Hourglass Body Quotes

Getting a full-body buzz with a guy I'd just met was as weird as seeing dead people. But much more enjoyable.

My legs feel full of sand and stapled together, my mind overflowing with grains of indecision, choices unmade and impatient as time runs out of my body. The small hand of a clock taps me at one and two, three and four, whispering hello, get up, stand up, it's time to wake up wake up "Wake up," he whispers.

His unlived life worried him, tortured him, turning round and round inside him like an animal in a cage. In Dodo's body, the body of a half-wit, somebody was growing old, although he had not lived; somebody was maturing to a death that had no meaning at all.

I walked in without knocking. The screen door banged to a close behind me announcing my presence. I followed my nose to the kitchen and found Kaleb standing by the stove. He stirred something that smelled absolutely delicious a wooden spoon in one hand and a huge chef’s knife in the other. “Are you sober?” I asked from the doorway. He turned and leveled a smile at me that made me a little wobbly. “I am." “Good. Because if not I was going to take the deadly kitchen utensil away from you.” I crossed the room and pulled myself up to sit on the counter beside the stove. A cutting board full of green peppers and two uncut stalks of celery waited for attention from the knife. Melted butter and diced onions bubbled in a sauté pan on the stove. “You cook." Kaleb was so pretty I was jealous. Pretty with ripped muscles and a tattoo of a red dragon covering most of his upper body. “Yes,” he said. “I cook.” “Do you usually wear a wife beater and,” I pushed him back a little by his shoulder “an apron that says ‘Kiss the Cook’ while you’re doing it? ” He leaned so close to me my heart skipped a couple of beats. “I’ll wear it all the time if you’ll consider it.

Yes, it hurts to fall— ache, tenderness —but each scar is a sign your system is working.

We live in a modern society. Husbands and wives don't grow on trees, like in the old days. So where does one find love? When you're sixteen it's easy, like being unleashed with a credit card in a department store of kisses. There's the first kiss. The sloppy kiss. The peck. The sympathy kiss. The backseat smooch. The we shouldn't be doing this kiss. The but your lips taste so good kiss. The bury me in an avalanche of tingles kiss. The I wish you'd quit smoking kiss. The I accept your apology, but you make me really mad sometimes kiss. The I know your tongue like the back of my hand kiss. As you get older, kisses become scarce. You'll be driving home and see a damaged kiss on the side of the road, with its purple thumb out. If you were younger, you'd pull over, slide open the mouth's red door just to see how it fits. Oh where does one find love? If you rub two glances, you get a smile. Rub two smiles, you get a warm feeling. Rub two warm feelings and presto-you have a kiss. Now what? Don't invite the kiss over and answer the door in your underwear. It'll get suspicious and stare at your toes. Don't water the kiss with whiskey. It'll turn bright pink and explode into a thousand luscious splinters, but in the morning it'll be ashamed and sneak out of your body without saying good-bye, and you'll remember that kiss forever by all the little cuts it left on the inside of your mouth. You must nurture the kiss. Turn out the lights. Notice how it illuminates the room. Hold it to your chest and wonder if the sand inside hourglasses comes from a special beach. Place it on the tongue's pillow, then look up the first recorded kiss in an encyclopedia: beneath a Babylonian olive tree in 1200 B.C. But one kiss levitates above all the others. The intersection of function and desire. The I do kiss. The I'll love you through a brick wall kiss. Even when I'm dead, I'll swim through the Earth, like a mermaid of the soil, just to be next to your bones.

I can’t relate to your razzle-dazzle, your wish for voluptuous when my symphony is spanx.

My time here is dwindling. Everything around me - my body, the transition from winter to spring, the height chart marking the growth of my daughter, Emily - reminds me that the hourglass that is my life has only a few grains of sand left.

The best description of this book is found within the title. The full title of this book is: "This is the story my great-grandfather told my father, who then told my grandfather, who then told me about how The Mythical Mr. Boo, Charles Manseur Fizzlebush Grissham III, better known as Mr. Fizzlebush, and Orafoura are all in fact me and Dora J. Arod, who sometimes shares my pen, paper, thoughts, mind, body, and soul, because Dora J. Arod is my pseudonym, as he/it incorporates both my first and middle name, and is also a palindrome that can be read forwards or backwards no matter if you are an upright man in the eyes of God or you are upside down in a tank of water wearing purple goggles and grape jelly discussing how best to spread your time between your work, your wife, and the toasted bread being eaten by the man you are talking to who goes by the name of Dendrite McDowell, who is only wearing a towel on his head and has an hourglass obscuring his “time machine”--or the thing that he says can keep him young forever by producing young versions of himself the way I avert disaster in that I ramble and bumble like a bee until I pollinate my way through flowery situations that might otherwise have ended up being more than less than, but not equal to two short parallel lines stacked on top of each other that mathematicians use to balance equations like a tightrope walker running on a wire stretched between two white stretched limos parked on a long cloud that looks like Salt Lake City minus the sodium and Mormons, but with a dash of pepper and Protestants, who may or may not be spiritual descendents of Mr. Maynot, who didn’t come over to America in the Mayflower, but only because he was “Too lazy to get off the sofa,” and therefore impacted this continent centuries before the first television was ever thrown out of a speeding vehicle at a man who looked exactly like my great-grandfather, who happens to look exactly like the clone science has yet to allow me to create

Ariadne made an impression on you, and that's great. But life is not literature. Sooner or later, the spell wears off, the romantic feelings disappear, and you're left watching somebody's body disintegrate. You start with a love story, you end up manacled to an hourglass, watching the sands run out.

Right/Wrong Things To Say To A Client About Shape Don’t Say… We need to get you looking like an hourglass figure, which is considered the perfect figure. Do Say… Let’s find your body shape and work with styles to define the look for your desired effect, as we are all precious works of art, each unique and amazing.

Right/Wrong Things To Say To A Client About Shape Don’t Say… “We need to get you looking like an hourglass figure, which is considered the perfect figure.” Do Say… “Let’s find your body shape and work with styles to define the look for your desired effect, as we are all precious works of art, each unique and amazing.

Thanks to suffering and madness, I have had a finer, richer life than any of you, and I wish to go to my death with dignity, as befits the great moment after which all dignity and majesty cease. Let my body be my ark and my death a long floating on the waves of eternity. A nothing amid nothingness. What defense have I against nothingness but this ark in which I have tried to gather everything that was dear to me, people, birds, animals, and plants, everything that I carry in my eye and in my heart, in the triple-decked ark of my body and soul. Like the pharaohs in the majestic peace of their tombs, I wanted to have all those things with me in death, I wanted everything to be as it was before; I wanted the birds to sing for me forever, I wanted to exchange Charon's bark for another, less desolate and less empty; I wanted to ennoble eternity's unconscionable void with the bitter herbs that spring from the heart of man, to ennoble the soundless emptiness of eternity with the cry of the cuckoo and the song of the lark. All I have done is to develop that bitter poetic metaphor, carry it with passionate logic to its ultimate consequence, which transforms sleep into waking (and the converse); lucidity into madness (and the converse); life into death, as though there were no borderline, and the converse; death into eternity, as if they were not one and the same thing. Thus my egoism is only the egoism of human existence, the egoism of life, counterweight to the egoism of death, and, appearances to the contrary, my consciousness resists nothingness with an egoism that has no equal, resists the outrage of death with the passionate metaphor of the wish to reunite the few people and the bit of love that made up my life. I have wanted and still want to depart this life with specimens of people, flora and fauna, to lodge them all in my heart as in an ark, to shut them up behind my eyelids when they close for the last time. I wanted to smuggle this pure abstraction into nothingness, to sneak it across the threshold of that other abstraction, so crushing in its immensity: the threshold of nothingness. I have therefore tried to condense this abstraction, to condense it by force of will, faith, intelligence, madness, and love (self-love), to condense it so drastically that its specific weight will be such as to life it like a balloon and carry it beyond the reach of darkness and oblivion. If nothing else survives, perhaps my material herbarium or my notes or my letters will live on, and what are they but condensed, materialized idea; materialized life: a paltry, pathetic human victory over immense, eternal, divine nothingness. Or perhaps--if all else is drowned in the great flood--my madness and my dream will remain like a northern light and a distant echo. Perhaps someone will see that light or hear that distant echo, the shadow of a sound that was once, and will grasp the meaning of that light, that echo. Perhaps it will be my son who will someday publish my notes and my herbarium of Pannonian plants (unfinished and incomplete, like all things human). But anything that survives death is a paltry, pathetic victory over the eternity of nothingness--a proof of man's greatness and Yahweh's mercy. Non omnis moriar.

Dude, wait until you see the hot little number on there!” He was grinning like the Cheshire cat. “What are you talking about? Aren’t all flight attendant’s middle-aged, blonde women?” “Not this one. She’s feisty too, kneed me right in the balls.” I smiled, and it was actually genuine. I wondered if he was fucking with me. But, it was enough to peak my curiosity. I slowly walked towards the plane wondering if it was going to be a grandma, or something. It wouldn’t be the first time. I really hoped that it wasn’t some die-hard groupie either. As soon as I reached the top of the stairs I almost tripped and fell on my face when I got my first look at her. She was gorgeous! She looked like she walked straight off of a pin-up girl calendar. She had long, black hair with strands of hot pink. I appraised my way down her body. She had a slim waist and curvy hips. She was built like an hourglass. I noticed a couple of sexy facial piercings. She had an adorable little nose and big brown eyes. Then I saw a tattoo peeking out on her shoulder. I could tell that she had a chest piece. I was instantly hard. Awesome…

Trick Candle Torches feeding on the dark between the stars a river of ice and fire converge in her chest a kiss like a hot spring, a tongue of embers breath of ash with sparking lips words that crash like the tide and a judge’s hammer a touch like a bed of poppies and spiderwebs hips like the curve of an hourglass and sex pure sex manifested in the flesh a body to take a bullet for I am drunk and drugged, dashed upon the shore of her soul a soul to set the angels and demons to war I am stranded in no man’s land in between her ribs like a madman guardian searching for her womb seeking death or rebirth those bittersweet twins one a flicker the other a trick candle I crawl towards the light

The Highest Octaves of Light Sands, in wild winds of surging waves Over the desert dunes, sing with the tones Of tiny pebbles moving all together, a shifting Of dust grains humming and moaning Over the growing and diminishing dunes. His body in the mirror is the color Of sands. The song he sings in the voice Of light shining like waves of wind Passing over his body inside the glass. The mirror sings with the color of sand In the highest octaves of light. Have you ever listened to sands sing With gold light as they fall in threads Through the needle-eye opening At the center of a hour-glass globe? Why not arrange such globes in rows Before a window of sun, each globe A different width, a different height Of refined or rudimentary glass, clear Amber rose, a tinted blue of noon sky, And listen to the chorus? And then why not turn the globes Upside down and over again to hear Sands sing one more time? The desert dunes are singing, wind-risen Voices from a primeval earth, haunting, Pacific, pining and irate. we listen For the repeating message we remember. The songs are only tumbling pebble grains; Their words are only notes of swirling dust, Sings the eternal light, Emanuel.

The sexual competition model of eating disorders has two interlocking components. The first component is based on the universal male preference for a nubile -hourglass- body shape and the fact that women tend to accumulate body weight as they age, with the result that relative thinness is a reliable cue of youth and reproductive potential. The second component is specific to modern societies: as fertility declines and the age of reproduction shifts upward, women tend to retain an attractive nubile shape for longer, which increases the importance of thinness as an attractive display. At the same, a number of converging trends contribute to intensify real and perceived mating competition among women, especially for long-term partners. Specifically, socially imposed monogamy reduces the number of available men; urban living dramatically increases the number of potential desirable competitors; and the media paint a visual landscape full of unrealistically thin, attractive women. The net outcome of these social changes is a process of runaway sexual competition that leads to an exaggerated desire for thinness in girls and women. Ironically, the process is largely driven by female intrasexual competition rather than direct male choice, and the resulting -ideal body- may be too thin to be maximally attractive to men.

What did E.S. like about dreams? Their similarity to life and their dissimilarity; their salutary effect on body and soul; their unrestricted choice and arrangement of themes and contents; their bottomless depths and eerie heights; their eroticism; their freedom; their openness to guidance by will and suggestion (a perfumed handkerchief under one's pillow, soft music on the radio or gramophone, etc.); their resemblance to death and their power to confer intimations of eternity; their resemblance to madness without the consequences of madness; their cruelty and their gentleness; their power to pry the deepest secrets out of us; their blissful silence, to which cries are not unknown; their telepathic and spiritist faculty of communication with those dead or far away; their coded language, which we manage to understand and translate; their ability to condense the mythical figures of Icarus, Ahasuerus, Jonah, Noah, etc., into images; their monochrome and polychrome quality; their resemblance to the womb and to the jaws of a shark; their faculty of transforming unknown places, people, and landscapes into known ones, and vice versa; their power to diagnose certain ailments and traumas before it is too late; the difficulty of determining how long they last; the fact that they can be mistaken for reality; their power to preserve images and distant memories; their disrespect for chronology and the classical unities of time and action.

Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum. One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust. Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated. The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.

She was my age, or at least close to it. Dark hair that ran down her back in silky waves. An hourglass figure that was accentuated by her jeans and t-shirt. A tight little body begging to be touched. She was sexy in a way that seemed effortless, unlike most of the dolled-up sorority girls who usually flirted with me. Sarah was a fucking smokeshow.

fought back. A lot of it is not in the textbooks, but a lot of people fought back, and they were killed. You never hear about them anymore.’” Then, again, she said, “I lived it.” A silence settled between us, and I kept thinking about her refrain. I lived it. I lived it. I lived it. It echoed throughout the room and became the gravity around us. It crept into my ears and made a home in there. I watched the realization wash over her like a tide had risen around her body. There was so much I had not known about my grandmother’s life until this moment. So many painful experiences that she still carried deep in the marrow of her bones. I thought of how easily these memories might have slipped away with her, had we not sat down—these stories might have remained grains of sand at the bottom of an hourglass. I thought about all of the ways the world today is at once so different, and not so different at all. The exhibits at the museum were not abstractions for my grandparents; they were affirmations that what they had experienced was not of their imagination, and harrowing reminders that the scars of that era had not been self-inflicted. When my grandmother said, “I lived it,” what I heard was This museum is a mirror. When my grandmother said, “I lived it,” what I heard was My memories are an exhibit of their own. When my grandmother said, “I lived it,” what I heard was Always remember what this country did to us. When my grandmother said, “I lived it,” what I heard was Don’t let them tell you we didn’t fight back. When my grandmother said, “I lived it,” what I heard was I did not die. I have somehow made it here when so many did not. I escaped the jaws of

Hang on,” Darcy spoke over me and my fingers itched with the urge to punish her for that. If she’d done so in my classroom, I would have made her pay severely for it. As it was, I supposed I could be lenient this once. She’d soon learn I was not to be fucked with anyway. Of course, then my treacherous mind ran to the dangerous place where my punishments involved me pushing her down on my desk and spanking her ass raw, and I cursed myself internally. What the fuck’s the matter with me? ... “Yes. But not just any school. The best school.” It really was the fucking best. “So what do you say?” “I say you're crazy,” Darcy said and I had a vision of showing her just how crazy I could be. Not an appropriate one though. The kind where she was pinned beneath me gasping my name. Focus. ... A beat later, Darcy returned from the bathroom in tight jeans which clung to her round ass and a black tank top that hugged the hourglass curves of her body. Ah, great. Why couldn’t she have been covered in Heptian Toad skin? For some reason, her twin of the exact same figure hadn’t stirred anything in me, but this one had my cock throbbing and my mind spinning with filthy fantasies I could never, ever act on. You fucking idiot. ... I grabbed her shoulders, jerking her around to face the circle of new students in The Howling Meadow ready for their Awakening as my heart thrashed and rioted in my chest. Darcy stepped away from me and my fingers balled and unballed as I stared after her, a growl rolling low through my throat as I worked to fight against the thirst, and the other, hungry part of me which had awoken. Darcy glanced back at me in alarm. “What's going on?” she asked, her green eyes dancing with panic. I guessed this really was a mindfuck. “Did you just drug us?” Tory rounded on me. “What is it with you and drugs?” I muttered. “Remember to keep calm,” I commanded, needing them to get through this without making a complete scene. I had to know what Elements they possessed. Lionel would be waiting for me to call and give him a play by play of everything that had happened tonight, everything I’d learned about the Vegas. But there was one thing for sure I wouldn’t tell even Darius about this night. That I felt a pull to one of them that defied all logic and made my hatred for them deepen. Because of all the concerns I’d had about the Vega twins returning to Solaria, none of my imaginings had conjured up this. Maybe it was the power of their blood that called to me, but as it was only Darcy who had made me fucking burn with unwanted need, I doubted I could put it down to that. One thing was for sure, I’d be cutting these twisted urges out of me just as soon as I could. And they were not going to affect anything about what came next. Because the Vega twins would not be ascending to the throne. It was my duty to make sure of that. And no girl with blue-tipped hair in bunny pyjamas was going to fuck with my plans.(Lance Orion POV)

What I wasn’t expecting was the euphoria once my body began releasing endorphins. The mixture of pain and pleasure was ecstasy. Getting my tattoo introduced me to secret, dark pleasures. I would always be a marked prisoner, but I was a liberated soul.

Milk" Salty leave, salty leave Tell me the one about the friend you knew, And the last goodnight that we toasted too. Salty leave, Stay for me, stay for me We drank wine in the matineee And the spotlight showed what I chased away Stay for me She saw my comb over, her hourglass body She had problems with drinking milk and being school tardy She'll loan you her toothbrush She'll bartend you party Kill me, Kill me I called and I called, but I can't get through, Said he's on his own, but his own is you Kill me

My lady—” Lock began but Kat held up a hand. “Okay, I just have to say this. Before we go any farther, could both of you please stop calling me ‘my lady?’ It’s getting really old. We’re not at the freaking Renaissance Fair, you know. I mean, what’s next? Are you going to offer to buy me a tankard of mead and joust for my honor?” Both the brothers looked thoroughly confused. “Buy you what?” Deep said. “What’s a joust?” Lock asked. Kat blew out a breath in frustration. “Never mind. The point is, I want you to stop calling me ‘my lady.’ All right?” Lock frowned. “But it’s the only proper term of address for an elite female.” Kat had a feeling she was getting in deeper and deeper, but she couldn’t help asking. “What’s an elite female?” Lock’s dark brown eyes were suddenly as hot as his brother’s had been earlier when he’d scented her. “One with a shape like yours, my lady.” His big hands described a generous hourglass in the air. “Most of the females on Twin Moons are lean and tough—our lifestyle and diet make them that way.” “But there are a few,” Deep went on, taking up where his brother had left off. “A lucky few whom the Mother has marked with curving hips and ripe breasts, full to overflowing.” His black eyes flickered hungrily over her body as he spoke and Kat had to fight the urge to cover herself. She suddenly felt naked under the blue silk gown. “They are blessed by the Mother—goddesses who walk among us. We call them the elite,” Lock continued, still eyeing her. “And naturally we thought you were an Earth elite. Were we wrong?” Kat stared at them, unbelieving. “Uh, I guess so. But on Earth we call it ‘plus sized.’” “Plus sized?” Deep raised an eyebrow at her. “You know—more to love? Pleasingly plump? Big beautiful woman?” His eyes gleamed. “Most intriguing. I like all those descriptions.” “I do, too.” Lock gave her a ravenous look. Kat felt the sudden urge to pinch herself. Are they seriously saying they come from a planet of skinny-minnies but they think plus sized girls are hotter? Did somebody slip me some crazy pills? She shook her head, trying to clear away the mental images the brothers’ words brought to mind. “Look,” she said sternly. “It’s great you’re so into women with curves, but we are getting way, way, way off point here. One, I’d prefer if you just called me Kat. And two, we need to do this…whatever it is we’re going to do and try to locate Sophie and Sylvan. They’ve been missing for hours now.” “Very

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

The sand was running out of the hourglass. And she didn’t want to waste a single grain of it. Grandma didn’t feel like a person with only a few grains left. I think that’s why this was so hard. When Grandpa died, he was tired. His dementia had taken a lot of him. We lost him months before we lost his body too. But Grandma still had so much vitality. She didn’t feel ready to go yet. I wasn’t ready for her to go either.

Sure enough, many studies find that, just as straight men prefer women with an hourglass figure, straight women prefer men with a V-shaped torso, an athletic physique, and a voice like a low-pitched rumble. Men possessing these attributes tend to lose their virginity earlier, attract more sexual partners, and have more affairs than other men. Conversely, men with a pear-shaped body and a high-pitched, Mickey Mouse voice tend to attract less sexual interest and accumulate less sexual experience.

Take a deep breath.” I couldn’t help but obey. “Good. Now, step in front of the mirror.” What was happening? Was this a scene from one of my books where a character was forced to watch their reflection as a partner got them off? Certainly not. Hannah was attached. At least, that’s what Braxton had said. Right? Blue eyes sparkling with mischief, she seemingly read my mind. “Relax. I’m batting for Team Loves a Giant Cock.” Good to know. “Look at yourself and tell me what you like about your body.” Oh, boy. Here goes nothing. “Um. I guess I have nice skin?” “Was that a question or a statement?” Hannah called over. “A statement. I have nice skin.” “Good. Continue.” “My breasts are a decent size. Not too big, not too small.” Hannah laughed. “You have great tits. Trust me. What else?” “I like my hourglass figure. Hips aren’t always a bad thing.” I was gaining confidence with each declaration. “You’ve got that right. Men go fucking nuts for hips to grab on to.

The Peacock & The Eagle: Cleopatra's Entry Into Tarsus by Stewart Stafford Cleopatra arrives, regal and mighty, From ocean spray as Aphrodite, Wealthy and waif, yearning for her, Dared all to defy her possessive aura. Mark Antony, struck by her sultry gaze, Lepidus, prisoner in a bureaucrat's maze, Sees power slipping from a friend’s hand, Ensnared by a siren from a scorched land. Lepidus was Caesar's trusted right hand; A granule falling through hourglass sand, Antony, headstrong military provocateur; Funeral orator from bloody crown auteur. Bargain's scorpion pincers; no longer twain: Cleopatra was Ceres, promising Rome grain, Antony was Mars' armed emissary, Business and pleasure's flood tributary. Antony: "Barge of emerald, Elysium's onyx! Beyond counsel words of sage sardonic, Gliding the Cydnus's silken seam, This Nile Helen shall be my queen." Lepidus: "Pleasure vessel of a floating whore, Yours for a sesterce on the Tiber's shore, Honour your oath, noble Roman creed, Lest passion’s shipwreck sets out to sea.” "This Venus virago on her mirage barge; Serpent prow, silver oars, rhythmic charge! What hubris to think she can equal, The bloody talons of our Roman eagle!" Antony: "Feast your eyes past peacock's bower, She speaks Rome's tongue of naked power. Mark it, that obsidian Sphinx stings - Human head, lion's body, eagle wings! "That is the form she takes to the public: I smell a perfumed alliance for the Republic! With Plebeians as her tickled cats, they hum, I crave her beauty and company. Come!" © 2024, Stewart Stafford. All rights reserved.

a journal of scenes now the word is naked perched on stone naked the door is naked the oncoming figure naked stored in space naked meant to contain the naked i try to pry open your silence naked and caught within the last magnitude of a noise so naked conceived an outlier naked with an exact measurement that is distant from a scene so fair and naked once again uttered when ripe a meaning naked with the body of an hourglass naked whose residence is naked and an impedance of a futurity made naked by a lit indigo sky naked there are no skies naked only clothed by a closed sheen when provoked turns naked you are naked in this performance from beginning, midway, and then finality naked in a cavity meant for one as a womb you once were in naked in your fetal, your styled font obscured how the body contorts naked

No matter how many times he tried to look away, Enrique couldn't stop staring at Carolina. Her long black hair was curled, wisps of it framing her face. A few loose strands rested on her breasts. Her bright green dress showed off an incredible body. Her waist was tiny, and her hips were wide--- a perfect knockout hourglass figure. But most importantly, she was strong. Her body was crafted from hard labor. It was insanely erotic. So many women in San Diego were too skinny and had so much filler that they all looked like they were airbrushed, but Carolina was a natural beauty.

I'm an hourglass. My seventeen years have collapsed and buried me from the inside out. My legs feel full of sand and stapled together, my mind overflowing with grains of indecision, choices unmade and impatient as time runs out of my body.

Right/Wrong Things To Say To A Client About Shape Don’t Say… We need to get you looking like an hourglass figure, which is considered the perfect figure. Do Say… Let’s find your body shape and work with styles to define the look for your desired effect, as we are all precious works of art, each unique and amazing.

As a bride, you should look your best on your wedding day. That’s what we aim for here at Jana Ann Couture. We believe that your wedding day is exceptional, and as such, you should look great. One way to look great on your wedding day is by making sure your makeup is done by a professional. Your accessories should also be of top quality. Most of all, you need the right wedding dress. As a bridal store in San Diego, we’ll be talking about getting the right wedding dress in this post. We have lots of experience with that. When choosing the right wedding dress, you should go with the one that flatters your figure the most. How do you do that? You need to, first of all, know your body type. Every bride falls into one of the following body types: The apple, hourglass, pear, and the rectangle. Some women could also be a combination of more than one, but there is usually a dominant one you could go with. Come to our Bridal Shop in San Diego to get the best wedding dress that fits your body. Call us: (619) 649-2439 #bridal_san_diego #wedding_dresses_san_diego #bridal_boutique_in_san_diego #bridal_shops_san_diego #wedding_dress_shops_san_diego #white_wedding_dresses_san_diego #wedding_dress_stores_san_diego #bridal_stores_san_diego #bridal_boutique_san_diego