Hers Lyrics Quotes

I fell for her in summer, my lovely summer girl, From summer she is made, my lovely summer girl, I’d love to spend a winter with my lovely summer girl, But I’m never warm enough for my lovely summer girl, It’s summer when she smiles, I’m laughing like a child, It’s the summer of our lives; we’ll contain it for a while She holds the heat, the breeze of summer in the circle of her hand I’d be happy with this summer if it’s all we ever had.

Remember to let her into your heart.

Her happiness floated like waves of ocean along the coast of her life. She found lyrics of her life in his arms but she never sung her song.

She laid her heart and soul right in your hands And you stole her every dream and crushed her plans She never even knew she had a choice And that's what happens when the only voice she hears is telling her she can't You stupid boy

It took a while for her to figure out she could run but when she did she was long gone, Long gone..

Because the song is us and the song is her and this time I’m going to use her name. Norah, Norah, Norah - no rhymes really. Just truth. I shouldn’t want the song to end. I always think of each night as a song. Or each moment as a song. But now I’m seeing we don’t live in a single song. We move from song to song, from lyric to lyric, from chord to chord. There is no ending here. It’s an infinite playlist.

She never stumbles, she's got no place to fall. She's nobody's child, the law can't touch her at all.

Eleanor hadn't written him a letter. It was a postcard. GREETINGS FROM THE LAND OF 10,000 LAKES it said on the front. Park turned it over and recognized her scratchy handwriting. It filled his head with song lyrics. He sat up. He smiled. Something heavy and winged took off from his chest. Eleanor hadn't written him a letter, it was a postcard. Just three words long.

Virgin suicide What was that she cried? No use in stayin' On this holocaust ride She gave me her cherry She's my virgin suicide

And I'm a bad boy 'cause I don't even miss her. I'm a bad boy for breakin her heart

What have they done to the earth? What have they done to our fair sister? Ravaged and plundered and ripped her and bit her Stuck her with knives in the side of the dawn And tied her with fences and dragged her down

Will sat where he was, gazing at the silver bowl in front of him; a white rose was floating in it, and he seemed prepared to stare at it until it went under. In the Kitchen Bridget was still singing one of her awful sad songs; the lyrics drifted in through the door: "Twas on an evening fair I went to take the air, I heard a maid making her moan; Said, 'Saw ye my father? Or ye my mother? Or saw ye my brother John? Or saw ye the lad that I love best, And his name it is Sweet William?" I may murder her, Tessa thought. Let her make a song about that.

So you want to know all about me, Who I am What chance meeting of brush and canvas painted the face you see? what made me despise the girl in the mirror enough to transform her, turn her into a stranger, only not.

Who Knew I'd Make Her So Blue.

They call her love, love, love, love, love. She is love, and she is all I need.

In My Daughter's Eyes Lyrics In my daughter's eyes I am a hero I am strong and wise and I know no fear But the truth is plain to see She was sent to rescue me I see who I want to be In my daughter's eyes In my daughter's eyes Everyone is equal Darkness turns to light And the world is at peace This miracle God gave to me Gives me strength when I'm weak I find reason to believe In my daughter's eyes And when she wraps her hand around my finger Oh it puts a smile in my heart Everything becomes a little clearer I realize what life is all about It's hangin' on when your heart Is had enough It's givin' more when you feel like givin' up I've seen the light It's in my daughter's eyes In my daughter's eyes I can see the future A reflection of who I am And what we'll be And though she'll grow and someday leave Maybe raise a family When I'm gone I hope you'll see How happy she made me For I'll be there In my daughter's eyes

I kissed the scars on her skin. I still think you're beautiful, and I don't ever wanna lose my best friend

Well you know I'm a ghost, Pull the note out my throat, And leave me alone, But it's all for you, all for you and more, He won't take her anymore.

I touched my lips to hers again, and this time, it was a very different sort of kiss. It was six years’ worth of kissing, her lips coming to life under mine, tasting of orange and of desire. Her fingers ran through my sideburns and into my hair before linking around my neck, alive and cool on my warm skin. I was wild and tame and pulled into shreds and crushed into being all at once. For once in my human life, my mind didn’t wander to compose a song lyric or store the moment for later reflection. For once in my life, I was here and nowhere else. -Sam

Love is a hollow word which seems at home in song lyrics and greeting cards, until you fall in love and discover it’s disconcerting power. Depression means nothing more than the blues, commercially packaged angst, a hole in the ground; until you find it’s black weight settled inside your mother’s chest, disrupting her breathing, leaching her days, and yours, of colour and the nights of rest.

The moment that's where I, Kill the conversation wrap this up a lie that I'm enjoying every minute with myself, And she could make hell feel just like home, So I'm never leaving her alone, But if your lightning lips aren't mine, Then I don't know the awkward stranger to my right, ( but she's crying )

Another friend tells you you have to learn not to absorb the world. She says sometimes she can hear her own voice saying silently to whomever—you are saying this thing and I am not going to accept it. Your friend refuses to carry what doesn’t belong to her.

Started as a flicker, meant to be a flame. Skin has gotten thicker, but it burns the same. Still a baby in a cradle, got to take my first fall...baby's getting next to nowhere with her back against the wall.

Sad Songs Once there was a boy who couldn't speak but owned a music box that held every song in all the world. One day he met a girl who had never heard a single melody in her entire life and so he played her his favorite song. He watched while her face lit up with wonder as the music filled the sky and the poetry of lyrics moved her in a way she had never felt before. He would play his songs for her day after day and she would sit by him quietly—never seeming to mind that he could only speak to her through song. She loved everything he played for her, but of them all—she loved the sad songs best. So he began to play them more and more until eventually, sad songs were all she would hear. One day, he noticed it had been a very long time since her last smile. When he asked her why, she took both his hands in hers and kissed them warmly. She thanked him for his gift of music and poetry but above all else—for showing her sadness because she had known neither of these things before him. But it was now time for her to go away—to find someone who could show her what happiness was. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Do you remember the song that was playing the night we met? No, but I remember every song I have heard since you left.

To all my wonder, she is the answer I call you her, her 'Cause you're my tear, tear

Her close friends have gathered. Lord, ain't it a shame Grieving together Sharing the blame. But when she was dying Lord, we let her down. There's no use cryin' It can't help her now. The party's all over Drink up and go home. It's too late to love her And leave her alone. Just say she was someone Lord, so far from home Whose life was so lonesome She died all alone Who dreamed pretty dreams That never came true Lord, why was she born So black and blue? Oh, why was she born So black and blue? Epitaph (Black And Blue) Written by: Kris Kristofferson Note: "Epitaph" is about Janis Joplin.

Xifeng tilted her face, a pale moon in the evening of the water. She felt like a goddess in the shimmering light. She was a poem come to life, each vein was a lyric.

When she awoke there was a melody in her head she could not identify or recall ever hearing before. 'Perhaps I made it up,' she thought. Then it came to her - the name of the song and all its lyrics just as she had heard it many times before. She sat on the edge of the bed thinking, 'There aren't any more new songs and I have sung all the ones there are. I have sung them all. I have sung all the songs there are.

I don't believe in an interventionist God But I know, darling, that you do But if I did I would kneel down and ask Him Not to intervene when it came to you Not to touch a hair on your head To leave you as you are And if He felt He had to direct you Then direct you into my arms Into my arms, O Lord Into my arms, O Lord Into my arms, O Lord Into my arms And I don't believe in the existence of angels But looking at you I wonder if that's true But if I did I would summon them together And ask them to watch over you To each burn a candle for you To make bright and clear your path And to walk, like Christ, in grace and love And guide you into my arms Into my arms, O Lord Into my arms, O Lord Into my arms, O Lord Into my arms And I believe in Love And I know that you do too And I believe in some kind of path That we can walk down, me and you So keep your candlew burning And make her journey bright and pure That she will keep returning Always and evermore Into my arms, O Lord Into my arms, O Lord Into my arms, O Lord Into my arms

He fell in love with Manhattan's skyline, like a first-time brothel guest falling for a seasoned professional. He mused over her reflections in the black East River at dusk, dawn, or darkest night, and each haloed light-in a tower or strung along the jeweled and sprawling spider legs of the Brooklyn Bridge's spans-hinted at some meaning, which could be understood only when made audible by music and encoded in lyrics.

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

love is but an echo in her head

He had a clear, lyrical voice and his songs remained in her ears long after the music had ended.

I heard a thousand blended notes While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind. To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man.

So, you’re hitting on Clare the Fair.” “I’m not hitting on her. I’m exploring the possibility of seeing her on social terms.” “He’s hitting on her,” Owen said around a mouthful of chips. “You’ve still got that thing you had for her back in high school. Are you still writing bad song lyrics about heartbreak?” “Suck me. And they weren’t that bad.” “Yeah, they were,” Ryder disagreed. “But at least now we don’t have to listen to you playing your keyboard and howling them down the hall.

I have always seen great value in practicing kindness. Although I had no money to buy gifts as a child, I gave my friends the gift of song to cheer them up. Depending on the situation, I’d sing to them and make up melodies and lyrics on the spot about whatever was going on in their lives. If a girlfriend was lonely or heartbroken, I’d make up a song about the handsome and adoring boyfriend I imagined coming into her life. Or if a friend felt deprived or neglected, I’d make up a song about a gift of a shiny new doll, or a velvet party dress, that I knew would make her happy.

Closing my eyes, I then focused in on the lyrics. I couldn't help thinking how much the song meant to me because of Maddie. She had caught me when I'd fallen and saved me from the epic storm of grief just like the lyrics said. I wasn't drowning in sadness anymore. Instead I was drowning in her-her smile, her beauty, her giving heart and beautiful spirit.

She stood in front of the speakers instead and closed her eyes, not really dancing, just bouncing and whispering the lyrics. After the first verse, she was dancing.

But faith betrays sometimes. Faith has fluidity. Faith evolves like her machine-learning-models, self-correcting from previous experiences.

I. At Tea THE kettle descants in a cosy drone, And the young wife looks in her husband's face, And then in her guest's, and shows in her own Her sense that she fills an envied place; And the visiting lady is all abloom, And says there was never so sweet a room. And the happy young housewife does not know That the woman beside her was his first choice, Till the fates ordained it could not be so.... Betraying nothing in look or voice The guest sits smiling and sips her tea, And he throws her a stray glance yearningly.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

Jax Cassidy is delightful! Her lush, lyrical way with words will draw you in and keep you turning the pages.

There are moments in every relationship that define when two people start to fall in love. A first glance A first smile A first kiss A first fall… (I remove the Darth Vader house shoes from my satchel and look down at them.) You were wearing these during one of those moments. One of the moments I first started to fall in love with you. The way you gave me butterflies that morning Had absolutely nothing to do with anyone else, and everything to do with you. I was falling in love with you that morning because of you. (I take the next item out of the satchel. When I pull it out and look up, she brings her hands to her mouth in shock.) This ugly little gnome With his smug little grin… He's the reason I had an excuse to invite you into my house. Into my life. You took a lot of aggression out on him over those next few months. I would watch from my window as you would kick him over every time you walked by him. Poor little guy. You were so tenacious. That feisty, aggressive, strong-willed side of you…. The side of you that refused to take crap from this concrete gnome? The side of you that refused to take crap from me? I fell in love with that side of you because of you. (I set the gnome down on the stage and grab the CD) This is your favorite CD ‘Layken’s shit.’ Although now I know you intended for shit to be possessive, rather than descriptive. The banjo started playing through the speakers of your car and I immediately recognized my favorite band. Then when I realized it was your favorite band, too? The fact that these same lyrics inspired both of us? I fell in love with that about you. That had absolutely nothing to do with anyone else. I fell in love with that about you because of you. (I take a slip of paper out of the satchel and hold it up. When I look at her, I see Eddie slide her a napkin. I can’t tell from up here, but that can only mean she’s crying.) This is a receipt I kept. Only because the item I purchased that night was on the verge of ridiculous. Chocolate milk on the rocks? Who orders that? You were different, and you didn’t care. You were being you. A piece of me fell in love with you at that moment, because of you. This? (I hold up another sheet of paper.) This I didn’t really like so much. It’s the poem you wrote about me. The one you titled 'mean?' I don’t think I ever told you… but you made a zero. And then I kept it to remind myself of all the things I never want to be to you. (I pull her shirt from my bag. When I hold it into the light, I sigh into the microphone.) This is that ugly shirt you wear. It doesn’t really have anything to do with why I fell in love with you. I just saw it at your house and thought I’d steal it.

She has grown up, another decides, as if responding to the injustice of racism is childish and her previous demonstration of emotion was free-floating and detached from any external actions by others.

What does a victorious or defeated black woman’s body in a historically white space look like? Serena and her big sister Venus Williams brought to mind Zora Neale Hurston’s “I feel most colored when I am thrown against a sharp white background.” This appropriated line, stenciled on canvas by Glenn Ligon, who used plastic letter stencils, smudging oil sticks, and graphite to transform the words into abstractions, seemed to be ad copy for some aspect of life for all black bodies.

And Esme remembered in a rush--the wolfsong, the haunting, lyrical spirals of it in the dawn quiet and the feeling of euphoria that had attended it. Even in recollection the howling uplifted her like the crescendo at the end of a symphony and made her heartbeat quicken.

I don't really like this song," Emma had said. "You told me it was your favourite." "It's beautiful. But it always makes me sad." "Why, love?" he'd asked gently. "It's about finding each other again. About someone coming home." Emma had lifted her head from his shoulder and looked at him earnestly. "It's about losing someone, and having to wait until you're together in heaven." "There's nothing in the lyrics about heaven," he'd said. "But that's what it means. I can't bear the idea of being separated from you, for a lifetime or a year or even a day. So you mustn't go to heaven without me." "Of course not," he had whispered. "It wouldn't be heaven without you.

She once said her songs were "mostly about myths, spirits, that kind of thing. Not fairies, stronger than that." Not fairies. Stronger than that: there's a fine phrase to bear in mind. Her lyrics are about the things that drive, or repulse, or empower the human spirit. Not escapism, in fact, but its exact opposite.

All we shared was a mattress, and a lie, and an address Baby I don't need you, well baby I don't need you Once occupied by a goddess, now it's a room full of boxes She said, "it's time to leave you" but baby I don't need you! In a perfect world... her face would not exist In a perfect world... a broken heart is fixed

To think she has forfeited her ethics for the Devil’s Book! The only book in the world she sees in her dreams, daydreams, and nightmares. The only book that may have the real secrets of voice instead of boring jargon page after page, tickling your curiosity and giving you the things you already know.

Happy the writer who, passing by characters that are boring, disgusting, shocking in their mournful reality, approaches characters that manifest the lofty dignity of man, who from the great pool of daily whirling images has chosen only the rare exceptions, who has never once betrayed the exalted turning of his lyre, nor descended from his height to his poor, insignificant brethren, and, without touching the ground, has given the whole of himself to his elevated images so far removed from it. Twice enviable is his beautiful lot: he is among them as in his own family; and meanwhile his fame spreads loud and far. With entrancing smoke he has clouded people's eyes; he has flattered them wondrously, concealing what is mournful in life, showing them a beautiful man. Everything rushes after him, applauding, and flies off following his triumphal chariot. Great world poet they name him, soaring high above all other geniuses in the world, as the eagle soars above the other high fliers. At the mere mention of his name, young ardent hearts are filled with trembling, responsive tears shine in all eyes...No one equals him in power--he is God! But such is not the lot, and other is the destiny of the writer who has dared to call forth all that is before our eyes every moment and which our indifferent eyes do not see--all the stupendous mire of trivia in which our life in entangled, the whole depth of cold, fragmented, everyday characters that swarm over our often bitter and boring earthly path, and with the firm strength of his implacable chisel dares to present them roundly and vividly before the eyes of all people! It is not for him to win people's applause, not for him to behold the grateful tears and unanimous rapture of the souls he has stirred; no sixteen-year-old girl will come flying to meet him with her head in a whirl and heroic enthusiasm; it is not for him to forget himself in the sweet enchantment of sounds he himself has evoked; it is not for him, finally, to escape contemporary judgment, hypocritically callous contemporary judgment, which will call insignificant and mean the creations he has fostered, will allot him a contemptible corner in the ranks of writers who insult mankind, will ascribe to him the quality of the heroes he has portrayed, will deny him heart, and soul, and the divine flame of talent. For contemporary judgment does not recognize that equally wondrous are the glasses that observe the sun and those that look at the movement of inconspicuous insect; for contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation; for contemporary judgment does not recognize that lofty ecstatic laughter is worthy to stand beside the lofty lyrical impulse, and that a whole abyss separates it from the antics of the street-fair clown! This contemporary judgment does not recognize; and will turn it all into a reproach and abuse of the unrecognized writer; with no sharing, no response, no sympathy, like a familyless wayfarer, he will be left alone in the middle of the road. Grim is his path, and bitterly he will feel his solitude.

Being older, I began to understand the lyrics. At the beginning, it sounds like a guy is trying to get his girlfriend to secretly meet up with him at midnight. But it’s an odd place for a tryst, a hanging tree, where a man was hung for murder. The murderer’s lover must have had something to do with the killing, or maybe they were just going to punish her anyway, because his corpse called out for her to flee. That’s weird obviously, the talking-corpse bit, but it’s not until the third verse that “The Hanging Tree” begins to get unnerving. You realize the singer of the song is the dead murderer. He’s still in the hanging tree. And even though he told his lover to flee, he keeps asking if she’s coming to meet him. The phrase Where I told you to run, so we’d both be free is the most troubling because at first you think he’s talking about when he told her to flee, presumably to safety. But then you wonder if he meant for her to run to him. To death. In the final stanza, it’s clear that that’s what he was waiting for. His lover, with her rope necklace, hanging dead next to him in the tree. I used to think the murderer was the creepiest guy imaginable. Now, with a couple of trips to the Hunger Games under my belt, I decide not to judge him without knowing more details. Maybe his lover was already sentenced to death and he was trying to make it easier. To let her know he’d be waiting. Or maybe he thought the place he was leaving her was really worse than death. Didn’t I want to kill Peeta with that syringe to save him from the Capitol? Was that really my only option? Probably not, but I couldn’t think of another at the time.

Here are some things I didn't have space for: putting on Alone by Heart and miming the lyrics in Leah's face until she started laughing, Leah's long hands and her yellow hair and the werewolf quality of her eyebrows. The way she walked around the flat in shorts and a sports bra and told me off for staring. The way she kissed me and then apologized for biting. The time Leah told me that making me laugh was an achievement because my face was so typically set against it. The way I was often bored and Leah never was. Talking with Leah on early dates about the panic of doing what everyone else was doing and then feeling like a dick about it. The way Leah was kind by nature whereas I always seemed to struggle. The way she tipped my face towards hers and told me otherwise. "You're the kindest person I know and I know six or seven people.

A friend argues that Americans battle between the “historical self” and the “self self.” By this she means you mostly interact as friends with mutual interest and, for the most part, compatible personalities; however, sometimes your historical selves, her white self and your black self, or your white self and her black self, arrive with the full force of your American positioning. Then you are standing face-to-face in seconds that wipe the affable smiles right from your mouths. What did you say? Instantaneously your attachment seems fragile, tenuous, subject to any transgression of your historical self. And though your joined personal histories are supposed to save you from misunderstandings, they usually cause you to understand all too well what is meant.

Or one meaning of here is “in this world, in this life, on earth. In this place or position, indicating the presence of,” or in other words, I am here. It also means to hand something to somebody—Here you are. Here, he said to her. Here both recognizes and demands recognition. I see you, or here, he said to her. In order for something to be handed over a hand must extend and a hand must receive. We must both be here in this world in this life in this place indicating the presence of.

The Ballad of Lucy Jordan The morning sun touched lightly on the eyes of Lucy Jordan In a white suburban bedroom in a white suburban town As she lay there 'neath the covers dreaming of a thousand lovers Till the world turned to orange and the room went spinning round. At the age of thirty-seven she realised she'd never Ride through Paris in a sports car with the warm wind in her hair. So she let the phone keep ringing and she sat there softly singing Little nursery rhymes she'd memorised in her daddy's easy chair. Her husband, he's off to work and the kids are off to school, And there are, oh, so many ways for her to spend the day. She could clean the house for hours or rearrange the flowers Or run naked through the shady street screaming all the way. At the age of thirty-seven she realised she'd never Ride through Paris in a sports car with the warm wind in her hair So she let the phone keep ringing as she sat there softly singing Pretty nursery rhymes she'd memorised in her daddy's easy chair. The evening sun touched gently on the eyes of Lucy Jordan On the roof top where she climbed when all the laughter grew too loud And she bowed and curtsied to the man who reached and offered her his hand, And he led her down to the long white car that waited past the crowd. At the age of thirty-seven she knew she'd found forever As she rode along through Paris with the warm wind in her hair

When hip-hop was born she had no commercial home, and was an invention of beautiful creativity. Born from a beautiful struggle, today she is mostly a 'ratchet' bitch spitting nonsense from her pimp's mansion.

It was a postcard. 'Greetings from the Land of 10,000 Lakes,' it said on the front. Park turned it over and recognized her scratchy handwriting. It filled his head with song lyrics. He sat up. He smiled. Something heavy and winged took off from his chest. Eleanor hadn't written him a letter, it was a postcard. Just three words long.

Submitted for your approval--the curious case of Colleen O’Brien and the gorgeous time traveling Scot who landed in her living room.” – Rod Serling

For my nymphet I needed a diminutive with a lyrical lilt to it. One of the most limpid and luminous letters is "L". The suffix "-ita" has a lot of Latin tenderness, and this I required too. Hence: Lolita. However, it should not be pronounced as you and most Americans pronounce it: Low-lee-ta, with a heavy, clammy "L" and a long "o". No, the first syllable should be as in "lollipop", the "L" liquid and delicate, the "lee" not too sharp. Spaniards and Italians pronounce it, of course, with exactly the necessary note of archness and caress. Another consideration was the welcome murmur of its source name, the fountain name: those roses and tears in "Dolores." My little girl's heartrending fate had to be taken into account together with the cuteness and limpidity. Dolores also provided her with another, plainer, more familiar and infantile diminutive: Dolly, which went nicely with the surname "Haze," where Irish mists blend with a German bunny—I mean, a small German hare.

Sweet Grace amazes me The way that she can see Beyond the man I am To the man that I could be She's bringing out my best While she covers all the rest Some say her love is blind But I say her love forgets She don't like it when I try so hard to impress her ‘Cause when I do that, it's a lie that makes her love look the lesser The truth is I know I'll never be, I'll never be good enough I'll never deserve her love I'll never be, I'll never be good enough for Grace But she takes me anyway I am the cheatin' kind But she's changing my mind The way she takes me back Though I fail her every time She's got friends who tell her that she Is much too good for me Well, I've told her that myself But she refuses to leave I'd like to think my strength won her affection But the truth is it was my weakness that caught her attention I'm grateful to know When my tears fall down like rain She wipes them from my face She tells me that I'm lovely And if I am, it's all because of Grace This love turns my inside out And my world upside down Grace is changing me

What she read was a series of short connected lyrics, “Isis in Darkness.” The Egyptian Queen of Heaven and Earth was wandering in the Underworld, gathering up pieces of the murdered and dismembered body of her lover Osiris. At the same time, it was her own body she was putting back together; and it was also the physical universe. She was creating the universe by an act of love.

When logic and proportion have fallen sloppy dead And the white knight is talking backwards And the red queen's off with her head Remember what the dormouse said Feed your head, feed your head

Concert pianists get to be quite chummy with dead composers. They can't help it. Classical music isn't just music. It's a personal diary. An uncensored confession in the dead of night. A baring of the soul. Take a modern example. Florence and the Machine? In the song 'Cosmic Love,' she catalogs the way in which the world has gone dark, distorting her, when she, a rather intense young woman, was left bereft by a love affair. 'The stars, the moon, they have all been blown out.

Come to me, and I will try to heal you. I will try to heal you, if you but come back,” Sasha sang softly, the melody sweet, the lyrics heartfelt, and it fell from her lips in a husky plea. “Come to me, and I will give you shelter, I will give you shelter, if you but come back,” he added, picking up where she left off. His lips brushed the lobe of her ear, and he felt the shudder that swept from the crown of her head to the tips of her toes. Her heart galloped, her skin grew damp beneath his, and he continued to chant, making the promise all over again. “Come to me, and I will try to love you. I will try to love you, if you but come back.

Life is a song. Your heart is the beat, your word is the lyric, your move is the dance. And love, love is the music. It has always been a dream of mine to sing my love away, let the music take her love to mine, the lyric touches her heart and soul. And may her head fallen over heel and so am I.

Poetry and song lyrics might want us to believe that finding love is like uncovering buried treasure, but now I know the truth. There’s no joy or celebration in love. There are no happy endings. There is simply me and her and a crushing pain. What’s left after that? An entire life of mute should-haves and second-bests.

Well I knew when I first laid eyes on her I could never be free One look at her and I knew right away She should always be with me Well the dream dried up a long time ago Don't know where it is anymore True to life, true to me Was the girl from the red river shore Well I'm wearing the cloak of misery And I've tasted jilted love And the frozen smile upon my face Fits me like a glove Well I can't escape from the memory Of the one I'll always adore All those nights when I lay in the arms Of the girl from the red river shore Well we're living in the shadows of a fading past Trapped in the fires of time I've tried not to ever hurt anybody And to stay out of the life of crime And when it's all been said and done I never did know the score One more day is another day away From the girl from the red river shore.

So much darkness made her uneasy. There was definitely a weight pushing down on the world. Misfortune was always hovering close around people’s shoulders. But she would fight it off, and keep fighting with all her might. Otherwise she would be annihilated by this nameless, all-reaching gloom which she couldn’t figure out or map.

The pleasure-house is dust:—behind, before, This is no common waste, no common gloom; But Nature, in due course of time, once more Shall here put on her beauty and her bloom. She leaves these objects to a slow decay, That what we are, and have been, may be known; But at the coming of the milder day, These monuments shall all be overgrown.

How she listened, the first time, to the sonorous lamentations of romantic melancholia echoing out across heaven and earth! If her childhood had been spent in the dark back-room of a shop in some town, she would now perhaps have been kindled by the lyric surgings of nature which only normally reach us as through the interpretation of a writer.

Again Serena’s frustrations, her disappointments, exist within a system you understand not to try to understand in any fair-minded way because to do so is to understand the erasure of the self as systemic, as ordinary. For Serena, the daily diminishment is a low flame, a constant drip. Every look, every comment, every bad call blossoms out of history, through her, onto you. To understand is to see Serena as hemmed in as any other black body thrown against our American background. “Aren’t you the one that screwed me over last time here?” she asks umpire Asderaki. “Yeah, you are. Don’t look at me. Really, don’t even look at me. Don’t look my way. Don’t look my way,” she repeats, because it is that simple.

I believe that no great lyric poet ever speaks in the so-called “proper” language of his or her time. Emily Dickinson didn’t write in “proper” English grammar but in slant music of fragmentary perception. Half a world and half a century away, Cesar Vallejo placed three dots in the middle of the line, as if language itself were not enough, as if the poet’s voice needed to leap from one image to another, to make—to use Eliot’s phrase—a raid on the inarticulate. Paul Celan wrote to his wife from Germany, where he briefly visited from his voluntary exile in France: “The language with which I make my poems has nothing to do with one spoken here, or anywhere.

Humans have always exalted dreams. Pindar of Thebes, the Greek lyric poet, suggested that the soul is more active while dreaming than while awake. He believed that during a dream, the awakened soul may see the future, “an award of joy or sorrow drawing near.” So it’s no wonder that humans were quick to reserve dreams for people alone; researchers for many years claimed dreams were a property of “higher” minds. But any pet owner who has heard her dog woof or seen his cat twitch during sleep knows that is not true. MIT researchers now know not only that rats dream, but what they dream about. Neurons in the brain fire in distinctive patterns while a rat in a maze performs particular tasks. The researchers repeatedly saw the exact same patterns reproduced while the rats slept—so clearly that they could tell what point in the maze the rat was dreaming about, and whether the animal was running or walking in the dream. The rats’ dreams took place in an area of the brain known to be involved with memory, further supporting a notion that one function of dreams is to help an animal remember what it has learned.

The Auction sells things you won’t find anywhere else, the things that exist only as one piece in the world. And soon, they’ll sell it. The Codex Gigas: a three-feet-tall ancient book some believe the devil himself wrote. Yes, the real devil. Others think the book contains all the secrets of mesmerism. Not that she needs to mesmerize anyone in particular. She only needs to stop stuttering while her new family stares at her.

We have all lived through that shriveling moment when a parent walks into a room and repeats, with sardonic disbelief, a couplet picked up from the stereo or the TV. 'What does that mean, then?' my mother asked me during Top of the Pops. "Get it on / Bang a gong"? How long did it take him to think of that, do you reckon?' And the correct answer - 'Two seconds, and it doesn't matter' - is always beyond you, so you just tell her to shut up, while inside you're hating Marc Bolan for making you like him even though he sings about getting it on and banging gongs.

She put him out like the burning end of a midnight cigarett. She broke his heart. He spent his whole life trying to forget. We watched him drink his pain away a little at a time. But he never could get drunk enough to get her off his mind until the night. He put that bottle to his head and pulled the trigger. And finally drank away her memory. Life is short but this time it was bigger, Than the strength he had to get up off his knees. We found him with his face down in the pillow. With a note that said: I love her til' I die. And when we buried him beneath the willow, The angels sang a whiskey lullaby. La la la la la la la. La la la la la la la. La la la la la la la. La la la la la la la. The rumors flew, But nobody knew how much she blamed herself for years and years. She tried to hide the whiskey on her breath. She finally drank her pain away a little at a time, But she never could get drunk enough to get him off her mind until the night. She put that bottle to her head and pulled the trigger. And finally drank away his memory. Life is short but this time it was bigger, Than the strength she had to get up off her knees. We found her with her face down in the pillow. Clinging to his picture for dear life. We laid her next to him beneath the willow, While the angels sang a whiskey lullaby. La la la la la la la. La la la la la la la. La la la la la la la. La la la la la la la.

My self… is a dramatic ensemble. Here a prophetic ancestor makes his appearance. Here a brutal hero shouts. Here an alcoholic bon vivant argues with a learned professor. Here a lyric muse, chronically love-struck, raises her eyes to heaven. Here papa steps forward, uttering pedantic protests. Here the indulgent uncle intercedes. Here the aunt babbles gossip. Here the maid giggles lasciviously. And I look upon it all with amazement, the sharpened pen in my hand. A pregnant mother wants to join the fun. ‘Pshtt!’ I cry, ‘You don’t belong here. You are divisible.’ And she fades out.

Several years before Maya [Angelou] went home to heaven, she penned the poem popularly known as 'When Great Trees Fall,' but properly titled 'Ailey, Baldwin, Floyd, Killens, and Mayfield,' a lyrical ode she ends this way: And when great souls die, after a period peace blooms, slowly and always irregularly.... Our senses, restored, never to be the same, whisper to us. They existed. They existed. We can be. Be and be better. For they existed. Her sentiments, so often repeated, powerfully sum up what loss does to the human heart, how it lowers our heads and deepens our sorrows, and yet how, in the end, it miraculously restores us. When great trees fall, we weep in unity with the forest--and we rejoice at the legacy that lingers.

She breathes music. Lives it and bleeds it. Her headphones have become her heartbeat. Her lyrics are her life. Music is her outlet of pain, love, and rage. Every note unplayed is another minute unlived. Every song unsung is another moment lost forever. She relies on music to show her the way, make fantasies real and to ease the pain of everyday life. Each day is another chance to create pure artistry. Music is the reason she is who she is...the good and the bad. Her life without it is like a bird without wings or lungs with out air. Life is for the living. Death is for the dead. Her life is her music. Her death will be the note unsaid.

I think that the process of giving your true love to someone, mainly surrounds the act of opening a door inside that's all locked up. Behind that door lives the small child that is the real you. The small child who hurts too much and feels too much and laughs too loud and always believes... true love involves unlocking the many padlocks on that door, taking her by the hand, and guiding her to the arms of the one you've chosen to love. And I think this is why some people change forever... because they loved someone in this way, but it only hurt too much. The little one was wounded. So this is why you take her back and tell her she's better off staying inside. It is a poetic, lyrical tragedy. Some people die this way, before they ever are dead. Or maybe we don't die; maybe we live on, behind that door.

Poppy used to share the room with her older sister, and piles of he sister's outgrown clothes still remained spread out in drifts, along with a collection of used makeup and notebooks covered in stickers and scrawled with lyrics. A jumbled of her sister's old Barbies were on top of a bookshelf, waiting for Poppy to try and fix their melted arms and chopped hair. The bookshelves were overflowing with fantasy paperbacks and overdue library books, some of them on Greek myths, some on mermaids, and a few on local hauntings. The walls were covered in posters-Doctor Who, a cat in a bowler hat, and a giant map of Narnia.

His deep voice drifted to her through the crowd of women. “…my lady when she returns. Och, there ye are, Blossom,” Faolán grinned, standing up and taking her hand so she could ease back into the restaurant booth. “These lasses were just asking if I was a stripper. I told them I doona think so,” he said, his face clouded with uncertainty. “I’m not, am I?” The inquisitive lasses in question flushed scarlet and scattered to the four corners of the room at the murderous look on Colleen’s face. “No, you’re not, but I guess I can see how they’d think that,” she muttered darkly. “What you are is a freaking estrogen magnet.

If you're reading this book, there is probably an artist or band whose music you have an intense personal relationship with. I would also guess that this artist or band came into your life during a time when you were highly vulnerable. if this is the case, this artist or band might be the closest thing you had to a confidant. in fact, he, she, or it was better than a confidant, because his/her/its music articulated your own thoughts and feeling better than you ever could. This music elevated the raw materials of your life to the heights of art and poetry. It made you feel as if your personal experience was grander and more meaningful than it might otherwise have been. And naturally you attributed whatever that music was doing to your heart and brain to the people who made the music, and you came to believe that the qualities of the music were also true of the music's creators. "If this music understands me, then the people behind the music must also understand me," goes this line of thought.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.he remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

If we are to go by what the movies and novels tell us, falling in love just happens. If it is a Hindi movie, you hear a melodious track in the background, the lyrics usually waxing eloquent about the heroine’s beauty, comparing various parts of her anatomy to the moon, stars, the sun—even Fevicol. This is accompanied by the hero gazing at her with the expression of a glutton discovering a six-course banquet consisting of various gastronomical delights. In real life though, falling in love often happens over a period of time. You see someone gorgeous and get attracted strongly. If you strike up a conversation, find each other likable—or intriguing, as the case may be—then you exchange phone numbers or email ids. After a couple of dates, discovering many things and maybe a kiss or something more, depending on how much in resonance your moral compasses are, the magic happens, and wham, you are in love.

This woman controls my heartbeats. Every love lyric I sing each night is made for her. Every melody chases her heartbeat, and every chorus begs for her love. It has been brought to my attention that a few people on my management team have chosen to approach the love of my life and tell her that she wasn't good for my image. Due to her looks and the past she had no say in creating, they said she wasn't good enough. It's true, we grew up in the same town, but that didn't mean our home lives were built on the same steady foundation. I was blessed enough to never know struggle. This girl had to fight tooth and nail for everything she was given. She sacrificed her own youth, because she didn't want her little sister to go into the foster system. She gave up love, in order for me to go chase my dreams. She gives and gives in order to make others happy, because that's the person she is. She's the most beautiful human being alive, and for anyone--especially people who are supposed to be in my corner--to say differently disgusts me to my core. I am not a robot. I hurt, I ache, I love, and I cry. And it breaks me to live in a world where I have to be afraid of showing who I really am in order to gain followers. So if you don't like this fact--that I am not single and that I am hopelessly in love--then that's fine. If I lose fans over this, I'm okay with that. I will make every sacrifice in the world from this point on in order to give my love fully to the woman who has given more than she ever should've had to give. I love you, Haze. From the new moon to the fullest. From now until forever.

What's the story behind the song? Jane texts back a minute later. She addresses and signs it the ways she usually does. august is so used to it that her eyes have started skipping right over the introduction and sign off. I don't remember much. I listened to it in an apartment I had when I was 20. I used to think it was one of the most romantic songs I ever heard. Really? The lyrics are kind of depressing. No, you gotta listen to the bridge. It's all about loving someone so much you can't stand the idea of losing them, even if it hurts, that all the hard stuff is worth it if you can get through together. August pulls it up, lets it spin past the first two verses, into the line: You will remember, when this is blown over . . . Okay, she types, thinking of Wes and how determined he is not to let Isaiah hand him his heart, of Myla holding Niko's hand as he talks to things she can't see, of her mom and a whole life spent searching, of herself, of Jane, of hours on the train - all the things they put themselves through for love. Okay, I get it.

ELPHABA Hands touch, eyes meet Sudden silence, sudden heat Hearts leap in a giddy whirl He could be that boy But I'm not that girl Don't dream too far Don't lose sight of who you are Don't remember that rush of joy He could be that boy I'm not that girl Ev'ry so often we long to steal To the land of what-might-have-been But that doesn't soften the ache we feel When reality sets back in Blithe smile, lithe limb She who's winsome, she wins him Gold hair with a gentle curl That's the girl he chose And Heaven knows I'm not that girl Don't wish, don't start Wishing only wounds the heart I wasn't born for the rose and the pearl There's a girl I know He loves her so I'm not that girl... "I'm Not That Girl" Reprise lyrics GLINDA Don't wish, don't start Wishing only wounds the heart: There's a girl I know He loves her so I'm not that girl....

In Paris, Julien’s position with regard to Madame de Renal would very soon have been simplified; but in Paris love is the child of the novels. The young tutor and his timid mistress would have found in three or four novels, and even in the lyrics of the Gymnase, a clear statement of their situation. The novels would have outlined for them the part to be played, shown them the model to copy; and this model, sooner or later, albeit without the slightest pleasure, and perhaps with reluctance, vanity would have compelled Julien to follow. In a small town of the Aveyron or the Pyrenees, the slightest incident would have been made decisive by the ardour of the climate. Beneath our more sombre skies, a penniless young man, who is ambitious only because the refinement of his nature puts him in need of some of those pleasures which money provides, is in daily contact with a woman of thirty who is sincerely virtuous, occupied with her children, and never looks to novels for examples of conduct. Everything goes slowly, everything happens by degrees in the provinces: life is more natural.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

Few people have to watch their country die,” Hannah said, her lyrical voice all the more captivating because she spoke softly. Althea found herself leaning toward her, and she imagined the rest of the audience was no different. “I have had that dubious privilege, and I can tell you that it comes not as a rebel shout but as a sly whisper. The cracks creep in, insidious as anything I’ve ever seen. It can start with rumblings about an unreliable press and rumors about political enemies that will threaten your family, your children. It can deepen with each disdainful remark about science and art and literature in a pub on a Friday night. It comes cloaked in patriotism and love of country, and uses that as armor against any criticism.

Will and Lake, Love is the most beautiful thing in the world. Unfortunately, it's also one of the hardest things in the world to hold on to, and one of the easiest to throw away. Neither of you has a mother or a father to go to for relationship advice anymore. Neither of you has anyone to go to for a shoulder to cry on when things get touch, and they will get touch. Neither of you has someone to go to when you just want to share the funny, or the happy, or the heartache. You are both at a disadvantage when it comes to this aspect of love. You both only have each other, and because of this, you will have to work harder at building a strong foundation for your future together. You are not only each other's love; you are also one another's sole confidant. I hand wrote some things onto strips of paper and folded them into stars. It might be an inspirational quote, an inspiring lyric, or just some downright good parental advice. I don't want you to open one and read it until you truly feel you need it. If you have a bad day, if the two of you fight, or if you just need something to lift your spirits...that's what these are for. You can open one together; you can open one alone. I just want there to be something both of you can go to, if and when you ever need it. Will...thank you. Thank you for coming into our lives. So much of the pain and worry I've been feeling has been alleviated by the mere fact that I know my daughter is loved by you....You are a wonderful man, and you've been a wonderful friend to me. I thank you from the bottom of my heart for loving my daughter like you do. You respect her, you don't need to change for her, and you inspire her. You can never know how grateful I have been for you, and how much peace you have brought my soul. And Lake; this is me-nudging your shoulder, giving you my approval. You couldn't have picked anyone better to love if I would have hand-picked him myself. Also, thank you for being so determined to keep our family together. You were right about Kel needing to be with you. Thank you for helping me see that. And remember when things get touch for him, please teach him how to stop caring pumpkins... I love you both and with you a lifetime of happiness together. -Julia "And all around my memories, you dance..." ~The Avett Brothers

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

To the bankrupt poet, to the jilted lover, to anyone who yearns to elude the doubt within and the din without, the tidal strait between Manhattan Island and her favorite suburb offers the specious illusion of easy death. Melville prepared for the plunge from the breakwater on the South Street promenade, Whitman at the railing of the outbound ferry, both men redeemed by some Darwinian impulse, maybe some epic vision, which enabled them to change leaden water into lyric wine. Hart Crane rejected the limpid estuary for the brackish swirl of the Caribbean Sea. In each generation, from Washington Irving’s to Truman Capote’s, countless young men of promise and talent have examined the rippling foam between the nation’s literary furnace and her literary playground, questioning whether the reams of manuscript in their Brooklyn lofts will earn them garlands in Manhattan’s salons and ballrooms, wavering between the workroom and the water. And the city had done everything in its power to assist these men, to ease their affliction and to steer them toward the most judicious of decisions. It has built them a bridge.

You’d better marry her before she reaches eighteen and the spell wears off,” I said. “Spell?” “Yes. The one that’s hiding her fangs and pincers from plain sight.” “I don’t find them especially hidden,” he said mildly. “Then perhaps you’re a pair.” His brows lifted. “Now, that’s the cruelest thing you’ve said so far.” Mrs. Fredericks cleared off, and Chloe took her place before the piano. A beam of sunlight was just beginning its slide into the chamber, capturing her in light. She was a glowing girl with a glowing face, and Joplin at her fingertips. “Give me time,” I muttered, dropping my gaze to my plate. “I’ll come up with something worse.” “No doubt.” Armand pulled a flask from his jacket and shook it in front of my nose. “Whiskey. Conveniently the same color as tea. Are you game, waif?” I glanced around, but no one was looking. I lifted my cup, drained it to the dregs, and set it before him. He was right. It did look like tea. But it tasted like vile burning fire, all the way down my throat. “Sip it,” he hissed, as I began to cough. His voice lifted over my sputtering. “Dear me, Miss Jones, I do beg your pardon. The tea’s rather hot; I should have mentioned it.” “Quite all right,” I gasped, as the whiskey swirled an evil amber in my teacup. Chloe’s song grew bouncier, with lyrics about a girl with strawberries in a wagon. Several of the men had begun to cluster near, drawn to her soprano or perchance her bosom. Two were vying to turn the pages of her music. She had to crane her head to keep Armand in view. He sent her another smile from his chair, lifting his cup in salute. “I’m going to kiss you, Eleanore,” he said quietly, still looking at her. “Not now. Later.” His eyes cut back to mine. “I thought it fair to tell you first.” I stilled. “If you think you can do so without me biting your lip, feel free to try.” His gaze shone wicked blue. “I don’t mind if you bite.” “Biting your lip off, I should have said.” “Ah. Let’s see how it goes, shall we?

They lost their sense of reality, the notion of time, the rhythm of daily habits. They closed the doors and windows again so as not to waste time getting undressed and they walked about the house as Remedios the Beauty had wanted to do and they would roll around naked in the mud of the courtyard, and one afternoon they almost drowned as they made love in the cistern. In a short time they did more damage than the red ants: they destroyed the furniture in the parlor, in their madness they tore to shreds the hammock that had resisted the sad bivouac loves of Colonel Aureliano Buendía and they disemboweled the mattresses and emptied them on the floor as they suffocated in storms of cotton. Although Aureliano was just as ferocious a lover as his rival, it was Amaranta ?rsula who ruled in that paradise of disaster with her mad genius and her lyrical voracity, as if she had concentrated in her love the unconquerable energy that her great-great-grandmother had given to the making of little candy animals. And yet, while she was singing with pleasure and dying with laughter over her own inventions, Aureliano was becoming more and more absorbed and silent, for his passion was self-centered and burning. Nevertheless, they both reached such extremes of virtuosity that when they became exhausted from excitement, they would take advantage of their fatigue. They would give themselves over to the worship of their bodies, discovering that the rest periods of love had unexplored possibilities, much richer than those of desire. While he would rub Amaranta ?rsula’s erect breasts with egg whites or smooth her elastic thighs and peach-like stomach with cocoa butter, she would play with Aureliano’s portentous creature as if it were a doll and would paint clown’s eyes on it with her lipstick and give it a Turk’s mustache with her eyebrow pencil, and would put on organza bow ties and little tinfoil hats. One night they daubed themselves from head to toe with peach jam and licked each other like dogs and made mad love on the floor of the porch, and they were awakened by a torrent of carnivorous ants who were ready to eat them alive.

Just A Dream Lyrics I was thinkin about her thinkin about me thinkin about us what we gunna be open my eyes... it was only just a dream so i travel back down that road wish you come back no one knows i realize, it was only just a dream i was at the top now its like i'm in the basement number 1 spot now shes finding a replacement i swear now i cant take it knowing somebodys got my baby now you wait around, baby i cant think i should put it down, shoulda got that ring cuz i can still feel it in the air see your pretty face run my fingers through her hair my love my life my shawty my wife she left me, i'm tight cuz i knew that it just aint right i was thinkin about her thinkin about me thinkin about us where we gunna be open my eyes... it was only just a dream so i travel back down that road wish you come back no one knows i realize, it was only just a dream and i be ridin and i swear i see your face and every time i try to get my usher on but i cant let it burn and i just hope that she notice she the only one i yearn for no more sooner will i learn didn't give her all my love i guess now i got my payback now i'm in the club thinking all about my baby hey she was so easy to love but wait, i guess that love wasnt enough i'm goin through it every time that i'm alone now i'm wishing she would just pick up the phone but she made a decision that she wanted to move on cuz i was wrong i was thinkin about her thinkin about me thinkin about us where we gunna be open my eyes... it was only just a dream so i travel back down that road wish you come back no one knows i realize, it was only just a dream if you ever loved somebody put your hands up x2 and now theyre gone and you wish you could give them everything (x2) i was thinkin about her thinkin about me thinkin about us where we gunna be open my eyes... it was only just a dream so i travel back down that road wish you come back no one knows i realize, it was only just a dream

From the perspective of my old laptop, I am a numbers man, something like that every instruction he gives me is a one or a zero I remember well I have information about him before he left for his new toy thinner, younger, able to keep up with him, I have information about him may 15th 2008, he listened to a song five times in succession it was titled Everybody, open parenthesis, Backstreet's Back, close parenthesis it included the lyric 'Am I sexual, yeaaaaah' He said once, computers like a sense of finality to them when I write something I don't want to be able to run from it this was a lie he was addicted to my ability to keep his secrets I am a numbers man, every instruction he gives me is a one, or a zero I remember well January, 7th 2007 I was young just two week awake he gave me, a new series of one's and zeros the most sublime sequence I have ever seen it had curves, and shadow, it was him he gave his face in numbers and trusted me to be the artist, and I was do not laugh I have read about your God you kill each other over your grand fathers memory of him I still remember the fingertips of my God dancing across my body After I learnt to draw him he trusted with more art rubric jpeg 1063 was his favourite Him, and that woman, resting her head in the curve of his nick I read his correspondence she hasn't written him back in years but he asks for it, constantly, jpeg 1063, jpeg 1063, jpeg 1063 it was my master piece it looked so, .., life like I wanted to tell him That's not her that is me that is not her face those are my ones and zeros waltzing in space for you she is nothing more than my shadow puppet you do not miss her, you miss me, I am a numbers man, every instruction he gives is a one or a zero I remember well but he taught me to be a Da Vinci and I sit here, with his portraits waiting for him to return I do not think he will Is that what it means to be human to be all powerful, to build a temple to yourself and leave only the walls to pray