Plaster Wall Quotes

I'm watching her talk. Watching her jaw move and collecting her words one by one as they spill from her lips. I don't deserve them. Her warm memories. I'd like to paint them over the bare plaster walls of my soul, but everything I paint seems to peel.

I don't know if you realize this, but there are some researchers - doctors - who are giving this kind of drug to volunteers, to see what the effects are, and they're doing it the proper scientific way, in clean white hospital rooms, away from trees and flowers and the wind, and they're surprised at how many of the experiments turn sour. They've never taken any sort of psychedelic themselves, needless to say. Their volunteers - they're called 'subjects,' of course - are given mescaline or LSD and they're all opened up to their surroundings, very sensitive to color and light and other people's emotions, and what are they given to react to? Metal bed-frames and plaster walls, and an occasional white coat carrying a clipboard. Sterility. Most of them say afterward that they'll never do it again.

Vishous: "...we both would slaughter anything that so much as startled you." Jane: "I'm scared of mice and spiders. But you don't need to use that gun on your hip to blow a hole in a wall if I ran into one, okay? Havaheart traps and rolled newspapers work just as well. Plus, you don't need a Sheetrock patch and plaster job afterward. I'm just saying.

Then I realized he didn't know who I was. Part of me relaxed, because if they were playing for Team Evil, I was sure they would have pictures of my face plastered across their bedroom walls.

This was a world where one became outdated before one’s time was up. An entire country standing up and applauding the fact that no one was capable of doing anything properly anymore. The unreserved celebration of mediocrity. No one could change tires. Install a dimmer switch. Lay some tiles. Plaster a wall. File their own taxes. These were all forms of knowledge that had lost their relevance

He wept for truth which was dead, for heaven which was void. Beyond the marble walls and gleaming jewelled altars, the huge plaster Christ had no longer a single drop of blood in its veins.

There’s something about hospital walls; though only made of bricks and plaster, when you’re inside them the noise, the reality of the teeming city beyond, disappears; it’s just outside the door, but it might as well be a magical land far, far away.

A good book is never exhausted. It goes on whispering to you from the wall. Books perfume and give weight to a room. A bookcase is as good as a view, as the sight of a city or a river. There are dawns and sunsets in books - storms, fogs, zephyrs. I read about a family whose apartment consists of a series of spaces so strictly planned that they are obliged to give away their books as soon as they've read them. I think they have misunderstood the way books work. Reading a book is only the first step in the relationship. After you've finished it, the book enters on its real career. It stand there as a badge, a blackmailer, a monument, a scar. It's both a flaw in the room, like a crack in the plaster, and a decoration. The contents of someone's bookcase are part of his history, like an ancestral portrait. - in "About books; recoiling, rereading, retelling", The New York Times, February 22, 1987

Her warm memories. I'd like to paint them over the bare plaster walls of my soul, but everything I paint seems to peel.

I felt that the decrepit state of these once magnificent buildings, with their broken gutters, walls blackened by rainwater, crumbling plaster revealing the coarse masonry beneath it, windows boarded up or clad with corrugated iron, precisely reflected my own state of mind...

Let me put it another way. Most people are what they sense and if all you see day after day is a mat on a floor that belongs to the rats and four walls with tiny piles of plaster at the bottom, and all you eat is starch, and all you hear is continuous music, you smell garbage and piss which drips through the walls continually, and all the people you know live like you, it's not horrible, it's just... Who they are.

The local natives were particularly curious to know why the English required such huge quantities of pepper and there was much scratching of heads until it was finally agreed that English houses were so cold that the walls were plastered with crushed pepper in order to produce heat.

Darkness just loosens the mask. Sharpens the mind's eye. Makes the color of a remembered pencil, or a tick of waxy red on a cracked plaster wall, as vivid as that taillight a few feet away.

Other children might have made drawings for him to stick on his fridge, but Alicia isn’t keen on drawing, so the puck marks in the plaster of his wall have become much the same thing: small marks in time that say someone you love grew up here.

One morning in April, I woke up a little sick. I lay there looking at shadows on the white plaster ceiling. I remembered a long time ago, when I lay in bed beside my mother, watching lights from the street move across the ceiling and down the walls. I felt the sharp nostalgia of train whistles, piano music down a city street, burning leaves. A mild degree of junk sickness always brought me the magic of childhood. It never fails, I thought, just like a shot; I wonder if all junkies score for this wonderful stuff.

I am the cockroach, I am my leg, I am my hair, I am the section of brightest light on the wall plaster—I am every Hellish piece of myself—life is so pervasive in me that if they divide me in pieces like a lizard, the pieces will keep on shaking and writhing. I am the silence etched on a wall, and the most ancient butterfly flutters in and looks at me: just the same as always. From birth to death is what I call human in myself, and I shall never actually die. But this is not eternity, it is condemnation. How opulent this silence is. It is the accumulation of centuries. It is the silence of the cockroach looking. The world looks at itself in me. Everything looks at everything, everything experiences the other; in this desert things know things.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch. Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall—in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

I gave Clive a sock full of catnip and a bowlful of tuna. My hope was to get him wasted and passed out before the action started. The treats had the opposite effect. My boy was ready to party down when the first strains of Purina came shrieking through the walls about one fifteen in the morning. If Clive could have put on a mini smoking jacket, he would have. He stalked the room, pacing back and forth in front of the wall, playing it cool. When Purina began her meows, though, he couldn’t contain himself. He once again launched toward the wall. He jumped from nightstand to dresser to shelf, scaling pillows and even a lamp to get closer to his beloved. When he realized he would never be able to burrow under the plaster, he serenaded her with some weird kind of kitty Barry White, his yowls matching hers in intensity.

So the women would not forgive. Their passion remained intact, carefully guarded and nurtured by the bitter knowledge of all they had lost, of all that had been stolen from them. For generations they vilified the Yankee race so the thief would have a face, a name, a mysterious country into which he had withdrawn and from which he might venture again. They banded together into a militant freemasonry of remembering, and from that citadel held out against any suggestion that what they had suffered and lost might have been in vain. They created the Lost Cause, and consecrated that proud fiction with the blood of real men. To the Lost Cause they dedicated their own blood, their own lives, and to it they offered books, monographs, songs, acres and acres of bad poetry. They fashioned out of grief and loss an imaginary world in which every Southern church had stabled Yankee horses, every nick in Mama's furniture was made by Yankee spurs, every torn painting was the victim of Yankee sabre - a world in which paint did not stick to plaster walls because of the precious salt once hidden there; in which bloodstains could not be washed away and every other house had been a hospital.

Mosca felt something enormous swell within the knotted stomach that she hid behind her fists. It seemed it must surge out of her like a wild, black wave, sweeping away stalls and strollers alike and biting the plaster from the walls.

Overgrown, crumbling, tilted, full of cracks, returning to the soil. Paint fell from boards, plaster from walls. Unsupervised, matter was collapsing under its own weight.

I take pride in this great wall, and I plaster it with dust and sand lest a least hole should be left in this name; and for all the care I take I lose sight of my true being.

checks the sick soggy plaster with his finger, the wet paint leaving a mark on his skin. The stains on the walls make maps of countries he can’t recognize, he can’t name.

A few miles away across the East River was the apartment he could never get used to, the job where he had nothing to do, the dozen or so people he knew slightly and cared about not at all: a fabric of existence as blank and seamless as the freshly plaster wall he passed. Soon his wife would return from New Jersey. Soon everyone would be back, and things would go on much as they had before. From the street outside came the sound of laughter and shouting, bottles breaking, voices droning in the warm air, and children playing far past their bedtime. It all meant nothing whatever to Lowell. Standing in the parlor of a house no longer his, listening to the voices of people whose lives were closed to him forever, contemplating a future much like his past, he realized that it was finally too late for him. Everything had gone wrong, and he had succeeded at nothing, and he was never going to have any kind of life at all.

In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle’s light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter’s clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63).

off. Next I moved on to scrutinize the aged plaster walls near the desk. Beside a museum calendar featuring old woodblock prints was a taped-up paper that looked like a printed reproduction of an

Bronagh,” I said, grinning at my sister. “What is your favourite position in bed?” Dominic looked at his lady, a smirk playing on his lips. Bronagh mulled my question over in her mind then after some serious consideration she said, “Near the wall, so I’m closest to me phone when it’s chargin’.” I tittered at her answer, then looked to Dominic and burst into laughter. The look of hurt and betrayal was plastered all over his sculpted face. “Kicking me in the nuts would have been less painful, Bronagh,” he muttered as he stood up and practically dragged himself, and his wounded ego, out of the room

Psychopaths are shadowmancers', the agent tells me, a large-scale map of the US dotted with timelines, hotspots and murderous crimson trajectories plastered across the wall behind his desk. 'They survive by moving around. They don't have the same need for close relationships that normal people do. So they live in an orbit of perpetual drift, in which the chances of running into their victims again is minimised.

No matter what she did, she could never escape being her father’s greatest mistake. A mistake carved in her features, painted on her skin, knitted in her hair. She would never be good enough or white enough. For him. For the kids at school. For the women in the photos plastered on her closet walls. She hated them.

Last winter I tried to talk Jesse into leaving. Not anymore. I've grown to cherish the freedom, the openness of this land, the wall I plastered, the trees I planted. I can see God using me. Homesteading, building a community with people I care about...

The afternoon had passed to a ghostly gray. She was struck by the immensity of things, so much water and sky and forest, and after a time it occurred to her that she’d lived a life almost entirely indoors. Her memories were indoor memories, fixed by ceilings and plastered white walls. Her whole life had been locked to geometries: suburban rectangles, city squares. First the house she’d grown up in, then dorms and apartments. The open air had been nothing but a medium of transit, a place for rooms to exist.

The old man looked as if he had not been out of the house in years. He and the white plaster walls inside were much the same. There was white in the flesh of his mouth and his cheeks and his hair was white and his eyes had faded, with white in the vague blueness there.

But I'd run two miles and when I stepped inside our cool, dark house, I yelled up the stairs to Mom, "I ran two miles with Daddy, Mom! I'm strong! I'm strong!" And I punched the wall and could feel the plaster and lath behind the wallpaper, though I had no words for them.

I will never see the grazing animals, the farmhouse or the vineyards surrounding it. I will never see its interior, the cool tiles, the plaster walls, the dark rooms with low ceilings, the heavy, solid furniture. (I’ve invented all this, you know, precisely because I never saw it.)

Daedalus had told me a story once about the lords of Crete who used to hire him to enlarge their houses. He would arrive with his tools, begin taking down the walls, pulling up the floors. But whenever he found some problem underneath that must first be fixed, they frowned. That was not in the agreement! Of course not, he said, it has been hidden in the foundation, but look, there it is, plain as day. See the cracked beam? See the beetles eating the floor? See how the stone is sinking into the swamp? That only made the lords angrier. It was fine until you dug it up! We will not pay! Close it up, plaster over. It has stood this long, it will stand longer. So he would seal that fault up, and the next season the house would fall down. Then they would come to him, demanding back their money. “I told them,” he said to me. “I told them and told them. When there is rot in the walls, there is only one remedy.” The purple bruise at my throat was turning green at its edges. I pressed it, felt the splintered ache. Tear down, I thought. Tear down and build again.

A man was lying in the middle of the room, in a circle drawn on the ground with a piece of plaster from the wall, almost naked, his clothes having fallen into tatters. He was drawing very precise geometrical lines in the circle and appeared as absorbed in solving his problem as Archimedes when he was killed by one of Marcellus’ soldiers.

...his [Mayakovsky] genius was as indispensable to the Russian Revolution as Dzherzhinsky's police. Lyricism, lyricization, lyrical talk, lyrical enthusiasm are an integrating part of what is called the totalitarian world; that world is not the gulag as such; it's a gulag that has poems plastering its outside walls and people dancing before them.

Resurrection of the flesh. Out of nothingness, out of the void, out of white plaster, out of a dense fog, out of a snowy field, out of a sheet of paper there suddenly will appear people, living bodies, they rise up to remain forever, because they can’t vanish, disappearing is simply not an option; death has already come and gone. First the contour, outlines, edges. Period, period, comma makes a crooked little face. Cross-out. The man stretches from this crack in the wall to that spot of sun. Stretches from nail to nail.

On the Term of Exile No need to drive a nail into the wall To hang your hat on; When you come in, just drop it on the chair No guest has sat on. Don’t worry about watering the flowers— In fact, don’t plant them. You will have gone back home before they bloom, And who will want them? If mastering the language is too hard, Only be patient; The telegram imploring your return Won’t need translation. Remember, when the ceiling sheds itself In flakes of plaster, The wall that keeps you out is crumbling too, As fast or faster.

And yet, it wasn't just a wall. It was plaster and paint and a hundred fears.

She got temporarily suspended once for writing “fuck the patriarchy” on the wall beside a plaster cast of the crucifixion

His sisters had posters of Henney plastered all over their bedroom walls, had even established a man-beauty scale of one to Henney.

O'Shaughnessy is hitting Denholt on the side of his head with his free arm, great, walloping, pile-driver blows. The two of them stagger together, like partners in a crazy dance. Glass is breaking all around them. Gray smoke from the six shots, pink-and-white dust from the chipped brick-and-plaster walls, swirl around them in a rainbow haze. Something vividly green flares up from one of the overturned retorts, goes right out again. O'Shaughnessy tears the emptied gun away, flings it off somewhere. More breaking glass, and this time a tart pungent smell that makes the nostrils sting. The crunch of pulverized tube glass underfoot makes it sound as if they were scuffling in sand or hard-packed snow. ("Jane Brown's Body")

He whom I enclose with my name is weeping in this dungeon. I am ever busy building this wall all around; and as this wall goes up into the sky day by day I lose sight of my true being in its dark shadow. I take pride in this great wall, and I plaster it with dust and sand lest a least hole should be left in this name; and for all the care I take I lose sight of my true being.

When are a 'lady on your own,' in other words the landlords' abomination, outcast and terror all rolled into one, you take what you find, lodge where you may, and put up with newly plastered walls.

When on the island I sometimes imagined an inverse world, in which concert halls would be turned over to the sounds of rain and the rustling of winds while in the treetops and on the weirs and behind the walls of factories, sonatas and symphonies would ring out; in a world such as this the damp on the plastering of walls would probably form coherent text while the pages of books would be covered with indistinct marks.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

Doctor Winter Valentine. I’m Summer’s half-sister.” Summer winces at that designation, but it’s what her sister says next that has her all flustered. “And of course, I know who you are. Summer had your Wranglers ad plastered on her bedroom wall for years.

Less takes one last look at the ancient castle of mud and straw, remade every year or so as the rains erode the walls, plastered and replastered so that nothing remains of the old ksar except its former pattern. Something like a living creature of which not a cell is left of the original.

I think we all know—somewhere deep inside, somewhere we don’t want to explore, somewhere maybe close to the subconscious—that the chances of us living the life we want, the life we’ve envisioned, are very slim. We have to make do. And the digital age has plastered that ‘making do’ for everyone to see while simultaneously mandating that we be more. Achievements become ‘likes.’ Thoughts become ‘shares.’ Emotions become comments at the bottom of a video. It’s a digital tapestry of unanswered prayers, and if you look really close at it all, you see this enormous wall of human misery.

I took a minute to marvel at the space he'd been given. Tall ceilings that sloped with the ceiling of the turret. A full-sized bed, chairs and a coffee table, a pair of casement windows that overlooked the St. Genesius chapel. The walls were plastered white. A fireplace at the far corner was heaped with wood, and I walked over to touch it. It looked a hundred years old. Watson leaned against the wall. "I want to use that to dramatically burn a letter at least once before this program's over." "Fireplaces," I informed him, "are wasted on teenage boys." "I'm not arguing with you there.

Perhaps because polish is so visible,” Jon Franklin says, “many people erroneously believe it to be the most important part of writing.” But polish, Franklin adds, is merely “the plaster on the walls of structure.” The proof is in the window of the bookstore down the block. The display of current best sellers no doubt contains several titles by tin-eared pop novelists who wouldn’t recognize a graceful sentence if it asked them to dance. The likes of Jean Auel and Tom Clancy sell books by the millions because they understand story structure, a point that’s lost on the critics who savage their syntax.

Before the campaign was scarcely under way Hitler solved the problem of his citizenship. On February 25 it was announced that the Nazi Minister of the Interior of the state of Brunswick had named Herr Hitler an attaché of the legation of Brunswick in Berlin. Through this comic-opera maneuver the Nazi leader became automatically a citizen of Brunswick and hence of Germany and was therefore eligible to run for President of the German Reich. Having leaped over this little hurdle with ease, Hitler threw himself into the campaign with furious energy, crisscrossing the country, addressing large crowds at scores of mass meetings and whipping them up into a state of frenzy. Goebbels and Strasser, the other two spellbinders of the party, followed a similar schedule. But this was not all. They directed a propaganda campaign such as Germany had never seen. They plastered the walls of the cities and towns with a million screeching colored posters, distributed eight million pamphlets and twelve million extra copies of their party newspapers, staged three thousand meetings a day and, for the first time in a German election, made good use of films and gramophone records, the latter spouting forth from loudspeakers on trucks.

She stood in the middle of my bedroom, gazing around with wide eyes. I hadn’t made my bed. In three years. And the walls were plastered with wakeboarding posters and snowboarding posters and surfing posters (I was going to learn to snowboard and surf someday, too). It all might have been overwhelming at first-not exactly House Beautiful. “Is this McGillicuddy’s room?” she asked. “What! No. McGillicuddy’s a neat freak. Also he collects Madame Alexander dolls.” She turned her wide eyes on me. “Kidding! I’m kidding,” I backtracked. Why did I have to make up stuff like that? My family was weird enough for real.

If the walls were cracking, I'd plastered the surface back to smoothness. If the floor tiles were crumbling, I'd replaced them. If the roof was leaking, I'd patched the leaks. I'd pretended that, because the “house” still appeared okay, all was okay. Nothing had changed; all had been fixed. Nothing else needed to change.

From the race’s conception, the press viewed it with skepticism. Sportswriters argued that the rich event was a farce arranged to pad Seabiscuit’s bankroll. Del Mar, conscious of the potential conflict of interest for the Howards and Smiths, barred public wagering on the race. But the press’s distrust and the absence of gambling did nothing to cool the enthusiasm of racing fans. On the sweltering race day, special trains and buses poured in from San Diego and Los Angeles, filling the track with well over twenty thousand people, many more than the track’s official capacity. Lin plastered a twenty-foot LIGAROTI sign on the wall behind the “I’m for Ligaroti” section, and scores of Crosby’s movie friends, including Clark Gable and Carole Lombard, Spencer Tracy and Ray Milland, took up their cerise and white pennants and filed in. “Is there anyone left in Hollywood?” wondered a spectator. Dave Butler led a chorus of Ligaroti cheers, and the crowd grew boisterous. Crosby perched on the roof with Oscar Otis, who would call the race for a national radio broadcast. In the jockeys’ room, Woolf suited up to man the helm on Seabiscuit while Richardson slipped on Ligaroti’s polka dots. Just before the race, Woolf and Richardson made a deal. No matter who won, they would “save,” or split, the purse between them.

Daedalus had told me a story once about the lords of Crete who used to hire him to enlarge their houses. He would arrive with his tools, begin taking down the walls, pulling up the floors. But whenever he found some problem underneath that must first be fixed, they frowned. That was not in the agreement! Of course not, he said, it has been hidden in the foundation, but look, there it is, plain as day. See the cracked beam? See the beetles eating the floor? See how the stone is sinking into the swamp? That only made the lords angrier. It was fine until you dug it up! We will not pay! Close it up, plaster over. It has stood this long, it will stand longer.

Pain is the only protest in the human constitution that something is wrong. It is the only thing that raises its voice against existing abuses. If you jump to silence pain, you will fail to find the wound. Pain is the Martin Luther of the human framework; it plasters the wall of the city with the announcement that something is wrong.

Gen. George S. Patton Jr. fears no one. But now he sleeps flat on his back in a hospital bed. His upper body is encased in plaster, the result of a car accident twelve days ago. Room 110 is a former utility closet, just fourteen feet by sixteen feet. There are no decorations, pictures on the walls, or elaborate furnishings—just the narrow bed, white walls, and a single high window. A chair has been brought in for Patton’s wife, Beatrice, who endured a long, white-knuckle flight over the North Atlantic from the family home in Boston to be at his bedside. She sits there now, crochet hook moving silently back and forth, raising her eyes every few moments to see if her husband has awakened.

He whom I enclose with my name is weeping in this dungeon. I am ever busy building this wall all around; and as this wall goes up into the sky day by day I lose sight of my true being in its dark shadow. I take pride in this great wall, and I plaster it with dust and sand lest a least hole should be left in this name; and for all the care I take I lose sight of my true being. XXX

As they picked their way around the house through knee-high weeds dense with booby traps of unseen bottles, tin cans, rusted bed springs, broken emery stones, rotting harness, dead cats, dog offal, puddles of stinking garbage, and swarms of bottle flies, house flies, gnats, mosquitoes, the first cop said in extreme disgust, “I don’t see how people can live in such filth.” But he hadn’t seen anything yet. When they arrived at the back they found a section of the wall had fallen from the second floor, leaving a room exposed to the weather, and the rubble piled on the ground formed the only access to the open back door. Carefully they climbed up the pile of broken bricks and plaster, their footsteps raising a thick gray dust, and entered the kitchen unimpeded.

And come to think of it, he won't ever invite me to his place, not even once. I will never see the grazing animals, the farmhouse or the vineyards surrounding it. I will never see its interior, the cool tiles, the plaster walls, the dark rooms with low ceilings, the heavy, solid furniture. (I've invented all this, you know, precisely because I never saw it.) I won't ever meet his parents, not even from afar. There will be no handshake, no pleasantries exchanged between us; I presume that he would never have spoken to them about me, even inadvertently (he's not the inadvertent type). I would have liked to have seen which one he most resembled. Obviously, I wouldn't have betrayed him. I would've played the role of the nice schoolmate. I'm capable of playing any part.

There was a little optometrist shop on south Broadway tucked in between a pizza joint and what amounted to a head shop where you could buy glow-in-the-dark posters, bongs, and whatever else the hippies began marketing after they went commercial in the '70s... I had never visited the optometrist shop. The entrance had a 1930s look that I liked—art deco molded-tin awning over the doorway, and Bakelite tiles on the foyer walls. It looked like the kind of business that would be owned by an elderly optometrist who had serviced families for generations and personally ground lenses in his back room. I liked the look of the shop, but I drove right past it on my way to Sight City!!! where you could buy Two Pair for the Price of One!!! according to the billboards plastered all over Denver blocking every decent view of the Rocky Mountains.

No picture of a medieval library can be complete unless it be remembered that in many cases beauty was no less an object than utility. The bookcases were fine specimens of carpentry-work, carved and decorated; the pavement was of encaustic tiles worked in patterns; the walls were decorated with plaster-work in relief; the windows were filled with stained glass; and the roof-timbers were ornamented with the coat-armour of benefactors.

Other children might have made drawings for him to stick on his fridge, but Alicia isn’t keen on drawing, so the puck marks in the plaster of his wall have become much the same thing: small marks in time that say someone you love grew up here. It started with Sune teaching her how to play hockey but it went on with him teaching her everything else you need to know in life: tying shoelaces and chanting times tables and listening to Elvis Presley.

Jeepie said that was why I was always a little bugs the first few days after they let me out of solitary confinement. He said solitary itself was nothing but a room and a cot and you; and the room was a blank to begin with and a blank was comfortable as being asleep or dead. But that if you began filling the room with crazy thoughts you came out of it crazy. Jeepie said perhaps my biggest trouble was I could never forget I'd been to school: “They've taught you that to think is to be smart but my friend there's times when it's smart to be stupid.” But no one's immune to thinking. Try drawing a blank for any length of time, emptying your head of everything and still you land on a color, a shape, a personality, a grievance. I can sit here on this cot in my cell and stare at the plaster wall, go absolutely limp in my head, and the story, the story of Virginia and me is there in the plaster.

The televisor is ‘real.’ It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn’t time to protest, ‘What nonsense!’ ” “Only the ‘family’ is ‘people.’ ” “I beg pardon?” “My wife says books aren’t ‘real.’ ” “Thank God for that. You can shut them, say, ‘Hold on a moment.’ You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV parlor? It grows you any shape it wishes! It is an environment as real as the world. It becomes and is the truth. Books can be beaten down with reason. But with all my knowledge and skepticism, I have never been able to argue with a one-hundred-piece symphony orchestra, full color, three dimensions, and being in and part of those incredible parlors. As you see, my parlor is nothing but four plaster walls. And here.” He held out two small rubber plugs. “For my ears when I ride the subway jets.

Our ghoulish mission was to search for bodies. It was rich hunting that day and the many thereafter. We started on a small scale—here a leg, there an arm, and an occasional baby—but struck a mother lode before noon. We cut our way through a basement wall to discover a reeking hash of over one hundred human beings. Flame must have swept through before the building’s collapse sealed the exits, because the flesh of those within resembled the texture of prunes. Our job, it was explained, was to wade into the shambles and bring forth the remains. Encouraged by cuffing and guttural abuse, wade in we did. We did exactly that, for the floor was covered with an unsavory broth from burst water mains and viscera. A number of victims, not killed outright, had attempted to escape through a narrow emergency exit. At any rate, there were several bodies packed tightly into the passageway. Their leader had made it halfway up the steps before he was buried up to his neck in falling brick and plaster. He was about fifteen, I think.

Later he would tell her that their story began at the Royal Hungarian Opera House, the night before he left for Paris on the Western Europe Express. The year was 1937; the month was September, the evening unseasonably cold. His brother had insisted on taking him to the opera as a parting gift. The show was Tosca and their seats were at the top of the house. Not for them the three marble-arched doorways, the façade with its Corinthian columns and heroic entablature. Theirs was a humble side entrance with a red-faced ticket taker, a floor of scuffed wood, walls plastered with crumbling opera posters. Girls in knee-length dresses climbed the stairs arm in arm with young men in threadbare suits; pensioners argued with their white-haired wives as they shuffled up the five narrow flights. At the top, a joyful din: a refreshment salon lined with mirrors and wooden benches, the air hazy with cigarette smoke. A doorway at its far end opened onto the concert hall itself, the great electric-lit cavern of it, with its ceiling fresco of Greek immortals and its gold-scrolled tiers. Andras had never expected to see an opera here, nor would he have if Tibor hadn’t bought the tickets. But it was Tibor’s opinion that residence in Budapest must include at least one evening of Puccini at the Operaház. Now Tibor leaned over the rail to point out Admiral Horthy’s box, empty that night except for an ancient general in a hussar’s jacket. Far below, tuxedoed ushers led men and women to their seats, the men in evening dress, the women’s hair glittering with jewels.

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

One thing he held against the bird force was the curse of knowing always which direction he was headed in, without the vaguest idea where he was going. He headed east this time, recalling as if it were yesterday every fifth or sixth mile of the road, where they hadn't torn it up, straightened it, bent it, laid it down again, and bordered it with regular houses planted eave-to-eave like an impenetrable, multicolored fence - soon a flag will wave from every antenna, we'll peek out at the savage world from a plaster fortress, nationwide.

But what kind of addict would need all these coconut husks and crushed honeydew rinds? Would the presence of junkies account for all these uneaten french fries? These puddles of glazed catsup on the bureau? Maybe so. But then why all this booze? And these crude pornographic photos, ripped out of pulp magazines like Whores of Sweden and Orgies in the Casbah, that were plastered on the broken mirror with smears of mustard that had dried to a hard yellow crust … and all these signs of violence, these strange red and blue bulbs and shards of broken glass embedded in the wall plaster … No; these were not the hoofprints of your normal, godfearing junkie. It was far too savage, too aggressive. There was evidence, in this room, of excessive consumption of almost every type of drug known to civilized man since 1544 A.D. It could only be explained as a montage, a sort of exaggerated medical exhibit, put together very carefully to show what might happen if twenty-two serious drug felons—each with a different addiction—were penned up together in the same room for five days and nights, without relief. Indeed. But of course that would never happen in Real Life, gentlemen. We just put this thing together for demonstration purposes …

He took two quick steps forward, wrapped a hand around the back of my neck, and held me for his kiss. I hadn’t expected it—not while he was still so close to changing. I’m sure that’s why I didn’t pull out of his hold. The first touch of his lips was soft, tentative, asking where his hands had demanded. The man was diabolical. I could have resisted force, but the question of his kiss was an entirely different matter. I leaned into him because he asked with the light touch and the gentle withdrawal of his lips that begged me to follow where he led. The heat of his body, welcome in the over-cooled house, rewarded me as I leaned closer to him, as did the hard planes of his body, so I was drawn to press even tighter against him. He danced like that, too. Leading instead of pulling. It had to have been deliberate, something he worked at, because he was as dominant as they came—Alphas are. But Adam was more than just dominant: he was smart, too. And he didn’t play fair. Which is how he ended up against the wall with me plastered all over him when someone . . . Darryl, quietly cleared his throat. I jerked free and hopped back to the middle of the hallway. “I’ll just get Jesse’s clothes now,” I told the carpet on the floor and then took my red face into Jesse’s room and shut the door. I didn’t mind getting caught kissing, but that had been a lot more carnal than a kiss. Sometimes good hearing isn’t a blessing. “Sorry,” Daryl said, though his voice carried more amusement than apology. “I bet,” growled Adam. “Damn it. This has got to stop.” Darryl gave a full-throated laugh that lasted quite a while. I’d never heard him laugh like that. Darryl was pretty uptight usually. “Sorry,” he said again, sounding more apologetic this time. “Looked to me like you’d rather it not stop.” “Yeah.” Adam sounded tired. “I should have gone after her a long time ago.

It’s not polite to stare. Please stop.” “Never.” Jesse sat in his usual position on the trunk, chin in palm, watching her flip pancakes in the iron skillet. “Then let’s have it out right now.” Plopping onto the stool, Susannah returned his stare. Sunlight echoed off the snow outside and the newly plastered wall, lighting the green and gold sparks in his brown eyes. “Your pancakes are burning, Mrs. Mason,” he said without blinking. “That’s your breakfast, Mr. Mason.” Lunging across the table, Jesse kissed her on the nose. “Ha! You blinked!” “No fair.” Susannah loaded his plate, burnt side up. “Fair or foul, I must have my morning kiss.

Christ, I’m tired. I need sleep. I need peace. I need for my balls to not be so blue they’re practically purple. As purple as Sarah Von Titebottum’s— My mind comes to a screeching halt with the unexpected thought. And the image that accompanies it—the odd, blushing lass with her glasses and her books and very tight bottom. Sarah’s not a contestant on the show, so I’m willing to bet both my indigo balls that there’s not a camera in her room. And, I can’t believe I’m fucking thinking this, but, even better—none of the other girls will know where to find me—including Elizabeth. I let the cameras noisily track me to the lavatory, but then, like an elite operative of the Secret Intelligence Service, I plaster myself to the wall beneath their range and slide my way out the door. Less than five minutes later, I’m in my sleeping pants and a white T-shirt, barefoot with my guitar in hand, knocking on Sarah’s bedroom door. I checked the map Vanessa gave me earlier. Her room is on the third floor, in the corner of the east wing, removed from the main part of the castle. The door opens just a crack and dark brown eyes peer out. “Sanctuary,” I plead. Her brow crinkles and the door opens just a bit wider. “I beg your pardon?” “I haven’t slept in almost forty-eight hours. My best friend’s girlfriend is trying to praying-mantis me and the sound of the cameras following me around my room is literally driving me mad. I’m asking you to take me in.” And she blushes. Great. “You want to sleep in here? With me?” I scoff. “No, not with you—just in your room, love.” I don’t think about how callous the words sound—insulting—until they’re out of my mouth. Could I be any more of a dick? Thankfully, Sarah doesn’t look offended. “Why here?” she asks. “Back in the day, the religious orders used to give sanctuary to anyone who asked. And since you dress like a nun, it seemed like the logical choice.” I don’t know why I said that. I don’t know what’s wrong with me. Somebody just fucking shoot me and be done with it. Sarah’s lips tighten, her head tilts, and her eyes take on a dangerous glint. I think Scooby-Doo put it best when he said, Ruh-roh. “Let me make sure I’ve got this right—you need my help?” “Correct.” “You need shelter, protection, sanctuary that only I can give?” “Yes.” “And you think teasing me about my clothes is a wise strategy?” I hold up my palms. “I never said I was wise. Exhausted, defenseless, and desperate.” I pout . . . but in a manly kind of way. “Pity me.” A smile tugs at her lips. And that’s when I know she’s done for. With a sigh, she opens the door wide. “Well, it is your castle. Come in.” Huh. She’s right—it is my castle. I really need to start remembering that

His booted feet pounded out an insane, frantic rhythm underneath him as he raced into the cavern across from Baba Yaga’s den at a dead sprint. Pieces of dragon dung flew off him and hit the ground behind him in miniature chunks. He didn’t dare look behind him to see if the dragon had risen from the ground yet, but the deafening hiss that assaulted his ears meant she’d woken up. Icy claws of fear squeezed his heart with every breath as he ran, relying on the night vision goggles, the glimpse he’d gotten of the map, and his own instincts to figure out where to go. Jack raced around one corner too sharply and slipped on a piece of dung, crashing hard on his right side. He gasped as it knocked the wind out of him and gritted his teeth, his mind screaming at him to get up and run, run, run. He pushed onto his knees, nursing what felt like bruised ribs and a sprained wrist, and then paled as an unmistakable sensation traveled up the arm he’d used to push himself up. Impact tremors. Boom. Boom. Boom, boom, boom. Baba Yaga was coming. Baba Yaga was hunting him. Jack forced himself up onto his feet again, stumbling backwards and fumbling for the tracker. He got it switched on to see an ominous blob approaching from the right. He’d gotten a good lead on her—maybe a few hundred yards—but he had no way of knowing if he’d eventually run into a dead end. He couldn’t hide down here forever. He needed to get topside to join the others so they could take her down. Jack blocked out the rising crescendo of Baba Yaga’s hissing and pictured the map again. A mile up to the right had a man-made exit that spilled back up to the forest. The only problem was that it was a long passage. If Baba Yaga followed, there was a good chance she could catch up and roast him like a marshmallow. He could try to lose her in the twists and turns of the cave system, but there was a good chance he’d get lost, and Baba Yaga’s superior senses meant it would only be a matter of time before she found him. It came back to the most basic survival tactics: run or hide. Jack switched off the tracker and stuck it in his pocket, his voice ragged and shaking, but solid. “You aren’t about to die in this forest, Jackson. Move your ass.” He barreled forward into the passageway to the right in the wake of Baba Yaga’s ominous, bubbling warning, barely suppressing a groan as a spike of pain lanced through his chest from his bruised ribs. The adrenaline would only hold for so long. He could make it about halfway there before it ran out. Cold sweat plastered the mask to his face and ran down into his eyes. The tunnel stretched onward forever before him. No sunlight in sight. Had he been wrong? Jack ripped off the hood and cold air slapped his face, making his eyes water. He held his hands out to make sure he wouldn’t bounce off one of the cavern walls and squinted up ahead as he turned the corner into the straightaway. There, faintly, he could see the pale glow of the exit. Gasping for air, he collapsed against one wall and tried to catch his breath before the final marathon. He had to have put some amount of distance between himself and the dragon by now. “Who knows?” Jack panted. “Maybe she got annoyed and turned around.” An earth-shattering roar rocked the very walls of the cavern. Jack paled. Boom, boom, boom, boom! Boom, boom, boom, boomboomboomboom— Mother of God. The dragon had broken into a run. Jack shoved himself away from the wall, lowered his head, and ran as fast as his legs would carry him.

be apart. Despite getting rejected by my top-choice school, I was starting to really believe in myself again based on all the positive feedback we continued to get on our videos. And besides, I knew I could always reapply to Emerson the following year and transfer. • • • College started out great, with the best part being my newly found freedom. I was finally on my own and able to make my own schedule. And not only was Amanda with me, I’d already made a new friend before the first day of classes from a Facebook page that was set up for incoming freshmen. I started chatting with a pretty girl named Chloe who mentioned that she was also going to do the film and video concentration. Fitchburg isn’t located in the greatest neighborhood, but the campus has lots of green lawns and old brick buildings that look like mansions. My dorm room was a forced triple—basically a double that the school added bunk beds to in order to squeeze one extra person in. I arrived first and got to call dibs on the bunk bed that had an empty space beneath it. I moved my desk under it and created a little home office for myself. I plastered the walls with Futurama posters and made up the bed with a new bright green comforter and matching pillows. My roommates were classic male college stereotypes—the football player and the stoner. Their idea of decorating was slapping a Bob Marley poster and a giant ad for Jack Daniels on the wall.

Montag, falling flat, going down, saw or felt, or imagined he saw or felt the walls go dark in Millie's face, heard her screaming, because in the millionth part of time left, she saw her own face reflected there, in a mirror instead of a crystal ball, and it was such a wildly empty face, all by itself in the room, touching nothing, starved and eating of itself, that at last she recognized it was her own and looked quickly up at the ceiling as it and the entire structure of the hotel blasted down upon her, carrying her with a million pounds of brick, metal, plaster, and wood, to meet other people in the hives below, all on their quick way down to the cellar where the explosion rid itself of them in its own unreasonable way.

Willow gazed up at him, her silly grin still in place. "You know wha'? You're kinda cute when you crook your eyebrows down like tha'." Rider muttered a curse, lifted her off the floor, and tossed her over his shoulder. "Juan, you and Hicks help Mrs. Brigham to her room. I'll take care of this little hellion." Willow lifted her head from where she dangled over Rider's shoulder. "See yuh later, Mrs. B." Miriam smiled and waved. "i think Mrs. B is pickled," Rider's passenger said in a loud whisper as he hauled her out the door. "No thanks to you,hellion," he growled, and smacked her bottom. "Ow!" As he carried Willow into the house, Rider was hard pressed to quell a sudden urge to laugh. In her bedroom, he unceremoniously dumped her on her bed, but when he turned to leave, her pitiful sounding voice halted his exit. "Rider,come here a min-it." "Oh,hell, I suppose you're going to be sick." Grabbing a basin off her dresser, he shoved it under her chin. "It serves you right, you know." He watched nervously as she knocked the bowl aside. "Dun...don't be mad." She held her arms out to him. "Come closer. Gimme a kiss and we'll make up. I like your kisses so-o-o-o much." This time Rider couldn't stall his grin and inadvertently leaned closer. She was on him like a duck on a June bug. With two hearty handfuls of his shirt, she yanked him down on top of her and plastered her mouth against his. Talking against his lips, the tipsy girl had the audacity to complain, "Not like this. Do it like before. You know, with your tongue." Rider squeezed his eyes shut and groaned. This isn't fair, he bemoaned silently. He tried to rise but Willow held tight, squirming her voluptuous little body against his. Sweat broke out on his forehead. If he didn't put a stop to this soon...He lifted his mouth from hers. "If I promise to kiss you with my tongue, will you let go of me and go to sleep?" "Uh-huh." Willow's eyes drooped, but the affect appeared more seductive than drunken. Lifting her shoulders slightly off the bed, he wound his arms around her and covered her mouth with his. His tongue explored hers in a long, liquid kiss, tasting of wine and desire. Rider savored its promise, wishing just this once, he could be less a gentleman. Willow wrapped one of her legs over his and shifted her hips, innocently aligning his swelling heat with hers. He started and bolted off the bed. "Holy hell! You did it again!" "What?" Her voice was sluggish and sleepy now. Disgusted with himself, Rider stomped to the door. "Sleep it off, Freckles." Outside Willow's door, Rider slumped against the wall and shook his head. Willow Vaughn was a constant surprise, and he loved the girl so bad it hurt.

He carried the ladder back to the farmhouse. From the corner of his eye he thought he saw something move, and he looked in through the window, into the dark room filled with broken furniture, with the plaster peeling from the walls, and for a moment, in a half-dream, he imagined that he saw three women sitting in the dark parlor. One of them was knitting. One of them was staring directly at him. One of them appeared to be asleep. The woman who was staring at him began to smile, a huge smile that seemed to split her face lengthwise, a smile that crossed from ear to ear. Then she raised a finger and touched it to her neck, and ran it gently from one side of her neck to the other. That was what he thought he saw, all in a moment, in that empty room, which contained, he saw at a second glance, nothing more than old rotting furniture and fly-spotted prints and dry rot. There was nobody there at all.

I shoot up out of my chair. “It’s Bree. Hide the board!” Everyone hops out of their chairs and starts scrambling around and bumping into each other like a classic cartoon. We hear the door shut behind her, and the whiteboard is still standing in the middle of the kitchen like a lit-up marquee. I hiss at Jamal, “Get rid of it!” His eyes are wide orbs, head whipping around in all directions. “Where? In the utensil drawer? Up my shirt?! There’s nowhere! That thing is huge!” “LADY IN THE HOUSE!” Bree shouts from the entryway. The sound of her tennis shoes getting kicked off echoes around the room, and my heart races up my throat. Her name is pasted all over that whiteboard along with phrases like “first kiss—keep it light” and “entwined hand-holding” and “dirty talk about her hair”. Yeah…I’m not sure about that last one, but we’ll see. Basically, it’s all laid out there—the most incriminating board in the world. If Bree sees this thing, it’s all over for me. “Erase it!” Price whispers frantically. “No, we didn’t write it down anywhere else! We’ll lose all the ideas.” I can hear Bree’s footsteps getting closer. “Nathan? Are you home?” “Uh—yeah! In the kitchen.” Jamal tosses me a look like I’m an idiot for announcing our location, but what am I supposed to do? Stand very still and pretend we’re not all huddled in here having a Baby-Sitter’s Club re-enactment? She would find us, and that would look even worse after keeping quiet. “Just flip it over!” I tell anyone who’s not running in a circle chasing his tail. As Lawrence flips the whiteboard, Price tells us all to act natural. So of course, the second Bree rounds the corner, I hop up on the table, Jamal rests his elbow on the wall and leans his head on his hand, and Lawrence just plops down on the floor and pretends to stretch. Derek can’t decide what to do so he’s caught mid-circle. We all have fake smiles plastered on. Our acting is shit. Bree freezes, blinking at the sight of each of us not acting at all natural. “Whatcha guys doing?” Her hair is a cute messy bun of curls on the top of her head and she’s wearing her favorite joggers with one of my old LA Sharks hoodies, which she stole from my closet a long time ago. It swallows her whole, but since she just came from the studio, I know there is a tight leotard under it. I can barely find her in all that material, and yet she’s still the sexiest woman I’ve ever seen. Just her presence in this room feels like finally getting hooked up to oxygen after days of not being able to breathe deeply. We all respond to Bree’s question at the same time but with different answers. It’s highly suspicious and likely what makes her eyes dart to the whiteboard. Sweat gathers on my spine. “What’s with the whiteboard?” she asks, taking a step toward it. I hop off the table and get in her path. “Huh? Oh, it’s…nothing.” She laughs and tries to look around me. I pretend to stretch so she can’t see. “It doesn’t look like nothing. What? Are you guys drawing boobies on that board or something? You look so guilty.” “Ah—you caught us! Lots of illustrated boobs drawn on that board. You don’t want to see it.” She pauses, a fading smile hovering on her lips, and her eyes look up to meet mine. “For real—what’s going on? Why can’t I see it?” She doesn’t believe my boob explanation. I guess we should take that as a compliment? My eyes catch over Bree’s shoulder as Price puts himself out of her line of sight and begins miming the action of getting his phone out and taking a picture of the whiteboard. This little show is directed at Derek, who is standing somewhere behind me. Bree sees me watching Price and whips her head around to catch him. He freezes—hands extended looking like he’s holding an imaginary camera. He then transforms that into a forearm stretch. “So tight after our workout today.” Her eyes narrow.

She let herself be had. With two women in the room behind her and her staff wandering the halls, she relaxed into his hold and returned his kiss. He tasted of the tea, of the sweetness of sugar; he tasted like a very bad idea that she would soon regret, but not now. Never now, while he kissed her yet. His hand skimmed down her body, shaping her breast. She opened her eyes and discovered him watching her, so blue his eyes were, and his palm over her stiffening nipple suddenly seemed to carry a message, too. The audacity of his touch, paired with the frank boldness of his look, made her laugh from sheer delight. She felt him grin against her mouth. His hand slipped farther yet, seizing her by the waist and pulling her more solidly against him. Her joints felt like melting waxworks, incapable of supporting her. She flung her arms around him and let him have all of her weight—and hit the wall harder yet as he stepped straight into her. Now she was doubly pinned, the tight, taut planes of his body as unyielding as the plaster behind her. Again he kissed her, harder yet, as though trying to convince her of something. What? What was the aim of his persuasion? She kissed him back eagerly, for did he not see? She was already convinced. She found his hair, soft and a touch too long, where it brushed against his collar. The skin beneath was hot and smooth. Her palm wrapped around his nape, and as she gripped him, she shuddered. This need felt elemental. Like hunger or thirst. From the entry hall far below came the sound of voices. They froze. Her eyes snapped open. His were so very, very blue. Someone would see them. They stood in plain view. His face turned into her neck. She heard, felt, the great breath he drew. Very low, against her skin, the roughness of his jaw abrading her, he spoke. “Friendship is not what I want.” Her hands broke free of her caution. They found his back, gathering in handfuls the soft wool of his jacket. Think. There were reasons, very good reasons, to discourage him. Money: he had none. Power: he had too much over her. He simply didn’t realize it.

I just turned thirty and only now am I starting to appreciate all the things I used to think were boring. You know Will? Will Moore, the American, built like a brick wall?” She nodded. “I don’t know if you saw yesterday when you stopped by, but he and I live together now. And keep this between you and me, but most of the time we’d both prefer to stay in and play Scrabble than go out clubbing with the rest of the squad,” I said and winked. Then I tried not to grimace because I’d just winked at her. Why the hell am I winking? She gave a light chuckle, “Yeah, I think I guessed that from the episode outside your neighbor’s apartment.” I didn’t let her comment faze me, instead I plastered on a carefree smile. “I’ll have you know women all over the country would be queuing up to catch a glimpse of me in my PJs. You should count yourself lucky.” “Oh really?” she challenged. “Who are these women? The same ones who go to Daniel O’Donnell concerts and play bingo on a Friday night?” I glared at her playfully. “Yeah, yeah, laugh it up. I don’t know why any man would sleep naked when they could be wearing a pair of flannel jimjams.

The studio was immense and gloomy, the sole light within it proceeding from a stove, around which the three were seated. Although they were bold, and of the age when men are most jovial, the conversation had taken, in spite of their efforts to the contrary, a reflection from the dull weather without, and their jokes and frivolity were soon exhausted. In addition to the light which issued from the crannies in the stove, there was another emitted from a bowl of spirits, which was ceaselessly stirred by one of the young men, as he poured from an antique silver ladle some of the flaming spirit into the quaint old glasses from which the students drank. The blue flame of the spirit lighted up in a wild and fantastic manner the surrounding objects in the room, so that the heads of old prophets, of satyrs, or Madonnas, clothed in the same ghastly hue, seemed to move and to dance along the walls like a fantastic procession of the dead; and the vast room, which in the day time sparkled with the creations of genius, seemed now, in its alternate darkness and sulphuric light, to be peopled with its dreams. Each time also that the silver spoon agitated the liquid, strange shadows traced themselves along the walls, hideous and of fantastic form. Unearthly tints spread also upon the hangings of the studio, from the old bearded prophet of Michael Angelo to those eccentric caricatures which the artist had scrawled upon his walls, and which resembled an army of demons that one sees in a dream, or such as Goya has painted; whilst the lull and rise of the tempest without but added to the fantastic and nervous feeling which pervaded those within. Besides this, to add to the terror which was creeping over the three occupants of the room, each time that they looked at each other they appeared with faces of a blue tone, with eyes fixed and glittering like live embers, and with pale lips and sunken cheeks; but the most fearful object of all was that of a plaster mask taken from the face of an intimate friend but lately dead, which, hanging near the window, let the light from the spirit fall upon its face, turned three parts towards them, which gave it a strange, vivid, and mocking expression. All people have felt the influence of large and dark rooms, such as Hoffmann has portrayed and Rembrandt has painted; and all the world has experienced those wild and unaccountable terrors - panics without a cause - which seize on one like a spontaneous fever, at the sight of objects to which a stray glimpse of the moon or a feeble ray from a lamp gives a mysterious form; nay, all, we should imagine, have at some period of their lives found themselves by the side of a friend, in a dark and dismal chamber, listening to some wild story, which so enchains them, that although the mere lighting of a candle could put an end to their terror, they would not do so; so much need has the human heart of emotions, whether they be true or false. So it was upon the evening mentioned. The conversation of the three companions never took a direct line, but followed all the phases of their thoughts; sometimes it was light as the smoke which curled from their cigars, then for a moment fantastic as the flame of the burning spirit, and then again dark, lurid, and sombre as the smile which lit up the mask from their dead friend's face. At last the conversation ceased altogether, and the respiration of the smokers was the only sound heard; and their cigars glowed in the dark, like Will-of-the-wisps brooding o'er a stagnant pool. It was evident to them all, that the first who should break the silence, even if he spoke in jest, would cause in the hearts of the others a start and tremor, for each felt that he had almost unwittingly plunged into a ghastly reverie. ("The Dead Man's Story")

His dark room now seemed cool and restfully confining. You could imagine maps in the wallpaper. The roses had faded into vague shells of pink. Only a few silver lines along the vanished stems and in the veins of leaves, indistinct patches of the palest green remained—the faint suggestion of mysterious geography. A grease spot was a marsh, a mountain or a treasure. Irabestis went boating down a crack on cool days, under the tree boughs, bending his head. He fished in a chip of plaster. The perch rose to the bait and were golden in the sunwater. Specks stood for cities; pencil marks were bridges; stains and shutter patterns laid out fields of wheat and oats and corn. In the shadow of a corner the crack issued into a great sea. There was a tear in the paper that looked exactly like a railway and another that signified a range of hills. Some tiny drops of ink formed a chain of lakes. A darker decorative strip of Grecian pediments and interlacing ivy at the ceiling’s edge kept the tribes of Gog and Magog from invasion. Once he had passed through it to the ceiling but it made him dizzy and afraid. Shadows moved quixotically over the whole wall, usually from left to right in tall thin bands, and sank behind the bureau or below the bed or disappeared suddenly in a corner.

I was hoping to be able to get into the Queen's Chamber while I was in Egypt in 1986 to get a sample of the salt for analysis. I had speculated that the salt on the walls of the chamber was an unwanted, though significant, residual substance caused by a chemical reaction where hot hydrogen reacted with the limestone. Unfortunately, I was unable to get into the chamber because a French team was already inside the Horizontal Passage, boring holes into what they hoped were additional chambers. (It was discovered, after I left Egypt, that the spaces contained only sand.) As it turned out, my research would have been redundant. Noone reported in his book that another individual had already had the same idea and done the work. In 1978, Dr. Patrick Flanagan asked the Arizona Bureau of Geology and Mineral Technology to analyze a sample of this salt. They found it to be a mixture of calcium carbonate (limestone), sodium chloride (halite or salt), and calcium sulfate (gypsum, also known as plaster of paris). These are precisely the minerals that would be produced by the reaction of hot, hydrogen-bearing gas with the limestone walls and ceiling of the Queen's Chamber. [...] The interior chambers of the Great Pyramid have the appearance of being subjected to extreme temperatures; and [...] the broken corner on the granite box shows signs of being melted, rather than simply being chipped away.

It is possible to get too hung up about this point. In, for example, the genealogical multiple pile-up of Swabia with almost every hill under its own prince, it is possible to imagine a feudal version of Jorge Luis Borges’ infinite library, a world of so many hundreds of rulers that every variation of behaviour is possible, or indeed certain, in any given moment. So somewhere a ruler with a huge grey beard is dying surrounded by his weeping family and retainers; somewhere else a bored figure is irritably shooting bits off the plaster decorations in the ballroom; another is making an improper suggestion to a stable boy; another is telling an anecdote about fighting the Turks, staring into space, girding for battle, converting to Calvinism, wishing he had a just slightly bigger palace, and so on. This dizzying multiplicity makes each of hundreds of castles a frightening challenge – with the possibility of the guide making my head explode with the dizzying details of how the young duchess had been walled up in a tower for being caught in a non-spiritual context with her confessor and how as a result the Strelitz-Nortibitz inheritance had passed, unexpectedly, to a cousin resident in Livonia who, on his way home to claim the dukedom, died of plague in a tavern near Rothenberg thus activating the claim of the very odd dowager’s niece, long resident in a convent outside Bamberg. But it is probably time to move on.

Nero," he said into the intercom, "I need a cover blast at four o'clock and you better use your powers to open the bay's door or this is going to be a fatally short ride." Shahara watched as the bay doors stretched open slowly. It was obvious they were locked down and fighting Scalera's efforts. Syn didn't wait for them to open. He put the throttle down and gunned the engines. The ship lurched forward at a velocity that plastered her against her seat. Unlike her, the ship had no idea they were about to impact with that wall and burst into flames. Syn's gaze narrowed with a deranged glint. "Do or die, baby. Do or die." Her heart hit the floor as she realized they really were going to slam into the closed doors. Nothing was moving. This was it... Bracing herself, she prayed. Syn didn't slow even a bit. He went forward without hesitation. She bit back a scream. Just as they reached the doors, they snapped open with only the lower section scraping against the bottom of the ship. The sound of steel on steel was painful but at least it wasn't fatal as they popped through and soared into the atmosphere. She leaned her head back and took a deep breath in relief. "I seriously hate you, convict." Vik snorted. "I just oiled myself, boss." Syn gave them both a droll stare. "Stop your bitching. We made it." Then under his breath, he added, "Granted it was by our short hairs, but I haven't killed us yet." -Syn, Shahara, Vik, & Nero

To her astonishment, he did not bear her to the floor, but lifted her in his arms instead, so that her legs wrapped around his waist. He held her weight easily, bracing her against the wall for balance, one arm protecting her from the roughness of the plaster. Her eyes widened as she felt the hard, blunt shape of his sex nudging, probing, sliding easily inside her. She was filled, impaled, her body open and helpless against the heavy intrusion. Gasping in pleasure, she clutched at the backs of his shoulders, her fingers clinging into the soft wool of his coat. It felt strangely erotic to be clasped against his fully clothed body, her bare skin tingling from the abrasion of fabric. Hungering for a taste of his skin, she tugged at his black stock and buried her mouth against the damp side of his neck. "Do you love me?" he smattered, deliberately allowing her weight to press downward, forcing her even harder onto his stiff erection. "Yes... oh, Grant..." She arched and cried out as pleasure crested inside her, spreading through her in deep, rolling waves. "Tell me," he said harshly, moving in deeper, slower thrusts that drove straight into the core of her body. She writhed, her legs flexing as she felt the ebbing sensation build again. "I love you," she gasped. "Love you... love you..." The words sent him over the dizzying edge of rapture, and he drove inside her with a groan, all his senses dissolving in blissful release.

In Amsterdam, I took a room in a small hotel located in the Jordann District and after lunch in a café went for a walk in the western parts of the city. In Flaubert’s Alexandria, the exotic had collected around camels, Arabs peacefully fishing and guttural cries. Modern Amsterdam provided different but analogous examples: buildings with elongated pale-pink bricks stuck together with curiously white mortar, long rows of narrow apartment blocks from the early twentieth century, with large ground-floor windows, bicycles parked outside every house, street furniture displaying a certain demographic scruffiness, an absence of ostentatious buildings, straight streets interspersed with small parks…..In one street lines with uniform apartment buildings, I stopped by a red front door and felt an intense longing to spend the rest of my life there. Above me, on the second floor, I could see an apartment with three large windows and no curtains. The walls were painted white and decorated with a single large painting covered with small blue and red dots. There was an oaken desk against a wall, a large bookshelf and an armchair. I wanted the life that this space implied. I wanted a bicycle; I wanted to put my key in that red front door every evening. Why be seduced by something as small as a front door in another country? Why fall in love with a place because it has trams and its people seldom have curtains in their homes? However absurd the intense reactions provoked by such small (and mute) foreign elements my seem, the pattern is at least familiar from our personal lives. My love for the apartment building was based on what I perceived to be its modesty. The building was comfortable but not grand. It suggested a society attracted to the financial mean. There was an honesty in its design. Whereas front doorways in London are prone to ape the look of classical temples, in Amsterdam they accept their status, avoiding pillars and plaster in favor of neat, undecorated brick. The building was modern in the best sense, speaking of order, cleanliness, and light. In the more fugitive, trivial associations of the word exotic, the charm of a foreign place arises from the simple idea of novelty and change-from finding camels where at home there are horses, for example, or unadorned apartment buildings where at home there are pillared ones. But there may be a more profound pleasure as well: we may value foreign elements not only because they are new but because they seem to accord more faithfully with our identity and commitments than anything our homeland can provide. And so it was with my enthusiasms in Amsterdam, which were connected to my dissatisfactions with my own country, including its lack of modernity and aesthetic simplicity, its resistance to urban life and its net-curtained mentality. What we find exotic abroad may be what we hunger for in vain at home.

Bridget had led Emma to a bedroom she seemed to have picked out ahead of time, and Emma soon found out why: There were two height charts scribbled on the plaster, the kind you got by standing someone against a wall and drawing a line just above their head, with the date. One was marked Will Herondale, the other, James Carstairs. A Carstairs room Emma hugged her elbows and imagined Jem: his kind voice, his dark eyes. She missed him. But that wasn't all; after all, Jem and Will could have done their height charts in any room. In the nightstand drawer, Emma found a cluster of old photographs, most dating from the early 1900s. Photographs of a group of four boys, at various stages of their lives. They seemed a lively bunch. Two of them - one blond, one dark-haired, were together in almost every photo, their arms slung around each other, both laughing. There was a girl with brown hair who looked a great deal like Tessa, but wasn't Tessa. And then there was Tessa, looking exactly the same, with a gorgeously handsome man in his late twenties. The famous Will Herondale, Emma guessed. And there was a girl, with dark red hair and brown skin, and a serious look. Therew as a golden sword in her hands. Emma recognized it instantly, even without the inscription on the blade: I am Cortana, of the same steel and temper as Joyeuse and Durendal/ Cortana. Whoever the girl was in the photograph, she was a Carstairs. On the back, someone had scrawled what looked like a line from a poem. The wound is the place where the Light enters you. Emma stared at it for a long time.

Inching into the room, it’s clear something is wrong here. There’s a tingling sensation up my legs and back before I can even really focus on the parlor’s details. There are silhouettes of people, but I can see through them. It’s like shadows were cast and left behind to do as they please. Lost in the surreal sight of them for a moment, I inch further into the room without noticing that some were now moving behind me. There is no warning. I’m suddenly in the air, and moving backward rapidly toward the wall. It’s almost a full second before my body registers the actual pain of the blow my stomach just took. Being hit by a car doesn't even compare to this, and I didn't even see it coming. “For a shadow, you hit like a sledgehammer!” The words barely escape before something else slams into the base of my skull embedding most of my upper body in the wall and all but removing my head. These things are like Lucy; the disembodied dead who haven’t moved on. I've never met others that can actually touch things physically, they must be fairly potent. I pull my face out of the hole it had been planted in, letting plaster dust fall, coating my chest and legs like snow. Looking around quickly I try to gauge my surroundings. I can’t see them, but I know they’re there. Is one easy night, without a huge dry-cleaning bill, too much to ask for these days? I only have time to dwell on it a moment before my head is bouncing off the hardwood floor; once, twice, and then a third time in quick succession. Now ‘pick splinters out of my forehead’ can be added to my Saturday night to-do list. Damn it, this is not going as planned.

You are God. You want to make a forest, something to hold the soil, lock up energy, and give off oxygen. Wouldn’t it be simpler just to rough in a slab of chemicals, a green acre of goo? You are a man, a retired railroad worker who makes replicas as a hobby. You decide to make a replica of one tree, the longleaf pine your great-grandfather planted- just a replica- it doesn’t have to work. How are you going to do it? How long do you think you might live, how good is your glue? For one thing, you are going to have to dig a hole and stick your replica trunk halfway to China if you want the thing to stand up. Because you will have to work fairly big; if your replica is too small, you’ll be unable to handle the slender, three-sided needles, affix them in clusters of three in fascicles, and attach those laden fascicles to flexible twigs. The twigs themselves must be covered by “many silvery-white, fringed, long-spreading scales.” Are your pine cones’ scales “thin, flat, rounded at the apex?” When you loose the lashed copper wire trussing the limbs to the trunk, the whole tree collapses like an umbrella. You are a sculptor. You climb a great ladder; you pour grease all over a growing longleaf pine. Next, you build a hollow cylinder around the entire pine…and pour wet plaster over and inside the pine. Now open the walls, split the plaster, saw down the tree, remove it, discard, and your intricate sculpture is ready: this is the shape of part of the air. You are a chloroplast moving in water heaved one hundred feet above ground. Hydrogen, carbon, oxygen, nitrogen in a ring around magnesium…you are evolution; you have only begun to make trees. You are god- are you tired? Finished?

But nothing has ever expressed the general, gut-felt moral revulsion against city-bombing better than a virtually unknown article, from firsthand experience, by America’s most famous writer at the time, Ernest Hemingway, in July 1938. It’s still little known because he wrote it, by request, for the Soviet newspaper Pravda, which published it in Russian; his manuscript in English didn’t surface143 for forty-four years. It conveys in words the same surreal images that Picasso had rendered on canvas the year before. His lead sentence: “During the last fifteen months I saw murder done in Spain by the Fascist invaders. Murder is different from war.” Hemingway was describing what he had seen of fascist bombing of workers’ housing in Barcelona and shelling of civilian cinemagoers in Madrid. You see the murdered children with their twisted legs, their arms that bend in wrong directions, and their plaster powdered faces. You see the women, sometimes unmarked when they die from concussion, their faces grey, green matter running out of their mouths from bursted gall bladders. You see them sometimes looking like bloodied bundles of rags. You see them sometimes blown capriciously into fragments as an insane butcher might sever a carcass. And you hate the Italian and German murderers who do this as you hate no other people. … When they shell the cinema crowds, concentrating on the squares where the people will be coming out at six o’clock, it is murder. … You see a shell hit a queue of women standing in line to buy soap. There are only four women killed but a part of one woman’s torso is driven against a stone wall so that blood is driven into the stone with such force that sandblasting later fails to clean it. The other dead lie like scattered black bundles and the wounded are moaning or screaming.

I remember every detail of it, you insignificant cow,” Morwen panted, affecting a crooked grin that failed to convey the same confidence it had before. “You screamed. You cried and blubbered like a baby before you died.” “It won’t work,” said Jenny. “You can’t rile me anymore.” “No? You should have seen your handsome Howard Carson after our vamp got through with him,” Morwen went on. For all her venom, she looked as though she might pass out at any moment. The trip through the wall had left several gashes along her arms, and her eyes appeared to be having difficulty focusing. “You could barely recognize his butchered corpse in the end,” she hissed. “We pitched what was left into the fire like greasy table scraps.” Jenny did not rise to the bait. She only drifted slowly to a stop, looming over Morwen. Morwen gripped her dark dagger so tightly her knuckles whitened. She lashed out wildly at the specter, but the blade met nothing more substantial than moonlight. The effort cost the nixie her balance, and she collapsed again onto the carpet. “It’s frustrating, isn’t it?” said Jenny calmly. “Not being able to make contact.” She reached down and easily plucked the blade out of Morwen’s grasp. She shifted the weapon from one hand to the other, regarding the dark metal curiously. The solidity of the thing sat at odds with her translucent fingers. Morwen pushed herself up with great difficulty, swaying to an unsteady slouch on one knee. The fight had left the nixie, but not her fury. Her dress was torn and she had plaster ground into her hair. Her voice was hollow. “Just get it over with.” “It is over,” said Jenny. She dropped the blade onto the carpet behind her with a soft thump. Morwen narrowed her eyes. “Don’t waste your pity on me, ghost,” she spat. “I won’t,” said Jenny. “Nor any fear nor fury. I’m done with you, Morwen. My friends, however . . . are not. Mr. Jackaby?” Jackaby stepped forward. He unwound the chain from his hand as he moved around toward Morwen. “Done with me?” Morwen spat. “You only exist because of me, ghost! You’re nothing but a ripple in my wake, you worthless trash. I made you!” “You didn’t make me,” Jenny said gently. “I made myself, and I will continue to make myself forever after. What you did to me? That made you. It made you a murderer and it made you a monster. They buried the girl you killed, Morwen. I’m the spirit you couldn’t kill. You have no power over me.

So, you want to improve your home like you have some knowledge and respect for the endeavor, yes? Very well. First, you need to know the basics associated with it to showcase what type of knowledge you actually have about it. If that is not enough, try reviewing the article listed below to assist you. Home improvement is often a daunting task. This is because of the time and the amounts of money required. However, it doesn't have to be so bad. If you have several projects in your house, divide them up into several smaller DIY projects. For example you may want to redo the entire living room. Start simple, by just replacing the carpet, and before you know it, your living room will be like new. One great way to make the inside of your home sparkle is to put new molding in. New molding helps create a fresh sense in your living space. You can purchase special molding with beautiful carvings on them to add a unique touch of elegance and style to your home. When it comes to home improvement, consider replacing your windows and doors. This not only has a chance of greatly improving the value of the home, but may also severely decrease the amount of money required to keep your house warm and dry. You can also add extra security with new doors and windows. Change your shower curtain once a month. Showering produces excessive humidity in a bathroom that in turn causes shower curtains to develop mold and mildew. To keep your space fresh and healthy, replace your curtains. Don't buy expensive plastic curtains with hard to find designs, and you won't feel bad about replacing it. Sprucing up your walls with art is a great improvement idea, but it doesn't have to be a painting. You can use practically anything for artwork. For instance, a three-dimensional tile works great if you contrast the colors. You can even buy some canvas and a frame and paint colored squares. Anything colorful can work as art. If you are renovating your kitchen but need to spend less money, consider using laminate flooring and countertops. These synthetic options are generally much less expensive than wood, tile, or stone. They are also easier to care for. Many of these products are designed to closely mimic the natural products, so that the difference is only visible on close inspection. New wallpaper can transform a room. Before you add wallpaper, you need to find out what type of wall is under the existing wallpaper. Usually walls are either drywall or plaster smoothed over lath. You can figure out what kind of wall you are dealing with by feeling the wall, plaster is harder, smoother, and colder than drywall. You can also try tapping the wall, drywall sounds hollow while plaster does not. Ah, you have read the aforementioned article, or you wouldn't be down here reading through the conclusion. Well done! That article should have provided you with a proper foundation of what it takes to properly and safely improve your home. If any questions still remain, try reviewing the article again.

Many other inhabitants of the city were similarly afflicted. Every day, more and more people took to saving time, and the more they did so, the more they were copied by others - even by those who had no real desire to join in but felt obligated to. Radio, television, and newspapers daily advertised and extolled the merits of new, time saving gadgets that would one day leave people free to live the 'right' kind of life. Walls and billboards were plastered with posters depicting scenes of happiness and prosperity. The real picture, however, was very different. Admittedly, timesavers were better dressed than the people who lived near the old amphitheater. They earned more money and had more to spend, but they looked tired, disgruntled and sour, and there was an unfriendly light in their eyes. They'd never heard the phrase, "Why not go and see Momo?' nor did they have anyone to listen to them in a way that would make them reasonable or conciliatory, let alone happy. Even had they known such a person, they would have been highly unlikely to pay him or her a visit unless the whole affair could be dealt with in five minutes flat, or they would have considered it a waste of time. In their view, even leisure time had to be used to the full, so as to extract the maximum of entertainment and relaxation with the minimum amount of delay. Whatever the occasion, whether solemn or joyous, timesavers could no longer celebrate it properly. Daydreaming they regarded almost as a criminal offense. What they could endure least of all, however, was silence, for when silence fell they became terrified by the realization of what was happening to their lives. And so, whenever silence threatened to descend, they made a noise. It wasn't a happy sound, of course, like the hubbub in a children's playground, but an angry ill tempered din that grew louder every day. It had ceased to matter that people should enjoy their work and take pride in it; on the contrary, enjoyment merely slowed them down. All that mattered was to get through as much work as possible in the shortest possible time, so notices to the effect were prominently displayed in every factory and office building. They read: TIME IS PRECIOUS - DON'T WASTE IT! or: TIME IS MONEY - SAVE IT! Last but not least, the appearance of the city itself changed more and more. Old buildings were pulled down and replaced with modern ones devoid of all the things that were now through superfluous. No architect troubled to design houses that suited the people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper, and above all, more time saving to make them identical. Huge modern housing developments sprang up on the city's outskirts - endless rows of multi-storied tenements as indistinguishable as peas in a pod. And because all the buildings looked alike, so of course, did the streets. [.....] People never seemed to notice that, by saving time, they were losing something else. No one cared to admit that life was becoming even poorer, bleaker, and more monotonous. The ones who felt this most keenly were the children, because no one had time for them any more. But time is life itself, and life resides in the human heart. And the more people saved, the less they had.

At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

You want me to fuck you?” I leaned down, bringing her face to mine so our noses crushed together. I grabbed the front of her dress, twisting, tightening it against her skin until the fabric began pulling apart and tearing. “You want me to knock you up?” “Yes,” she breathed out. “Yes.” I dropped to the marble, resting my back against the vanity. “Ask nicely.” “Please.” “Nicer.” She crawled toward me on all fours, straddled my lap, and grabbed my hand, bringing it between her legs. Her fingers guided mine into her slick pussy, two of hers joining mine inside her warmth. My lips found her nipple, biting down through her dress. Together, we fucked her cunt down to our knuckles, curling until her walls pulsed. I watched our fingers disappear inside her. She arched her back, trying to accommodate as much of us as she could. Her lips drifted to the shell of my ear. “Please, please, please.” I tore my fingers out of her, ripped her dress down the middle, and captured both sides of her waist, sinking her onto my cock, down to the hilt. Her head fell forward. She bit my shoulder, drawing blood, her hips bucking. She was so tight it felt like I was fucking her ass. Her walls squeezed around me, milking my dick for cum. I let her ride my length until my impatience won over, and I pulled her off me, flipped her over, and lowered her on all fours. The marble was cold and hard against her knees. I love seeing that spoiled little brat take all of my cock, feeling the discomfort of it. My silver-spooned nymph. I entered her from behind. She drove back, meeting each of my thrusts. My fingers curled around her neck and steered her upward until her back plastered against my front. She craned her head around and captured my lips, slipping her tongue past my teeth. Her back arched, fingers dipping between her legs, searching for her clit. I smacked them away, then landed a palm on her ass. “Rom,” she whined. “I need to come.” “What you need is to be fucking grateful.” My blood brought my point home, covering every inch of her back, arms, and tits, matting her hair in clumps. I released her throat and pet the crown of her head, whispering praises into her ear. “Such a good girl.” Words I never thought I’d say. Especially to this particular girl, who was anything but good two hundred percent of the time. “If only you took directions so well when you’re not filled with my cock.” I reached around her and found her clit, rewarding her with a single flick. She cried out and fell forward, on her hands and knees again, pushing onto my cock. More crimson drops splattered onto her back. I’d reopened my wound, and fresh red painted her spine. I dipped a finger into it, then spelled my name across her back dimples. “Who owns your ass?” I growled. “You.” “Louder.” “You.” “Now crawl forward and show me your cunt from behind. I want to see if it’s worth my cum.” With a reluctant moan, she inched away from my cock, writhing about two feet away. She started to turn when I hissed, “I don’t want to see your face, Mrs. Costa. Just the cunt I stole from my enemy.” She spread her thighs apart, exposing her pussy. It dripped on my floor, her juices mixing with my blood, creating a pink puddle at her feet. I stroked my cock, coated with her wetness, scented by the wife I couldn’t get enough of. I grinned, the release tickling my shaft. “Embarrassed?” “No. Empty.” Fuck me sideways. How this woman would ever end up with a wuss like Madison, I had no idea. She would make meatballs out of him before the reception. (Chapter 55)

Had the Pope at Rome the knowledge of what is doing this day in England, and were this covenant written on the plaster of the wall over against him, where he sitteth, Belshazzar-like in his sacrilegious pomp, it would make his heart to tremble, his countenance to change, his head and mitre to shake, his joints to loose, and all his cardinals and prelates to be astonished.