His & Hers A Novel Quotes

The words you can’t find, you borrow. We read to know we’re not alone. We read because we are alone. We read and we are not alone. We are not alone. My life is in these books, he wants to tell her. Read these and know my heart. We are not quite novels. The analogy he is looking for is almost there. We are not quite short stories. At this point, his life is seeming closest to that. In the end, we are collected works.

That is the joy of reading fiction: when all is said and done, the novel belongs to the reader and his or her imagination.

Before I moved here, I never got the whole love-triangle thing. You know, in movies or romance novels or whatnot, where there’s one chick that all the guys are drooling over, even though you can’t see anything particularly special about her. But oh, no, they both must have her. And she’s like, oh dear, however will I choose? William is so sensitive, he understands me, he swept me off my feet, oh misery, blubber, blubber, but how can I go on living without Rafe and his devil-may-care ways and his dark and only-a-little-abusive love? Upchuck.

No man deserves a woman like that. He mortgages his very soul to win her and spends his life paying off the debt.

Yet losing him seemed unbearable. He was the one she loved, the one she would always love, and as he leaned in to kiss her, she gave herself over to him. While he held her close, she ran her hands over his shoulders and back, feeling the strength in his arms. She knew he’d wanted more in their relationship than she’d been willing to offer, but here and now, she suddenly knew she had no other choice. There was only this moment, and it was theirs.

Something like that," he said, his eyes shining, and she realized just how much there was she didn't know about him. He was like one of her novels, still unfinished and best understood in the right place and at the right time. She couldn't wait to read the rest.

Please stop patronizing those who are reading a book - The Da Vinci Code, maybe- because they are enjoying it. For a start, none of us know what kind of an effort this represents for the individual reader. It could be his or her first full-length adult novel; it might be the book that finally reveals the purpose and joy of reading to someone who has hitherto been mystified by the attraction books exert on others. And anyway, reading for enjoyment is what we should all be doing. I don't mean we should all be reading chick lit or thrillers (although if that's what you want to read, it's fine by me, because here's something no one else will tell you: if you don't read the classics, or the novel that won this year's Booker Prize, then nothing bad will happen to you; more importantly,nothing good will happen to you if you do); I simply mean that turning pages should not be like walking through thick mud. The whole purpose of books is that we read them, and if you find you can't, it might not be your inadequacy that's to blame. "Good" books can be pretty awful sometimes.

A man who respects his wife, does not sleep with other women. And a woman who respects herself does not allow her husband to get away with it

That evening Vaselik stood at his window watching Leah leave, her baby swaddled in the shaw tied over her shoulder. Leah looked like an apparition from another world.

The former burlesque queen waited for the man who’d make her his true queen.

That’s it. Let’s go.” “Yep,” whispered Suley. He turned to leave. “This is crazy.” He had his phone in his hand. “Look, we’re still in Rowland Forest. What’s this fence doing here? How come it’s not marked?” “We’ll tell your father about it.” Saskia pulled at his arm, looking anxiously around and up. To her horror, she saw a surveillance camera mounted on an overhead tree branch. It pointed straight at them. “Merde! Suley, we’ve got to go!” she hissed, pointing to the camera. His eyes widened. Distant shouts and an engine roaring to life exploded the forest calm. Suley and Saskia bolted back the way they’d come.

He was her fire, had always been from the start, his burning, radiant spirit, a beacon worthy of following.

If they want to flirt or initiate a friendship, they should carefully avoid giving the impression they are taking the initiative; men do not like tomboys, nor bluestockings, nor thinking women; too much audacity, culture, intelligence, or character frightens them. In most novels, as George Eliot observes, it is the dumb, blond heroine who outshines the virile brunette; and in The Mill on the Floss, Maggie tries in vain to reverse the roles; in the end she dies and it is blond Lucy who marries Stephen. In The Last of the Mohicans, vapid Alice wins the hero’s heart and not valiant Cora; in Little Women kindly Jo is only a childhood friend for Laurie; he vows his love to curly-haired and insipid Amy. To be feminine is to show oneself as weak, futile, passive, and docile. The girl is supposed not only to primp and dress herself up but also to repress her spontaneity and substitute for it the grace and charm she has been taught by her elder sisters. Any self-assertion will take away from her femininity and her seductiveness.

Her laugh, her laugh was the sound that brought him out of the darkness and into the light. Her laugh dragged him, by his damn collar, through the bullshit clouding his mind and infecting his thoughts.

He wants her to know that she was his savior and that he could never repay her for everything she has done for him, and that he loves her with his entire soul and nothing will ever change that. He wants to remind her that whatever their souls are made of, his and hers are the same. Their favorite novel said it best.

His entire body was pleading for reassurance, and if her whole love was not enough what else could she give him to cure his doubt?

I sat in my brown-belted gi at the painted metal table outside of Einstein’s and Peet’s with Mr. Ho, my Kenpo Karate instructor in his black-belted gi, and my bronze, canine psychologist, wearing his/her Lacoste eyeglasses.

Izzy, are you—” he began. His eyes flew wide, and he backed up fast enough to smack his head into the wall behind him. “What is he doing here?” Isabelle tugged her tank top back down and glared at her brother. “You don’t knock now?” “It—It’s my bedroom!” Alec spluttered. He seemed to be deliberately trying not to look at Izzy and Simon, who were indeed in a very compromising position. Simon rolled quickly off Isabelle, who sat up, brushing herself off as if for lint. Simon sat up more slowly, trying to hold the torn edges of his shirt together. “Why are all my clothes on the floor?” Alec said. “I was trying to find something for Simon to wear,” Isabelle explained. “Maureen put him in leather pants and a puffy shirt because he was being her romance-novel slave.” “He was being her what?” “Her romance-novel slave,” Isabelle repeated, as if Alec were being particularly dense. Alec shook his head as if he were having a bad dream. “You know what? Don’t explain. Just—put your clothes on, both of you.

He could be doing quantum physics in his head or undressing her in his mind—she’d never know the difference.

He opened the letter and read its contents. A stiffness grew in his loins as her sexual fantasies were laid bare, written out before him.

Soon after the completion of his college course, his whole nature was kindled into one intense and passionate effervescence of romantic passion. His hour came,—the hour that comes only once; his star rose in the horizon,—that star that rises so often in vain, to be remembered only as a thing of dreams; and it rose for him in vain. To drop the figure,—he saw and won the love of a high-minded and beautiful woman, in one of the northern states, and they were affianced. He returned south to make arrangements for their marriage, when, most unexpectedly, his letters were returned to him by mail, with a short note from her guardian, stating to him that ere this reached him the lady would be the wife of another. Stung to madness, he vainly hoped, as many another has done, to fling the whole thing from his heart by one desperate effort. Too proud to supplicate or seek explanation, he threw himself at once into a whirl of fashionable society, and in a fortnight from the time of the fatal letter was the accepted lover of the reigning belle of the season; and as soon as arrangements could be made, he became the husband of a fine figure, a pair of bright dark eyes, and a hundred thousand dollars; and, of course, everybody thought him a happy fellow. The married couple were enjoying their honeymoon, and entertaining a brilliant circle of friends in their splendid villa, near Lake Pontchartrain, when, one day, a letter was brought to him in that well-remembered writing. It was handed to him while he was in full tide of gay and successful conversation, in a whole room-full of company. He turned deadly pale when he saw the writing, but still preserved his composure, and finished the playful warfare of badinage which he was at the moment carrying on with a lady opposite; and, a short time after, was missed from the circle. In his room,alone, he opened and read the letter, now worse than idle and useless to be read. It was from her, giving a long account of a persecution to which she had been exposed by her guardian's family, to lead her to unite herself with their son: and she related how, for a long time, his letters had ceased to arrive; how she had written time and again, till she became weary and doubtful; how her health had failed under her anxieties, and how, at last, she had discovered the whole fraud which had been practised on them both. The letter ended with expressions of hope and thankfulness, and professions of undying affection, which were more bitter than death to the unhappy young man. He wrote to her immediately: I have received yours,—but too late. I believed all I heard. I was desperate. I am married, and all is over. Only forget,—it is all that remains for either of us." And thus ended the whole romance and ideal of life for Augustine St. Clare. But the real remained,—the real, like the flat, bare, oozy tide-mud, when the blue sparkling wave, with all its company of gliding boats and white-winged ships, its music of oars and chiming waters, has gone down, and there it lies, flat, slimy, bare,—exceedingly real. Of course, in a novel, people's hearts break, and they die, and that is the end of it; and in a story this is very convenient. But in real life we do not die when all that makes life bright dies to us.

The way his plump hand clutched at her hip seemed somehow improper; not morally, aesthetically.

Maybe it was the way she only reached his shoulder that sent protectiveness surging up to his jugular, while somehow—at the very same time—he wanted to seek refuge in her.

But Anne, do you love him?" I asked curiously. The curve of her hood hid all but the corner of her smile. "I am a fool to own it, but I am in a fever for his touch.

You need to get your head out of the clouds and see the reality right in front of your face, Kara. My enemies have become yours which means you aren’t going anywhere.” Before she could reply, he crashed his mouth over hers, plunging his tongue into her mouth when she gasped, and he finally kissed her the way he’d been dreaming about.

The iris of his good eye was a curious pale grey, almost silver; the edges were darker, as if tarnished like a coin, and the artist made a brave attempt to paint the other eye to match. The eyebrow had been finely painted, with the most miniature of brushes, the most delicate of strokes, but it was a shade too yellow. The blank eye gazed beyond her.

You love another person not because of his virtues- that is infatuation- but in spite of his faults," he said to her. "Love has no place for idealization.

Suddenly his expression turned to alarm. He sprinted toward us. For a moment I had an absurd vision of myself on the cover of one of Gran’s old romance novels, where the damsel wilts into the arms of one half-dressed beefy guy while another stands by,casting her longing looks. Oh, the horrible choices a girl must make! I wished I’d had a moment to clean up. I was still covered in dried river muck, twine, and grass, like I’d been tarred and feathered. Then Anubis pushed past me and gripped Walt’s shoulders. Well…that was unexpected.

They stood in the pool of lantern light, the house still around them. She placed a hand to calm his still heaving chest, the heat of his body fresh from travel. The coolness of her hand made him start, then he pulled her close. It was more than her body he needed.

as the old pharaoh was laid to rest, allowing her brother to claim his place fully upon the Isis Throne.

He took her in his arms and kissed her-kissed her the way he'd been longing to kiss her since he first laid eyes on her, kissed her not like a romance novel hero or a Shadowhunter warrior or some imaginary character from the past, but like Simon Lewis kissing the girl he loved more than anything in the world.

She smells like spring and flowers and rain, even though it’s winter. Sometimes, he thinks he loves her so much that his mind is unable to distinguish between love and obsession. Which is worse?

I can see the stars in your eyes from a mile away. They guide me to you just like the North Star.” Then he bent his head and kissed her – a long, sweet kiss under moonbeams that caressed them both lovingly.

Nobody's perfect. They are weak, with ugly hearts, and they quickly turn to jealousy. They try to knock others down. It's so odd . . . In the world we live in, the greater a person is, the more difficult his or her life becomes.

Are you afraid?” he asked moving his chair directly in front of her. “Should I be?” she answered getting her courage back. She stood about to dart away, but Vaselik stopped her, took her hands and studied them intently.

Don't yield to her," I whisper. "Don't even yield to the memory of her." He draws back a little, just enough so I can meet his eyes. "Don't yield to me either," I say, and have to swallow past the sudden emotion in my throat. "Yield to yourself. Yield to forgiveness. Yield to happiness. Yield to this moment. It's not hers. It's yours. It's mine. It's ours.

Karṇa walks, his back is straight, he is lit up by his divine earings; yet his feet drag. He turns into an alley. His head droops and falls to his chest. He stops. Mist swirls around him, becomes motionless, parts. From between his ribs steps a young woman. Her eyes and face and tongue are brown like old blood and she is decked in old things and she wears upon her wrists two burnt black bracelets. She places the point of a knife under Karṇa’s chest plate and cuts, a gentle sawing motion, the blade moving beneath the skin, a slicing of the quick: nerves, blood vessels, sinews. I feel his pain; not a stab; it is insistent, enduring, but sharp nonetheless, as with any loss.

Only LEFT and RIGHT hand can hold each other and walk together...Only RIGHTs are enough to say bye. Nobody is perfect in the world, if you Love the perfection of his/her imperfections then LOVE exists.

When she got back from taking Cassie to school Fancy knew that she ought to be working on her wilderness romance. She had promised thirty thousand words to her editor by tomorrow, and she had only written eleven. Specifically: His rhinoceros smelled like a poppadom: sweaty, salty, strange and strong. Her editor would cut that line.

Years ago, Re had raged against humans for violating Ma’at, so he had sent Hathor to destroy mankind. She transformed into the lion goddess Sekhmet and Egypt’s fields ran red with the blood of her rampage. Seeing this, Re realized his mistake and ordered Sekhmet to stop, but she was too gone with bloodlust to listen. Knowing he had to halt her some other way, Re stained seven thousand jugs of beer with pomegranate juice and poured the red liquid into her path. Believing the beer to be blood, Sekhmet gorged herself and passed out in a drunken stupor. When she awoke, her bloodlust had passed and she returned to being Hathor. Thus the goddesses of love and violence shared a common history.

If Gilbert had been asked to describe his ideal woman the description would have answered point for point to Anne … He had made up his mind, also, that his future must be worthy of its goddess. … But he meant to keep himself worthy of Anne’s friendship and perhaps some distant day her love; and he watched over word and thought and deed as jealously as if her clear eyes were to pass in judgment on it.

She watched the clip several times—enough times to know w certainty her father had nothing to do with the crash. He’d done everything in his power to stop the car and avoid the truck. Someone else had been driving.

Don't you ever get tired of reading?" she asked. "You could hardly be called good company! Don't you know that, with women, you're supposed to make conversation?" she added; her half smile was perhaps meant to be ironic, though to Amedeo, who at that moment would have paid anything rather than give up his novel, it seemed downright threatening.

She was the wish of his life. He didn’t know how else to say it. He didn’t even know that he could really explain, just that every time he saw her he felt his bones might break under the weight of his wanting. His longing for her.

It had been June, the bright hot summer of 1937, and with the curtains thrown back the bedroom had been full of sunlight, sunlight and her and Will's children, their grandchildren, their nieces and nephews- Cecy's blue eyed boys, tall and handsome, and Gideon and Sophie's two girls- and those who were as close as family: Charlotte, white- haired and upright, and the Fairchild sons and daughters with their curling red hair like Henry's had once been. The children had spoken fondly of the way he had always loved their mother, fiercely and devotedly, the way he had never had eyes for anyone else, and how their parents had set the model for the sort of love they hoped to find in their own lives. They spoke of his regard for books, and how he had taught them all to love them too, to respect the printed page and cherish the stories that those pages held. They spoke of the way he still cursed in Welsh when he dropped something, though he rarely used the language otherwise, and of the fact that though his prose was excellent- he had written several histories of the Shadowhunters when he's retired that had been very well respected- his poetry had always been awful, though that never stopped him from reciting it. Their oldest child, James, had spoken laughingly about Will's unrelenting fear of ducks and his continual battle to keep them out of the pond at the family home in Yorkshire. Their grandchildren had reminded him of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie. With tears running down her face, Cecily had reminded him of the moment at her wedding to Gabriel when he had delivered a beautiful speech praising the groom, at the end of which he had announced, "Dear God, I thought she was marrying Gideon. I take it all back," thus vexing not only Cecily and Gabriel but Sophie as well- and Will, though too tired to laugh, had smiled at his sister and squeezed her hand. They had all laughed about his habit of taking Tessa on romantic "holidays" to places from Gothic novels, including the hideous moor where someone had died, a drafty castle with a ghost in it, and of course the square in Paris in which he had decided Sydney Carton had been guillotined, where Will had horrified passerby by shouting "I can see the blood on the cobblestones!" in French.

She couldn’t read his expression. As he started toward her, she recalled the way he’d seemed to glide through the sand the first time she’d ever seen him; she remembered their kiss on the boat dock the night of his sister’s wedding. And she heard again the words she’d said to him on the day they’d said good-bye. She was besieged by a storm of conflicting emotions—desire, regret, longing, fear, grief, love. There was so much to say, yet what could they really begin to say in this awkward setting and with so much time already passed?

She pulled open the reception area door, bright sunshine causing her to pause, momentarily blinding her. Her eyes adjusted and she saw Josh, Peta and Daryl in deep conversation at an outdoor table. Saskia retreated, holding the door open. She saw Daryl lunge out of his bench, reach across the table, grab the front of Josh’s shirt and haul him close. Daryl’s mouth worked in angry lines and Josh’s head bowed, shaking back and forth slowly. Peta glanced nervously over her shoulder and towards the door of the administration building. She laid a hand on Daryl’s arm, leaning towards him. Daryl let Josh loose, sinking back into his seat. Josh also sat back, tugging his shirt into place.

You do realize that getting down on one knee generally refers to a proposal, right?” Sidney continued. “A marriage proposal?” His eyes, a warm green-gold, daringly held hers as he softly sang the next line of the song. “‘You smiled . . . and then the spell was cast.’” Okay, he pretty much just melted her heart right there.

They [human lives] are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven’s music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual’s life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress. It is wrong, then, to chide the novel for being fascinated by mysterious coincidences (like the meeting of Anna, Vronsky, the railway station, and death or the meeting of Beethoven, Tomas, Tereza, and the cognac), but it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life a dimension of beauty.

A memory came to me. One time, in middle school, a famous author came to talk to our class and give a writing workshop. One of the things she told us about writing a novel was that the story should be about what the main character wants. Dorothy wants to go home to Kansas. George Milton wants a farm of his own. Amelia Sedley wants to marry her darling George and live happily ever after. The end of the story, according to the famous author, is when the character either gests what he wants or realizes he’s never going to get it. Or sometimes, she said, like Scarlett O’Hara in Gone With the Wind, realizes she doesn’t actually want what she thought she wanted all along. pg. 324 of Bewitching

He looked like every glossy frat boy in every nerd movie ever made, like every popular town boy who’d ever looked right through her in high school, like every rotten rich kid who’d ever belonged where she hadn’t. My mama warned me about guys like you. He turned to her as if he’d heard her and took off his sunglasses, and she went down the steps to meet him, wiping her sweaty palms on her dust-smeared khaki shorts. “Hi, I’m Sophie Dempsey,” she said, flashing the Dempsey gotta-love-me grin as she held out her hot, grimy hand, and after a moment he took it. His hand was clean and cool and dry, and her heart pounded harder as she looked into his remote, gray eyes. “Hello, Sophie Dempsey,” her worst nightmare said. “Welcome to Temptation.

The maid found a handkerchief of hers, under the bed in which she had died. A ring that had been missing turned up in his own writing desk. A tradesman arrived with fabric she had ordered three weeks ago. Each day, some further evidence of a task half finished, a scheme incomplete. He found a novel, with her place marked. And this is it.

You’ve become a fire within me.” He pressed her palm to the center of his chest. “Right here. Bringing light to places I never knew were in shadow.” His breath shuddered out of him. “I can’t go back to the darkness, Fiona.” Suza Kates, Chosen Blood

This is better than a romance novel." P.J. said with a wistful sigh. "You read that stuff?" Cole demanded. "Why the hell do you ask the question like that?" P.J. said, annoyance evident in her tone and expression. "You just didn't seem the type," Cole mumbled. She flipped him the bird, and Shea had to bite her lip to keep from laughing. P.J. was easily half Cole's size but she also looked like she had the confidence to take on the much larger man. She might even kick his ass. The idea intrigued Shea greatly. "I'm tempted to shove one of my romance novels up your ass." P.J. said sharply. "But I love my books too much to desecrate them like that, I'll settle for my boot." Cole held up his hands in surrender. "I won't say another word. Romance novels are great. I love romance novels. I think everyone should read them.

The collar had restrained his winds but not killed them. They uncoiled from behind the shadows, ready to surround her, to lift her up, to carry her away with only Ariel’s silk-clad arms wrapped about her to keep her from falling. Spirare, they whispered to her like an incantation. Breathe us in. Bertie didn’t mean to, but she inhaled, and everything inside her was a spring morning, a rose opening its petals to the sun, the light coming through the wavering glass of an old, diamond-paned window. Tendrils of wind reached for Bertie with a coaxing hand. Release him, and he will love you.

Thank you, Glenna, that means a . . .” Arrov says, and his voice trails off when he notices that the twins are busy combing the long fur on his forearms. “What are you two doing?!”
“Just because you are a big blue giant,” Isa says, focused on her undertaking, “doesn’t mean you can stop taking care of your appearance.” “This will help get rid of those horrible knots,” Bella adds, still administering the beauty regimen.

Every work of art is one half of a secret handshake, a challenge that seeks the password, a heliograph flashed from a tower window, an act of hopeless optimism in the service of bottomless longing. Every great record or novel or comic book convenes the first meeting of a fan club whose membership stands forever at one but which maintains chapters in every city -- in every cranium -- in the world. Art, like fandom, asserts the possibility of fellowship in a world built entirely from the materials of solitude. The novelist, the cartoonist, the songwriter, knows the gesture is doomed from the beginning but makes it anyway, flashes his or her bit of mirror, not on the chance that the signal will be seen or understood but as if such a chance existed.

Vronsky meanwhile, in spite of the complete fulfilment of what he had so long desired, was not completely happy. He soon felt that the realization of his longing gave him only one grain of the mountain of bliss he had anticipated. That realization showed him the eternal error men make by imagining that happiness consists in the gratification of their wishes. When first he united his life with hers and donned civilian clothes, he felt the delight of freedom in general, such as he had not before known, and also the freedom of love—he was contented then, but not for long. Soon he felt rising in his soul a desire for desires—boredom. Involuntarily he began to snatch at every passing caprice, mistaking it for a desire and a purpose.

He had been searching for it his entire life. He had devoted himself to poetry to find it. Now, in the middle of his life, he found it. It was in the face of the love of his life, his daughter. She who had never blushed before, now blushed. And in that blushing, he knew, was the existence of God. That was the day her father learned what God was. God was pure beauty, God was his daughter’s face when she blushed.

His agony somehow became an invisible hand, stretching out through the Force, a hand that found her, far away, alone in her apartment in the dark, a hand that felt the silken softness of her skin and the sleek coils of her hair, a hand that dissolved into a field of pure energy, of pure feeling that reached inside her— And now he felt her, really felt her in the Force, as though she could have been some kind of Jedi, too, but more than that: he felt a bond, a connection, deeper and more intimate than he’d ever had before with anyone, even Obi-Wan; for a precious eternal instant he was her … he was the beat of her heart and he was the motion of her lips and he was her soft words as though she spoke a prayer to the stars—

Ianthe looked at you; her blue-and-brown eyes were beatific. “Harry,” she said, and she said it tenderly, “have you never read a trashy novel in which the hero gets a life-affirming change of clothes and some makeup, and then goes to the party and everyone says things like, ‘By the Emperor’s bones! But you’re beautiful,’ or, ‘This is the first time I have ever truly seen you,’ and if the hero’s a necromancer it’ll be described like, ‘His frailty made his unearthly handsomeness all the more ephemeral,’ et cetera, et cetera, the word mewled fifteen pages later, the word nipple one page after that?” You said emphatically: “No.

She will be busy writing novels. As soon as she had has gotten far enough away from this frighteningly puritanical country, her mind will be set free, and she will be able to turn all of her observations in richly drawn characters and intricately themed stories.” “But what will she eat, dear Grass?” Barnard leaned against the wall, his arms crossing his chest skeptically. “Baguette and red wine, pure art, filthy air. Look at her, she is made of rose petals, and the world will take good care of her. And if it does not, we will have our hearts moved by such an exquisitely gorgeous tragedy.

I don’t want to talk about it,” she said. Once again he was close. Too close. So damn close. “At all,” she added, hearing with some alarm that her voice had softened. Everything had softened, at just his proximity. “Ever,” she whispered, and found her gaze locked on his mouth. He had a really great mouth. “I don’t want to talk, either,” that mouth said very seriously. And then he lowered his head and kissed her.

no disease suffered by a live man can be known, for every living person has his own peculiarities and always has his own peculiar, personal, novel, complicated disease, unknown to medicine -- not a disease of the lungs, liver, skin, heart, nerves, and so on mentioned in medical books, but a disease consisting of one of the innumerable combinations of the maladies of those organs. This simple thought could not occur to the doctors (as it cannot occur to a wizard that he is unable to work his charms) because the business of their lives was to cure, and they received money for it and had spent the best years of their lives on that business. But above all that thought was kept out of their minds by the fact that they saw they were really useful [...] Their usefulness did not depend on making the patient swallow substances for the most part harmful (the harm was scarcely perceptible because they were given in small doses) but they were useful, necessary, and indispensable because they satisfied a mental need of the invalid and those who loved her -- and that is why there are, and always will be, pseudo-healers, wise women, homoeopaths, and allopaths. They satisfied that eternal human need for hope of relief, for sympathy, and that something should be done, which is felt by those who are suffering.

Hearts don't start out frozen," Cassandra said wisely. "Something happened to you." Mr. Severin gave her a slightly mocking glance. "How do you know so much about the heart?" "I've read novels-" Cassandra began earnestly, and was disgruntled to hear his quiet laugh. "Many of them. You don't think a person can learn things from reading novels?" "Nothing that actually applies to life." But the blue-green eyes contained a friendly sparkle, as if he found her charming. "But life is what novels are about. A novel can contain more truth than a thousand newspaper articles or scientific papers. It can make you imagine, just for a little while, that you're someone else- and then you understand more about people who are different from you." The way he listened to her was so very flattering, so careful and interested, as if he were collecting her words like flowers to be pressed in a book. "I stand corrected," he said. "I see I'll have to read one.

Dorian looked down at the book. "This isn't one of the books that I sent you! I don't even own books like these!" She laughed weakly and took the tea from the servant as she approached. "Of course you don't, Dorian. I had the maids send for a copy today." "Sunset's Passions," he read, and opened the book to a random page to read aloud. "'His hands gently caressed her ivory, silky br-'" His eyes widened. "By the Wyrd! Do you actually read this rubbish? What happened to Symbols and Power and Eyllwe Customs and Culture?" She finished her drink, the ginger tea easing her stomach. "You may borrow it when I'm done. If you read it, you literary experience will be complete. And," she added with a coy smile, "it will give you some creative ideas of things to do with your lady friends." He hissed through his teeth. "I will not read this." She took the book from his hands, leaning back. "Then I suppose you're just like Chaol." "Chaol?" he asked, falling into the trap. "You asked Chaol to read this?" "He refused, of course," she lied. "He said it wasn't right for him to read this sort of material if I gave it to him." Dorian snatched the book from her hands. "Give me that, you demon-woman. I'll not have you matching us against each other." He glanced once more at the novel, then turned it over, concealing the title. She smiled, and resumed watching the falling snow.

Real love isn't ambivalent. I'd swear that's a line from my favorite best-selling paperback novel, "In Love with the Night Mysterious", except I don't think you've ever read it. Well, you ought to, instead of spending the rest of your life, trying to get through "Democracy in America." It's about this white woman whose daddy owns a plantation in the Deep South, in the years before the Civil War. And her name is Margaret, and she's in love with her daddy's number-one slave, and his name is Thaddeus. And she's married, but her white slave-owner husband has AIDS: Antebellum Insufficiently-Developed Sex-organs. And so, there's a lot of hot stuff going down, when Margaret and Thaddeus can catch a spare torrid ten under the cotton-picking moon. And then of course the Yankees come, and they set the slaves free. And the slaves string up old daddy and so on, historical fiction. Somewhere in there I recall, Margaret and Thaddeus find the time to discuss the nature of love. Her face is reflecting the flames of the burning plantation, you know the way white people do, and his black face is dark in the night and she says to him, "Thaddeus, real love isn't ever ambivalent.

Adam." She rubbed her forehead with her fingers. "There will be only one bed." He frowned. "No, as I said it's a double-" "It's not. It won't be. There will be only one bed, for sure."He gave her a puzzled look. "I got the booking confirmation the other day. I can forward it to you if you want; it says that-" "It doesn't matter what it says. It's always one bed." He stared at her, perplexed, and she sighed and leaned helplessly against the back of her chair. He'd clearly never seen a rom-com or read a romance novel in his life.

The words you can’t find, you borrow. We read to know we’re not alone. We read because we are alone. We read and we are not alone. We are not alone. My life is in these books, he wants to tell her. Read these and know my heart. We are not quite novels. The analogy he is looking for is almost there. We are not quite short stories. At this point, his life is seeming closest to that. In the end, we are collected works. He has read enough to know there are no collections where each story is perfect. Some hits. Some misses. If you’re lucky, a standout. And in the end, people only really remember the standouts anyway, and they don’t remember those for very long. No, not very long.

Penelope had read several novels about such governesses in preparation for her interview and found them chock-full of useful information, although she had no intention of developing romantic feelings for the charming, penniless tutor at a neighboring estate. Or - heaven forbid! - for the darkly handsome, brooding, and extravagantly wealthy master of her own household. Lord Frederick Ashton was newly married in any case, and she had no inkling what his complexion might be

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

My mother lived alone in the ruins of the great Library, which was called Compleat, and a very passionate and dashing Library indeed. Under the slightly blackened rafters and more than slightly caved-in walls, my mother lived and read and dreamed, allowing herself to grow closer and closer to Compleat, to notice more and more how fine and straight his shelves remained, despite great structural stress. That sort of moral fortitude is rare in this day and age. By and by, my siblings and I were born and romped on the balconies, raced up and down the splintered ladders, and pored over many encyclopedias and exciting novels. I know just everything about everything—so long as it beings with A through L.

So he was queer, E.M. Forster. It wasn't his middle name (that would be 'Morgan'), but it was his orientation, his romping pleasure, his half-secret, his romantic passion. In the long-suppressed novel Maurice the title character blurts out his truth, 'I'm an unspeakable of the Oscar Wilde sort.' It must have felt that way when Forster came of sexual age in the last years of the 19th century: seriously risky and dangerously blurt-able. The public cry had caught Wilde, exposed and arrested him, broken him in prison. He was one face of anxiety to Forster; his mother was another. As long as she lived (and they lived together until she died, when he was 66), he couldn't let her know.

I appreciate the scientific rigor with which you’ve approached this project, Anna,” said Christopher, who had gotten jam on his sleeve. “Though I don’t think I could manage to collect that many names and also pursue science. Much too time-consuming.” Anna laughed. “How many names would you want to collect, then?” Christopher tilted his head, a brief frown of concentration crossing his face, and did not reply. “I would only want one,” said Thomas. Cordelia thought of the delicate tracery of the compass rose on Thomas’s arm, and wondered if he had any special person in mind. “Too late for me to only have one,” declared Matthew airily. “At least I can hope for several names in a carefully but enthusiastically selected list.” “Nobody’s ever tried to seduce me at all,” Lucie announced in a brooding fashion. “There’s no need to look at me like that, James. I wouldn’t say yes, but I could immortalize the experience in my novel.” “It would be a very short novel, before we got hold of the blackguard and killed him,” said James. There was a chorus of laughter and argument. The afternoon sun was sinking in the sky, its rays catching the jeweled hilts of the knives in Anna’s mantelpiece. They cast shimmering rainbow patterns on the gold-and-green walls. The light illuminated Anna’s shabby-bright flat, making something in Cordelia’s heart ache. It was such a homey place, in a way that her big cold house in Kensington was not. “What about you, Cordelia?” said Lucie. “One,” said Cordelia. “That’s everyone’s dream, isn’t it, really? Instead of many who give you little pieces of themselves—one who gives you everything.” Anna laughed. “Searching for the one is what leads to all the misery in this world,” she said. “Searching for many is what leads to all the fun.

She was tipping her head back to inquire, when two men entered the great hall and the question flew right out of her head. They were simply two of the most gorgeous men she'd ever seen. Twins, though different. They were both tall and powerfully built. One was taller by a few inches, with dark hair that swept just past his shoulders and eyes like shard of silver and ice while the other had long black hair falling in a single braid to his waist, and eyes as gold as Adam's torque. They were elegantly dressed in tailored clothing of dark hues, with magnificent bodies that dripped with raw sex appeal. Oh, my, she marveled, they don't amek men like these in the States. Were these typical Scotsmen? If so, she was going to have to get Elizabeth over here somehow. A connoisseur of romance novels, Elizabeth's favorites were the Scottish ones, and these two men looked as if they'd just stepped straight off one of those covers. "Try not to gape, ka-lyrra. They're only human. Mortal. Puny. And married. Both of them. Happily.

Reading for me, was like breathing. It was probably akin to masturbation for my brain. Getting off on the fantasy within the pages of a good novel felt necessary to my survival. If I wasn't asleep, knitting, or working, I was reading. This was for several reasons, all of them focused around the infititely superior and enviable lives of fictional heroines to real-life people. Take romans for instance. Fictional women in romance novels never get their period. They never have morning breath. They orgasm seventeen times a day. And they never seem to have jobs with bosses. These clean, well-satisfied, perm-minty-breathed women have fulfilling careers as florists, bakery owners, hair stylists or some other kind of adorable small business where they decorate all day. If they do have a boss, he's a cool guy (or gal) who's invested in the woman's love life. Or, he's a super hot billionaire trying to get in her pants. My boss cares about two things: Am I on time ? Are all my patients alive and well at the end of my shift? And the mend in the romance novels are too good to be true; but I love it, and I love them. Enter stage right the independently wealthy venture capitalist suffering from the ennui of perfection until a plucky interior decorator enters stage left and shakes up his life and his heart with perky catch phrases and a cute nose that wrinkles when she sneezes. I suck at decorating. The walls of my apartment are bare. I am allergic to most store-bought flowers. If I owned a bakery, I'd be broke and weigh seven hundred pounds, because I love cake.

Jane would be the next queen and her children, when she had them, would be the next princes or princesses. Or she might wait, as the other queens had waited, every month, desperate to know that she had conceived, knowing each month that it did not happen that Henry's love wore a little thinner, that his patience grew a little shorter. Or Anne's curse of death in childbed, and death to her son, might come true. I did not envy Jane Seymour. I had seen two queens married to King Henry and neither of them had much joy of it.

Oh,Mercer," he murmured against my temple once we'd come up for air, "we are so screwed." I pressed my face against his neck, breathing him in. "I know." "So what do we do?" Reluctantly, I tried to move away. It was hard to think when he was so close to me. "If we were good people, we'd never see each other again." His arms locked around my waist, pulling me back. "Okay,well, that's not happening. Plan B?" I smiled up at him, feeling ridiculously giddy for someone on the verge of ruining her life. "I don't have one.You?" He shook his head. "Nothing.But...look. I've spent basically my whole life pretending to be someone I'm not, faking some feelings, hiding others." Reaching down, he clasped my hand and lifted it so that our joined hands were trapped between our chests. "This thing with us is the only real thing I've had in a long time.You're the only real thing." He raised our hands and kissed my knuckles. "And I'm done pretending I don't want you." I had read a lot about swooning in the romance novels Mom had tried to hide from me,but I'd never felt in danger of doing it until now. Which was why a snarky comment was definitely called for. "Wow,Cross.I think you missed your calling.Screw demon hunting: you should clearly be writing Hallmark cards." His face broke into that crooked grin that was maybe my favorite sight in the whole world. "Shut up," he muttered before lowering his head and kissing me again. "Why is it," I said against his lips several moments later, "that we're always kissing in gross, dirty places like cellars and abandoned mills?" He laughed, pressing kisses to my jaw, then my neck. "Next time it'll be a castle, I promise.This is England, after all. Can't be too hard to find one.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

“You don’t expect love.” She shook her head in confusion. “This is the second time you’ve said that. Is this going to be like one of those dreadful novels where you warn me not to fall in love with you, and if I do, then you’ll turn into Bluebeard and try to lop my head off? You’re handsome. You have all your teeth.” She looked into his eyes and lightly touched her hand to his cheek. He grew very still. “I can offer you no promises. If you’re any good in bed, I might fall in love with you. If that is going to be anathema…” “No,” he said swiftly. He looked away from her, and when he spoke again, there was a slight rasp to his words. “No. That would be perfectly…unobjectionable.”

Doctors came to see her singly and in consultation, talked much in French, German, and Latin, blamed one another, and prescribed a great variety of medicines for all the diseases known to them, but the simple idea never occurred to any of them that they could not know the disease that Natasha was suffering from, as no disease suffered by a by a live man can be known, for every living person has his own peculiarities and always has his own peculiar, personal, novel, complicated disease, unknown to medicine - not a disease of the lungs, liver, skin, heart, nerves, and so on mentioned in medical books, but a disease consisting of one of the innumerable combinations of the maladies of those organs.

In my restless dreams, I see that town. Silent Hill. You promised me you'd take me there again someday. But because of me, you were never able to. Well, I'm alone there now… In our ”“special place.” Waiting for you… Waiting for you to come to see me. But you never do. And so I wait, wrapped in my cocoon of pain and loneliness. I know I've done a terrible thing to you. Something you'll never forgive me for. I wish I could change that, but I can't. I feel so pathetic and ugly lying here, waiting for you... Every day I stare up at the cracks in the ceiling, and all I can think about is how unfair it all is... The doctor came today. He told me I could go home for a short stay. It's not that I'm getting better. It's just that this may be my last chance... I think you know what I mean... Even so, I'm glad to be coming home. I've missed you terribly. But I'm afraid James. I'm    afraid you don't really want me to come home. Whenever you come see me, I can tell how hard it is on you... I don't know if you hate me or pity me... Or maybe I just disgust you.... I'm sorry about that. When I first learned that I was going to die, I just didn't want to accept it. I was so angry all the time, and I struck out at everyone I loved most. Especially you, James. That's why I understand if you do hate me. But I want you to know this, James. I'll always love you. Even though our life together had to end like this, I still wouldn't trade it for the world. We had some wonderful years together. Well, this letter has gone on too long, so I'll say goodbye. I told the nurse to give this to you after I'm gone. That means that when you read this, I'll already be dead. I can't tell you to remember me, but I can't bear for you to forget me. These last few years since I became ill...I'm so sorry for what I did to you, did to us... You've given me so much and I haven't been able to return a single thing. That's why I want you to live for yourself now. Do what's best for you, James. James... You made me happy. “I love you, Mary.”  As the car began to slowly sink to the bottom of the lake, James pulled his wife close and gently held her. Their wish had finally come true. They would be together. And now they had an eternity to enjoy their happiness.

Everything was all right. That which had been and that which was still to come. It was enough. If it were the end, it was all right so. He had loved somebody and lost her. He had hated another and killed him. Both had freed him. One had brought his feelings to life again; the other had eradicated his past. Nothing remained behind unfulfilled. No desire was left; no hatred, nor any lament. If this were a new beginning, then that was what it was. One would start without expectation, prepared for many things, with the simple strength of experience which had strengthened and not torn asunder. The ashes had been cleared away. Paralyzed places were alive again. Cynicism had turned into strength. It was all right.

The books were old and well worn, the cover of one of them had nearly broken through in its middle, and it was held together with a few threads. "Everything is so dirty here," said K., shaking his head, and before he could pick the books up the woman wiped some of the dust off with her apron. K. took hold of the book that lay on top and threw it open, an indecent picture appeared. A man and a woman sat naked on a sofa, the base intent of whoever drew it was easy to see but he had been so grossly lacking in skill that all that anyone could really make out were the man and the woman who dominated the picture with their bodies, sitting in overly upright postures that created a false perspective and made it difficult for them to approach each other. K. didn't thumb through that book any more, but just threw open the next one at its title page, it was a novel with the title, What Grete Suffered from her Husband, Hans. "So this is the sort of law book they study here," said K., "this is the sort of person sitting in judgement over me.

For a moment she was truly terrified. This was Abbadon the Cruel. The Angel of Destruction. He could and would destroy her if he had to. If he felt like it. He had destroyed worlds before. He had decimated Paradise in the name of the Morningstar. She trembled in his grasp. All his gentleness, all his kindness, all the bright shining gorgeousness of his love, he had always given to someone else. He had adored Gabrielle, had worshiped her, had written her poems and sang her songs, and for Schuyler there were novels and love notes and sweet kisses and furtive tender meetings by a fireplace. But for his twin, Azrael, he had shown nothing but his anger and violence. His strength and destruction. He saved the best of himself for those who did not deserve it. Never showed his true face to those damnable Daughters of the Light. For Azrael, there was only darkness and annihilation. Rape and carnage. War and pillage. A tear escaped from her eye and glittered in the moonlight.

Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion. No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written. Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market. The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail. Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence. I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go. Discarded pages mark the physical dimensions of a writer’s labor. Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. Every new novel stretches the term of the contract—let me live long enough to do one more book. You become a serious novelist by living long enough.

There’s a moment in [Anne of Green Gables] where Anne Shirley (great character) […] is in the same classroom as Gilbert Blythe and she hit’s him over the head with a slate, which is their kind of writing tool, and I always say that moment for me was just, I was just absolutely mesmerised. I thought it was so romantic, though she hated his guts. I would always say that in every one of my novels there is a moment where my characters metaphorically hit their potential love interests over the head with a slate. It could be that winning an argument or getting the upper hand, an example in say The Piper’s Son could be here’s Tom thinking it will be easy, text messaging Tara saying ‘How’s it going, babe’ and her response, that for me is the hitting someone over the head with a slate. It happens in Saving Francesca when she kind of meets Will and Will’s such a bastard to her. So they’re moments I kind of adopted and I loved that particular one, so I would say [L.M. Montgomery] was a major influence.

It was as easy as breathing to go and have tea near the place where Jane Austen had so wittily scribbled and so painfully died. One of the things that causes some critics to marvel at Miss Austen is the laconic way in which, as a daughter of the epoch that saw the Napoleonic Wars, she contrives like a Greek dramatist to keep it off the stage while she concentrates on the human factor. I think this comes close to affectation on the part of some of her admirers. Captain Frederick Wentworth in Persuasion, for example, is partly of interest to the female sex because of the 'prize' loot he has extracted from his encounters with Bonaparte's navy. Still, as one born after Hiroshima I can testify that a small Hampshire township, however large the number of names of the fallen on its village-green war memorial, is more than a world away from any unpleasantness on the European mainland or the high or narrow seas that lie between. (I used to love the detail that Hampshire's 'New Forest' is so called because it was only planted for the hunt in the late eleventh century.) I remember watching with my father and brother through the fence of Stanstead House, the Sussex mansion of the Earl of Bessborough, one evening in the early 1960s, and seeing an immense golden meadow carpeted entirely by grazing rabbits. I'll never keep that quiet, or be that still, again. This was around the time of countrywide protest against the introduction of a horrible laboratory-confected disease, named 'myxomatosis,' into the warrens of old England to keep down the number of nibbling rodents. Richard Adams's lapine masterpiece Watership Down is the remarkable work that it is, not merely because it evokes the world of hedgerows and chalk-downs and streams and spinneys better than anything since The Wind in the Willows, but because it is only really possible to imagine gassing and massacre and organized cruelty on this ancient and green and gently rounded landscape if it is organized and carried out against herbivores.

Outside I hopped into our vehicle, the taint of vampiric magic clinging to me like greasy smoke. “I feel soiled.” “Like walking into a room after a day of work, falling into bed, and realizing the sheets are covered in cold K-Y jelly,” Raphael said. I just stared at him. “With a funky smell,” he added. My Order conditioning failed me. “Ew.” Raphael grinned. “I‟m not even going to ask if that‟s happened to you.” I started the vehicle. “Has that happened to you?” “Yes.” Ew. “Where?” “In the bouda house. I was really tired and you‟ve seen that place: everything smells like sex . . .” “I don‟t want to know.” I peeled out of the parking lot. "So where are we going?” “To Spider Lynn‟s house. We‟re going to dig through her trash, and if that doesn‟t work, we‟ll do some breaking and entering.” Raphael frowned. “Do you know where she lives?” “Yes. I memorized the addresses of all the Masters of the Dead in the city. I have a lot of time on my hands.” He squinted at me, looking remarkably like a gentleman pirate from my favorite romance novels. “What else do you store in your head?” “This and that. I remember the first thing you ever said to me. You know, when you carried me from the cart into the tub so your mother could fix me.” “I imagine it was something very romantic,” he said. “Something along the lines of „I‟ve got you‟ or „I won‟t let you die.‟ “I was bleeding in the bathtub, trying to realign my bones, and my hyena glands voided from the pain. You said, „Don‟t worry, we have an excellent filtration system.‟” The look on his face was priceless. “That can‟t be the first thing.” “It was.” We drove in silence. “About the K-Y,” Raphael said. “I don‟t want to know!‟ “Once I washed it out of my hair—” “Raphael, why are you doing this?” “I want to make you go "Ew‟ again.” “Why in the world would you want to do that?” “It‟s an irrepressible male impulse. It just has to be done. As I was saying, once I washed it out—” “Raphael!” “No, wait, you‟ll like the next part.

And one may ask what is the good of a love that must constantly be spied on, and what is the worth of a love that needs to be guarded so intensely? But that is something the truly jealous will never understand, though at the same time there happen, indeed, to be lofty hearts among them. It is also remarkable that these same lofty-hearted men, while standing in some closet, eavesdropping and spying, though they understand clearly ‘in their lofty hearts’ all the shame they have gotten into of their own will, nevertheless, at least for the moment, while standing in that closet, will not feel any pangs of remorse. Mitya’s jealousy disappeared at the sight of Grushenka, and for a moment he became trustful and noble, and even despised himself for his bad feelings. But this meant only that his love for this woman consisted of something much higher than he himself supposed, and not in passion alone, not merely in that “curve of the body” he had explained to Alyosha. But when Grushenka disappeared, Mitya at once began to suspect in her all the baseness and perfidy of betrayal. And for that he felt no pangs of remorse.

He firmly pulled her body against his and he brushed her lips with his. Staring into her eyes, he lightly slid his tongue across her bottom lip. She drew a deep, staggered breath in response to the wave of heat she felt flushing through her. Derrick smiled at her. Then, he softly kissed her. He lightly swept his tongue between her lips, pressing his warm, soft lips to hers. He slid his hands up her body and cradled her face with his hands. Then, he passionately kissed her, tickling her tongue with his. He sucked her lips, gently, as though he was sampling nectar on a delicate petal. Then, with an intense urgency, he dipped his tongue past her lips, caressing her tongue with his. She felt fluttering inside. Anne’s body craved him. A shallow hum escaped from within her in response to how he was making her feel. She could feel his body responding to her. He was breathing heavier which was waking Anne’s primal needs. The tidal wave of lust that had just churned within her was slowly calming as his kiss became more subtle and tender. He gently pressed his lips against hers. He pulled back a little and looked away, exhaling.

Because...” he used to cradle his daughter in his arms every morning and often they would exchange soft nuances “...if you can dream it, if you can see it in your visions at night, if you can feel it in your soul, it’s yours! And it never really belonged to anyone else, in the first place! It was always yours!” Viera returned her scroll to the drawer and closed it, she kissed the compass around her neck and climbed into her bed under the warm quilts, the candle flame crackled and the memories of her father’s arms around her embraced her there in bed and his deep, hoarse voice resounded in her ears; “... and if you chance upon a treasure that is yours and it happens to be in the possession of someone else, it’s not very wrong to take what is yours, to take what you dreamed, what you saw in your visions at night, what you felt visit you in your spirit! Sure, it’s not lawful, but aye aye my little one, listen to me when I tell you that the best things in life are not under the laws of any sort! For which law created love? Which law created courage? The best things, the real things, are the things that are not measured by any man’s laws! Fear is the only thing that any law has ever created! And what kind of pirates would we all be if we were afraid of any of our fears, even a little!

Early in the novel that Tereza clutched under her arm when she went to visit Tomas, Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition - the same motif appears at the beginning and at the end - may seem quite "novelistic" to you, and I am willing to agree, but only on condition that you refrain from reading such notions as "fictive," "fabricated," and "untrue to life" into the word "novelistic." Because human lives are composed in precisely such a fashion. They are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven's music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual's life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress. It is wrong, then, to chide the novel for being fascinated by mysterious coincidences (like the meeting of Anna, Vronsky, the railway station, and death or the meeting of Beethoven, Tomas, Tereza, and the cognac), but it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life of a dimension of beauty.

These are lines from my asteroid-impact novel, Regolith: Just because there are no laws against stupidity doesn’t mean it shouldn’t be punished. I haven’t faced rejection this brutal since I was single. He smelled trouble like a fart in the shower. If this was a kiss of gratitude, then she must have been very grateful. Not since Bush and Cheney have so few spent so much so fast for so long for so little. As a nympho for mind-fucks, Lisa took to politics like a pig to mud. She began paying men compliments as if she expected a receipt. Like the Aerosmith song, his get-up-and-go just got-up-and-went. “You couldn’t beat the crap out of a dirty diaper!” He embraced his only daughter as if she was deploying to Iraq. She was hotter than a Class 4 solar flare! If sex was a weapon, then Monique possessed WMD I haven’t felt this alive since I lost my virginity. He once read that 95% of women fake organism, and the rest are gay. Beauty may be in the eyes of the beholder, but ugly is universal. Why do wives fart, but not girlfriends? Adultery is sex that is wrong, but not necessarily bad. The dinosaurs stayed drugged out, drooling like Jonas Brothers fans. Silence filled the room like tear gas. The told him a fraction of the truth and hoped it would take just a fraction of the time. Happiness is the best cosmetic, He was a whale of a catch, and there were a lot of fish in the sea eager to nibble on his bait. Cheap hookers are less buck for the bang, Men cannot fall in love with women they don’t find attractive, and women cannot fall in love with men they do not respect. During sex, men want feedback while women expect mind-reading. Cooper looked like a cow about to be tipped over. His father warned him to never do anything he couldn’t justify on Oprah. The poor are not free -- they’re just not enslaved. Only those with money are free. Sperm wasn’t something he would choose on a menu, but it still tasted better than asparagus. The crater looked alive, like Godzilla was about to leap out and mess up Tokyo. Bush follows the Bible until it gets to Jesus. When Bush talks to God, it’s prayer; when God talks to Bush, it’s policy. Cheney called the new Miss America a traitor – apparently she wished for world peace. Cheney was so unpopular that Bush almost replaced him when running for re-election, changing his campaign slogan to, ‘Ain’t Got Dick.’ Bush fought a war on poverty – and the poor lost. Bush thinks we should strengthen the dollar by making it two-ply. Hurricane Katrina got rid of so many Democratic voters that Republicans have started calling her Kathleen Harris. America and Iraq fought a war and Iran won. Bush hasn’t choked this much since his last pretzel. Some wars are unpopular; the rest are victorious. So many conservatives hate the GOP that they are thinking of changing their name to the Dixie Chicks. If Saddam had any WMD, he would have used them when we invaded. If Bush had any brains, he would have used them when we invaded. It’s hard for Bush to win hearts and minds since he has neither. In Iraq, you are a coward if you leave and a fool if you stay. Bush believes it’s not a sin to kill Muslims since they are going to Hell anyway. And, with Bush’s help, soon. In Iraq, those who make their constitution subservient to their religion are called Muslims. In America they’re called Republicans. With great power comes great responsibility – unless you’re Republican.

To-day all our novels and newspapers will be found to be swarming with numberless allusions to the popular character called a Cave-Man. He seems to be quite familiar to us, not only as a public character but as a private character. His psychology is seriously taken into account in psychological fiction and psychological medicine. So far as I can understand, his chief occupation in life was knocking his wife about, or treating women in general with what is, I believe, known in the world of the film as 'rough stuff.' I have never happeend to come upon the evidence for this idea; and I do not know on what primitive diaries or prehistoric divorce-reports it is founded. Nor, as I have explained elsewhere, have I ever been able to see the probability of it, even considered a priori. We are always told without any explanation or authority that primitive man waved a club and knocked the woman down before he carried her off. But on every animal analogy, it would seem an almost morbid modesty and reluctance, on the part of the lady, always to insist on being knocked down before consenting to be carried off. And I repeat that I can never comprehend why, when the male was so very rude, the female should have been so very refined. The cave-man may have been a brute, but there is no reason why he should have been more brutal than the brutes. And the loves of the giraffes and the river romances of the hippopotami are affected without any of this preliminary fracas or shindy.

All of the Indians must have tragic features: tragic noses, eyes, and arms. Their hands and fingers must be tragic when they reach for tragic food. The hero must be a half-breed, half white and half Indian, preferably from a horse culture. He should often weep alone. That is mandatory. If the hero is an Indian woman, she is beautiful. She must be slender and in love with a white man. But if she loves an Indian man then he must be a half-breed, preferably from a horse culture. If the Indian woman loves a white man, then he has to be so white that we can see the blue veins running through his skin like rivers. When the Indian woman steps out of her dress, the white man gasps at the endless beauty of her brown skin. She should be compared to nature: brown hills, mountains, fertile valleys, dewy grass, wind, and clear water. If she is compared to murky water, however, then she must have a secret. Indians always have secrets, which are carefully and slowly revealed. Yet Indian secrets can be disclosed suddenly, like a storm. Indian men, of course, are storms. The should destroy the lives of any white women who choose to love them. All white women love Indian men. That is always the case. White women feign disgust at the savage in blue jeans and T-shirt, but secretly lust after him. White women dream about half-breed Indian men from horse cultures. Indian men are horses, smelling wild and gamey. When the Indian man unbuttons his pants, the white woman should think of topsoil. There must be one murder, one suicide, one attempted rape. Alcohol should be consumed. Cars must be driven at high speeds. Indians must see visions. White people can have the same visions if they are in love with Indians. If a white person loves an Indian then the white person is Indian by proximity. White people must carry an Indian deep inside themselves. Those interior Indians are half-breed and obviously from horse cultures. If the interior Indian is male then he must be a warrior, especially if he is inside a white man. If the interior Indian is female, then she must be a healer, especially if she is inside a white woman. Sometimes there are complications. An Indian man can be hidden inside a white woman. An Indian woman can be hidden inside a white man. In these rare instances, everybody is a half-breed struggling to learn more about his or her horse culture. There must be redemption, of course, and sins must be forgiven. For this, we need children. A white child and an Indian child, gender not important, should express deep affection in a childlike way. In the Great American Indian novel, when it is finally written, all of the white people will be Indians and all of the Indians will be ghosts.

My conception of a novel is that it ought to be a personal struggle, a direct and total engagement with the author's story of his or her own life. This conception, again, I take from Kafka, who, although he was never transformed into an insect, and although he never had a piece of food (an apple from his family's table!) lodged in his flesh and rotting there, devoted his whole life as a writer to describing his personal struggle with his family, with women, with moral law, with his Jewish heritage, with his Unconscious, with his sense of guilt, and with the modern world. Kafka's work, which grows out of the nighttime dreamworld in Kafka's brain, is *more* autobiographical than any realistic retelling of his daytime experiences at the office or with his family or with a prostitute could have been. What is fiction, after all, if not a kind of purposeful dreaming? The writer works to create a dream that is vivid and has meaning, so that the reader can then vividly dream it and experience meaning. And work like Kafka's, which seems to proceed directly from dream, is therefore an exceptionally pure form of autobiography. There's an important paradox here that I would like to stress: the greater the autobiographical content of a fiction writer's work, the *smaller* its superficial resemblance to the writer's actual life. The deeper the writer digs for meaning, the more the random particulars of the writer's life become *impediments* to deliberate dreaming.

So, what do you go for in a girl?” He crows, lifting a lager to his lips Gestures where his mate sits Downs his glass “He prefers tits I prefer ass. What do you go for in a girl?” I don’t feel comfortable The air left the room a long time ago All eyes are on me Well, if you must know I want a girl who reads Yeah. Reads. I’m not trying to call you a chauvinist Cos I know you’re not alone in this but… I want a girl who reads Who needs the written word & uses the added vocabulary She gleans from novels and poetry To hold lively conversation In a range of social situations I want a girl who reads Who’s heart bleeds at the words of Graham Greene Or even Heat magazine Who’ll tie back her hair while reading Jane Eyre And goes cover to cover with each water stones three for two offer but I want a girl who doesn’t stop there I want a girl who reads Who feeds her addiction for fiction With unusual poems and plays That she hunts out in crooked bookshops for days and days and days She’ll sit addicted at breakfast, soaking up the back of the cornflakes box And the information she gets from what she reads makes her a total fox Cos she’s interesting & unique & her theories make me go weak at the knees I want a girl who reads A girl who’s eyes will analyze The menu over dinner Who’ll use what she learns to kick my ass in arguments so she always ends the winner But she’ll still be sweet and she’ll still be flirty Cos she loves the classics and the classics are dirty So late at night she’d always have me in a stupor As she paraphrases the raunchier moments from the works of Jilly Cooper See, some guys prefer asses Some prefer tits And I’m not saying that I don’t like those bits But what’s more important What supersedes Is a girl with passion, wit and dreams So I’d like a girl who reads.

Middlemarch is a novel that is diminished by being put on the screen. It can't help but be, because so much of what we enjoy in Middlemarch is the interplay between what the characters do and what we know about them because of the telling voice. It's less of a problem for the cinema when it deals with novels that are purely concerned with action and what people do. I haven't thought this through, and I'm just trying it now to see what it sounds like. But maybe it would be less a problem with novels that are told in the first person. The interesting thing to me about Middlemarch, and Thackeray's Vanity Fair, and several other great novels, is precisely this omniscient, as we call it, third person, which naive readers mistake for the author. It isn't George Eliot who is saying this; it's a voice that George Eliot adopts to tell this story. There can be something very interesting in a novel like Bleak House, which was also done very well on the television by the same adapter, Andrew Davis. Now, Bleak House is told in two voices, as you remember. One is the somewhat trying Esther Summerson, who is a paradigm of every kind of virtue, and the other is a different sort of voice entirely, a voice that tells the story in the present tense, which was unusual for the time, a voice that doesn't seem to have a main character attached to it. But I think that Dickens is playing a very subtle game here. I've noticed a couple of things about that second narration that make me wonder whether it isn't Esther herself writing the other bits of it. For instance, at the very beginning, she says, "When I come to write my portion of these pages . . ." So she knows that there is another narrative going on, but nobody else does. Nobody else refers to it. The second thing is that she is the only character who never appears in those passages of present-tense narration. The other characters do. She doesn't. Why would that be? There's one point very near the end of the book where she almost does. Inspector Bucket is coming into the house to collect Esther to go and look for Lady Dedlock, who's run away, and we hear that Esther is just coming -- but no, she's turned back and brought her cloak, so we don't quite see her. It's as if she's teasing us and saying, "You're going to see me; no, you're not." Now, that's Dickens, at the height of his powers, playing around -- in ways that we would now call, I don't know, postmodern, ironic, self-referential, or something -- with the whole notion of narration, characterization, and so on. Yet, it doesn't matter. Those things are there for us to notice and to enjoy and to relish, if we have the taste for that sort of thing. But the events of Bleak House are so thrilling, so perplexing, so exciting that a mere recital of the events themselves is enough to carry a whole television adaptation, a whole play, a whole story. It's so much better with Dickens's narrative playfulness there, but it's pretty good without them.

The end of this short story could be a rather disturbing thing, if it came true. I hope you like it, and if you do, be sure to COMMENT and SHARE. Paradoxes of Destiny? Dani! My boy! Are you all right? Where are you? Have you hurt yourself? Are you all right? Daniiii! Why won’t you answer? It’s so cold and dark here. I can’t see a thing… It’s so silent. Dani? Can you hear me? I shouldn’t have looked at that text message while I was driving… I shouldn’t have done it! I'm so stupid sometimes! Son, are you all right?... We really wrecked the car when we rolled it! I can’t see or hear a thing… Am I in hospital? Am I dead…? Dani? Your silence is killing me… Are you all right?! I can see a glimmer of light. I feel trapped. Dani, are you there? I can’t move. It’s like I’m wrapped in this mossy green translucent plastic. I have to get out of here. The light is getting more and more intense. I think I can tear the wrapping that’s holding me in. I'm almost out. The light is blinding me. What a strange place. I've never seen anything like it. It doesn’t look like Earth. Am I dead? On another planet? Oh God, look at those hideous monsters! They’re so creepy and disgusting! They look like extraterrestrials. They’re aliens! I'm on another planet! I can’t believe it. I need to get the hell out here. Those monsters are going to devour me. I have to get away. I’m so scared. Am I floating? Am I flying? I’m going to go higher to try to escape. I can’t see the aliens anymore and the landscape looks less terrifying. I think I've made it. It’s very windy. Is that a highway? I think I can see some vehicles down there. Could they be the extraterrestrials’ transport? I’m going to go down a bit. I see people! Am I on Earth? Could this be a parallel universe? Where could Dani be? I shouldn’t have looked at that text message while I was driving. I shouldn’t… That tower down there looks a lot like the water tank in my town… It’s identical. But the water tank in my town doesn’t have that huge tower block next to it. It all looks very similar to my neighborhood, but it isn’t exactly the same: there are a lot of tower blocks here. There’s the river… and the factory. It’s definitely my neighborhood, but it looks kind of different. I must be in a parallel universe… It’s amazing that I can float. People don’t seem to notice my presence. Am I a ghost? I have to get back home and see if Dani’s there. God, I hope he’s safe and sound. Gabriela must be out of her mind with the crash. There’s my house! Home sweet home. And whose are those cars? The front of the house has been painted a different color… This is all so strange! There’s someone in the garden… Those trees I planted in the spring have really grown. Is… is that… Dani? Yes, yes! It’s Dani. But he looks so different… He looks older, he looks… like a big boy! What’s important is that he’s OK. I need to hug him tight and tell him how much I love him. Can he see me if I’m a ghost? I'll go up to him slowly so I don’t scare him. I need to hold him tight. He can’t see me, I won’t get any closer. He moved his head, I think he’s started to realize I’m here… Wow I’m so hungry all of a sudden! I can’t stop! How are you doing, son?! It’s me! Your dad! My dear boy? I can’t stop! I'm too hungry! Ahhhh, so delicious! What a pleasure! Nooo Daniii! Nooooo!.... I’m your daaaad!... Splat!... “Mum, bring the insect repellent, the garden’s full of mosquitoes,” grunted Daniel as he wiped the blood from the palm of his hand on his trousers. Gabriela was just coming out. She did an about turn and went back into her house, and shouted “Darling, bring the insect repellent, it’s on the fireplace…” Absolute cold and silence… THE END (1) This note is for those who have read EQUINOX—WHISPERS OF DESTINY. This story is a spin-off of the novel EQUINOX—WHISPERS OF DESTINY and revolves around Letus’s curious theories about the possibility of animal reincarnation.