Ivory Skin Quotes

My skin has turned to porcelain, to ivory, to steel.

Curse him for being all tight muscle, with ivory skin and a mouth as soft as rose petals. Curse him for having hair as fair as the sun, and eyes as black as night. Curse him for having the grace of a cat and deft, cool hands. And now I am having the same argument on paper that I have in my own head on too many nights. I know my choice is sensible, but it isn't my common sense I think with, those times Rosto's stolen a kiss from me.

The gods heard my prayer, she thought. She felt so numb and dreamy. My skin has turned to porcelain, to ivory, to steel.

Liar,” I mumble, swimming in nausea and coughing up blood. My arms and legs feel weighted, and sticky streams ooze out of the gouges in my skin. “You left me.” “I’m still here, aren’t I?” Morpheus guides me down beside Ivory and exposes her birthmark, touching it to mine. Heat flashes along my body. “I’ve always believed in your power. For the queen I saw in you even as a child … for the woman you could never see in yourself. My faith is as unchanging as my age.

When I put my hands on your body on your flesh I feel the history of that body. Not just the beginning of its forming in that distant lake but all the way beyond its ending. I feel the warmth and texture and simultaneously I see the flesh unwrap from the layers of fat and disappear. I see the fat disappear from the muscle. I see the muscle disappearing from around the organs and detaching iself from the bones. I see the organs gradually fade into transparency leaving a gleaming skeleton gleaming like ivory that slowly resolves until it becomes dust. I am consumed in the sense of your weight, the way your flesh occupies momentary space the fullness of it beneath my palms. I am amazed at how perfectly your body fits to the curves of my hands. If I could attach our blood vessels so we could become each other I would. If I could attach our blood vessels in order to anchor you to the earth to this present time I would. If I could open up your body and slip inside your skin and look out your eyes and forever have my lips fused with yours I would. It makes me weep to feel the history of your flesh beneath my hands in a time of so much loss. It makes me weep to feel the movement of your flesh beneath my palms as you twist and turn over to one side to create a series of gestures to reach up around my neck to draw me nearer. All these memories will be lost in time like tears in the rain.

He’s right,” Levi told her. Harper sniffed at the sentinel. “I don’t believe I asked for a glass of your unimportant opinion.” The guy just smiled. “Knox, can I bite her?” “No.” If anyone would take a bite of that ivory skin, it would be Knox. His demon was in full agreement with that.

She was indeed beautiful, as if someone had taken the scientific measurements of perfection and used them to mold a single ideal specimen. Her face was slightly heart-shaped, with high cheekbones barely flushed. Auburn hair fell in silken ringlets to her waist and her unblemished ivory skin shimmered like mother-of-pearl in the sunshine. Her lips were red red red, looking like she’d just drunk a pint of blood.

But her attention was on the prince across from her, who seemed utterly ignored by his father and his own court, shoved down near the end with her and Aedion. He ate so beautifully, she thought, watching him cut into his roast chicken. Not a drop moved out of place, not a scrap fell on the table. She had decent manners, while Aedion was hopeless, his plate littered with bones and crumbs scattered everywhere, even some on her own dress. She’d kicked him for it, but his attention was too focused on the royals down the table. So both she and the Crown Prince were to be ignored, then. She looked at the boy again, who was around her age, she supposed. His skin was from the winter, his blue-black hair neatly trimmed; his sapphire eyes lifted from his plate to meet hers. “You eat like a fine lady,” she told him. His lips thinned and color stained his ivory cheeks. Across from her, Quinn, her uncle’s Captain of the Guard, choked on his water. The prince glanced at his father—still busy with her uncle—before replying. Not for approval, but in fear. “I eat like a prince,” Dorian said quietly. “You do not need to cut your bread with a fork and knife,” she said. A faint pounding started in her head, followed by a flickering warmth, but she ignored it. The hall was hot, as they’d shut all the windows for some reason. “Here in the North,” she went on as the prince’s knife and fork remained where they were on his dinner roll, “you need not be so formal. We don’t put on airs.” Hen, one of Quinn’s men, coughed pointedly from a few seats down. She could almost hear him saying, Says the little lady with her hair pressed into careful curls and wearing her new dress that she threatened to skin us over if we got dirty. She gave Hen an equally pointed look, then returned her attention to the foreign prince. He’d already looked down at his food again, as if he expected to be neglected for the rest of the night. And he looked lonely enough that she said, “If you like, you could be my friend.” Not one of the men around them said anything, or coughed. Dorian lifted his chin. “I have a friend. He is to be Lord of Anielle someday, and the fiercest warrior in the land.

Skin like ivory, perfect; A goddess, she must be. Slender fingers, unadorned; beautiful simplicity. A single teardrop; when did it fall? Could this goddess be mortal, after all?

He looks like a goddamn UFC fighter. His skin is pale, ivory marked with splashes of black—tattoos.

When I was young and had no sense In far-off Mandalay I lost my heart to a Burmese girl As lovely as the day. Her skin was gold, her hair was jet, her teeth were ivory; I said, "For twenty silver pieces, Maiden, sleep with me." She looked at me, so pure, so sad, The loveliest thing alive, And in her lisping, virgin voice, Stood out for twenty-five.

Harry's blood quickened as lurid images filled his mind...her against him, beneath him. That smiling mouth, his alone, her whispers curling into his ear. Her skin, soft and ivory pale in the darkness. Skin heated by skin, sensation emerging as he touched her. She was worth anything, he thought, even giving up the last remnants of his soul.

The hands were ivory-coloured, the skin finely wrinkled everywhere, like the crust on a pool of wax, and under it appreared livid bruises, arthritic nodes, irregular tea-brown stains. ...The flesh under the horny nails was candlvwax-coloured, and bloodless.

Ivory skin and goose bumps. Soaked Brioni and tattoos. Selflessness and greed.

we met one strange summer in a regular tangle of sticky webs you had the air of angels sweet but I-- drowned with the damned spirits in lava oceans fearing your-- foreign static frequency and grey-green eyes (I swear they are even if you-- think otherwise): storms calm ones, calmer than my-- raging coals, empty and dead you speak of souls like you believe always an optimist in pessimistic skin of ivory and titanium mesh...

Curse him for being all tight muscle, with ivory skin and a mouth as soft as a rose petals. Curse him for having hair as fair as the sun, and eyes as black as night. Curse him for having the grace of a cat and deft, cool hands.

Has anyone ever told you that you're unbearably rude?" she returned, facing him again. "Why, yes. You have on several occasions, as I recall. If you care to apologize for that, however, I'll be happy to escort you wherever you wish to go." A flush crept up her cheeks, coloring her delicate, ivory skin. "I will never apologize to you," she snapped. "And you may go straight to Hades." He hadn't expected her to apologize, yet he couldn't help suggesting it every so often. "Very well. Upstairs, first door on the left. I'll be in Hades, if you should require my services.

Don’t talk to me like that,” she squeaked. “Like what, baby? Talk like a man who appreciates what he sees? A man who remembers how it felt to kiss your full lips? To touch your body? I might have been drunk that night, but I’ve had years to remember. Years of lonely nights dreaming of your ivory skin against mine. The scent of you. The taste . . .

She is beautiful, soft hair nearly midnight in color, large eyes nearly as dark, and ivory skin like the petals of the lily, and she wore a fragrance of jasmine. But 'tis her willfulness that I enjoyed the most. And her resourcefulness.

Bad is that often wildlife trafficking is described as a “victimless” crime. Nothing could be further from the truth. Many of the trafficked items come from murdered animals; Rhinoceros Horn, Ivory and Tiger skins; and hundreds of thousands of birds and animals die in transit in the most horrible circumstances imaginable. Just because they cannot communicate with us does not mean they are not victims. They feel, fear and die, just like humans.

Maybe, if I looked like a girl from Phoenix should, I could work this to my advantage. But physically, I’d never fit in anywhere. I should be tan, sporty, blonde—a volleyball player, or a cheerleader, perhaps—all the things that go with living in the valley of the sun. Instead, I was ivory-skinned, without even the excuse of blue eyes or red hair, despite the constant sunshine. I had always been slender, but soft somehow, obviously not an athlete; I didn’t have the necessary hand-

Peeling an eggplant was like unveiling an ivory-skinned woman dressed all in black.

Pandora’s Box Longing has a language that is all her own. The language of skin, the language of flowers. I am a body of longing, a vessel of language. For you, I am calamity in a locked box where the key is still turning. For you, I am a mistress in her ivory tower humming. For you, I am a songbird preening her feathers. For you, for you, I am a bed of roses, blooming.

One party went to far away Zimbabwe and returned with pack-oxen loaded with ivory, rhinoceros hides, lion skins and hog tusks. They reported finding a people whose women dug the mountain sides for nuggets and brittle stones, which they brought home to boil and produce a beautiful metal from which to mould bangles and ornaments of rare beauty. That was the Matebele’s first experience of gold smelting. [182]

There are cancers so insidious in their nature that their very pulsation is invisible. Such cancers leave the ivory whiteness of the skin untouched, and marble not the firm, fair flesh, with their blue tints; the physician who bends over the patient's chest hears not, through he listens, the insatiable teeth of the disease grinding its onward progress through the muscles, as the blood flows freely on; the knife has never been able to destroy, and rarely even, temporarily, to discern the rage of these mortal scourges; their home is in the mind, which they corrupt; they fill the whole heart until it breaks. Such, madame, are the cancers, fatal to queens; are you, too, free from their scourge?

I’d never known that skin could be so luminous, so translucent: ivory white with occasional blue veins visible just beneath the surface, like threads of color in white marble. She was a statue; a Greek goddess come to life in my hands.

They had crossed the terrace where weeds, ivy, and goldenrod had run amuck in the flowerbeds that lined the weather-beaten stone balustrade. Mounds of blue hydrangeas nearly as tall as Lucien crowded the three mossy steps that led down into the formal garden. He went down them, and Alice followed him toward the circular fountain. As they approached, two doves that had perched on the stately stone fountain urn fluttered away, cooing. Alice stopped beside the fountain pool and gazed down with a faraway expression at the lily pads, driven with dreamlike slowness over the surface of the shallow water like tiny sailing vessels. She studied the scene as though memorizing it, while Lucien gazed at her, watching the wind toy with her clothes and the tendrils of her hair that it had worked free from her neat coif. Her waving red-gold hair, blue eyes, and ivory skin, and the chaste, faraway serenity of her face, put him in mind of Botticelli's Venus, rising from the sea upon her scallop shell.

West couldn't stop staring at Lady Clare. He had the feeling if he reached out to touch her, he would come away with his fingers scorched. That hair, blazing from beneath a simple gray traveling bonnet... he'd never seen anything like it. Bird-of-paradise red, with glimmers of crimson dancing amid the pinned-up locks. Her skin was flawless ivory except for a tender spray of freckles sprinkled across her nose, like a finishing spice on some luxurious dessert. She had the look of someone who had been nurtured: educated and well dressed. Someone who had always been lovingly sheltered. But there was a shadow in her gaze... the knowledge that there were some things no human being could be protected from. God, those eyes... light gray, with striations like the rays of tiny stars.

a painter once had said that her skin had in it all the colours of the setting sun, of the setting sun at its borders, where the splendour mingles with the sky; it had a hundred mellow tints - cream and ivory, the palest yellow of the heart of roses and the faintest, the very faintest green, all flushed with radiant light.

When his solo came at the end of the song, he poured his heart into it, directing all of his energy into the guitar in his hands and projecting it out toward her. As his fingers moved over the strings, he imagined them moving over her skin. Caressing her body, intimately exploring the sensitive flesh of her inner folds. In his mind, he could see it all so clearly, the images from that night flooding his brain as he played. Touching her. Kissing her. He was momentarily transported back to that night and he lost himself in it.

She couldn't help stealing a covert glance at the exposed part of his torso, the flesh so firm and tanned it appeared to have been cast in bronze. Lower down near his hip, the satiny brown skin merged into a line of ivory. The sight was so intriguing- and intimate- that she felt her stomach tighten pleasurably. Leaning over him as she was, she couldn't help breathing in the dusty, sweaty, sun-heated scent of him. A stunning urge seized her, to touch that brown-and-white borderline with her fingertip, trace a path across his body.

That night was the most erotic, blissful night of my life. I spent hours exploring Kathy’s body. We made love all night, until dawn. I remember so much white everywhere: white sunlight creeping around the edges of the curtains, white walls, white bedsheets; the whites of her eyes, her teeth, her skin. I’d never known that skin could be so luminous, so translucent: ivory white with occasional blue veins visible just beneath the surface, like threads of color in white marble. She was a statue; a Greek goddess come to life in my hands.

There was a fire in the grate, too far away for Lara to feel its heat. Goose bumps rose on her chilled skin. Gritting her teeth, she forced herself to obey, taking one step, then another, the fine Aubusson carpet prickling beneath her bare feet. As she came near him, the firelight shone through the transparent black silk. She knew he could see everything, the flashes of ivory skin, the shape of her body, the dark triangle between her legs. Her face burned as she stopped before him. Hunter sat like a statue, his face and hair dappled with light from the dancing flames. "Oh, Lara," he said softly. "You're so damned beautiful, I..." He stopped and swallowed, as if it were difficult for him to speak. His faint smile had died away, and he set aside the wine bottle as if his fingers had become nerveless. He barely seemed to breathe as his gaze swept from her bare feet to her breasts, lingering at the pink tips that strained against the delicate lace. The room no longer seemed cold, but Lara continued to tremble. "I made a promise not to touch you," he said hoarsely, "but I'll be damned if I can keep it.

He moved closer, crowding her back into the darkness. He didn't touch her, but strangely, it didn't matter. He was close enough to feel, tall and lean and ever so warm. "But you're going to wager now, Pippa, aren't you?" He was muddling her brain and making it very difficult to think clearly. She took a deep breath, the scent of sandalwood wrapping around her, distracting her. She shouldn't say yes. But somehow, oddly, she found she couldn't say no. She reached for the dice, where they lay small and white in his broad palm. Touched them, touched him- the brush of skin against fingertips sending sensation coursing through her. She paused at the feeling, trying to dissect it. To identify it. To savor it. But then he was gone, his hand falling away, leaving her with nothing but the ivory cubes, still warm from his touch. Just as she was. Of course, the thought was ridiculous. One did not warm from a fleeting contact. It was the stuff of novels. Something her sisters would sigh over. He moved, stepping back and extending one arm toward the hazard field. "Are you ready?" His voice was low and soft, somehow private despite the cavernous room.

Beside the great image she seemed little, and even for a woman she was not tall, in spite of her high diadem. She wore the whole costume of the Goddess, all but the snakes. Even her skin, pale golden, polished and clear, had a look of ivory. Her high round breasts had golden tips, like those above her. Their faces were painted just alike, the eyes drawn round with black, the brows arched and thickened, the small mouth red. It seemed the face below must be itself the same. Since childhood I had seen my mother dressed for her priestly office; yet I was awed. She had never claimed to be more than a servant of the deity. This small stiff figure had a bearing that might claim anything.

her name is Dulcinea, her kingdom, Toboso, which is in La Mancha, her condition must be that of princess, at the very least, for she is my queen and lady, and her beauty is supernatural, for in it one finds the reality of all the impossible and chimerical aspects of beauty which poets attribute to their ladies: her tresses are gold, her forehead Elysian fields, her eyebrows the arches of heaven, her eyes suns, her cheeks roses, her lips coral, her teeth pearls, her neck alabaster, her bosom marble, her hands ivory, her skin white as snow, and the parts that modesty hides from human eyes are such, or so I believe and understand, that the most discerning consideration can only praise them but not compare them.

BESTIARY " charybdis: when i suck in / i make deadly / whirlpools / ask anyone who’s managed / to climb out / alive dragon: patrol or pillage / he exhales and a whole village / burns / iron scaled sentry / guardian of the ivory / tower i wrap my legs around / everyone thinks / he’s a brute / but for me / he lifts his breast plate / for me he welcome the quiver / and the arrow’s teeth. golem: take his hair in your hands / his dead / skin cells / his discarded undergarments / take them / and make of them a new boy this effigy / his likeness and nothing / like him / breathe life into its clenched carapace // my god / i think i saw it / move medusa: when i saw / my face / reflected in terror / in his eyes / i turned to stone / or a pillar of salt watching my village burn / he was the village burning / maybe that’s a different story / maybe in the end only the snakes wept siren: he cries / and i / lashed to the mast of a ship / steer my body toward the sound / sheets bound around wrists and ankles tears make grief / a lighthouse you wear / when i hear him a huge wood wheel turns in my stomach / and i break / open on / his jagged coast werewolf: there are many words for transformation / metamorphosis metaphor / medication / go to sleep / beside the man you love wake up next to a dog / maybe the moon brought it out of him hound hungry for blood / maybe its your fault / or maybe it was there inside him / howling all along

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

The women sat with their jewelled boy-dolls in their arms. On the edge of the floor was the music, the tambours and the cytheras, the cymbals and Egyptian harps, the skirling pipes from the aulos to the little flute of ivory whose fine sound flickers like a snake’s forked tongue. The music shrilled, wounding the deathly silence in which the dark god stood waiting. And in the midst of the maze, strung along the crooked path of scoured white marble, hair and skirts and jewels swinging, arms entwined and slim waists swaying to the beat, was the wreath of women, weaving and twisting and turning on itself, like the house snake who sloughs his winter skin and is made new again. It bent about and came toward me. I saw her face, gay and flashing, touched by no dread, no shadow, leading the dance.

Floating" Our canoe idles in the idling current Of the tree and vine and rush enclosed Backwater of a torpid midwestern stream; Revolves slowly, and lodges in the glutted Waterlilies. We are tired of paddling. All afternoon we have climbed the weak current, Up dim meanders, through woods and pastures, Past muddy fords where the strong smell of cattle Lay thick across the water; singing the songs Of perfect, habitual motion; ski songs, Nightherding songs, songs of the capstan walk, The levee, and the roll of the voyageurs. Tired of motion, of the rhythms of motion, Tired of the sweet play of our interwoven strength, We lie in each other's arms and let the palps Of waterlily leaf and petal hold back All motion in the heat thickened, drowsing air. Sing to me softly, Westron Wynde, Ah the Syghes, Mon coeur se recommend à vous, Phoebi Claro; Sing the wandering erotic melodies Of men and women gone seven hundred years, Softly, your mouth close to my cheek. Let our thighs lie entangled on the cushions, Let your breasts in their thin cover Hang pendant against my naked arms and throat; Let your odorous hair fall across our eyes; Kiss me with those subtle, melodic lips. As I undress you, your pupils are black, wet, Immense, and your skin ivory and humid. Move softly, move hardly at all, part your thighs, Take me slowly while our gnawing lips Fumble against the humming blood in our throats. Move softly, do not move at all, but hold me, Deep, still, deep within you, while time slides away, As the river slides beyond this lily bed, And the thieving moments fuse and disappear In our mortal, timeless flesh.

His was the sort of physical beauty that attracted even as any great work of art ensnared the eye. One did not have to wish to own such a creation, often it was enough just to study and appreciate it. Only a little above average height, his form was well proportioned and well muscled, with not an extra jot of flesh. He had a fencer’s easy play of movement. But it was his face that first and last attached the eye. It was a lean countenance, the ivory white skin so taut across the fine bone structure as to appear to have been stretched to fit. Feature by feature, it was not a classic visage, but the sum more than compensated for the parts. His cheekbones were high and perhaps too pronounced. The nose was straight, a trifle too long and thin, the mouth not at all the full, plump standard of Greek statuary, for while well cut it was thin as well, and bore at times a half-quirked, sensuous smile. The eyes were long and almond-shaped and pulled down slightly at the corners, rather than tilting upward in classical fashion. But despite the astonishing thick, bright-silver-tipped gilt hair and slightly darker brows, it was the eyes that one’s gaze returned to again and again. From afar, or even in shadow, Lord North’s eyes were unexceptional save for their keen expression. But in clear light and up close it could be seen that they were extraordinary. For to speak with the nobleman from his right side, one would look for answer in his grave gray eye. Yet to approach him from the left, one would seek response from his cool blue orb. His eyes were not so dissimilar as to shock, but seeing him once, the viewer would be troubled by some nagging discrepancy and turn to search his face until his varicolored eyes were at last discovered, and the viewer amazed and enchanted. To see him once was to remember him forever, to hear his name was to recall him instantly. His reputation was as varied and colorful as his strange countenance. He was said to be a libertine, he was whispered to be beyond mere libertine.

You care about her," I say with unexpected twang of envy. In my long-lost memories of us as children, it was always just the two of us. We 'got' each other on every level. Morpheus made me feel adored, special, important. I never considered him doing the same for someone else as a man. "Morpheus, what is she to you?" He doesn't answer. Not aloud, anyway. His expression is hazy and troubled, and the jewels around his eyes twinkle from silver to black, like stars peering down on a storm-swept night. Alice's confession from the trial comes back to me: "Ivory was, in fact, very fond of Mr. Caterpillar." Judging by how Morpheus looked at the queen just now, by how she looked at him, he returned to her castle after his metamorphosis. I imagine his elegant fingers tracing her skin, his soft lips on hers. That stab of envy evolves to something much uglier—a covetous twist of emotion I can't even put a name to. What's wrong with me? Why should i care about Morpheus's love life, when I finally kissed Jeb after all these years?

We are all gastropods, soft, sticky creatures pulling ourselves along the earth from which we came and leaving a trail of silvery drool behind. But the snail, a worm that eternally slides along the horizon, lifts into the air, from its soft bivalve back, the geometrical wonder of its spiral shell, seemingly unrelated to the body that produced it in fear and loneliness. We secrete our shell in the sweat and mucous of our skin, in the transparent, scaly flesh of the foot we use to drag ourselves along. Through an alchemical transmutation, our drool turns to ivory and the spasms of our flesh into an undisturbed stillness. We curl around our central pilaster of rose-colored kaolin, we add, in our desperate drive to persist, spiral after spiral, each one wider, asymptotic, and translucid, until the miracle comes to pass: the revolting worm—existing in the life it lives, fermenting in its sins, irrigated by hormones and blood and sperm and lymph—rots and dies, leaving behind the ceramic filigree of its shell, a triumph of symmetry, the deathless icon in the platonic world of the mind. We all secrete, as we live, poems and pictures, ideas and hope, glistening palaces of music and faith, shells which begin by protecting our soft abdomen but after our disappearance live in the golden air of pure forms. Geometry always appears out of the amorphous, serenity out of pain and torture, just as dry tears leave behind the most wondrous crystals of salt.

[Nero] castrated the boy Sporus and actually tried to make a woman of him; and he married him with all the usual ceremonies, including a dowry and a bridal veil, took him to his house attended by a great throng, and treated him as his wife. This Sporus, decked out with the finery of the empresses and riding in a litter, he took with him to the assizes and marts of Greece, and later at Rome through the Street of the Images,​ fondly kissing him from time to time. That he even desired illicit relations with his own mother, and was kept from it by her enemies, who feared that such a help might give the reckless and insolent woman too great influence, was notorious, especially after he added to his concubines a courtesan who was said to look very like Agrippina. Even before that, so they say, whenever he rode in a litter with his mother, he had incestuous relations with her, which were betrayed by the stains on his clothing. He so prostituted his own chastity that after defiling almost every part of his body, he at last devised a kind of game, in which, covered with the skin of some wild animal, he was let loose from a cage and attacked the private parts of men and women, who were bound to stakes, and when he had sated his mad lust, was dispatched​ by his freedman Doryphorus; for he was even married to this man in the same way that he himself had married Sporus, going so far as to imitate the cries and lamentations of a maiden being deflowered. He made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage, but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade​ a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities,​ besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved day and night, like the heavens. His mother offended him by too strict surveillance and criticism of his words and acts. At last terrified by her violence and threats, he determined to have her life, and after thrice attempting it by poison and finding that she had made herself immune by antidotes, he tampered with the ceiling of her bedroom, contriving a mechanical device for loosening its panels and dropping them upon her while she slept. When this leaked out through some of those connected with the plot, he devised a collapsible boat,​ to destroy her by shipwreck or by the falling in of its cabin. ...[He] offered her his contrivance, escorting her to it in high spirits and even kissing her breasts as they parted. The rest of the night he passed sleepless in intense anxiety, awaiting the outcome of his design. On learning that everything had gone wrong and that she had escaped by swimming, driven to desperation he secretly had a dagger thrown down beside her freedman Lucius Agermus, when he joyfully brought word that she was safe and sound, and then ordered that the freedman be seized and bound, on the charge of being hired to kill the emperor; that his mother be put to death, and the pretence made that she had escaped the consequences of her detected guilt by suicide.

Overall look: Soft and delicate   Hair: Most often blonde or golden grey   Skintone: Light, ivory to soft beige, peachy tones. Very little contrast between hair and skin   Eyes: Blue, blue-green, aqua, light green IF you are a Light Spring you should avoid dark and dusty colors, which would make you look pale, tired and even pathetic. Spring women who need to look strong, for example chairing a meeting, can do so by wearing mid-tone grey or light navy, not deeper shades. If you are a Light Spring and you wear too much contrast, say a light blouse and dark jacket, or a dress with lots of bold colors against a white background, you ‘disappear’ because our eye is drawn to the colors you are wearing. See your Light Spring palette opposite. Your neutrals can be worn singly or mixed with others in a print or weave. The ivory, camel and blue-greys are good investment shades that will work with any others in your palette. Your best pinks will be warm—see the peaches, corals and apricots—but also rose pink. Never go as far as fuchsia, which is too strong and would drain all the life from your skin. Periwinkle blue toned with a light blue blouse is a smart, striking alternative to navy and white for work. Why wear black in the evening when you will sparkle in violet (also, warm pink and emerald turquoise will turn heads)? For leisure wear, team camel with clear bright red or khaki with salmon.   Make-Up Tips Foundation: Ivory, porcelain Lipstick: Peach, salmon, coral, clear red Blush: Salmon, peach Eyeshadow for blue eyes: Highlighter Champagne, melon, apricot, soft pink Contour Soft grey, violet, teal blue, soft blues, cocoa Eyeshadow for blue-green and aqua eyes: Highlighter Apricot, lemon, champagne Contour Cocoa or honey brown, spruce or moss green, teal blue Eyeshadow for green eyes: Highlighter Pale aqua, apricot, champagne Contour Cocoa or honey brown, teal blue, violet, spruce.

He finds a basket and lays fish inside it. Charcoal is in a wooden bucket. Enrique lifts it, basket in his other hand, and moves through shadow toward daylight. A presence makes him turn his head. He sees no one, yet someone is there. He sets down fish and charcoal. Straightening up, Enrique slips his Bowie knife clear of its sheath. He listens, tries to sense the man’s place. This intruder lies low. Is concealed. Behind those barrels? In that corner, crouched down? Enrique shuts his eyes, holds his breath a moment and exhales, his breath’s movement the only sound, trying to feel on his skin some heat from another body. Where? Enrique sends his mind among barrels and sacks, under shelves, behind posts and dangling utensils. It finds no one. He is hiding. Wants not to be found. Is afraid. If he lies under a tarpaulin, he cannot see. To shoot blind would be foolish: likely to miss, certain to alert the others. Enrique steps around barrels, his boots silent on packed sand. Tarps lie parallel in ten-foot lengths, their wheaten hue making them visible in the shadowed space. They are dry and hold dust. All but one lies flat. There. Enrique imagines how it will be. To strike through the tarp risks confusion. Its heavy canvas can deflect his blade. But his opponent will have difficulty using his weapon. He might fire point-blank into Enrique’s weight above him, bearing down. To pull the tarpaulin clear is to lose his advantage; he will see the intruder who will see him. An El Norte mercenary with automatic rifle or handheld laser can cut a man in half. Knife in his teeth, its ivory handle smooth against lips and tongue, Enrique crouches low. Pushing hard with his legs, he dives onto the hidden shape. The man spins free as Enrique grasps, boots slipping on waxed canvas. His opponent feels slight, yet wiry strength defeats Enrique’s hold. He takes his knife in hand and rips a slit long enough to plunge an arm into his adversary’s shrouded panic. Enrique thrusts the blade’s point where he believes a throat must be. Two strong hands clamp his arm and twist against each other rapidly and hard. Pain flares across his skin. Enrique wrests his arm free and his knife flies from his grasp and disappears behind him. He clenches-up and, pivoting on his other hand, turns hard into a blind punch that smashes the hidden face. The dust of their struggle rasps in Enrique’s throat. His intended killer sucks in a hard breath and Enrique hits him again, then again, each time turning his shoulder into the blow. The man coughs out, “Do not kill me.” Enrique knows this voice. It is Omar the Turk. [pp. 60-61]

Inside McClintic Sphere was swinging his ass off. His skin was hard, as if it were part of the skull: every vein and whisker on that head stood out sharp and clear under the green baby spot: you could see the twin lines running down from either side of his lower lip, etched in by the force of his embouchure, looking like extensions of his mustache. He blew a hand-carved ivory alto saxophone with a 4 ½ reed and the sound was like nothing any of them had heard before. The usual divisions prevailed: collegians did not dig, and left after an average of 1 ½ sets. Personnel from other groups, either with a night off or taking a long break from somewhere crosstown or uptown, listened hard, trying to dig. 'I am still thinking,’ they would say if you asked. People at the bar all looked as if they did dig in the sense of understand, approve of, empathize with: but this was probably only because people who prefer to stand at the bar have, universally, an inscrutable look… …The group on the stand had no piano: it was bass, drums, McClintic and a boy he had found in the Ozarks who blew a natural horn in F. The drummer was a group man who avoided pyrotechnics, which may have irritated the college crowd. The bass was small and evil-looking and his eyes were yellow with pinpoints in the center. He talked to his instrument. It was taller than he was and didn’t seem to be listening. Horn and alto together favored sixths and minor fourths and when this happened it was like a knife fight or tug of war: the sound was consonant but as if cross-purposes were in the air. The solos of McClintic Sphere were something else. There were people around, mostly those who wrote for Downbeat magazine or the liners of LP records, who seemed to feel he played disregarding chord changes completely. They talked a great deal about soul and the anti-intellectual and the rising rhythms of African nationalism. It was a new conception, they said, and some of them said: Bird Lives. Since the soul of Charlie Parker had dissolved away into a hostile March wind nearly a year before, a great deal of nonsense had been spoken and written about him. Much more was to come, some is still being written today. He was the greatest alto on the postwar scene and when he left it some curious negative will–a reluctance and refusal to believe in the final, cold fact–possessed the lunatic fringe to scrawl in every subway station, on sidewalks, in pissoirs, the denial: Bird Lives. So that among the people in the V-Note that night were, at a conservative estimate, a dreamy 10 per cent who had not got the word, and saw in McClintic Sphere a kind of reincarnation.

... the Belgians took ivory, the Americans cobal, and now billions of Earthlings carry little bits of Africa around with them in their pockets. ... Extraction and export of minerals, both legal and illegal, have been controlled and taxed by competing militias and organized crime; away from the relative stability of the cities, thest groups continue to terrorize local populations and use the proceeds of this export trade to finance ongoing wars over local populations and use the proceeds of this export trade to finance ongoing wars over local territorial positions. The smoldering conflict is a war partially financed with the manufacturing capital of smart phones and laptops; inevitably, the smooth skin of the device demands gore to feed its gloss. ... The most heinous circumstances are the most allegorically rich, but even absent the anarchic brutality of these wars and the Conradian odor of campaigns against them, the lesson is more global: there is no Stack without a vast immolation and involution the Earth's mineral cavities. The Stack terraforms the host planet by drinking and vomiting its elemental juices and spitting up mobile phones.

... the Belgians took ivory, the Americans cobalt, and now billions of Earthlings carry little bits of Africa around with them in their pockets. ... Extraction and export of minerals, both legal and illegal, have been controlled and taxed by competing militias and organized crime; away from the relative stability of the cities, thest groups continue to terrorize local populations and use the proceeds of this export trade to finance ongoing wars over local populations and use the proceeds of this export trade to finance ongoing wars over local territorial positions. The smoldering conflict is a war partially financed with the manufacturing capital of smart phones and laptops; inevitably, the smooth skin of the device demands gore to feed its gloss. ... The most heinous circumstances are the most allegorically rich, but even absent the anarchic brutality of these wars and the Conradian odor of campaigns against them, the lesson is more global: there is no Stack without a vast immolation and involution the Earth's mineral cavities. The Stack terraforms the host planet by drinking and vomiting its elemental juices and spitting up mobile phones.

BRIEF HISTORY OF TRADE BETWEEN AFRICA AND EUROPE Hereditary slavery had been around since the times of Greece and Rome and was nothing new. But with the Renaissance, Europe introduced certain novelties: never before had slavery been determined by skin color, and never before had the sale of human flesh been the brightest light in the world of business. During the sixteenth, seventeenth, and eighteenth centuries, Africa sold slaves and bought rifles: it traded hands for arms. Then during the nineteenth and twentieth centuries, Africa delivered gold, diamonds, copper, ivory, rubber, and coffee in exchange for Bibles: it traded the riches of the earth for the promise of heaven.

What makes you believe I admire you?” He didn’t answer. Not right away. His hand slipped around her neck, slowly trailing his firm, soft fingers into the curls behind her head. Pleasurable tingles trickled over her skin at the sensation, slowly winding into her chest where her heart beat like it knew what was to come—and wanted it.  He stepped nearer, words warm and caressing. “Do you not?” Kitty couldn’t breathe, could hardly force her eyes to blink. Mercy! Nathaniel’s nearness and the dusty moonlight turned everything into a heavenly dream, the kind of dream she’d yearned to embrace, but never allowed. Crickets chirped their blissful melody and the leaves rustled in the breeze. But the only sound she heard was the breath they shared only inches apart. Licking her lips, Kitty couldn’t stop her vision from straying to his mouth. His breath smelled of cider, and the ivory light from the moon shaped perfect shadows against the contours of his nose and jaw. She blinked. It wouldn’t happen. Would it? Nathaniel stepped closer, his own eyes moving down until they landed on her parted lips and she licked them once again. Cupping the back of her neck he leaned down, just as Kitty swept her hands up his waistcoat. She closed her eyes... “Kitty, are you coming?” Jerking back, Kitty pushed away at the sound of Thomas’s call, breath heaving and body tingling. She should step farther away—much farther—but she couldn’t. The sudden shock of what had almost been ripped down her spine. Nathaniel’s chest pumped wildly as he gazed back at her, his mouth parted as if he too struggled to make sense of what they’d nearly done.  Finally able to look away, Kitty blinked. She had to answer Thomas’s question, but she couldn’t make her mouth move. With effort unlike she’d ever known, Kitty began moving again and somehow found her voice. “I need to be going.” Nathaniel didn’t follow, though his gaze did, wide and wanting. “I understand.” His quiet answer pulled at the longing that still lingered in her heart. Rushing

There were, in Clochemerle, a number of lady 'invalids', their conversation one long jeremiad concerning their health, who had worn out their husbands and outlived them by fifteen or twenty years. Since, all their lives, they had spent themselves only drop by drop, their extreme old age was still charged with vital fluid, flowing very meagrely yet sufficient to keep them on their feet and living, so to speak, vegetatively, behind mask-like countenances of wood or old ivory. They breathed in slow motion, everything about them was almost dead excepting those feeble pulsations of the heart which kept just enough pale blood flowing beneath their wrinkled skins.

But then they rounded a corner and nearly collided with Kaltain Rompier. The assassin would have grimaced, but she forgot all about Kaltain as her eyes fell upon her companion. It was an Eyllwe woman. She was stunning, long and lean, each of her features perfectly formed and smooth. Her loose white dress contrasted with her creamy brown skin, and a three-plated gold torque covered much of her chest and neck. Bracelets of ivory and gold glimmered around her wrists, and her feet were sandaled beneath matching anklets. A thin circlet comprising dangling gold and jewels crowned her head. She had two male guards with her, armed to the teeth with an assortment of curved Eyllwe daggers and swords, both of them studying Chaol and Celaena closely—weighing the threat. The Eyllwe girl was a princess.

Sewing is an enjoyable hobby that allows you to be creative and make a variety of items for yourself and others. At Clothingus.com, we offer a range of resources to help you learn how to sew, including easy projects and information about different sewing tools and their uses. Here are some interesting facts about sewing and related materials that may inspire you to try this useful craft: Cotton fabric can last for up to 100 years with proper care. In fact, cotton fabric has been found in many archaeological sites, indicating its longevity. Women's buttons are typically sewn onto the left side of a garment due to historical reasons. In the past, buttons were expensive, and only wealthy women with domestic help could afford them. To make it easier for the help to button up the garments, they were placed on the left side. Zippers were invented in 1893 and were initially used only on shoes and boots to make them easier to put on. Over time, they gained popularity and were used on other garments as well. The term "calico" refers to a type of cotton print that originated in the city of Calcutta, India. These hand-woven printed fabrics were made in the late 18th century and were named after the city. Buttons on sleeves were introduced by Napoleon Bonaparte. He wanted to prevent his soldiers from wiping their noses on their sleeves, so he ordered buttons to be sewn onto the ends of the sleeves. Sewing is believed to be one of the first skills that Homo sapiens learned. Archaeologists have found evidence of people sewing together fur, hide, skin, and bark for clothing dating back to 25,000 years ago. Early sewing needles were made of bone and ivory, with metal needles being developed later in human history. By the 20th century, more than 4000 different types of sewing machines had been invented. However, only those that made sewing simple, fun, and easy survived over time. If you're interested in learning more about sewing, visit Clothingus.com for lessons and projects that can help you build a solid foundation in this skill. Whether you're a beginner or have some experience, we have something for you. Visit Clothingus.com now.

He stopped, gazing at the girl who stood before it. The man guessed the child to be ten years old. She had dark brown hair to her neck with ends that showed curls, ivory skin and large eyes of sapphire blue. Thin and barefooted, with soot on her face she wore an old, tattered white dress. As the child turned to look at him, the man thought she must be an orphan beggar and he was unable to tear his face away from her eyes. Those bright blue eyes filled with an incomprehensible sadness. What pain did she carry?

Judge had definitely noticed him, but the man had been quiet the entire time. When Michaels came over to glare at him, Judge had to be sure not to show his surprise or amusement. The bold little fucker. Actually he wasn’t so little. He was tall and built. Compact muscles under smooth, ivory skin. No doubt he was as macho and straight as an arrow, those kinds usually were. Judge was eager to see how the man handled himself.

One and a half million Jewish men and women and children: How was anyone to understand a number like that? Andras knew it took three thousand to fill the seats of the Dohány Street Synagogue. To accommodate a million and a half, one would have had to replicate that building, its arches and domes, its Moorish interior, its balcony, its dark wooden pews and gilded art, five hundred times. And then to envision each of those five hundred synagogues filled to capacity, to envision each man and woman and child inside as a unique and irreplaceable human being, the way he imagined Mendel Horovitz or the Ivory Tower or his brother Mátyás, each of them with desires and fears, a mother and a father, a birthplace, a bed, a first love, a web of memories, a cache of secrets, a skin, a heart, an infinitely complicated brain - to imagine them that way, and then to imagine them dead, extinguished for all time - how could anyone begin to grasp it?

In addition to the above a few tons of Mammoth ivory are received from time to time from the Arctic regions and Siberia, and although of unknown antiquity, some tusks are equal in every respect to ivory which is obtained in the present day from elephants newly killed; this, no doubt, is owing to the preservative effects of the ice in which the animals have been imbedded for many thousands of years. In the year 1799 the entire carcase of a mammoth was taken from the ice, and the skeleton and portions of the skin, still covered with reddish hair, are preserved in the Museum of St. Petersburg: it is said that portions of the flesh were eaten by the men who dug it out of the ice.]

She had gleaming mahogany hair, cut into a sharp, sleek bob and eyes that were the colour of dark chocolate – huge doe eyes framed by black lashes. Her skin was ivory and her proportions amazing; a thin tapered waist, high full breasts, shapely legs. She walked with such casual sensuality that it was impossible not to stare at her. And she was a woman who was used to being stared at.

Her black hair was pulled back into a perfectly coiffed bun at the nape of her neck, and the cultured pearl necklace Lee’s father had given her years ago lay flat upon her flawless ivory skin. She did not bother to look up from her magazine. “Where’s Kate?” He ignored her question as to his nanny’s whereabouts and did not allow the queasy feeling in his stomach to stop him from asking the question that had been on his mind for a long time.

Milky way lips, Black hole pupils, Swirling inside galaxy irises, Ivory moon skin, Constellation smiles, She is the center of my universe.

This was all he needed. To be here, to be with her. To watch the sunset bring a blush to her ivory skin. If not for his dreams, he’d withdraw from the Order today. Now. The Lost Twenty would be the Lost Twenty-One. Let the scandal come; it wouldn’t destroy their lives. Not their real lives. It would destroy only the lives they’d had before each other: those separate years that now meant nothing at all.

I jumped to my feet, watching the blue creature rise from the floor. His ivory skin nearly shone in the flicker of the flames. He looked mortal, and yet not. His body glowed with that peculiar light, and his beauty was captivating. Jet-black hair was tied back in a long ponytail that swayed behind him. The sides were cut in a few zigzag patterns, highlighting the silver earrings lining both ears. He was gorgeous, in a wants-me-dead kind of way. He stood a foot taller than me, but it wasn’t his height that I found intimidating. It was that light and the blade he twirled in his hand. Those made my skin crawl.

Why do they make you do this? This blonde hair, green-eye obsession? Isn’t Mrs. Ivory a brunette, too?” “Yes, but they don’t care. Ian is obsessive-compulsive with everything, and this is something that would kill him. He needs his home to be a specific way. He’s obsessed with the idea of perfection. It is thought that green eyes are demonic. Evil, really. That the green-eyed demon is superior than the black-eyed demon. I mean witches, monsters, demons all possess green eyes historically. They are wicked.” I shook with chills. Ian Ivory wanted to live a wicked, demonic life. “I love your eyes.” I immediately looked away. “Demi, I love everything about you. I loved your curly black hair. I love the way you never listen and talk way too much. I love that… I love that even when you’ve seen nothing but horror, there’s still hope inside those stunning brown eyes.” He moved closer and his warm, minty breath grazed my skin. “You’re absolutely sure?” His fingers traced my abdomen, sending goosebumps everywhere. I leaned in and kissed Bradley.

Humans have written down words on paper, but also on wood, clay, bone, bark, ivory, linen, stone, and the skin of every creature under the sun.

Peter King paused just inside taking in the scene with a few critical sweeps of eyes so dark they didn’t catch any light from the sunlight or the chandelier. His irises seemed to bleed pigment into the whites, warming them with swirls of ivory. In his black suit, his skin tanned almost to match, he might have been a heroically sized construction paper cutout against white walls, white carpet, the white-and-gold marble-topped table that looked both antique and French.

You’re gonna miss the best part, you greedy whore.” I smirk beneath my mask. Breathing heavily, her nipples now tight little buds, she turns her head to the cell phone again. Briony shifts in the video, her arm pulling from above her head until it drops off the side of the bed. She watches with fascination, her forehead wrinkled in worry, so unsure of what I’m about to do to her next. Her hand slips between the mattress, disappearing for a second while I was easily distracted, licking down her spine. I couldn’t restrain myself. I needed to lick each bone of her spine beneath her flesh, rolling slowly down her sweet-tasting skin. Biting through her ivory flesh and tasting that rich, metallic blood, something I dream about as I re-watch. I want to bathe in her as she bathed in me that night we fought in the kitchen. Her hand reemerges from between the mattress with my blade now in her palm. As if she was pretending to be asleep, she suddenly throws her arm back, slicing my upper arm, splitting the skin. Her eyes widen, watching it, then peer at my arm that’s now wrapped. It’s hard to see exactly

Now, whenever she smelled the gums, the balsams, and the special aromatics that arrived with merchants from afar, her head reeled with images of temples, shrines, palaces, fortresses, mysterious walls, tapestries, paintings, jewels, liquors, icons, drugs, dyes, meats, sweets, sweetmeats, silks, bolts and bolts of cotton cloth, ores, shiny metals, foodstuffs, spices, musical instruments, ivory daggers and ivory dolls, masks, bells, carvings, statues (ten times as tall as she!), lumber, leopards on leashes, peacocks, monkeys, white elephants with tattooed ears, horses, camels, princes, maharajah, conquerors, travelers (Turks with threatening mustaches and Greeks with skin as pale as the stranger who had befriended her at the funeral grounds), singers, fakirs, magicians, acrobats, prophets, scholars, monks, madmen, sages, saints, mystics, dreamers, prostitutes, dancers, fanatics, avatars, poets, thieves, warriors, snake charmers, pageants, parades, rituals, executions, weddings, seductions, concerts, new religions, strange philosophies, fevers, diseases, splendors and magnificences and things too fearsome to be recounted, all writhing, cascading, jumbling, mixing, splashing, and spinning; vast, complex, inexhaustible, forever.

She was beautiful, brilliant on stage, and refreshingly different from any woman I’d met. She had zero fucks to give about most things. Except for the stage. And her students. It made me want her even more. She was an artwork of contrasts. Her flaming red hair and hard exterior against silky, ivory skin and a sweep of freckles across her nose softened her. She rattled me. And attracted me. Unnervingly so.

Who's Gonna Ride Your Wild Horses" You're dangerous 'cause you're honest You're dangerous, you don't know what you want Well you left my heart empty as a vacant lot For any spirit to haunt Hey hey sha la la Hey hey You're an accident waiting to happen You're a piece of glass left there on the beach Well you tell me things I know you're not supposed to Then you leave me just out of reach Hey hey sha la la Hey hey sha la la Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna ride your wild horses Who's gonna fall at the foot of thee Well you stole it 'cause I needed the cash And you killed it 'cause I wanted revenge Well you lied to me 'cause I asked you to Baby, can we still be friends Hey hey sha la la Hey hey sha la la Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna ride your wild horses Who's gonna fall at the foot of thee Oh, the deeper I spin Oh, the hunter will sin for your ivory skin Took a drive in the dirty rain To a place where the wind calls your name Under the trees the river laughing at you and me Hallelujah, heaven's white rose The doors you open I just can't close Don't turn around, don't turn around again Don't turn around, your gypsy heart Don't turn around, don't turn around again Don't turn around, and don't look back Come on now love, don't you look back Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna taste your salt water kisses Who's gonna take the place of me Who's gonna ride your wild horses Who could tame the heart of thee U2, Achtung Baby (1991)

Lady Beatrice's left eye stares boldly at me through the opening of a mask that she holds up to her face. Her light hair is piled half onto the top of her head, the other half arrayed around her shoulders. An unusual ring adorns her right hand, and I zoom in on the portrait to see it more clearly. The ring is a diamond in the shape of an icicle. I return to the Wikipedia article and click on the next image--a painting of Beatrice on the night of her hanging. She is older in this painting, but her blond hair is styled the same as in the earlier, youthful portrait. The painting depicts screaming townspeople snatching at the skirts of her heavy gown as she attempts to flee. Leaves and flowers are woven through her hair, and a long garland drapes across her dress, giving her the appearance of nature itself. I look closer. There is no doubt that I resemble her; our blue eyes, high cheekbones, and ivory skin are all a match. We could be sisters from different eras.

In the same way that black and white were applied to people who were literally neither, but rather gradations of brown and beige and ivory, the caste system sets people at poles from one another and attaches meaning to the extremes, and to the gradations in between, and then reinforces those meanings, replicates them in the roles each caste was and is assigned and permitted or required to perform. Caste and race are neither synonymous nor mutually exclusive. They can and do coexist in the same culture and serve to reinforce each other. Race, in the United States, is the visible agent of the unseen force of caste. Caste is the bones, race the skin. Race is what we can see, the physical traits that have been given arbitrary meaning and become shorthand for who a person is. Caste is the powerful infrastructure that holds each group in its place.

Simon Broom was six feet, two inches and dark skinned with keen features, the handsomest man I ever seen. Opposite Webb in looks and style, he physically overwhelmed her. Projecting an ease that Ivory Mae loved, he seemed a man in possession of himself, if not things. Nineteen years her elder, he had massive hands, gray-stained from years of work, which meant, Ivory Mae reasoned, that he could fix whatever in his and her world was broken. Plus, his diction. He had a proud talk. Like the Kennedy brothers. When he spoke, I felt like I just needed to be listening. His booming voice seduced Ivory, scared some, and led others to want to fight.

What are you doing in a fancy Yankee uniform?” Sally Ann asked. Rhine didn’t reply. As the silence lengthened, she offered a bitter chuckle. “Passing again, are you?” Rhine’s ivory skin, jet black hair, and green eyes made it easy for him to pass as someone he wasn’t. He was ten years old when he first realized he could do it successfully.

She sports her standard winter concert dress: a sleeveless black velvet top and a red raw silk skirt. She reminds Ray of a china doll or Snow White with her dark hair, ivory skin, and bright red lipstick. How in the world has a man not swooped her up by now? That's one of life's greatest mysteries.

Gently he rolled her to her side, so that he could climb off the bed. He pulled off his shirt, then his jeans and briefs in one quick motion, his erection springing free. When he turned back to Morgan, he saw that she’d also kicked away her pants. Now she lay naked on the bed, her ivory skin luminous in the dim light and her eyes focused on him. “You are so beautiful,” she whispered. He laughed softly. “I think that’s my line.” “It depends on your point of view. Come here.

He demonstrated by gently drawing her hand over to the piano keys and placing his hand over hers. He pressed the top of her fingers so that they came down, and a few notes echoed through the instrument. Soon they were playing a simple yet haunting melody together. ‘In many ways that actually makes it a superior way of communicating.’ He let her hand go but a tingle remained, the sensation so pleasant she held her palm to her chest. Lottie found herself completely entranced as Jamie began working his fingers over the keys. His light mocha skin delicately complemented the ivories, as though they were meant to be together. His eyes slowly closed, gripped by the melody, and Lottie couldn’t help being drawn in by the delicate music. ‘You really love music, don’t you?

Near the entrance to the famous Specimen Room at Tokyo University, there was a lavishly gilded casket that housed an ancient Egyptian mummy, said by some to have been the favorite concubine of King Tut himself. Elsewhere in the room, the disembodied brains of such celebrated novelists as Natsume Soseki and Kanzo Uchimura were on display, floating dreamily in formaldehyde. Then there was the distinguished married couple, both professors of medicine, who had willed their bodies to science in the 1920s. Now their perfect ivory skeletons stood at attention by the entrance, like a pair of sentries. Interesting though these objects were, the most riveting thing in the room was the collection of vividly colored, intricately-tattooed skins hanging on the walls and suspended from the ceiling. They looked to Kenzo like an eerie parade of souls in limbo, and he gazed at them in awe and fascination.

No one who came to this exotic part of London could fail to be impressed by the fact that this squalid, wicked and poverty-stricken square mile yet ‘contains one of the main supplies of London’s wealth and commerce, as well as one of its most curious sights, the London Docks. The extensive basins, in which may be seen the largest ships in the world; the immense warehouses which contain the treasures of every quarter of the globe – wool, cotton, tea, coffee, tobacco, skins, ivory; the miles of vaults filled with wines and spirits; the thousands of persons employed – clerks, customs officers, artisans, labourers, lightermen, and sailors – make the Docks a world of itself, as well as a cosmopolitan rendezvous and emporium.’4

The heavy hood concealed the stranger’s face in shadow, but Aelin glimpsed ivory skin, dark hair, and fine velvet gloves reaching into her cloak—for a weapon? “Start explaining,” Aelin said, leaning against the door frame, “or you’re rat meat.” The woman stepped back into the rain—not back, exactly, but toward the carriage, where Aelin noted the small form of a child waiting inside. Cowering. The woman said, “I came to warn you,” and pulled back her hood just enough to reveal her face. Large, slightly uptilted green eyes, sensuous lips, sharp cheekbones, and a pert nose combined to create a rare, staggering beauty that caused men to lose all common sense. Aelin stepped under the narrow awning and drawled, “As far as memory serves me, Lysandra, I warned you that if I ever saw you again, I’d kill you.

Simon Broom was six feet, two inches and dark skinned with keen features, the handsomest man I ever seen. Opposite Webb in looks and style, he physically overwhelmed her. Projecting an ease that Ivory Mae loved, he seemed a man in possession of himself, if not things. Nineteen years her elder, he had massive hands, gray-stained from years of work, which meant, Ivory Mae reasoned, that he could fix whatever in his and her world was broken. Plus, his diction. He had a proud talk. Like the Kennedy brothers. When he spoke, I felt like I just needed to be listening. His booming voice seduced Ivory, scared some, and led others to want to fight. One thing was certain: Simon had not simply happened to her, as had Webb. Simon Broom felt like a choice. She took him on.

My skin has turned to porcelain, to ivory, to steel. (Sansa V, A Storm of Swords)