Skin In The Game Quotes

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Ninety percent of the time the very sight of you makes me want to commit murder. I think about carving the skin from your body and hanging it out as a warning to every other fool who thinks he can stand in my way." "What about the other ten?
Nora Sakavic (The King's Men (All for the Game, #3))
Opening your eyes is all that is needing. The heart lies and the head plays tricks with us, but the eyes see true. Look with your eyes. Hear with your ears. Taste with your mouth. Smell with your nose. Feel with your skin. Then comes the thinking, afterward, and in that way knowing the truth.
George R.R. Martin (A Game of Thrones (A Song of Ice and Fire, #1))
I go to the saltwater and wash off the blood, trying to decide which I hate more, pain or itching. Fed up, I stomp back onto the beach, turn my face upward and snap, "Hey, Haymitch, if you're not too drunk, we could use a little something for our skin." It's almost funny how quickly the parachute appears above me. I reach up and the tube lands squarely in my open hand. "About time" I say, but I can't keep the scowl on my face. Haymitch. What I wouldn't give for five minutes of conversation with him.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
You might imagine that a person would resort to self-mutilation only under extremes of duress, but once I'd crossed that line the first time, taken that fateful step off the precipice, then almost any reason was a good enough reason, almost any provocation was provocation enough. Cutting was my all-purpose solution.
Caroline Kettlewell (Skin Game)
He tilts his forehead down to rest against mine and pulls me closer. His skin, his whole being radiates heat from being so near the fire, and I close my eyes, soaking in his warmth. I breathe in the smell of snow-dampened leather and smoke and apples, the smell of all those wintry days we shared before the Games. I don't try to move away. Why should I anyway? His voice drops to a whisper. "I love you." That's why.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Home is where, when you go there and tell people to get out, they have to leave.
Jim Butcher (Skin Game (The Dresden Files, #15))
The fear of an unknown never resolves, because the unknown expands infinitely outward, leaving you to cling pitifully to any small shelter of the known: a cracker has twelve calories; the skin, when cut, bleeds.
Caroline Kettlewell (Skin Game)
I am, at the Fed level, libertarian; at the state level, Republican; at the local level, Democrat; and at the family and friends level, a socialist. If that saying doesn’t convince you of the fatuousness of left vs. right labels, nothing will.
Nassim Nicholas Taleb (Skin in the game)
The curse of modernity is that we are increasingly populated by a class of people who are better at explaining than understanding, or better at explaining than doing.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
What matters isn’t what a person has or doesn’t have; it is what he or she is afraid of losing.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
But they were doughnuts of darkness. Evil, damned doughnuts, tainted by the spawn of darkness . . . . . . which could obviously be redeemed only by passing through the fiery, cleansing inferno of a wizardly digestive tract.
Jim Butcher (Skin Game (The Dresden Files, #15))
Courage is the only virtue you cannot fake.
Nassim Nicholas Taleb (Skin in the Game: The Hidden Asymmetries in Daily Life)
The difference between successful people and really successful people is that really successful people say no to almost everything,
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
Those who talk should do and only those who do should talk.
Nassim Nicholas Taleb (Skin in the Game: The Hidden Asymmetries in Daily Life)
Scars signal skin in the game.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
If you do not take risks for your opinion, you are nothing.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
That's when I wanted to cut. I cut to quiet the cacophony. I cut to end this abstracted agony, to reel my selves back to one present and physical whole, whose blood was the proof of her tangibility.
Caroline Kettlewell (Skin Game)
This is a kill-or-be-killed scenario, leech," Regin the Radiant, a glowing-skinned millennium-old swordswoman, told Ellie in a baleful tone. "So raise your weapon and prepare for your end. 'Cause I'm about to take your head." Ellie yawned. Ten days of this was getting old. "Girl, I don't wanna play video games anymore.
Kresley Cole (Lothaire (Immortals After Dark, #11))
And may the odds -" He tosses a berry in a high arc toward me. I catch it in my mouth and break the delicate skin with my teeth. The sweet tartness explodes across my tongue. "- be ever in your favor!" I finish with equal verve.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Bureaucracy is a construction by which a person is conveniently separated from the consequences of his or her actions.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
You can define a free person precisely as someone whose fate is not centrally or directly dependent on peer assessment.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
I hated having to hide her, us. I wanted the world to know she was mine and mine alone. I wanted to tattoo myself into her skin and sink into her so fucking deep she could never get me out.
Ana Huang (Twisted Games (Twisted, #2))
She could hear, some way off, her brothers calling to each other in the woods behind the house. She hoped desperately that their game wouldn't bring them any closer, that they wouldn't scare the birds away. Somehow she knew that you didn't get many moments like this in your life: moments when you knew, without any doubt, that you were alive, when you felt the air in your lungs and the wet grass beneath your feet and the cotton on your skin; moments when you were completely in the present, when neither the past nor the future mattered. She tried to slow her breathing, hoping somehow to make this moment last forever.
Neil Gaiman (Stardust)
What did Finnick Odair want?” he asks. I turn and put my lips close to Peeta's and drop my eyelids in imitation of Finnick. “He offered me sugar and wanted to know all my secrets,” I say in my best seductive voice. Peeta laughs. “Ugh. Not really.” “Really,” I say. “I'll tell you more when my skin stops crawling.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Anorexia isn't about being fat, it's about having fat.
Caroline Kettlewell (Skin Game)
Some men fall from grace. Some are pushed.
Jim Butcher (Skin Game (The Dresden Files, #15))
Do you know my dog's name? [...] "It is from an ancient word, kerberos. It means 'spotted.'" I blinked. "You're a genuine Greek god. You're the Lord of the Underworld. And . . . you named your dog *Spot*?
Jim Butcher (Skin Game (The Dresden Files, #15))
The Blue Beetle was not a clown car," I said severely. "It was a machine of justice.
Jim Butcher (Skin Game (The Dresden Files, #15))
Start by being nice to every person you meet. But if someone tries to exercise power over you, exercise power over him.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
I’d gone with my usual option. I was running through long tunnels filled with demons and monsters and nightmares, because it was easier than going to the gym.
Jim Butcher (Skin Game (The Dresden Files, #15))
You do not want to win an argument. You want to win.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Don’t tell me what you think, tell me what you have in your portfolio.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
I needed cutting now the way a diabetic needs insulin. It was a bulwark, steady and unyielding, I could throw up against the insidious, corrosive lapping of a whispering sea of uneasiness.
Caroline Kettlewell (Skin Game)
How much you truly “believe” in something can be manifested only through what you are willing to risk for it.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
You destroy buildings, fight monsters openly in the streets of the city, work with the police, show up in newspapers, advertise in the phone book, and ride zombie dinosaurs down Michigan Avenue, and think that you work in the shadows? Be reasonable.
Jim Butcher (Skin Game (The Dresden Files, #15))
I grunted. “She’s not a delicate princess,” I said. “She’s a warrior. Warriors have enemies. Sometimes warriors get hurt.” I felt my jaws clench. “And then their friends even things up.
Jim Butcher (Skin Game (The Dresden Files, #15))
Beware of the person who gives advice, telling you that a certain action on your part is “good for you” while it is also good for him, while the harm to you doesn’t directly affect him.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Parkour,” I panted. “Bitch.
Jim Butcher (Skin Game (The Dresden Files, #15))
beer is an excellent argument that there is a God, and that furthermore, He wants us to be happy.
Jim Butcher (Skin Game (The Dresden Files, #15))
Perhaps…” Rhys’s touch skimmed down my neck and over the curve of my shoulder. I shivered, my skin blossoming with a thousand more goosebumps. “I was always meant to find my way to you.
Ana Huang (Twisted Games (Twisted, #2))
My imagination needs therapy.
Jim Butcher (Skin Game (The Dresden Files, #15))
I’m lost. I know every step I took to get here, and I’m still lost.
Jim Butcher (Skin Game (The Dresden Files, #15))
Entrepreneurs are heroes in our society. They fail for the rest of us.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Nice try?” Butters said. “Mister, where I come from, there is no try.
Jim Butcher (Skin Game (The Dresden Files, #15))
Things are not always as bad as they seem. Sometimes, the darkness only makes it easier to see the light.
Jim Butcher (Skin Game (The Dresden Files, #15))
Avoid taking advice from someone who gives advice for a living, unless there is a penalty for their advice.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
It is no secret that large corporations prefer people with families; those with downside risk are easier to own, particularly when they are choking under a large mortgage.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Alexander said that it was preferable to have an army of sheep led by a lion than an army of lions led by a sheep.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Neil feigned confusion as he got to his feet. "Am I bothering you?" "Beyond the telling." "Interesting," Neil said. "Last week you said nothing gets under your skin." Andrew
Nora Sakavic (The King's Men (All for the Game, #3))
There are moments in your life that, when you look back at them, you realize were perfect.
Jim Butcher (Skin Game (The Dresden Files, #15))
She must have really loved him to leave her home for the Seam. I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father's sake. But to be honest, I'm not the forgiving type.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
No person in a transaction should have certainty about the outcome while the other one has uncertainty.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
There’s power in the touch of another person’s hand. We acknowledge it in little ways, all the time. There’s a reason human beings shake hands, hold hands, slap hands, bump hands. “It comes from our very earliest memories, when we all come into the world blinded by light and color, deafened by riotous sound, flailing in a suddenly cavernous space without any way of orienting ourselves, shuddering with cold, emptied with hunger, and justifiably frightened and confused. And what changes that first horror, that original state of terror? “The touch of another person’s hands. “Hands that wrap us in warmth, that hold us close. Hands that guide us to shelter, to comfort, to food. Hands that hold and touch and reassure us through our very first crisis, and guide us into our very first shelter from pain. The first thing we ever learn is that the touch of someone else’s hand can ease pain and make things better. “That’s power. That’s power so fundamental that most people never even realize it exists.
Jim Butcher (Skin Game (The Dresden Files, #15))
The chaos in my head spun itself into a silk of silence. I had distilled myself to the immediacy of hand, blade, blood, flesh.
Caroline Kettlewell (Skin Game)
Why is it that you’ve never got the least goddamned clue what’s happening inside your own head. Have you ever noticed this trend? Doesn’t it bug you sometimes?
Jim Butcher (Skin Game (The Dresden Files, #15))
You think your power is what shapes the world you walk in. But that is an illusion. Your choices shape your world. You think your power will protect you from the consequences of those choices. But you are wrong. You create your own rewards. There is a Judge. There is Justice in this world. And one day you will receive what you have earned. Choose carefully.
Jim Butcher (Skin Game (The Dresden Files, #15))
Michael smiled at me a little. “You’re a good man, Harry. But you’re making the same mistake Nicodemus always has—and the same one Karrin did.” “What mistake?” “You all think the critical word in the phrase ‘Sword of Faith’ is ‘sword.
Jim Butcher (Skin Game (The Dresden Files, #15))
You will never fully convince someone that he is wrong; only reality can.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
Did you shout 'Parkour'?" Michael asked. "Well, sure," I said. "That was kinda Parkour-like." Michael fought to keep a smile off his face. "Harry," he said, "I'm almost certain one does not shout 'Parkour.' I believe one is supposed to simply do Parkour." "Do I criticize your Latin battle cries? No, never once.
Jim Butcher (Skin Game (The Dresden Files, #15))
How’s the book?” he drawled later, when he’d finished his workout and I’d grabbed the closest book I could find before he entered the living room. “Riveting.” I tried to focus on the page instead of the way Rhys’s sweat-dampened shirt clung to his torso. Six-pack abs for sure. Maybe even an eight-pack. Not that I was counting. “Sure seems that way.” Rhys’s face remained impassive, but I could hear the mocking bent in his voice. He walked to the bathroom, and without looking back, he added, “By the way, princess, the book is upside down.” I slammed the hardcover shut, my skin blazing with embarrassment.
Ana Huang (Twisted Games (Twisted, #2))
Finally, when young people who “want to help mankind” come to me asking, “What should I do? I want to reduce poverty, save the world,” and similar noble aspirations at the macro-level, my suggestion is: 1) Never engage in virtue signaling; 2) Never engage in rent-seeking; 3) You must start a business. Put yourself on the line, start a business.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
I finished the beer and sighed. “Arrogance,” I said. “I feel stupid.” “Good,” Michael said. “It’s good for everyone to feel that way sometimes. It helps remind you how much you still have to learn.
Jim Butcher (Skin Game (The Dresden Files, #15))
People who are bred, selected, and compensated to find complicated solutions do not have an incentive to implement simplified ones.
Nassim Nicholas Taleb (Skin in the Game: The Hidden Asymmetries in Daily Life)
But never engage in detailed overexplanations of why something is important: one debases a principle by endlessly justifying it.
Nassim Nicholas Taleb (Skin in the Game: The Hidden Asymmetries in Daily Life)
I don't want to make her [Maggie] a target again," I said. Michael sighed patiently. "Harry," he said, as if speaking to a rather slow child,"I'm not sure if you noticed this. But things did not turn out well for the last monster who raised his hand against your child. Or any of his friends. Or associates. Or anyone who worked for him. Or for most of the people he knew.
Jim Butcher (Skin Game (The Dresden Files, #15))
Well how many troubles should equal a legitimate reason for self-mutilation? Ten? Twenty? One hundred? And how monumental must these troubles be? There’s probably no critical mass beyond which cutting yourself would ever seem to most people like a reasonable choice. I cut because it did look that way to me. I cut because something had to give. I cut because the alternatives were worse.
Caroline Kettlewell (Skin Game)
Let us return to pathemata mathemata (learning through pain) and consider its reverse: learning through thrills and pleasure. People have two brains, one when there is skin in the game, one when there is none. Skin in the game can make boring things less boring. When you have skin in the game, dull things like checking the safety of the aircraft because you may be forced to be a passenger in it cease to be boring. If you are an investor in a company, doing ultra-boring things like reading the footnotes of a financial statement (where the real information is to be found) becomes, well, almost not boring.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
For a second, I wanted very badly to know a spell that would let me melt through the floor in a quivering puddle of please-don't-kill-me.
Jim Butcher (Skin Game (The Dresden Files, #15))
He is lost in Agamemnon and Odysseus' wily double meanings, their lies and games of power. They have confounded him, tied him to a stake and baited him. I stroke the soft skin of his forehead. I would untie him if I could. If he would let me.
Madeline Miller (The Song of Achilles)
His mouth twisted into a perceptive, sexy smile. "Hmm." "Hmm?" I looked away, flustered, automatically using irritation to cover my discomfort up. "What does 'hmm' have to do with anything? Could you ever use more than five words? All this grunting and miced words make you come across--primal." His smile tipped higher. "Primal." "You're impossible." "Me Jev, you Nora." "Stop it." But I nearly smiled in spite of myself. "Since we're keeping it primal, you smell good," he observed. Hw moved closer, makin me acutely aware of his size, the rise and fall of his chest, the warm burn of his skin on mine. Electricity tingled along my scalp, and I shuddered with pleasure. "It's called a shower...," I began automatically, then trailed off. My memory snagged, taken aback by a compelling and forceful sense of undue familiarity. "Soap, shampoo, hot water," I added, almost as an afterthought. "Naked. I know the drill," Jev said, something unreadable passing over his eyes. Unsure how to proceed, I attempted to wash away the moment with an airy laugh. "Are you flirting with me, Jev?" "Does it feel that way to you?" "I don't know you well enough to say either way." I tried to keep my voice level, neutral even. "Then we'll have to change that." Still uncertain of his motives, I cleared my throat. Two could play this game. "Running from bad guys together is your idea of playing getting-to-know-you?" "No. This is." He dipped my body backward, drawing me up in a slow arc until he raised me flush against him. In his arms, my joints loosened, my defenses melting as he led me through the sultry steps.
Becca Fitzpatrick (Silence (Hush, Hush, #3))
A saying by the brothers Geoff and Vince Graham summarizes the ludicrousness of scale-free political universalism. I am, at the Fed level, libertarian; at the state level, Republican; at the local level, Democrat; and at the family and friends level, a socialist.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life (Incerto))
I think it's better to be comfortable in your skin than to be miserable being who you are. Sure, the meth is horrible. It ruins people from the inside out. It's a waiting game --- it's not a matter of if it destroys you, but rather a matter of when it will. I've made it this far. I'm not sending a message that it's "cool" to be on drugs and tell everyone about it. I don't sum myself up as a drug addict and a hooker. That's not what I am. Those are juts things I do, they don't define me. Jobs and addictions do not make us who we are.
Ashly Lorenzana
My father got to know my mother because on his hunts he would sometimes collect medicinal herbs and sell them to her shop to be brewed into remedies. She must have really loved him to leave her home for the Seam. I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father's sake. But to be honest, I'm not the forgiving type.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
For studying courage in textbooks doesn’t make you any more courageous than eating cow meat makes you bovine. By some mysterious mental mechanism, people fail to realize that the principal thing you can learn from a professor is how to be a professor—and the chief thing you can learn from, say, a life coach or inspirational speaker is how to become a life coach or inspirational speaker. So remember that the heroes of history were not classicists and library rats, those people who live vicariously in their texts. They were people of deeds and had to be endowed with the spirit of risk taking
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Sam looked at her outstretched hand, which he knew as well as any hand except his own---the precise pattern of the lines that made up the grid of her palm, the slim fingers with the purplish veins at the knuckles, the particular creamy olive hue of her skin, her delicate wrist, pinkish, with a penumbral callus that must have come from Dov, the white gold bracelet she wore that he knew had been a gift from Freda on her twelfth birthday. How could she honestly think he wouldn't know about the handcuffs? He had spent hours sitting next to her, playing games and then making them, staring at her hands as her fingers flew across a keyboard or jabbed at a controller. Tell me I don't know you, Sam thought. Tell me I don't know you when I could draw both sides of this hand, your hand, from memory.
Gabrielle Zevin (Tomorrow, and Tomorrow, and Tomorrow)
You wouldn't be twisting yourself into knots like this, Harry, if you didn't care." "So?" "Monsters don't care," Michael said. "The damned don't care, Harry. The only way to go beyond redemption is to choose to take yourself there. The only way to do it is to stop caring.
Jim Butcher (Skin Game (The Dresden Files, #15))
But it's Posy, Gale's five-year-old sister, who helps the most. She scoots along the bench to Octavia and touches her skin with a tentative finger. “You're green. Are you sick?” “It's a fashion thing, Posy. Like wearing lipstick,” I say. “It's meant to be pretty,” whispers Octavia, and I can see the tears threatening to spill over her lashes. Posy considers this and says matter-of-factly, “I think you'd be pretty in any color.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Once you take to the habit of deception, every new lie comes that much easier. Though to me it wasn't so much lies as a matter of judicious editing. We all inevitably present a version of ourselves that is a collection of half-truths and exclusions. The way I saw it, the truth was too complicated, whereas the well-chosen lie would put everyone's mind at ease.
Caroline Kettlewell (Skin Game)
Somehow however just knowing that I could fully expect unhappiness to return – if not predictably then nevertheless reliably – was strangely liberating. The point was that even chaos had a structure a beginning and eventually an end. It was possible to live through it. I’d been doing as much for twenty years.
Caroline Kettlewell (Skin Game)
He glances over his shoulder, no doubt hearing my insanely loud shoes stop in their tracks. Then he looks again. It’s a double take for the record books. “I’m out stalking,” I call. It doesn’t come out the way I’d intended. It’s not lighthearted or funny. It comes out like a warning. I’m one scary bitch right now. I hold my hands up to show I’m not armed. My heart is racing. “Me too,” he replies. Another cab cruises past like a shark. “Where are you actually going?” My voice rings down the empty street. “I just told you. I’m going out stalking.” “What, on foot?” I come closer by another six paces. “You were going to walk?” “I was going to run down the middle of the street like the Terminator.” The laugh blasts out of me like bah.I’m breaking one of my rules by grinning at him, but I can’t seem to stop. “You’re on foot, after all. Stilts.” He gestures at my sky-high shoes. “It gives me a few extra inches of height to look through your garbage.” “Find anything of interest?” He strolls closer and stops until we have maybe ten paces between us. I can almost pick up the scent of his skin. “Pretty much what I was expecting. Vegetable scraps, coffee grounds, adult diapers.
Sally Thorne (The Hating Game)
Peeta crouches down on the other side of her and strokes her hair. When he begins to speak in a soft voice, it seems almost nonsensical, but the words aren’t for me. “With my paint box at home, I can make every color imaginable. Pink. As pale as a baby’s skin. Or as deep as rhubarb. Green like spring grass. Blue that shimmers like ice on water.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Because I ‘like you’...?” Rowan cackles an incredulous laugh. “Like. You. Seriously…? Christ, Sloane. You are fucking brilliant but also the most willfully oblivious person I have ever met. Do you really think I just like you when I framed a drawing you left for me on a scrap of paper you tore from a notebook? The one I hung it in the kitchen so I can look at it every day and think of you? Do you think I just like you when I tattoo it on my skin? I play this fucking game every year and tear my heart out watching you walk away, only to do it all over again, and I like you? You think I just like you when I fuck you like this?
Brynne Weaver (Butcher & Blackbird (The Ruinous Love Trilogy, #1))
One ravishing dark-haired beauty wearing leather pants and strategically applied electrical tape, stared hard at me and, when she saw me looking, licked her lips very, very slowly. She trailed a fingertip over her chin, down across her throat, and down over her sternum and gave me a smile so wicked that it's parents should have sent it to military school.
Jim Butcher (Skin Game (The Dresden Files, #15))
Bridget von Ascheberg was mine and mine alone. It didn’t matter that she wasn’t mine to take. I was taking her anyway, and if I could tattoo myself onto her skin, bury myself into her heart, and etch myself onto her soul, I would. Her eyes widened, but before she could respond, I closed the distance between us and grasped her chin with my hand. “But first, I want to make one thing clear. From this point on, you’re mine. No other man touches you. If they do…” My fingers dug into her skin. “I know seventy-nine ways to kill a man, and I can make seventy of them look like an accident. Understand?” She nodded, her chest rising and falling more rapidly than usual. “I mean it, princess.” “I understand.” Definitely breathless. “Good.” I swiped my thumb over her bottom lip. “I want to hear you say it. Who do you belong to?” “You,” she whispered. I could smell her arousal already, sweet and heady, and I couldn’t hold back any longer. “That’s right,” I growled. “Me.
Ana Huang (Twisted Games (Twisted, #2))
The only definition of rationality that I’ve found that is practically, empirically, and mathematically rigorous is the following: what is rational is that which allows for survival. Unlike modern theories by psychosophasters, it maps to the classical way of thinking. Anything that hinders one’s survival at an individual, collective, tribal, or general level is, to me, irrational.
Nassim Nicholas Taleb (Skin in the Game: Hidden Asymmetries in Daily Life)
Standing there, under the bleak fluorescents of my tiny one-room apartment, there was no escaping the truth. In real life, I was nothing but an antisocial hermit. A recluse. A pale-skinned pop culture–obsessed geek. An agoraphobic shut-in, with no real friends, family, or genuine human contact. I was just another sad, lost, lonely soul, wasting his life on a glorified video game.
Ernest Cline (Ready Player One (Ready Player One, #1))
I know you've been aching to have your hands on my staff," I said to Ascher, as Nicodemus examined the altar for himself. I held out my hand. "But I'd rather be the one fondling my tool. Wizards are weird like that." "Wow," she said, and flashed me a grin, her face flushed, excited. "You left me nowhere to go with that one. I have nothing to add.
Jim Butcher (Skin Game (The Dresden Files, #15))
Cerberus,” I said promptly. “But everyone knows that.” “Do you know what it means?” I opened my mouth and closed it again. I shook my head. “It is from an ancient word, kerberos. It means ‘spotted.’” I blinked. “You’re a genuine Greek god. You’re the Lord of the Underworld. And . . . you named your dog Spot?” “Who’s a good dog?” Hades said, scratching the third head behind the ears, and making the beast’s mouth drop open in a doggy grin. “Spot is. Yes, he is.
Jim Butcher (Skin Game (The Dresden Files, #15))
This is an ode to all of those that have never asked for one. A thank you in words to all of those that do not do what they do so well for the thanking. This is to the mothers. This is to the ones who match our first scream with their loudest scream; who harmonize in our shared pain and joy and terrified wonder when life begins. This is to the mothers. To the ones who stay up late and wake up early and always know the distance between their soft humming song and our tired ears. To the lips that find their way to our foreheads and know, somehow always know, if too much heat is living in our skin. To the hands that spread the jam on the bread and the mesmerizing patient removal of the crust we just cannot stomach. This is to the mothers. To the ones who shout the loudest and fight the hardest and sacrifice the most to keep the smiles glued to our faces and the magic spinning through our days. To the pride they have for us that cannot fit inside after all they have endured. To the leaking of it out their eyes and onto the backs of their hands, to the trails of makeup left behind as they smile through those tears and somehow always manage a laugh. This is to the patience and perseverance and unyielding promise that at any moment they would give up their lives to protect ours. This is to the mothers. To the single mom’s working four jobs to put the cheese in the mac and the apple back into the juice so their children, like birds in a nest, can find food in their mouths and pillows under their heads. To the dreams put on hold and the complete and total rearrangement of all priority. This is to the stay-at-home moms and those that find the energy to go to work every day; to the widows and the happily married. To the young mothers and those that deal with the unexpected announcement of a new arrival far later than they ever anticipated. This is to the mothers. This is to the sack lunches and sleepover parties, to the soccer games and oranges slices at halftime. This is to the hot chocolate after snowy walks and the arguing with the umpire at the little league game. To the frosting ofbirthday cakes and the candles that are always lit on time; to the Easter egg hunts, the slip-n-slides and the iced tea on summer days. This is to the ones that show us the way to finding our own way. To the cutting of the cord, quite literally the first time and even more painfully and metaphorically the second time around. To the mothers who become grandmothers and great-grandmothers and if time is gentle enough, live to see the children of their children have children of their own. To the love. My goodness to the love that never stops and comes from somewhere only mothers have seen and know the secret location of. To the love that grows stronger as their hands grow weaker and the spread of jam becomes slower and the Easter eggs get easier to find and sack lunches no longer need making. This is to the way the tears look falling from the smile lines around their eyes and the mascara that just might always be smeared with the remains of their pride for all they have created. This is to the mothers.
Tyler Knott Gregson
Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life. Youth means a tempermental predominance of courage over timidity of the appetite, for adventure over the love of ease. This often exists in a man of 60 more than a boy of 20. Nobody grows old merely by a number of years. We grow old by deserting our ideals. Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul. Worry, fear, self-distrust bows the heart and turns the spirits back to dust. Whether 60 or 16, there is in every human being's heart the lure of wonder, the unfailing childlike appetite of what's next and the joy of the game of living. In the center of your heart and my heart there is a wireless station: so long as it receives messages of beauty, hope, cheer, courage and power from men and from the Infinite, so long are you young. When the aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then you are grown old, even at 20, but as long as your aerials are up, to catch waves of optimism, there is hope you may die young at 80.
Samuel Ullman
What did I want? I wanted a Roc's egg. I wanted a harem loaded with lovely odalisques less than the dust beneath my chariot wheels, the rust that never stained my sword,. I wanted raw red gold in nuggets the size of your fist and feed that lousy claim jumper to the huskies! I wanted to get u feeling brisk and go out and break some lances, then pick a like wench for my droit du seigneur--I wanted to stand up to the Baron and dare him to touch my wench! I wanted to hear the purple water chuckling against the skin of the Nancy Lee in the cool of the morning watch and not another sound, nor any movement save the slow tilting of the wings of the albatross that had been pacing us the last thousand miles. I wanted the hurtling moons of Barsoom. I wanted Storisende and Poictesme, and Holmes shaking me awake to tell me, "The game's afoot!" I wanted to float down the Mississippi on a raft and elude a mob in company with the Duke of Bilgewater and the Lost Dauphin. I wanted Prestor John, and Excalibur held by a moon-white arm out of a silent lake. I wanted to sail with Ulysses and with Tros of Samothrace and eat the lotus in a land that seemed always afternoon. I wanted the feeling of romance and the sense of wonder I had known as a kid. I wanted the world to be what they had promised me it was going to be--instead of the tawdry, lousy, fouled-up mess it is.
Robert A. Heinlein (Glory Road)
Once upon a time, there was a boy. He lived in a village that no longer exists, on the edge of a field that no longer exists, where everything was discovered and everything was possible. A stick could be a sword. A pebble could be a diamond. A tree was a castle. Once upon a time, there was a boy who lived in a house across the field from a girl who no longer exists. They made up a thousand games. She was the Queen and he was the King. In the autumn light, her hair shone like a crown. They collected the world in small handfuls. When the sky grew dark, they parted with leaves in their hair. Once upon a time there was a boy who loved a girl, and her laughter was a question he wanted to spend his whole life answering. When they were ten he asked her to marry him. When they were eleven he kissed her for the first time. When they were thirteen they got into a fight and for three weeks they didn't talk. When they were fifteen she showed him the scar on her left breast. Their love was a secret they told no one. He promised her he would never love another girl as long as he lived. "What if I die?" she asked. "Even then," he said. For her sixteenth birthday, he gave her an English dictionary and together they learned the words. "What's this?" he'd ask, tracing his index finger around her ankle and she'd look it up. "And this?" he'd ask, kissing her elbow. "Elbow! What kind of word is that?" and then he'd lick it, making her giggle. "What about this," he asked, touching the soft skin behind her ear. "I don't know," she said, turning off the flashlight and rolling over, with a sigh, onto her back. When they were seventeen they made love for the first time, on a bed of straw in a shed. Later-when things happened that they could never have imagined-she wrote him a letter that said: When will you learn that there isn't a word for everything?
Nicole Krauss (The History of Love)
If you choose to believe me, good. Now I will tell you how Octavia, the spider-web city, is made. There is a precipice between two steep mountains: the city is over the void, bound to the two crests with ropes and chains and catwalks. You walk on the little wooden ties, careful not to set your foot in the open spaces, or you cling to the hempen strands. Below there is nothing for hundreds and hundreds of feet: a few clouds glide past; farther down you can glimpse the chasm's bed. This is the foundation of the city: a net which serves as passage and as support. All the rest, instead of rising up, is hung below: rope ladders, hammocks, houses made like sacks, clothes hangers, terraces like gondolas, skins of water, gas jets, spits, baskets on strings, dumb-waiters, showers, trapezes and rings for children's games, cable cars, chandeliers, pots with trailing plants. Suspended over the abyss, the life of Octavia's inhabitants is less uncertain than in other cities. They know the net will only last so long.
Italo Calvino (Invisible Cities)
Once, he’d been the Seducer, the Executioner, the High Priest of the Hourglass, the Prince of the Darkness, the High Lord of Hell. Once, he’d been Consort to Cassandra, the great Black-Jeweled, Black Widow Queen, the last Witch to walk the Realms. Once, he’d been the only Black-Jeweled Warlord Prince in the history of the Blood, feared for his temper and the power he wielded. Once, he’d been the only male who was a Black Widow. Once, he’d ruled the Dhemlan Territory in the Realm of Terreille and her sister Territory in Kaeleer, the Shadow Realm. He’d been the only male ever to rule without answering to a Queen and, except for Witch, the only member of the Blood to rule Territories in two Realms. Once, he’d been married to Hekatah, an aristo Black Widow Priestess from one of Hayll’s Hundred Families. Once, he’d raised two sons, Mephis and Peyton. He’d played games with them, told them stories, read to them, healed their skinned knees and broken hearts, taught them Craft and Blood Law, showered them with his love of the land as well as music, art, and literature, encouraged them to look with eager eyes upon all that the Realms had to offer—not to conquer but to learn. He’d taught them to dance for a social occasion and to dance for the glory of Witch. He’d taught them how to be Blood. But that was a long, long time ago.
Anne Bishop (Daughter of the Blood (The Black Jewels, #1))
On the outside, Oscar simply looked tired, no taller, no fatter, only the skin under his eyes, pouched from years of quiet desperation, had changed. Inside, he was in a world of hurt. He saw black flashes before his eyes. He saw himself falling through the air. He knew what he was turning into. He was turning into the worst kind of human on the planet: an old bitter dork. Saw himself at the Game Room, picking through the miniatures for the rest of his life. He didn't want this future but he couldn't see how it could be avoided, couldn't figure his way out of it. Fukú.
Junot Díaz (The Brief Wondrous Life of Oscar Wao)
Maria, lonely prostitute on a street of pain, You, at least, hail me and speak to me While a thousand others ignore my face. You offer me an hour of love, And your fees are not as costly as most. You are the madonna of the lonely, The first-born daughter in a world of pain. You do not turn fat men aside, Or trample on the stuttering, shy ones, You are the meadow where desperate men Can find a moment's comfort. Men have paid more to their wives To know a bit of peace And could not walk away without the guilt That masquerades as love. You do not bind them, lovely Maria, you comfort them And bid them return. Your body is more Christian than the Bishop's Whose gloved hand cannot feel the dropping of my blood. Your passion is as genuine as most, Your caring as real! But you, Maria, sacred whore on the endless pavement of pain, You, whose virginity each man may make his own Without paying ought but your fee, You who know nothing of virgin births and immaculate conceptions, You who touch man's flesh and caress a stranger, Who warm his bed to bring his aching skin alive, You make more sense than stock markets and football games Where sad men beg for virility. You offer yourself for a fee--and who offers himself for less? At times you are cruel and demanding--harsh and insensitive, At times you are shrewd and deceptive--grasping and hollow. The wonder is that at times you are gentle and concerned, Warm and loving. You deserve more respect than nuns who hide their sex for eternal love; Your fees are not so high, nor your prejudice so virtuous. You deserve more laurels than the self-pitying mother of many children, And your fee is not as costly as most. Man comes to you when his bed is filled with brass and emptiness, When liquor has dulled his sense enough To know his need of you. He will come in fantasy and despair, Maria, And leave without apologies. He will come in loneliness--and perhaps Leave in loneliness as well. But you give him more than soldiers who win medals and pensions, More than priests who offer absolution And sweet-smelling ritual, More than friends who anticipate his death Or challenge his life, And your fee is not as costly as most. You admit that your love is for a fee, Few women can be as honest. There are monuments to statesmen who gave nothing to anyone Except their hungry ego, Monuments to mothers who turned their children Into starving, anxious bodies, Monuments to Lady Liberty who makes poor men prisoners. I would erect a monument for you-- who give more than most-- And for a meager fee. Among the lonely, you are perhaps the loneliest of all, You come so close to love But it eludes you While proper women march to church and fantasize In the silence of their rooms, While lonely women take their husbands' arms To hold them on life's surface, While chattering women fill their closets with clothes and Their lips with lies, You offer love for a fee--which is not as costly as most-- And remain a lonely prostitute on a street of pain. You are not immoral, little Maria, only tired and afraid, But you are not as hollow as the police who pursue you, The politicians who jail you, the pharisees who scorn you. You give what you promise--take your paltry fee--and Wander on the endless, aching pavements of pain. You know more of universal love than the nations who thrive on war, More than the churches whose dogmas are private vendettas made sacred, More than the tall buildings and sprawling factories Where men wear chains. You are a lonely prostitute who speaks to me as I pass, And I smile at you because I am a lonely man.
James Kavanaugh (There Are Men Too Gentle to Live Among Wolves)
A game at which the liberals have become masters is that of deliberate evasiveness. The question often comes up `what can you do?`. If you ask him to do something like stopping to use segregated facilities or dropping out of varsity to work at menial jobs like all blacks or defying and denouncing all provisions that make him privileged, you always get the answer - `but that's unrealistic!' While this may be true, it only serves to illustrate the fact that no matter what a white man does, the colour of his skin - his passport to privilege- will always put him miles ahead of the black men. Thus in the ultimate analysis, no white person can escape being part of the oppressor camp.
Steve Biko (I Write What I Like: Selected Writings)
That's arrogance, Harry. " he said, gently. "On a level so deep, you don't even realize it exists. And do you know why it's there?" "No?" I asked. He smiled again. "Because you have set a higher standard for yourself. You think that, because you have more power than others, you have to do more with it." "To whom much is given, much is required," I said, without looking up. He barked out a short laugh. "For someone who repeatedly tells me he has no faith, you have a surprising capacity to quote scripture. And that's just my point." I eyed him. "What?" "You wouldn't be twisting yourself into knots like this, Harry, if you didn't care." "So?" "Monsters don't care," Michael said. "The damned don't care, Harry. The only way to go beyond redemption is to choose to take yourself there. The only way to do it is to stop caring.
Jim Butcher (Skin Game (The Dresden Files, #15))
Are you at all sorry?" Neil asked. "You took his family away from him." If looks could kill, the one Aaron shot Neil should have flayed the skin from his bones. "That man was not his family." "Technically, he was only a couple signatures away from being Andrew's legal brother. I didn't mean him, anyway. I meant Drake's parents, Cass and Richard Spear," Neil said. "They were going to keep Andrew. Drake was an inconvenience Andrew was willing to live with in exchange." "An inconvenience," Aaron echoed as he surged to his feet. "You fucking—" "And now Drake is dead," Neil said. "Do you think Cass will ever forgive Andrew? It doesn't matter what Drake did to him. She won't be able to look at Andrew without knowing her son is dead because of him." "I don't care." Aaron gave a savage jerk of his hand. "I don't care if Andrew never speaks to me again. I don't care about Cass or Drake or anyone. What Drake did—no. If I could bring him back from the dead and kill him again I would." "Good," Neil said quietly. "So now you understand why Andrew killed your mother.
Nora Sakavic (The Raven King (All for the Game, #2))
I was merely observing; I have no agenda." He looked at his hand, still touching hers. "Where did you get that ring?" She contracted her hand into a fist as she pulled it away from him. The amethyst in her ring glowed in the firelight. "It was a gift." "From whom?" "That's none of your concern." He shrugged, though she knew betterthan to tell him who'd really given it to her - rather, she knew Chaol wouldn't want Dorian to know. "I'd like to know who's been giving rings to my Champion." The way the collar of his black jacket lay across his neck made her unnable to sit still. She wanted to touch him, to trace the line between his tan skin and the golden lining of the fabric. "Billiards?" she asked, rising to her feet. I could use another lesson." Celaena didn't wait for his answer as she strode toward the gaming room. She very much wanted to stand close to him and have her skin warm under his breath. She liked that. Worse than that, she realized, she liked him.
Sarah J. Maas (Throne of Glass (Throne of Glass, #1))