Shell Quotes Inside Quotes

I've always found that the most beautiful people, truly beautiful inside and out, are the ones who are quietly unaware of their effect." His eyes searched mine intently, and for a moment we stood there toe to toe. "The ones who throw their beauty around, waste what they have? Their beauty is only passing. It's just a shell hiding nothing but shadows and emptiness.

Chronicler shook his head and Bast gave a frustrated sigh. "How about plays? Have you seen The Ghost and the Goosegirl or The Ha'penny King?" Chronicler frowned. "Is that the one where the king sells his crown to an orphan boy?" Bast nodded. "And the boy becomes a better king than the original. The goosegirl dresses like a countess and everyone is stunned by her grace and charm." He hesitated, struggling to find the words he wanted. "You see, there's a fundamental connection between seeming and being. Every Fae child knows this, but you mortals never seem to see. We understand how dangerous a mask can be. We all become what we pretend to be." Chronicler relaxed a bit, sensing familiar ground. "That's basic psychology. You dress a beggar in fine clothes, people treat him like a noble, and he lives up to their expectations." "That's only the smallest piece of it," Bast said. "The truth is deeper than that. It's..." Bast floundered for a moment. "It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story." Frowning, Chronicler opened his mouth, but Bast held up a hand to stop him. "No, listen. I've got it now. You meet a girl: shy, unassuming. If you tell her she's beautiful, she'll think you're sweet, but she won't believe you. She knows that beauty lies in your beholding." Bast gave a grudging shrug. "And sometimes that's enough." His eyes brightened. "But there's a better way. You show her she is beautiful. You make mirrors of your eyes, prayers of your hands against her body. It is hard, very hard, but when she truly believes you..." Bast gestured excitedly. "Suddenly the story she tells herself in her own head changes. She transforms. She isn't seen as beautiful. She is beautiful, seen." "What the hell is that supposed to mean?" Chronicler snapped. "You're just spouting nonsense now." "I'm spouting too much sense for you to understand," Bast said testily. "But you're close enough to see my point.

Wave to the nice tourists, Sparkle. I promise it won't cause pestilence and firestorms." Elena bit the inside of her cheek at Aodhan's glare-she'd never seen anyone crack his reserved shell. "Sparkle and Bluebell, nice." "Never," Aodhan said, hands stubbornly on the girder, "ever repeat that. Illium seems to have forgotten I promised to separate his tongue from his mouth should he utter it again in this immortal lifetime.

I think people are like that. When you really look at them, you stop seeing a perfect nose or straigt teeth. You stop seeing the acne scar or the dimple in the chin. Those things start to blur, and suddenly you see them, the colors, the life inside the shell, and beauty takes on a whole new meaning." Fern didn't look away from the sky as she talked, and Ambrose let his eyes linger on her profile. She wasn't talking about him. She was just being thoughtful, pondering life's ironies. She was just being Fern.

Perhaps, deep down inside that rugged shell of yours, there is a little girl desperately waiting for her Prince Charming to propose." "Of course there is. Only until now, I'd been pretty successful at keeping that little brat's mouth shut.

Love is like a cocoon—like a coconut shell with the outer hardened husk that protects us from all external harms because of its high resistance to abrasion and the soft white inside core, full of flesh that envelops us with its softened, fragrant nutrients.

But I go back down near the water with Steppa to look for treasure. We find a white shell like a snail, but when I curl my finger inside, he's gone out. "Keep it," say Steppa. "But what about when he comes home?

Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever "truer." The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to "landscape" the virtual past. (He who pays the historian calls the tune.) Symmetry demands an actual + virtual future too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? One model of time: an infinite matryoshka doll of painted moments, each "shell" (the present) encased inside a nest of "shells" (previous presents) I call the actual past but which we perceive as the virtual past. The doll of "now"likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future.

What's wrong with men?" Tenar inquired cautiously. As cautiously, lowering her voice, Moss replied, "I don't know, my dearie. I've thought on it. Often I've thought on it. The best I can say it is like this. A man's in his skin, see, like a nut in its shell." She held up her long, bent, wet fingers as if holding a walnut. "It's hard and strong, that shell, and it's all full of him. Full of grand man-meat, man-self. And that's all. That's all there is. It's all him and nothing else, inside.

Humans are strange things. They have sex with each other; but are too ashamed to say sorry to one another, they see what they have when they've lost what they have; but not while they have it, they are the most proud on the outside during the times they are the most insecure on the inside, and they would rather die manipulating others than be brave enough to be honest. They can't even look in the mirror properly. All they see are their shells in the mirror; nothing else.

Repotting a plant gives it space to grow. Repotting ourselves means taking leave of our everyday environments and walking into unfamiliar territory—of the heart, of the mind and of the spirit. It isn’t easy. The older we get, the more likely we are to have remained in the same place for some time. We stay because it’s secure. We know the boundaries and, inside of them, we feel safe. Our roots cling to the walls we have long known. But remaining inside can keep us from thriving. Indeed, without new experiences or ideas, we slowly grow more and more tightly bound, eventually turning into less vibrant versions of who we might have been. Repotting means accepting that the way is forward, not back. It means realizing that we won’t again fit into our old shells. But that’s not failure. That’s living.

His pink fingers found the shell around my neck, touched it softly. He lifted it and saw the scar. His brow furrowed. He whispered, "Is your voice inside the shell?" I smiled a little sadly. "That's okay," he said. "We don't have to talk to be friends.

Perhaps we are all shells; but some of us have found the pearls inside, and this makes all the difference!

Nearly a Valediction" You happened to me. I was happened to like an abandoned building by a bull- dozer, like the van that missed my skull happened a two-inch gash across my chin. You were as deep down as I’ve ever been. You were inside me like my pulse. A new- born flailing toward maternal heartbeat through the shock of cold and glare: when you were gone, swaddled in strange air I was that alone again, inventing life left after you. I don’t want to remember you as that four o’clock in the morning eight months long after you happened to me like a wrong number at midnight that blew up the phone bill to an astronomical unknown quantity in a foreign currency. The U.S. dollar dived since you happened to me. You’ve grown into your skin since then; you’ve grown into the space you measure with someone you can love back without a caveat. While I love somebody I learn to live with through the downpulled winter days’ routine wakings and sleepings, half-and-half caffeine- assisted mornings, laundry, stock-pots, dust- balls in the hallway, lists instead of longing, trust that what comes next comes after what came first. She’ll never be a story I make up. You were the one I didn’t know where to stop. If I had blamed you, now I could forgive you, but what made my cold hand, back in prox- imity to your hair, your mouth, your mind, want where it no way ought to be, defined by where it was, and was and was until the whole globed swelling liquefied and spilled through one cheek’s nap, a syllable, a tear, was never blame, whatever I wished it were. You were the weather in my neighborhood. You were the epic in the episode. You were the year poised on the equinox.

Mama reminds me of a Dilly Bar from the Dairy Queen, like there's only a thin shell covering what's melting inside." - thought by Grace when her mother suffers from the "baby blues

am happy. I am healthy. I am a miracle. I am renewing my strength. I helped someone today, and if I crawl into my shell, I have to remind myself, how can I help someone else without helping myself? Life is great, why not enjoy it while you can?

You can live for a long time inside the shell you were born in. But one day it'll become too small." "Then what?" I ask. "Well, then you'll have to find a larger shell to live in." I consider this for a moment. "What if it's too small but you still want to live there?" She sighs. "Gracious, child, what a question. I suppose you'll either have to be brave and find a new home or you'll have to live inside a broken shell.

No one noticed Witch Baby as she went back inside the cottage, into the room she and Cherokee shared. Cherokee's side of the room was filled with feathers, crystals, butterfly wings, rocks, shells and dried flowers. there was a small tepee that Coyote had helped Cherokee make. The walls on Witch Baby's side of the room were covered with newspaper clippings - nuclear accidents, violence, poverty and disease. Every night, before she went to bed, Witch Baby cut out three articles or pictures with a pair of toenail scissors and taped them to the wall. they make Cherokee cry. "Why do you want to have those up there?" Weetzie asked. "You'll both have nightmares.

A writer's greatest pain is reading his own words that once meant everything but as time slid, became a hollow shell of what they used to be. It is like watching your babies blooming and then withering to death in your lifetime. You still love them but the pain outweighs that love until both fade slowly into forgotten memories. You move on but every once in a while something evokes your words, your babies, unburies them from a supposedly forgotten past. And everytime, your insides scream from agony, begging your heart to let go. "I can't", the heart whispers but "I'll share the pain", he adds.

Tell me you don't feel it then, the fluttering in your chest; the hair on the nape of your neck rising as your nerve endings stir, your fingers tingling with the need to reach out and caress something." His eyes raked down her form. "Tell me your body doesn't ache at the mere thought of me between your thighs, on top of you, inside of you, giving you what my brother never could - real feeling, the kind of feeling that makes you scream so loud your throat feels like it's bleeding. Agonizing pleasure, the kind that torments your every thought, driving you to the brink of insanity only to pull you right back from the edge, over and over and over again. Unbearable pleasure, the kind that makes you beg for it to stop, but the moment it's over, you feel like nothing but an empty, useless shell - a shell that needs more.

I hope I’m being clear, I didn’t say I hate feminists, that would be weird. I said I hate feminist. I’m talking about the word. I have the privilege living my life inside of words and part of being a writer is creating entire universes, and that's beautiful, but part of being a writer is also living in the very smallest part of every word. ...But the word feminist, it doesn't sit with me, it doesn't add up. I want to talk about my problem that I have with it. ...Ist in it's meaning is also a problem for me. Because you can't be born an ist. It's not natural... So feminist includes the idea that believing men and women to be equal, believing all people to be people, is not a natural state. That we don't emerge assuming that everybody in the human race is a human, that the idea of equality is just an idea that's imposed on us. That we are indoctrinated with it, that it's an agenda... ...My problem with feminist is not the word. It's the question. "Are you now, or have you ever been, a feminist?" The great Katy Perry once said—I'm paraphrasing—"I'm not a feminist but I like it when women are strong."...Don't know why she feels the need to say the first part, but listening to the word and thinking about it, I realize I do understand. This question that lies before us is one that should lie behind us. The word is problematic for me because there's another word that we're missing... ...When you say racist, you are saying that is a negative thing. That is a line that we have crossed. Anything on the side of that line is shameful, is on the wrong side of history. And that is a line that we have crossed in terms of gender but we don't have the word for it... ...I start thinking about the fact that we have this word when we're thinking about race that says we have evolved beyond something and we don't really have this word for gender. Now you could argue sexism, but I'd say that's a little specific. People feel removed from sexism. ‘I'm not a sexist, but I'm not a feminist.' They think there's this fuzzy middle ground. There's no fuzzy middle ground. You either believe that women are people or you don't. It's that simple. ...You don’t have to hate someone to destroy them. You just have to not get it. ...My pitch is this word. ‘Genderist.’ I would like this word to become the new racist. I would like a word that says there was a shameful past before we realized that all people were created equal. And we are past that. And every evolved human being who is intelligent and educated and compassionate and to say I don't believe that is unacceptable. And Katy Perry won't say, "I'm not a feminist but I like strong women," she'll say, "I'm not a genderist but sometimes I like to dress up pretty." And that'll be fine. ...This is how we understand society. The word racism didn't end racism, it contextualized it in a way that we still haven't done with this issue. ...I say with gratitude but enormous sadness, we will never not be fighting. And I say to everybody on the other side of that line who believe that women are to be bought and trafficked or ignored...we will never not be fighting. We will go on, we will always work this issue until it doesn't need to be worked anymore. ...Is this idea of genderist going to do something? I don't know. I don't think that I can change the world. I just want to punch it up a little.

My grandma always had chocolate-covered cherries," D said, his tone curled at the edges, like he'd surprised himself with the memory. Jack slid up a little so he could watch D's face. "Usedta love them things. The way they'd kinda burst open when ya bit 'em, and that syrupy stuff inside, then the cherry. I'd bite off one side a the shell real careful-like, so none a the syrup spilled, then suck all the gooey out, then fish out the cherry with my tongue, then I'd just have the chocolate shell left and I'd nibble on it 'til it was gone. She'd only let me have one or two so I hadta make 'em last." He glanced at Jack, who was just staring at him, his mouth open. "What?" "That is the sexiest thing I've ever heard." D flushed and fidgeted. "Aw, hell." "Seriously. Ask me how much I want to go get some chocolate-covered cherries right now just so I can watch you eat them.

A tree is a seed that refused to die inside its shell.

I knew i was cold. But no one had ever cared enough to point it out. Not that Everett cared. He didn't. He couldn't. I was a shell. Hard on the outside, empty on the inside" - Parker

PEACHES" I imagine even peaches have bad days, their fuzzy bodies plucked before their prime and left to rot on a kitchen tray, their pudgy meat soft to the touch-tattoo of my finger checking for a pulse—nothing. Tia Marisol spends her days at the stove stirring chicken broth into a copper pot; a flowered apron hugs her waist. There is no more talk about a lover coming to take her north. These days she keeps to herself, a seed inside a green-peach shell, hard, bitter and tart.

Your True Self is who you objectively are from the beginning, in the mind and heart of God, "the face you had before you were born," as the Zen masters say. It is your substantial self, your absolute identify, which can never be gained nor lost by any technique, group affiliation, morality, or formula whatsoever. The surrendering of our false self, which we have usually taken for our absolute identity, yet is merely a relative identity, is the necessary suffering needed to find "the pearl of great price" that is always hidden inside this lovely but passing shell.

Home again I swiftly glide Back to my beautiful bride She'll not feel so rotten As soon as she's gotten Some cider inside her inside ‘Oh poor Mrs Badger, he cried, So hungry she very near died. But she’ll not feel so hollow If only she’ll swallow Some cider inside her inside.’" ---Fantastic Mr. Fox, Ronald Dhal

And you could pick up the egg. And the little duckling inside had maybe just busted a very small hole in the shell, and you could whistle, just a peep-peep-peep at the egg, and the little duckling inside would whistle back at you. That was a big moment for me. " --- Ray Norgaard, Minnesota Department of Natural Resources

Betty once had self-image problems, but she overcame them. A Morninglight poster decorates her wall. Much-read pamphlets sit in her bathroom. Philip Marquard's audio book on self-actualisation plays in her earphones. Fresh signatures fill the forms on her clipboard. Bottles of Morninglight dietary supplements and nutrient pills fill her medicine cabinet. By her bed is an autographed picture of Philip Marquard, the one she secretly kisses before going to sleep. Every night she dreams of freeing herself from her mortal shell and ascending into the cosmos to soar with the whale-mollusc gods. There are new recruits chained to Betty's walls. She has their signatures. They tested as having self-image problems, as she once had. Smiling, she tells them they are all beautiful. She opens them with a knife, shows them the beauty inside. "Look!" she says, tears streaming. "We are all made of stars!" Then she practises eating stars, waiting for enlightenment to take hold.

OK, I guess that's all beside the point,"Oshima continues. "I'm not crazy about the container I'm in, that's for sure. How could I be - this crummy piece of work? It's pretty inconvenient, I can tell you. Still, inside here, this is what I think: if we reverse the outer shell and the inner essence - in other words, consider the outer shell the essence and the essence only the shell - our lives might be a whole lot easier to understand.

Pedro, the Guardia, asked him if he could inspect the inside of his van because hundreds of very expensive ham legs had been stolen recently and the robbery perpetrated by a gang of men dressed as priests ‒ how do you say, monks. Danny felt the beads of sweat trickle down his back as he slid open the door. Along the side was a clothes rack with different costumes hung on hangers. He couldn't actually remember when he'd last cleaned the van out, hadn't the front to admit to such slovenliness. Pedro the cop lifted off a cassock. "I use that for my work." Pedro put his hand on the van and poked his nose in, sniffed and backed his face away and looked at his hand covered in sticky egg yolk and shell. "It's for the wash," continued Danny, fighting a smirk. Pedro pointed at his eyes with his fingers and then at Danny's to indicate, I'm watching you. Danny reluctantly handed the cash over to the cop. They ambled off as he watched his money scrunch into his pocket. Danny slumped at the bar, deflated.

After they buy their tickets, Emma pulls him to the concession line. "Galen, do you mind?" she says, drawing a distracting circle on his arm with her finger, sending fire pretty much everywhere inside him. He recognizes the mischief in her eyes but not the particular game she's playing. "Get whatever you want, Emma," he tells her. With a coy smile, she orders seventy-five dollars worth of candy, soda, and popcorn. By the cashier's expression, seventy-five dollars must be a lot. If the game is to spend all his money, she'll be disappointed. He brought enough cash for five more armfuls of this junk. He helps Emma carry two large fountain drinks, two buckets of popcorn and four boxes of candy to the top row of the half-full theater. When she's situated in her seat, she tears into a box and dumps the contents in her hand. "Look, sweet lips, I got your favorite, Lemonheads!" Sweet lips? What the- Before he can turn away, she forces three of them into his mouth. His instant pucker elicits an evil snicker from her. She pops a straw into one of the cups and hands it to him. "Better drink this," she whispers. "To take the bite out of the candy." He should have known better. The drink is so full of bubbles it turns clear up to his nostrils. Pride keeps him from coughing. Pride, and the Lemonhead lodged in his throat. Several more heaping gulps and he gets it down. After a few minutes, a sample of greasy popcorn, and the rest of the soda, the lights finally dim, giving Galen a reprieve. While Emma is engrossed in what she calls "stupid previews," Galen excuses himself to vomit in the bathroom. Emma wins this round.

But Jesus could see inside people. And inside, in their hearts, Jesus saw that they did not love God or other people. They were running away from God, and they thought they didn't need a rescuer. They thought they were good enough because they kept the rules. But sin had stopped their hearts from working properly. And their hearts were hard and cold. "This woman knows she's a sinner," Jesus told them. "She knows she'll never be good enough. She knows she needs me to rescue her. That's why she loves me so much. You look down on this woman because you don't look up to God. She is sinful on the outside-but you are sinful on the inside.

-did you just ask something?" "I asked if you can undress any faster." Evie huffed with a mixture of amusement and exasperation. "No, I can't. There are too many b-buttons, and they're very small." "What a pity. Because in thirty seconds, I'm going to rip away whatever clothing you have left." Evie knew full well not to take the threat lightly- he'd done it before, on more than one occasion. "Sebastian, no. I like this dress." Her husband's eyes glinted with devilish humor as he watched her increasingly frantic efforts. "No dress is as beautiful as your naked skin. All those sweet freckles scattered over you, like a thousand tiny angel kisses... you have twenty seconds left, by the way." "You don't even h-have a clock," she complained. "I'm counting by heartbeats. You'd better hurry, love." Evie glanced anxiously down at the row of pearl buttons, which seem to have multiplied. With a defeated sigh, she dropped her arms to her sides. "Just go on and rip it off," she mumbled. She heard his silky laugh, and a sluice of water. He stood with streams runneling over the sleek, muscled contours of his body, and Evie gasped as she was pulled into a steaming embrace. His amused voice curled inside the sensitive shell of her ear. "My poor little put-upon wife. Let me help you. I have a way with buttons...

After All This" After all this love, after the birds rip like scissors through the morning sky, after we leave, when the empty bed appears like a collapsed galaxy, or the wake of disturbed air behind a plane, after that, as the wind turns to stone, as the leaves shriek, you are still breathing inside my own breath. The lighthouse on the far point still sweeps away the darkness with the brush of an arm. The tides inside your heart still pull me towards you. After all this, what are these words but mollusk shells a child plays with? What could say more than the eloquence of last night’s constellations? or the storm anchored by its own flashes behind the far mountains? I remember the way your body wavers under my touch like the northern lights. After all this, I want the certainty of hidden roots spreading in all directions from their tree. I want to hear again the sky tangled in your voice. Some nights I can hear the footsteps of the stars. How can these words ever reveal the secret that waits in their sleeping light? The words that walk through my mind say only what has already passed. Beyond, the swallows are still knitting the wind. After a while, the smokebush will turn to fire. After a while, the thin moon will grow like a tear in a curtain. Under it, a small boy kicks a ball against the wall of a burned out house. He is too young to remember the war. He hardly knows the emptiness that kindles around him. He can speak the language of early birds outside our window. Someday he will know this kind of love that changes the color of the sky, and frees the earth from its moorings. Sometimes I kiss your eyes to see beyond what I can imagine. Sometimes I think I can speak the language of unborn stars. I think the whole earth breathes with you. After all this, these words are all I have to say what is impossible to think, what shy dreams hide in the rafters of my heart, because these words are only a form of touch, only tell you I have no life that isn’t yours, and no death you couldn’t turn into a life.

I believe that I have not been fair to you and that, as a result, I must have led you around in circles and hurt you deeply. In doing so, however, I have led myself around in circles and hurt myself just as deeply. I say this not as an excuse or a means of self-justification but because it is true. If I have left a wound inside you, it is not just your wound but mine as well. So please try not to hate me. I am a flawed human being - a far more flawed being than you realize. Which is precisely why I do not want you to hate me. Because if you were to do that, I would really go to pieces. I can't do what you can do: I can't slip inside my shell and wait for things to pass. I don't know for a fact that you are really like that, but sometimes you give me that impression. I often envy that in you, which may be why I led you around in circles so much. This may be an over-analytical way of looking at things. Don't you agree? The therapy they perform here is certainly not over-analytical, but when you are under treatment for several months the way I am here, like it or not, you become more or less analytical. "This was caused by that, and that means this, because of which such-and-such." Like that. I can't tell whether this kind of analysis is trying to simplify the world or complicate it. In any case, I myself feel that I am far closer to recovery than I once was, and people here tell me this is true. This is the first time in a long while I have been able to sit down and calmly write a letter. The one I wrote you in July was something I had to squeeze out of me (though, to tell the truth, I don't remember what I wrote - was it terrible?), but this time I am very calm. How wonderful it is to be able to write someone a letter! To feel like conveying your thoughts to a person, to sit at your desk and pick up a pen, to put your thoughts into words like this is truly marvellous. Of course, once I do put them to words, I find I can only express a fraction of what I want to say, but that's all right. I'm happy just to be able to feel I want to write to someone. And so I am writing to you.

Their cook at Badenoch was a crotchety old lady who hadn't tried a new recipe in decades. "Dinna tell Mrs. MacGuff that or she'll put a spider in your tea." "Try it and tell me 'tis not worth the risk." He tore off a corner of the bridie and lifted the bite to Katherine's lips. It fairly melted on her tongue. In addition to the crusty pasty, a unique mix of spices seasoned the savory meat inside, a burst of sensations for her mouth. "Och, you're right. This is worth braving a spider. I'll get Cook to show me how she makes these, and then Mrs. MacGuff will either learn from me or she'll have to suffer my presence in her kitchen from time to time. And we know how she loves that!" "So," he said smugly, his dark eyes alight with triumph, "ye do intend to come home with me after Christmas, then.

Witnessing the panoply of beauty in all of nature takes us out of our shell of self-absorption and makes us realize that we are merely bit players in the game of life. Witnessing the majesty of beauty confirms that the real show lies outside us to observe and appreciate and not inside us to transfix us. True beauty charms us into seeing the grandeur of goodness that surrounds us and by doing so, the pristine splendor of nature releases us from wallowing in the poverty of our self-idealization. The bewitching spell cast by the exquisiteness of nature levitates our souls and transforms our psyche. When we see, hear, taste, smell, or touch what is beautiful, we cannot suppress the urge to replicate its baffling texture by singing, dancing, painting, or writing. Opening our eye to the loveliness of a single flower is how we stay in touch with the glorious pageantry of living.

I want her, bro. Not only for me, but because I think she has the best chance against these terrorists we're hunting." Tony placed a hand on his brother's shoulder. "She's a vampire, Deryn. And not just any vampire. Weldon Harper calls her Pack and she's a member of the Sacramento Pack, too. Now do you know who I'm talking about?" Deryn's eyes widened as he stared at his brother. Now he knew why they were out in the middle of the English countryside in the dark. They wouldn't find a vampire awake during the daytime and it would be dangerous to move one anyway, during that time. No wonder he'd seen a body bag in the trunk of the rental Tony was driving. "Bro, you can't be serious; we can't kidnap a vampire—they'd shred us. And if it's the one dad was telling mom and me about, she'd really shred us." Deryn figured he would have to convince Tony to forget this mission. "All we need to do is find where she is, just before dawn. Then, when she falls asleep, we'll just take her with us. I don't think she'll hurt us, she's not that way," Tony said, climbing inside the car.

We eat spaghetti all' amatriciana, with a sauce of guanciale, which is the pig's" ---he ran his finger down her cheek, briefly, a touch so fleeting she was hardly aware it had happened---"this part of the pig's face. We fry it in olive oil with a little chile, some tomatoes, and of course some grated pecorino romano, hard cheese. Or if you don't want spaghetti, you could have bucatini, or calscioni, or fettuccine, or pappardelle, or tagliolini, or rigatoni, or linguine, or garganelli, or tonnarelli, or fusilli, or conchiglie, or vermicelli, or maccheroni, but---" he held up a warning finger---"each of them demands a different kind of sauce. For example, an oily sauce goes with dried pasta, but a butter sauce goes better with fresh. Take fusilli." He held up a packet to show her. "People say this pasta was designed by Leonardo da Vinci himself. The spiral fins carry the maximum amount of sauce relative to the surface area, you see? But it only works with a thick, heavy sauce that can cling to the grooves. Conchiglie, on the other hand, is like a shell, so it holds a thin, liquid sauce inside it perfectly.

Ah! This isn't raw egg at all! The egg white is actually a thinned seawater gelée (jelly)... ... and the yolk is salmon roe firmed in a gelatin! The salmon roe pop crisply, filling the mouth with a rich saltiness... ... that is wrapped up in the mild smoothness of the gelée!" "Oh! This looks like it's just a hard-boiled egg... but the egg white is really a white asparagus mousse! And the yolk is hollandaise sauce made from real egg yolks! The heavy richness of the hollandaise is perfectly balanced with the mild bitterness of the asparagus for an exquisite flavor!" "Then what is this? It looks like an egg in its shell...." "Oh, this?" "She punctured it!" "It's a milkshake. You drink it through the straw, like this. Once I removed the inside of the egg, I filled it with a milkshake made with milk, eggs and caramel." "Mm!It's delicious! Its mellow sweetness and clean aftertaste bring to mind the freshness of an early morning!" "And that is everything! All together, I call it... ..."The Three-Faces of-an-Egg Breakfast."" What an utterly surprising dish! Each piece has an exquisite taste completely unlike what you would expect! On this one plate... ... are miniature representations of... ... the flavors of the ocean, the forest and the earth

You're in there somewhere." He tapped at her collarbone. "You'll pop out again when-Well,when the time is right. But for now,you've slipped entirely inside your past. Like a cute little turtle in a borrowed shell.Except it's more than that.When you're in Lys's body, your very beings are entwined, so all sorts of good stuff comes with the package.Her memories,her passions,her manners-lucky for you.Of course,you also have to grapple with her shortcomings.This one,if I recall,puts her foot in her mouth with some regularity.So watch out." "Amazing," Luce whispered. "So if I could just find Daniel,I'd be able to feel exactly what she feels toward him." "Sure,I guess,but you do realize that once I snap my fingers,Lys has obligations at this ball that don't include Daniel.This isn't really his scene,and by that I mean,no way the guards would let a poor stable boy in here." Luce didn't care about any of that. Poor stable boy or not,she would find him. She couldn't wait. Inside Lys's body she could even hold him, maybe even kiss him.The anticipation of it was almost overwhelming. "Hello?" Bill flicked a hard finger against her temple. "You ready yet? Get in there,see what you can see-then get out while the getting's good, if you know what I mean." Luce nodded.She straightened Lsys's black gown and held her head a little higher. "Snap to it." "And...go." Bill snapped his fingers.

Simple Twist Of Fate" They sat together in the park As the evening sky grew dark She looked at him and he felt a spark tingle to his bones It was then he felt alone and wished that he'd gone straight And watched out for a simple twist of fate. They walked alone by the old canal A little confused I remember well And stopped into a strange hotel with a neon burning bright He felt the heat of the night hit him like a freight train Moving with a simple twist of fate. A saxophone someplace far off played As she was walking on by the arcade As the light bust through a-beat-up shade where he was waking up She dropped a coin into the cup of a blind man at the gate And forgot about a simple twist of fate. He woke up the room was bare He didn't see her anywhere He told himself he didn't care pushed the window open wide Felt an emptiness inside to which he just could not relate Brought on by a simple twist of fate. He hears the ticking of the clocks And walks along with a parrot that talks Hunts her down by the waterfront docks where the sailers all come in Maybe she'll pick him out again how long must he wait One more time for a simple twist of fate. People tell me it's a sin To know and feel too much within I still believe she was my twin but I lost the ring She was born in spring but I was born too late Blame it on a simple twist of fate. Bob Dylan, Blood On The Tracks (1975)

A strange structure untangled itself out of the background like a hallucination, not part of the natural landscape. It was a funny-shaped, almost spherical, green podlike thing woven from living branches of trees and vines. A trellis of vines hung down over the opening that served as a door. Wendy was so delighted tears sprang to her eyes. It was her Imaginary House! They all had them. Michael wanted his to be like a ship with views of the sea. John had wanted to live like a nomad on the steppes. And Wendy... Wendy had wanted something that was part of the natural world itself. She tentatively stepped forward, almost swooning at the heavy scent of the door flowers. Languorously lighting on them were a few scissorflies, silver and almost perfectly translucent in the glittery sunlight. Their sharp wings made little snickety noises as they fluttered off. Her shadow made a few half-hearted attempts to drag back, pointing to the jungle. But Wendy ignored her, stepping into the hut. She was immediately knocked over by a mad, barking thing that leapt at her from the darkness of the shelter. "Luna!" Wendy cried in joy. The wolf pup, which she had rescued in one of her earliest stories, stood triumphantly on her chest, drooling very visceral, very stinky dog spit onto her face. "Oh, Luna! You're real!" Wendy hugged the gray-and-white pup as tightly as she could, and it didn't let out a single protest yelp. Although... "You're a bit bigger than I imagined," Wendy said thoughtfully, sitting up. "I thought you were a puppy." Indeed, the wolf was approaching formidable size, although she was obviously not yet quite full-grown and still had large puppy paws. She was at least four stone and her coat was thick and fluffy. Yet she pranced back and forth like a child, not circling with the sly lope Wendy imagined adult wolves used. You're not a stupid little lapdog, are you?" Wendy whispered, nuzzling her face into the wolf's fur. Luna chuffed happily and gave her a big wet sloppy lick across the cheek. "Let's see what's inside the house!" As the cool interior embraced her, she felt a strange shudder of relief and... welcome was the only way she could describe it. She was home. The interior was small and cozy; plaited sweet-smelling rush mats softened the floor. The rounded walls made shelves difficult, so macramé ropes hung from the ceiling, cradling halved logs or flat stones that displayed pretty pebbles, several beautiful eggs, and what looked like a teacup made from a coconut. A lantern assembled from translucent pearly shells sat atop a real cherry writing desk, intricately carved and entirely out of place with the rest of the interior. Wendy picked up one of the pretty pebbles in wonder, turning it this way and that before putting it into her pocket. "This is... me..." she breathed. She had never been there before, but it felt so secure and so right that it couldn't have been anything but her home. Her real home. Here there was no slight tension on her back as she waited for footsteps to intrude, for reality to wake her from her dreams; there was nothing here to remind her of previous days, sad or happy ones. There were no windows looking out at the gray world of London. There was just peace, and the scent of the mats, and the quiet droning of insects and waves outside. "Never Land is a... mishmash of us. Of me," she said slowly. "It's what we imagine and dream of- including the dreams we can't quite remember.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

Six or seven minutes past 2 P.M. on September 11, 1973, an infiltration patrol of the San Bemardo Infantry School commanded by Captain Roberto Garrido burst into the second floor of the Chilean Presidential Palace, Santiago's Palacio de La Moneda. Charging up the main staircase and covering themselves with spurts from their FAL machine guns, the patrol advanced to the entrance of the Salon Rojo, the state reception hall. Inside, through dense smoke coming from fires elsewhere in the building and from the explosion of tear gas bombs, grenades, and shells from Sherman tank cannons, the patrol captain saw a band of civilians braced to defend themselves with submachine guns. In a reflex action, Captain Garrido loosed a short burst from his weapon. One of his three bullets struck a civilian in the stomach. A soldier in Garrido's patrol imitated his commander, wounding the same man in the abdomen. As the man writhed on the floor in agony, Garrido suddenly realized who he was: Salvador Allende. "We shit on the President!" he shouted. There was more machine-gun fire from Garrido's patrol. Allende was riddled with bullets. As he slumped back dead, a second group of civilian defenders broke into the Salon Rojo from a side door. Their gunfire drove back Garrido and his patrol, who fled down the main staircase to the safety of the first floor, which the rebel troops had occupied.
 Some of the civilians returned to the Salon Rojo to see what could be done. Among them was Dr. Enrique Paris, a psychiatrist and President Allende's personal doctor. He leaned over the body, which showed the points of impact of at least six shots in the abdomen and lower stomach region. After taking Allende's pulse, he signaled that the President was dead. Someone, out of nowhere, appeared with a Chilean flag, and Enrique Paris covered the body with it.

What a wonderful crunch! And yet the char's meat was still hot and deliciously juicy! The breading perfectly contained inside its protective shell the savory flavor of the fish! The Kaki no Tane Crackers came already seasoned... ... so the breading itself had a solid, delicious taste. And the dipping sauce is perfect! The Ki no Me mixed with Tamago no Moto is wonderfully light and fluffy!" *Ki no Me: The young leaves of the Japanese pepper plant. Clapping one in your palm crushes the leaf's cells, releasing a distinctive scent.* TAMAGO NO MOTO. Mayonnaise without the vinegar, it is simply egg yolks and vegetable oil whisked into a creamy consistency. It's often used to bring ingredients together or to add flavor to a dish. Some salt and minced Ki no Me adds an overall refreshing taste to the fish... ... erasing any oiliness and giving it a refined flavor. "That wonderfully smooth creaminess hiding between the crispy crunchiness of the breading really spurs the appetite! The breaded and deep-fried mountain vegetables on the side cannot be ignored, either. They provide an eye-pleasing contrast when arranged side-by-side with the deep-fried fish. " "Soma, where on earth did you get the idea for this?" "In Japanese cooking, there's a type of tempura called Okakiage, right? When deep-frying things, use crushed-up Okaki Rice Crackers instead of panko to give the dish some uniqueness and kick. I made this at home once long ago with my dad. " "And that gave you the idea to use the Kaki no Tane Crackers in place of the Okaki Rice Crackers?" "Yep! I call it the Yukihira Style Okaki- YUKIHIRA STYLE OKAKI-NO-TANE-AGE CHAR!" "You just slapped the two names together!" On one hand, Takumi Aldini maintained a broad version that did not overlook potential ingredients, such as the duck. On the other, Soma Yukihira's rare ability to think outside the box... ... led him to create a dish that no one else even expected! Neither was intimidated by the time constraints or the limited ingredients. They instead focused on what they could do to create their dish. That is the spirit of a true professional! Hee hee! This is hardly the first time I've given this assignment. And students have made deep-fried items before... without breading. But he is the first one to find a way to present to me fish that is both breaded and deep-fried! The char, in season this spring... ... is snuggly wrapped in a protective shell of Kaki no Tane Cracker breading.

Sky's The Limit" [Intro] Good evening ladies and gentlemen How's everybody doing tonight I'd like to welcome to the stage, the lyrically acclaimed I like this young man because when he came out He came out with the phrase, he went from ashy to classy I like that So everybody in the house, give a warm round of applause For the Notorious B.I.G The Notorious B.I.G., ladies and gentlemen give it up for him y'all [Verse 1] A nigga never been as broke as me - I like that When I was young I had two pair of Lees, besides that The pin stripes and the gray The one I wore on Mondays and Wednesdays While niggas flirt I'm sewing tigers on my shirts, and alligators You want to see the inside, I see you later Here comes the drama, oh, that's that nigga with the fake, blaow Why you punch me in my face, stay in your place Play your position, here come my intuition Go in this nigga pocket, rob him while his friends watching And hoes clocking, here comes respect His crew's your crew or they might be next Look at they man eye, big man, they never try So we rolled with them, stole with them I mean loyalty, niggas bought me milks at lunch The milks was chocolate, the cookies, butter crunch 88 Oshkosh and blue and white dunks, pass the blunts [Hook: 112] Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want, have what you want, be what you want [Verse 2] I was a shame, my crew was lame I had enough heart for most of them Long as I got stuff from most of them It's on, even when I was wrong I got my point across They depicted me the boss, of course My orange box-cutter make the world go round Plus I'm fucking bitches ain't my homegirls now Start stacking, dabbled in crack, gun packing Nickname Medina make the seniors tote my Niñas From gym class, to English pass off a global The only nigga with a mobile can't you see like Total Getting larger in waists and tastes Ain't no telling where this felon is heading, just in case Keep a shell at the tip of your melon, clear the space Your brain was a terrible thing to waste 88 on gates, snatch initial name plates Smoking spliffs with niggas, real-life beginner killers Praying God forgive us for being sinners, help us out [Hook] [Verse 3] After realizing, to master enterprising I ain't have to be in school by ten, I then Began to encounter with my counterparts On how to burn the block apart, break it down into sections Drugs by the selections Some use pipes, others use injections Syringe sold separately Frank the Deputy Quick to grab my Smith & Wesson like my dick was missing To protect my position, my corner, my lair While we out here, say the Hustlers Prayer If the game shakes me or breaks me I hope it makes me a better man Take a better stand Put money in my mom's hand Get my daughter this college grant so she don't need no man Stay far from timid Only make moves when your heart's in it And live the phrase sky's the limit Motherfuckers See you chumps on top [Hook]

Never Judge an Egg by Its Shell No Matter the Outside Be it Beige, Brown, Freckled or Snow White You Can Count on the Inside to be Up And Always on the Sunny Side

BEAUTY IS ONLY SKIN DEEP MANY PEOPLE ARE BEAUTIFUL ON THE OUTSIDE AND COLD AS ICE ON THE INSIDE. ALWAYS LOOK BEYOND THE LOOKS AND TAKE THE TIME TO LOOK IN THEIR HEARTS AND SEE IF THEY HAVE MORALS, VALUES AND COMPASSION. IF THAT ISN'T THERE ALL YOU HAVE IS AN EMPTY SHELL. SO GOES THE SAYING..CERTAIN THINGS CATCH YOUR EYE, BUT PURSUE ONLY THOSE THAT CAPTURE YOUR HEART.

Current theories regarding the function and construction of the pyramid fall short. A credible theory would have to explain the following conditions found inside the Great Pyramid: -The selection of granite as the building material for the King's Chamber. It is evident that in choosing granite, the builders took upon themselves an extremely difficult task. -The presence of four superfluous chambers above the King's Chamber. -The characteristics of the giant granite monoliths that were used to separate these so-called "construction chambers." -The presence of exuviae, or the cast-off shells of insects, that coated the chamber above the King's Chamber, turning those who entered black. -The violent disturbance in the King's Chamber that expanded its walls and cracked the beams in its ceiling but left the rest of the Great Pyramid seemingly undisturbed. -The fact that the guardians were able to detect the disturbance inside the King's Chamber, when there was little or no exterior evidence of it. -The reason the guardians thought it necessary to smear the cracks in the ceiling of the King's Chamber with cement. -The fact that two shafts connect the King's Chamber to the outside. -The design logic for these two shafts—their function, dimensions, features, and so forth.

Above, a vivid painting hung over the fireplace. Inside its frame, a woman was transforming into a tree. The lower half of her body was bark and roots, plunging into soil, while her waist and chest arched upwards and her outstretched hands reached for the sky. The nymph's dark hair was a knotted mass of branches around her head, sprouting bright green leaves. It was the myth of Daphne---the nymph who begged the river god to save her from Apollo and was turned into a laurel tree. "It must be a terrible thing to lose," Hawthorne said, making her jump. He looked up from where he crouched near the fire: to the woman in the frame. His left forearm was streaked with black ash. "What's a terrible thing to lose?" Hawthorne's eyes glittered as he studied the nymph. "Your humanity." "But it was her choice," said Emeline, feeling defensive of Daphne. If the river god hadn't turned her into a laurel, she would have fallen prey to Apollo. "She asked to be saved." Firelight flickered over Hawthorne's face as his gray-eyed gaze caught hers and held it. "Saved," he murmured, considering this. "Is that really what the river god did? As a tree, her life is forfeit. She'll never be human again. She'll never laugh or sing, ponder or love, again. Don't you think she would have preferred the river god defeat Apollo, or at the very least warn him away, instead of taking something so precious from her?

2. Don’t trade penny stocks. A penny stock is any stock that trades under $5. Unless you are an advanced trader, you should avoid all penny stocks. I would extend this by encouraging you to also avoid all stocks priced under $10. Even if you have a small trading account ($5,000) or less, you are better off buying fewer shares of a higher-priced stock than a lot of shares of a penny stock. That is because low-priced stocks are most often associated with lower quality companies. As a result, they are not usually allowed to trade on the NYSE or the Nasdaq. Instead, they trade on the OTCBB ("over the counter bulletin board") or Pink Sheets, both of which have much less stringent financial reporting requirements than the major exchanges do. Many of these companies have never made a profit. They may be frauds or shell companies that are designed solely to enrich management and other insiders. They may also include former “blue chips” that have fallen on hard times like Eastman Kodak or Lehman Brothers. In addition, penny stocks are inherently more volatile than higher-priced stocks. Think of it this way: if a $100 stock moves $1, that is a 1% move. If a $5 stock moves $1, that is a 20% move. Many new traders underestimate the kind of emotional and financial damage that this kind of volatility can cause. In my experience, penny stocks do not trend nearly as well as higher-priced stocks. They tend to be more mean-reverting (Mean reversion occurs when a stock moves up sharply from its average trading price, only to fall right back down again to its average trading price). Many of them are eventually headed to zero, but they are still not good short candidates. Most brokers will not let you short them. And even if you do find a broker who will let you short a penny stock, how would you like to wake up to see your penny stock trading at $10 when you just shorted it at $2 a few days before? I learned that lesson the hard way. It turned out that I was risking $8 to make $2, which is not a good way to make money over the long term. To add injury to insult, a penny stock might appear to be liquid one day, and the next day, the liquidity dries up and you are confronted by a $2 bid/ask spread. Or the bid might completely disappear. Imagine owning

Death hit people differently. She was getting by. He had all but given up. There was no middle ground as woman. She was used to it, but it still pissed her off. Frigid, or a slag. Girly, or one of the boys. Hrad, or emotionally unstable. When USA sneezed , the UK caught the cold. Her face was often difficult to read, but at that moment it told him whatever McEvoy found Margie Knight o not, she'd tear every dodgy sauna, massage parlour and tin-pot knocking shop in the city apart trying. It might have been a few minutes, it might have been an hour, when he heard Holland's voice... The mood she is in right now, Holland, if you're so much as suggest that it might be her time of the month, I'm guessing she'll kill you on the spot. I think the poison inside me has eaten away every ounce of courage there might ever have been. I need to find just a little more. "Look, I'm getting tired of saying sorry" "Well I'm not tired of hearing you say it, OK?" Maybe they bred them somewhere, taught then how to put their hair in a bun and look down their pointed noses, before sending them out into the world with a pair of bug glasses, a fondness for tweed and something uncomfortable up their backside. "I'm going to kill Holland. No, I'm going to make him listen to some proper country music and then I'm going to kill him." "Actually, fuck that, the music would be wasted on him anyway. I'll just kill him." "fuckfuckbullocksfuck..." "What? I make you sick? I make you want to hurt me?" "You knock, you wait, you get asked to come in, you come in. It's pretty bloody straightforward." ...sat at home like Tom Throne, trying to keep the rest of the world well away. Police officer and prison staff are old enemies. The finders and the keepers resenting each other. 'Everybody says it switches around when you get old and they have to look after you. The parent becomes the child...It's non sense though., it really is. Even when they're cooking for you and getting your shopping in, you know? Even when they're doing up the buttons on your pyjamas and pretending to listen to your stupid stories, even when they're wiping your arse, you're still the father--It never stops, never. You're still the father and he's still the son. Still the son...' A thin layer across the top of the cistern in the ladies, invisible unless used in some of the more drugs-conscious clubs. ...Depending on how it looks, thy either do nothing, or break it again, re-set it.' 'Do they need volunteers?' "Don't talk to me. Not like that, do you understand? Not 'are you all right?' Not 'sorry'..." "I don't..." "Talk to me like a murdered." Holland couldn't believe what he was hearing. Palmer? 'Sorry?' Throne shouted. 'Fucking sorry...?' 'Shut your fucking stupid cunt's mouth. I will kill you, is that clear? I'm not afraid, certainly not of you. I don't care what happens. He can shoot the pair of us, I don't give a fuck. But if I hear so much as a breath coming out of you before this is finished, a single poisonous whisper, I'll rip your face off with my bare hands. I'll take it clean off, Nicklin, I'll make you another nice, new identity...

There are primitive innermost urges, and they are – survival and procreation. They are in the first layer of the Shell/ME. All layers are built on the first layer till you reach the outermost layer. But from the outermost layer, you cannot recognize the original primary urges; they are hidden deep inside!

(...) there are so few words in our language to articulate "body feelings" of any sort. I'm sure that this lack in language is related to our cultural tendency to dismiss or discount the way that our bodies feel to us. Indeed, many of us tend to think of ourselves as brains or souls crammed inside of a shell - a shell that is our body. We delude ourselves into believing that the shell itself is not important, not connected to our consciousness, that it's merely a vessel that contains us, or a vehicle that we move about with our minds. But the truth is, our bodies are inseparable from our minds.

Tonight she'll be with Jeremy, her lieutenant, but she wants to be with Roger. Except that, really, she doesn't. Does she? She can't remember being so confused. When she is with Roger it's all love, but at any distance- any at all, Jack- she finds that he depresses and even frightens her. Why? On top of him in the wild nights riding up and down his cock her axis, trying herself to stay rigid enough not to turn to cream taper-wax and fall away melting to the coverlet coming there's only room for Roger, Roger, oh love to the end of breath. But out of bed, walking talking, his bitterness, his darkness, run deeper than the War, the winter: he hates England so, hates "the System," gripes endlessly, says he'll emigrate when the War's over, stays inside his paper cynic's cave hating himself... and does she want to bring him out, really? Isn't it safer with Jeremy? She tried not to allow this question to often, but it's there. Three years with Jeremy. They might as well be married. Three years ought to count for something. Daily, small stitches and easings. She's worn old Beaver's bathrobes, brewed his tea and coffee, sought his eye across lorry-parks, day rooms and rainy mud fields when all the day's mean, dismal losses could be rescued in the one look- familiar, full of trust, in a season where the word is invoked for quaintness or a minor laugh. And to rip it all out? three years? for this erratic, self-centered- boy, really. Weepers, he supposed to be pas thirty, he's years older than she. He ought to've learned something, surely? A man of experience? /// If the rockets don't get her there's still her lieutenant. Damned Beaver/Jeremy IS the War, he is every assertion the fucking War has ever made- that we are meant work and government, for austerity: and these shall take priority over love, dreams, the spirit, the sense and the second-class trivia that are found among the idle and mindless hours of the day... Damn them, they are wrong. They are insane. Jeremy will take her like the Angel itself, in his joyless weasel-worded come-along, and Roger will be forgotten, an amusing maniac, but with no place in the rationalized power-ritual that will be the coming peace. She will take her husband's orders, she will become a domestic bureaucrat, a junior partner, and remember Roger, if at all, as a mistake thank God she did not make... Oh, he feels a raving fit coming on- how the bloody hell can he survive without her? She is the British warm that protects his stooping shoulders, and the wintering sparrow he holds inside his hands. She is his deepest innocence in spaces of bough and hay before wishes were given a separate name to warn they might not come true, and his lithe Parisian daughter of joy, beneath the eternal mirror, forswearing perfumes, capeskins to the armpits, all that is too easy, for his impoverishment and more worthy love. /// Jessica steps away from Roger to blow her nose. The sound is as familiar to him as a bird's song, ip-ip-ip-ip NGUNNGG as the hankerchief comes away..."Oh sooper dooper," she says, "think I'm catching a cold." You're catching the War. It's infecting you and I don't know how to keep it away. Oh, Jess. Jessica. Don't leave me,,,,

Tonight she'll be with Jeremy, her lieutenant, but she wants to be with Roger. Except that, really, she doesn't. Does she? She can't remember being so confused. When she is with Roger it's all love, but at any distance- any at all, Jack- she finds that he depresses and even frightens her. Why? On top of him in the wild nights riding up and down his cock her axis, trying herself to stay rigid enough not to turn to cream taper-wax and fall away melting to the coverlet coming there's only room for Roger, Roger, oh love to the end of breath. But out of bed, walking talking, his bitterness, his darkness, run deeper than the War, the winter: he hates England so, hates "the System," gripes endlessly, says he'll emigrate when the War's over, stays inside his paper cynic's cave hating himself... and does she want to bring him out, really? Isn't it safer with Jeremy? She tried not to allow this question to often, but it's there. Three years with Jeremy. They might as well be married. Three years ought to count for something. Daily, small stitches and easings. She's worn old Beaver's bathrobes, brewed his tea and coffee, sought his eye across lorry-parks, day rooms and rainy mud fields when all the day's mean, dismal losses could be rescued in the one look- familiar, full of trust, in a season where the word is invoked for quaintness or a minor laugh. And to rip it all out? three years? for this erratic, self-centered- boy, really. Weepers, he supposed to be past thirty, he's years older than she. He ought to've learned something, surely? A man of experience? /// If the rockets don't get her there's still her lieutenant. Damned Beaver/Jeremy IS the War, he is every assertion the fucking War has ever made- that we are meant work and government, for austerity: and these shall take priority over love, dreams, the spirit, the senses and the second-class trivia that are found among the idle and mindless hours of the day... Damn them, they are wrong. They are insane. Jeremy will take her like the Angel itself, in his joyless weasel-worded come-along, and Roger will be forgotten, an amusing maniac, but with no place in the rationalized power-ritual that will be the coming peace. She will take her husband's orders, she will become a domestic bureaucrat, a junior partner, and remember Roger, if at all, as a mistake thank God she did not make... Oh, he feels a raving fit coming on- how the bloody hell can he survive without her? She is the British warm that protects his stooping shoulders, and the wintering sparrow he holds inside his hands. She is his deepest innocence in spaces of bough and hay before wishes were given a separate name to warn they might not come true, and his lithe Parisian daughter of joy, beneath the eternal mirror, forswearing perfumes, capeskins to the armpits, all that is too easy, for his impoverishment and more worthy love. /// Jessica steps away from Roger to blow her nose. The sound is as familiar to him as a bird's song, ip-ip-ip-ip NGUNNGG as the hankerchief comes away..."Oh sooper dooper," she says, "think I'm catching a cold." You're catching the War. It's infecting you and I don't know how to keep it away. Oh, Jess. Jessica. Don't leave me....

life. For the Indians living inside the Rocky Mountain Range in the far North of Canada, the successful nutrition for nine months of the year was largely limited to wild game, chiefly moose and caribou. During the summer months the Indians were able to use growing plants. During the winter some use was made of bark and buds of trees. I found the Indians putting great emphasis upon the eating of the organs of the animals, including the wall of parts of the digestive tract. Much of the muscle meat of the animals was fed to the dogs. It is important that skeletons are rarely found where large game animals have been slaughtered by the Indians of the North. The skeletal remains are found as piles of finely broken bone chips or splinters that have been cracked up to obtain as much as possible of the marrow and nutritive qualities of the bones. These Indians obtain their fat-soluble vitamins and also most of their minerals from the organs of the animals. An important part of the nutrition of the children consisted in various preparations of bone marrow, both as a substitute for milk and as a special dietary ration. In the various archipelagos of the South Pacific and in the islands north of Australia, the natives depended greatly on shell fish and various scale fish from adjacent seas. These were eaten with an assortment of plant roots and fruits, raw and cooked. Taro was an important factor in the nutrition of most of these groups. It is the root of a species of lily similar to "elephant ears" used for garden decorations in America because of its large leaves. In several of the islands the tender young leaves of this plant were eaten with coconut cream baked in the leaf of the tia plant. In the Hawaiian group of islands the taro plant is cooked and dried and pounded into powder and then mixed with water and allowed to ferment for twenty-four hours, more or less, in accordance with the stiffness of the product desired. This is called poi

A bird does not achieve its highest potential inside its shell.

An egg is not likely to grow on its own," said the crow crossly. "She's right," said Edward. "I've never seen a grown-up egg." "The egg doesn't grow!" cried the bird. "It's what's inside that grows." "Then why don't you sit on what's inside?" Avon asked. "Because there's a shell." "What makes you so sure there's something inside?" asked Edward. "It's always been that way!" insisted the crow.

Secret Garden" She'll let you in her house If you come knocking late at night She'll let you in her mouth If the words you say are right If you pay the price She'll let you deep inside But there's a secret garden she hides She'll let you in her car To go driving around She'll let you into the parts of herself That will bring you down She'll let you in her heart If you got a hammer and a vise But into her secret garden, don't think twice You've gone a million miles How far would you get To that place where you can't remember And you can't forget She'll lead you down a path There will be tenderness in the air She'll let you come just far enough So you know she's really there Then she'll look at you and smile And her eyes will say She's got a secret garden Where everything you want Where everything you need Will always stay A million miles away Bruce Springsteen, Greatest Hits (1995)

Though the back sufferer isn't aware of it, it is generally known by students of the spine that the last intervertebral disc, between the fifth lumbar vertebra and the sacrum, is more or less degenerated in most people by the age of twenty. Discs are structures located between the bodies of spinal bones to take up the shock. They are firmly attached to the vertebral bodies above and below, and in no way can they "slip." Enclosed by a tough, fibrous outer shell, there is a thick fluid inside, which is what absorbs the shock. The discs at the lower end and in the neck, because of all the activity in those locations, begin to wear out at an early age, some by the age of twenty, as stated. (page 118)

Unless you take charge of yourself in your life you will be taken charge of by people who have limited opinions about you and your things. You have to take responsibility for your life, actions, and outcomes if not, you are not in control of your life rather you are in control of life which will throw you whatever things come on to you. You can pretend, act or behave as if you are receiving everything out of life but deep down inside you know for sure things aren't right and you are not in control of your life. In order for you to become you, you need to take charge, come out of the skin which society has bought you in, shed it, become who you really are, and do what you really want. And once you come out that shell that cage without thinking what others may think, what society may think of you or any piece of sh*t may think of you. You control what you think of yourself and how you want yourself to be perceived. This is where you will shape up your real self, place yourself in a position of charge, take responsibility, having accountability and ownership of your actions. In life always in any situation see yourself, what part are you playing in your life, are you in charge of it or being charged. Am I leading or I am being led. Once you figure out these things for yourself, you will see the finest version of yourself who is real, who is authentic, and who is a person of his/her word.

They went at it. Their mouths a frantic, searching quest. As though they were trying to make up for thirty years of longing in this one kiss. He bit her lower lip and she raked her nails down his back. They tumbled to the bed, and his body was finally, deliciously covering hers. She arched. He surged. They rocked. She dug her nails into the base of his back. His hand came up to cup her breast, his thumb stroking over the nipple. She cried out, and he caught the sound with his lips. He ripped away from her, slid down her body, and captured her nipple with his lips, while his free hand snaked down into her yoga pants. He licked at the hard bud. Sucked. Her hips arched off the bed as he tugged harder and harder. When his teeth scraped over her oversensitive flesh, she keened and she couldn't stop the words from falling from her lips. "Jack. God. Jack. Yes. More." He groaned, the sound vibrating over her skin. He pulled her deeper into his mouth. His fingers slid down her waistband and into her panties. Her legs parted. His fingers brushed her clit. She bowed off the bed. He circled the bundle of nerves and lifted his head. "So damn wet." She could feel how wet she was, how slippery. "More." He pushed one long finger inside her, and kissed her, brushing his mouth over her lips. "You feel like heaven." She arched into his touch as his thumb relentlessly circled her clit. Around and around. Over and over. Until she thought she'd go mad with sheer need. "Jack. Please." He plunged two fingers inside her, hooking on a spot so good she lost focus. "Please what, Chlo?" His voice, oh God, his voice. Achingly familiar and yet strange all at once. He swiped over her flesh and she keened again as her body tightened. "Stop." Her head rolled back. "I'm going to come." He increased his pressure and whispered against the shell of her ear, "Then come.

She pulls off the mask and her beautiful face warms you inside. Too bad she's frowning. "You have hypothermia," she says. "I'll get some blankets to warm you." "Best cure for hypothermia is skin-to-skin contact." Your words come stronger now because Simi is here, and she's real and her tears are deliciously hot and they remind you of other places that can be hot and hopefully she'll take you to bed so you can hold her and make the cold go away. "I think you should take off our clothes and lie on top of me.

The aroma of spices and pineapple melded into a beautifully colorful fragrance in her pineapple-curry fried rice!" The sweet tart of the pineapple and the saltiness of the fried rice spread through the mouth in a wave! It's a similar idea to sweet-and-sour pork, another Chinese dish that uses pineapples. "As a finishing touch, she hollowed out a whole pineapple, poured the fried rice inside its shell and then baked it in the oven. The inside edge of the pineapple shell was even rubbed with salt to prevent too much sweetness from leeching into the rice." "Doing that meant only the fragrance of the dish increased without changing the taste or drying out the rice. Traditional Chinese cooking has taken yet another small step forward with this dish.

They Ask Me! They mock me saying “you are in love, But where is the girl?” I answer “yes I am in love, Not with the oyster but the hidden pearl, She is a beautiful rose, You can see its brilliant colours but can you see its scent? So my curious friends I propose, Let me be with her beauty, and let me fill my senses with her scent,” They look at me stupefied, And rush away, Those lovers of beauty that is mystified, By their every fancy and every new sway. Unlike mine that is still and composed, Resting in the oyster of hope and relaxing in love’s beauty, A feeling that can never be disposed, For to love you and love you true is my true feeling of sanity, Many years have passed by, But you have only grown in grace and elegance, I miss kissing you, touching you by and by, But for the pearl to shine it needs a long and quite existence, Inside the shell where life is singular, Where the feeling of love encased in the slowly maturing time is endless, But the feeling of knowing that I am your true lover, Makes it easier to feel loved in a shell that is actually loveless, Like the lonely pearl inside the oyster that misses the sea, I wish to be with you before the time ceases to exist, Your beautiful face, your infinite eyes, your endless beauty, I so long to see, And let the world know Irma, the pearl shall be with its sea no matter how hard the oyster might resist!

They ask me! They mock me saying “you are in love, But where is the girl?” I answer “yes I am in love, Not with the oyster but the hidden pearl, She is a beautiful rose, You can see its brilliant colours but can you see its scent? So my curious friends I propose, Let me be with her beauty, and let me fill my senses with her scent,” They look at me stupefied, And rush away, Those lovers of beauty that is mystified, By their every fancy and every new sway. Unlike mine that is still and composed, Resting in the oyster of hope and relaxing in love’s beauty, A feeling that can never be disposed, For to love you and love you true is my true feeling of sanity, Many years have passed by, But you have only grown in grace and elegance, I miss kissing you, touching you by and by, But for the pearl to shine it needs a long and quite existence, Inside the shell where life is singular, Where the feeling of love encased in the slowly maturing time is endless, But the feeling of knowing that I am your true lover, Makes it easier to feel loved in a shell that is actually loveless, Like the lonely pearl inside the oyster that misses the sea, I wish to be with you till the time ceases to exist, Your beautiful face, your infinite eyes, your endless beauty, I so long to see, And the pearl shall be with its sea no matter how hard the oyster might resist!

They Ask Me! They mock me saying “you are in love, But where is the girl?” I answer “yes I am in love, Not with the oyster but the hidden pearl, She is a beautiful rose, You can see its brilliant colours but can you see its scent? So my curious friends I propose, Let me be with her beauty, and let me fill my senses with her scent,” They look at me stupefied, And rush away, Those lovers of beauty that is mystified, By their every fancy and every new sway. Unlike mine that is still and composed, Resting in the oyster of hope and relaxing in love’s beauty, A feeling that can never be disposed, For to love you and love you true is my true feeling of sanity, Many years have passed by, But you have only grown in grace and elegance, I miss kissing you, touching you by and by, But for the pearl to shine it needs a long and quite existence, Inside the shell where life is singular, Where the feeling of love encased in the slowly maturing time is endless, But the feeling of knowing that I am your true lover, Makes it easier to feel loved in a shell that is actually loveless, Like the lonely pearl inside the oyster that misses the sea, I wish to be with you till the time ceases to exist, Your beautiful face, your infinite eyes, your endless beauty, I so long to see, And the pearl shall be with its sea no matter how hard the oyster might resist!

They Ask Me! They mock at me saying “you are in love, But where is the girl?” I answer “yes I am in love, Not with the oyster but the hidden pearl, She is a beautiful rose, You can see its brilliant colours but can you see its scent? So my curious friends I propose, Let me be with her beauty, and let me fill my senses with her scent,” They look at me stupefied, And rush away, Those lovers of beauty that is mystified, By their every fancy and every new sway. Unlike mine that is still and composed, Resting in the oyster of hope and relaxing in love’s beauty, A feeling that can never be disposed, For to love you and love you true is my true feeling of sanity, Many years have passed by, But you have only grown in grace and elegance, I miss kissing you, touching you by and by, But for the pearl to shine it needs a long and quite existence, Inside the shell where life is singular, Where the feeling of love encased in the slowly maturing time is endless, But the feeling of knowing that I am your true lover, Makes it easier to feel loved in a shell that is actually loveless, Like the lonely pearl inside the oyster that misses the sea, I wish to be with you before the time ceases to exist, Your beautiful face, your infinite eyes, your endless beauty, I so long to see, And let the world know Irma, the pearl shall be with its sea no matter how hard the oyster might resist!

Internal employees have trouble accepting being managed, and generally do not need praise to stay motivated. Working for a "micro-manager" would be torture. Their motivation comes from inside; they are self-starters. They need to make their own decisions and will do that even when they have not been given permission. They become demotivated when they do not get to decide anything. When you give them an instruction, they will consider that as a piece of information and then decide whether to follow it.

Everyone dies eventually. Nothing we can do will prevent that. I mean, unless you fancy a lief as a zompire, in which case, grrrr argh," I growl. It doesn't elicit a laugh. I sigh. "Dad wasn't a failure. He was everything he was supposed to be. I wish he would have lived longer, but he lived right. I'm proud of him, and I know he'd be proud of us. The world is messed up, yeah, but it's also pretty great sometimes.. We can't spend every moment afraid of what's waiting for us." What's waiting for us out in the world, or inside ourselves, as I've learned. I wish I could take all Artemis's fear away, but it's part of her. She'll have to learn to live with it in her own way too.

Tadokoro, what's your favorite kind of bowl?" "Um, I-I don't know if it's a bowl, per se, and I know it's not made with meat... ... but at home we'd grill scallops on a hibachi grill. When the shell popped open, we'd put a little butter and soy sauce inside... and then we'd put it all over fresh, hot white rice. It was really yummy!

The sauce is made from the turtle soup stock she made, thickened into a glaze! Poured over the patty, it gives the meat a richer, more full-bodied flavor! "I mixed the turtle's blood in with the patty. It warms the body from the inside out. But that isn't all. I also added dried, powdered tortoise-shell to the patty. Tortoise-shell has long been a prime ingredient in vitality tonics in Chinese medicine." "Both the sauce and the patty are chock-full of turtle everything!" "No wonder the judges look that thoroughly satisfied." "I totally get it! She must've made one incredible burger!" "No. You cannot fully understand. Only those who have tasted this dish can understand its true essence." "What?" "The key to that power lies in the turtle's meat... with the plentiful amounts of gelatin found in it and the sticky sensation that creates!" "Huh?" "Stickiness?" "That is correct, sir. Thick, piping-hot sauce... how thick it is greatly affects the flavor of the dish. The higher the viscosity, the more full-bodied the flavor becomes. Both the burger patty and the sauce I made from turtle stock are filled with gelatin-rich turtle essence. At the back of the roof of the mouth is a collection of soft tissue... called the soft palate. It is one of the most sensitive areas in the entire human body! With every mouthful, the thick, chewy patty and sticky sauce... get pinned between the twin walls of the tongue and the soft palate... stimulating that most sensitive of areas with each seductive bite! In other words, this dish excites not only a person's sense of taste via flavor... ... it also seduces their sense of touch via texture!

Afterward, she'd cautiously open the box and peek inside, inhaling deeply as she did so through her nose. "Cinnamon," she'd say. "And salt. Too much wind in the spell." And she write that down. Or: " Methane. No good. She'll accidentally fly away. Plus she'll be flammable. Even more than usual. " Or: " Is that sulfur? Great heavens. What are you trying to do, women? Kill the poor child?" She crossed several things off her list. "Has Auntie Xan gone mad?" Fyrian asked. "No, my friend," Glerk told him."But she has found herself in deeper water than she expected.

Sharing difficult truths might come with a cost-the need to face them- but there is also a reward: freedom. The truth releases us form shame." "There is a term we use in therapy: Forced forgiveness. Sometimes people feel that in order to get past trauma, they need to forgive whoever caused the damage. But too often people feel pressured to forgive and then end up believing that something is wrong with them if they cant quite get there. You can have compassion without forgiving. there are many ways to move on, and pretending to feel a certain way isn’t one." "I point out to her that pain can be protective; staying in a depressed place can be a form of avoidance. Safe inside her shell of pain, she doesn’t have to face anything, nor does she has to emerge into the world, where she may get hurt again." "What brings you here now? The now is key, why this year, this month, this day, have you decided to come talk to me?" "Just as parents raise their kids to loose them one day, therapists work to loose clients, not retain them." "The inability to say no is largely about approval seeking- people imagine that if they say no, they wont be loved by others. The inability to say yes however, is more about lack of trust in one self." "You cant get through your pain by diminishing it, you get through your pain by accepting it and figuring out what to do with it." "We grow in connection with others. It turns out the books grow in the same way." "Its all you" we tend to say, "I was just here to guide you" And in a sense, that’s true. The fact that they picked up the phone and decided to come to therapy and then work through things every week is something no one else could do for them" "Its like when someone finally has the guts to tell you that you have a problem, and you feel both defensive and relieved that this person is telling it like it is. That’s the delicate work therapists do.

Breath!’ A voice, wild with anxiety, ordered, and I felt a cruel stab of pain where I recognized the voice because it wasn't Marcel’s. I could not obey. The waterfall pouring from my mouth didn't stop long enough for me to catch a breath. The black, icy water filled my chest, burning. The rock smacked into my back again, right between my shoulder blades, and another volley of water choked its way out of my lungs. ‘Breathe, Bell! C'mon!’ Marcel begged. Black spots bloomed across my vision, getting wider and wider, blocking out the light. The rock struck me again. The rock wasn't cold like the water; it was hot on my skin. I realized it was Marcel’s hand, trying to beat the water from my lungs. The iron bar that had dragged me from the sea was also… warm… My head whirled; the black spots covered everything… Was I dying again, then? I didn't like it. This wasn't as good as the last time. It was only dark now, nothing worth looking at here. The sound of the crashing waves faded into the black and became a quiet, even whoosh that sounded like it was coming from the inside of my ears… ‘Bell?’ Marcel asked, his voice still tense, but not as wild as before. ‘Bells, honey, can you hear me?’ The contents of my head swished and rolled sickeningly like they'd joined the rough water… ‘How long has she been unconscious?’ someone else asked. The voice that was not Marcel’s shocked me, jarred me into a more focused awareness. I realized that I was still. There was no tug of the current on me-the heaving was inside my head. The surface under me was flat and motionless. It felt grainy against my bear arms. ‘I don't know,’ Marcel reported, still frantic. His voice was very close. Hands-so warm they had to be his- I brushed wet hair from my cheeks. ‘A few minutes? It didn't take long to tow her to the beach.’ The quiet whooshing inside my ears was not the waves-it was the air moving in and out of my lungs again. Each breath burned-the passageways were as raw as if I'd scrubbed them out with steel wool. But I was breathing. And I was freezing. A thousand sharp, icy beads were striking my face and arms, making the cold worse. ‘She's breathing. She'll come around. We should get her out of the cold, though. I don't like the color she's turning…’ I recognized Sam's voice this time. ‘You think it's okay to move her?’ ‘She didn't hurt her back or anything when she fell?’ ‘I don't know.’ They hesitated.

Jenn-a Jenn-a Tal-ya!’ you’re a p*ssy! I walked in and she was dying! Her face blue, and her skin cold, her eyes wide open, saying help me, she was on the bed ass naked, saying he got me, with a knife in it. She was followed by someone for saying what she said or something that she did, it caught up with her, yet she’ll make it like she always does. Her note was left on the other window on the other side, saying- I want it all to stop, I never wanted to do anything to anyone. Along with these lyrics that she copied off her cell phone, which she looked up: ‘But I'm on the outside… I'm looking in, I can see through you, see your true colors. Because inside you're ugly; you're ugly like me. I can see through you, see to the real you. ‘And it's- you that I will never feel or have,’ and that was all spelled wrong even though she copied it all.

A bird cannot conquer the sky inside of its shell, no matter how gifted it is.

Mossfon subscribed to a Google-like paid search service called World-Check to help identify PEPs ["politically exposed person"] and criminals. It also, not for the first time, sent a letter to its professional clients requesting that they conduct a customer review. There was little follow-up. It was a question of incentives. When scandals sporadically came to light, they always seemed to resolve themselves without undue harm to the firm. Meanwhile, business was booming. In 2005, the firm tripled the number of shell companies it created on behalf of banks. By the end of the year, Mossfon had more than seventy thousand active companies. To do the necessary due diligence on all of them would have been prohibitively expensive, and sometimes impossible. In a business predicated on secrecy, no one wanted to produce the information.

The Country girl she's strong willed and independent. She's beautiful inside as she is outside. she'll never take no for an answer; and when she's told she can't do it because she's a girl, she'll prove you wrong every time. she loves the thrill of the ride, and the romance of adventure. She's you and she's me. Most of all She just is.

Ah, the Chairs of Doom," she murmured, gingerly lowering her butt onto a piece of furniture straight out of Jane Eyre's boarding school. "How much I have not missed thee. This show brings in a fortune in advertising revenue. You'd think they could shell out for a few cushions and a muffin basket.

There's still a hefty amount of protocol, and even if the bride and groom look like they've respectively stepped out of The Nightmare Before Christmas and an Archie comic, the royal tradition is---" "The brandy-soaked, raisin spotted, intestine-clogging brick known as fruitcake," Pet interrupted. "Will look and taste the same whether it was made yesterday or two decades ago. And at no time during its lengthy existence will anyone want to eat it. I've told you, the bride likes chocolate cake. Specifically and vitally, she apparently likes your Death by Chocolate fudge cake. Very little about this couple conforms to royal standards, which is half the reason the bookies are already taking revolting odds on how long the marriage will last, or if they'll actually make it to the altar. Rose is infamously a strong personality and a massive pain in her family's arse. I guarantee that however she has to bend to tradition, she'll wrangle final say over details like the inside of her cake.

Buying baubles, are we?" She flipped the box open, blinked. "Oh my." "I guess I should tell you, I bought it for your mother. Gonna ask her to marry me." He pulled himself up a bit on the pillow and slid straight down again. "Got a problem with that?" "I might, seeing as you proposed to me five minutes ago, you fickle bastard." A little teary-eyed, she sat on the side of the bed. "It's beautiful, David. She'll love it. She loves you." "She's everything I've ever wanted. Beautiful, beautiful Pilar. Inside and out. Second chances all around. I'll be careful with her.

The Year Of The Cat" On a morning from a Bogart movie In a country where they turn back time You go strolling through the crowd like Peter Lorre Contemplating a crime She comes out of the sun in a silk dress running Like a watercolor in the rain Don't bother asking for explanations She'll just tell you that she came In the year of the cat She doesn't give you time for questions As she locks up your arm in hers And you follow till your sense of which direction Completely disappears By the blue tiled walls near the market stalls There's a hidden door she leads you to These days, she says, "I feel my life Just like a river running through" The year of the cat Why she looks at you so coolly? And her eyes shine like the moon in the sea She comes in incense and patchouli So you take her, to find what's waiting inside The year of the cat Well morning comes and you're still with her And the bus and the tourists are gone And you've thrown away your choice you've lost your ticket So you have to stay on But the drumbeat strains of the night remain In the rhythm of the new-born day You know sometime you're bound to leave her But for now you're going to stay In the year of the cat Year of the cat