Old Fashioned Romance Quotes

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

He might as well be dressed in furs and carrying a spear, presenting me with the boar he’d caught for dinner. Ah, good old-fashioned Stone Age romance.

It's time to shop high heels if your fiance kisses you on the forehead.

I knew what I wanted. To save time, I said, “Just give me a good, old fashioned alpha male please.

Love scenes, if genuine, are indescribable; for to those who have enacted them, the most elaborate description seems tame, and to those who have not, the simplest picture seems overdone. So romancers had better let imagination paint for them that which is above all art, and leave their lovers to themselves during the happiest minutes of their lives.

There was a lot about Kim and J.P. he didn't get.... he was confused by their lack of romance. As a father, he was at times grateful for that missing intensity, but as a man who liked to surprise his wife with flowers, it baffled him. Maybe he was old-fashioned, but to him a couple meant a strong bond, with positive and negative charges constantly arcing between them. He'd never seen Kim and J.P. kiss, let alone argue.

She wears those old fashioned pj's like body armour. Going to bed these days is like wresting with Kevlar.

Do you think I’m crazy, fantasizing about a guy I’ve never met in person, Jeremiah? Hell, we haven’t even spoken on the phone or video chatted—just old-fashioned, hand-written letters.

It was hard to imagine wearing lace underwear and 'sexting,' but easy to imagine wearing lots of complicated layers and rolling around in front of a fireplace.

Linda didn’t believe in May-December romances; she was old-fashioned that way.

I guess romance is dead, but then again, he probably doesn't know how to seduce a woman the old-fashioned way.

The path has a cottage garden on both sides; clumps of old-fashioned flowers ran all over each other: lamb's ear, mint, & rhubarb, roses, forget-me-nots, bleeding hearts & wisteria. I walked very slowly, savoring. At the end of the slate path was the house, very recognizable now... "As nearly perfect a little place as I ever lived in" is how Beatrix described it.

This generation has lost the true meaning of romance. There are so many songs that disrespect women. You can’t treat the woman you love as a piece of meat. You should treat your love like a princess. Give her love songs, something with real meaning. Maybe I’m old fashioned but to respect the woman you love should be a priority. " Wait a minute! I'm actually a Tom Hiddleston fan just putting it out there that this quote and others that you find around the internet are completely fake. Only believe quotes that are written in professional interviews, because I'm here right now to show you that anything can be made up easily by anyone, I could write anything I want here and you could think it's a real quote. So go to interviews or the verified twitter to see the real words someone has said - anything else can be made up! :)

And yes, feminists could enjoy acts of chivalry. I could open my own doors but I could also appreciate a man opening one for me when it was done out of deference rather than some old-fashioned concern over my skirts being too big for me to reach on my own.

Even though the woman was not human—the land—or was less than human—a cow—farming had the symbolic overtones of old-fashioned agrarian romance: plowing the land was loving it, feeding the cow was tending it. In the farming model, the woman was owned privately; she was the homestead, not a public thoroughfare. One farmer worked her. The land was valued because it produced a valuable crop; and in keeping with the mystique of the model itself, sometimes the land was real pretty, special, richly endowed; a man could love it. The cow was valued because of what she produced: calves, milk; sometimes she took a prize. There was nothing actually idyllic in this. As many as one quarter of all acts of battery may be against pregnant women; and women die from pregnancy even without the intervention of a male fist. But farming implied a relationship of some substance between the farmer and what was his: and it is grander being the earth, being nature, even being a cow, than being a cunt with no redeeming mythology. Motherhood ensconced a woman in the continuing life of a man: how he used her was going to have consequences for him. Since she was his, her state of being reflected on him; and therefore he had a social and psychological stake in her welfare as well as an economic one. Because the man farmed the woman over a period of years, they developed a personal relationship, at least from her point of view: one limited by his notions of her sex and her kind; one strained because she could never rise to the human if it meant abandoning the female; but it was her best chance to be known, to be regarded with some tenderness or compassion meant for her, one particular woman.

I am a bit old fashion but I believe in prayer, I believe prayer can move mountain. Prayer might not be our responsibility but it is a good starting place. It can give us heaven's prospectives on human problems. I know we need to do a bit more than pray but that doesn't mean we don't need to pray.

There is an old-fashioned distinction between the novel of character and the novel of incident, which must have cost many a smile to the intending romancer who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance- to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. When one says picture, one says of character, when one says novel, one says of incident, and the terms may be transposed. What is character but the determination of incident? What is incident but the illustration of character? What is a picture or a novel that is not of character? What else do we seek in it and find in it?

As her heart jumped at the alarm and she instinctively snatched up her own backpack from the beside her desk, Meliss regretted not having Lauren’s bag to hand. She thought of the clothes stashed away that would still smell of her, the little terrarium that Lauren had painstakingly built inside an old-fashioned light bulb.

As they ate, the others talked and she listened, finding it as interesting as any romance to hear these young women discuss their plans, ambitions, successes, and defeats. It was a new world to her, and they seemed a different race of creatures from the girls whose lives were spent in dress, gossip, pleasure, or ennui. They were girls still, full of spirits, fun, and youth; but below the light-heartedness each cherished a purpose, which seemed to ennoble her womanhood, to give her a certain power, a sustaining satisfaction, a daily stimulus, that led her on to daily effort, and in time to some success in circumstance or character, which was worth all the patience, hope, and labor of her life.

And then of course there was her opinion to consider. Would she ever care to entertain the thought of kissing him, let alone marrying him? He was willing to bet his life that she wasn't. Not yet anyway. Therefore, he had made up his mind. He had devised a carefully thought-out plan, its sole purpose being to eventually ensure Emily's hand in marriage. And he would do it the old fashioned way--through trickery.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

Frederick looked great in the parade of old-fashioned suits I'd seen in since we'd met, of course. More than great. But I realized now that his consistently too-formal, out-of-date attire served as a constant reminder to me that Frederick was out of my league in every imaginable way--- and completely off-limits. Untouchable. And other. Now, though... "What do you think?" he asked. "Do I look like I fit in with modern society now?" With difficulty, I tore my eyes from the broad expanse of his chest now covered in a forest-green Henley that fit him like a glove and met his gaze. He was fidgeting a little as I looked back at him, drumming his fingertips against his upper thigh again, looking at me with a nervous intensity that stole the breath from my lungs. I let my eyes trail slowly down his body, drinking him in, taking in his new shirt and the dark blue jeans that fit him so well you wouldn't have guessed he'd had no idea what size he was twenty minutes ago. The other jeans he'd tried on lay folded in a pile on the chair beside him; his suit hung neatly on a hanger in the dressing room. I focused on these other details to distract myself from how Frederick not only looked just as hot in more casual clothes as he did in his stuffy suits, but also how he now looked attainable in a way that was dangerous to me, specifically. I had to avert my eyes. Looking right at him felt a little too much like looking directly at the sun. "You look great. You look unbelievable, actually." I heard his sharp intake of breath, only then realizing that that hadn't quite been what he'd asked me. All he'd asked was whether he looked like he fit in. My stomach swooped, my face suddenly feeling like it was on fire. Idiot. "That is... that is to say---" "You think I look great?" He was looking at me with an expression that felt somewhere between surprise and pleasure. He stepped from the dressing room, stopping when he was only a few inches away from me. I took an involuntary breath, breathing in the scent of lavender soap and new clothes that clung to him.

It’s time to get drunk on love! The Cocktail Girls is a shared world between fourteen of your favorite romance authors! Each novella is a stand-alone story set in the city of sin. Grab your kindle, a cocktail, and get ready to meet our new swoon-worthy alphas! Cheers!

The idea of the one perfect soul mate—whether it be girl, boy, or flying chipmunk—is right out of an old-fashioned romance novel (okay, maybe not the chipmunk part, unless he’s a shape-shifting paranormal chipmunk who turns into a sexy tattooed hunk when the moon is full—yeah, you can tell I’m babbling even in my thoughts).

We didn’t believe when we first heard because you know how church folk can gossip. Like the time we all thought First John, our head usher, was messing around on his wife because Betty, the pastor’s secretary, caught him cozying up at brunch with another woman. A young, fashionable woman at that, one who switched her hips when she walked even though she had no business switching anything in front of a man married forty years. You could forgive a man for stepping out on his wife once, but to romance that young woman over buttered croissants at a sidewalk café? Now, that was a whole other thing. But before we could correct First John, he showed up at Upper Room Chapel that Sunday with his wife and the young, hip-switching woman—a great-niece visiting from Fort Worth—and that was that. When we first heard, we thought it might be that type of secret, although, we have to admit, it had felt different. Tasted different too. All good secrets have a taste before you tell them, and if we’d taken a moment to swish this one around our mouths, we might have noticed the sourness of an unripe secret, plucked too soon, stolen and passed around before its season. But we didn’t. We shared this sour secret, a secret that began the spring Nadia Turner got knocked up by the pastor’s son and went to the abortion clinic downtown to take care of it. She was seventeen then. She lived with her father, a Marine, and without her mother, who had killed herself six months earlier. Since then, the girl had earned a wild reputation—she was young and scared and trying to hide her scared in her prettiness. And she was pretty, beautiful even, with amber skin, silky long hair, and eyes swirled brown and gray and gold. Like most girls, she’d already learned that pretty exposes you and pretty hides you and like most girls, she hadn’t yet learned how to navigate the difference. So we heard all about her sojourns across the border to dance clubs in Tijuana, the water bottle she carried around Oceanside High filled with vodka, the Saturdays she spent on base playing pool with Marines, nights that ended with her heels pressed against some man’s foggy window. Just tales, maybe, except for one we now know is true: she spent her senior year of high school rolling around in bed with Luke Sheppard and come springtime, his baby was growing inside her. — LUKE SHEPPARD WAITED TABLES at Fat Charlie’s Seafood Shack, a restaurant off the pier known for its fresh food, live music, and family-friendly atmosphere. At least that’s what the ad in the San Diego Union-Tribune said, if you were fool enough to believe it. If you’d been around Oceanside long enough, you’d know that the promised fresh food was day-old fish and chips stewing under heat lamps, and the live music, when delivered, usually consisted of ragtag teenagers in ripped jeans with safety pins poking through their lips.

Jazz had stayed with her for three hours. Three, long luxurious hours where he'd pleasured her---to use an old-fashioned word---time after time. And what she'd paid for was good old-fashioned romancing. That had taken her by surprise. All of Jazz's attention had been entirely focused on her body, her desires. He'd managed to push buttons that she didn't even know she had. How many women could say that they got the same service from their husbands? He'd been the ultimate professional, the perfect gentleman. It was hard to see this arrangement as a fairly sleazy business contract. Jazz had seemed to enjoy himself too; either that or the man was a damn fine actor. She closed her eyes and a stream of sexy images washed over her. His attaché case had contained a range of potions, lotions and toys to set the scene for a very naughty evening. He'd drizzled chilled champagne all over her body and had lapped it up with his hot tongue. The thought of it made her shiver with delight.

Out of a bleak world of enmity and despair had come a tall, blond, blue-eyed Texan who loved Russia and its music with humble reverence. He had old-fashioned courtliness, a touchingly eager manner, and a spectacular way with the piano that transported them to a half-remembered past. Music that depicted the many cruelties and brutalities of that past was not for him: the Russia he summoned up with his hands was a place of magnificence, beauty, and romance.

Ours was not one of those nice, quaintly old-fashioned mobile homes that senior citizens putter around in. We lived in the beat-up tin can of clichéd poverty.

want old fashioned romance; dates, flowers, stolen moments. Not wham-bam, thank you, ma’am.

I’ve heard the most interesting rumors regarding you and the oh-so-dishy Mr. Haverstein,” Millie said. “I don’t believe dishy is a real word” was all Lucetta could think to respond. Millie waved that away with a flick of her dainty wrist. “I can’t be expected to know all the right words, Lucetta, and you’re stalling.” Lucetta blew out a breath, stirring the bubbles. “What have you heard?” “That you and Mr. Haverstein were caught in a most interesting situation in a storage room of all places, that he tried to save you from drowning twice in his, uh, moat from what I’ve been told, and . . . that he did save you once from a mad goat by the name of Geoffrey. I’ve also heard that you seem to enjoy his company, so much so that there’s been talk of marriage—but you rejected the marriage idea because of mysterious happenings occurring at Ravenwood.” “Bram didn’t save me from drowning twice. He almost caused me to drown both of those times.” “Again . . . stalling.” Tracing a finger through the bubbles, Lucetta took a second to gather her thoughts. “He’s explained away practically all the mysteries surrounding him, which has allowed me to come to the conclusion he’s not insane.” Millie’s eyes turned the size of saucers. “You had reason to doubt his sanity?” “He maintains a dungeon and has a castle where suits of armor go strolling about in the middle of the night—what else was I to conclude?” “A . . . dungeon?” “Yes, but I can’t explain that in any further detail, since the dungeon is part of a rather large secret that Bram has yet to divulge to anyone except his staff—and now me, of course.” Millie settled back in her chair and crossed her arms over her chest. “Fair enough, but . . . tell me this, how do you feel about the man, especially since his sanity is no longer in question?” “That’s a little tricky to answer.” Millie sent her a look that had exasperation stamped all over it. “It is not. And since you’re the one who insisted Harriet and I dwell on exactly what our feelings were for Oliver and Everett just a few months back, I’m going to extend you the same courtesy. So . . . feelings—yours for Mr. Haverstein—what are they?” “He, uh . . . did mention that he’d like to court me.” “Court you?” “Yes, you know, call on me, take me for drives, bring me flowers, and . . . well . . . court me.” “That’s incredibly romantic.” “Well, yes, it is, but . . .” “You don’t want to be courted because you see that as a weakness of being female.” “What?” Millie rolled her eyes. “Lucetta, you and I have been friends for a very long time, and while you never talk about yourself much—as in ever—it’s always been clear to me and Harriet that you’ve got this attitude, if you will, about being a female. It’s one of the reasons I believe you’ve held yourself so distant from any gentleman who has ever shown an interest in you. And, it’s why you’re incredibly wary of men like Bram Haverstein, who clearly—and this is without me even knowing that much about him—is an old-fashioned man, one who enjoys swooping in and saving the damsel in distress.” “There’s that romance novel lover I’ve been missing.” Millie sat forward. “You know I’m right.” “So

A good old-fashioned romance is the antidote to escape from the harsh realities of the world.

Two months later, Gail brought Bill home to meet her parents, and Beryl, a nervous mama having heard so much about the gallant Navy boy, served up her best pot roast with onions, a heap of buttery mashed potatoes with Gail’s favorite gravy, and boiled carrots for Sunday dinner. Before dinner was served, they sat on the porch and made homemade ice cream together. Gail sat on the ice cream bucket while Bill churned—abiding the flirting of Baby Lou and worldly Laila, though married with a baby. The Navy boy couldn’t care less about the two sisters because he was busy pouring ice cubes and salt into the bucket, soon hidden again under Gail’s skirt. Coalbert, the working boy, accompanied by his cute girlfriend, Ivy, wasn’t going to be outdone by a crew cut. He started making pig squeals and then said, “Come on, piggy, I wanna kiss you!” This was the story that humiliated Gail the most. She hated when Coalbert told stories from their Arkansas childhood. “What’s with him?” Bill looked at Gail. Coalbert took over and explained how Gail had fallen in love with the baby pigs they had bought to ward off starvation in Western Grove. “She’d run chasing them through the mud and shit, ‘Come on, piggy, I wanna kiss you!’” Gail got off the ice cream bucket and walked into the house. Bill laughed and stayed on the porch with Coalbert and the sisters, shooting the breeze and catching up with stories to embarrass Gail.

She also knew now, really knew, why romance meant so much to him—not just the books, but for that search for his own happily ever after. She'd thought he was just sweet, loving, maybe a little old-fashioned, but now she realized he was... inspired. That he was one of those people, one of many whose lives had been forever changed by someone else's words. And that wasn't something Dani treated lightly. She made her living out of words. She knew they could be everything.

Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.

But after every book I read, I always ask, where’s the sex, where’s the romance? I know, I know, not every book is about love, but Benjamin Franklin most definitely poked his dick around—that’s no secret—so it wouldn’t hurt to write in some good old-fashioned bifocal banging. Am I right?

It's okay, princess. You don't have to be afraid. I didn't invite you here so I could do anything untoward to you. I promise. See, all I want is to tell you my story. And after you hear it, there's something else I want to say to you. Telling you at the Institute just wasn't going to work, y'know? Besides, I figured showing you my castle would help it sink in that what I'm saying is the truth. Oh! On a side note, this is the guy who brought you here. Good work on the kidnapping." "I'm only too happy to do anything you ask, Asahi." "Okay! What say we get to the meat of things, hm? I challenge you to a Cook-Off. If I win... ... I want you to swear you'll be my bride." "You're challenging me?" "I totally meant to do it the old-fashioned way at first, y'know? But turns out you're way more innocent about romance than I expected. So I figured challenging you to a Cook-Off would get the point across quicker.

beyond anything the INS could imagine, it was an old-fashioned romance.

Just as important is what writing the book did to Stegner’s thinking. Beyond the Hundredth Meridian is a visionary story of the West, but it is also a biography of Powell’s beautiful mind. Powell was, according to Stegner, “incorrigibly sane,” a man who tried to dispense with fable and “dispel the mists,” a man who saw the facts and not the romance. The real enemies were not just greedy and stubborn congressmen but “credulity, superstition, habit.” In many ways Stegner subsumed Powell’s own thinking and brought it into a new century. Ideas that were before then half-formed for Stegner became habitual. Like Powell himself, Stegner had a “bolder, generalizing imagination” than most who struggle to think historically, and, like Powell, he liked to apply his mind to actual problems in the actual world. Both men believed that through hard thought and focused clarity we can get at certain truths. That our minds, uncultivated, go where they will, to the till or trough, but that trained and focused, they can be put to good, and even selfless, purpose. It was an old-fashioned value and one shared by both biographer and subject.

Make me old fashioneds and play with my hair, and I am yours forever

Bourbon’s on the sweeter side, which by the way you massacre your coffee it’s clear you like. You’re careful about your appearance, meticulous, so no time for extravagant or ridiculous ingredients. Besides, the Old Fashioned is a classic with wide appeal.” Grif leaned back, placing his arms on either side of the booth. “Cheater,” Dan responded, the grin reaching his eyes. “Was your next choice a rum and Coke?” Grif snorted. “You’ve got way too much class to be a rum and Coke.

Such was Mr. Satterthwaite's romance--a rather tepid early Victorian one, but it had left him with a romantic attachment to Kew Gardens, and he would often go there to see the bluebells, or, if he had been abroad later than usual, the rhododendrons, and would sigh to himself, and feel rather sentimental, and really enjoy himself very much indeed in an old-fashioned, romantic way.

Cliff looked around for the woman he’d seen helping the others and saw no sign of her. Swearing, he tore through the wreckage in search of her. An explosion took out more of the ceiling. Rubble rained down on the other side of the pile he dug through. “Come on,” he whispered. “Where are you?” A moan reached his ears, followed by a cough. Leaping toward it, he grabbed slabs of concrete and flooring and tossed them aside, reducing the pile until he found her. Dust coated her like ash, powdering her braid and turning her skin a grayish white. She blinked up at him. Her forehead glistened with blood that oozed from a gash on one side. “It’s okay,” he told her. “I’m here to help. Don’t be afraid.” Her chin dipped in a brief nod. Another explosion hit what was left of the ground floor. Cliff swiftly leaned over to shield her as flaming bits rained down around them. As soon as it stopped, he knelt beside her. “Y-Your eyes are glowing.” “It’s okay. Don’t be afraid. I just want to help. Are you injured?” He swept his hands over her in a quick, impersonal search for injuries, concerned by the splotches of blood that marred her clothing. “Th-there’s a woman,” she said. “Sadie. Sh-she’s old. She can’t make it down the stairs.” “I already got her to safety. Are you Emma?” Surprise lit her dark brown eyes as she nodded. “I think your arm is broken, Emma. I need to bind it.” Tearing a strip of cloth from his T-shirt, he wrapped it around a deep gash on her arm. Then he tore another and—preternaturally fast—fashioned a sling. She moaned. “Sorry,” he said, knowing every movement caused her pain. Nodding, she gritted her teeth. Her lips pressed tightly together as he lifted her into his arms, spawning even more pain. “I’m sorry,” he said again as he dashed over to the elevator shaft. She looped her free arm around his neck and looked over his shoulder. Her hold tightened. “Mercenaries,” she whispered in his ear, her warm breath sending a shiver through him. “It’s okay,” he said. “Don’t be afraid. I’ll keep you safe.

Je veux qu'il me regarde en souriant... Je veux qu'il se mette en colère pour moi... Je veux qu'il pleure à cause de moi... Je veux toute la gamme de ses émotions.

Love does many things, but it does not pay the rent or buy the groceries,” I said. “Do you accept old-fashioned cash?” Sonja asked. “Is a crawdad’s ass watertight?” I replied.