Lust For Life Novel Quotes

A fit, healthy body—that is the best fashion statement

Please, touch me, I pray.

[novan]: bassists are very good with their fingers [novan]: and some of us sing backup vocals, so that means we're good with our mouths too... (~ IM chat with Novan Chang, 18, bassist)

When you are secure in yourself, know what turns you on, and enjoy watching your partner watch you experience sexual pleasure, you have a highly novel relationship grounded in love. The experience of seeing and being seen fuels lust and desire. This is exactly the way you integrate healthy lust and love into your sex life. It’s relational sex, not the old pornographic sex of past addictions.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

The artist has the liberty to exaggerate, to create in his novel a world more beautiful, more simple, more consoling than ours.

Realism is for lazy-minded, semi-educated people whose atrophied imagination allows them to appreciate only the most limited and convention subject matter. Re-Fi is a repetitive genre written by unimaginative hacks who rely on mere mimesis. If they had any self-respect they'd be writing memoir, but they're too lazy to fact-check. Of course I never read Re-Fi. But the kids keep bringing home these garish realistic novels and talking about them, so I know that it's an incredibly narrow genre, completely centered on one species, full of worn-out cliches and predictable situations--the quest for the father, mother-bashing, obsessive male lust, dysfunctional suburban families, etc., etc. All it's good for is being made into mass-market movies. Given its old-fashioned means and limited subject matter, realism is quite incapable of describing the complexity of contemporary experience.

for the first time, there burst upon me the idea that there might be real marvels all about us, that the visible world might be only a curtain to conceal huge realms uncharted by my very simple theology. And that started in me something with which, on and off, I have had plenty of trouble since—the desire for the preternatural, simply as such, the passion for the Occult. Not everyone has this disease; those who have will know what I mean. I once tried to describe it in a novel. It is a spiritual lust; and like the lust of the body it has the fatal power of making everything else in the world seem uninteresting while it lasts. It is probably this passion, more even than the desire for power, which makes magicians.

She’d never had feelings about any man that were important enough to be real romantic love. Affection, lust, yes those things. Instants in time with someone that had touched her, yes that too. But she found no one for romance that she could look up to, that was real , an individual that wasn’t made up of bits and pieces of clichés, buffeted about on the tide of their wants and the opinions of others, no goal, no point of view that they understood themselves why they held it. She had researched him when she was assigned to protect him, she told him. She had not understood in the beginning. “You were a man that had it all! Worthy and courageous military action; you grew up, came of age in war. A successful career, status in letters, a full professorship at a prestigious university if you wanted it. Accrued wealth and income enough to live however you wanted. Beautiful women in your life … you do not show the full measure of your years in either looks or fitness. “You were a full fledged member of the oligarchy, though at a modest level. Yet you threw it all away! You started your novel, became a thorn in the side of the establishment,” she told him. “I didn’t understand until I read the fragment of manuscript that you had Jean Augereau print out for you. You were on a crusade … totally focused! I saw that you were something special then,” she told him, “That’s when you began to become very special to me!

More significantly, I’ve had the great good fortune to know women (strong, smart, soulful, lustful, “larger than life”) not unlike the female protagonists in my novels. If I portray such women accurately, it’s only because I’ve paid attention.

One of the most intricate Cold War spy novels I’ve ever read is David Quammen’s The Soul of Viktor Tronko, based on the real-life case of a Cold War–era Russian defector who tells his debriefers that a Russian agent has infiltrated the upper echelons of the CIA.

In their book Warrior Lovers, an analysis of erotic fiction by women, the psychologist Catherine Salmon and the anthropologist Donald Symons wrote, "To encounter erotica designed to appeal to the other sex is to gaze into the psychological abyss that separates the sexes.... The contrasts between romance novels and porn videos are so numerous and profound that they can make one marvel that men and women ever get together at all, much less stay together and successfully rear children." Since the point of erotica is to offer the consumer sexual experiences without having to compromise with the demands of the other sex, it is a window into each sex's unalloyed desires. ... Men fantasize about copulating with bodies; women fantasize about making love to people. Rape is not exactly a normal part of male sexuality, but it is made possible by the fact that male desire can be indiscriminate in its choice of a sexual partner and indifferent to the partner's inner life--indeed, "object" can be a more fitting term than "partner." The difference in the sexes' conception of sex translates into a difference in how they perceive the harm of sexual aggression. ... The sexual abyss offers a complementary explanation of the callous treatment of rape victims in traditional legal and moral codes. It may come from more than the ruthless exercise of power by males over females; it may also come from a parochial inability of men to conceive of a mind unlike theirs, a mind that finds the prospect of abrupt, unsolicited sex with a stranger to be repugnant rather than appealing. A society in which men work side by side with women, and are forced to take their interests into account while justifying their own, is a society in which this thick-headed incuriosity is less likely to remain intact. The sexual abyss also helps to explain the politically correct ideology of rape. ... In the case of rape, the correct belief is that rape has nothing to do with sex and only to do with power. As (Susan) Brownmiller put it, "From prehistoric times to the present, I believe, rape has played a critical function. It is nothing more or less than a conscious process of intimidation by which all men keep all women in a state of fear." ... Brownmiller wrote that she adapted the theory from the ideas of an old communist professor of hers, and it does fit the Marxist conception that all human behavior is to be explained as a struggle for power between groups. But if I may be permitted an ad feminam suggestion, the theory that rape has nothing to do with sex may be more plausible to a gender to whom a desire for impersonal sex with an unwilling stranger is too bizarre to contemplate. Common sense never gets in the way of a sacred custom that has accompanied a decline of violence, and today rape centers unanimously insist that "rape or sexual assault is not an act of sex or lust--it's about aggression, power, and humiliation, using sex as the weapon. The rapist's goal is domination." (To which the journalist Heather MacDonald replies: "The guys who push themselves on women at keggers are after one thing only, and it's not reinstatement of the patriarchy.")

Love Hurts. I daresay there’s two or three poems, six novels and at least twelve songs on the subject. That’s how the Janus-faced beast of poetry gets written in the first place, in all its myriad of magical forms. So; why cover this hitherto uncharted and highly original territory? Why leap fearlessly into the unknown, nostrils flared, eyes flashing fire? Well, in the name of love, lust and limerence, why on earth not? Suffering is gratuitous and pointless, yet also vital, valuable and necessary. My last tête à tête gave me plenty, incorporating elements of the forbidden, of rebellion, pornography, pregnancy, parental approval – followed by fury – of infidelity, friend estrangement, life on one island that was heavenly and a second that veered between purgatorial and infernal, of violence, miscarriage, masturbating Indians, pepper spray, antipathy, disloyalty, evictions, a planned future, failed globetrotting and **** ***, whilst being indicative of a wider, all-encompassing social corrosion, and while the story itself may remain merely hinted at or alluded to in the course of this generalised polemic, it’s as worthy or valid as any other such tale told round the campfire and whispered across the beaches of the world...

Technically, Sheena predates even Superman, having first appeared in the primordial dawn of comic books in 1937. But her true origins are older than that. Sheena is often described as the female version of Edgar Rice Burroughs’ 1912 creation, Tarzan. The majority of Burroughs’ popular works revolves around a tension between the savage and the civilized, also seen in Sheena’s adventures. Burroughs’ work, like that of fellow adventure writer H. Rider Haggard, came out of the colonial era, and was written for men and boys who yearned for an escape from stifling modern life, through tales of dangerous worlds and exotic women. The common theme of these stories is that a man from the civilized world finds his way to a fantastic, often barbaric, world of adventure, where he falls in love with an intoxicating savage princess. While most of Burroughs’ heroines, like Dejah Thoris or Dian the Beautiful, were in need of rescuing, Haggard’s 1886 novel She introduced a stronger heroine. The novel’s English protagonist encounters the beautiful queen Ayesha, the ruler of a lost city in Africa. Ayesha is referred to as “she who must be obeyed,” and is a creature that provokes both fear and lust. Ayesha was the ultimate fantasy of civilized man: the beautiful, savage white queen, ruling a kingdom unhindered by the laws of modern morality. This brand of men’s fiction produced the swirling foam of exotic and erotic fantasy from which rose the jungle Venus known as Sheena. (...) Now that we have some historical context on these female monarchs, let’s talk about their specific origins. In the 1930s, there were several studios that produced art and stories for the various publishers who were getting into the new field of comic books. One of the most successful and prolific was the Universal Phoenix Studio, operated by two young artists named Will Eisner and Jerry Iger. In 1937, they created a female Tarzan-type character named Sheena for the British tabloid Wags. The strip was credited to the pseudonym W. Morgan Thomas, and the heroine’s name was meant to remind readers of H. Rider Haggard’s She. Demand for new comic book material was growing in the United States, and American pulp magazine publisher Fiction House was looking for material for a new comic book. Sheena made her American debut in 1938’s Jumbo Comics #1, just three months after Superman’s now legendary first appearance. She was the first female adventure character in comic books. This would be just one of her claims to fame.

What an opportunity the senior Bachchan lost to make a difference to the prejudiced heads by making a statement against the mangalik nonsense. Oh how small really the Big B is, and how big the media made Diana the small. It’s incredible how her quest for lust was portrayed as her search for love! No faulting her taking a lover on the rebound as her man thrust a rival into her marital life but for the media to picture her bed hopping as her craving for love is galling indeed. Why in picturing Diana as the icon of love the media made lust a synonym of love and what’s worse, it made a villain out of her man who embodies the best of love that is constancy.

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood Lying by omission turns inevitably into positive lying. The implications of literature are that human beings are controlled, if not by reason, at least by comprehensible, well-organized, avowable sentiments. Whereas the facts are quite different. Sometimes the sentiments come in, sometimes they don’t. All for love, or the world well lost; but love may be the title of nobility given to an inordinate liking for a particular person’s smell or texture, a lunatic desire for the repetition of a sensation produced by some particular dexterity. Or consider those cases (seldom published, but how numerous, as anyone in a position to know can tell!), those cases of the eminent statesmen, churchmen, lawyers, captains of industry—seemingly so sane, demonstrably so intelligent, publicly so high-principled; but, in private, under irresistible compulsion towards brandy, towards young men, towards little girls in trains, towards exhibitionism, towards gambling or hoarding, towards bullying, towards being whipped, towards all the innumerable, crazy perversions of the lust for money and power and position on the one hand, for sexual pleasure on the other. Mere tics and tropisms, lunatic and unavowable cravings—these play as much part in human life as the organized and recognized sentiments. And imaginative literature suppresses the fact. Propagates an enormous lie about the nature of men and women.

In 1931 Ilf and Petrov published another novel, The Golden Calf (Золотой телёнок), chronicling the further adventures of Ostap Bender. In the sequel, he is as enterprising as ever in pursuing the money of a clandestine Soviet millionaire, although possibly his lust for life seems to have dimmed a bit. The Twelve Chairs was still read and quoted by my classmates in the 1980s. In post-Soviet Russia the figure of Ostap Bender was elevated to “предприниматель” – entrepreneur – rather than crook, and his statue adorns several Russian towns. In his creators’ native city, Odessa, there is a commemorative plaque to Bender, and a statue of a chair from the novel on one of the main streets, Deribasovskaya. The novel has been turned into a film three times in Russia, in 1971, in 1976 and 2004; there is also a 1970 US version by Mel Brooks.

Darcy picked her up again, this time not as gently as he had when she’d tripped on the root. He carried her under one arm like a sack of grain, though to his credit, he avoided putting pressure on her lower abdomen. “I said no, ye contrary thing, and I’m big enough to make you obey whether ye want to or no’.” He crashed through the line of trees, stomped past the wounded men, and set her firmly in the wagon. “A skirmish is no place for a woman. I willna be responsible for you getting raped or killed.” That vulnerable look softened his hard features for a second. “I could tie you down, but then ye’d be no help to Archie. So what’ll it be, lass? Will you obey me or no?” He tried to intimidate her with his posture and size, bracketing her with his bare arms. It didn’t work. Rather, the sight of the succulent, hard mound of his exposed shoulder so close to her face made her wet her lips. His strong collarbones and sinewy neck glistened with sweat, and he smelled of pine and male exertion. Her libido jumped like a feisty poodle. Jeez Louise, Mel, get a grip. This is not a romance novel. He’s not your hero. The box got it wrong. The box was way out of line. “I need it,” she said, pleased her steady voice didn’t betray her attraction. “I have to go with you.” “I told you I’d look for whatever ye lust.” Lust. The antiquated word spoken in his deep voice did strange things to her tummy. It took a solid effort not to lick her lips in invitation as the word called to mind activities that most definitely related to wanting. Home, she reminded herself. She had to get home. “I don’t trust you to look as hard as I would. I’m coming with you.” “Where are your ropes, Archie?” he asked. “The woman refuses to stay put. I have no choice but to tie her to the wagon.” Several of the wounded men snickered. Archie said, “In the foot case there. And bring me some of yon dried moss before ye tie down your woman.” Your woman. The casual declaration made her stomach leap, and the sensation wasn’t entirely unpleasant. “She’s not mine,” Darcy growled as he opened the lid of a wooden chest in the wagon. To her horror, he removed a coil of rope. After tossing a yellowish clump in Archie’s direction, he came at her. Her libido disappeared with a poof. She hopped off the wagon, dodging hands that had no business being so quick, considering how large they were. “Don’t you dare tie me down! I’ve got to get that box. It’s my only hope to return home.” He lunged for her, catching her easily around the waist with his long arm, and plunking her back in the wagon. Libido was back. Her body thrilled at Darcy’s manhandling, though her muscles struggled against it. The thought of him tying her up in private might have some merit, but not in the middle of the forest with several strange men as witnesses. “Okay, okay,” she blurted as he looped the rope around one wrist. “I won’t follow you. Please don’t tie me. I’ll stay. I’ll help.” He paused to eye her suspiciously. “I promise,” she said. “I’ll stay here and make myself useful. As long as you promise to look for a rosewood box inlaid with white gold and about yea big.” She gestured with her hands, rope trailing from one wrist. “As long as you swear to look as though your life depends on it.” She held his gaze, hoping he was getting how important this was to her, hoping she could trust him. The circle of wounded men went quiet, waiting for his answer. He bounced on the balls of his feet, clearly impatient to return to the skirmish, but he gave her his full attention and said, “I vow that if your cherished box is on that field, I will find it.

Love Hurts. I daresay there’s two or three poems, six novels and at least twelve songs on the subject. That’s how the Janus-faced beast of poetry gets written in the first place, in all its myriad of magical forms. So; why cover this hitherto uncharted and highly original territory? Why leap fearlessly into the unknown, nostrils flared, eyes flashing fire? Well, in the name of love, lust and limerence, why on earth not? Suffering is gratuitous and pointless, yet also vital, valuable and necessary. My last tête à tête gave me plenty, incorporating elements of the forbidden, of rebellion, pornography, pregnancy, parental approval – followed by fury – of infidelity, friend estrangement, life on one island that was heavenly and a second that veered between purgatorial and infernal, of violence, miscarriage, masturbating Indians, pepper spray, antipathy, disloyalty, evictions, a planned future, failed globetrotting and habitual lies, whilst being indicative of a wider, all-encompassing social corrosion, and while the story itself may remain merely hinted at or alluded to in the course of this generalised polemic, it’s as worthy or valid as any other such tale told round the campfire and whispered across the beaches of the world. All life’s a roll of the dice, tiger; ride into the bastard storm and if your wounds hurt, be grateful you survived to lick them, even in the darkest nights of the soul when the sun is a mattress fire the god of your love died in. Love Hurts, and in a stupendous and savage cosmos, it’s my right to sit at the keyboard and bleed. Besides, love, poverty and war are the necessary accoutrements to a fulfilled life; this is the all-encompassing theme of our human condition and the crooning, persuasive symphony of that philosophically unfathomable miracle of life itself… especially as love leads to poverty and war. Man is born unto trouble as the sparks fly upward, after all. I certainly am… we choose our own chains... ~excerpt, "Love Hurts

In truth, Qasim was angry at his own people for surrendering so readily to their fate, and he hated them more than he hated the Sayyadin, even with all their tyranny. The people thought of nothing except satisfying their lusts, and they busied themselves with the search for food and drink, never once thinking about their lot in life and changing this terrible world they endured. That’s what made him so angry. Sometimes, he’d ask himself: What drove them to stay alive, breeding and swarming like swamp flies? What strange force made them continue this accursed existence? He never found an answer, but he went on asking as he fumed on the inside, every once in a while letting out angry gusts from his chest.

All those times back in my life when I had thought myself unhappy…how foolish I had been. Any man who experiences the worst looks back on all that was as better. So it was with me. “Call only that man happy who is dead.” The ancient Greeks once said that…but oh ye ones lost in the river of time…if only you knew, if only you knew. Man, no matter what his situation, can be happy, if only he realizes that his situation could be worse. But for me, there was no worse situation; I was like Croesus attached to the pyre, only there was no King to release me from being consumed by the flames. But here, right now, as I write this, I am happy, because I am at war. War is the refuge for those who have nothing better to do. The voice of my conscience, like an ancient Emathion head, was lost in the lust, devoured within the burning fire of my heart. I poured some Beefaronis over my foot. The dim light of the flashlight shone upon it. Then I waited. One came, quickly, running across the room. It leaped at my foot but my hand grabbed it before its teeth could clench down on my foot. The razorblade in my other hand came down hard upon its flesh. As I concentrated on murdering this poor rodent, I did not see the other rat scurrying across the room. The pain was deep. It did not just indulge in Beefaronis, but its teeth dug deeper. I screamed. I let the other rat go, throwing it across the room. I did not know if it was dead or not, but I did not care. I tried grabbing the other rat, but it had dug itself in. I kept screaming. I felt as if a pitchfork was repeatedly struck through my body while I hung chained to a wall. In a way, it almost felt good, because it was different from the deadening dullness that was normal.

I love men. Rather, I love little parts of their bodies, not the perfect parts, but rather their odd features and their unique traits that make of them stand out of this cookie cutter world we live in. Throw a name at me, and I can instantly tell you which feature makes my heart go thumpedy-thump. Cropper Rowe: lucious, mocha brown-colored mole on the back of his neck. Derek: long yet narrow sideburns. Thorsten: thick nose, which he broke skiing. Milo: jet black hair, slicked back to reveal forehead and a small dimple. Vincent: lower jawline as it curves up to his ears and the way his stubble grows on it. Thayer: his waist and how he wears his jeans low enough to expose his appendectomy scar. And I love Eugene's eyes. Not that they are clear blue, but that they have a kind shape. It sounds cliché, but they are soft, and when I look into them, I feel I've known him forever. The sadness still lingers deep inside them, but he smiles a lot. Maybe I'm mistaken and life has been kind to him. Maybe he's the positive kind of fellow for whom smiling comes easily, despite it all.

He pushes off the wall with his foot, standing tall and gorgeous over me. My eyes glide up until they meet his and for the life of me, I can’t stop my smile. Neither can he. So, we stand there, smiling at each other with high school giddiness mixed with very grownup lust swimming between us.

I could tie you down, but then ye’d be no help to Archie. So what’ll it be, lass? Will you obey me or no?” He tried to intimidate her with his posture and size, bracketing her with his bare arms. It didn’t work. Rather, the sight of the succulent, hard mound of his exposed shoulder so close to her face made her wet her lips. His strong collarbones and sinewy neck glistened with sweat, and he smelled of pine and male exertion. Her libido jumped like a feisty poodle. Jeez Louise, Mel, get a grip. This is not a romance novel. He’s not your hero. The box got it wrong. The box was way out of line. “I need it,” she said, pleased her steady voice didn’t betray her attraction. “I have to go with you.” “I told you I’d look for whatever ye lust.” Lust. The antiquated word spoken in his deep voice did strange things to her tummy. It took a solid effort not to lick her lips in invitation as the word called to mind activities that most definitely related to wanting. Home, she reminded herself. She had to get home. “I don’t trust you to look as hard as I would. I’m coming with you.” “Where are your ropes, Archie?” he asked. “The woman refuses to stay put. I have no choice but to tie her to the wagon.” Several of the wounded men snickered. Archie said, “In the foot case there. And bring me some of yon dried moss before ye tie down your woman.” Your woman. The casual declaration made her stomach leap, and the sensation wasn’t entirely unpleasant. “She’s not mine,” Darcy growled as he opened the lid of a wooden chest in the wagon. To her horror, he removed a coil of rope. After tossing a yellowish clump in Archie’s direction, he came at her. Her libido disappeared with a poof. She hopped off the wagon, dodging hands that had no business being so quick, considering how large they were. “Don’t you dare tie me down! I’ve got to get that box. It’s my only hope to return home.” He lunged for her, catching her easily around the waist with his long arm, and plunking her back in the wagon. Libido was back. Her body thrilled at Darcy’s manhandling, though her muscles struggled against it. The thought of him tying her up in private might have some merit, but not in the middle of the forest with several strange men as witnesses. “Okay, okay,” she blurted as he looped the rope around one wrist. “I won’t follow you. Please don’t tie me. I’ll stay. I’ll help.” He paused to eye her suspiciously. “I promise,” she said. “I’ll stay here and make myself useful. As long as you promise to look for a rosewood box inlaid with white gold and about yea big.” She gestured with her hands, rope trailing from one wrist. “As long as you swear to look as though your life depends on it.” She held his gaze, hoping he was getting how important this was to her, hoping she could trust him. The circle of wounded men went quiet, waiting for his answer. He bounced on the balls of his feet, clearly impatient to return to the skirmish, but he gave her his full attention and said, “I vow that if your cherished box is on that field, I will find it.

English Passengers, a first novel by Matthew Kneale, relates what follows when a group of Englishmen arrive in mid-nineteenth-century Tasmania with different purposes: to find the Garden of Eden, to prove the natives are less intelligent than the British, and to escape from British law. Kneale also describes the tragic life of a young Aboriginal whose experiences are shaped by the arrival of the British.