly. "Mommy hears what you're saying about treats," the woman will say, "But right now she needs you to let go of her hair and put the chocolate-covered Life Savers back where they came from." "No!" screams McKinley or Madison, Kennedy or Lincoln or beet-faced baby Reagan. Looking on, I always want to intervene. "Listen," I'd like to say, "I'm not a parent myself, but I think the best solution at this point is to slap that child across the face. It won't stop its crying, but at least now it'll be doing it for a good reason.

When a woman does not want to have a child, she usually has good reason. She may be unmarried or in a bad marriage. She may consider herself too poor to raise a child. She may think her life is too unstable or unhappy, or she may think that her drinking or drug use will damage the baby’s health. She may believe that she is too young or hasn’t yet received enough education. She may want a child badly but in a few years, not now. For any of a hundred reasons, she may feel that she cannot provide a home environment that is conducive to raising a healthy and productive child.

First is the danger of futility; the belief there is nothing one man or one woman can do against the enormous array of the world's ills — against misery and ignorance, injustice and violence. Yet many of the world's great movements, of thought and action, have flowed from the work of a single man. A young monk began the Protestant reformation, a young general extended an empire from Macedonia to the borders of the earth, and a young woman reclaimed the territory of France. It was a young Italian explorer who discovered the New World, and 32-year-old Thomas Jefferson who proclaimed that all men are created equal. "Give me a place to stand," said Archimedes, "and I will move the world." These men moved the world, and so can we all.

The answer to the problem of suffering is not away from the problem but in it. The inevitability of pain will not be met by deadening sensitivity but by increasing it, by exploring and feeling out the manner in which the natural organism itself wants to react and which its innate wisdom has provided.

You want to …?” His other eye popped open as I started to slide down his body, intent on exploring that part of him which had given me so much pleasure. He grabbed me before I was able to move four inches. I looked up, worried that I had done something wrong. A familiar strained, tense look was on his face, his eyes screwed up tight. I looked down at his penis. It was no longer in a resting state. “I thought you were sated?” I was. Until you went and mentioned doing that to me. No! Don’t touch me there, woman! For the love of – grk!” A half hour later, Gabriel, his arm wrapped around me because my legs were unusually weak, hustled me toward the house with a grim look on his face. I will beat this,” he muttered. “I am a wyvern, I am strong. I will control my needs long enough to give you pleasure, and you will enjoy it, dammit!” I said nothing, but I smiled. A lot. [May and Gabriel, pg. 307]

You know, there’s no pleasure like the joy of being a sexual woman. You can take your careers, your money, your houses and possessions, and you go and throw them in a lake. Because life is really all about sex. That’s what I keep learning, again and again. It’s the most important thing, woven into the very centre of life. And I just know I was put on this earth to be a sexual woman, and to explore as much about sex as I can.

I'm going to go out on a limb here. I've thought a lot about this one, as a feminist, and as an author. How should traditional roles be portrayed? In fantasy literature there is a school of thought that holds that women must be treated precisely like men. Only the traditional male sphere of power and means of wielding power count. If a woman is shown in a traditionally female role, then she must be being shown as inferior. After a lot of thought, and some real-life stabs at those traditional roles, I've come to firmly disagree with this idea. For an author to show that only traditional male power and place matter is to discount and belittle the hard and complex lives of our peers and our ancestresses.

Exploration of her body will open the doors to pleasuring her in ways she has yet to experience.

A deep woman is a universe to explore, she is very challenging; but she is life.

However, the majority of women are neither harlots nor courtesans; nor do they sit clasping pug dogs to dusty velvet all through the summer afternoon. But what do they do then? and there came to my mind’s eye one of those long streets somewhere south of the river whose infinite rows are innumerably populated. With the eye of the imagination I saw a very ancient lady crossing the street on the arm of a middle-aged woman, her daughter, perhaps, both so respectably booted and furred that their dressing in the afternoon must be a ritual, and the clothes themselves put away in cupboards with camphor, year after year, throughout the summer months. They cross the road when the lamps are being lit (for the dusk is their favourite hour), as they must have done year after year. The elder is close on eighty; but if one asked her what her life has meant to her, she would say that she remembered the streets lit for the battle of Balaclava, or had heard the guns fire in Hyde Park for the birth of King Edward the Seventh. And if one asked her, longing to pin down the moment with date and season, but what were you doing on the fifth of April 1868, or the second of November 1875, she would look vague and say that she could remember nothing. For all the dinners are cooked; the plates and cups washed; the children sent to school and gone out into the world. Nothing remains of it all. All has vanished. No biography or history has a word to say about it. And the novels, without meaning to, inevitably lie. All these infinitely obscure lives remain to be recorded, I said, addressing Mary Carmichael as if she were present; and went on in thought through the streets of London feeling in imagination the pressure of dumbness, the accumulation of unrecorded life, whether from the women at the street corners with their arms akimbo, and the rings embedded in their fat swollen fingers, talking with a gesticulation like the swing of Shakespeare’s words; or from the violet-sellers and match-sellers and old crones stationed under doorways; or from drifting girls whose faces, like waves in sun and cloud, signal the coming of men and women and the flickering lights of shop windows. All that you will have to explore, I said to Mary Carmichael, holding your torch firm in your hand.

My true ecstasy is to hunt, seek, and find new things in life.

How marvelous to be able to read someone’s skin, to explore the story of his life across his chest, his arms, the softness at the back of his neck. The barman had roses and a treble clef, a cross, a woman’s face . . . so much detail, so little unadorned flesh.

The truth is that a woman who chooses not to have children has generally engaged the question of a mother’s responsibilities to a degree of seriousness not previously explored when motherhood was simply a natural necessity.

Once you are in a relationship you start taking each other for granted—that’s what destroys all love affairs. The woman thinks she knows the man, the man thinks he knows the woman. Nobody knows either! It is impossible to know the other, the other remains a mystery. And to take the other for granted is insulting, disrespectful. To think that you know your wife is very, very ungrateful. How can you know the woman? How can you know the man? They are processes, they are not things. The woman that you knew yesterday is not there today. So much water has gone down the Ganges; she is somebody else, totally different. Relate again, start again, don’t take it for granted. And the man that you slept with last night, look at his face again in the morning. He is no more the same person, so much has changed. So much, incalculably much has changed. That is the difference between a thing and a person. The furniture in the room is the same, but the man and the woman, they are no more the same. Explore again, start again. That’s what I mean by relating. Relating means you are always starting, you are continuously trying to become acquainted. Again and again, you are introducing yourself to each other. You are trying to see the many facets of the other’s personality. You are trying to penetrate deeper and deeper into his realm of inner feelings, into the deep recesses of his being. You are trying to unravel a mystery that cannot be unraveled. That is the joy of love: the exploration of consciousness. And

I was fucked and I knew it. I had stupidly wandered into some epic rape palace run by meth-addicted hobos and bald men with beards who recently escaped nearby jails and had taken over this place for their torture sessions with hapless young women they found exploring the coast. Even worse, I was going to be the hapless woman who decided to infiltrate their headquarters.

Dad on Child-rearing: "There's no education superior to travel. Think of The Motorcycle Diaries, or what Montrose St. Millet wrote in Ages of Exploration: 'To be still is to be stupid. To be stupid is to die.' And so we shall live. Every Betsy sitting next to you in a classroom will only know Maple Street on which sits her boxy white house, inside of which whimper her boxy white parents. After your travels, you'll know Maple Street, sure, but also wilderness and ruins, carnivals and the moon. You'll know the man sitting on an apple crate outside a gas station in Cheerless, Texas, who lost his legs in Vietnam, the woman in the tollboth outside Dismal, Delaware, in possession of six children, a husband with black lung but no teeth. When a teacher asks the class to interpret Paradise Lost, no one will be able to grab your coattails, sweet, for you will be flying far, far out in front of them all. For them, you will be a speck somewhere above the horizon. And thus, when you're ultimately set loose upon the world..." He shrugged, his smile lazy as an old dog. "I suspect you'll have no choice but to go down in history.

Enjoyment is always greatest when you have enough contrast to measure it by.

A man, at least, is free; he can explore every passion, every land, overcome obstacles, taste the most distant pleasures. But a woman is continually thwarted. Inert and pliant at the same time, she must struggle against both the softness of her flesh and subjection to the law. Her will, like the veil tied to her hat by a string, flutters with every breeze; there is always some desire luring her on, some convention holding her back.

As a child, one has that magical capacity to move among the many eras of the earth; to see the land as an animal does; to experience the sky from the perspective of a flower or a bee; to feel the earth quiver and breathe beneath us; to know a hundred different smells of mud and listen unselfconciously to the soughing of the trees.

On the other side of the room, Bast cursed her luck. Damn. She couldn’t wait now. It took time to set up a switch like this. She would have to take the second option. A pity, the Rowanberg woman was the right size physically, and the facial adjustment would not be difficult, nor the hair, and she was one of the targets on her list. Option Two was slightly taller, but she would have to do.

Lovemaking takes time! It is a myth for lovemaking to be quick and smooth. To find pleasure in each other, both men and women need to take time to explore each other with their hands; their lips and they need to be open to each other in a mutual, consensual, and non-judgmental style. sure

Just like God, a woman is not a problem to be solved but a vast wonder to be enjoyed. This is so true of her sexuality. Few women can or even want to “just do it.” Foreplay is crucial to her heart, the whispering and loving and exploring of one another that culminates in intercourse. That is a picture of what it means to love her soul. She yearns to be known and that takes time and intimacy. It requires an unveiling. As she is sought after, she reveals more of her beauty. As she unveils her beauty, she draws us to know her more deeply.

She is magic! A truly adventurous woman with a gypsy soul. Powered by coffee, dark chocolate and wild water. You’ll find her chasing full moons, exploring waterfalls, forests and oceans. Once you meet a woman like this you’ll feel drawn to her alluring energy. She’ll make you feel things you’ve never felt before. Never take a woman like this for granted, they are extraordinary.

her choice to be, not only a poet but a woman who explored her own mind, without any of the guidelines of orthodoxy. To say "yes" to her powers was not simply a major act of nonconformity in the nineteenth century; even in our own time it has been assumed that Emily Dickinson, not patriarchal society, was "the problem." The ore we come to recognise the unwritten and written laws and taboos underpining patriarchy, the less problematical, surely, will seem the methods she chose.

During one of my biggest struggles, the ripple effect was at its worst. I felt as though the ripple was going to turn into a whirlpool – to the point where I thought I was going to drown. My head was under the water and my hands were reaching for something to hold on to. Sadly, there wasn’t anyone or anything I could take hold of. However, when I trusted the waves, they carried me to a peaceful place in my mind, to the hidden aspects of my true self where I could explore my options. I had to find comfort in what was given and make the best of it.

Somehow I feel that an ordinary person–the man in the street if you like–is a more challenging subject for exploration than people in the heroic mold. It is the half shades, the hardly audible notes that I want to capture and explore. […] My films are about human beings, human relationships, and social problems. I think it is possible for everyone to relate to these issues. On a certain level, foreign audiences can appreciate Indian works, but many details are missed. For example, when they see a woman with a red spot on her forehead, they don’t know that this is a sign showing that she is married, or that a woman dressed in a white sari is a widow. Indian audiences understand this at once; it is self-evident for them. So, on certain level, the cultural gap is too wide. But on a psychological level, on the level of social relations, it is possible to relate. I think I have been able to cross the barrier between cultures. My films are made for an Indian audience, but I think they have bridged the gap.

You are strong, self-reliant, entirely able to take care of yourself and of me... You are fearless, courageous; you saved my life, nursed me back to health, hunted for my food, provided for my comfort. You don't need me. Yet you make me want to protect you, watch over you, make sure no harm comes to you. I could live with you all my life and never really know you; you have depths it would take many lifetimes to explore. You are wise and ancient... and as fresh and young as a woman as... And you are the most beautiful woman I have ever seen. I love you more than life itself.

Monster stories are powerful. They explore prejudice, rejection, anger and every imaginable negative aspect of living in society. However, only half of society is reflected in the ranks of the people who create these monsters. Almost every single iconic monster in film is male and was designed by a man: the Wolfman, Frankenstein, Dracula, King Kong. The emotions and problems that all of them represent are also experienced by women, but women are more likely to see themselves as merely the victims of these monsters. Women rarely get to explore on-screen what it's like to be a giant pissed-off creature. Those emotions are written off. If a woman is angry or upset, she'll be considered hysterical and too emotional. One of the hardest things about misogyny in the film industry isn't facing it directly, it's having to tamp down your anger about it so that when you speak about the problem, you'll be taken seriously. Women don't get to stomp around like Godzilla. Someone will just ask if you're on your period.

I’d loved women who were old and who were young; those extra kilos and large rumps, and others so thin there was barely even skin to pinch, and every time I held them, I worried I would snap them in two. But for all of these: where they had merited my love was in their delicious smell. Scent is such a powerful tool of attraction, that if a woman has this tool perfectly tuned, she needs no other. I will forgive her a large nose, a cleft lip, even crossed-eyes; and I’ll bathe in the jouissance of her intoxicating odour.

Roland G. Fryer Jr., while discussing his names research on a radio show, took a call from a black woman who was upset with the name just given to her baby niece. It was pronounced shuh-TEED but was in fact spelled “Shithead.”*

Ladies and Gentlemen, I'd planned to speak to you tonight to report on the state of the Union, but the events of earlier today have led me to change those plans. Today is a day for mourning and remembering. Nancy and I are pained to the core by the tragedy of the shuttle Challenger. We know we share this pain with all of the people of our country. This is truly a national loss. Nineteen years ago, almost to the day, we lost three astronauts in a terrible accident on the ground. But we've never lost an astronaut in flight. We've never had a tragedy like this. And perhaps we've forgotten the courage it took for the crew of the shuttle. But they, the Challenger Seven, were aware of the dangers, but overcame them and did their jobs brilliantly. We mourn seven heroes: Michael Smith, Dick Scobee, Judith Resnik, Ronald McNair, Ellison Onizuka, Gregory Jarvis, and Christa McAuliffe. We mourn their loss as a nation together. For the families of the seven, we cannot bear, as you do, the full impact of this tragedy. But we feel the loss, and we're thinking about you so very much. Your loved ones were daring and brave, and they had that special grace, that special spirit that says, "Give me a challenge, and I'll meet it with joy." They had a hunger to explore the universe and discover its truths. They wished to serve, and they did. They served all of us. We've grown used to wonders in this century. It's hard to dazzle us. But for twenty-five years the United States space program has been doing just that. We've grown used to the idea of space, and, perhaps we forget that we've only just begun. We're still pioneers. They, the members of the Challenger crew, were pioneers. And I want to say something to the schoolchildren of America who were watching the live coverage of the shuttle's take-off. I know it's hard to understand, but sometimes painful things like this happen. It's all part of the process of exploration and discovery. It's all part of taking a chance and expanding man's horizons. The future doesn't belong to the fainthearted; it belongs to the brave. The Challenger crew was pulling us into the future, and we'll continue to follow them. I've always had great faith in and respect for our space program. And what happened today does nothing to diminish it. We don't hide our space program. We don't keep secrets and cover things up. We do it all up front and in public. That's the way freedom is, and we wouldn't change it for a minute. We'll continue our quest in space. There will be more shuttle flights and more shuttle crews and, yes, more volunteers, more civilians, more teachers in space. Nothing ends here; our hopes and our journeys continue. I want to add that I wish I could talk to every man and woman who works for NASA, or who worked on this mission and tell them: "Your dedication and professionalism have moved and impressed us for decades. And we know of your anguish. We share it." There's a coincidence today. On this day three hundred and ninety years ago, the great explorer Sir Francis Drake died aboard ship off the coast of Panama. In his lifetime the great frontiers were the oceans, and a historian later said, "He lived by the sea, died on it, and was buried in it." Well, today, we can say of the Challenger crew: Their dedication was, like Drake's, complete. The crew of the space shuttle Challenger honored us by the manner in which they lived their lives. We will never forget them, nor the last time we saw them, this morning, as they prepared for their journey and waved goodbye and "slipped the surly bonds of earth" to "touch the face of God." Thank you.

Call it the Human Mission-to be all and do all God sent us here to do. And notice-the mission to be fruitful and conquer and hold sway is given both to Adam and to Eve. 'And God said to them...' Eve is standing right there when God gives the world over to us. She has a vital role to play; she is a partner in this great adventure. All that human beings were intended to do here on earth-all the creativity and exploration, all the battle and rescue and nurture-we were intended to do together. In fact, not only is Eve needed, but she is desperately needed. When God creates Eve, he calls her an ezer kenegdo. 'It is not good for the man to be alone, I shall make him [an ezer kenegdo]' (Gen. 2:18 Alter). Hebrew scholar Robert Alter, who has spent years translating the book of Genesis, says that this phrase is 'notoriously difficult to translate.' The various attempts we have in English are "helper" or "companion" or the notorious "help meet." Why are these translations so incredibly wimpy, boring, flat...disappointing? What is a help meet, anyway? What little girl dances through the house singing "One day I shall be a help meet?" Companion? A dog can be a companion. Helper? Sounds like Hamburger Helper. Alter is getting close when he translates it "sustainer beside him" The word ezer is used only twenty other places in the entire Old Testament. And in every other instance the person being described is God himself, when you need him to come through for you desperately.

He pushed my back against the stall door, kissing me. Edward had tried kissing me, but I'd been so shocked I'd barely had time to explore how it felt. Lucy had told me stories of shady corners and sweaty palms. But this was passionate. Wild. Something I'd never known. "Have you kissed a girl before?" I whispered. He ran his thumb over my cheek. His eyes lingered on my lips. "Yes," he said. I thought of Alice, her pretty blonde hair, the split lip that made her so vulnerable. But it wasn't her name he said. "A woman at the docks in Brisbane. She didn't mean anything. I was lonely. It wasn't love." A prostitute, he meant.

I feel there is something unexplored about woman that only a woman can explore.

This is the first time for the girl, a time of revelation. Mysteries unravel at this height, patterns emerge. She stands woman--tall, shoulder to shoulder, with the sun and laughs to think that such a splendid world had ever frightened her. All that she sees, farm and forest, pasture and prairie, city and country, and continent, stretches before her like tomorrows filled with promise . . . She was born to this kingdom. In time it will be hers to explore, to make her own. One climb is over, another just beginning. She is rich in days, wealthy in possibilities. And here in this crowning moment, For the very first time . . . She knows.

The sight of a slender young woman sitting in the anaconda exhibit with a 13-foot-long, predatory reptile snuggling in her lap, the tip of a tail coiled lovingly around one leg, provided dramatic evidence of what Scott and Wilson already knew: “Just about every animal,” Scott says—not just mammals and birds—“can learn, recognize individuals, and respond to empathy.” Once

You’re brave. You’re good. Why would you hesitate to explore yourself? Your dark nooks and crannies? With someone who is fascinated by the whole of you? You aren’t a bad woman, merely a human one, which entails a certain amount of”—he cocked his head—“‘awfulness,’ as you call it.

It's not pretty and perfect I am feeling today. Not in the mood for soft and contained. Not light or well-behaved or sugary sweet. No. I'm not willing to round off my sharp edges or make safe the danger zones. Not for you. Not for anyone, really. There's no room in me for gentle today. It's explore at your own risk, full on howl time. Oh, I can make nice. And I do. You'll only get past the surface if I deem you worthy. But my inner landscape? It's pure wilderness, darling, and the wolves are running. The moon went dark last night, loves, and something crashed and spiraled so something else could rise. It's time for music that courts the shadows and for dancing that sheds skin. Creation is calling and my muse, she likes it rough. Are you with me? Good. Now we can begin...

Woman with known intent intending to explore Woman with her senses on the edge edging for some more..." From my poem, "Known Intent" - The Poetic Art of Seduction - Volume 1 ©Clarissa O. Clemens

I told you,lifemate, you're always taking off my clothes." "Then stop wearing the damn things," he responded gruffly,his hands at her tiny waist, his mouth finding her flat stomach. "Someday my child will be growing right here," he said softly, kissing her belly. His hands pinned her thighs so that he could explore easily without interruption. "A beautiful little girl with your looks and my disposition." Savannah laughed softly, her arms cradling his head lovingly. "That should be quite a combination. What's wrong with my disposition?" She was writhing under the onslaught of his hands and mouth,arcing her body more fully into his ministrations. "You are a wicked woman," he whispered. "I would have to kill any man who treated my daughter the way I am treating you." She cried out,her body rippling with pleasure. "I happen to love the way you treat me,lifemate," she answered softly and cried out again when he merged their bodies, their minds, their hearts and souls. The future might be uncertain, with the society dogging the footsteps of their people,but their combined strength was more than enough to see them through. And together they could face any enemy to ensure the continuation of their race.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

She toyed with the top button of his shirt. “Do Apaches kiss?” “The people believe the mouth is only for eating.” “Oh.” She didn’t try to hide her disappointment. He shifted her against him a little and cupped her breast with one hand, his thumb rubbing across the nipple. “They also believe a woman’s breast is only for nursing a child.” Lowering his mouth over hers, he ran his tongue between her lips, exploring her tongue, making her shiver with a stroke along the roof of her mouth. When he raised his head at last, she whispered, “I’m glad you’re an unbeliever.

female i hope the future really is you not soft, but softer, alternative mainstreamed left sided divinely feminine. a woman is a man with a whoa. exponentially deeper internal seas, wish i had a submarine to explore your ocean floors. smarter because she has to be vulnerable empathy with force, taught remorseful but she has nothing to apologize for, she deserves the sorriest. everything comes first from you every single one born from them by me she is love, loved, loving in the origin of power, you are who i try to be, feminist. you wondered woman, wonderful you.

He closed the damn door and turned and stopped, looking at her. “Sometimes,” he said softly, and stopped, then started again, “I often wonder why human men are so fixated on how a woman looks when there’s so much more to explore, and so many kinds of beauty—why obsess over one particular version? But sometimes, when I look at you, I understand." And sometimes, when he looked at her the way he was now, she was beautiful. Not just okay. Not even really pretty. Beautiful.

I thought about breakups, how difficult they were, but then usually it was only after you broke up with one woman that you met another. I had to taste women in order to really know them, to get inside of them. I could invent men in my mind because I was one, but women, for me, were almost impossible to fictionalize without first knowing them. So I explored them as best I could and I found human beings inside. The writing was only a residue. A man didn't have to have a woman in order to feel as real as he could feel, but it was good if he knew a few. Then when the affair went wrong he'd feel what it was like to be truly lonely and crazed, and thus know what he must face, finally, when his own end came.

To feel better, women talk about past problems, future problems, potential problems, even problems that have no solutions. The more talk and exploration, the better they feel. This is the way women operate. To expect otherwise is to deny a woman her sense of self.

First is the danger of futility; the belief there is nothing one man or one woman can do against the enormous array of the worlds ills -­‐-­‐ against misery, against ignorance, or injustice and violence. Yet many of the worlds great movements, of thought and action, have flowed from the work of a single man. A young monk began the Protestant reformation, a young general extended an empire from Macedonia to the borders of the earth, and a young woman reclaimed the territory of France. It was a young Italian explorer who discovered the New World, and 32-­‐year-­‐old Thomas Jefferson who proclaimed that all men are created equal. 'Give me a place to stand,

In the last month of the presidential campaign, I tuned in to conservative talk radio and listened as callers considered the unthinkable. One after another, they all threatened the same thing: “If McCain doesn’t win, I’m leaving the country.” “Oh, right,” I’d say. “You’re going to leave and go where? Right-wing Europe?” In the Netherlands now, I imagine it’s legal to marry your own children. Get them pregnant, and you can abort your unborn grandbabies in a free clinic that used to be a church. The doctor might be a woman who became a man and then became a woman again, all on taxpayers’ dollars, but as long as she saves the stem cells, she’ll have the nation’s blessing.

There are parts of me that are broken. Thank you, they don't need fixing. There are places and people that I don't 'fit in' with. Thank you, I don't belong. There are words that have a comletely different meaning to me than for others. Thank you, I appreciate my own unique values. There are moments that I feel all alone in the world. Thank you, I rather enjoy and appreciate my solitude. There are people who judge me because they find me to be too shallow or too deep. Thank you, I love exploring the entirety of the ocean. There are people who truly love and value me just as I am. Thank you, you enrich my life profoundly. There is always room for expansion to grow, grace for every mistake, strength made perfect in every weakness and highest kudos for the courage to continue this adventurous soul mission called Life. Thank you, I am truly happy to be here.

You know, there’s no pleasure like the joy of being a sexual woman. You can take your careers, your money, your houses and possessions, and you go and throw them in a lake. Because life is really all about sex. That’s what I keep learning, again and again. It’s the most important thing, woven into the very centre of life. And I just know I was put on this earth to be a sexual woman, and to explore as much about sex as I can.

Beyond all of that, I could see the wall I had seen from inside the train, the wall that runs along the train line. I assumed that there, behind it, was the west, and I was right. I could have been wrong, but I was right.' If she had any future it was over there, and she needed to get to it. I sit in the chair exploring the meaning of dumbstruck, rolling the word around in my mind. I laugh with Miriam as she laughs at herself, and at the boldness of being sixteen. At sixteen you are invulnerable. I laugh with her about rummaging around for a ladder in other people's sheds, and I laugh harder when she finds one. We laugh at the improbability of it, of someone barely more than a child poking around in Beatrix Potter's garden by the Wall, watching out for Mr McGregor and his blunderbuss, and looking for a step-ladder to scale one of the most fortified barriers on earth. We both like the girl she was, and I like the woman she has become. She says suddenly, 'I still have the scars on my hands from climbing the barbed wire, but you can't see them so well now.' She holds out her hands. The soft parts of her palms are crazed with definite white scares, each about a centimeter long. The first fence was wire mesh with a roll of barbed wire along the top.

Silence is another element we find in classic fairy tales — girls muted by magic or sworn to silence in order to break enchantment. In "The Wild Swans," a princess is imprisoned by her stepmother, rolled in filth, then banished from home (as her older brothers had been before her). She goes in search of her missing brothers, discovers that they've been turned into swans, whereupon the young girl vows to find a way to break the spell. A mysterious woman comes to her in a dream and tells her what to do: 'Pick the nettles that grow in graveyards, crush and spin them into thread, then weave them into coats and throw them over your brothers' backs.' The nettles burn and blister, yet she never falters: picking, spinning, weaving, working with wounded, crippled hands, determined to save her brothers. All this time she's silent. 'You must not speak,' the dream woman has warned, 'for a single world will be like a knife plunged into your brothers' hearts.' You must not speak. That's what my stepfather said: don't speak, don't cry, don't tell. That's what my mother said as well, as we sat in hospital waiting rooms -- and I obeyed, as did my brothers. We sat as still and silent as stone while my mother spun false tales to explain each break and bruise and burn. Our family moved just often enough that her stories were fresh and plausible; each new doctor believed her, and chided us children to be more careful. I never contradicted those tales. I wouldn't have dared, or wanted to. They'd send me into foster care. They'd send my young brothers away. And so we sat, and the unspoken truth was as sharp as the point of a knife.

For a woman ... to explore and express the fullness of her sexuality, her ambitions, her emotional and intellectual capacities, her social duties, her tender virtues, would entail who knows what risks and who knows what truly revolutionary alteration to the social conditions that demean and constrain her. Or she may go on trying to fit herself into the order of the world and thereby consign herself forever to the bondage of some stereotype of normal femininity - a perversion, if you will.

Oh, don't get me started! I love fantasy, I read it for pleasure, even after all these years. Pat McKillip, Ursula Le Guin and John Crowley are probably my favorite writers in the field, in addition to all the writers in the Endicott Studio group - but there are many others I also admire. In children's fantasy, I'm particularly keen on Philip Pullman, Donna Jo Napoli, David Almond and Jane Yolen - though my favorite novels recently were Midori Snyder's Hannah's Garden, Holly Black's Tithe, and Neil Gaiman's Coraline. I read a lot of mainstream fiction as well - I particularly love Alice Hoffman, A.S. Byatt, Sara Maitland, Sarah Waters, Sebastian Faulks, and Elizabeth Knox. There's also a great deal of magical fiction by Native American authors being published these days - Louise Erdrich's Antelope Wife, Alfredo Vea Jr.'s Maravilla, Linda Hogan's Power, and Susan Power's Grass Dancer are a few recent favorites. I'm a big fan of Jane Austen, Charlotte Bronte, Charles Dickens, and Anthony Trollope - I re-read Jane Austen's novels in particular every year.Other fantasists say they read Tolkien every year, but for me it's Austen. I adore biographies, particularly biographies of artists and writers (and particularly those written by Michael Holroyd). And I love books that explore the philosophical side of art, such as Lewis Hyde's The Gift, Carolyn Heilbrun's Writing a Woman's Life, or David Abram's Spell of the Sensuous. (from a 2002 interview)

In the early 1830s the writer George Sand, a woman, had a man's overcoat and a pair of boots made for her so she could have the same pleasure - to walk the streets of Paris free to look at whatever she liked. In her autobiography she writes: "I can't express the pleasure my boots gave me ... With those little iron-shot heels, I was on solid pavement. I flew from one end of Paris to the other. It seemed to me that I could go round the world. And then, my clothes feared nothing. I ran out in every kind of weather, I came home at every sort of hour ... No one paid any attention to me, and no one guessed at my disguise ... No one knew me, no one looked at me, no one found fault with me; I was an atom lost in that immense crowd.

[D]on’t wait for the good woman. She doesn’t exist. There are women who can make you feel more with their bodies and their souls but these are the exact women who will turn the knife into you right in front of the crowd. Of course, I expect this, but the knife still cuts. The female loves to play man against man, and if she is in a position to do it there is not one who will not resist. The male, for all his bravado and exploration, is the loyal one, the one who generally feels love. The female is skilled at betrayal. and torture and damnation.

A man, at least, is free; he can explore each passion and every kingdom, conquer obstacles, feast upon the most exotic pleasures. But a woman is continually thwarted. Both inert and yielding, against her are ranged the weakness of the flesh and the inequity of the law. Her will, like the veil strung to her bonnet, flutters in every breeze; always there is the desire urging, always the convention restraining.

Sounds like you still need to learn the parts of a woman, Pick said. Next time you guys are together, don't be afraid to explore. She won't mind. If you're touching, licking, kissing, and nibbling on every little place you go, she'll actually appreciate it. Trust me. Get down there at eye level with everything and just . . . look around. Test it out with your tongue. She'll let you know what she does and doesn't like.

Come away with me now, sweet tease, and we will pleasure each other all the night long. We will strip off these masks, and with them rid ourselves of all inhibition. You do not yet know me, but I will soon know your every delectable inch, taste your nectar, explore your most intimate, womanly secrets. I will take you where you have never been, touch you in ways you have never been touched. Until you weep with the joy of it.

Merrill Hartweiss scales a rocky incline toward Renna. The noon sun bakes the hillside as Merrill's boots dig into the broiling sands. Yet another gypsy tune enters his head. It starts off slowly. A lone guitar, its strings strummed with the lustful passion of a young man brushing his fingertips softly against the breasts of his lover. Another guitar joins, like a second hand, exploring her hot flesh, stroking the side of her bare abdomen, and gradually moving upward toward her chest. Then, a female voice joins the guitars; it is slightly raspy, yet sultry; filled with a fiery allure. The guitars pick up in intensity and tempo. There is a rhythmic clapping now, in synchronization with the strumming. The man has entered his lover. Sweat begins to form on Merrill's forehead, then quickly turns to vapor, dissipating into the blistering heat from the sunlight reflecting off the sands. Steady clapping, louder still. The tempo quickens, progressively and with a vigorous intensity. The man arches his back, cresting then falling; cresting, arching, rising and falling deeper again and again into his lover. The clapping, now faster, still rhythmic, but so much more intense. The guitars keep pace with increasing ferocity. In the woman's voice, short, quick breaths form words as she cries out her lover's name from deep within the throes of a forbidden love

The only one of the early investigators who carried the exploration of hysteria to its logical conclusion was Breuer's patient Anna O. After Breuer abandoned her, she apparently remained ill for several years. And then she recovered. The mute hysteric who had invented the "talking cure" found her voice and her sanity, in the women's liberation movement. Under a pseudonym, Paul Berthold, she translated into German the classic treatise by Mary Wollstonecraft, A Vindication of the Rights of Women, and authored a play, Women's Rights. Under her own name, Bertha Papenheim became a prominent feminist social worker, intellectual, and organizer. In the course of a long and fruitful career she directed an orphanage for girls, founded a feminist organization for Jewish women and traveled throughout Europe and the Middle East to campaign against the sexual exploitation of women and children. Her dedication, energy and commitment were legendary. In the words of a colleague, 'A volcano lived in this woman... Her fight against the abuse of women and children was almost a physically felt pain for her.' At her death, the philosopher Martin Buber commemorated her: 'I not only admired her but loved her, and will love her until the day I die. There are people of spirit and there are people of passion, both less common than one might think. Rarer still are the people of spirit and passion. But rarest of all is a passionate spirit. Bertha Pappenheim was a woman with just such a spirit.

You see, one of the reason why I embark on this journey is to question myself on the many myth of security that has been imprinted on us from the day we are born. ... It was also driven from my readings on the early theory of feminism (Simone de Beauvoir's) that say that 80% of a woman's life everyday (in a house) is spent cleaning the dirt that keeps on coming back. Therefore I wanted to explore the other side of it, that is, if I don't have a house, what would the 80% of my day be filled with?

When initiating contact with a woman, you start with visual contact at a distance when you first notice each other, which can mean the two of you are quite far away and the only way that you can connect is by using your gaze. As you walk closer, you reach a good distance for vocal contact, a point at which you can connect with your voice as well. Once you have engaged in a conversation, you will move in yet again, close enough to touch, while still maintaining the visual and vocal connection. At a certain point you will move even closer, where you will be able to smell each other, before you are so close you can taste each other — also known as kissing — and finally to use all your senses at the same time to explore her insides as well during sex.

Becoming a porn star is pretty much exactly like becoming a superhero. One day, an intrepid, fresh-faced young woman discovers that she has a talent. She chooses a new name – something over the top, flamboyant, a little arrogant, with a tinge of the epic. Somebody makes her a costume – skintight – revealing, a flattering color, nothing much left to the imagination. She explores her power, learns a specialty move or two, sweats her way through a training montage, throwing out punny quips here, there, and everywhere. She inhabits an archetype. She takes every blow that comes her way like she doesn’t even feel it. Then she goes out into the big, bad night and saves people from loneliness. From the assorted villanies that plague the common man. From despair and bad dreams. From tedium. Oh, sure, her victories are short-lived. She finishes off her foes in one glorious masterstroke, but the minute she’s gone, all the wickedness and darkness of the scheming, teeming world comes rushing back in. But when you need her, here she comes to save the day, doing it for Truth, Justice, and the American Way.

How had the Maid, a lowly commoner, gained an audience at the royal court? How had she, an illiterate young woman from a tiny village at the very edge of the kingdom, come to know so much about the complex political situation in France, and indeed, to see into the deepest recesses of her sovereign's heart?...The answers to these questions have remained hidden, not because the mystery surrounding Joan cannot be penetrated, but because their solution is inextricably tied to the life of another woman entirely, that of Yolande of Aragon, queen of Sicily...For those who wonder after reading these pages how it is possible that the evidence of Yolande's involvement in the story of Joan of Arc has never before been adequately explored, I can only respond that there is no more effective camouflage in history than to have been born a woman.

Yes. Let’s be honest. I’m a privileged white woman who left her kids in a $30,000 minivan watching Dora the Explorer to go in for a Starbucks. Is there any clearer picture of privilege than that? But no matter what color you are, no matter how much money you have, you don’t deserve to be harassed for making a rational parenting choice.” It’s funny, but in all the time that had passed, I had never thought about what was happening in quite those terms—as harassment. When a person intimidates, insults, verbally abuses, or demeans a woman on the street, in the bedroom, at the office, in the classroom, it’s harassment. When a woman is intimidated or insulted or abused because of the way she dresses or her sexual habits or her outspokenness on social media, she is experiencing harassment. But when a mother is intimidated, insulted, abused, or demeaned because of the way she is mothering, we call it concern or, at worst, nosiness. A mother, apparently, cannot be harassed. A mother can only be corrected.

Why do women find it honorable to dismiss ourselves? Why do we decide that denying our longing is the responsible thing to do? Why do we believe that what will thrill and fulfill us will hurt our people? Why do we mistrust ourselves so completely? Here’s why: Because our culture was built upon and benefits from the control of women. The way power justifies controlling a group is by conditioning the masses to believe that the group cannot be trusted. So the campaign to convince us to mistrust women begins early and comes from everywhere. When we are little girls, our families, teachers, and peers insist that our loud voices, bold opinions, and strong feelings are “too much” and unladylike, so we learn to not trust our personalities. Childhood stories promise us that girls who dare to leave the path or explore get attacked by big bad wolves and pricked by deadly spindles, so we learn to not trust our curiosity. The beauty industry convinces us that our thighs, frizz, skin, fingernails, lips, eyelashes, leg hair, and wrinkles are repulsive and must be covered and manipulated, so we learn to not trust the bodies we live in. Diet culture promises us that controlling our appetite is the key to our worthiness, so we learn to not trust our own hunger. Politicians insist that our judgment about our bodies and futures cannot be trusted, so our own reproductive systems must be controlled by lawmakers we don’t know in places we’ve never been. The legal system proves to us again and again that even our own memories and experiences will not be trusted. If twenty women come forward and say, “He did it,” and he says, “No, I didn’t,” they will believe him while discounting and maligning us every damn time. And religion, sweet Jesus. The lesson of Adam and Eve—the first formative story I was told about God and a woman—was this: When a woman wants more, she defies God, betrays her partner, curses her family, and destroys the world. We weren’t born distrusting and fearing ourselves. That was part of our taming. We were taught to believe that who we are in our natural state is bad and dangerous. They convinced us to be afraid of ourselves. So we do not honor our own bodies, curiosity, hunger, judgment, experience, or ambition. Instead, we lock away our true selves. Women who are best at this disappearing act earn the highest praise: She is so selfless.

In the moment all is dear to me, dear that in this logic there is no redemption, the city itself being the highest form of madness and each and every part, organic or inorganic, an expression of this same madness. I feel absurdly and humbly great, not as megalomaniac, but as human spore, as the dead sponge of life swollen to saturation. I no longer look into the eyes of the woman I hold in my arms but I swim through, head and arms and legs, and I see that behind the sockets of the eyes there is a region unexplored, the world of futurity, and here there is no logic whatever, just the still germination of events unbroken by night and day, by yesterday and tomorrow. The eye, accustomed to concentration on points in space, now concentrates on points in time; the eye sees forward and backward at will. The eye which was the I of the self no longer exists; this selfless eye neither reveals nor illuminates. It travels along the line of the horizon, a ceaseless, uninformed voyager. Trying to retain the lost body I grew in logic as the city, a point digit in the anatomy of perfection. I grew beyond my own death, spiritually bright and hard. I was divided into endless yesterdays, endless tomorrows, resting only on the cusp of the event, a wall with many windows, but the house gone. I must shatter the walls and windows, the last shell of the lost body, if I am to rejoin the present. That is why I no longer look into the eyes or through the eyes, but by the legerdemain of will swim through the eyes, head and arms and legs to explore the curve of vision. I see around myself as the mother who bore me once saw round the comers of time. I have broken the wall created by birth and the line of voyage is round and unbroken, even as the navel. No form, no image, no architecture, only concentric flights of sheer madness. I am the arrow of the dream's substantiality. I verify by flight. I nullify by dropping to earth.

Women have always been the most important part of monster movies. As I walked home one night, I realized why. Making my way down dark city streets to my apartment in Brooklyn, I was alert and on edge. I was looking for suspicious figures, men that could be rapists, muggers or killers. I felt like Laurie Strode in Halloween. Horror is a pressure valve for society's fears and worries: monsters seeking to control our bodies, villains trying to assail us in the darkness, disease and terror resulting from the consequences of active sexuality, death. These themes are the staple of horror films. There are people who witness these problems only in scary movies. But for much of the population, what is on the screen is merely an exaggerated version of their everyday lives. These are forces women grapple with daily. Watching Nancy Thompson escape Freddy Krueger's perverted attacks reminds me of how I daily fend off creeps asking me to smile for them on the subway. Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it — in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds. Horror films help explore these fears and imagine what it would be like to conquer them. Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.

Sentimentality about Lee's story grew even as the harder truths of the book took no root. The story of an innocent black man bravely defended by a white lawyer in the 1930s fascinated millions of readers, despite its uncomfortable exploration of false accusations of rape involving a white woman. Lee's endearing characters, Atticus Finch and his precocious daughter, Scout, captivated readers while confronting them with some of the realities of race and justice in the South. A generation of future lawyers grew up hoping to become the courageous Atticus, who at one point arms himself to protect the defenseless black suspect from an angry mob of white men looking to lynch him. Today, dozens of legal organizations hand out awards in the fictional lawyer's name to celebrate the model of advocacy described in Lee's novel. What is often overlooked is that the black man falsely accused in the story was not successfully defended by Atticus. Tom Robinson, the wrongly accused black defendant, is found guilty. Later he dies when, full of despair, he makes a desperate attempt to escape from prison. He is shot seventeen times in the back by his captors, dying ingloriously but not unlawfully.

Psychodynamic theorists and psychologists of various traditions theorise that the sense of having fallen originates in our experience of birth. We are created in the body of woman and grow in the womb where all our needs are automatically met. Then we fall, in birth, into the human world, separated from our maternal Eden, but always remembering a heavenly place where all our needs were met. It should not be a surprise, but we now know that the baby in the womb can see and hear and remember. Any parent who has seen a placenta will know that it is made in the image of a tree, a wondrous tree of life that fed us until we were ready for birth. Is it any surprise that in so many traditions the symbolism of trees is so important? The tree of life is the first thing we see in the womb, we never forget this and psychodynamic theorists argue we yearn for this, all our lives, hoping to escape life’s frustrations by returning to a blissful womb like state. If this is true, is it any wonder that legends of fallen angels so fascinate and entice us? In these legends perhaps we see echoes of our own fall. Psychologically we identify with those with whom we share similar experiences; and the fallen angels can easily become mirrors in which to see ourselves.

Matteo didn't lick a woman's pussy because he felt obligated, or at the very least not mine. I might have argued he enjoyed it more than I did if he wasn't so damn good at it. That talented tongue explored every part of me, thrusting in and out until I whimpered. When he turned his attention to my clit, it was so he could slide a finger inside me. I clenched around him on a cry, feeling the way he moaned in response vibrate through me. He withdrew that finger, only to add a second and curl them to stroke that spot inside me that made me quiver. "Teo," I whimpered, and the sound of his name seemed to push him over the edge. He wrapped his lips around the bundle of nerves at the apex of my thigh, sucking gently. My legs tightened around his head; my hand buried in his hair to hold him exactly where I wanted him as I shattered in a blinding orgasm that stole my ability to function. I laid there, panting and trying to regain my ability to move. When I opened my eyes, it was to Matteo shoving his own underwear down his legs and kicking them off. He pulled his fingers free of me and spread my legs wide from where they'd wrapped around his head. Sliding up my body, his hips lined up with mine so he could grind his length against my wet core. His lips found mine in a bruising, claiming kiss that seemed even more primal because he tasted like me. He reached down, sliding himself through my wet and notching his head at my entrance. Pulling away from my lips, he groaned, "Tell me you're mine." Still recovering from my orgasm, I nodded in a daze. "Words, Angel. Give me the words." "Yours," I murmured, cupping his cheek with a delirious smile and tugging him down to kiss him again. He slid inside me slowly, filling me until there wasn't a single inch that couldn't feel him. "Fuck," he groaned against my mouth. He reached down, wrapping my legs around his hips. Our foreheads pressed together; our mouths not quite touching as he started to move inside me. Even without his lips on mine, I could taste him, taste me in his breath on my face. One of his hands grabbed mine, our fingers intertwining while he wrapped his other under my shoulder to hold me where he wanted me. He slid in and out in slow, hard thrusts.

Woman lost (skin deep) like a damn fine thread in the fire Woman of the world caught up in your black machinations I was a woman who cried alone at night, who gave it all away when she saw the good heart of the man inside Woman caught standing up; her open parts are broken - Someone's armour broke right through, it was you, you For some reason I've been thinking about you, your light Today, you poured out all the tension, the ego underground Hibernating inside my heart. I was so close to it, to the flicker Of love in a lonely street and I turned my head and walked Away from the flame in your arms. As I put away the fun in A house of fight I came across you and a mechanism in My brain shifted chemically, walls caved in like the cadence In your words and I was lost in the darkness. Even now in Middle age I remember when desire was a popular drug And everyone was selling it but I don't live to explore to be Able to illuminate the proof of my existence, live to burn Vicariously though the diamond mouth of sleeping stars. From so much love, pictures of death arrived in black and White photographs and you're perfect, you always were - Illusions have no flaws; they're dangerous beings, smoke. Could I take the moon back and still live with my great Expectations of nostalgia, laughter, tears and suffering - But they are all a part of me not the people of the stars, Long dead videotape, the past has stained the symphony Of my soul (like the wind through the trees) throughout Me finding myself, my two left feet as a female poet The warning was there of the noise of eternity, signs That said, don't anger the sea, you have an ally in her. When men grow cold listen to their stories and bask in The glory of their genuine deaths, their winters, put Them away so you can read them like the newspaper. Once in a while you can go back to where you stood In youth with your afternoon tea, the sun of God in our Eyes - I am that kind of woman who lives in the past

When I was 15 years old, I came in contact with my first ashram, my first spiritual commune, in the form of Ljusbacken ("The Hill of Light") in Delsbo in beautiful Halsingland in the north of Sweden. Ljusbacken consisted of an international gathering of yogis, meditators, therapists, healers and seekers of truth. It was on Ljusbacken that I for the first time came in contact with my path in life: meditation. It was also on Ljusbacken that I meet people for the first time in my 15 year old life, where I on a deep wordless level felt that I meet people, who were on the same path as me. It was the first time that I meet people, who could put words on and confirm my own inner thirst after something that I could only occasionally sense vaguely, like some sort of inner guiding presence, or like a beacon in the distant far out on the open and misty ocean. For the first time in my life, I meet brothers, sisters and friends on the inner path. It was also on Ljusbacken that I meet the mystery called love for the first time in my 15 year old life. With my 15 year old eyes, I watched with wide eyed fascination and fear filled excitement the incomprehensible mystery, which is called woman. My own thirst after truth, together with my inner guiding light, resulted in an early spiritual awakening when I was 15 years old. It led me back to the inner path, which I have already followed for many lives. It led me back to a life lived with vision, with dedication and meaning, and not only a life governed by the endless desires of the ego, a mere vegetating without substance between life and death. It led me to explore the inner journey again, to discover the inner being, the meditative quality within, and to come in intimate contact with the endless and boundless ocean of consciousness, like the drop surrenders to the sea. At the source, the drop and ocean are one.

Why are women so ungenerous to other women? Is it because we have been tokens for so long? Or is there a deeper animosity we owe it to ourselves to explore? A publisher...couldn't understand why women were so loath to help each other.... The notion flitted through my mind that somehow, by helping..., I might be hurting my own chances for something or other -- what I did not know. If there was room for only one woman poet, another space would be filled.... If I still feel I am in competition with other women, how do less well-known women feel? Terrible, I have to assume. I have had to train myself to pay as much attention to women at parties as to men.... I have had to force myself not to be dismissive of other women's creativity. We have been semi-slaves for so long (as Doris Lessing says) that we must cultivate freedom within ourselves. It doesn't come naturally. Not yet. In her writing about the drama of childhood developments, Alice Miller has created, among other things, a theory of freedom. in order to embrace freedom, a child must be sufficiently nurtured, sufficiently loved. Security and abundance are the grounds for freedom. She shows how abusive child-rearing is communicated from one generation to the next and how fascism profits from generations of abused children. Women have been abused for centuries, so it should surprise no one that we are so good at abusing each other. Until we learn how to stop doing that, we cannot make our revolution stick. Many women are damaged in childhood -- unprotected, unrespected, and treated with dishonesty. Is it any wonder that we build up vast defences against other women since the perpetrators of childhood abuse have so often been women? Is it any wonder that we return intimidation with intimidation, or that we reserve our greatest fury for others who remind us of our own weaknesses -- namely other women? Men, on the other hand, however intellectually condescending, clubbish, loutishly lewd, are rarely as calculatingly cruel as women. They tend, rather, to advance us when we are young and cute (and look like darling daughters) and ignore us when we are older and more sure of our opinions (and look like scary mothers), but they don't really know what they're doing. They are too busy bonding with other men, and creating male pecking orders, to pay attention to us. If we were skilled at compromise and alliance-building, we could transform society. The trouble is: we are not yet good at this. We are still quarrelling among ourselves. This is the crisis feminism faces today.

He toyed with her ear, catching the rim delicately between his teeth. “I’ll admit it wouldn’t be easy, being married to a Romany male. We’re possessive. Jealous. We prefer our wives never to touch another man. Nor would you have the right to refuse me your bed.” His lips covered hers in a molten kiss, his tongue exploring deeply. “But then,” he said, lifting his mouth, “you wouldn’t want to.” Another long, lazy kiss, and then Cam said against her mouth, “You’ll wear the look of a well-loved woman, monisha.” Amelia was forced to hold on to him for balance. “You would leave me, eventually.” “I swear to you, I wouldn’t. I’ve finally found my atchen tan.” “Your what?” “Stopping place.” “I didn’t know Romas had stopping places.” “Not all. Apparently I’m one of the few who do.” Shaking his head, Cam added in a disgruntled tone, “My back is sore after sleeping on the ground all night. My gadjo half has finally gotten the better of me.” Amelia ducked her head and pressed a shaky smile against the cool smoothness of his jerkin. “This is lunacy,” she muttered. Cam held her closer. “Marry me, Amelia. You’re what I want. You’re my fate.” One hand slid to the back of her head, gripping the braids and ribbons to keep her mouth upturned. “Say yes.” He nibbled at her lips, licked at them, opened them. He kissed her until she writhed in his arms, her pulse racing. “Say it, Amelia, and save me from ever having to spend a night with another woman. I’ll sleep indoors. I’ll get a haircut. God help me, I think I’d even carry a pocket watch if it pleased you.

It is now time to face the fact that English is a crazy language — the most loopy and wiggy of all tongues. In what other language do people drive in a parkway and park in a driveway? In what other language do people play at a recital and recite at a play? Why does night fall but never break and day break but never fall? Why is it that when we transport something by car, it’s called a shipment, but when we transport something by ship, it’s called cargo? Why does a man get a hernia and a woman a hysterectomy? Why do we pack suits in a garment bag and garments in a suitcase? Why do privates eat in the general mess and generals eat in the private mess? Why do we call it newsprint when it contains no printing but when we put print on it, we call it a newspaper? Why are people who ride motorcycles called bikers and people who ride bikes called cyclists? Why — in our crazy language — can your nose run and your feet smell?Language is like the air we breathe. It’s invisible, inescapable, indispensable, and we take it for granted. But, when we take the time to step back and listen to the sounds that escape from the holes in people’s faces and to explore the paradoxes and vagaries of English, we find that hot dogs can be cold, darkrooms can be lit, homework can be done in school, nightmares can take place in broad daylight while morning sickness and daydreaming can take place at night, tomboys are girls and midwives can be men, hours — especially happy hours and rush hours — often last longer than sixty minutes, quicksand works very slowly, boxing rings are square, silverware and glasses can be made of plastic and tablecloths of paper, most telephones are dialed by being punched (or pushed?), and most bathrooms don’t have any baths in them. In fact, a dog can go to the bathroom under a tree —no bath, no room; it’s still going to the bathroom. And doesn’t it seem a little bizarre that we go to the bathroom in order to go to the bathroom? Why is it that a woman can man a station but a man can’t woman one, that a man can father a movement but a woman can’t mother one, and that a king rules a kingdom but a queen doesn’t rule a queendom? How did all those Renaissance men reproduce when there don’t seem to have been any Renaissance women? Sometimes you have to believe that all English speakers should be committed to an asylum for the verbally insane: In what other language do they call the third hand on the clock the second hand? Why do they call them apartments when they’re all together? Why do we call them buildings, when they’re already built? Why it is called a TV set when you get only one? Why is phonetic not spelled phonetically? Why is it so hard to remember how to spell mnemonic? Why doesn’t onomatopoeia sound like what it is? Why is the word abbreviation so long? Why is diminutive so undiminutive? Why does the word monosyllabic consist of five syllables? Why is there no synonym for synonym or thesaurus? And why, pray tell, does lisp have an s in it? If adults commit adultery, do infants commit infantry? If olive oil is made from olives, what do they make baby oil from? If a vegetarian eats vegetables, what does a humanitarian consume? If pro and con are opposites, is congress the opposite of progress? ...

Trump was hardly in office when Democrats and their media allies began tarring him and his top aides as “white nationalists.” There were no facts to support the charge, only innuendo, and tortured interpretations of the word “nationalism” and of presidential rhetoric. One of the worst examples was the Charlottesville, Virginia, historical monument controversy. In that city, leftist protesters demanded the removal of “Confederate” monuments and memorials. The term “Confederate” in their usage extended even to statues of Thomas Jefferson and explorers Lewis and Clark (for being “white colonists”). This sparked a protest by conservatives who objected to the statue removals—not because they were racists, but because they didn’t want to see the removal of these reminders of America’s history. A “Unite the Right” rally was planned for August 11–12, 2017, to protest the removal of a statue of Robert E. Lee. Unfortunately, the rally attracted extremist groups, including neo-Confederates, neo-Nazis, and the KKK. During the rally, a white supremacist drove his car into a crowd of leftist protestors, killing a woman. In response, Trump made a series of statements condemning the Klan, neo-Nazis, white supremacists, and racism in general. In one of those speeches, he added, “You also had some very fine people on both sides.”115 Even though he had just condemned racism in his previous breath, many Democrats and pundits condemned Trump for calling racists “fine people.” This was not only absurd but dishonest. The “fine people on both sides” to whom he referred were those who wanted to remove the statues because they were reminders of slavery and those who wanted to preserve the statues because they were reminders of history. Trump never praised racists as “fine people”—he condemned them in no uncertain terms. But to the

Yes, in the very beginning of her life the girl-child is full of herself. Her days are meaningful and unfold according to a deep wisdom that resides within her. It faithfully orchestrates her movements from crawling to walking to running, her sounds from garbles to single words to sentences, and her knowing of the world through her sensual connection to it. Her purpose is clear: to live fully in the abundance of her life. With courage, she explores her world. Her ordinary life is interesting enough. Every experience is filled with wonder and awe. It is enough to listen to the rain dance and count the peas on her plate. Ordinary life is her teacher, challenge, and delight. She says a big YES to Life as it pulsates through her body. With excitement, she explores her body. She is unafraid of channeling strong feelings through her. She feels her joy, sadness, anger, and fear. She is pregnant with her own life. She is content to be alone. She touches the depths of her uniqueness. She loves her mind. She expresses her feelings. She likes herself when she looks in the mirror. She trusts her vision of the world and expresses it. With wonder and delight, she paints a picture, creates a dance, and makes up a song. To give expression to what she sees is as natural as her breathing. And when challenged, she is not lost for words. She has a vocabulary to speak about her experience. She speaks from her heart. She voices her truth. She has no fear, no sense that to do it her way is wrong or dangerous. She is a warrior. It takes no effort for her to summon up her courage, to arouse her spirit. With her courage, she solves problems. She is capable of carrying out any task that confronts her. She has everything she needs within the grasp of her mind and imagination. With her spirit, she changes what doesn’t work for her. She says “I don’t like that person” when she doesn’t, and “I like that person” when she does. She says no when she doesn’t want to be hugged. She takes care of herself.