Ivory You Quotes

The world is changed because you are made of ivory and gold. The curves of your lips rewrite history.

We had old architects and were working with what we had on hand. You’ve hired this new, young architect now, and, Pericles, I’m going to build you a statue of Athena—all gold and ivory, think of that, Pericles—and taller than our city walls.” Pericles raised his eyes toward the birds.

You can't go back home to your family, back home to your childhood, back home to romantic love, back home to a young man's dreams of glory and of fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing's sake, back home to aestheticism, to one's youthful idea of 'the artist' and the all-sufficiency of 'art' and 'beauty' and 'love,' back home to the ivory tower, back home to places in the country, to the cottage in Bermude, away from all the strife and conflict of the world, back home to the father you have lost and have been looking for, back home to someone who can help you, save you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time--back home to the escapes of Time and Memory.

Human history has become too much a matter of dogma taught by 'professionals' in ivory towers as though it's all fact. Actually, much of human history is up for grabs. The further back you go, the more that the history that's taught in the schools and universities begins to look like some kind of faerie story.

Ol' man Simon, planted a diamond. Grew hisself a garden the likes of none. Sprouts all growin' comin' up glowin' Fruit of jewels all shinin' in the sun. Colors of the rainbow. See the sun and the rain grow sapphires and rubies on ivory vines, Grapes of jade, just ripenin' in the shade, just ready for the squeezin' into green jade wine. Pure gold corn there, Blowin' in the warm air. Ol' crow nibblin' on the amnythyst seeds. In between the diamonds, Ol' man Simon crawls about pullin' out platinum weeds. Pink pearl berries, all you can carry, put 'em in a bushel and haul 'em into town. Up in the tree there's opal nuts and gold pears- Hurry quick, grab a stick and shake some down. Take a silver tater, emerald tomater, fresh plump coral melons. Hangin' in reach. Ol' man Simon, diggin' in his diamonds, stops and rests and dreams about one... real... peach.

Her life was a slow realization that the world was not for her and that for whatever reason she would never be happy and honest at the same time. She felt as if she were brimming always producing and hoarding more love inside her. But there was no release. table ivory elephant charm rainbow onion hairdo violence melodrama honey...None of it moved her. She addressed the world honestly searching for something deserving of the volumes of love she knew she had within her but to each she would have to say I don't love you.

She stepped forward as if to pick up the fur she'd tossed over a chair. Smoothly, she turned to hand it to him. And with perfect timing, flung herself into his arms. The sable fell as he took her shoulders to shove her back. Eve stepped to the doorway to see Magdelana with her arms locked around Roarke's neck, his hands on her bare shoulders--one of the ivory straps sliding to her elbow. "Son of a bitch," she said. On cue, Magdelana spun around, her face full of passion and shock. "Oh, God. Oh...it's not what it looks like." "Bet." Eve strode in. Actually, Roarke thought, it was more of a swagger. He had a moment to admire it, before Eve rammed her fist in his face. "Fuck me." His head snapped back, and he tasted blood. Magdelana cried out, but even the deaf would have caught the suppressed laughter in the sound. "Roarke! Oh, my God, you're bleeding. Please, let me just--" "Don't look now," Eve said cheerfully. "But he's not the only one." She decked Magdelana with a straight-armed jab. "Bitch," Eve added as Magdelana's eyes rolled back and she fell, unconscious, to the floor. Roarke looked down. "Well, now, fuck us all.

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.

But how can you love a person who is not whole? Because you, like the moon, are not only beautiful when full. In all of your phases and fractions and ivory-white pieces, I love you.

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.

I open my eyes. I want to know: what is in the abyss of a kiss? Are stars born in these black caves that house bated breaths and unspoken words? Do our souls crawl on these tender cheeks to greet one another by ivory gates? What happens when we kiss? Where do you go? Don’t tell me. For I have lost my desire to know. Kiss me so that I forget myself. I close my eyes and fall in the abyss.

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.

I have flown the distance of your body from side to side of your ivory coast. I know the forests where I can rest and feed. I have mapped you with my naked eye and stored you out of sight. The millions of cells that make up your tissues are plotted on my retina. Night flying I know exactly where I am. Your body is my landing strip.

It's odd, I think, how the thing you love most in a person can also be the thing you sometimes wish you could change

I want to go to the ocean; Where the water is as dark as your eyes; and while the waves crash in an ivory glance; I want to call you mine.

I'm reminded of a conversation I had with your father when you wanted to go to Arrida to ransom Erak. I told him, and I'll tell you now, that a queen-to-be has to do these things - has to take chances. Has to get out in the world. You can't rule properly from an ivory tower.

Brod's life was a slow realization that the world was not for her, and that for whatever reason, she would never be happy and honest at the same time. She felt as if she were brimming, always producing and hoarding more love inside of her. But there was no release. Table, ivory, elephant charm, rainbow, onion, hairdo, mollusk, Shabbos, violence, cuticle, melodrama, ditch, honey, doily...None of it moved her. She addressed her world honestly, searching for something deserving of the volumes of love she knew she had within her, but to each she would have to say, I don't love you. Bark-brown fence post: I don't love you. Poem too long: I don't love you. Lunch in a bowl: I don't love you. Physics, the idea of you, the laws of you: I don't love you. Nothing felt like anything more than what it actually was. Everything was just a thing, mired completely in its thingness. If we were to open a random page in her journal- which she must have kept and kept with her at all times, not fearing that it would be lost, or discovered and read, but that she would one day stumble upon that thing which was finally worth writing about and remembering, only to find that she had no place to write it- we would find some rendering of the following sentiment: I am not in love.

Sunset's Passions," he read, and opened the book to a random page to read aloud. "'His hands gently caressed her ivory, silky br- " His eyes widened. "By the Wyrd! Do you actually read this rubbish? What happened to Symbols of Power and Eyllwe Customs and Culture?" ... "You may borrow it when I'm done. If you read it, your literary experience will be complete. And," she added with a coy smile, "it will give you some creative ideas of things to do with your lady friends.

He’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.

I am, to be sure, afraid that if you knew me that you wouldn’t love me. But this must be faced…I fear it in any relationship. Thus I am perhaps afraid to reveal facts about things…or to say too much for fear if I make too much noise you’ll drift away, pull down the shade of your ivory tower…and after that. Afraid, I guess, that I’ll loose you…I keep losing people.

I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breath of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.

I am not ranting. I possess a perspective here that you people, who are locked in the ivory basements of your own sub-cultures, simply do not possess.

Well, I can’t help going to see Sibyl play, even if it is only for an act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe." "You can dine with me to-night, Dorian, can’t you?" He shook his head. "To night she is Imogen," he answered, "and tomorrow night she will be Juliet." "When is she Sibyl Vane?" "Never." "I congratulate you.

Because being with you is like being too close to the sun. It's overwhelming and I'm scared I'm going to get burned.

The word 'ivory' rang in the air, was whispered, was sighed. You would think they were praying to it. A taint of imbecile rapacity blew through it all, like a whiff from some corpse.

The Times carried detailed descriptions of Sara’s ivory gown and the five-carat blue diamond on her finger, the Cravens’ reported opinions of the play, and speculation on whether Derek was truly a “reformed rake.” “There’s not a word of truth in any of it,” Derek said. “Except the part where they said you were resplendent.” “Thank you, kind sir.” Sara set down the paper and reached over to toy with one of the large soapy feet propped on the porcelain rim of the tub. She wriggled his big toe playfully. “What about the part that says you’re reformed?” “I’m not. I still do everything I used to do…except now only with you.” “And quite impressively,” she replied, her tone demure.

The Earl and Countess of Langford!" That announcement caused an immediate reaction among the inhabitants of the ballroom, who began looking at one another in surprise and then turned to the balcony, but it was nothing compared to the reaction among the small group of seven people who'd been keeping a vigil of hope. A jolt went through the entire group; hands reached out blindly and were clasped tightly by other hands; faces lifted to the balcony, while joyous smiles dawned brightly and eyes misted with tears. Attired in formal black evening clothes with white waistcoat and frilled white shirt, Stephen Westmoreland, Earl of Langford, was walking across the balcony. On his arm was a medieval princess clad in a pearl-encrusted ivory satin gown with a low, square bodice that tapered to a deep V at the waist. A gold chain with clusters of diamonds and pearls in each link rode low on her hips, sawying with each step, and her hair tumbled in flaming waves and heavy curls over her shoulders and back.

You’ll make better art after a day at the office than you will after a lifetime in an ivory tower.

She reached out, her fingers hesitant. The deer—Knox—tilted his head down, letting her touch his antlers. Her hand trembled slightly as she caressed the boney protrusion. The ivory tines were warmer than she thought they’d be, a living extension of the man inside. She petted his pelt next, charmed by the coarse fur and the feel of his muscles bunching and moving underneath. Sitting back, she winked up at him. "You probably get this a lot,but…nice rack.” The deer flashed back into a man who tackled her onto her pillows with a wolfy growl. “Always gotta be the smartass, don’t you?

Very softly as he nuzzled her, his mouth near her ear, he began to sing: "I'm so happy with you, la, la...

Let us suppose we are confronted with a desperate thing – say Pimlico. If we think what is really best for Pimlico we shall find the thread of thought leads to the throne of the mystic and the arbitrary. It is not enough for a man to disapprove of Pimlico; in that case he will merely cut his throat or move to Chelsea. Nor, certainly, is it enough for a man to approve of Pimlico; for then it will remain Pimlico, which would be awful. The only way out of it seems to be for somebody to love Pimlico; to love it with a transcendental tie and without any earthly reason. If there arose a man who loved Pimlico, then Pimlico would rise into ivory towers and golden pinnacles… If men loved Pimlico as mothers love children, arbitrarily, because it is theirs, Pimlico in a year or two might be fairer than Florence. Some readers will say that this is mere fantasy. I answer that this is the actual history of mankind. This, as a fact, is how cities did grow great. Go back to the darkest roots of civilization and you will find them knotted round some sacred stone or encircling some sacred well. People first paid honour to a spot and afterwards gained glory for it. Men did not love Rome because she was great. She was great because they had loved her.

I am less to you than your ivory Hermes or your silver Faun. You will like them always. How long will you like me? Till I have my first wrinkle, I suppose. I know, now, that when one loses one's good looks, whatever they may be, one loses everything. Your picture has taught me that. Lord Henry Wotton is perfectly right. Youth is the only thing worth having. When I find that I am growing old, I shall kill myself.

“And in the process,” Morpheus says from beside the fireplace, “you’ll destroy some of her best qualities.” Mom and Ivory glance at him, as if taken aback to hear those words coming from his lips. He sits hard on the chaise lounge, wings draped over the back, then slouches with elbows on knees. The silvery flames flicker across his bejeweled face. “What of her whimsy and curiosity, her compassion and loyalty? Her imagination, her dreams. These are all part of her humanness.”

Why don't you tell me a story?

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...

I have no other choice. If I stop, I could die. If I stop, you could die.

I can't change the pain you suffered in the past, but I can do everything possible to prevent the pain you might suffer in the future.

The philosophers make still another objection: "What you gain in rigour," they say, "you lose in objectivity. You can rise toward your logical ideal only by cutting the bonds which attach you to reality. Your science is infallible, but it can only remain so by imprisoning itself in an ivory tower and renouncing all relation with the external world. From this seclusion it must go out when it would attempt the slightest application.

You're not wearing that," he informed me. "Yes,I am." "No,you're not." "Yes,I am." "You'll look ridiculous." "I beg your pardon?" I said, affronted. "There's nothing wrong with your dress, or the way it fits you," he clarified with a roll of his eyes, as if he were explaining the obvious to a simpleton. "But it just won't do." "And why not?" "Your attire doesn't complement mine at all." This as entirely accurate and pleased me greatly. He wore black pants and an ivory shirt under a fitted gold-and-emerald-green doublet, an emsemble that made him appear annoyingly godlike, but which was very near horrendous next to sky blue. "Then our garb will complement our personalities," I retorted.

You've got to shake your fists at lightning now, you've got to roar like forest fire You've got to spread your light like blazes all across the sky They're going to aim the hoses on you, show 'em you won't expire Not till you burn up every passion, not even when you die Come on now, you've got to try, if you're feeling contempt, well then you tell it If you're tired of the silent night, Jesus, well then you yell it Condemned to wires and hammers, strike every chord that you feel That broken trees and elephant ivories conceal

None of the palaces in Hell come close to Lucifer's in size or beauty. Lucifer lives at the top of a literal ivory tower, miles high. You can't even see the top from the ground. The joke is that he built it that high so he can lean out the window and pound on Heaven's floor with a broom handle when he wants them to turn down the choir.

Your wife is psychotic." "Michaela is just angry. Anger does fascinating things to a woman - not two react the same." "Yeah, well, she's overreacting. With a knife." He nodded with a small, almost nostalgic smile. "It was my wedding gift to her. The handle is ivory." Sick bastard. "Well, at least my murder weapon will have sentimental value." "That's actually an honour, you know." "I'll keep that in mind as my life flashes before my eyes.

The flowers that I left in the ground, that I did not gather for you, today I bring them all back, to let them grow forever, not in poems or marble, but where they fell and rotted. And the ships in their great stalls, huge and transitory as heroes, ships I could not captain, today I bring them back to let them sail forever, not in model or ballad, but where they were wrecked and scuttled. And the child on whose shoulders I stand, whose longing I purged with public, kingly discipline, today I bring him back to languish forever, not in confession or biography, but where he flourished, growing sly and hairy. It is not malice that draws me away, draws me to renunciation, betrayal: it is weariness, I go for weariness of thee, Gold, ivory, flesh, love, God, blood, moon- I have become the expert of the catalogue. My body once so familiar with glory, My body has become a museum: this part remembered because of someone's mouth, this because of a hand, this of wetness, this of heat. Who owns anything he has not made? With your beauty I am as uninvolved as with horses' manes and waterfalls. This is my last catalogue. I breathe the breathless I love you, I love you - and let you move forever.

When you ask what are electrons and protons I ought to answer that this question is not a profitable one to ask and does not really have a meaning. The important thing about electrons and protons is not what they are but how they behave, how they move. I can describe the situation by comparing it to the game of chess. In chess, we have various chessmen, kings, knights, pawns and so on. If you ask what chessman is, the answer would be that it is a piece of wood, or a piece of ivory, or perhaps just a sign written on paper, or anything whatever. It does not matter. Each chessman has a characteristic way of moving and this is all that matters about it. The whole game os chess follows from this way of moving the various chessmen.

The magic in that country was so thick and tenacious that it settled over the land like chalk-dust and over floors and shelves like sticky plaster-dust. (House-cleaners in that country earned unusually good wages.) If you lived in that country, you had to de-scale your kettle of its encrustation of magic at least once a week, because if you didn't, you might find yourself pouring hissing snakes or pond slime into your teapot instead of water. (It didn't have to be anything scary or unpleasant, especially in a cheerful household - magic tended to reflect the atmosphere of the place in which it found itself -- but if you want a cup of tea, a cup of lavender-and-gold pansies or ivory thimbles is unsatisfactory.)

Behold! My whole sky fills with falling stars. You came from far, far away, from lands of light and perfume sitting me down, now in a boat of ivory, cloud and crystal hewn

But at this moment, this one word feels like the answer to every question: You.

They have both loved you with a child’s love, and now a man’s. It is the child’s love that holds you together . . . cemented by the moments you shared with them that they treasure most.

We talk and tease and bargain with the main dish. Maniacal laughter echoes in the marble halls, sweet to my ears. There’s movement at the banquet hall’s entrance. A child with my eyes tumbles in—all wings and blue hair and giggling innocence. Holding his hand is Morpheus, wearing a ruby crown. The Red King. My king. The bubble bursts and takes the vision with it, leaving nothing but the sound of my gasp and wisps of gray smoke behind. “You see,” Ivory says, “once Morpheus knew that one day you would belong to him and he to you, that you would share a child, he was no longer willing to die to save Wonderland. But he’s insecure about your feelings for him. He feared you would refuse to help. So he made a new plan, however flawed it was.

It’s quite easy to become Men Without Women. You love a woman deeply, and then she goes off somewhere. That’s all it takes. Most of the time (as I’m sure you’re well aware) it’s crafty sailors who take them away. They sweet-talk them into going with them, then carry them off to Marseilles or the Ivory Coast. And there’s hardly anything we can do about it. Or else the women have nothing to do with sailors, and take their own lives. And there’s very little we can do about that, too. Not even the sailors can do a thing.

As you go through your career, you will begin to find the areas of work you love and in which you will shine; you will, hopefully, find a field where you can maximize the motivators and satisfy the hygiene factors. But it’s rarely a case of sitting in an ivory tower and thinking through the problem until the answer pops into your head. Strategy almost always emerges from a combination of deliberate and unanticipated opportunities. What’s important is to get out there and try stuff until you learn where your talents, interests, and priorities begin to pay off. When you find out what really works for you, then it’s time to flip from an emergent strategy to a deliberate one.

You feel humiliated, my young man, because thinking you understood so much so well, you suddenly find that many very apparent things were unknown to you. Thinking you were one of the Lords of the Galaxy; you suddenly find that you stand near to destruction. Naturally, you will resent the ivory tower in which you lived; the seclusion in which you were educated; the theories on which you were reared.

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

There is no ready vocabulary to describe the ways in which artists become artists, no recognition that artists must learn to be who they are (even as they cannot help being who they are.) We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells to art? "Artists come together with the clear knowledge that when all is said and done, they will return to their studio and practice art alone. Period. That simple truth may be the deepest bond we share. The message across time from the painted bison and the carved ivory seal speaks not of the differences between the makers of that art and ourselves, but of the similarities. Today these similarities lay hidden beneath urban complexity -- audience, critics, economics, trivia -- in a self-conscious world. Only in those moments when we are truly working on our own work do we recover the fundamental connection we share with all makers of art. The rest may be necessary, but it's not art. Your job is to draw a line from your art to your life that is straight and clear.

The idea that Sophie could die had always been there, ever since the first diagnosis, and yet it seemed like a bad place on a map, an Ivory Coast, somewhere not urgently frightening because fear itself kept you away from the place. You thought of it as somewhere braver people went, or at least as somewhere you'd have plenty of time to pack your bags for.

I don't want to take my eyes away from your face." "No?" He shakes his head mildly. "They'll be lace if I do, won't there?" I nod. "White lace?" "Ivory." His chest expands slightly. "And you're taller, so you've got heels on.

From moment one, you were the wildest thing I've ever seen. ll I do is imagine how you'd taste.

But that's the thing about fear. You either let it own you, or you make it your bitch

The word 'ivory' rang in the air, was whispered, was sighed. You would think they were praying to it.

The word ‘ivory’ rang in the air, was whispered, was sighed. You would think they were praying to it. A taint of imbecile rapacity blew through it all, like a whiff from some corpse.

Brod’s life was a slow realization that the world was not for her, and that for whatever reason, she would never be happy and honest at the same time. She felt as if she were brimming, always producing and hoarding more love inside her. But there was no release. Table, ivory elephant charm, rainbow, onion, hairdo, mollusk, Shabbos, violence, cuticle, melodrama, ditch, honey, doily… None of it moved her. She addressed her world honestly, searching for something deserving of the volumes of love she knew she had within her, but to each she would have to say, I don’t love you. Bark-brown fence post: I don’t love you. Poem too long: I don’t love you. Physics, the idea of you, the laws of you: I don’t love you. Nothing felt like anything more than what it actually was. Everything was just a thing, mired completely in its thingness.

Robin Hood. To a Friend. No! those days are gone away, And their hours are old and gray, And their minutes buried all Under the down-trodden pall Ofthe leaves of many years: Many times have winter's shears, Frozen North, and chilling East, Sounded tempests to the feast Of the forest's whispering fleeces, Since men knew nor rent nor leases. No, the bugle sounds no more, And the twanging bow no more; Silent is the ivory shrill Past the heath and up the hill; There is no mid-forest laugh, Where lone Echo gives the half To some wight, amaz'd to hear Jesting, deep in forest drear. On the fairest time of June You may go, with sun or moon, Or the seven stars to light you, Or the polar ray to right you; But you never may behold Little John, or Robin bold; Never one, of all the clan, Thrumming on an empty can Some old hunting ditty, while He doth his green way beguile To fair hostess Merriment, Down beside the pasture Trent; For he left the merry tale, Messenger for spicy ale. Gone, the merry morris din; Gone, the song of Gamelyn; Gone, the tough-belted outlaw Idling in the "grene shawe"; All are gone away and past! And if Robin should be cast Sudden from his turfed grave, And if Marian should have Once again her forest days, She would weep, and he would craze: He would swear, for all his oaks, Fall'n beneath the dockyard strokes, Have rotted on the briny seas; She would weep that her wild bees Sang not to her---strange! that honey Can't be got without hard money! So it is; yet let us sing Honour to the old bow-string! Honour to the bugle-horn! Honour to the woods unshorn! Honour to the Lincoln green! Honour to the archer keen! Honour to tight little John, And the horse he rode upon! Honour to bold Robin Hood, Sleeping in the underwood! Honour to maid Marian, And to all the Sherwood clan! Though their days have hurried by Let us two a burden try.

You can't go back home to your family, back home to your childhood, back home to romantic love, back home to a young man's dreams of glory and of fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing's sake, back home to aestheticism, to one's youthful idea of "the artist" and the all-sufficiency of "art" and "beauty" and "love," back home to the ivory tower, back home to places in the country, to the cottage in Bermuda, away from all the strife and conflict of the world, back home to the father you have lost and have been looking for, back home to someone who can help you, save you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time--back home to the escapes of Time and Memory. In a way, the phrase summed up everything he had ever learned.

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 . . .

From moment one, you were the wildest thing I've ever seen. All I do is imagine how you'd taste.

My mother used to say that once you've made a choice, you have to act as though it's been made forever. But I don't know if I believe that's true. Our lives aren't decided by one choice, but by a series of small decisions that build up to pivotal moments. You can always make a different choice at the next juncture.

The starkness of this truth startles me, illuminates an awareness in me of something I could not—or would not—acknowledge before. I cannot let you die, because I cannot face a future without you.

What I mean is something like a closed circuit. Everybody on the same frequency. And after a while you forget about the rest of the spectrum and start believing that this is the only frequency that counts or is real. While outside, all up and down the land, there are these wonderful colors and x-rays and ultraviolets going on.

Ohhhhh." A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed. She's not thinking such a thought! Not her. She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath. "Oh! Ohhhhh." It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch. "Ohhhhhh." Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.

My brunette with the golden eyes, your ivory body, your amber Has left bright reflections in the room Above the garden. The clear midnight sky, under my closed lids, Still shines… I am drunk from so many roses Redder than wine. Leaving their garden, the roses have followed me… I drink their brief breath, I breathe their life. All of them are here. It’s a miracle… The stars have risen, Hastily, across the wide windows Where the melted gold pours. Now, among the roses and the stars, You, here in my room, loosening your robe, And your nakedness glistens Your unspeakable gaze rests on my eyes… Without stars and without flowers, I dream the impossible In the cold night.

When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavoured to bring back with a strict hand such as had been straying through imagination's boundless and trackless waste, into the safe fold of common sense. Arraigned to my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night--of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her quiet way a plain, unvarnished tale, showing how I had rejected the real, and rapidly devoured the ideal--I pronounced judgement to this effect-- That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar. "You," I said, "a favourite with Mr. Rochester? You're gifted with the power of pleasing him? You're of importance to him in any way? Go!--your folly sickens me. And you have derived pleasure from occasional tokens of preference--equivocal tokens shown by a gentleman of family and a man of the world to dependent and novice. How dared you? Poor stupid dupe! Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night? Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does no good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and if discovered and responded to, must lead into miry wilds whence there is no extrication. "Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own pictures, faithfully, without softening on defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imageine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution... "Whenever, in the future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them--say, "Mr. Rochester might probably win that noble lady's love, if he chose to strive for it; is it likely he would waste a serious thought on this indignent and insignifican plebian?" "I'll do it," I resolved; and having framed this determination, I grew calm, and fell asleep.

His hair, at first glance, appears merely dark, but upon closer inspection is actually many strands of chestnut brown, gold, and black. He wears it long, for a guy, not because doing so is “in,” but because he’s too busy with his many interests to remember to get it cut regularly. His eyes seem dark at first glance, as well, but are actually a kaleidoscope of russets and mahoganies, flecked here and there with ruby and gold, like twin lakes during an Indian summer, into which you feel as if you could dive and swim forever. Nose: aquiline. Mouth: imminently kissable. Neck: aromatic—an intoxicating blend of Tide from his shirt collar, Gillette shaving foam, and Ivory soap, which together spell: my boyfriend. B– Better. I would have liked more description on what exactly about his mouth you find so imminently kissable. —C. Martinez

It's my latest," Goldy concluded, "my best, and the one which the New York Times recently described as 'thrilling, sad, heartbreaking' and 'packs a huge wallop.' Entitled The Goldilocks Syndrome, it's currently available in the lobby at a today-only discount of $21.95. And if you act now, I'll sign and date this sucker at no extra charge.

Peter, Adam's Son," said Father Christmas. "Here, sir," said Peter. "These are your presents," was the answer, "and they are tools, not toys. The time to use them is perhaps near at hand. Bear them well." With these words he handed to Peter a shield and a sword. The shield was the color of silver and across it there ramped a red lion, as bright as a ripe strawberry at the moment when you pick it. The hilt of the sword was of gold and it had a sheath and a sword belt and everything it needed, and it was just the right size and weight for Peter to use. Peter was silent and solemn as he received these gifts, for he felt they were a very serious kind of present. "Susan, Eve's Daughter," said Father Christmas. "These are for you," and he handed her a bow and a quiver full of arrows and a little ivory horn. "You must use the bow only in great need," he said, "for I do not mean you to fight in the battle. It does not easily miss. And when you put this horn to your lips and blow it, then, wherever you are, I think help of some kind will come to you." Last of all he said, "Lucy, Eve's Daughter," and Lucy came forward. He gave her a little bottle of what looked like glass (but people said afterwards that it was made of diamond) and a small dagger. "In this bottle," he said, "there is a cordial made of the juice of one of the fire-flowers that grow on the mountains of the sun. If you or any of your friends is hurt, a few drops of this will restore them. And the dagger is to defend yourself at great need. For you also are not to be in the battle." "Why, sir?" said Lucy. "I think- I don't know- but I think I could be brave enough." "That is not the point," he said. "But battles are ugly when women fight.

Lady Sarah steps in, wearing her nightclothes under a fluffy ivory robe and a chastising expression. Behind her glasses, her eyes narrow on Henry. “So this is how it’s going to be, then? Married only a few days and I already have to search the palace to drag my husband to bed?” Henry goes to Sarah, like an invisible rope is reeling him to her. “Dragging me to your bed is something you’ll never have to do, love. You can even tie me there whenever you like, and I’ll be happy to reciprocate.” He kisses her mouth, as she blushes deep and bright. She leans back. “Then why are you down here instead of up there with me?” “There was an emergency.” “What kind of an emergency?” “You’re not going to believe it.” “Try me.” “Logan and Ellie are fucking.” She automatically glances at me, and her cheeks deepen to a shade of crimson. “I’m sure there’s a more delicate way to word that, Henry.” Henry nods, soberly. “You’re right, I’m sorry. Let me try again: Logan and Ellie are humping, like insatiable randy bunnies, all over the palace.” Sarah shakes her head. “You’re hopeless.” The Prince grins broadly. “It’s part of my charm.” “What am I going to do with you?” Henry kisses her again. “Take me to bed. Obviously.

You’re brave. You’re good. Why would you hesitate to explore yourself? Your dark nooks and crannies? With someone who is fascinated by the whole of you? You aren’t a bad woman, merely a human one, which entails a certain amount of”—he cocked his head—“‘awfulness,’ as you call it.

After unlatching the tiny gold clasp, Pandora opened the case and beheld a double-stranded pearl necklace on a bed of red velvet. Her eyes widened, and she lifted one of the strands, gently rolling the lustrous ivory pearls between her fingers. "I never imagined having something so fine. Thank you." "Do they please you, sweet?" "Oh, so very much-" Pandora began, and stopped as she saw the gold clasp, glittering with diamonds. It was fashioned with two interlocking parts of swirling, deep cut leaves. "Acanthus scrolls," she said with a crooked grin. "Like the ones in the settee at the Chaworth ball." "I have a fondness for acanthus scrolls." His gaze caressed her as she put on the necklace. The double strands were so long that there was no need to unfasten the clasp. "They kept you in place just long enough for me to catch you." Pandora grinned, enjoying the cool, sensuous weight of the pearls as they slid against her neck and chest. "I think you were the one who was caught, my lord." Gabriel reached out to touch the curve of her bare shoulder with his fingertips, and followed the pearl strands over her breast. "Your captive for life, my lady.

Ayo Jah bring yo greedy ass on nigga! I’m tryin to get up with this chick tonight.” Jah was down stairs raiding the refrigerator. He came out with a bottle of coke, A huge sandwich he whipped up, two bags of chips, and two boxes of cupcakes. “Yo, you better go get my sister in-law back cuz, she the only reason yo ass ever have food up in this bitch.” Los looked at Jah as if he were crazy, he could barley carry everything he had in his hands and was chomping and talking at the same time.

“A son,” I say, recalling every detail of the child’s perfect face. Ivory’s smile is blinding. “A most unique creature. The first child to be born to two netherlings who’ve shared a childhood. Wonderland is founded on chaos, madness, and magic. For so long, innocence and imagination have had no place there. As a result, we haven’t had children, at least by your world’s definition. And because of this, we’ve lost the ability to dream. But Morpheus experienced those things via you, each time you played together in your dreams. Through your child, Wonderland will thrive with new magic and strength. Our offspring will become true children once more; they will learn to dream again. And all will be right with our world.

Lord Henry stretched himself out on the divan and laughed. "Yes, I knew you would; but it is quite true, all the same." "Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made out of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you— well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.

Cutting class,” I muttered. “That idiot.” Ben did a double-take when he spotted me, then slowly shook his head. As I drew near, he whispered something under his breath. His moron buddies exploded in laughter. I’ll kill him. Then murder him afterward. “What the hell are you doing?” Not the most diplomatic of greetings, but my temper was long gone. “Is your first class Parking Lot Maintenance?” Ben waved a hand at me. “You see what I mean?” Wallet Chain chuckled as he toked a cigarette. “That’s not very nice, sweetheart.” “You’ll never land a man like that,” added Ski Cap. “This ain’t Beantown.” “Ben?” Seething. “May I speak to you privately?” Ben rolled his eyes. “Give me a sec, guys. I’ve been naughty.” I waited until the stoners were out of earshot. “Great crew you’ve assembled.” Dripping with sarcasm. “Leave them out of this,” Ben warned. “What, I can’t even have friends, now that I’ve been kicked from the Ivory Tower?” “Maybe go to class. You might find a better peer group in there.” Ben snorted. “I’m pretty sure you have class right now, too.” Touche.

It's always useless to try to cut oneself off, even from other people's cruelty and stupidity. You can't say: "I don't know about it." One either fights or collaborates. There is nothing less excusable than war, and the appeal to national hatreds. But once war has come, it is both cowardly and useless to try to stand on one side under the pretext that one is not responsible. Ivory towers are down. Indulgence is forbidden—for oneself as well as for other people. It is both impossible and immoral to judge an event from outside. One keeps the right to hold this absurd misfortune in contempt only by remaining inside it. One individual's reaction has no intrinsic importance. It can be of some use, but I can justify nothing. Dilettante's dream of being free to hover above his time is the most ridiculous form of liberty. This is why I must try to serve. And, if they don't want me, I must also accept the position of the "despised civilian." In both cases, I am absolutely free to judge things and to feel as disgusted with them as I like. In both cases, I am in the midst of the war and have the right to judge it. To judge it and to act

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?

WILDE: Oh — Bosie! (He weeps.) I have to go back to him, you know. Robbie will be furious but it can't be helped. The betrayal of one's friends is a bagatelle in the stakes of love, but the betrayal of oneself is a lifelong regret. Bosie is what became of me. He is spoiled, vindictive, utterly selfish and not very talented, but these are merely the facts. The truth is he was Hyacinth when Apollo loved him, he is ivory and gold, from his red rose-leaf lips comes music that fills me with joy, he is the only one who understands me. 'Even as a teething child throbs with ferment, so does the soul of him who gazes upon the boy's beauty; he can neither sleep at night nor keep still by day,' and a lot more besides, but before Plato could describe love, the loved one had to be invented. We would never love anybody if we could see past our invention. Bosie is my creation, my poem. In the mirror of invention, love discovered itself. Then we saw what we had made — the piece of ice in the fist you cannot hold or let go. (He weeps.)

She especially liked my bedside lamp, which had a five-sided porcelain shade. Unlit, the shade seemed like bumpy ivory. Lit, each panel came to life with the image of a bird: a blue jay, a cardinal, wrens, an oriole, and a dove. Kathleen turned it off and on again, several times. "How does it do that?" "The panels are called lithophanes." I knew because I'd asked my father about the lamp, years ago. "The porcelain is carved and painted. You can see it if you look inside the shade." "No," she said. "It's magic. I don't want to know how it's done.

I was sitting there, as I said, and had been for several watches, when I came to me that I was reading no longer. For some time I was hard put to say what I had been doing. When I tried, I could only think of certain odors and textures and colors that seemed to have no connection with anything discussed in the volume I held. At last I realized that instead of reading it, I had been observing it as a physical object. The red I recalled came from the ribbon sewn to the headband so that I might mark my place. The texture that tickled my fingers still was that of the paper in which the book was printed. The smell in my nostrils was old leather, still wearing the traces of birch oil. It was only then, when I saw the books themselves, when I began to understand their care.” His grip on my shoulder tightened. “We have books here bound in the hides of echidnes, krakens, and beasts so long extinct that those whose studies they are, are for the most part of the opinion that no trace of them survives unfossilized. We have books bound wholly in metals of unknown alloy, and books whose bindings are covered with the thickest gems. We have books cased in perfumed woods shipped across the inconceivable gulf between creations—books doubly precious because no one on Urth can read them.” “We have books whose papers are matted of plants from which spring curious alkaloids, so that the reader, in turning their pages, is taken unaware by bizarre fantasies and chimeric dreams. Books whose pages are not paper at all, but delicate wafers of white jade, ivory, and shell; books too who leaves are the desiccated leaves of unknown plants. Books we have also that are not books at all to the eye: scrolls and tablets and recordings on a hundred different substances. There is a cube of crystal here—though I can no longer tell you where—no larger than the ball of your thumb that contains more books than the library itself does. Though a harlot might dangle it from one ear for an ornament, there are not volumes enough in the world to counterweight the other.

He does not know what caused him to break off from Weston and walk out. Perhaps it was when the boy said 'forty-five or fifty'. As if, past mid-life, there is a second childhood, a new phase of innocence. It touched him, perhaps, the simplicity of it. Or perhaps he just needed air. Let us say you are in a chamber, the windows sealed, you are conscious of the proximity of other bodies, of the declining light. In the room you put cases, you play games, you move your personnel around each other: notional bodies, hard as ivory, black as ebony, pushed on their paths across the squares. Then you say, I can't endure this any more, I must breathe: you burst out of the room amd into a wild garden where the guilty are hanging from trees, no longer ivory, no longer ebony, but flesh; and their wild lamenting tongues proclaim their guilt as they die. In this matter, cause has preceded effect. What you dreamed has enacted itself. You reach for a blade but the blood is already shed. The lambs have butchered and eaten themselves. They have brought knives to the table, carved themselves, and picked their own bones clean.

Poem: Roses And Rue (To L. L.) Could we dig up this long-buried treasure, Were it worth the pleasure, We never could learn love's song, We are parted too long. Could the passionate past that is fled Call back its dead, Could we live it all over again, Were it worth the pain! I remember we used to meet By an ivied seat, And you warbled each pretty word With the air of a bird; And your voice had a quaver in it, Just like a linnet, And shook, as the blackbird's throat With its last big note; And your eyes, they were green and grey Like an April day, But lit into amethyst When I stooped and kissed; And your mouth, it would never smile For a long, long while, Then it rippled all over with laughter Five minutes after. You were always afraid of a shower, Just like a flower: I remember you started and ran When the rain began. I remember I never could catch you, For no one could match you, You had wonderful, luminous, fleet, Little wings to your feet. I remember your hair - did I tie it? For it always ran riot - Like a tangled sunbeam of gold: These things are old. I remember so well the room, And the lilac bloom That beat at the dripping pane In the warm June rain; And the colour of your gown, It was amber-brown, And two yellow satin bows From your shoulders rose. And the handkerchief of French lace Which you held to your face - Had a small tear left a stain? Or was it the rain? On your hand as it waved adieu There were veins of blue; In your voice as it said good-bye Was a petulant cry, 'You have only wasted your life.' (Ah, that was the knife!) When I rushed through the garden gate It was all too late. Could we live it over again, Were it worth the pain, Could the passionate past that is fled Call back its dead! Well, if my heart must break, Dear love, for your sake, It will break in music, I know, Poets' hearts break so. But strange that I was not told That the brain can hold In a tiny ivory cell God's heaven and hell.

But the scientists had the other half of their group of volunteers only imagine playing the notes; they did not actually touch the ivories. Then the researchers measured whether the motor cortex had noticed. It had. The region that controls the fingers of the right hand had expanded in the virtual pianists just as it had in the volunteers who had actually played the piano. Thinking, and thinking alone, had increased the amount of space the motor cortex devoted to a specific function.

The progress of Sybilla though a market was the progress of worker bee through a bower of intently propagating blossoms. Everything stuck. From the toy stall she bought two ivory dolls, a hen whistle, a rattle and a charming set of miniature bells for a child’s skirts: all were heroically received and borne by Tom, henceforth marked by a faint, distracted jingling. From the spice booth, set with delicious traps for the fat purse, she took cinnamon, figs, cumin seed and saffron, ginger, flower of gillyflower and crocus and—an afterthought—some brazil for dyeing her new wool. These were distributed between Christian and Tom. They listened to a balladmonger, paid him for all the verses of “When Tay’s Bank,” and bought a lengthy scroll containing a brand-new ballad which Tom Erskine read briefly and then discreetly lost. “No matter,” said the Dowager cheerfully, when told. “Dangerous quantity, music. Because it spouts sweet venom in their ears and makes their minds all effeminate, you know. We can’t have that.” He was never very sure whether she was laughing at him, but rather thought not. They pursued their course purposefully, and the Dowager bought a new set of playing cards, some thread, a boxful of ox feet, a quantity of silver lace and a pair of scissors. She was dissuaded from buying a channel stone, which Tom, no curling enthusiast, refused utterly to carry, and got a toothpick in its case instead. They watched acrobats, invested sixpence for an unconvincing mermaid and finally stumbled, flattened and hot, into a tavern, where Tom forcibly commandeered a private space for the two women and brought them refreshments. “Dear, dear,” said Lady Culter, seating herself among the mute sea of her parcels, like Arion among his fishes. “I’m afraid I’ve forgotten which are the squashy ones. Never mind. If we spread them out, they can’t take much hurt, I should think. Unless the ox feet … Oh. What a pity, Tom. But I’m sure it will clean off.

On the roof, on the duvet under the steam vent, with the planets overhead, he let her scream all she wished. She screamed into the night. To the stars. At one point, with his lying atop her, he said, “Look over my left shoulder. Venus is visible tonight.” Then he pulled the covers away from her, wrestling her for the duvet, as he called, “Here she is, all you Venusians”—he lifted out his arm, using it to span the celestial horizon-—“and the rest of you planets out there: the most beautiful woman on Earth, spread-eagled for your pleasure!” He laughed. “At my disposal, mm-m-m!” He bent down, nibbling, kissing her neck with his teeth, his lips, his mouth.

At first I wondered why I would be born to a father who behaved like that. But I finally accepted the fact that my parents had the exact combination of traits and interests to inspire my own evolution. That’s why I wanted to be with them in my early life. Looking at my mother, I knew that each of us must take responsibility for our own healing. We can’t just turn it over to others. Healing in its essence is about breaking through the fears associated with life—fears that we don’t want to face—and finding our own special inspiration, a vision of the future, that we know we’re here to help create. “From my father, I saw clearly that medicine must be more responsive, must acknowledge the intuition and vision of the people we treat. We have to come down from our ivory tower. The combination of the two set me up to look for a new paradigm in medicine: one based on the patient’s ability to take control of his or her life and to get back on the right path. That’s my message, I guess, the idea that inwardly we know how to participate in our own healing, physically and emotionally. We can become inspired to shape a higher, more ideal future, and when we do, miracles happen.” Standing up, she glanced at my ankle, then at me. “I’m leaving now,” she said. “Try not to put any weight on your foot. What you need is complete rest. I’ll be back in the morning.” I think I must have looked anxious, because she knelt down again and put both hands on the ankle. “Don’t worry,” she said. “With enough energy there’s nothing that can’t be healed— hatred… war. It’s just a matter of coming together with the right vision.” She patted my foot gently. “We can heal this! We can heal this!

he takes as his text and example the unfortunate Ahab, seventh king of Israel, who lived in a palace of ivory. Under the influence of the wicked Jezebel he built a pagan temple and gave the priests of Baal places in his retinue. The prophet Elijah told Ahab that the dogs would lick his blood, and so it came to pass, as you would imagine, since only the successful prophets are remembered. The dogs of Samaria licked Ahab’s blood. All his male heirs perished. They lay unburied in the streets. Jezebel was thrown out of a window of her palace. Wild dogs tore her body into shreds.

Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.

Reading his autobiography many years later, I was astonished to find that Edward since boyhood had—not unlike Isaiah Berlin—often felt himself ungainly and ill-favored and awkward in bearing. He had always seemed to me quite the reverse: a touch dandyish perhaps but—as the saying goes—perfectly secure in his masculinity. On one occasion, after lunch in Georgetown, he took me with him to a renowned local tobacconist and asked to do something I had never witnessed before: 'try on' a pipe. In case you ever wish to do this, here is the form: a solemn assistant produces a plastic envelope and fits it over the amber or ivory mouthpiece. You then clamp your teeth down to feel if the 'fit' and weight are easy to your jaw. If not, then repeat with various stems until your browsing is complete. In those days I could have inhaled ten cigarettes and drunk three Tanqueray martinis in the time spent on such flaneur flippancy, but I admired the commitment to smoking nonetheless. Taking coffee with him once in a shopping mall in Stanford, I saw him suddenly register something over my shoulder. It was a ladies' dress shop. He excused himself and dashed in, to emerge soon after with some fashionable and costly looking bags. 'Mariam,' he said as if by way of explanation, 'has never worn anything that I have not bought for her.' On another occasion in Manhattan, after acting as a magnificent, encyclopedic guide around the gorgeous Andalusia (Al-Andalus) exhibition at the Museum of Modern Art, he was giving lunch to Carol and to me when she noticed that her purse had been lost or stolen. At once, he was at her service, not only suggesting shops in the vicinity where a replacement might be found, but also offering to be her guide and advisor until she had selected a suitable new sac à main. I could no more have proposed myself for such an expedition than suggested myself as a cosmonaut, so what this says about my own heterosexual confidence I leave to others.

Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own picture, faithfully, without softening one defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imagine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye;--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution. Recall the august yet harmonious lineaments, the Grecian neck and bust; let the round and dazzling arm be visible, and the delicate hand; omit neither diamond ring nor gold bracelet; portray faithfully the attire, aerial lace and glistening satin, graceful scarf and golden rose; call it 'Blanche, an accomplished lady of rank.

What is this, behind this veil, is it ugly, is it beautiful? It is shimmering, has it breasts, has it edges? I am sure it is unique, I am sure it is what I want. When I am quiet at my cooking I feel it looking, I feel it thinking 'Is this the one I am too appear for, Is this the elect one, the one with black eye-pits and a scar? Measuring the flour, cutting off the surplus, Adhering to rules, to rules, to rules. Is this the one for the annunciation? My god, what a laugh!' But it shimmers, it does not stop, and I think it wants me. I would not mind if it were bones, or a pearl button. I do not want much of a present, anyway, this year. After all I am alive only by accident. I would have killed myself gladly that time any possible way. Now there are these veils, shimmering like curtains, The diaphanous satins of a January window White as babies' bedding and glittering with dead breath. O ivory! It must be a tusk there, a ghost column. Can you not see I do not mind what it is. Can you not give it to me? Do not be ashamed--I do not mind if it is small. Do not be mean, I am ready for enormity. Let us sit down to it, one on either side, admiring the gleam, The glaze, the mirrory variety of it. Let us eat our last supper at it, like a hospital plate. I know why you will not give it to me, You are terrified The world will go up in a shriek, and your head with it, Bossed, brazen, an antique shield, A marvel to your great-grandchildren. Do not be afraid, it is not so. I will only take it and go aside quietly. You will not even hear me opening it, no paper crackle, No falling ribbons, no scream at the end. I do not think you credit me with this discretion. If you only knew how the veils were killing my days. To you they are only transparencies, clear air. But my god, the clouds are like cotton. Armies of them. They are carbon monoxide. Sweetly, sweetly I breathe in, Filling my veins with invisibles, with the million Probable motes that tick the years off my life. You are silver-suited for the occasion. O adding machine----- Is it impossible for you to let something go and have it go whole? Must you stamp each piece purple, Must you kill what you can? There is one thing I want today, and only you can give it to me. It stands at my window, big as the sky. It breathes from my sheets, the cold dead center Where split lives congeal and stiffen to history. Let it not come by the mail, finger by finger. Let it not come by word of mouth, I should be sixty By the time the whole of it was delivered, and to numb to use it. Only let down the veil, the veil, the veil. If it were death I would admire the deep gravity of it, its timeless eyes. I would know you were serious. There would be a nobility then, there would be a birthday. And the knife not carve, but enter Pure and clean as the cry of a baby, And the universe slide from my side.

There is one in this tribe too often miserable - a child bereaved of both parents. None cares for this child: she is fed sometimes, but oftener forgotten: a hut rarely receives her: the hollow tree and chill cavern are her home. Forsaken, lost, and wandering, she lives more with the wild beast and bird than with her own kind. Hunger and cold are her comrades: sadness hovers over, and solitude besets her round. Unheeded and unvalued, she should die: but she both lives and grows: the green wilderness nurses her, and becomes to her a mother: feeds her on juicy berry, on saccharine root and nut. There is something in the air of this clime which fosters life kindly: there must be something, too, in its dews, which heals with sovereign balm. Its gentle seasons exaggerate no passion, no sense; its temperature tends to harmony; its breezes, you would say, bring down from heaven the germ of pure thought, and purer feeling. Not grotesquely fantastic are the forms of cliff and foliage; not violently vivid the colouring of flower and bird: in all the grandeur of these forests there is repose; in all their freshness there is tenderness. The gentle charm vouchsafed to flower and tree, - bestowed on deer and dove, - has not been denied to the human nursling. All solitary, she has sprung up straight and graceful. Nature cast her features in a fine mould; they have matured in their pure, accurate first lines, unaltered by the shocks of disease. No fierce dry blast has dealt rudely with the surface of her frame; no burning sun has crisped or withered her tresses: her form gleams ivory-white through the trees; her hair flows plenteous, long, and glossy; her eyes, not dazzled by vertical fires, beam in the shade large and open, and full and dewy: above those eyes, when the breeze bares her forehead, shines an expanse fair and ample, - a clear, candid page, whereon knowledge, should knowledge ever come, might write a golden record. You see in the desolate young savage nothing vicious or vacant; she haunts the wood harmless and thoughtful: though of what one so untaught can think, it is not easy to divine. On the evening of one summer day, before the Flood, being utterly alone - for she had lost all trace of her tribe, who had wandered leagues away, she knew not where, - she went up from the vale, to watch Day take leave and Night arrive. A crag, overspread by a tree, was her station: the oak-roots, turfed and mossed, gave a seat: the oak-boughs, thick-leaved, wove a canopy. Slow and grand the Day withdrew, passing in purple fire, and parting to the farewell of a wild, low chorus from the woodlands. Then Night entered, quiet as death: the wind fell, the birds ceased singing. Now every nest held happy mates, and hart and hind slumbered blissfully safe in their lair. The girl sat, her body still, her soul astir; occupied, however, rather in feeling than in thinking, - in wishing, than hoping, - in imagining, than projecting. She felt the world, the sky, the night, boundlessly mighty. Of all things, herself seemed to herself the centre, - a small, forgotten atom of life, a spark of soul, emitted inadvertent from the great creative source, and now burning unmarked to waste in the heart of a black hollow. She asked, was she thus to burn out and perish, her living light doing no good, never seen, never needed, - a star in an else starless firmament, - which nor shepherd, nor wanderer, nor sage, nor priest, tracked as a guide, or read as a prophecy? Could this be, she demanded, when the flame of her intelligence burned so vivid; when her life beat so true, and real, and potent; when something within her stirred disquieted, and restlessly asserted a God-given strength, for which it insisted she should find exercise?

Little Sleep's-Head Sprouting Hair in the Moonlight 1 You scream, waking from a nightmare. When I sleepwalk into your room, and pick you up, and hold you up in the moonlight, you cling to me hard, as if clinging could save us. I think you think I will never die, I think I exude to you the permanence of smoke or stars, even as my broken arms heal themselves around you. 2 I have heard you tell the sun, don't go down, I have stood by as you told the flower, don't grow old, don't die. Little Maud, I would blow the flame out of your silver cup, I would suck the rot from your fingernail, I would brush your sprouting hair of the dying light, I would scrape the rust off your ivory bones, I would help death escape through the little ribs of your body, I would alchemize the ashes of your cradle back into wood, I would let nothing of you go, ever, until washerwomen feel the clothes fall asleep in their hands, and hens scratch their spell across hatchet blades, and rats walk away from the culture of the plague, and iron twists weapons toward truth north, and grease refuse to slide in the machinery of progress, and men feel as free on earth as fleas on the bodies of men, and the widow still whispers to the presence no longer beside her in the dark. And yet perhaps this is the reason you cry, this the nightmare you wake screaming from: being forever in the pre-trembling of a house that falls. 3 In a restaurant once, everyone quietly eating, you clambered up on my lap: to all the mouthfuls rising toward all the mouths, at the top of your voice you cried your one word, caca! caca! caca! and each spoonful stopped, a moment, in midair, in its withering steam. Yes, you cling because I, like you, only sooner than you, will go down the path of vanished alphabets, the roadlessness to the other side of the darkness, your arms like the shoes left behind, like the adjectives in the halting speech of old folk, which once could call up the lost nouns. 4 And you yourself, some impossible Tuesday in the year Two Thousand and Nine, will walk out among the black stones of the field, in the rain, and the stones saying over their one word, ci-gît, ci-gît, ci-gît, and the raindrops hitting you on the fontanel over and over, and you standing there unable to let them in. 5 If one day it happens you find yourself with someone you love in a café at one end of the Pont Mirabeau, at the zinc bar where wine takes the shapes of upward opening glasses, and if you commit then, as we did, the error of thinking, one day all this will only be memory, learn to reach deeper into the sorrows to come—to touch the almost imaginary bones under the face, to hear under the laughter the wind crying across the black stones. Kiss the mouth that tells you, here, here is the world. This mouth. This laughter. These temple bones. The still undanced cadence of vanishing. 6 In the light the moon sends back, I can see in your eyes the hand that waved once in my father's eyes, a tiny kite wobbling far up in the twilight of his last look: and the angel of all mortal things lets go the string. 7 Back you go, into your crib. The last blackbird lights up his gold wings: farewell. Your eyes close inside your head, in sleep. Already in your dreams the hours begin to sing. Little sleep's-head sprouting hair in the moonlight, when I come back we will go out together, we will walk out together among the ten thousand things, each scratched in time with such knowledge, the wages of dying is love.