Flowing Dress Quotes

I wanted to give a woman comfortable clothes that would flow with her body. A woman is closest to being naked when she is well-dressed.

Radar revs the engine as to say hustle, and we are running through the parking lot, Ben's robe flowing in the wind so that he looks vaguely like a dark wizard, except that his pale skinny legs are visible, and his arms hug plastic bags. I can see the back of Lacey's legs beneath her dress, her calves tight in midstride. I don't know how I look, but I know how I feel: Young. Goofy. Infinite.

If one has failed to develop curiosity and interest in the early years, it is a good idea to acquire them now, before it is too late to improve the quality of life. To do so is fairly easy in principle, but more difficult in practice. Yet it is sure worth trying. The first step is to develop the habit of doing whatever needs to be done with concentrated attention, with skill rather than inertia. Even the most routine tasks, like washing dishes, dressing, or mowing the lawn become more rewarding if we approach them with the care it would take to make a work of art. The next step is to transfer some psychic energy each day from tasks that we don’t like doing, or from passive leisure, into something we never did before, or something we enjoy doing but don’t do often enough because it seems too much trouble. There are literally millions of potentially interesting things in the world to see, to do, to learn about. But they don’t become actually interesting until we devote attention to them.

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

Eric appeared to be counting my eyelashes. I tried to keep my gaze on my hands, to indicate modesty. I felt power tweaks kind of flow over me and had an uneasy feeling Eric was trying to influence me. I risked a quick peek, and sure enough he was looking at me expectantly. Was I supposed to pull off my dress? Bark like a dog? Kick Bill in the shins? Shit.

Charred bits of black silk swirl into the air, and pearls clatter to the stage… I’m in a dress of the exact design of my wedding dress, only it’s the color of coal and made of tiny feathers. Wonderingly, I lift my long, flowing sleeves into the air, and that’s when I see myself on the television screen. Clothed in black except for the white patches on my sleeves. Or should I say my wings. Because Cinna had turned me into a mockingjay.

Towards midnight the rain ceased and the clouds drifted away, so that the sky was scattered once more with the incredible lamps of stars. Then the breeze died too and there was no noise save the drip and tickle of water that ran out of clefts and spilled down, leaf by leaf, to the brown earth of the island. The air was cool, moist, and clear; and presently even the sound of the water was still. The beast lay huddled on the pale beach and the stains spread, inch by inch. The edge of the lagoon became a streak of phosphorescence which advanced minutely, as the great wave of the tide flowed. The clear water mirrored the clear sky and the angular bright constellations. The line of phosphorescence bulged about the sand grains and little pebbles; it held them each in a dimple of tension, then suddenly accepted them with an inaudible syllable and moved on. Along the shoreward edge of the shallows the advancing clearness was full of strange, moonbeam-bodied creatures with fiery eyes. Here and there a larger pebble clung to its own air and was covered with a coat of pearls. The tide swelled in over the rain-pitted sand and smoothed everything with a layer of silver. Now it touched the first of the stains that seeped from the broken body and the creatures made a moving patch of light as they gathered at the edge. The water rose further and dressed Simon's coarse hair with brightness. The line of his cheek silvered and the turn of his shoulder became sculptured marble. The strange, attendant creatures, with their fiery eyes and trailing vapours busied themselves round his head. The body lifted a fraction of an inch from the sand and a bubble of air escaped from the mouth with a wet plop. Then it turned gently in the water. Somewhere over the darkened curve of the world the sun and moon were pulling; and the film of water on the earth planet was held, bulging slightly on one side while the solid core turned. The great wave of the tide moved further along the island and the water lifted. Softly, surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, Simon's dead body moved out towards the open sea.

I can't wear this,” she said from inside the dressing room. “It's too small.” “Let's see,” Nick said. “Come on out.” “Get me a bigger size. A lot bigger.” Nick opened the door and looked in at Kate. “Whoa,” he said on a gush of air. His pupils dilated to the point where his brown eyes were almost totally black, and Kate decided the dress must look better than she'd first thought. “Well?” she asked. “I think I'm in love,” Nick said. “But then my brain isn't completely engaged right now. That's not where the blood is flowing.” “Too much information” Kate said. “It would have been enough to tell me I look okay.” “Honey you look a lot better than okay.” “You don't think I look slutty?” “Not at these prices,” Nick said.

I see. And who is this author?” “Neil Fucking Gaiman.” “His second name is Fucking?” “No, Leif, that’s the honorary second name all celebrities are given by their fans. It’s not an insult, it’s a huge compliment, and he’s earned it. You’d like him. He dresses all in black like you. Read a couple of his books, and then when you meet him, you’ll squee too.” Leif found the suggestion distasteful. “I would never behave with so little dignity. Nor would I wish to be confronted in such a manner by anyone else. Vampires inspire screams, not squees. Involuntary urination is common, I grant, but it properly flows from a sense of terror, not an ecstatic sense of hero worship.

...all movement stops and I walk in the timeless sadness of existence, tenderness flowing thru the buildings, my fingertips touching reality's face, my own face streaked with tears in the mirror of some window - at dusk - where I have no desire - for bonbons - or to own the dresses or Japanese lampshades of intellection -

A SWEET disorder in the dress Kindles in clothes a wantonness : A lawn about the shoulders thrown Into a fine distraction : An erring lace which here and there Enthrals the crimson stomacher : A cuff neglectful, and thereby Ribbons to flow confusedly : A winning wave (deserving note) In the tempestuous petticoat : A careless shoe-string, in whose tie I see a wild civility : Do more bewitch me than when art Is too precise in every part.

When I meet a pretty girl and beg her: "Be so good as to come with me," and she walks past without a word, this is what she means to say: "You are no Duke with a famous name, no broad American with Red Indian figure, level, brooding eyes and a skin tempered by the air of the prairies and the rivers that flow through them, you have never journeyed to the seven seas and voyaged on them wherever they may be, I don't know where. So why, pray, should a pretty girl like myself go with you?" "You forget that no automobile swings you through the street in long thrusts; I see no gentlemen escorting you in a close half-circle, pressing on your skirts from behind and murmuring blessings on your head; your breasts are well laced into your bodice, but your thighs and hips make up for that restraint; you are wearing a taffeta dress with a pleated skirt such as delighted all of us last autumn, and yet you smile-inviting mortal danger-from time to time." "Yes, we're both in the right, and to keep us from being irrevocably aware of it, hadn't we better just go our separate ways home?

She wove golden rays of sunshine, Into a long and flowing dress, That left the scent on everything she touched, Of nature's sweet caress, Everywhere the girl did go, The flowers would all bloom, And she could chase the lonely feeling, Out of every room, She could drive out all your sadness, And cause a frozen heart to thaw, She's paint the sky pink every morning, But nobody ever saw, No one thought to thank her, For the warmth upon their skin, Or for chasing all their demons, From where the night-time's breath had been, So she thought she wasn't needed, She could leave and they'd not care, But they'd taken her for granted, Since her light was always there, Because you never thank the ground, Until you know how it feels to fall, Or just how much you need the sun, Until it doesn't rise at all.

Would the Lord have dressed the flowers with a beauty that runs freely to meet our eyes if it were wrong to be moved by such beauty? Would He have endowed them with so sweet a fragrance that flows freely into our nostrils if it were wrong to be moved by the pleasantness of such fragrance?

It wasn't a wedding a small girl dreams of - the white lace dress and a flowing veil. There were no bridesmaids or a symphony orchestra or long trails of white roses. But what does a small girl know of real love?

The Roses of Saadi I wanted you to have roses this morn, And stuffed a lot of them in my snug dress, In my tight belt I could not all shoehorn. The knots gave way, and threw them all around, To wind and sea they were all gone forlorn To flow with water, never will come round. The waves were crimson red as if on fire. This eve my dress is drenched in their fragrance, Breathe it and keep it to your heart's desire.

Finding the Father My friend, this body offers to carry us for nothing– as the ocean carries logs. So on some days the body wails with its great energy; it smashes up the boulders, lifting small crabs, that flow around the sides. Someone knocks on the door. We do not have time to dress. He wants us to go with him through the blowing and rainy streets, to the dark house. We will go there, the body says, and there find the father whom we have never met, who wandered out in a snowstorm the night we were born, and who then lost his memory, and has lived since longing for his child, whom he saw only once… while he worked as a shoemaker, as a cattle herder in Australia, as a restaurant cook who painted at night. When you light the lamp you will see him. He sits there behind the door… the eyebrows so heavy, the forehead so light… lonely in his whole body, waiting for you.

Wren, in her sleeping robe, standing close to a tall wolf demon, her head craned back to face him. The wolf: Moon caste, marbled ash-gray fur flowing silkily over angular features, a diamond-shaped patch of white on his long, muzzlelike jaw. He’s dressed in soldier’s clothes. One pawed hand is lifted to cup Wren’s face, like the beginning of a kiss.

What I really devoured . . . was the truculence of my hosts' language: the syntax may have been brutally sloppy, but it was oh so warm in its juvenile authenticity. I feasted on their words, yes, the words flowing at that get-together of country brothers, the sort of words that, at times, delight one much more than the pleasures of the flesh. Words: repositories for singular realities which they transform into moments in an anthology, magicians that change the face of reality by adorning it with the right to become memorable, to be placed in a library of memories. Life exists only by virtue of the osmosis of words and facts, where the former encase the latter in ceremonial dress.

He was looking at Mr. Nancy, an old black man with a pencil moustache, in his check sports jacket and his lemon yellow gloves, riding a carousel lion as it rose and lowered, high in the air; and, at the same time, in the same place, he saw a jeweled spider as high as a horse, its eyes an emerald nebula, strutting, staring down at him; and simultaneously he was looking at an extraordinarily tall man with teak colored skin and three sets of arms, wearing a flowing ostrich-feather headdress, his face painted with red stripes, riding an irritated golden lion, two of his six hands holding on tightly to the beast’s mane; and he was also seeing a young black boy, dressed in rags, his left foot all swollen and crawling with black flies; and last of all, and behind all these things, Shadow was looking at a tiny brown spider, hiding under a withered ochre leaf. Shadow saw all these things, and he knew they were the same thing.

One night, a couple of weeks before school started--they must have though I was asleep--Nilda started telling Rafa about her plans for the future. I think even she knew what was about to happen. Listening to her imagining herself was about the saddest thing you ever heard. How she wanted to get away from her moms and open up a group home for runaway kids. But this one would be real cool, she said. It would be for normal kids who just got problems. She must have loved him because she went on and on. Plenty of people talk about having a flow, but that night I really heard one, something that was unbroken, that fought itself and worked together all at once. Rafa didn't say nothing. Maybe he had his hands in her hair or maybe he was just like, fuck you. When she finished, he didn't even say wow. I wanted to kill myself with embarrassment. About a half hour later she got up and dressed. She couldn't see me or she would have known that I thought she was beautiful. She stepped into her pants and pulled them up in one motion, sucked in her stomach while she buttoned them. I'll see you later, she said. Yeah, he said.

Before the house-maid had lit the fire the next day, or the sun gained any power over the cold, gloomy morning in January, Marianne, only half dressed, was kneeling against one of the window-seats for the sake of all the little light she could command from it, and writing as fast as a continual flow of tears would permit her.

All Souls’ Eve, when the spirits of the dead will come back to the living, dressed as ballerinas and Coke bottles and spacemen and Mickey Mice, and the living will give them candy to keep them from turning vicious. I can still taste that festival: the tart air, caramel in the mouth, the hope at the door, the belief in something for nothing all children take for granted. They won’t get homemade popcorn balls any more, though, or apples: rumors of razor blades abound, and the possibility of poison. Even by the time of my own children, we worried about the apples. There’s too much loose malice blowing around. In Mexico they do this festival the right way, with no disguises. Bright candy skulls, family picnics on the graves, a plate set for each individual guest, a candle for the soul. Everyone goes away happy, including the dead. We’ve rejected that easy flow between dimensions: we want the dead unmentionable, we refuse to name them, we refuse to feed them. Our dead as a result are thinner, grayer, harder to hear, and hungrier.

She was wearing her best dress, a ball gown made of iridescent shot silk, which appeared silver from one angle, and lavender from another. The front was simple in design, with a smooth, tight-fitting bodice and a low scooped neckline. A web of intricate tucks in the back flowed into a cascade of silk that fluttered and shimmered whenever she moved.

Gary tried not to notice how pale Savannah was as she fixed him a pot of coffee.Her satin skin was almost translucent.He was groggy from the trance-induced sleep and had a hard time waking up, even after a long shower. He had no idea where the change of clothes had come from,but they were lying on the end of the bed when he awakened. Savannah was beautiful, moving through the house like flowing water, like music in the air.She was dressed in faded blue jeans and a pale turquoise shirt that clung to her curves and emphasized her narrow rib cage and small waist.Her long hair was pulled back in a thick braid that hung below her bottom.Gary tried to keep his eyes to himself.He hadn't seen any evidence of Gregori this evening,but he didn't want to take any chances.He had a feeling the one thing that could change that remote expression fast was to have another man ogling Savannah.

The quavering, sensual voice of Elvis Presley is coming from the juke-box in lonesome, sad, sustained, orgasmic moans: The bell-hop’s tears keep flowing The desk clerk’s dressed in black. …

Wake up in the morning with a specific goal to look forward to. Creative individuals don’t have to be dragged out of bed; they are eager to start the day. This is not because they are cheerful, enthusiastic types. Nor do they necessarily have something exciting to do. But they believe that there is something meaningful to accomplish each day, and they can’t wait to get started on it. Most of us don’t feel our actions are that meaningful. Yet everyone can discover at least one thing every day that is worth waking up for. It could be meeting a certain person, shopping for a special item, potting a plant, cleaning the office desk, writing a letter, trying on a new dress. It is easier if each night before falling asleep, you review the next day and choose a particular task that, compared to the rest of the day, should be relatively interesting and exciting. Then next morning, open your eyes and visualize the chosen event—play it out briefly in your mind, like an inner videotape, until you can hardly wait to get dressed and get going. It does not matter if at first the goals are trivial and not that interesting. The important thing is to take the easy first steps until you master the habit, and then slowly work up to more complex goals. Eventually most of the day should consist of tasks you look forward to, until you feel that getting up in the morning is a privilege, not a chore.

Kya stood and walked into the night, into the creamy light of a three-quarter moon. The marsh’s soft air fell silklike around her shoulders. The moonlight chose an unexpected path through the pines, laying shadows about in rhymes. She strolled like a sleepwalker as the moon pulled herself naked from the waters and climbed limb by limb through the oaks. The slick mud of the lagoon shore glowed in the intense light, and hundreds of fireflies dotted the woods. Wearing a secondhand white dress with a flowing skirt and waving her arms slowly about, Kya waltzed to the music of katydids and leopard frogs.

The entire room turns and stares. There’s no doubt what they see—ripped jeans, a black T-shirt, tattoos and earrings. I don’t care what they see. All I care about is what she sees: a person unwelcomed or the guy she loves. A tear flows down her face, and the hand wrapped at her waist tells me she’s paralyzed. In a long gold ball gown that’s more skirt than dress, Rachel is truly the angel I believe her to be. A man in a tuxedo stands. “Son, I think you have the wrong room.” “No. I don’t.” I stride between the tables, keeping my eyes locked with hers. The closer I get, the more she straightens. Her hand falls from her stomach, and the tear clears from her face. Rachel gazes at me as if I’m a dream. I extend my hand, palm out. “I need help.” Her blue eyes lose their glaze, and the hue of violet I love so much returns. “So do I.”

The lace flowed in a V down the bodice to mirror the cut of the back of the dress. I looked like someone else in it, someone older and wiser. Someone with a pure heart that held no secrets. Someone … not like me.

What did those people teach you?" he asked me one night, mystified. "What exactly do Catholics believe?" I'd been preparing my whole life for this question. "First of all, blood. BLOOD. Second of all, thorns. Third of all, put dirt on your forehead. Do it right now. Fourth of all, Martin Luther was a pig in a cloak. Fifth of all, Jesus is alive, but he's also dead, and he's also immortal, but he's also made of clouds, and his face is a picture of infinite peace, but he also always looks like one of those men in a headache commercial, because you'rec causing him so much suffering whenever you cuss. He is so gentle that sheep seem like demented murderers in his presence, but also rays of sunlight shoot out of his face so hard they can kill people. In fact, they do kill people, and one day they will kill you. He has a tattoo of a daisy on his lower back and he gets his hair permed every eight weeks. He's wearing a flowing white dress, but only because people didn't know about jeans back then. He's holding up two fingers because his dad won't let him have a gun. If he lived on earth, he would have a white truck, plastered with bumper stickers of Calvin peeing on a smaller Calvin who is not a Catholic." Jason was aghast. "Thorns?" he whispered. "But that's the most dangerous part of the rose.

Mexico is a lawless place. I don’t care what the UN says, or what the State Department travel advisories tell you. The fact is that Mexico, as a whole, is a narco-state run by powerful regional cartels, with a hollow and largely irrelevant central government that is nothing more than window-dressing to appease the international community. Freedom is for those who can afford it, law is for sale, and what is fair is determined by who is most powerful. That’s the reality of Mexico. Cancun, Playa, Cabo, Puerto Vallarta- they are all much better than the interior of Mexico, but that is only because their survival depends on a steady flow of tourists with money to burn. To protect that, the government does a good job maintaining the appearance of western-style law and order through the direct threat of massive military intervention. Underneath it all, those places are not much different from the rest of Mexico.

Indian Creek, in its whole length, flows through a magnificent forest. There dwells on its shore a tribe of Indians, a remnant of the Chickasaws or Chickopees, if I remember rightly. They live in simple huts, ten or twelve feet square, constructed of pine poles and covered with bark. They subsist principally on the flesh of the deer, the coon, and opossum, all of which are plenty in these woods. Sometimes they exchange venison for a little corn and whisky with the planters on the bayous. Their usual dress is buckskin breeches and calico hunting shirts of fantastic colors, buttoned from belt to chin. They wear brass rings on their wrists, and in their ears and noses. The dress of the squaws is very similar.

She had no criticism of his dress, which was bagged at the knees, dropping at the lapels, rucked around the buttons, while she-although she wore a flowing white cotton-appeared (she knew it and wished it was not so) as starched and pressed as a Baptist in a riding habit. They were different, and yet not ill matched. They had both grown used to the attentions that are the eccentric’s lot-the covert glances, smiles, whispers, worse. Lucinda was accustomed to looking at no one in the street. It was an out-of-focus town of men with seas of bobbing hats. But on this night she felt the streets accept them. She thought: When we are two, they do not notice us. They think us a match. What wisdom does a mob have? It is a hydra, an organism, stupid or dangerous in much of its behaviour, but could it have, in spite of this, a proper judgement about which of its component parts fit best together? They pushed past bold-eyed young women with too many ribbons and jewels, past tight-laced maidens and complacent merchants with their bellies pushing so forcefully against their waistcoats that their shirts showed above their trousers. Lucinda was happy. Her arm rested on Oscar’s arm. She thought: Anyone can see I have been crying. She thought: I have pink eyes like a dormouse. But she did not really care.

Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.

It was raining hard the evening Holly died. One of those summer rains that seem to come from nowhere and catch all but the most compulsively weather-conscious off guard. She was beautiful, Holly, and much too good for me by a long stretch. Big soulful eyes. A beautiful face framed in a flowing mane of brunette hair that would lift along the edges at the slightest breeze. Full soft lips that conveyed warmth and sunshine when she smiled, and tender sensuality when they brushed across mine in the quiet darkness of our bedroom. It is no exaggeration to say that I worshiped the ground my wife walked on — perhaps less secretly than would have been wise had it been any woman but Holly. For whatever reason, she adored me, and ours was a mutual admiration society. She thought me the finest man who’d ever walked this earth, and could not imagine going through life with anyone other than me. I thought the world a better place for her being in it, and each time she rose from our tangled sheets to dress in the morning, I was certain birds began to sing songs of joy simply because she was awake.

III. I take my love to Manita. Swift-boned, green- eyed, dressed in her dark skin and hair, I take my Love in on fire. Manita moans. Manita's hands flow delicate as insects, agile as fish, cool as the shifting water, the night- quiet lake. I take my Love to her hand on fire. She takes my love.

The curtain rises. A vista opens across the lake. The moon hangs low above the horizon and is reflected in the water. NINA, dressed in white, is seen seated on a great rock. NINA. All men and beasts, lions, eagles, and quails, horned stags, geese, spiders, silent fish that inhabit the waves, starfish from the sea, and creatures invisible to the eye—in one word, life—all, all life, completing the dreary round imposed upon it, has died out at last. A thousand years have passed since the earth last bore a living creature on her breast, and the unhappy moon now lights her lamp in vain. No longer are the cries of storks heard in the meadows, or the drone of beetles in the groves of limes. All is cold, cold. All is void, void, void. All is terrible, terrible—[A pause] The bodies of all living creatures have dropped to dust, and eternal matter has transformed them into stones and water and clouds; but their spirits have flowed together into one, and that great world-soul am I! In me is the spirit of the great Alexander, the spirit of Napoleon, of Caesar, of Shakespeare, and of the tiniest leech that swims. In me the consciousness of man has joined hands with the instinct of the animal; I understand all, all, all, and each life lives again in me.

She stood, her strappy, loose dress flowing around her legs as she walked by me. She had red marks on her knees and thighs where she’d crossed her legs. I was tempted to reach out and smooth away that redness until it was white again. To tuck the strands of her hair that’d come loose back where they were supposed to go.

THE STAGE: The stage is empty, and you watch as the figure of Medusa steps into the gas-light. Her body is dressed in a crimson traversed by the golden branches of willow trees, colour and light held into shape by sharp black borders. Lifting languidly her hands, she reaches towards you. Her emerald vipers, in the cohesive movements of unseen mechanisms, weave loops about her head. Music is beginning, and from the shadows off-stage the narrator speaks. “Medusa had a beautiful name and a lovely voice, though no one cared to listen; seeking only the gaze of those famous eyes.” Perseus walks onto the stage, cloaked as though he were the blazing sun. Now what you have to understand is his voice – it is like nothing you could tie down. It feels peaceful to hear it, to see him flow into the song with his fine, clear looks and his finer, clearer voice. Is the head quite forgotten? Not quite but the horror exists alongside the beauty and they flow like twin rivers, and neither is able to wash the other from you.

It is like oil. Like molasses, slow at first.Then one morning I woke up and it was flowing free and fast. I thought I would drown in it. I thought it would drown little you and Susan. I got up, got dressed and went out onto the road and tried to jump in front of a bus. I thought it would be a final thing, quick like a bang. Only , it wasn't.

Don’t know if I should be pleased or worried,” Alis said the next night as she slid the golden underdress over my upraised arms, then tugged it down. I smiled a bit, marveling at the intricate metallic lace that clung to my arms and torso like a second skin before falling loosely to the rug. “It’s just a dress,” I said, lifting my arms again as she brought over the gossamer turquoise overgown. It was sheer enough to see the gleaming gold mesh beneath, and light and airy and full of movement, as if it flowed on an invisible current. Alis just chuckled to herself and guided me over to the vanity to work on my hair. I didn’t have the courage to look at the mirror as she fussed over me. “Does this mean you’ll be wearing gowns from now on?” she asked, separating sections of my hair for whatever wonders she was doing to it. “No,” I said quickly. “I mean—I’ll be wearing my usual clothes during the day, but I thought it might be nice to … try it out, at least for tonight.” “I see. Good that you aren’t losing your common sense entirely, then.

I'm in a dress of the exact design of my wedding dress, only it's the color of coal and made of tiny feathers. Wonderingly, I lift my long, flowing sleeves into the air, and that's when I see myself on the television screen. Clothed in black except for the white patches on my sleeves. Or should I say my wings. Because Cinna has turned me into a mockingjay.

As Blake leaned down to accept her hug she whispered, “Remember when you and Livia tried to hog the spotlight at my wedding? Just when you and Livia get to the good part, Cole and I are going to have porno sex right there.”She and John took one small step at a time. She was obviously much more concerned about tripping than Kyle had been. During her descent, Blake just looked. Her white gown fit her frame perfectly, and the strapless dress revealed the gentle, tempting curves of her shoulders. Her bouquet contained the paper-napkin roses he’d made for her, combined with baby’s breath. A flowing train cascaded down the stairs behind Livia, and an even longer veil billowed in the gentle breeze like a blown wish.

He loved her. It was dead simple, the way he loved her. Seamless. His love was like a wall that he'd built around her, and there wasn't a chink or flaw in it. Or so he thought. But then she started to float out of the real world, his world, and he was like a little boy trying to dam a stream with stones and mud, knowing that the water would always break through at a place he wasn't looking at. There was nothing desperate about the way he did it, though. He was always calm, it seemed. Expecting the worst and determined not to crack. She started to get up in the night and turn on all the taps, and he would get up too and stand quietly beside her watching the endless flow of water as if he found it as fascinating as she did. Then he'd guide her back to bed before turning the taps off. One night I heard something and went into the living room and saw the two of them standing out on the balcony. He'd wrapped his dressing gown around her, and I heard him say, "Yes, you are right, Marijke. The traffic is like a river of stars. Would you like to watch is some more, or go back to bed?

A BRAVE AND STARTLING TRUTH We, this people, on a small and lonely planet Traveling through casual space Past aloof stars, across the way of indifferent suns To a destination where all signs tell us It is possible and imperative that we learn A brave and startling truth And when we come to it To the day of peacemaking When we release our fingers From fists of hostility And allow the pure air to cool our palms When we come to it When the curtain falls on the minstrel show of hate And faces sooted with scorn are scrubbed clean When battlefields and coliseum No longer rake our unique and particular sons and daughters Up with the bruised and bloody grass To lie in identical plots in foreign soil When the rapacious storming of the churches The screaming racket in the temples have ceased When the pennants are waving gaily When the banners of the world tremble Stoutly in the good, clean breeze When we come to it When we let the rifles fall from our shoulders And children dress their dolls in flags of truce When land mines of death have been removed And the aged can walk into evenings of peace When religious ritual is not perfumed By the incense of burning flesh And childhood dreams are not kicked awake By nightmares of abuse When we come to it Then we will confess that not the Pyramids With their stones set in mysterious perfection Nor the Gardens of Babylon Hanging as eternal beauty In our collective memory Not the Grand Canyon Kindled into delicious color By Western sunsets Nor the Danube, flowing its blue soul into Europe Not the sacred peak of Mount Fuji Stretching to the Rising Sun Neither Father Amazon nor Mother Mississippi who, without favor, Nurture all creatures in the depths and on the shores These are not the only wonders of the world When we come to it We, this people, on this minuscule and kithless globe Who reach daily for the bomb, the blade and the dagger Yet who petition in the dark for tokens of peace We, this people on this mote of matter In whose mouths abide cankerous words Which challenge our very existence Yet out of those same mouths Come songs of such exquisite sweetness That the heart falters in its labor And the body is quieted into awe We, this people, on this small and drifting planet Whose hands can strike with such abandon That in a twinkling, life is sapped from the living Yet those same hands can touch with such healing, irresistible tenderness That the haughty neck is happy to bow And the proud back is glad to bend Out of such chaos, of such contradiction We learn that we are neither devils nor divines When we come to it We, this people, on this wayward, floating body Created on this earth, of this earth Have the power to fashion for this earth A climate where every man and every woman Can live freely without sanctimonious piety Without crippling fear When we come to it We must confess that we are the possible We are the miraculous, the true wonder of this world That is when, and only when We come to it.

The Winding Stair My Soul. I summon to the winding ancient stair; Set all your mind upon the steep ascent, Upon the broken, crumbling battlement, Upon the breathless starlit air, 'Upon the star that marks the hidden pole; Fix every wandering thought upon That quarter where all thought is done: Who can distinguish darkness from the soul My Self. The consecretes blade upon my knees Is Sato's ancient blade, still as it was, Still razor-keen, still like a looking-glass Unspotted by the centuries; That flowering, silken, old embroidery, torn From some court-lady's dress and round The wodden scabbard bound and wound Can, tattered, still protect, faded adorn My Soul. Why should the imagination of a man Long past his prime remember things that are Emblematical of love and war? Think of ancestral night that can, If but imagination scorn the earth And intellect is wandering To this and that and t'other thing, Deliver from the crime of death and birth. My Self. Montashigi, third of his family, fashioned it Five hundred years ago, about it lie Flowers from I know not what embroidery - Heart's purple - and all these I set For emblems of the day against the tower Emblematical of the night, And claim as by a soldier's right A charter to commit the crime once more. My Soul. Such fullness in that quarter overflows And falls into the basin of the mind That man is stricken deaf and dumb and blind, For intellect no longer knows Is from the Ought, or knower from the Known - That is to say, ascends to Heaven; Only the dead can be forgiven; But when I think of that my tongue's a stone. II My Self. A living man is blind and drinks his drop. What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies? - How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest

She finished and we moved on to dresses. Deep reds, icy blues, minty greens, neutrals of all kinds, and even a few metallic shades. An overwhelming set of options that Heather quickly halved by shoving one of the racks at random into the hallway. In the end, we chose a soft pink two-piece. The top was lace with sweetheart bodice, the skirt had a high waist with more lace, and it flowed down to my ankles.

It had only two points of egress, the door to the hallway from which I’d just entered, and against which I’d been pinned-and now leaned against for support-and the other to the stable yard where a man dressed all in black leather had shoved John’s dog, and where I was assuming John kept his horse, Alastor, another creature from the Underworld who hated my guts. He was going to have to get in line, though. The boy who’d pulled Typhon off me was standing a few feet away, next to the wooden plank table that ran down the center of the room, staring at me with a look that suggested he disliked me even more than the dog had. It was difficult not to notice the size of his bare biceps-not as large as John’s, but still impressive-since he’d folded his arms across his chest, and this had caused the muscles to bulge. The fact that they were circled in vicious-looking rings of black tattooed thorns did even more to draw attention to them. It was hard to figure out if that was why he was so much more noticeable than anyone else in the room, or if it was because he was what my friend Kayla would have called smokin’ hot, despite a jagged scar that ran down one side of his forehead, through a dark brow, and halfway to the center of his left jaw. Whoever had wielded that knife had thankfully-for him-spared his dark eye. Not so thankfully for me, however, since he was able to use both eyes to give me a deathlike stare. “Um,” I said, finally feeling the blood flow returning to my limbs. “You might want to think about getting that dog neutered.” The boy with the thorn tattoos sneered. “I’m guessing she’ll be wanting to get us all neutered,” he said.

I think this dress will stun the nobility, and leave them stupefied with envy and lust," Madame Sandrine announced with relish. "I'm just glad it's not crimson, like everything else you drape," Farah said to her husband as she glanced at her transformation in the floor-to-ceiling mirrors across from the raised podium on which she stood. The creation of blue silk evoked the midnight sky, as it wrapped her bosom and waist in bejeweled gathers before cascading from her hips in a dark waterfall. The shamelessly cut bodice was lent a hint of respectability by folds of a shimmering diaphanous silver material draping from a choker of gems about her neck and flowing down her shoulders like moonbeams. To call them sleeves would have been a mistake, for all they concealed. Madame Sandrine threw a teasing look over her shoulder at Blackwell. "How fitting that the color of blood is the one you prefer the most." "Not for her," Dorian rumbled. The seamstress lifted a winged eyebrow, but didn't comment. "Voila. I believe that is all I'll need from you today, Madame Blackwell. I can have these finished in the morning, and in the meantime I have a lovely soft gray frock hemmed with tiny pink blossoms that will bring out the color in your cheeks.

In my sleep, I see my mother rising, like the mother spirit of the rivers, above the current that drowned her. She is wearing a dress of glass, fashioned out of the hardened clarity of the river, and this dress flows like raised dust behind her as she runs towards me and enfolds me in her smoke-light arms. Her face is like mine now, in fact it is the exact same long, three-different-shades-of-night face, and she is smiling a both-row-of-teeth revealing smile.

When he meets my eyes, his expression is anguished. He cannot help me. I fight as they press me down to the floor. Bite when they try to pry open my mouth. But it's all for nothing. Two soldiers hold my wrists, and a third hooks a barbed instrument through the end of my tongue. He pulls it taut. Then a fourth begins slicing through it with a curved dagger. The sharp, searing pain makes me want to cry out, but I cannot with my tongue nailed in place. My mouth goes from dry from being held open to full of blood. Flooded with it. Gagging. Drowning. I choke as they release me, the scream dying in my throat. Scarlet flows over my chin. When I move, flecks of red fly. The pain swallows me whole so that I barely can concentrate, but I know I am losing too much blood. It spills from between my lips, slicks my neck, stains the collar of my dress. This is going to kill me. I am going to die, here on the ice floor of the Citadel.

Once, the thing I am wearing was a sundress, with fluttery sleeves. A diaphanous white gown that flowed around me when I spun. I found it in a shop late one night. I’d stripped off the clothes given to me in the Court of Teeth, left them behind, and put that on instead. I liked the dress so much that I wove myself a crown of hellebores and danced through the night streets. I stared at myself in puddles, convinced that as long as I didn’t smile, I might even be pretty.

Today I saw the most beautiful girl in the world... She is the most beautiful girl in the world, Bartolomeo Scappi thought. Never have I seen a woman so perfect, so angelic, so impossible for me to attain. "Bella," he breathed when air filled his lungs once again. Even Ippolito d'Este's presence at the dining table could not mar his giddiness. The girl was so beautiful she glowed like a painting of the Madonna, making everyone around her seem colorless in comparison. She was clearly a principessa of a grand house, sitting between Ippolito's father, the Duke of Ferrara, on one side, and a woman most likely to be her mother on the right. Bartolomeo sought to memorize every feature of this goddess with golden hair that shone with glints of red in the last rays of the day's sunlight. Her eyes were dark chestnut, rich and deep, while her lips were pink, like the inside of a seashell. Her hair was braided, but much of it flowed loose over shoulders, teasing her pale skin. She wore a dress of red, with sleeves billowing white. Rubies and pearls spilled across her delicate collarbone toward her beautiful breasts. Scappi painted her picture in his mind and stored it deep within the frame of his heart. That evening, while staring at the sky, his thoughts lost in the memory of the signorina, a shooting star passed across his vision. "Stella," he said under his breath. I will call her Stella. My shining star.

When the dress for Irex’s dinner party arrived wrapped in muslin and tied with twine, it was Arin who brought the package to Kestrel. She hadn’t seen him since the first green storm. She didn’t like to think about that day. It was her grief, she decided, that she didn’t want to remember. She was learning to live around it. She had returned to her music, and let that outings and lessons flow around the fact of Enai’s death, smoothing its jagged edges. She spent little time at the villa. She sent no invitations to Arin for Bite and Sting. If she went into society, she chose other escorts. When Arin stepped into her sitting room that was really a writing room, Kestrel set her book next to her on the divan and turned its spine so that he wouldn’t see the title. “Hmm,” Arin said, turning the packaged dress over in his hands. “What could this be?” “I am sure you know.” He pressed it between his fingers. “A very soft kind of weapon, I think.

figure full of the affluent beauty of womanhood in its prime, bearing unmistakable marks of the polished pupil of the world in the grace that flowed through every motion, the art which taught each feature to play its part with the ease of second nature and made dress the foil to loveliness. The face was delicate and dark as a fine bronze, a low forehead set in shadowy waves of hair, eyes full of slumberous fire, and a passionate yet haughty mouth that seemed shaped alike for caresses and commands.

On this way, they reached the roof. Christine tripped over it as lightly as a swallow. Their eyes swept the empty space between the three domes and the triangular pediment. She breathed freely over Paris, the whole valley of which was seen at work below. She called Raoul to come quite close to her and they walked side by side along the zinc streets, in the leaden avenues; they looked at their twin shapes in the huge tanks, full of stagnant water, where, in the hot weather, the little boys of the ballet, a score or so, learn to swim and dive. The shadow had followed behind them clinging to their steps; and the two children little suspected its presence when they at last sat down, trustingly, under the mighty protection of Apollo, who, with a great bronze gesture, lifted his huge lyre to the heart of a crimson sky. It was a gorgeous spring evening. Clouds, which had just received their gossamer robe of gold and purple from the setting sun, drifted slowly by; and Christine said to Raoul: “Soon we shall go farther and faster than the clouds, to the end of the world, and then you will leave me, Raoul. But, if, when the moment comes for you to take me away, I refuse to go with you—well you must carry me off by force!” “Are you afraid that you will change your mind, Christine?” “I don’t know,” she said, shaking her head in an odd fashion. “He is a demon!” And she shivered and nestled in his arms with a moan. “I am afraid now of going back to live with him … in the ground!” “What compels you to go back, Christine?” “If I do not go back to him, terrible misfortunes may happen! … But I can’t do it, I can’t do it! … I know one ought to be sorry for people who live underground … But he is too horrible! And yet the time is at hand; I have only a day left; and, if I do not go, he will come and fetch me with his voice. And he will drag me with him, underground, and go on his knees before me, with his death’s head. And he will tell me that he loves me! And he will cry! Oh, those tears, Raoul, those tears in the two black eye-sockets of the death’s head! I can not see those tears flow again!” She wrung her hands in anguish, while Raoul pressed her to his heart. “No, no, you shall never again hear him tell you that he loves you! You shall not see his tears! Let us fly, Christine, let us fly at once!” And he tried to drag her away, then and there. But she stopped him. “No, no,” she said, shaking her head sadly. “Not now! … It would be too cruel … let him hear me sing to-morrow evening … and then we will go away. You must come and fetch me in my dressing-room at midnight exactly. He will then be waiting for me in the dining-room by the lake … we shall be free and you shall take me away … You must promise me that, Raoul, even if I refuse; for I feel that, if I go back this time, I shall perhaps never return.” And she gave a sigh to which it seemed to her that another sigh, behind her, replied. “Didn’t you hear?” Her teeth chattered. “No,” said Raoul, “I heard nothing.” - Chapter 12: Apollo’s Lyre

The curtain behind the counter whipped aside and a woman emerged dressed in flowing purple robes, a silk headscarf, and a lace shawl. She wore heavy makeup, her eyelids smoky blue and her eyes framed by thick black lashes. As she surveyed us, she adjusted a bronze tiara just above her hairline. It was strung with delicate dangling chains that swayed hypnotically across her forehead. "Greetings weary travellers," she said. "I sense that you - " "Nope," Jackaby said and pushed passed up back out of the shop.

The magicked dress danced over to the princess. Despite her misgivings, she stood up to receive it- it would have been rude not to. The dress easily smoothed itself over her. Dark green velvet skirts, full and soft, twirled around down to her ankles. Golden buttons fastened themselves up the placket on the bodice and over the elegant, tight sleeves. From her elbows, wisps of dark green mist flowed to the ground for tippets. A collar around her neck drifted out into a cape of the same material. "Truly, you are the most beautiful princess in the world," a fairy breathed. Aurora Rose looked at herself in the mirror of dewdrops. She was indeed the most beautiful thing she had ever seen. Long neck, golden hair, wide violet eyes, narrow waist, lips perfectly pink and rosy. She turned, just a little bit, to see how her figure looked from a different angle. The green velvet flowed softly and majestically, making delicious little noises when its folds rippled. As talented as the castle seamstresses were, the princess had never worn anything as elegant or perfect as this.

My favorite Etruscans, a man and a woman, recline in the form of a terra-cotta sarcophagus from the sixth century BC in the Villa Giulia, the National Etruscan Museum in Rome. With almond eyes, a narrow face, neatly trimmed beard, long braided locks, and powerful shoulders, he lies casually, naked to the waist, his arm around her shoulder. She, dressed in a flowing gown, with tiny feet tucked into soft slippers with pointed toes, pours perfume—a ritual act—into his hands. I recognize the languorous look on their faces: utter postcoital contentment.

What is style but a form of silent speech? When I put together an outfit to wear, I am putting together chapters of a story that needs to tell itself to the world in merely a minute! When I choose an outfit to wear, I am choosing a speech, a certain flow of mind-to-skin that is important to be understood. Style is the sentiment that I make without needing to speak to anyone and it's also an internal conversation that I make with myself throughout the day, I share those intimate words every time I look into the mirror or every time I look at my photographs.

These are some of the comments Lucio made in his interview: “When I became paraplegic, it was like being born again. I had to learn from scratch everything I used to know, but in a different way. I had to learn to dress myself, to use my head better. I had to become part of the environment, and use it without trying to control it…. it took commitment, willpower, and patience. As far as the future is concerned, I hope to keep improving, to keep breaking through the limitations of my handicap…. Everybody must have a purpose. After becoming a paraplegic, these improvements have become my life goal.

Money depends on the scarcity of what props it up for its value, but isn’t that also an illusion? Rare and precious metals like diamonds are controlled by blood merchants who modulate their flow to keep the value at an acceptable level. And if gold is so rare, how are there enough gold bars to build a home for a family of two in Fort Knox alone? It doesn’t help that all things are constantly devalued. Before Gutenberg made type movable, only the wealthiest could afford books, and a Bible with tooled leather cover, gold-edged pages, and jewel-encrusted bindings was a symbol of not just piety but status, wealth, and taste. Within a few generations, the rabble were able to follow along in the hymnals from the cheap seats, forcing the wealthy to find another symbol to lord over the hoi polloi. ’Twas ever thus. The battle between the rich man and the poor man is fought on many battlefields, not all of them immediately obvious. Today the wealthy dress in sweatsuits and the homeless have iPhones. People with no discernible income buy flawless knockoff watches with one-letter misspellings to thwart copyright. And then wealthy people buy the same “Rulex” so their six-figure real watches won’t get stolen when they are out at dinner.

That afternoon she was wearing a yellow dress the same shade as her hair, and again his throat tightened when he saw her, and again he could not speak. But when the first moment passed and words came, it was all right, and their thoughts flowed together like two effervescent brooks and coursed gaily through the arroyo of the afternoon. This time when they parted, it was she who asked, "Will you be here tomorrow?"—though only because she stole the question from his lips—and the words sang in his ears all the way back through the woods to the cabin and lulled him to sleep after an evening spent with his pipe on the porch.

Early risers strolling along the Thames would see the toshers wading through the muck of low tide, dressed almost comically in flowing velveteen coats, their oversized pockets filled with stray bits of copper recovered from the water’s edge. The toshers walked with a lantern strapped to their chest to help them see in the predawn gloom, and carried an eight-foot-long pole that they used to test the ground in front of them, and to pull themselves out when they stumbled into a quagmire. The pole and the eerie glow of the lantern through the robes gave them the look of ragged wizards, scouring the foul river’s edge for magic coins.

MANIFESTO OF THE HUNGRY GENERATION Poetry is no more a civilizing maneuver, a replanting of the bamboozled gardens; it is a holocaust, a violent and somnambulistic jazzing of the hymning five, a sowing of the tempestual Hunger. Poetry is an activity of the narcissistic spirit. Naturally, we have discarded the blankety-blank school of modern poetry, the darling of the press, where poetry does not resurrect itself in an orgasmic flow, but words come out bubbling in an artificial muddle. In the prosed- rhyme of those born-old half-literates, you must fail to find that scream of desperation of a thing wanting to be man, the man wanting to be spirit. Poetry of the younger generation too has died in the dressing room, as most of the younger prosed -rhyme writers, afraid of the Satanism, the vomitous horror, the self-elected crucifixion of the artist that makes a man a poet, fled away to hide in the hairs. Poetry from Achintya to Ananda and from Alokeranjan to Indraneel, has been cryptic, short-hand, cautiously glamorous, flattered by own sensitivity like a public school prodigy. Saturated with self-consciousness, poems have begun to appear from the tomb of logic or the bier of unsexed rhetoric. Published by Haradhon Dhara from 269 Netaji Subhas Road, Howrah, West Beng

Once, the thing I am wearing was a sundress, with fluttery sleeves. A diaphanous white gown that flowed around me when I spun. I found it in a shop late one night. I'd stripped off the clothes given to me in the Court of Teeth, left them behind, and put them on instead. I liked the dress so much that I wove myself a crown of hellebores and danced through the night streets. I stared at myself in puddles, convinced that so long as I didn't smile, I might even be pretty. I know it doesn't look like that anymore, but I can no longer picture myself in anything else. I wish Oak could have seen the dress as it was, even though it hasn't looked that way in a long time.

Then he said something about how L.A. is dust and exhaust and the hot, dry wind that sets your nerves on edge and pushes fire up the hillsides in ragged lines like tears in the paper that separates us from hell, and it’s towering clouds of smoke, and it’s sunshine that won’t let up and cool ocean fog that gets unrolled at night over the whole basin like a clean white hospital sheet and peeled back again in the morning. It’s a crescent moon in a sky bruised green after the sunset has beaten the shit out of it. It’s a lazy hammock moon rising over power lines, over the skeletal silhouettes of pylons, over shaggy cypress trees and the spiky black lionfish shapes of palm-tree crowns on too-skinny trunks. It’s the Big One that’s coming to turn the city to rubble and set the rubble on fire but not today, hopefully not today. It’s the obviousness of pointing out that the freeway looks like a ruby bracelet stretched alongside a diamond one, looks like a river of lava flowing counter to a river of champagne bubbles. People talk about the sprawl, and, yeah, the city is a drunk, laughing bitch sprawled across the flats in a spangled dress, legs kicked up the canyons, skirt spread over the hills, and she’s shimmering, vibrating, ticklish with light. Don’t buy a star map. Don’t go driving around gawking because you’re already there, man. You’re in it. It’s all one big map of the stars.

Walking home's going to be...interesting half dressed." Alan mused as he dropped the shirt over the lip of the sink. Shelby shot a look over her shoulder, but the retort she had in mind slipped away from her.He was lean enough so she could have counted his ribs, but there was a sense of power and endurance in the breadth of his chest and shoulders, the streamlined waist. His body made her forget any other man she'd ever seen. It had been he,she realized all at once, whom she'd been thinking of when she'd thrown the clay into that clean-lined bowl. Shelby let the first flow of arousal rush through her because it was as sweet as it was sharp. Then she tensed against it, rendering it a distant throb she could control. "You're in excellent shape," she commented lightly. "You should be able to make it to P street in under three minutes at a steady jog." "Shelby, that's downright unfriendly." "I thought it was more rude," she corrected as she struggled against a grin. "I suppose I could be a nice guy and throw it in the dryer for you." "It was your clay." "It was your move," she reminded him, but snatched up the damp shirt. "Okay, come on upstairs." With one hand, she tugged off her work apron, tossing it aside as she breezed through the doorway. "I suppose you're entitled to one drink on the house." "You're all heart," Alan murmured as he followed her up the stairs. "My reputation for generosity precedes me.

You can wear a variety of clothing. But you should have one designer you favor. I suggest Amano." "Ooh," Noriko hums. "I love him." Ichiko taps out something on her tablet and hands me photographs of his latest runway show. "I see it now. You are a small-town girl who supports the local artist. An up-and-comer like you. That's your brand." She winks at me. "Amano's pieces are flattering with a nod to classical elements, but with a certain modern flair." Women strut down a white runway. One wears a black silk furisode with flowing kimono sleeves and a lotus flower motif. Another sports a red evening gown with a matching capelet. Another, a turquoise fitted dress with a square neckline and beaded belt. All so pretty. I like.

Softly, he said, “Why are you crying?” His words made the tears flow faster. “Kestrel.” She drew a shaky breath. “Because when my father comes home, I will tell him that he has won. I will join the military.” There was a silence. “I don’t understand.” Kestrel shrugged. She shouldn’t care whether he understood or not. “You would give up your music?” Yes. She would. “But your bargain with the general was for spring.” Arin still sounded confused. “You have until spring to marry or enlist. Ronan…Ronan would ask the god of souls for you. He would ask you to marry him.” “He has.” Arin didn’t speak. “But I can’t,” she said. “Kestrel.” “I can’t.” “Kestrel, please don’t cry.” Tentative fingers touched her face. A thumb ran along the wet skin of her cheekbone. She suffered for it, suffered for the misery of knowing that whatever possessed him to do this could be no more than compassion. He valued her that much. But not enough. “Why can’t you marry him?” he whispered. She broke her word to herself and looked at him. “Because of you.” Arin’s hand flinched against her cheek. His dark head bowed, became lost in its own shadow. Then he slipped from his seat and knelt before hers. His hands fell to the fists on her lap and gently opened them. He held them as if cupping water. He took a breath to speak. She would have stopped him. She would have wished herself deaf, blind, made of unfeeling smoke. She would have stopped his words out of terror, longing. The way terror and longing had become indistinguishable. Yet his hands held hers, and she could do nothing. He said, “I want the same thing you want.” Kestrel pulled back. It wasn’t possible his words could mean what they seemed. “It hasn’t been easy for me to want it.” Arin lifted his face so that she could see his expression. A rich emotion played across his features, offered itself, and asked to be called by its name. Hope. “But you’ve already given your heart,” she said. His brow furrowed, then smoothed. “Oh. No, not the way you think.” He laughed a little, the sound soft yet somehow wild. “Ask me why I went to the market.” This was cruel. “We both know why.” He shook his head. “Pretend that you’ve won a game of Bite and Sting. Why did I go? Ask me. It wasn’t to see a girl who doesn’t exist.” “She…doesn’t?” “I lied.” Kestrel blinked. “Then why did you go to the market?” “Because I wanted to feel free.” Arin raised a hand to brush the air by his temple, then awkwardly let it fall. Kestrel suddenly understood this gesture she’d seen many times. It was an old habit. He was brushing away a ghost, hair that was no longer there because she had ordered it cut. She leaned forward, and kissed his temple. Arin’s hand held her lightly to him. His cheek slid against hers. Then his lips touched her brow, her closed eyes, the line where her jaw met her throat. Kestrel’s mouth found his. His lips were salted with her tears, and the taste of that, of him, of their deepening kiss, filled her with the feeling of his quiet laugh moments ago. Of a wild softness, a soft wildness. In his hands, running up her thin dress. In his heat, burning through to her skin…and into her, sinking into him.

I took the money from the envelope and put it in my wallet. The envelope itself I crumpled and threw in the wastebasket. So this was how secrets got started, I thought to myself. People constructed them little by little. I had not consciously intended to keep May Kasahara a secret from Kumiko. My relationship with her was not that big a deal, finally: whether I mentioned it or not was of no consequence. Once it had flowed down a certain delicate channel, however, it had become cloaked in the opacity of secretiveness, whatever my original “intention” may have been. The same thing had happened with Creta Kano. I had told Kumiko that Malta Kano’s younger sister had come to the house, that her name was Creta, that she dressed in early-sixties style, that she took samples of our tap water.

The scene unfolded before him as though he were a ghost. His mother stood on the raised stump, her body tied to the tall stake behind her. A pile of wood encircled her feet. Only a small crowd had gathered in the courtyard, despite his father’s commands that all should attend. Alasdair sobbed at her feet, calling out to her. The young Alasdair climbed on the pile and clutched her flowing gown. She had been dressed in her finest, not stripped down to her chemise like the handmaid who stood tied to a post beside her. His father had always liked a display. Alasdair’s hands reached and passed over his mother’s large pregnant belly. With that, she sobbed, too. “Oh, Ali, be good for Momma. I’ll see you in the pearly white heaven that God has promised us. Be steadfast, son. Trust your heart.” “Light it,” his father ordered.

If you wanted to kill a city, that is the recipe. And yet Flint was very much alive. In 2014, the year of switch to a new source of drinking water, it was the seventh-largest city in the state. On weekdays, its population swelled as people commuted into town for work in teh county government, the region's major medical centers, four college campuses, and other economic anchors. For all the empty space, teens in shining dresses still posed for prom photos in the middle of Saginaw Street, the bumpy brick road that is Flint's main thoroughfare. Parents still led their children by the hand into the public library for Saturday story time. Older gentlemen lingered at the counter of one of Flint's ubiquitous Coney Island diners, and the waitresses at Grandma's Kitchen on Richfield Road kept the coffee flowing. For about ninety-nine thousand people, Flint was home.

The Czech novelist Milan Kundera made a famous observation. ‘Kitsch,’ he wrote, ‘causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: how nice to be moved, together with all mankind, by children running on the grass!’ Kitsch, in other words, is not about the thing observed but about the observer. It does not invite you to feel moved by the doll you are dressing so tenderly, but by yourself dressing the doll. All sentimentality is like this: it redirects emotion from the object to the subject, so as to create a fantasy of emotion without the real cost of feeling it. The kitsch object encourages you to think ‘look at me feeling this; how nice I am and how lovable’. That is why Oscar Wilde, referring to one of Dickens’s most sickly death-scenes, said that ‘a man must have a heart of stone not to laugh at the death of Little Nell’.

Madge, her eldest sister, looked about forty, rather than thirty two. Her black dress drained her of colour; her shoulders had adopted their perpetual hunched position, which she had adopted to compensate for her height. As a child Madge had towered over her peers, stopping only when she reached five foot eleven. Lesley knew, without seeing them, that she would be wearing the usual flat shoes, the only footwear she would allow anywhere near her size eight feet. Sitting beside Madge, Pamela, her youngest sister, blonde hair flowing over her shoulders, was thankfully dressed fairly decorously in a black coat over a black pinstripe tunic dress with a high neckline. Remembering Pamela’s usual mode of dress, Lesley could only deduce that their mother must have prevailed upon her this time, in deference to the occasion. To her left Alan, at twenty four, the baby of the family, was talking in low tones to his girlfriend Erica, his fair hair and her dark locks forming a striking contrast. From Erica’s expression however, she guessed that Alan was currently on the receiving end of her infamous (and often malicious) acerbic wit.

Ah, my friends, that innocent afternoon with Larry provoked me into thought in a way my own dicelife until then never had. Larry took to following the dice with such ease and joy compared to the soul-searching gloom that I often went through before following a decision, that I had to wonder what happened to every human in the two decades between seven and twenty-seven to turn a kitten into a cow. Why did children seem to be so often spontaneous, joy-filled and concentrated while adults seemed controlled, anxiety-filled and diffused? It was the Goddam sense of having a self: that sense of self which psychologists have been proclaiming we all must have. What if - at the time it seemed like an original thought - what if the development of a sense of self is normal and natural, but is neither inevitable nor desirable? What if it represents a psychological appendix: a useless, anachronistic pain in the side? - or, like the mastodon's huge tusks: a heavy, useless and ultimately self-destructive burden? What if the sense of being some-one represents an evolutionary error as disastrous to the further development of a more complex creature as was the shell for snails or turtles? He he he. What if? indeed: men must attempt to eliminate the error and develop in themselves and their children liberation from the sense of self. Man must become comfortable in flowing from one role to another, one set of values to another, one life to another. Men must be free from boundaries, patterns and consistencies in order to be free to think, feel and create in new ways. Men have admired Prometheus and Mars too long; our God must become Proteus. I became tremendously excited with my thoughts: 'Men must become comfortable in flowing from one role to another' - why aren't they? At the age of three or four, children were willing to be either good guys or bad guys, the Americans or the Commies, the students or the fuzz. As the culture molds them, however, each child comes to insist on playing only one set of roles: he must always be a good guy, or, for equally compulsive reasons, a bad guy or rebel. The capacity to play and feel both sets of roles is lost. He has begun to know who he is supposed to be. The sense of permanent self: ah, how psychologists and parents lust to lock their kids into some definable cage. Consistency, patterns, something we can label - that's what we want in our boy. 'Oh, our Johnny always does a beautiful bower movement every morning after breakfast.' 'Billy just loves to read all the time...' 'Isn't Joan sweet? She always likes to let the other person win.' 'Sylvia's so pretty and so grown up; she just loves all the time to dress up.' It seemed to me that a thousand oversimplifications a year betrayed the truths in the child's heart: he knew at one point that he didn't always feel like shitting after breakfast but it gave his Ma a thrill. Billy ached to be out splashing in mud puddles with the other boys, but... Joan wanted to chew the penis off her brother every time he won, but ... And Sylvia daydreamed of a land in which she wouldn’t have to worry about how she looked . . . Patterns are prostitution to the patter of parents. Adults rule and they reward patterns. Patterns it is. And eventual misery. What if we were to bring up our children differently? Reward them for varying their habits, tastes, roles? Reward them for being inconsistent? What then? We could discipline them to be reliably various, to be conscientiously inconsistent, determinedly habit-free - even of 'good' habits.

In the landscape of my native land, a stranger in my own fields, --I had a homeland where the Duero flows between gray cliffs and the ghosts of ancient oaks, there in Castile, mystic and warlike, graceful Castile, humble and boastful, Castile of arrogance and power, in the fields of Andalusia where I was born, I long to sing! My childhood memories are here, images of palm trees and sun against a golden brilliance, distant bell towers with storks, city streets without women under an indigo sky, deserted swuares where blazing orange trees ripen with round vermillon fruit, and in a shady garden, the dusty branches of a lemon tree, pale yellow lemons reflected in the clear water of the fountains. The scent of lilies and carnations, pungent odor of basil and mint. images of gloomy olive groves under a torrid sun that blinds and dazes, winding blue mountain ranges under the red glow of an immense afternoon; but if the thread that links memory to the heart is missing, the anchor to the shore, these memories are soulless. In their ragged dress, they are remnants of memory, castoffs the mind drags along. One day, anointed with light from below, our virginal bodies will return to their ancient shore.

Wild animals enjoying one another and taking pleasure in their world is so immediate and so real, yet this reality is utterly absent from textbooks and academic papers about animals and ecology. There is a truth revealed here, absurd in its simplicity. This insight is not that science is wrong or bad. On the contrary: science, done well, deepens our intimacy with the world. But there is a danger in an exclusively scientific way of thinking. The forest is turned into a diagram; animals become mere mechanisms; nature's workings become clever graphs. Today's conviviality of squirrels seems a refutation of such narrowness. Nature is not a machine. These animals feel. They are alive; they are our cousins, with the shared experience kinship implies. And they appear to enjoy the sun, a phenomenon that occurs nowhere in the curriculum of modern biology. Sadly, modern science is too often unable or unwilling to visualize or feel what others experience. Certainly science's "objective" gambit can be helpful in understanding parts of nature and in freeing us from some cultural preconceptions. Our modern scientific taste for dispassion when analyzing animal behaviour formed in reaction to the Victorian naturalists and their predecessors who saw all nature as an allegory confirming their cultural values. But a gambit is just an opening move, not a coherent vision of the whole game. Science's objectivity sheds some assumptions but takes on others that, dressed up in academic rigor, can produce hubris and callousness about the world. The danger comes when we confuse the limited scope of our scientific methods with the true scope of the world. It may be useful or expedient to describe nature as a flow diagram or an animal as a machine, but such utility should not be confused with a confirmation that our limited assumptions reflect the shape of the world. Not coincidentally, the hubris of narrowly applied science serves the needs of the industrial economy. Machines are bought, sold, and discarded; joyful cousins are not. Two days ago, on Christmas Eve, the U.S. Forest Service opened to commercial logging three hundred thousand acres of old growth in the Tongass National Forest, more than a billion square-meter mandalas. Arrows moved on a flowchart, graphs of quantified timber shifted. Modern forest science integrated seamlessly with global commodity markets—language and values needed no translation. Scientific models and metaphors of machines are helpful but limited. They cannot tell us all that we need to know. What lies beyond the theories we impose on nature? This year I have tried to put down scientific tools and to listen: to come to nature without a hypothesis, without a scheme for data extraction, without a lesson plan to convey answers to students, without machines or probes. I have glimpsed how rich science is but simultaneously how limited in scope and in spirit. It is unfortunate that the practice of listening generally has no place in the formal training of scientists. In this absence science needlessly fails. We are poorer for this, and possibly more hurtful. What Christmas Eve gifts might a listening culture give its forests? What was the insight that brushed past me as the squirrels basked? It was not to turn away from science. My experience of animals is richer for knowing their stories, and science is a powerful way to deepen this understanding. Rather, I realized that all stories are partly wrapped in fiction—the fiction of simplifying assumptions, of cultural myopia and of storytellers' pride. I learned to revel in the stories but not to mistake them for the bright, ineffable nature of the world.

Martin was more than happy to let Spencer take over the conversation, for it finally granted him an opportunity to observe Mrs. Wheaton- who had just achieved the impossible. She had made him laugh. Truly, she was one of a kind. She always had been, he supposed, recalling again that day at the train station. While the polite conversation continued all around him, he allowed his gaze to meander downward and was pleased to admire the alluring feminine curves "Miss Foster" had developed over the past decade, including a lush, generous bosom, which would fare quite nicely in a lighter gown with a lower neckline, he thought. Dressed as she was at present, she reminded him of a pleasure yacht with her sails trimmed too tight, rendering her incapable of moving freely at the speed she was built for. He wondered suddenly how this aloof young widow would respond to a little wind in her sails and a skillful skipper like himself at her helm. Would he be able to bring the best out of her, like he did with the Orpheus? Yes, he thought with absolute confidence while he admired the grace of her gloved hand as she touched one finger to the corner of her mouth to dab at an errant drop of tea. He certainly could bring the best out of her, and also bring out that spark she kept hidden from the world. A marvelous, masculine satisfaction flowed through him at the thought of it.

There was something of an unwritten code about working in the office of Rudy Giuliani, as I suppose there is in most organizations. In his case, the message was that Rudy was the star at the top and the successes of the office flowed in his direction. You violated this code at your peril. Giuliani had extraordinary confidence, and as a young prosecutor I found his brash style exciting, which was part of what drew me to his office. I loved it that my boss was on magazine covers standing on the courthouse steps with his hands on his hips, as if he ruled the world. It fired me up. Prosecutors almost never saw the great man in person, so I was especially pumped when he stopped by my office early in my career, shortly after I had been assigned to an investigation that touched a prominent New York figure who dressed in shiny tracksuits and sported a Nobel-sized medallion around his neck. The state of New York was investigating Al Sharpton for alleged embezzlement from his charity, and I was assigned to see if there was a federal angle to the case. I had never even seen Rudy on my floor, and now he was at my very door. He wanted me to know he was personally following the investigation and knew I would do a good job. My heart thumped with anxiety and excitement as he gave me this pep talk standing in the doorway. He was counting on me. He turned to leave, then stopped. “Oh, and I want the fucking medal,” he said, then walked away. But we never made a federal case. The state authorities charged Sharpton, and he was acquitted after a trial. The medal stayed with its owner.

Lillian’s lashes lowered as she let him ease her closer, his hand sliding over the length of her spine. Her breasts and waist felt swollen within the insulating grip of her corset, and she suddenly longed to be rid of it. Taking as deep a breath as the stays would allow, she became aware of a sweetly spicy scent in the air. “What is that?” she murmured, drawing in the fragrance. “Cinnamon and wine…” Turning in the circle of his arms, she looked around the spacious bedroom, past the poster bed to the small table that had been set near the window. There was a covered silver dish on the table, from which a few traces of sweet-scented steam were still visible. Perplexed, she twisted back to look at Marcus. “Go and find out,” he said. Curiously Lillian went to investigate. Taking hold of the cover’s handle, which had been wrapped with a linen napkin, she lifted the lid, letting a soft burst of intoxicating fragrance into the air. Momentarily puzzled, Lillian stared at the dish, and then burst out laughing. The white porcelain dish was filled with five perfect pears, all standing on end, their skin gleaming and ruby-red from having been poached in wine. They sat in a pool of clear amber sauce that was redolent of cinnamon and honey. “Since I couldn’t obtain a pear from a bottle for you,” came Marcus’s voice from behind her, “this was the next best alternative.” Lillian picked up a spoon and dug into one of the melting-soft pears, lifting it to her lips with relish. The bite of warm, wine-soaked fruit seemed to dissolve in her mouth, the spiced honey sauce causing a tingle in the back of her throat. “Mmmm…” She closed her eyes in ecstasy. Looking amused, Marcus turned her to face him. His gaze fell to the corner of her lips, where a stray drop of honey sauce glittered. Ducking his head, he kissed and licked away the sticky drop, the caress of his mouth causing a new pleasurable ache deep inside her. “Delicious,” he whispered, his lips settling more firmly, until she felt as if her blood were flowing in streams of white-hot sparks. She dared to share the taste of wine and cinnamon with him, tentatively exploring his mouth with her tongue, and his response was so encouraging that she wrapped her arms around his neck and pressed herself closer. He was delicious, the taste of his mouth clean and sweet, the feel of his lean, solid body immeasurably exciting. Her lungs expanded with shaky-hot breaths, restrained by the clench of her corset stays, and she broke the kiss with a gasp. “I can’t breathe.” Wordlessly Marcus turned her around and unfastened the gown. Reaching her corset, he untied the laces and loosened them with a series of expert tugs, until the stays expanded and Lillian gulped in relief. “Why did you lace so tightly?” she heard him ask. “Because the dress wouldn’t fasten otherwise. And because, according to my mother, Englishmen prefer their women to be narrow-waisted.” Marcus snorted as he eased her back to face him. “Englishmen prefer women to have larger waists in lieu of fainting from lack of oxygen. We’re rather practical that way.” Noticing that the sleeve of her unfastened gown had slipped over her white shoulder, he lowered his mouth to the smooth curve.

When the dress for Irex’s dinner party arrived wrapped in muslin and tied with twine, it was Arin who brought the package to Kestrel. She hadn’t seen him since the first green storm. She didn’t like to think about that day. It was her grief, she decided, that she didn’t want to remember. She was learning to live around it. She had returned to her music, and let that outings and lessons flow around the fact of Enai’s death, smoothing its jagged edges. She spent little time at the villa. She sent no invitations to Arin for Bite and Sting. If she went into society, she chose other escorts. When Arin stepped into her sitting room that was really a writing room, Kestrel set her book next to her on the divan and turned its spine so that he wouldn’t see the title. “Hmm,” Arin said, turning the packaged dress over in his hands. “What could this be?” “I am sure you know.” He pressed it between his fingers. “A very soft kind of weapon, I think.” “Why are you delivering my dress?” “I saw Lirah with it. I asked if I could bring it to you.” “And she let you, of course.” He lifted his brows at her tone. “She was busy. I thought she would be glad for one less thing to do.” “That was kind of you then,” Kestrel said, though she heard her voice indicate otherwise and was annoyed with herself. Slowly, he said, “What do you mean?” “I mean nothing.” “You asked me to be honest with you. Do you think I have been?” She remembered his harsh words during the storm. “Yes.” “Can I not ask the same thing of you?” The answer was no, no slave could ask anything of her. The answer was no, if he wanted her secret thoughts he could try to win them at Bite and Sting. But Kestrel swallowed a sudden flare of nervousness and admitted to herself that she valued his honesty--and her own, when she was around him. There was nothing wrong with speaking the truth. “I think that you are not fair to Lirah.” His brows drew together. “I don’t understand.” “It’s not fair for you to encourage Lirah when your heart is elsewhere.” He inhaled sharply. Kestrel thought that he might tell her it was no business of hers, for it was not, but then she saw that he wasn’t offended, only taken aback. He pulled up a chair in that possessive, natural way of his and sank into it, dropping the dress onto his knees. He studied her. She willed herself not to look away. “I hadn’t thought of Lirah like that.” Arin shook his head. “I’m not thinking clearly at all. I need to be more careful.” Kestrel supposed that she should feel reassured. Arin set the package on the divan where she sat. “A new dress means an event on the horizon.” “Yes, a dinner party. Lord Irex is hosting.” He frowned. “And you’re going?” She shrugged. “Do you need an escort?” Kestrel intended to say no, but became distracted by the determined set to Arin’s mouth. He looked almost…protective. She was surprised that he should look that way. She was confused, and perhaps this made her say, “To be honest, I would be glad for your company.” His eyes held hers. Then his gaze fell to the book by Kestrel’s side. Before she could stop him, he took it with a nimble hand and read the title. It was a Valorian history of its empire and wars. Arin’s face changed. He returned the book and left.

The street sprinkler went past and, as its rasping rotary broom spread water over the tarmac, half the pavement looked as if it had been painted with a dark stain. A big yellow dog had mounted a tiny white bitch who stood quite still. In the fashion of colonials the old gentleman wore a light jacket, almost white, and a straw hat. Everything held its position in space as if prepared for an apotheosis. In the sky the towers of Notre-Dame gathered about themselves a nimbus of heat, and the sparrows – minor actors almost invisible from the street – made themselves at home high up among the gargoyles. A string of barges drawn by a tug with a white and red pennant had crossed the breadth of Paris and the tug lowered its funnel, either in salute or to pass under the Pont Saint-Louis. Sunlight poured down rich and luxuriant, fluid and gilded as oil, picking out highlights on the Seine, on the pavement dampened by the sprinkler, on a dormer window, and on a tile roof on the Île Saint-Louis. A mute, overbrimming life flowed from each inanimate thing, shadows were violet as in impressionist canvases, taxis redder on the white bridge, buses greener. A faint breeze set the leaves of a chestnut tree trembling, and all down the length of the quai there rose a palpitation which drew voluptuously nearer and nearer to become a refreshing breath fluttering the engravings pinned to the booksellers’ stalls. People had come from far away, from the four corners of the earth, to live that one moment. Sightseeing cars were lined up on the parvis of Notre-Dame, and an agitated little man was talking through a megaphone. Nearer to the old gentleman, to the bookseller dressed in black, an American student contemplated the universe through the view-finder of his Leica. Paris was immense and calm, almost silent, with her sheaves of light, her expanses of shadow in just the right places, her sounds which penetrated the silence at just the right moment. The old gentleman with the light-coloured jacket had opened a portfolio filled with coloured prints and, the better to look at them, propped up the portfolio on the stone parapet. The American student wore a red checked shirt and was coatless. The bookseller on her folding chair moved her lips without looking at her customer, to whom she was speaking in a tireless stream. That was all doubtless part of the symphony. She was knitting. Red wool slipped through her fingers. The white bitch’s spine sagged beneath the weight of the big male, whose tongue was hanging out. And then when everything was in its place, when the perfection of that particular morning reached an almost frightening point, the old gentleman died without saying a word, without a cry, without a contortion while he was looking at his coloured prints, listening to the voice of the bookseller as it ran on and on, to the cheeping of the sparrows, the occasional horns of taxis. He must have died standing up, one elbow on the stone ledge, a total lack of astonishment in his blue eyes. He swayed and fell to the pavement, dragging along with him the portfolio with all its prints scattered about him. The male dog wasn’t at all frightened, never stopped. The woman let her ball of wool fall from her lap and stood up suddenly, crying out: ‘Monsieur Bouvet!

Consider it a Solstice and birthday present in one.' He gestured to the house, the gardens, the grounds that flowed to the river's edge. With a perfect view of the Rainbow at night, thanks to the land's curve. 'It's yours. Ours. I purchased it on Solstice Eve. Workers are coming in two days to begin clearing the rubble and knock down the rest of the house.' I blinked again, long and slow. 'You bought me an estate?' 'Technically, it will be our estate, but the house is yours. Build it to your heart's content. Everything you want, everything you need- build it.' The cost alone, the sheer size of this gift had to astronomical. 'Rhys.' He paced a few steps, running his hands through his blue-black hair, his wings tucked in tight. 'We have no space at the town house. You and I can barely fit everything in the bedroom. And no one wants to be at the House of Wind.' He again gestured to the magnificent estate around us. 'So build a house for us, Feyre. Dream as wildly as you want. It's yours.' I didn't have words for it. What cascaded through me. 'It- the cost-' 'Don't worry about the cost.' 'But...' I gaped at the sleeping, tangled land, the ruined house. Pictured what I might want there. My knees wobbled. 'Rhys- it's too much.' His face became deadly serious. 'Not for you. Never for you.' He slid his arms around my waist, kissing my temple. 'Build a house with a painting studio.' He kissed my other temple. 'Build a house with an office for you, and one for me. Build a house with a bathtub big enough for two- and for wings.' Another kiss, this time to my cheek. 'Build a house with a garden for Elain, a training ring for the Illyrian babies, a library for Amren, and an enormous dressing room for Mor.' I choked on a laugh at that. But Rhys silenced it with a kiss to my mouth, lingering and sweet. 'Build a house with a nursery, Feyre.' My heart tightened to the point of pain, and I kissed him back. Kissed him again and again, the property wide and clear around us. 'I will,' I promised.

The house fostered an easier and more candid exchange of ideas and opinions, encouraged by the simple fact that everyone had left their offices behind and by a wealth of novel opportunities for conversation—climbs up Beacon and Coombe Hills, walks in the rose garden, rounds of croquet, and hands of bezique, further leavened by free-flowing champagne, whiskey, and brandy. The talk typically ranged well past midnight. At Chequers, visitors knew they could speak more freely than in London, and with absolute confidentiality. After one weekend, Churchill’s new commander in chief of Home Forces, Alan Brooke, wrote to thank him for periodically inviting him to Chequers, and “giving me an opportunity of discussing the problems of the defense of this country with you, and of putting some of my difficulties before you. These informal talks are of the very greatest help to me, & I do hope you realize how grateful I am to you for your kindness.” Churchill, too, felt more at ease at Chequers, and understood that here he could behave as he wished, secure in the knowledge that whatever happened within would be kept secret (possibly a misplaced trust, given the memoirs and diaries that emerged after the war, like desert flowers after a first rain). This was, he said, a “cercle sacré.” A sacred circle. General Brooke recalled one night when Churchill, at two-fifteen A.M., suggested that everyone present retire to the great hall for sandwiches, which Brooke, exhausted, hoped was a signal that soon the night would end and he could get to bed. “But, no!” he wrote. What followed was one of those moments often to occur at Chequers that would remain lodged in visitors’ minds forever after. “He had the gramophone turned on,” wrote Brooke, “and, in the many-colored dressing-gown, with a sandwich in one hand and water-cress in the other, he trotted round and round the hall, giving occasional little skips to the tune of the gramophone.” At intervals as he rounded the room he would stop “to release some priceless quotation or thought.” During one such pause, Churchill likened a man’s life to a walk down a passage lined with closed windows. “As you reach each window, an unknown hand opens it and the light it lets in only increases by contrast the darkness of the end of the passage.” He danced on. —

I stand on a vast grass field of many gently sloping hills. It is night, yet the sky is bright. There is no sun, but a hundred blazing blue stars, each shining in a long river of nebulous cloud. The air is warm, pleasant, fragrant with the perfume of a thousand invisible flowers. In the distance a stream of people walk toward a large vessel of some type, nestled between the hills. The ship is violet, glowing; the bright rays that stab forth from it seem to reach to the stars. Somehow I know that it is about to leave and that I am supposed to be on it. Yet, before I depart, there is something I have to discuss with Lord Krishna. He stands beside me on the wide plain, his gold flute in his right hand, a red lotus slower in his left. His dress is simple, as is mine - long blue gowns that reach to the ground. Only he wears a single jewel around his neck - the brilliant Kaustubha gem, in which the destiny of every soul can be seen. He does not look at me but toward the vast ship, and the stars beyond. He seems to be waiting for me to speak, but for some reason I cannot remember what he said last. I only know that I am a special case. Because I do not know what to ask, I say what is most on my mind. "When will I see you again, my Lord?" He gestures to the vast plain, the thousands of people leaving. "The earth is a place of time and dimension. Moments here can seem like an eternity there. It all depends on your heart. When you remember me, I am there in the blink of an eye." "Even on earth?" He nods. "Especially there. It is a unique place. Even the gods pray to take birth there." "Why that, my Lord?" He smiles faintly. His smile is bewitching. It has been said, I know, that the smile of the Lord has bewildered the minds of the angels. It has bewildered mine. "One quest always leads to another question. Some things are better to wonder about." He turns toward me finally, his long black hair blowing in the soft night breeze. The stars reflect in his black pupils; the whole universe is there. The love that flows from him is the sweetest ambrosia in all the heavens. Yet it breaks my heart to feel because I know it will soon be gone. "It is all maya," he says. "Illusion." "Will I get lost in this illusion, my Lord?" "Of course. It is to be expected. You will be lost for a long time.

Raphael pulled out a paperback and handed it to me. The cover, done back in the time when computer-aided imagine manipulation had risen to the level of art, featured an impossibly handsome man, leaning forward, one foot in a huge black boot resting on the carcass of some monstrous sea creature. His hair flowed down to his shoulders in a mane of white gold, in stark contrast to his tanned skin and the rakish black patch hiding his left eye. His white, translucent shirt hung open, revealing abs of steel and a massive, perfectly carved chest graced by erect nipples. His muscled thighs strained the fabric of his pants, which were unbuttoned and sat loosely on his narrow hips, a touch of a strategically positioned shadow hinting at the world’s biggest boner. The cover proclaimed in loud golden letters: The Privateer’s Virgin Mistress, by Lorna Sterling. “Novel number four for Andrea’s collection?” I guessed. Raphael nodded and took the book from my hands. “I’ve got the other one Andrea wanted, too. Can you explain something to me?” Oh boy. “I can try.” He tapped the book on his leather-covered knee. “The pirate actually holds this chick’s brother for ransom, so she’ll sleep with him. These men, they aren’t real men. They’re pseudo-bad guys just waiting for the love of a ‘good’ woman.” “You actually read the books?” He gave me a chiding glance. “Of course I read the books. It’s all pirates and the women they steal, apparently so they can enjoy lots of sex and have somebody to run their lives.” Wow. He must’ve had to hide under his blanket with a flashlight so nobody would question his manliness. Either he really was in love with Andrea or he had a terminal case of lust. “These guys, they’re all bad and aggressive as shit, and everybody wets themselves when they walk by, and then they meet some girl and suddenly they’re not uber-alphas; they are just misunderstood little boys who want to talk about their feelings.” “Is there a point to this dissertation?” He faced me. “I can’t be that. If that’s what she wants, then I shouldn’t even bother.” I sighed. “Do you have a costume kink? French maid, nurse . . .” “Catholic school girl.” Bingo. “You wouldn’t mind Andrea wearing a Catholic school uniform, would you?” “No, I wouldn’t.” His eyes glazed over and he slipped off to some faraway place. I snapped my fingers. “Raphael! Focus.” He blinked at me. “I’m guessing—and this is just a wild stab in the dark—that Andrea might not mind if once in a while you dressed up as a pirate. But I wouldn’t advise holding her relatives for ransom nookie. She might shoot you in the head. Several times. With silver bullets.

Claire… It is not what you think. Won’t you please allow me to explain? Please. Allow me to speak with you.” It was more tempting than she liked. “There is nothing to say. We both know what I saw.” She paused. “Now go away.” Her tone was as aloof as she could manage between tears that would not stop. She saw the handle turn. “Don’t you dare!” She took a pre-emptive step back. But he did dare. The door opened slowly. “Are you…dressed?” “Of course, I am dressed!” she said furiously. “I am packing. Kindly have a carriage ordered.” It was a lie but he would not know that. Her case was still open on the window seat. He pushed the door open wider. He did not look like a man who had come from the arms of another woman. His face was not flushed with desire. It looked rather drawn in fact. But what did she know of such things? Perhaps that woman had merely exhausted him. “I did not invite her here, Claire. I did not even know she was coming.” He pushed locks of dark hair from his eyes. Claire bit her lip, thinking of how she had looked forward to touching those waves, brushing it possessively off his face herself. “Serafina does what she pleases. As you can see, she has no sense of propriety or discretion. She believes she owns Isabel and I even still. Even though, after her unforgiveable actions, she quite thoroughly relinquished rights to us both some time ago. I do not believe Isabel has pardoned her yet. I certainly will not.” He looked at her, eyes wide and beseeching. Not a hint of pride or arrogance. “She does not want me to be happy without her, Claire,” he said softly. “She must have found out I was to be married and she came with all haste. This is exactly what she was hoping for—or nearly so. When you walked in…” “Oh? Nearly so?” Fury twisted inside her. “I apologize for intruding so unexpectedly, for interrupting your passionate liaison. I suppose if Isabel and I had not walked in, you would still be there even now. On the floor together perhaps.” Thomas looked taken aback, then angry. “Of course not! Do you really think me so…? Is that what you believe, Claire? You did exactly what Serafina hoped you would do. Reacted with anger and jealousy, blamed me, and stormed out.” “Jealousy!” Claire exclaimed, drawing herself up. “I assure you—I am not jealous in the least. If she wants you, she is welcome to have you. I did not want you in the first place, as you will recall.” He flinched. If she did not know better, she might almost have believed him to be hurt. She swallowed hard. “What have I to be jealous of? The fact that you prefer your mistress to…” Oh, no. Her voice was catching in her throat. “…to… me…” She hiccupped embarrassingly, tears flowing over. All of a sudden Thomas’s arms were around her, holding her firmly to his chest. “Claire… No, no…” he whispered. Her cheek was pressed up rather roughly against his tailcoat. He smelled so good. She closed her eyes, her body relaxing against him. There was another smell there. An overpoweringly sweet scent of lilacs. She pushed herself away, hands against his chest. “You smell of her.” He looked horrified. Horrified that he did? Or horrified that she had noticed? Did he smell of her from head to toe? Claire felt nauseous.

As a self-confessed Pre-Raphaelite - a term that by the 1880s was interchangeable with ‘Aesthete’ - Constance was carrying a torch whose flame had ben lit in the 1850s by a group of women associated with the founding Pre-Raphaelite Brotherhood painters. Women such as Elizabeth Siddal and Jane Morris, the wives respectively of the painter Dante Gabriel Rossetti and the poet, designer and socialist William Morris, had modelled for the Pre-Raphaelite artists, wearing loose, flowing gowns. But it was not just their depiction on canvas that sparked a new fashion among an intellectual elite. Off canvas these women also establised new liberties for women that some twenty years later were still only just being taken up by a wider female population. They pioneered new kinds of dresses, with sleeves either sewn on at the shoulder, rather than below it, or puffed and loose. While the rest of the female Victorian populace had to go about with their arms pinned to their bodies in tight, unmoving sheaths, the Pre-Raphaelite women could move their arms freely, to paint or pose or simply be comfortable. The Pre-Raphaelite girls also did away with the huge, bell-shaped crinoline skirts, held out by hoops and cages strapped on to the female undercarriage. They dispensed with tight corsets that pinched waists into hourglasses, as well as the bonnets and intricate hairstyles that added layer upon layer to a lady’s daily toilette. Their ‘Aesthetic’ dress, as it became known, was more than just a fashion; it was a statement. In seeking comfort for women it also spoke of a desire for liberation that went beyond physical ease. It was also a statement about female creative expression, which in itself was aligned to broader feminist issues. The original Pre-Raphaelite sisterhood lived unconventionally with artists, worked at their own artistic projects and became famous in the process. Those women who were Aesthetic dress in their wake tended to believe that women should have the right to a career and ultimately be enfranchised with the vote. […] And so Constance, with ‘her ugly dresses’, her schooling and her college friends, was already in some small degree a young woman going her own way. Moving away from the middle-class conventions of the past, where women were schooled by governesses at home, would dress in a particular manner and be chaperoned, Constance was already modern.

While reading some old articles to jog my memory for this book, I came across an article in the Chicago Sun-Times by Rick Kogan, a reporter who traveled with Styx for a few concert dates in 1979. I remember him. When we played the Long Beach Civic Center’s 12,000-seat sports arena in California, he rode in the car with JY and me as we approached the stadium. His recounting of the scene made me smile. It’s also a great snapshot of what life was like for us back in the day. The article from 1980 was called, “The Band That Styx It To ‘Em.” Here’s what he wrote: “At once, a sleek, gray Cadillac limousine glides toward the back stage area. Small groups of girls rush from under trees and other hiding places like a pack of lions attacking an antelope. They bang on the windows, try to halt the driver’s progress by standing in front of the car. They are a desperate bunch. Rain soaks their makeup and ruins their clothes. Some are crying. “Tommy, Tommmmmmmmmy! I love you!” one girl yells as she bangs against the limousine’s window. Inside the gray limousine, James Young, the tall, blond guitarist for Styx who likes to be called J.Y. looks out the window. “It sure is raining,” he says. Next to him, bass player Chuck Panozzo, finishing the last part of a cover story on Styx in a recent issue of Record World magazine, nods his head in agreement. Then he chuckles, and says, “They think you’re Tommy.” “I’m not Tommy Shaw,” J.Y. screams. “I’m Rod Stewart.” “Tommy, Tommmmmmmmmy! I love you! I love you!” the girl persists, now trying desperately to jump on the hood of the slippery auto. “Oh brother,” sighs J.Y. And the limousine rolls through the now fully raised backstage door and he hurries to get out and head for the dressing room. This scene is repeated twice, as two more limousines make their way into the stadium, five and ten minutes later. The second car carries young guitarist Tommy Shaw, drummer John Panozzo and his wife Debbie. The groupies muster their greatest energy for this car. As the youngest member of Styx and because of his good looks and flowing blond hair, Tommy Shaw is extremely popular with young girls. Some of his fans are now demonstrating their affection by covering his car with their bodies. John and Debbie Panozzo pay no attention to the frenzy. Tommy Shaw merely smiles, and shortly all of them are inside the sports arena dressing room. By the time the last and final car appears, spectacularly black in the California rain, the groupies’ enthusiasm has waned. Most of them have started tiptoeing through the puddles back to their hiding places to regroup for the band’s departure in a couple of hours.” Tommy

Rylan!" Nadia and I turn our heads simultaneously towards the entrance to the living room as Tim Powers appears. "Yeah?" I yell across the room. That's when I notice the expression on Power' face. A mixture of awe, amazement, appreciation, and a bit of jealousy. "Your girlfriend's here," Tim informs me. He steps aside, and a goddess enters the room. It's been forever since I first had those dreams Ivy sent me with her in her disguise. But I still remember how she looks. Pale skin, long hair, bright-green eyes, and a model's figure. A perfect dream girl, who's now reality. Ivy smiles shyly as she steps into the room. Her skin is porcelain, unflawed and shiny. White-blind hair, straight and flowing, falls down her back and ends a little bit past her waist. She's not wearing her woven grass robe, but instead a dress mist likely altered from a piece of clothing from her clothes sack. It probably reached the floor at one point, with long sleeves, but the sleeves are gone and the skirt's been snipped away, leaving behind a green dress that shows off mile-long legs. But her face...all that pales in comparison to her face. Heart-shaped, with high cheekbones, an elegant nose, a well-shaped chin, and her lips—she's not covering them anymore—two shimmering, bright green pools I would be happy to drown in or go through. People believe the eyes are the window to your soul, and Ivy's soul is beautiful.

So, according to Einstein (Finney says), time is more like a river that flows along, and the only reason we sense it passing is because we’re like bein’ on a boat on that river. So you pass a tree and then it’s behind you, and unless you get off the boat or find some other method to do so, you can’t go back to that tree you saw awhile ago. But (and this is the trick) everything you’ve passed in time is still back there. Still just like it was. That tree is still back there and always will be. So just by gettin’ off the boat, you think you’ve traveled in time, when in reality you just got off and stayed in one moment of it. None of it makes sense to me, I’m just tellin’ you the way it was explained in the books. Finney went on to describe a method of time travel that he believed would actually work. First, you have to disconnect yourself from the millions of little threads of reality that grasp you and hold you in your boat (in your present time, moving forward). These threads are all realities in the time you belong in, not in the time way back before they existed. And get this (since we were talkin’ about trees): when you see a tree every day, its growth and passage through the seasons is part of it bein’ in the boat of time with you. You’re movin’ together to the future. But say you wanted to see that tree when it was still a sapling! You’d have to get off the boat of time and go visit it back where it was, and not where it is in the mobile now (“mobile now” is my phrase, not Finney’s). In a tree’s growth and maturity, it’s a thread holding you into the mobile now too. So the threads belong to a point in time (or to the mobile now), and you have to sever all those, even in your brain, so’s you can go back to another time. Next, you got to immerse yourself in the time you want to be in. Everything has to be perfect. You have to have the right dress, the right money, the right environment. It all has to be just right. Now, even if you can do these two things, and even if you can get your mind convinced completely, only a tiny percentage of the population could ever do it. If the person’s mind isn’t suggestible enough to make the leap, they won’t ever go. The tiny threads of the mobile now in their minds will hold them in the boat, so to speak. But… if someone can do these things… if someone can totally immerse themselves in the time they want to visit, and they can really believe they are sometime else… then they can do it.

What exactly do Catholics believe?” I’d been preparing my whole life for this question. “First of all, blood. BLOOD. Second of all, thorns. Third of all, put dirt on your forehead. Do it right now. Fourth of all, Martin Luther was a pig in a cloak. Fifth of all, Jesus is alive, but he’s also dead, and he’s also immortal, but he’s also made of clouds, and his face is a picture of infinite peace, but he also always looks like one of those men in a headache commercial, because you’re causing him so much suffering whenever you cuss. He is so gentle that sheep seem like demented murderers in his presence, but also rays of sunlight shoot out of his face so hard they can kill people. In fact they do kill people, and one day they will kill you. He has a tattoo of a daisy on his lower back and he gets his hair permed every eight weeks. He’s wearing a flowing white dress, but only because people didn’t know about jeans back then. He’s holding up two fingers because his dad won’t let him have a gun. If he lived on earth, he would have a white truck, plastered with bumper stickers of Calvin peeing on a smaller Calvin who is not a Catholic.

Humphrey dimmed his flashlight and stayed where he was, quiet and still in the shadows of the bathing house. In the nearby clearing on the bank of the lake, glass lanterns had been strung from the branches and candles flickered in the warm night air. A girl on the threshold of adulthood was standing amongst them, feet bare and only the simplest of summer dresses grazing her knees. Her dark hair fell loose in waves over her shoulders and moonlight dripped over the scene to cast a luster along her profile. Humphrey could see that her lips were moving, as if she spoke the lines of a poem beneath her breath. Her face was exquisite, yet it was her hands that entranced him. While the rest of her body was perfectly still, her fingers were moving together in front of her chest, the small but graceful motions of a person weaving together invisible threads. He had known women before, beautiful women who flattered and seduced, but this girl was different. There was beauty in her focus, a purity of purpose that reminded him of a child's, though she was most certainly a woman. To find her in these natural surrounds, to observe the free flow of her body, the wild romance of her face, enchanted him. Humphrey stepped out of the shadows. The girl saw him but she didn't start. She smiled as if she'd been expecting him, and gestured towards the rippling lake. "There's something magical about swimming in the moonlight, don't you think?

d’Oliva was disguised in a loose, flowing celestial white robe en gaulle. Apparently, the countess pilfered this idea from a portrait titled La Reine en gaulle (The Queen in a Muslin Dress) painted by Louise Élisabeth Vigée Le Brun in which the

In your arms was still delight, Quiet as a street at night; And thoughts of you, I do remember, Were green leaves in a darkened chamber, Were dark clouds in a moonless sky. Love, in you, went passing by, Penetrative, remote, and rare, Like a bird in the wide air, And, as the bird, it left no trace In the heaven of your face. In your stupidity I found The sweet hush after a sweet sound. All about you was the light That dims the greying end of night; Desire was the unrisen sun, Joy the day not yet begun, With tree whispering to tree, Without wind, quietly. Wisdom slept within your hair, And Long-Suffering was there, And, in the flowing of your dress, Undiscerning Tenderness. And when you thought, it seemed to me, Infinitely, and like a sea, About the slight world you had known Your vast unsconsciousness was thrown . . . O haven without wave or tide! Silence, in which all songs have died! Holy book, where hearts are still! And home at length under the hill! O mother quiet, breasts of peace, Where love itself would faint and cease! O infinite deep I never knew, I would come back, come back to you, Find you, as a pool unstirred, Kneel down by you, and never a word, Lay my head, and nothing said, In your hands, ungarlanded; And a long watch you would keep; And I should sleep, and I should sleep!

They'd crept past a blood-soaked clown cheerily juggling the severed heads of his victims and a woman in a white flowing dress spinning the dead into cocoons made of living vines.

But we didn’t bring tents!” said a second mother. That mother was low in the hierarchy. Wore long, flowing dresses, in floral and paisley patterns. Once, drunk-dancing, she’d fallen into a potted plant. Bloodied her nose. I sensed some condescension coming toward her from the other parents. If they were being hunted, she’d be the first one abandoned by the herd. Sacrificed to a marauding lioness whose powerful jaws would rip and tear. Next vultures would peck indifferently at the leftovers. It would be sad, probably. Still, no one wanted that mother. We pitied the fool who would be implicated, down the road. “We’ll handle it,” said Terry.

This whole Earth was immersed in the glory of God and it flowed naturally through all, as it should be. Then some people decided to dress up, shave their faces, put on nice shoes and pull up a long table with big yellow candles, so they could sit there and declare, "God is here sitting with our kind". Suddenly from then on, the people had no God; because they were made to believe they weren't good enough, that God was not already in them. Religion is the manmade illusion of inaccesibility to God, or steps to God, of God not being already in us, the very breath that keeps us alive.