Mistress Sad Quotes

...heroine: the artist, the premier mistress writhering in a garden graced w/highly polished blades of grass... release (ethiopium) is the drug...an animal howl says it all...notes pour into the caste of freedom...the freedom to be intense...to defy social order and break the slow kill monotony of censorship. to break from the long bonds of servitude-ruthless adoration of the celestial shepherd. let us celebrate our own flesh-to embrace not ones race mais the marathon-to never let go of the fiery sadness called desire.

It quite often makes me feel sad that painting’s like a bad mistress one might have, who’s always spending, spending and it’s never enough.. [Letter 630, Arles, 23 June 1888]

Sad Girl" Being a mistress on the side, It might not appear to fools like you. Creeping around on the side Might not be somethin' you would do. But you haven't seen my man, You haven't seen my man, You haven't seen my man, You haven't seen him. He's got the fire and he walks with fame, He's got the fire and he talks with fame. His bonnie on the side, bonnie on the side, Makes me so sad, girl. His money on the side, money on the side, Makes me so sad, girl. I'm a sad girl, I'm a sad girl, I'm a sad girl. I'm a sad girl, I'm a bad girl, I'm a bad girl. Being a bad bitch on the side, Might not appeal to fools like you. We been around while he gets high, It might not be somethin' you would do. But you haven't seen my man, You haven't seen my man, You haven't seen my man, You haven't seen him. He's got the fire and he walks with fame, He's got the fire and he talks with fame. His bonnie on the side, bonnie on the side, Makes me so sad, girl. His money on the side, money on the side, Makes me so sad, girl. I'm a sad girl, I'm a sad girl, I'm a sad girl. I'm a sad girl, I'm a bad girl, I'm a bad girl. Watch what you say to me, Careful who you're talkin' to. Watch what you say to me, Careful who you're talkin' to. I'm on fire, baby, I'm on fire. He's got the fire and he walks with fame, He's got the fire and he talks with fame. His bonnie on the side, bonnie on the side, Makes me so sad, girl. His money on the side, money on the side, Makes me so sad, girl. I'm a sad girl, I'm a sad girl, I'm a sad girl. I'm a sad girl, I'm a bad girl, I'm a bad girl. I'm a sad girl, I'm a sad girl, I'm a sad girl. I'm a sad girl, I'm a bad girl, I'm a bad girl.

The women always get blamed. Have you noticed that? The wives are nags. The mistress is a bitch for betraying the sisterhood. And the men just fall through the cracks in between. We expect so little from our boys, don’t we, Grace?

There's a great maze of tunnels, a Labyrinth. It's like a great dark city, under the hill. Full of gold, and the swords of old heroes, and old crowns, and bones, and years, and silence.' She spoke if in trance, rapture. Manan watched her. His slabby face never expressed much but stolid, careful sadness; it was sadder than usual now. 'Well, and you're mistress of all that,' he said. 'The silence, and the dark.

Karma can be an ill-timed mistress who always calls when your Mother-in-law is the first to answer the phone…. and it would be a completely sad story had it not been so surreally hilarious.  

think you’re sad. And I think you’re searching for purpose. But becoming someone’s mistress is not the way to find yourself.

On the whole she scorned the male sex. But here was a new specimen, quick, light, graceful, who could be gentle and could be sad, and who was clever and who knew a lot... And he scarcely observed her. Then he was so ill, and she felt he would be weak. Then she would be stronger than he. Then she could love him. If she could be mistress of him in his weakness, take care of him, if he could depend on her, if she could, as it were, have him in her arms, how she would love him!

This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.

That alas is the way it goes"; "Something we must rectify." Paul, not Caro, would interpret the degree of meaning in their respective lots. That had been decided, as he sat speaking intimately of his life to the person most excluded from it - in order to readmit her to the intimacy, though not the life.

A slow-motion kiss that took the place of the million things she wanted to say to him and couldn’t because he didn’t want to hear them. About pragmatism and the sad ache of regret. About love and longing, about the shadow of fear that was so strong it was making her ears buzz. About the rising panic of losing him.

Song When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget. Sir Thomas Wyatt has been credited with introducing the Petrarchan sonnet into the English language. Wyatt's father had been one of Henry VII's Privy Councilors and remained a trusted adviser when Henry VIII came to the throne in 1509. Wyatt followed his father to court, but it seems the young poet may have fallen in love with the king’s mistress, Anne Boleyn. Their acquaintance is certain, although whether or not the two actually shared a romantic relationship remains unknown. But in his poetry, Wyatt called his mistress Anna and there do seem to be correspondences. For instance, this poem might well have been written about the King’s claim on Anne Boleyn:

Whoever has been poor and lonely himself understands other poor and lonely people all the better. At least we should learn to understand our fellow beings, for we are powerless to stop their misery, their ignominy, their suffering, their weakness, and their death. One day Frau Wilke whispered, as she stretched out her hand and arm to me: "Hold my hand. It's like ice." I took her poor, old, thin hand in mine. It was cold as ice. Frau Wilke crept about her home now like a ghost. Nobody visited her. For days she sat alone in her unheated room. To be alone: icy, iron terror, foretaste of the grave, forerunner of unpitying death. Oh, whoever has been himself alone can never find another's loneliness strange. I began to realize that Frau Wilke had nothing to eat. The lady who owned the house, and later took Frau Wilke's rooms, allowing me to stay in mine, brought, of course in pity for her forsaken state, every midday and evening a cup of broth, but not for long, and so Frau Wilke faded away. She lay there, no longer moving: and soon she was taken to the city hospital, where, after three days, she died. One afternoon soon after her death, I entered her empty room, into which the good evening sun was shining, gladdening it with rose-bright, gay and soft colors. There I saw on the bed the things which the poor lady had till recently worn.... The strange sight of them made me unspeakably sad, and my peculiar state of mind made it seem to me almost that I had died myself, and life in all its fullness, which had often appeared so huge and beautiful, was thin and poor to the point of breaking. All things past, all things vanishing away, were more close to me than ever. For a long time I looked at Frau Wilke's possessions, which now had lost their mistress and lost all purpose, and at the golden room, gloried by the smile of the evening sun, while I stood there motionless, not understanding anything anymore.

When I go musing all alone Thinking of divers things fore-known. When I build castles in the air, Void of sorrow and void of fear, Pleasing myself with phantasms sweet, Methinks the time runs very fleet. All my joys to this are folly, Naught so sweet as melancholy. When I lie waking all alone, Recounting what I have ill done, My thoughts on me then tyrannise, Fear and sorrow me surprise, Whether I tarry still or go, Methinks the time moves very slow. All my griefs to this are jolly, Naught so mad as melancholy. When to myself I act and smile, With pleasing thoughts the time beguile, By a brook side or wood so green, Unheard, unsought for, or unseen, A thousand pleasures do me bless, And crown my soul with happiness. All my joys besides are folly, None so sweet as melancholy. When I lie, sit, or walk alone, I sigh, I grieve, making great moan, In a dark grove, or irksome den, With discontents and Furies then, A thousand miseries at once Mine heavy heart and soul ensconce, All my griefs to this are jolly, None so sour as melancholy. Methinks I hear, methinks I see, Sweet music, wondrous melody, Towns, palaces, and cities fine; Here now, then there; the world is mine, Rare beauties, gallant ladies shine, Whate'er is lovely or divine. All other joys to this are folly, None so sweet as melancholy. Methinks I hear, methinks I see Ghosts, goblins, fiends; my phantasy Presents a thousand ugly shapes, Headless bears, black men, and apes, Doleful outcries, and fearful sights, My sad and dismal soul affrights. All my griefs to this are jolly, None so damn'd as melancholy. Methinks I court, methinks I kiss, Methinks I now embrace my mistress. O blessed days, O sweet content, In Paradise my time is spent. Such thoughts may still my fancy move, So may I ever be in love. All my joys to this are folly, Naught so sweet as melancholy. When I recount love's many frights, My sighs and tears, my waking nights, My jealous fits; O mine hard fate I now repent, but 'tis too late. No torment is so bad as love, So bitter to my soul can prove. All my griefs to this are jolly, Naught so harsh as melancholy. Friends and companions get you gone, 'Tis my desire to be alone; Ne'er well but when my thoughts and I Do domineer in privacy. No Gem, no treasure like to this, 'Tis my delight, my crown, my bliss. All my joys to this are folly, Naught so sweet as melancholy. 'Tis my sole plague to be alone, I am a beast, a monster grown, I will no light nor company, I find it now my misery. The scene is turn'd, my joys are gone, Fear, discontent, and sorrows come. All my griefs to this are jolly, Naught so fierce as melancholy. I'll not change life with any king, I ravisht am: can the world bring More joy, than still to laugh and smile, In pleasant toys time to beguile? Do not, O do not trouble me, So sweet content I feel and see. All my joys to this are folly, None so divine as melancholy. I'll change my state with any wretch, Thou canst from gaol or dunghill fetch; My pain's past cure, another hell, I may not in this torment dwell! Now desperate I hate my life, Lend me a halter or a knife; All my griefs to this are jolly, Naught so damn'd as melancholy.

Depositum custodi,—“My good Mother and Mistress, I acknowledge that up to this time I have, by your intercession, received more grace from God than I deserve; and my sad experience teaches me that I carry this treasure in a very frail vessel, and that I am too weak and too miserable to keep it safely of myself. I beseech you, therefore, receive in trust all which I possess, and keep it for me by your fidelity and power. If you keep it for me, I shall lose nothing; if you hold me up, I shall not fall; if you protect me, I shall be sheltered from my enemies.

She took the bird to her worktable and put a rubber tube into its beak. With the end of the tube in her mouth, she massaged its ribs with her finger as she puffed, very gently, into the tube. The little swallow kicked, and she held it gently between her hands. “Just like resuscitating a person,” murmured Bern. “Exactly like that,” agreed the Lady. “Most animals want to live. They struggle toward life regardless of their surroundings.” She deposited the bird in the cage, a sad smile pulling at the corners of her mouth. “Human beings are more difficult. At some point of trauma, most people just give up and die.” Bern’s face changed, something like guilt shadowing his eyes. “Only if they’re let to, Mistress.

In Madame Bovary, Félicité the maid is always scuttling away from some new abuse at the hands of her self-involved mistress. She seeks sweetness as consolation: “since Madame always left the key in the sideboard, Félicité took a small supply of sugar every night and ate it when she was all alone in her bed, after she had said her prayers.” How could sugar still be necessary after prayer? It offers salve to the physical body, immediate comfort, something the flesh can trust while the spirit is being patient. Think of the sadness of two women living in the same house, both hungry for stolen increments of different pleasures—text and lust and sugar—both keeping these pleasures secret because they are ashamed to admit their hungers.

her power now that she had lost the hair. So when the bride had finished drinking, and would have got upon Falada again, the maid said, "I shall ride upon Falada, and you may have my horse instead;" so she was forced to give up her horse, and soon afterwards to take off her royal clothes, and put on her maid's shabby ones. At last, as they drew near the end of the journey, this treacherous servant threatened to kill her mistress if she ever told anyone what had happened. But Falada saw it all, and marked it well. Then the waiting-maid got upon Falada, and the real bride was set upon the other horse, and they went on in this way till at last they came to the royal court. There was great joy at their coming, and the prince hurried to meet them, and lifted the maid from her horse, thinking she was the one who was to be his wife; and she was led upstairs to the royal chamber, but the true princess was told to stay in the court below. However, the old king happened to be looking out of the window, and saw her in the yard below; and as she looked very pretty, and too delicate for a waiting-maid, he went into the royal chamber to ask the bride whom it was she had brought with her, that was thus left standing in the court below. "I brought her with me for the sake of her company on the road," said she. "Pray give the girl some work to do, that she may not be idle." The old king could not for some time think of any work for her, but at last he said, "I have a lad who takes care of my geese; she may go and help him." Now the name of this lad, that the real bride was to help in watching the king's geese, was Curdken. Soon after, the false bride said to the prince, "Dear husband, pray do me one piece of kindness." "That I will," said the prince. "Then tell one of your slaughterers to cut off the head of the horse I rode upon, for it was very unruly, and plagued me sadly on the road." But the truth was, she was very much afraid lest Falada should speak, and tell all she had done to the princess. She carried her point, and the faithful Falada was killed; but when the true princess heard of it she wept, and begged the man to nail up Falada's head against a large dark gate in the city through which she had to pass every morning and evening, that there she might still see him sometimes. Then the slaughterer said he would do as she wished, so he cut off the head and nailed it fast under the dark gate. Early the next morning, as the princess and Curdken went out through the gate, she said sorrowfully— "Falada, Falada, there thou art hanging!" and the head answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then they went out of the city, driving the geese. And when they came to the meadow, the princess sat down upon a bank there and let down her waving locks of hair, which were all of pure gold; and when Curdken saw it glitter in the sun, he ran up, and would have pulled some of the locks out; but she cried— "Blow, breezes, blow! Let Curdken's hat go! Blow breezes, blow! Let him after it go! "O'er hills, dales, and rocks, Away be it whirl'd, Till the golden locks Are all comb'd and curl'd!" Then there came a wind, so strong that it blew off Curdken's hat, and away it flew over the hills, and he after it; till, by the time he came back, she had done combing and curling her hair, and put it up again safely. Then he was very angry and sulky, and would not speak to her at all; but they watched the geese until it grew dark in the evening, and then drove them homewards. The next morning, as they were going through the dark gate, the poor girl looked up at Falada's head, and cried— "Falada, Falada, there thou art hanging!" and it answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then she drove on the geese and sat down again in the meadow, and began to comb

heritage a secret. This secrecy is probably a matter of protection for her and for Mordecai. As Ahasuerus is preparing for a new wife, as Mordecai is preparing Esther for a new life, Esther is preparing to be come a queen. It is important to notice that Esther is obedient and faithful without being certain of the outcome of this year. She has no guarantee of ever returning to her own life, she has no guarantee that she will become queen, so we must assume that she is not motivated by results in her service to the Lord. Esther is obedient without any promise other than the knowledge inside her that she will not be abandoned by the Lord at any time. She will be faithful regardless of foreseeable consequences, and the example that this kind of faithfulness sets for us is fantastic. Once evaluated by Hegai worthy of the expense of the preparations, each young woman must undergo Ahasuerus’ scrutiny as well. After a year, Esther is prepared to face the king, and is now awaiting her turn to enter his chambers. Each young woman’s turn came to go in to King Ahasuerus after she had completed twelve months’ preparation, according to the regulations for the women, for thus were the days of their preparation apportioned: six months with oil of myrrh, and six months with perfumes and preparations for beautifying women.Thus prepared, each young woman went to the king, and she was given whatever she desired to take with her from the women’s quarters to the king’s palace.In the evening she went, and in the morning she returned to the second house of the women, to the custody of Shaashgaz, the king’s eunuch who kept the concubines. Esther 2:12-13 After their period of preparation, the women go, one at a time, in to the king’s palace. They leave the women’s quarters in the evening and return in the morning… and their life’s course is determined within a period of 24 hours or less. Imagine the scene: these women were taken from their families and everything familiar to them a year or so before they are sent into the king. For a year, they are in the custody of Hegai the custodian of the women. Each step that these women take toward the palace is a step toward one of two things: either the beginning of a new life or the death of every possible dream that each one might have had for her life. A step toward becoming Ahasuerus’ wife and queen of Persia — tremendous honor and riches; or a step toward becoming one of the king’s concubines — a life devoid of true love or passion. Each candidate completed these twelve months and went into the king as a potential queen. The next morning, each woman left the king’s chambers as one of a countless number of mistresses in his harem. The history does not indicate that they were rejected and returned to their own homes. They were returned to Shaashgaz, the keeper of the king’s concubines. The finality and sadness of the conclusion of this year must have been excruciating. “She would not go into the king again unless the king delighted in her and called for her by name.” Esther 2:14 Like a splash of ice water, that sentence feels cold. A rush of emptiness and loneliness all of a sudden, they have been used and, for all practical purposes, thrown away. When they returned the next morning, they did not even go to the court that has been their home for the past year. These women went into the custody of Shaashgaz, the eunuch custodian of the concubines. That is quite a demotion for these young women — their future has just been decided, and they had no say in it. Hopes of marriage to anyone for one of these rejected women is completely over. “She would not go into the king again...” These women must have felt a tremendous loss and sorrow. Whether or not they had actually wanted to be queen (remember that they had no choice in the matter — they had to come to the palace either way), they had been preparing for this moment for a year. Perhaps they had waited even longer

I am a golem, child,’ answered Lye calmly. ‘My mistress wrote it there. She was marvelous clever and knew all kinds of secret things. One of the things she knew was how to gather up all the slips of soap the bath house patrons left behind and arrange them into a girl shape and write “truth” on her forehead and wake her up and give her a name and say to her: “Be my friend and love me, for the world is terrible lonely and I am sad.

Dollmann was fond of Braun, and a sweet and simple young woman who confided her sad life to him. She was known throughout the world as the German strongman's mistress, but, as she confessed to Dollmann, there was no sexual intimacy between her and the Führer. 'He says to me that his only love is Germany and to forget it, even for a moment, would shatter the mystical forces of his mission.' ¶ Dollmann strongly suspected that the Führer had other passions besides Germany. On Christmas Eve 1923, when he was a university student in Munich, Dollman had been invited to an extravagant, candelit party at the house of General Otto von Lossow, who had helped put down Hitler's Beer Hall putsch in November 1923. During the evening, Lossow took Dollmann and some of his other guests into his parlor, where he entertained them by reading selections from Hitler's thick police dossier. 'In a café near the university on the evening of, Herr Hitler was observed . . . " Lossow's voice was matter-of-fact as he read through the depositions and eyewitness reports about Germany's future leader. The general's small audience listened in rapt silence, transfixed by the portrait of a Hitler who was more interested in boyish men than in national politics.

Dollmann was fond of Braun, and a sweet and simple young woman who confided her sad life to him. She was known throughout the world as the German strongman's mistress, but, as she confessed to Dollmann, there was no sexual intimacy between her and the Führer. 'He says to me that his only love is Germany and to forget it, even for a moment, would shatter the mystical forces of his mission.' ¶ Dollmann strongly suspected that the Führer had other passions besides Germany. On Christmas Eve 1923, when he was a university student in Munich, Dollman had been invited to an extravagant, candelit party at the house of General Otto von Lossow, who had helped put down Hitler's Beer Hall putsch in November 1923. During the evening, Lossow took Dollmann and some of his other guests into his parlor, where he entertained them by reading selections from Hitler's thick police dossier. 'In a café near the university on the evening of, Herr Hitler was observed . . . ' Lossow's voice was matter-of-fact as he read through the depositions and eyewitness reports about Germany's future leader. The general's small audience listened in rapt silence, transfixed by the portrait of a Hitler who was more interested in boyish men than in national politics.

We human beings have a remarkable way of growing accustomed to things; but when I pictured Mameha dancing her slow lament, hidden from the eyes of her husband and his mistress, I could no more have stopped myself from feeling that sadness than you could stop yourself from smelling an apple that has been cut open on the table before you.

You know, everyone says the duchess is such a terrible mistress, but you don't seem to be that afraid of her." "I'm not," Cinderella admitted. "I've seen real cruelty, and the duchess is not even close. She can be difficult, but her heart is in the right place. Besides, she likes Bruno, and since adopting him, she's been kind to me." "Maybe, but I think there's more to it than Bruno," determined Louisa. "You just seem so cheerful, Cinderella- cheerful yet sad. I don't know how to explain it, but I bet people find it difficult being angry with you. I wonder if that's why the duchess likes you so much. Even Aunt Irmina does, even if she won't admit it.

Thirty minutes later, Chrysander escorted her out to the helipad, and as soon as the helicopter lifted off, he turned and strode back into the house. His anger and uncertainty evaporated when he entered the bedroom and found Marley sitting on the bed, wrapped only in a towel, her expression sad and distant. He knelt in front of her and touched her cheek. “What is it, agape mou? Are you all right?” She smiled, though it didn’t reach her eyes. Her beautiful blue eyes that had sparkled just a short time ago with laughter. He wanted them to sparkle again. He wanted that stolen moment at the pool back. Before Roslyn had arrived and given him news that could very well change everything between him and Marley. Again. “I’m in an impossible situation,” she confessed. His brow wrinkled in confusion. He didn’t like the sadness in her tone. The resignation. “What do you mean?” he asked softly as he trailed a finger down the silken curve of her cheek. She looked into his eyes. “I don’t like the way she has free rein in our lives. This is our home. We should be able to make love, have fun together, without fear of being caught in a compromising situation by a stranger. But if I voice this, if I say I don’t like her and I don’t want her here, it makes me a catty bitch. There is no way for me to come out the winner and every way for me to be the loser in this.

His sad expression, now, that isolates Irene and me, destroying the universe around us. It's his turn to envy me, twenty years after those days when the beauty, elegance and notoriety of his mistresses gave him, in my eyes, a painful prestige. The apparent modesty of my triumph doesn't at all diminish its cruelty. I feel almost happy over the sufferings of this man. His solitude wins me from my own.

They talked about books. Angeline and her friends favored novels, but only if they had happy endings. They were all agreed upon that. "I can tolerate soaking a dozen handkerchiefs while I am reading a book," Maria said on behalf of them all,"but I absolutely cannot abide weeping at the end unless it is with happiness. What is the point of sad stories? They ought not to be allowed. Or there ought at least to be a warning on the covers, and then no one would bother reading them and getting depressed by them.

Denna turned to him. “Are you prepared to die this day, my love?” “The day is not over yet, Mistress Denna.” She slipped her arms around his neck, kissing him tenderly. She pulled her face away a few inches, stroked the back of his head. “I’m sorry, Richard, that I do these things to you, but I have been trained to do them, and can do nothing less; I live only to hurt you. Know that it is not by choice, but by training. I can be no more than what I am: Mord-Sith. If you are to die this day, my love, then make me proud, and die well.” He was mate to a madwoman, he thought sadly. And one not of her own making.

Men long in power do not care to be shown their vulnerabilities. Few demonstrate wisdom when confronted by change and self-recognition. Sadly, many react in defense of positions that have lost their meaning, simply because they fear to see their security undermined, even for growth, even for the betterment of their lives. They resist change simply because it is outside the comfort they know.

I like your understanding it,” said Margaret, smiling sadly. “I don’t know whether it is silly, but I don’t like to be pitied for the wrong thing. My being so helpless is what every one laments over; but, after all, that is made up to me by the petting and kindness I get from all of them; but it is the being mistress of the house, and having to settle for every one, without knowing whether I do right or wrong, that is my trouble.

Well, as long as we’re all here,” Miranda began, while Parker let out a prolonged groan. “Uh-oh. I sense drama.” “Impossible,” Roo said offhandedly. “You have no sense.” “This might be a good time to talk about our project?” Miranda continued. “How’s the research going?” “Oh! Me first!” Waving her arm, Ashley gave an excited little squirm. “You know how the museum and those shops on both sides of it are all attached to each other? Well, Parker’s mom said they all used to be just one big building!” The others waited. When Ashley merely sat there beaming at them, Parker drew back in exaggerated surprise. “Wow! That’s really fascinating, Ash!” “No, that’s not the fascinating part.” Ashley looked slightly offended. “I haven’t gotten to that yet.” “Then hurry and get to that part. The suspense is killing us.” “The building used to be a club. Like a private gentlemen’s club. Except upstairs, that’s where they’d meet their mistresses.” Parker smacked a hand to his forehead. “Hookers! Damn! And I took the courthouse!” “Not prostitutes.” Another offended look from Ashley. “Mistresses. It’s not just about sex, you know. There’s a very big difference.” “Is that the sad part?” Parker asked. Ashley continued, undaunted. “I found out there was a murder in one of those upstairs rooms. That when a very rich plantation owner wanted to end the relationship with his mistress, she stabbed him to death. In bed.” Calmly munching her popcorn, Roo gave a supportive thumbs-up. “And the drugstore next door to the museum? People who work there say they’ve heard moaning at night in one of those storage rooms on the second floor.” The boys traded glances. “And this moaning,” Parker said, straight-faced, “did it come before or after the guy was stabbed?

The building used to be a club. Like a private gentlemen’s club. Except upstairs, that’s where they’d meet their mistresses.” Parker smacked a hand to his forehead. “Hookers! Damn! And I took the courthouse!” “Not prostitutes.” Another offended look from Ashley. “Mistresses. It’s not just about sex, you know. There’s a very big difference.” “Is that the sad part?” Parker asked.

The building used to be a club. Like a private gentlemen’s club. Except upstairs, that’s where they’d meet their mistresses.” Parker smacked a hand to his forehead. “Hookers! Damn! And I took the courthouse!” “Not prostitutes.” Another offended look from Ashley. “Mistresses. It’s not just about sex, you know. There’s a very big difference.” “Is that the sad part?” Parker asked. Ashley continued, undaunted. “I found out there was a murder in one of those upstairs rooms. That when a very rich plantation owner wanted to end the relationship with his mistress, she stabbed him to death. In bed.” Calmly munching her popcorn, Roo gave a supportive thumbs-up.

The building used to be a club. Like a private gentlemen’s club. Except upstairs, that’s where they’d meet their mistresses.” Parker smacked a hand to his forehead. “Hookers! Damn! And I took the courthouse!” “Not prostitutes.” Another offended look from Ashley. “Mistresses. It’s not just about sex, you know. There’s a very big difference.” “Is that the sad part?” Parker asked. Ashley continued, undaunted. “I found out there was a murder in one of those upstairs rooms. That when a very rich plantation owner wanted to end the relationship with his mistress, she stabbed him to death. In bed.” Calmly munching her popcorn, Roo gave a supportive thumbs-up. “And the drugstore next door to the museum? People who work there say they’ve heard moaning at night in one of those storage rooms on the second floor.” The boys traded glances. “And this moaning,” Parker said, straight-faced, “did it come before or after the guy was stabbed?” “Anyway,” Ashley continued, “that’s what I’ve got so far.” Noting her sister’s outstretched hand, Roo obligingly relinquished the popcorn. “Did y’all know that furniture makers ran some of the first funeral homes? Because they were the ones who built the coffins?” “Fascinating.” Parker was all dignified solemnity. “And such a grave undertaking.” He ducked as Ashley’s popcorn sailed at his head.