Road To Slim Quotes

I guarantee you I'm not going to forget your voice. We're going to run into each other down the road sometime, and when we do I'm going to pop you apart one rivet at a time." "There's the monster. Hello, monster.

All these scars. The road map of my life. My armor.

To Slim Gaillard the whole world was just one big orooni.

In the East, he then believed, a man went to college not for vocational training but in disciplined search for wisdom and beauty, and nobody over the age of twelve believed that those words were for sissies. In the East, wearing rumpled tweeds and flannels, he could have strolled for hours among ancient elms and clock towers, talking with his friends, and his friends would have been the cream of their generation. The girls of the East were marvelously slim and graceful; they moved with the authority of places like Bennington and Holyoke; they spoke intelligently in low, subtle voices, and they never giggled. On sharp winter evenings you could meet them for cocktails at the Biltmore and take them to the theater, and afterwards, warmed with brandy, they would come with you for a drive to a snowbound New England inn, where they’d slip happily into bed with you under an eiderdown quilt. In the East, when college was over, you could put off going seriously to work until you’d spent a few years in a book-lined bachelor flat, with intervals of European travel, and when you found your true vocation at last it was through a process of informed and unhurried selection; just as when you married at last it was to solemnize the last and best of your many long, sophisticated affairs.

Slim spent a total of 36 years in Boggo Road.). ..He knows what a well-written letter means to a man inside. It means connection, humanity. It means waking up. He’s been writing letters to Boggo Road inmates for years using false names on the envelopes because the screws would never pass a letter on from Arthur “Slim” Halliday, the man who knows how to escape their red brick wall fortress, better than anyone. …

Hugh concentrated upon different objects in the camión; the driver’s small mirror with the legend running round it—Cooperación de la Cruz Roja, the three picture postcards of the Virgin Mary pinned beside it, the two slim vases of marguerites over the dashboard, the gangrened fire extinguisher, the dungaree jacket and whiskbroom under the seat where the pelado was sitting—he watched him as they hit another bad stretch of road. Swaying from side to side with his eyes shut, the man was trying to tuck in his shirt. Now he was methodically buttoning his coat on the wrong buttons. But it struck Hugh all this was merely preparatory, a sort of grotesque toilet.

Chad is a slim blond boy with a strange witch-doctor face that goes with his interest in anthropology and prehistory Indians, His nose beaks softly and almost creamily under a golden flare of hair; he has the beauty and grace of a Western hotshot who’s danced in roadhouses and played a little football. A quavering twang comes out when he speaks.

Yesterday I just felt like eating my ass off so I did. I ate two Chef Boyardee pizzas, a Fifth Avenue candy bar, an entire package of fun size Snickers (that was fun!), several cherry sours (not the entire package, there are still a few left), an apple (apples don’t taste as good as they used to), several Slim Jims, a slice of burnt garlic toast, white cheddar popcorn and microwave popcorn. Today I will drink black coffee, eat a bowl of oatmeal (old school, boiled on the stove but no butter but lots of cinnamon and brown sugar) and dance to various YouTubes. I need to buy a pair of gloves, get my ass to the boxing gym and learn to love protein shakes. Also, I want to run a marathon. Then I want to get a backpack, stuff it with trail mix and the like and take to the road like the chick in that Wild book.

The castle is situated at the terminus of a long and upward-winding mountain road. It presents a somewhat forbidding aspect to the world, for there is little about it to suggest gaiety or warmth or any of those qualities that might assure a wayfarer of welcome. Rather, this vast edifice of stone exudes an austerity, cold and repellent, a hint of ancient mysteries long buried, an effluvium of medieval dankness and decay. At night, and most particularly on nights when the moon is slim or cloud-enshrouded, it is a heavy blot upon the horizon, a shadow only, without feature save for its many-turreted outline; and should the moon be temporarily released from her cloudy confinement, her fugitive rays lend scant comfort, for they but serve to throw the castle into sudden, startling chiaroscuro, its windows fleetingly assuming the appearance of sightless though all-seeing orbs, its portcullis becoming for an instant a gaping mouth, its entire form striking the physical and the mental eye as would the sight of a giant skull.

We crossed the street and turned left into one of the side streets, which was only slightly less wide. Here the traffic was lighter. To the left and slightly in front of us, two men walked shoulder to shoulder. The first wore leather pants, a white shirt with wide sleeves, and a leather vest over it. A wide leather bracer enclosed his left forearm. His hair, a rare blond shade, almost gold, hung in a ponytail down his back. He moved with a casual aristocratic elegance, perfectly balanced. Watching him, you had a feeling that if the road suddenly became a tightrope, he would just keep on walking without breaking a stride. My father moved like that. I sped up a little. We drew even and I saw a slender sword on his waist. That's what I thought. An expert swordsman. I glanced at his face and blinked. He was remarkably handsome. The man to his left was larger, his shoulders broader, his body emanating contained aggression. He didn't walk, he stalked, and you could tell by the way he moved that he would be very strong. His auburn hair looked like he'd rolled out of bed, dragged his hand through it, and gone on about his day. He wore dark pants and a black leather jacket that was more doublet than motorcycle. A ragged scar crossed his left cheek and when he turned his head, his eyes shone with yellow. Interesting. "It's always work with you," the russet-haired man said. "Some of us have to mind the safety of the realm," the blond said. A narrow smile curled his lips. "I've given the realm eight years of my life. It can bite me," his stocky companion retorted. "How far is it?" The slim man raised his left arm. A hawk dropped out of the sky and landed on his bracer. "We're almost there. Two blocks left." "Good. Let's get this crap and go home." They turned into the side street. "That bird smelled dead," Sean said.

and in any case his attention was distracted by another object that was sparkling cheerfully where it lay in the middle of the road. Erast Fandorin did not realize what it was for a moment. The only thought that came to him was that the ground was definitely no place for that. Then he recognized it: a gold ring glittering on the third finger of a slim girl’s arm severed at the elbow. THE FOPPISHLY DRESSED but terribly slovenly young man stumbled along Tverskoi Boulevard with rapid, erratic steps, paying no attention to anyone—expensive crumpled frock coat, dirty white tie, dusty white carnation in his buttonhole.

There was a mystic wraith of fog over the brown water that night, together with dark driftwoods; and across the way New Orleans glowed orange-bright, with a few dark ships at her hem, ghostly fogbound Cereno ships with Spanish balconies and ornamental poops, till you got up close and saw they were just old freighters from Sweden or Panama. The ferry fires glowed in the night; the same Negroes plied the shovel and sang. Old Big Slim Hazard had once worked on the Algiers ferry as a deckhand, that made me think of Mississippi Gene too; and as the river poured down from mid-America by starlight I knew, I knew like mad that everything I had ever known and would ever know was One.

Ancestors To tell the truth, we should not exist. We, not any collective plural, just you and me. Let us use our imaginations to visualize for a moment the circumstances and conditions of the life of our parents, then our grandparents, then great-grandparents, thus further and further back. Even if among them all there happened to be wealthy individuals or men of privilege, the stench and filth in which they lived, as that then was the rule, would have astonished us who use showers and toilets. What was even more certain was among them the presence of starvelings, for whom a piece of dry bread in pre-harvest time meant happiness. Our ancestors died like flies from epidemics, from starvation, from wars, though children swarmed, for every twelve of them only one or two survived. And what strange tribes, what ugly snouts behinds you and me, what bloody rites in honor of gods carved in the trunk of a linden tree! Back to those who are stalking through the undergrowth of a murky primeval forest with chipped stones for their only weapons, in order to split the skulls of their enemies. It would seem as if we had only parents and that's all, but those other pre-pre-predecessors exist, and with them their afflictions, manias, mental illnesses, syphilis, tuberculosis, and whatnot, and how do you know they do not continue on in you? And what was the probability that among the children of your great-great-grandparents the one survived who would beget your ancestor? And what the probability that this would repeat itself in the next generation? Altogether, a very slim chance that we would be born in these skins, as these, not other, individuals, in whom the genes met those of the devil knows what whores and oafs. The very fact that our species survived and even multiplied beyond measure is astonishing, for it had much against it, and the primeval forest full of animals stronger than humans may serve till now as a metaphor for man's precarious situation - let us add viruses, bacteria, earthquakes, volcanic eruptions, floods, but also his own works, atomic weapons and the pollution of nature. Our species should have disappeared a long time ago, and it is still alive, incredibly resistant. That you and I happen to be part of it should be enough to give us pause for meditation.

A Girl's Garden" A neighbor of mine in the village Likes to tell how one spring When she was a girl on the farm, she did A childlike thing. One day she asked her father To give her a garden plot To plant and tend and reap herself, And he said, 'Why not?' In casting about for a corner He thought of an idle bit Of walled-off ground where a shop had stood, And he said, 'Just it.' And he said, 'That ought to make you An ideal one-girl farm, And give you a chance to put some strength On your slim-jim arm.' It was not enough of a garden Her father said, to plow; So she had to work it all by hand, But she don't mind now. She wheeled the dung in a wheelbarrow Along a stretch of road; But she always ran away and left Her not-nice load, And hid from anyone passing. And then she begged the seed. She says she thinks she planted one Of all things but weed. A hill each of potatoes, Radishes, lettuce, peas, Tomatoes, beets, beans, pumpkins, corn, And even fruit trees. And yes, she has long mistrusted That a cider-apple In bearing there today is hers, Or at least may be. Her crop was a miscellany When all was said and done, A little bit of everything, A great deal of none. Now when she sees in the village How village things go, Just when it seems to come in right, She says, 'I know! 'It's as when I was a farmer...' Oh never by way of advice! And she never sins by telling the tale To the same person twice.

One evening in April a thirty-two-year-old woman, unconscious and severely injured, was admitted to the hospital in a provincial town south of Copenhagen. She had a concussion and internal bleeding, her legs and arms were broken in several places, and she had deep lesions in her face. A gas station attendant in a neighboring village, beside the bridge over the highway to Copenhagen, had seen her go the wrong way up the exit and drive at high speed into the oncoming traffic. The first three approaching cars managed to maneuver around her, but about 200 meters after the junction she collided head-on with a truck. The Dutch driver was admitted for observation but released the next day. According to his statement he started to brake a good 100 meters before the crash, while the car seemed to actually increase its speed over the last stretch. The front of the vehicle was totally crushed, part of the radiator was stuck between the road and the truck's bumper, and the woman had to be cut free. The spokesman for emergency services said it was a miracle she had survived. On arrival at the hospital the woman was in very critical condition, and it was twenty-four hours before she was out of serious danger. Her eyes were so badly damaged that she lost her sight. Her name was Lucca. Lucca Montale. Despite the name there was nothing particularly Italian about her appearance. She had auburn hair and green eyes in a narrow face with high cheek-bones. She was slim and fairly tall. It turned out she was Danish, born in Copenhagen. Her husband, Andreas Bark, arrived with their small son while she was still on the operating table. The couple's home was an isolated old farmhouse in the woods seven kilometers from the site of the accident. Andreas Bark told the police he had tried to stop his wife from driving. He thought she had just gone out for a breath of air when he heard the car start. By the time he got outside he saw it disappearing along the road. She had been drinking a lot. They had had a marital disagreement. Those were the words he used; he was not questioned further on that point. Early in the morning, when Lucca Montale was moved from the operating room into intensive care, her husband was still in the waiting room with the sleeping boy's head on his lap. He was looking out at the sky and the dark trees when Robert sat down next to him. Andreas Bark went on staring into the gray morning light with an exhausted, absent gaze. He seemed slightly younger than Robert, in his late thirties. He had dark, wavy hair and a prominent chin, his eyes were narrow and deep-set, and he was wearing a shabby leather jacket. Robert rested his hands on his knees in the green cotton trousers and looked down at the perforations in the leather uppers of his white clogs. He realized he had forgotten to take off his plastic cap after the operation. The thin plastic crackled between his hands. Andreas looked at him and Robert straightened up to meet his gaze. The boy woke.

Finally, he says, “What is the shortest distance between two points?” I look at him in the rearview mirror. “Swordfish.” “Come again?” “It’s a joke from an old movie. What’s the secret password? Swordfish.” “I see. Well, it is not swordfish this time. Would you like to know the answer?” “Sure.” I hit the accelerator. Feel the RPMs rumble from my feet and up into my chest as the Charger tears up the cracked desert road, leaving a gray cloud behind us. The Magistrate takes my Colt and puts one bullet in the chamber. Spins it and slams it shut. Puts the gun to his head and pulls the trigger. Nothing happens. He says, “The answer is death. In nothingness, distance has no meaning.” “But death isn’t nothingness. I’m dead and I’m here now.” He puts the Colt to my head. “Perhaps you are not dead enough.” “I still think ‘swordfish’ is a better answer.” “But you are not the one asking the question.” He pulls the trigger.

I say, “How do I look?” “Like a pail of manure dragged down a bumpy road and dumped into a river of puke,” says a familiar voice from behind me.

I say, “This Nazi Disneyland stuff, it’s too cheap and easy. It’s like something the Kissi would dream up.” That’s hitting below the belt. Calling a Hellion a Kissi is like calling Chuck Norris Joseph Stalin. Buer looks like he wants to stuff the blueprints down my throat with a road flare. Obyzuth and Semyazah look at me like they caught me eating cookies before dinner. Marchosias raises her eyebrows, which is about an inch from her challenging me to a duel at dawn.

But she thought with love of the roads and fields of Way. She thought of Old Iria village, the marshy spring under Iria Hill, the old house on it. She thought about Daisy singing ballads in the kitchen, winter evenings, beating out the time with her wooden clogs; and old Coney in the vineyards with his razor-edge knife, showing her how to prune the vine "right down to the life in it;" and Rose, her Etaudis, whispering charms to ease the pain in a child's broken arm. I have known wise people, she thought. Her mind flinched away from remembering her father, but the motion of the leaves and shadows drew it on. She saw him drunk shouting. She felt his prying, tremulous hands on her. She saw him weeping; sick, shamed; and grief rose up through her body and dissolved, like an ache that melts away in a long stretch of arms. He was less to her than the mother she had not known. She stretched, feeling the ease of her body in the warmth, and her mind drifted back to Ivory. She had had no one in her life to desire. When the young wizard first came riding by so slim and arrogant, she wished she could want him; but she didn't and couldn't, and so she had thought him spell-protected. Rose had explained to her how wizards' spells worked "so that it never enters your head nor theirs, see, because it would take from their power, they say." But Ivory, poor Ivory, had been all too unprotected. If anybody was under a spell of chastity it must have been herself, for charming and handsome as he was she had never been able to feel a thing for him but liking, and her only lust had been to learn what he could teach her.

Gather around the campfire of crimes committed against children, bodies located an hour from home, in a place so remote screams were muffled to those dark stars. It remains a mystery, they say but there is no mystery when someone knows, and others won’t speak, and all that is left of this investigation at one point fit into a slim manila envelope, because detectives of the past did not seek further, did not track down the road of violence for the violated you won’t name suspects. Shame on those that cradle those girl’s cries in their memory. Bookshelves now tell of their suffering

Gradually Lennie's interest came around to what was being said. 'George says we're gonna have alfalfa for the rabbits.' 'What rabbits?' 'We're gonna have rabbits an' a berry patch.' 'You're nuts.' 'We are too. You ast George.' 'You're nuts.' Crooks was scornful. 'I seen hunderds of men come by on the road an' on the ranches, with their bindles on their back an' that same damn thing in their heads. Hunderds of them. They come, an' they quit an' go on; an' every damn one of 'em's got a little piece of land in his head. An' never a God damn one of 'em ever gets it. Just like heaven. Ever'body wants a little piece of lan'. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land. It's just in their head. They're all the time talkin' about it, but it's jus' in their head.' He paused and looked toward the open door, for the horses were moving restlessly and the halter chains clinked. A horse whinnied. 'I guess somebody's out there,' Crooks said. 'Maybe Slim. Slim comes in sometimes two, three times a night. Slim's a real skinner. He looks out for his team.' He pulled himself painfully upright and moved toward the door.

To the river?” he suggested, pointing ahead down the road. The Recorah River, which flowed south out of the Nineyre Mountains before curving to the west, marked both our eastern and southern borders, and was the reason construction of the wall was necessitated only along the boundary we shared with the Kingdom of Sarterad. “Won’t there be patrols?” He shook his head. “One of my duties is to regulate the patrols. I know exactly where they are. So--to the river?” I nodded, and we lined our horses up as best we could, for our mounts had caught our excitement and were straining against their bits. We locked eyes and counted down together. “Three, two, one--” I dug my heels into King’s sides and he sprang almost violently forward. My father had never liked me racing. It was dangerous--the horse could fall, I could drop the reins or lose my seat, and at a full gallop, my chances of survival would be slim. But he had always loved to do it, and so had I. There was such freedom in letting a horse have its head, such joyful abandonment in the feel of the animal’s hooves striking the earth time after time, as fast and as hard as they could go. There was power and exhilaration in leaning forward, moving with the animal, feeling the wind on my cheeks, my hair whipping back. There was a oneness that could not be achieved in any other way, a single purpose represented by the finish line that loomed ahead. King and I had the advantage at the start, and I turned my head to grin at Saadi before giving my full concentration to the task at hand. I would leave him far behind, but there was no point in testing fate. It wasn’t long before my confidence and my lead were challenged--I caught sight of the gelding’s front legs to my left, gaining ground as they arched and reached in beautiful rhythm. We bumped and battled, following the winding road, the horses breathing hard. Then it was Saadi’s turn to grin. He gave me a nod, urging his horse up the slight incline that lay before us, gradually inching ahead until he succeeded in passing me completely as we flew down the other side. Knowing the race would be won or lost on the remaining flat ground from here to the river, I lay low against King’s neck, and the stallion pressed forward, sensing my urgency. Race for Papa, King, I thought. You can win for Papa. The Recorah River spread before us, and both Saadi and I would have to slow soon to avoid surging into it. King’s burst of speed was enough to put us neck-and-neck once more, but my frustration flared, for I doubted we could push ahead. At best, the race would be a tie. And a tie wasn’t good enough, not when King needed to come home with me. Then suddenly I was in front. I glanced over at Saadi in confusion, and saw him check his gelding, letting me win. King did not want to stop, but I pulled him down just before the river, swerving to let him canter, then trot, along its bank. Saadi came alongside me and we halted, dismounting at the same time. I leaned for a moment against my saddle, panting from my own exertion, then slid it off King’s back. Without a word, Saadi likewise stripped his mount, and we freed the horses to go to the water for a drink. Muscles aching, I flopped down on the grass and stared up through the branches of a tree to the graying sky above. A shadow passed over me, then Saadi lay down beside me. “You won,” he said. “You let me.” There was a silence--he hadn’t expected me to know. Then I heard the grass rustle as he shrugged. “You’re right. I did.” Laughing at his candor, I sat up and looked at him. He was relaxing with his arms behind his head, his bronze hair damp and sticking to his forehead.

During the whole of that frozen, dark transit through the glittering, howling autumnal moorlands of the trans-Neptunian wastes, as the ice road hung thin and ragged as funeral curtains beyond the portholes, I had been keeping studiously to myself within the confines of our slim vessel as it passed through that singularly lonesome expanse of darkness and, whilst the blue and ghostly shades of morning at the edge of civilization roused the passengers, drew within site of the melancholy face of Pluto.

I ride the Hog up winding roads into the hinterlands of Benedict Canyon to a Gothic-style mansion right out of a thirties Universal horror movie. Dr. Frankenstein’s summer home, or where a friendly neighbor chains up Lyle Talbot during the full moon. Even the name Lisa Thivierge is living under—Janet Lawton—is a gag: the name of the ingenue in the old Ed Wood movie Bride of the Monster. I like Thivierge already.

Maybe these are a little farther down the road to Candy Land.

There was moonshine, moonshine to quench the devil’s thirst. The law they swore they’d get him, but the devil got him first.’ Robert Mitchum wrote that for Thunder Road, the year of our Lord, 1958.

Life’s greetings Yesterday, it was mildly sunny and life was seeking its usual delights, Rejoicing in human struggles and their feelings of despondency and wretched plights, It moved from one lane to another, one passage to the next and from the road to a new highway, To claim its victims whose number always increased whether it was night or it was day, And as it happened to cross an allay and it ogled at man who happened to be there, She went towards him and into him life sank at that very moment, right there, The man walked briskly clueless about what had happened, Suddenly his emotional senses deepened, And he ran in all directions, from lanes into gullies, from highways to narrow passages, Life had held him in ceaseless array of cages, Fate tossed him around, chance pushed him everywhere, and then serendipity held him somewhere, Until the man was lost in the strifes of life that had possessed him from everywhere, Life was happening right in front him but now it was acting through him, It did not matter whether he was passing through endless highways or gullies slim, Fate played its every trick on him while chance tried its best to make him believe in diabolic energy, He appeared to have lost with his own life that faint sense of synergy, Because life that represented everything was seeking something from this man, He experienced worlds that existed beyond common imagination of any woman or man, But life that stirred a heavock within him, wanted him to believe life was indeed pernicious, But the man kept believing life was indeed beatiful and not so noxious, So he dealt with fate, with chances, with serendipity as well, While he was trying to deal with life that represented everything and had created in him a strife’s bottomless hell, One day he realised it was but a cunning manipulation, where one street led to another, designed to go on forever, And when he decided to observe everything, appreciate all, but follow them all he should never, Because every street led to another lane, that further led to another street, Where life at every turn was waiting in a new desire’s disguise from which he could never retreat, And finally when he had reached the end of the street, that merged with another, He looked around, felt his heartbeat and whispered slowly, “I know visual desires make you seek one after another!” Then the life that had sank into him appeared before him and spoke, “You are the only man who has uncovered this secret, and you shall be the only one who my spell broke, So I grant you my all gifts and I shall be your guide now onwards, and never shall I leave you, Because in you I shall now rest, because the peace I have been seeking for long now, I only find it in you, And for this I shall live in you forever and be yours now and later too, When life doesn't walk on the streets, but there where heavens meet; there too I shall be waiting for you, Because you are the wonder life has never witnessed nor shall it witness ever, And I loved being nestled inside you as your slightly cussed lover, Go now, and seek your every wish, for I grant you the universe, And for you there shall be life waiting not in this verse but in the multi verse!” Since then the streets vanished, only the roads of reality reappeared, And now neither the man nor the life strayed!

When I saw once again the slim, tall women who were swaying in indescribable rhythm, striding over the fields and carrying pitchers free on their heads with arms outstretched, I thought to myself: Nothing in the whole world - neither the most perfect automobile nor the proudest bridge nor the most thoughtful book - can replace this grace which has been lost in the West and is already threatened in the East - this grace which is nothing but an expression of the magic consonance between a human being's Self and the world that surrounds him ...

Any road can be found, guided by thousands of maps, but you can meet one person who just shows you the right direction.

The only stop I make is on a cliff overlooking the Pacific. I throw the road rage pistol far out into the water. Let the fish have it. They have more sense than some people, including me.

Please don't go." Words as unbidden as her presence, and shaken loose by brandy. And the hand he would have used to choke Ian Eversea reached out and landed just above her elbow and closed. Finally stopping her from leaving him. Motionless, they stared at each other, and then they both stared down at his hand, as though it belonged to someone else, had naught to do with them. And then his hand slid slowly up her arm as if it were a road he had no choice but to follow. Up the slim, soft bare skin of her arm. It was so cool, such a silken, heartbreakingly soft path. She tensed beneath his hand. And when it touched her hair lying draped over her shoulder, he exhaled softly. He sank his fingers into it, then drew them slowly, slowly out, in aching wonder. "It's what this night would feel like if I could seize hold of it.

At a light, a guy pulls up next to me and points a pistol in my direction. A little pocket nine-millimeter. Adorable. He road rages at me like a jabbering gorilla. From what I can make out, he doesn’t like my driving skills. Of course, he has a point, but he also has a gun, which makes me apologizing out of the question. Anyway, I’m faster than him. When he pauses to take a breath, I snatch the pistol out of his hand and drop it in my coat pocket. When something like that happens, most sensible people back off and live to scream another day. Not this guy.

the bathroom down the hall, but she couldn’t bring herself to do it, not knowing whom she’d run into and when. Indoor plumbing seemed unnecessary anyway. Getting water from the well and using the outdoor toilet was easy enough. But that shower, now that was a thing of beauty! She took the brush from the cabinet and let loose her single braid, as thick and long as the grasses that stood by the river back home. She shook her head so that her black hair fell loose, then brushed it, slowly and carefully, treating it as if every inch held a story. One stroke and then another, until it was smooth and silky, like the pajamas she slept in. They were different from the ones she wore at home, which she had made for herself. The stitching was too regular, too perfect to have been made by a young woman’s hand. Obviously, they were made by machine, like everything in Kabul. When Sunny had presented the room to her, she had been particularly proud of the full-length mirror that was framed in a shiny dark wood and sat on its own four legs. But Yazmina thought of it as vanity and had turned it away once Sunny had departed. Today, though, she turned it to face her. She put her hands on her stomach, where the life inside was growing with each new day, and looked at herself. She pulled the sleeping gown over her head, removed her undergarments, and there was her body, which she was seeing naked, in full, for the first time in her life. She was slim, her legs long and lean, her right leg still red and scraped from knee to thigh where she had fallen on the pebbled road when she was pushed out of the car. Her arms were slender but muscled from daily chores, still bruised by the rough grip of strong hands. She looked at her breasts, which were larger than usual because of her condition, but nothing like the long, low ones of Halajan, the old busybody who lived next door to the café and had an opinion about everything. Yazmina thought that woman had been sent by God himself to test her patience. No, Yazmina’s breasts were still “as glowing and round as the midnight moon,” as Najam used to tell her. She saddened at the memory of her husband’s face, his kisses and his touch. She would never feel such sweetness again. But she was with his baby. She turned to the side to look at her belly and stroked it with her two hands. She took a deep breath as if the air would give her all she and her baby needed to thrive. This will be my baby, she thought, my Najam, or if a girl, Inshallah, God willing, Najama (for Yazmina was convinced it was a girl, perhaps because it was Najam’s wish to have many children—a son or two, of course, but also a daughter who had the same light in her eyes as Yazmina). Not only would the baby be named after her father, but she would be a star lighting up the night sky, as the name meant. Najam’s seed was part of her, and she would cherish it and die trying to protect it.

The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress - one of the few valid landscapes of our age - he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do - sodomize the Festival Hall? Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man - why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams. Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived. An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting. ‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.

the fourth and fifth of the Major Anthologies. The former is a slim volume consisting of five linked verses, but the latter is a large collection of some four hundred poems (hokku) plus four linked verses and the Essay on the Vision-inhabited House, and it is generally believed that those two anthologies demonstrate the mature style of Bashō (shōfū) at its highest pitch. To quote some poems (hokku) from this period: