Spindles End Quotes

When they finished laughing they were on their way to being not just friends, but the dearest of friends, the sort of friends whose lives are shaped by the friendship.

People forgot; it was in the nature of people to forget, to blur boundaries, to retell stories to come out the way they wanted them to come out, to remember things as how they ought to be instead of how they were.

Cats were often familiars to workers of magic because to anyone used to wrestling with self-willed, wayward, devious magic—which was what all magic was—it was rather soothing to have all the same qualities wrapped up in a small, furry, generally attractive bundle that looked more or less the same from day to day and might, if it were in a good mood, sit on your knee and purr. Magic never sat on anybody’s knee and purred.

Because men are killing the forests the fairy tales are running away. The spindle doesn't know whom to prick, the little girl's hands that her father has chopped off, haven't a single tree to catch hold of, the third wish remains unspoken. King Thrushbeard no longer owns one thing. Children can no longer get lost. The number seven means no more than exactly seven. Because men have killed the forests, the fairy tales are trotting off to the cities and end badly.

Mice are terribly chatty. They will chat about anything, and if there is nothing to chat about, they will chat about having nothing to chat about. Compared to mice, robins are reserved.

She’d always wondered what it would feel like to stand on one end of a ballroom and watch a handsome, powerful man make his way to her. This was as close as she’d ever come to it, she supposed. Standing at Diana’s side. Imagining.

Tiny fists can hurt quite a lot when they hit you in the face.

Maybe there aren’t any happily ever afters, or white knights who ride in on valiant steeds to save the day. Maybe, in real life, Prince Charming isn’t always perfect – he’s just as flawed as everyone else in the tale. And that princess, alone in her tower? She’s not perfect either. Birds don’t braid her hair every morning, she can’t serenade wild forest creatures into servitude, and she doesn’t even own a ball gown. But she’s also smart enough to know not to accept poisoned apples from strangers, or prick her finger on deadly spindles. She doesn’t wait around for a prince to charge in and slay the dragon. Maybe she saves herself and in the end, rides off into her own goddamned sunset.

Oh, why does compassion weaken us?' It doesn't, really ... Somewhere where it all balances out - don't the philosophers have a name for it, the perfect place, the place where the answers live? - if we could go there, you could see it doesn't. It only looks, a little bit, like it does, from here, like an ant at the foot of an oak tree. He doesn't have a clue that it's a tree; it's the beginning of the wall round the world, to him.

She wondered how she would feel to be a married woman. It would be the end of her life, she decided, if life was a time of choices.

What you describe is how it happens to everyone: magic does slide through you, and disappear, and come back later looking like something else. And I'm sorry to tell you this, but where your magic lives will always be a great dark space with scraps you fumble for. You must learn to sniff them out in the dark.

we may not like it, but we need human friends, because we have human enemies whether we will or nay.

It would be the end of her life, she decided, if life was a time of choices. In a week from now, she would have no choices.

The merrel also knew its wing had not healed. But I could reach a great height once more before it failed me, it said. And from there I would fold my wings and plummet to the earth as if a hare or a fawn had caught my eye; but it would be myself I stooped toward. It would be a good flight and a good death. And so I eat their dead things cut up on a pole, dreaming of my last flight.

I need to know,” he said. “I need to know, right now, if you’re mine. I’ve been patient for years, and if need be, I can wait years more. I’ll do anything in my power to win you, to keep you. But I need to know, this moment, if you’ll be mine in the end.

He pierced her with a look. “I thought we had an agreement. I keep my men away from your ladies, and you keep your distance from me. You’re not holding your end of the bargain.” “It’s but a momentary interruption. Just this once.” “Just this once?” He made a dismissive noise, rifling through papers. “What about just now in the church?” “Very well, twice.” “Try again.” He stacked his papers and looked up, devouring her with his intent green gaze. “You invaded my dreams at least a half-dozen times last night. When I’m awake, you keep traipsing through my thoughts. Sometimes you’re barely clothed. What excuse can you make for that?” She stammered to form a response, her tongue tripping against her teeth. “I . . . I would never traipse.” Idiotic reply. “Hm.” He tilted his head and regarded her thoughtfully. “Would you saunter?

But the uproar this caused was nothing compared with the uproar when Katronia noticed [Rosie] had also cut her eyelashes. Various negotiations (including, finally, such desperate measures as "supposing you ever want to eat again") eventually produced the grudging promise that, in return for Katronia keeping her hair cut short, she would leave her eyelashes alone.

Rosie hated her curly golden hair. When she was old enough to hold minimal conversations, the itsy-bitsy-cutesycoo sort of grown-ups would pull the soft ringlets gently and tell her what a pretty little girl she was. She would stare at this sort of grown-up and say, “I am not pretty. I am intelligent. And brave.” The grown-ups usually thought this was darling, which only made her angry, perhaps partly because she was speaking the truth, although it was tricky to differentiate between “brave” and “foolhardy” at three or four years old.

Harry, suffering like this proves you are still a man! This pain is part of being human —” “THEN — I — DON’T — WANT — TO — BE — HUMAN!” Harry roared, and he seized one of the delicate silver instruments from the spindle-legged table beside him and flung it across the room. It shattered into a hundred tiny pieces against the wall. Several of the pictures let out yells of anger and fright, and the portrait of Armando Dippet said, “Really!” “I DON’T CARE!” Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. “I’VE HAD ENOUGH, I’VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON’T CARE ANYMORE —” He seized the table on which the silver instrument had stood and threw that too. It broke apart on the floor and the legs rolled in different directions. “You do care,” said Dumbledore. He had not flinched or made a single move to stop Harry demolishing his office. His expression was calm, almost detached. “You care so much you feel as though you will bleed to death with the pain of it.

Hey, it's okay, alright? I'll walk with you, every step. You won't be alone." We might not be able to fix our bullshit stories, but surely we can be less lonely inside them, here at the end. "Just go to sleep. I'm right here.

The magic in that country was so thick and tenacious that it settled over the land like chalk-dust and over floors and shelves like sticky plaster-dust. (House-cleaners in that country earned unusually good wages.) If you lived in that country, you had to de-scale your kettle of its encrustation of magic at least once a week, because if you didn't, you might find yourself pouring hissing snakes or pond slime into your teapot instead of water. (It didn't have to be anything scary or unpleasant, especially in a cheerful household - magic tended to reflect the atmosphere of the place in which it found itself -- but if you want a cup of tea, a cup of lavender-and-gold pansies or ivory thimbles is unsatisfactory.)

He had years of experience and training. She'd unraveled them in a week, and he was left at loose ends. This distraction, this madness of desire and yearning- it was everything a man in his position needed to avoid. On second thought, perhaps his senses hadn't been muddled. After all, they had been meticulously attuned to detect the slightest hint of peril. This woman- this beautiful, unbiddable, all-too-perceptive woman- was his personal embodiment of danger. She could ruin him. Destroy everything he'd worked to become. And she would do it all with a smile.

In every instance, she’d wanted to get the better of Dash. And she’d ended up making something better of herself. “If that’s the case,” she said, “then I should continue to spite you.” “And what better way to keep me within spiting distance, than to marry me and spend life at my side?

What is it? For God’s sake, what is it about me you find so intolerable? So wretchedly unbearable you can’t even stand to be in the same room?” He muttered an oath. “Stop provoking me. You won’t like the answer.” “I want to hear it anyhow.” He plunged one hand into her hair, startling a gasp from her lips. Strong fingers curled to cup the back of her head. His eyes searched her face, and every nerve ending in her body crackled with tension. The sinking sun threw a last flare of red-orange light between them, setting the moment ablaze. “It’s this.” With a flex of his arm, he pulled her into a kiss. And he kissed her the way he did everything. Intensely, and with quiet force. His lips pressed firm against hers, demanding a response.

One morning she at last succeeded in helping him to the foot of the steps, trampling down the grass before him with her feet, and clearing a way for him through the briars, whose supple arms barred the last few yards. Then they slowly entered the wood of roses. It was indeed a very wood, with thickets of tall standard roses throwing out leafy clumps as big as trees, and enormous rose bushes impenetrable as copses of young oaks. Here, formerly, there had been a most marvellous collection of plants. But since the flower garden had been left in abandonment, everything had run wild, and a virgin forest had arisen, a forest of roses over-running the paths, crowded with wild offshoots, so mingled, so blended, that roses of every scent and hue seemed to blossom on the same stem. Creeping roses formed mossy carpets on the ground, while climbing roses clung to others like greedy ivy plants, and ascended in spindles of verdure, letting a shower of their loosened petals fall at the lightest breeze. Natural paths coursed through the wood — narrow footways, broad avenues, enchanting covered walks in which one strolled in the shade and scent. These led to glades and clearings, under bowers of small red roses, and between walls hung with tiny yellow ones. Some sunny nooks gleamed like green silken stuff embroidered with bright patterns; other shadier corners offered the seclusion of alcoves and an aroma of love, the balmy warmth, as it were, of a posy languishing on a woman’s bosom. The rose bushes had whispering voices too. And the rose bushes were full of songbirds’ nests. ‘We must take care not to lose ourselves,’ said Albine, as she entered the wood. ‘I did lose myself once, and the sun had set before I was able to free myself from the rose bushes which caught me by the skirt at every step.’ They had barely walked a few minutes, however, before Serge, worn out with fatigue, wished to sit down. He stretched himself upon the ground, and fell into deep slumber. Albine sat musing by his side. They were on the edge of a glade, near a narrow path which stretched away through the wood, streaked with flashes of sunlight, and, through a small round blue gap at its far end, revealed the sky. Other little paths led from the clearing into leafy recesses. The glade was formed of tall rose bushes rising one above the other with such a wealth of branches, such a tangle of thorny shoots, that big patches of foliage were caught aloft, and hung there tent-like, stretching out from bush to bush. Through the tiny apertures in the patches of leaves, which were suggestive of fine lace, the light

He wasn’t really boring. She just wasn’t in love with him.

I’m real, too. I just don’t know, real what.

walked a lot that summer. I walked through the chestnut groves, stinging my fingers; I picked bunches of honeysuckle and spindle, tasted the blackberries, arbutus berries, dogwood leaves, the tart berries of the barberry shrubs; I breathed in the heavy scent of the buckwheat in flower, lay on the ground to catch a whiff of the strange scent of the heather. Then I would sit in the wide meadow, at the foot of the silver poplar trees, and open a novel by James Fenimore Cooper. When the wind blew, the poplars would whisper. The wind enthralled me. I felt that from one end of the earth to the other, the trees spoke to each other and spoke to God; it sounded like both music and a prayer were piercing my heart before rising to the heavens.

Cats were the easiest of the beasts for humans to talk to, if you could call it talking, and most fairies could carry on some kind of colloquy with a cat. But conversations with cats were always more or less riddle games, and if you were getting the answer too quickly, the cat merely changed the ground on you. Katriona’s theory was that cats were one of the few members of the animal kingdom who had a strong artistic sense, and that aggravated chaos was the chief feline art form, but she had never coaxed a straight enough answer out of a cat to be sure.

Magicians scorned talking to animals; animal thoughts weren't nearly orderly enough to suit magicians, and were always full of large untidy preoccupations, like sex and death and the next meal.

There is no shame in what you are feeling, Harry,' said Dumbledore's voice. 'On the contrary ... the fact that you can feel pain like this is your greatest strength.' Harry felt the white-hot anger lick his insides, blazing in the terrible emptiness, filling him with the desire to hurt Dumbledore for his calmness and his empty words. 'My greatest strength, is it?' said Harry, his voice shaking as he stared out at the Quidditch stadium, no longer seeing it. 'You haven't got a clue ... you don't know ...' 'What don't I know?' asked Dumbledore calmly. It was too much. Harry turned around, shaking with rage. 'I don't want to talk about how I feel, all right?' 'Harry, suffering like this proves you are still a man! This pain is part of being human--' 'THEN--I--DON'T --WANT--TO--BE--HUMAN!' Harry roared, and he seized the delicate silver instrument from the spindle-legged table beside him and flung it across the room; it shattered into a hundred tiny pieces against the wall. Several of the pictures let out yells of anger and fright, and the portrait of Armando Dippet said, 'Really!' 'I DON'T CARE!' Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. 'I'VE HAD ENOUGH, I'VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON'T CARE ANY MORE--' He seized the table on which the silver instrument had stood and threw that, too. It broke apart on the floor and the legs rolled in different directions. 'You do care,' said Dumbledore. He had not flinched or made a single move to stop Harry demolishing his office. His expression was calm, almost detached. 'You care so much you feel as though you will bleed to death with the pain of it.' 'I--DON'T!' Harry screamed, so loudly that he felt his throat might tear, and for a second he wanted to rush at Dumbledore and break him, too; shatter that calm old face, shake him, hurt him, make him feel some tiny part of the horror inside himself. 'Oh, yes, you do,' said Dumbledore, still more calmly. 'You have now lost your mother, your father, and the closest thing to a parent you have ever known. Of course you care.' 'YOU DON'T KNOW HOW I FEEL!' Harry roared. 'YOU--STANDING THERE--YOU--' But words were no longer enough, smashing things was no more help; he wanted to run, he wanted to keep running and never look back, he wanted to be somewhere he could not see the clear blue eyes staring at him, that hatefully calm old face.

Where did you come from?” she whispered, mostly to herself. “What are you wanting here?” One hand shot out, catching her by the hair. Violet gasped at the sharp yank on a thousand nerve endings. His eyes flew open, clear and intense. She read his answer in them. You. I’m wanting you.

Rosie hated her curly golden hair. When she was old enough to hold minimal conversations, the itsy-bitsy-cutesycoo sort of grown-ups would pull the soft ringlets gently and tell her what a pretty little girl she was. She would stare at this sort of grown-up and say, “I am not pretty. I am intelligent. And brave.

Aunt and Katriona kept a few chickens, but the only other domestic animal they had—if either “domestic” or “had” was applicable—was Flinx, their not-a-house-cat. He was presently a fat tortoiseshell puddle sprawled in the sunlight a few rows over. Since he was only crushing a few nonessential greens, which would regrow anyway, they let him be.

Which story are you going to tell us tonight, Mother?" Tootless asked. "One that is very close to my heart," Red said. "It's called 'Beautiful and Brilliant Little Blue Riding Hood'." Just hearing the title made the Lost Boys excitedly clap. "Is it a good story, Mum? Slightly asked. "It's the best story you'll ever hear," Red said. "Does Little Blue die in the end like Cinderella, Snow White, Sleeping Beauty, and Rapunzel?" Curly asked. "I just want to know before I get attached." "Those were such sad stories," Nibs said, and shook his head. "I can't believe poor Cinderella slipped while running down the stairs at midnight, or that Snow White choked on the poisoned apple, or when Sleeping Beauty awoke, she discovered the spindle had given her a staph infection." "Poor, poor princesses," the Lost twins sniffled. "Well, these stories are supposed to teach us valuable lessons," Red said. "Never run down stairs, always chew your food, and see a doctor if your skin is punctured by rusty metal." "Is there a lesson in the story of 'Beautiful and Brilliant Little Blue Riding Hood'?" Slightly asked. "You'll have to wait to find out," she teased.

(There was an idea much beloved and written about by this country’s philosophers that magic had to do with negotiating the balance between earth and air and water; which is to say that things with legs or wings were out of balance with their earth element by walking around on feet or, worse, flying above the earth in the thin substance of air, obviously entirely unsuitable for the support of solid flesh. The momentum all this inappropriate motion set up in their liquid element unbalanced them further. Spirit, in this system, was equated with the fourth element, fire. All this was generally felt to be a load of rubbish among the people who had to work in the ordinary world for a living, unlike philosophers living in academies. But it was true that a favourite magical trick at fetes was for theatrically-minded fairies to throw bits of chaff or seed-pods or conkers in the air and turn them into things before they struck the ground, and that the trick worked better if the bits of chaff or seed-pods or conkers were wet.) Slower creatures were less susceptible to the whims of wild magic than faster creatures, and creatures that flew were the most susceptible of all. Every sparrow had a delicious memory of having once been a hawk, and while magic didn’t take much interest in caterpillars, butterflies spent so much time being magicked that it was a rare event to see ordinary butterflies without at least an extra set of wings or a few extra frills and iridescences, or bodies like tiny human beings dressed in flower petals. (Fish, which flew through that most dangerous element, water, were believed not to exist. Fishy-looking beings in pools and streams were either hallucinations or other things under some kind of spell, and interfering with, catching, or—most especially—eating fish was strictly forbidden. All swimming was considered magical. Animals seen doing it were assumed to be favourites of a local water-sprite or dangerously insane; humans never tried.)

I like to see the long line we each leave behind, and I sometimes imagine my whole life that way, as though each step was a stitch, as though I was a needle leaving a trail of thread that sewed together the world as I went by, crisscrossing others' paths, quilting it all together in some way that matters even though it can hardly be traced. A meandering line sutures together the world in some new way, as though walking was sewing and sewing was telling a story and that story was your life. A thread now most often means a line of conversation via e-mail or other electronic means, but thread must have been an even more compelling metaphor when most people witnessed or did the women's work that is spinning. It is a mesmerizing art, the spindle revolving below the strong thread that the fingers twist out of the mass of fiber held on an arm or a distaff. The gesture turns the cloudy mass of fiber into lines with which the world can be tied together. Likewise the spinning wheel turns, cyclical time revolving to draw out the linear time of a thread. The verb to spin first meant just this act of making, then evolved to mean anything turning rapidly, and then it came to mean telling a tale. Strands a few inches long twine together into a thread or yarn that can go forever, like words becoming stories. The fairy-tale heroines spin cobwebs, straw, nettles into whatever is necessary to survive. Scheherazade forestalls her death by telling a story that is like a thread that cannot be cut; she keeps spinning and spinning, incorporating new fragments, characters, incidents, into her unbroken, unbreakable narrative thread. Penelope at the other end of the treasury of stories prevents her wedding to any one of her suitors by unweaving at night what she weaves by day on her father-in-law's funeral garment. By spinning, weaving, and unraveling, these women master time itself, and though master is a masculine word, this mastery is feminine.

Cats were often familiars to workers of magic because to anyone used to wrestling with self-willed, wayward, devious magic—which was what all magic was—it was rather soothing to have all the same qualities wrapped up in a small, furry, generally attractive bundle that looked more or less the same from day to day and might, if it were in a good mood, sit on your knee and purr. Magic never sat on anybody’s knee and purred. Cats were the easiest of the beasts for humans to talk to, if you could call it talking, and most fairies could carry on some kind of colloquy with a cat. But conversations with cats were always more or less riddle games, and if you were getting the answer too quickly, the cat merely changed the ground on you. Katriona’s theory was that cats were one of the few members of the animal kingdom who had a strong artistic sense, and that aggravated chaos was the chief feline art form, but she had never coaxed a straight enough answer out of a cat to be sure. It was the sort of thing a cat would like a human to think, particularly if it weren’t true.

It was too much. Harry turned around, shaking with rage. “I don’t want to talk about how I feel, all right?” “Harry, suffering like this proves you are still a man! This pain is part of being human —” “THEN — I — DON’T — WANT — TO — BE — HUMAN!” Harry roared, and he seized one of the delicate silver instruments from the spindle-legged table beside him and flung it across the room. It shattered into a hundred tiny pieces against the wall. Several of the pictures let out yells of anger and fright, and the portrait of Armando Dippet said, “Really!” “I DON’T CARE!” Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. “I’VE HAD ENOUGH, I’VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON’T CARE ANYMORE —” He seized the table on which the silver instrument had stood and threw that too.

I still have no choice but to bring out Minerva instead.” “But Minerva doesn’t care about men,” young Charlotte said helpfully. “She prefers dirt and rocks.” “It’s called geology,” Minerva said. “It’s a science.” “It’s certain spinsterhood, is what it is! Unnatural girl. Do sit straight in your chair, at least.” Mrs. Highwood sighed and fanned harder. To Susanna, she said, “I despair of her, truly. This is why Diana must get well, you see. Can you imagine Minerva in Society?” Susanna bit back a smile, all too easily imagining the scene. It would probably resemble her own debut. Like Minerva, she had been absorbed in unladylike pursuits, and the object of her female relations’ oft-voiced despair. At balls, she’d been that freckled Amazon in the corner, who would have been all too happy to blend into the wallpaper, if only her hair color would have allowed it. As for the gentlemen she’d met…not a one of them had managed to sweep her off her feet. To be fair, none of them had tried very hard. She shrugged off the awkward memories. That time was behind her now. Mrs. Highwood’s gaze fell on a book at the corner of the table. “I am gratified to see you keep Mrs. Worthington close at hand.” “Oh yes,” Susanna replied, reaching for the blue, leatherbound tome. “You’ll find copies of Mrs. Worthington’s Wisdom scattered everywhere throughout the village. We find it a very useful book.” “Hear that, Minerva? You would do well to learn it by heart.” When Minerva rolled her eyes, Mrs. Highwood said, “Charlotte, open it now. Read aloud the beginning of Chapter Twelve.” Charlotte reached for the book and opened it, then cleared her throat and read aloud in a dramatic voice. “’Chapter Twelve. The perils of excessive education. A young lady’s intellect should be in all ways like her undergarments. Present, pristine, and imperceptible to the casual observer.’” Mrs. Highwood harrumphed. “Yes. Just so. Hear and believe it, Minerva. Hear and believe every word. As Miss Finch says, you will find that book very useful.” Susanna took a leisurely sip of tea, swallowing with it a bitter lump of indignation. She wasn’t an angry or resentful person, as a matter of course. But once provoked, her passions required formidable effort to conceal. That book provoked her, no end. Mrs. Worthington’s Wisdom for Young Ladies was the bane of sensible girls the world over, crammed with insipid, damaging advice on every page. Susanna could have gleefully crushed its pages to powder with a mortar and pestle, labeled the vial with a skull and crossbones, and placed it on the highest shelf in her stillroom, right beside the dried foxglove leaves and deadly nightshade berries. Instead, she’d made it her mission to remove as many copies as possible from circulation. A sort of quarantine. Former residents of the Queen’s Ruby sent the books from all corners of England. One couldn’t enter a room in Spindle Cove without finding a copy or three of Mrs. Worthington’s Wisdom. And just as Susanna had told Mrs. Highwood, they found the book very useful indeed. It was the perfect size for propping a window open. It also made an excellent doorstop or paperweight. Susanna used her personal copies for pressing herbs. Or occasionally, for target practice. She motioned to Charlotte. “May I?” Taking the volume from the girl’s grip, she raised the book high. Then, with a brisk thwack, she used it to crush a bothersome gnat. With a calm smile, she placed the book on a side table. “Very useful indeed.

The traditional Roman wedding was a splendid affair designed to dramatize the bride’s transfer from the protection of her father’s household gods to those of her husband. Originally, this literally meant that she passed from the authority of her father to her husband, but at the end of the Republic women achieved a greater degree of independence, and the bride remained formally in the care of a guardian from her blood family. In the event of financial and other disagreements, this meant that her interests were more easily protected. Divorce was easy, frequent and often consensual, although husbands were obliged to repay their wives’ dowries. The bride was dressed at home in a white tunic, gathered by a special belt which her husband would later have to untie. Over this she wore a flame-colored veil. Her hair was carefully dressed with pads of artificial hair into six tufts and held together by ribbons. The groom went to her father’s house and, taking her right hand in his, confirmed his vow of fidelity. An animal (usually a ewe or a pig) was sacrificed in the atrium or a nearby shrine and an Augur was appointed to examine the entrails and declare the auspices favorable. The couple exchanged vows after this and the marriage was complete. A wedding banquet, attended by the two families, concluded with a ritual attempt to drag the bride from her mother’s arms in a pretended abduction. A procession was then formed which led the bride to her husband’s house, holding the symbols of housewifely duty, a spindle and distaff. She took the hand of a child whose parents were living, while another child, waving a hawthorn torch, walked in front to clear the way. All those in the procession laughed and made obscene jokes at the happy couple’s expense. When the bride arrived at her new home, she smeared the front door with oil and lard and decorated it with strands of wool. Her husband, who had already arrived, was waiting inside and asked for her praenomen or first name. Because Roman women did not have one and were called only by their family name, she replied in a set phrase: “Wherever you are Caius, I will be Caia.” She was then lifted over the threshold. The husband undid the girdle of his wife’s tunic, at which point the guests discreetly withdrew. On the following morning she dressed in the traditional costume of married women and made a sacrifice to her new household gods. By the late Republic this complicated ritual had lost its appeal for sophisticated Romans and could be replaced by a much simpler ceremony, much as today many people marry in a registry office. The man asked the woman if she wished to become the mistress of a household (materfamilias), to which she answered yes. In turn, she asked him if he wished to become paterfamilias, and on his saying he did the couple became husband and wife.

Why would you do that with me? A simple kiss was enough. What could you be thinking?" "What indeed." He pushed a hand through his hair, more than a little offended at her accusatory tone. "I'm male. You rubbed your... femaleness all over me. I didn't think. I reacted." "You reacted." "Yes." "To..." She shifted her weight from one foot to the other. "To me." "It is a natural response. Aren't you a scientist? Then you should understand. Any red-blooded man would react to such stimulus." She stepped back. She dipped her chin and peered at him over her spectacles. "So you find me stimulating." "That's not what I-" He bit off the rest of that sentence. The only way to end a nonsensical conversation was to simply cease talking. Colin drew a deep breath and squared his shoulders. He closed his eyes briefly. And then he opened them and looked at her. Really looked at her, as though for the first time. He saw thick, dark hair a man could gather by the fistful. Prim spectacles, perched on a gently sloped nose. Behind the lenses, wide-set eyes- dark and intelligent. And that mouth. That ripe, pouting, sensual mouth. He let his gaze drift down her form. There was a wicked thrill to knowing lushness smoldered beneath that modest sprigged muslin gown. To having felt her shape, scouting and chartering her body with all the nerve endings of his own. Their bodies had met. More than that. They'd grown acquainted. Nothing more would come from it, of course. Colin had rules for himself, and as for her... she didn't even liked him, or pretend to. But she showed up in the middle of the night, hatching schemes that skirted the line between academic logic and reckless adventure. She started kisses she had no notion how to continue. Taken all together, she was simply... A surprise. A fresh, bracing gust of the unexpected, for good or ill. "Perhaps," he said cautiously, "I do find you stimulating.

Bram stared into a pair of wide, dark eyes. Eyes that reflected a surprising glimmer of intelligence. This might be the rare female a man could reason with. “Now, then,” he said. “We can do this the easy way, or we can make things difficult.” With a soft snort, she turned her head. It was as if he’d ceased to exist. Bram shifted his weight to his good leg, feeling the stab to his pride. He was a lieutenant colonel in the British army, and at over six feet tall, he was said to cut an imposing figure. Typically, a pointed glance from his quarter would quell the slightest hint of disobedience. He was not accustomed to being ignored. “Listen sharp now.” He gave her ear a rough tweak and sank his voice to a low threat. “If you know what’s good for you, you’ll do as I say.” Though she spoke not a word, her reply was clear: You can kiss my great woolly arse. Confounded sheep. “Ah, the English countryside. So charming. So…fragrant.” Colin approached, stripped of his London-best topcoat, wading hip-deep through the river of wool. Blotting the sheen of perspiration from his brow with his sleeve, he asked, “I don’t suppose this means we can simply turn back?” Ahead of them, a boy pushing a handcart had overturned his cargo, strewing corn all over the road. It was an open buffet, and every ram and ewe in Sussex appeared to have answered the invitation. A vast throng of sheep bustled and bleated around the unfortunate youth, gorging themselves on the spilled grain-and completely obstructing Bram’s wagons. “Can we walk the teams in reverse?” Colin asked. “Perhaps we can go around, find another road.” Bram gestured at the surrounding landscape. “There is no other road.” They stood in the middle of the rutted dirt lane, which occupied a kind of narrow, winding valley. A steep bank of gorse rose up on one side, and on the other, some dozen yards of heath separated the road from dramatic bluffs. And below those-far below those-lay the sparkling turquoise sea. If the air was seasonably dry and clear, and Bram squinted hard at that thin indigo line of the horizon, he might even glimpse the northern coast of France. So close. He’d get there. Not today, but soon. He had a task to accomplish here, and the sooner he completed it, the sooner he could rejoin his regiment. He wasn’t stopping for anything. Except sheep. Blast it. It would seem they were stopping for sheep. A rough voice said, “I’ll take care of them.” Thorne joined their group. Bram flicked his gaze to the side and spied his hulking mountain of a corporal shouldering a flintlock rifle. “We can’t simply shoot them, Thorne.” Obedient as ever, Thorne lowered his gun. “Then I’ve a cutlass. Just sharpened the blade last night.” “We can’t butcher them, either.” Thorne shrugged. “I’m hungry.” Yes, that was Thorne-straightforward, practical. Ruthless. “We’re all hungry.” Bram’s stomach rumbled in support of the statement. “But clearing the way is our aim at the moment, and a dead sheep’s harder to move than a live one. We’ll just have to nudge them along.” Thorne lowered the hammer of his rifle, disarming it, then flipped the weapon with an agile motion and rammed the butt end against a woolly flank. “Move on, you bleeding beast.

There are many variable factors which help to determine just how much work a muscle is doing as it is contracting, and information coming only from the muscle spindles can be as confusing as it is helpful with regard to measuring this real work. For instance, a muscle cell is “weaker” when it is stretched out to its full length, because the myosin and actin chains do not overlap very much and therefore have fewer cross-bridges to ratchet; hence contractions at this end of the muscles range do not have as much force behind them as they do when the muscle shortens by about half and the myosin and actin filaments are overlapping deeply and creating many cross-bridges. Or, increasing fatigue can make a muscle feel as though it is working harder and harder, in spite of the fact that it is actually contracting with less and less force. Even changes in my mood can significantly alter my sense of ease or effort during any given contraction. So the Golgis add an indispensable quantum of information to the spindles’ measure of changing muscle lengths: The Golgis assess the exact amount of resistance which is overcome in order to contract a given distance in a given time.

The contractile portions of the intrafusal fibers are innervated by motor neurons in the same fashion as are the larger skeletal muscle cells. The intrafusal membrane is contacted by a motor end plate, which stimulates the spindle cell into contracting or fixing its length, or ceases stimulation to allow the cell to be lengthened passively. But the motor neurons which control the intrafusals are altogether separate from the ones which control the skeletal muscles. The skeletal motor neurons are larger in diameter, with their own vertical tracts through the length of the spinal cord, and end their paths near the summit of the brain, in the motor cortex. They are called alpha motor neurons. The motor neurons for the intrafusal fibers, in contrast, are smaller in diameter, have their own discrete pathways up the spinal cord, and end in collections of cell bodies, or ganglia, deep within the brain, in the brain stem. These are called the gamma neurons.

The Golgi organs themselves are multi-branched type endings of sensory axons, which are woven among the collagen fibers near the muscle cells, and which are stimulated by the straightening and recoiling of the tendon. As is the case with the muscle spindles, the stimulation of a single tendon organ is highly specific: Each particular organ is most directly affected by the lengthening and contracting of the few alpha muscle fibers which attach to the collagen bundles containing that tendon organ, so that each Golgi is responsive to the activities of only ten to fifteen alpha motor units.

We now know that a movement may be initiated by either of these two motor systems. The motor cortex can initiate a voluntary movement without being blocked by the stretch reflex, because when I know that I am going to move in a specific way, then the critical “unexpected” quality of stretching muscle lengths is neutralized. The unconscious gamma command centers in my brain stem can mimic a move directed by my conscious mind, lengthening and shortening its intrafusal cells in concert with the alpha cells around them so that the anulospiral sensory element is not stretched or collapsed during the movement. In this instance, the gamma system follows the lead of the alpha, with the anulospiral ending’s reflex arc silenced as long as the two are synchronized—that is, as long as the alpha movements correspond to “expected” limits that are successfully mimicked by gamma movements. A movement may be initiated by the gamma motor system as well. In this case, the command signals are organized in the terminal gamma ganglia in the brain stem (the gamma system’s counterpart for the alpha’s cerebral cortex). These signals are then sent through a complicated path known as the gamma loop: They descend through gamma motor neurons out to the intrafusal fibers. These small spindle cells are not strong enough to move a limb, but they are strong enough to stretch their own anulospiral receptors. This stretch automatically fires the spinal reflex arcs connected with the receptors, and the larger alpha motor cells are immediately stimulated to match the contractions of the gamma fibers. As soon as the desired muscle length has been reached, the commands from the brain stem cease, and the spindles hold their new resting length. When the alpha fibers catch up to this new resting length (a matter of a fraction of a second), the anulospiral element is quieted, and contraction ceases.

These two primary reflex arcs—the spindle and the Golgi—are the principal sensory devices which the nervous system uses for the enormously complicated task of maintaining and adjusting the appropriate levels of muscle tone throughout the body. The normal tone of a muscle is dependent upon the simple stretch reflex, through which the the sensory endings in a muscle, stimulated by even the slightest stretching of the muscle, initiate a segmental reflex increasing muscle tone.11 The muscle spindle, whose associated reflex arc tends to excite alpha motor neurons and their motor units, is complimented by the Golgi tendon organ, whose reflex arc tends to inhibit the same alpha neurons and motor units. Between the two of them, they produce a summation of excitation and inhibition on the alpha neurons which keeps the active muscle fibers within a narrow range of tensional forces—just the right amount to stand, to lift a book, to hold a glass. Now the problem of maintaining this precision is such a complex one not only because there are so many muscle cells in the body to monitor, but also because proper muscle tone must accomplish so many different things. It must be able to shift its various tensional values in the various parts of the musculature back and forth so rapidly in order to do all of my muscular tasks competently.

The sensory axon that ends in the anulospiral receptor reaches out from its cell body located in the spinal cord. This cell body synapses with its own spinal sensory tracts which carry the spindles’ sensory information up each segment of the spinal column and finally to the brain, much like the orderly, parallel spinal tracts for the skin receptors, the joint receptors, and so on. But in addition to joining together in its own sensory stream like all other sensory nerves headed for the brain, the cell bodies of the anulospiral receptors make another interesting connection within the spinal column. They synapse directly to the body of a motor nerve as well, and to precisely the motor nerve which stimulates the skeletal muscle cells that surround the corresponding spindle. This means that the terminal motor nerve, the one which directly excites the muscle cells of the skeletal motor unit, can be excited not only by motor commands from the brain, but can also be excited by a sensory signal from the muscle spindle surrounded by the muscle cells of the same skeletal motor unit. 7-7: A simple spindle reflex arc. A single afferent nerve forms the anulospiral receptor at one end and synapses directly to a motor nerve at the other end, in the spinal column. This motor nerve in turn synapses to muscle cells in the immediate vicinity of the spindle, creating a very sensitive local feedback loop. This sensory-to-motor synapse in the spinal cord forms a reflex arc, the most direct linkage we have between local sensory events and local motor response. Activity in specific muscle cells creates a local sensory impulse which directly effects the subsequent activity of the same muscle cells. Thus the reflex arc constitutes a feedback loop which both keeps my muscles themselves constantly informed as to what they are up to, and constantly modifies their efforts. And most of this feedback takes place in the spinal cord, far below my levels of conscious awareness, and far more rapidly than I could consciously command it.

The Maiden strode unseen through the castle, smiling as she went, until she climbed to the top of the tallest tower, where a spinning wheel waited for her. She reached her pale finger to the spindle’s end. There are many versions of this story, but there is always a pricked finger. There are always three drops of the Maiden’s blood. Her blood touched the castle floor and a spell drifted through the castle. Every living creature fell into a sudden slumber.

This time, when I press my finger to the end of a splintered spindle, I’m smiling.

And it was like—I don't know. A beacon being lit, a flint being struck in my chest. [...] It was my own shitty story made mythic and grand and beautiful. A princess cursed at birth. A sleep that never ends. A dying girl who refused to.

A traveling magician sold it to me when I was sixteen. He swore to me that a single cut was enough to end a life." She says it flatly, matter-of-factly, but her eyes have gone hollow and her face is waxy again and suddenly I don't feel jokey at all. Suddenly I wonder why a princess would sleep with a poison blade beneath her bed, why she would purchase it in the first place. I picture myself at sixteen, a scarecrow of a girl stuffed with hormones and hunger instead of straw, so sick of dying I would do anything to live. I ran very different calculations in those days, comparing the Greyhound bus schedule to the number of hours before my parents would report me missing, multiplying hoarded pills by the number of days I would have on the run. I figured I could make it to Chicago before the cops were even looking for me, and from there I could go—anywhere. Do anything.

Dreams change,” I told her. “They have to. Stretch with our bones as we grow up. No shame in ending up on a different path than you started down on.

Fairy godmothers?” said the king dubiously. “We’ll have a time getting that past the court council — and the bishop.

In 1951, the Columbia University sociologist C. Wright Mills published a study titled White Collar: The American Middle Classes.26 Like Ronald Coase, Mills was fascinated by the rise of large managerial corporations. He argued that these firms, in their pursuit of scale and efficiency, had created a vast tier of workers who carried out repetitive, mechanistic tasks that stifled their imagination and, ultimately, their ability to fully participate in society. In short, Mills argued, the typical corporate worker was alienated. For many, that alienation was captured in the warning printed on the Hollerith punch cards that, thanks to IBM and other data processing firms, became ubiquitous symbols and agents of bureaucratized life during the 1950s and 1960s: “Do Not Fold, Spindle, or Mutilate.

You should have gone with them,” she said, lifting her chin to look at Taristan. The smoke grew so thick she could hardly see him through the shadows, the strange realm burning around them. But she could still feel his arms, wrapped around her as they were, holding them both together until some kind of ending came. “To what?” he answered, his voice raspy with smoke. Erida heaved another choking breath, the heat of the flames buffeting her back. Tears slipped from her eyes and Erida curled into him, as if she might disappear into Taristan entirely. “To anything but this,” she cried out, looking back to where the Spindle used to be. “There is nothing for you here.” Taristan only stared. “Yes, there is.” The fires spread, so close now Erida feared her armor might melt off her body. But there was nowhere to go, nothing to do. They had no blade. They had no doorways. There was only Taristan in front of her, the long years of his life welling up in his eyes. She knew them as much as anyone could. An orphan, a mercenary, a prince. A discarded child ripe for the picking, set on this terrible path for so terribly long. Did it always lead here? she wondered. Has this always been our fate? The steps shuddered behind her, one of them crumbling entirely. What Waits hissed with the cracking stone, closer by the second. The demon within called to the demon without, the two of them connected like a piece of rope pulling taut. Erida swallowed against the sensation, feeling her control slip. She gripped Taristan tighter, blinking fiercely. My mind is my own. My mind is my own. But her own voice began to fade, even in her head. She saw the same in Taristan, the same war raging behind his eyes. Before it could seize them both, Erida seized her prince by the neck, pulling his face to her own. He tasted like blood and smoke, but she reveled in it. “Does this make you mine?” Taristan whispered, his hand against her jaw. It was the same question he once asked so long ago, when Erida could give no answer. It felt foolish now, a stupid thing to hesitate over. Especially as another took over her head, conquering her mind as she tried to conquer the world. “Yes,” she answered, kissing him again. Kissing him until the flames pressed in, until she couldn’t breathe. Until her vision went black. Until the first footstep landed on the grass, the dirt going to ashes, beneath Him, and all the realms shook with the weight of it.

Ravyn continued until he was at the end—the last cell. The monster waited. Flat on the floor, eyes on the ceiling—as if stargazing—what had once been Elspeth Spindle’s body lay still. Air plumed out of her—now the Shepherd King’s—mouth like dragon smoke. When Ravyn’s footsteps stilled at the foot of the cell, the Shepherd King did not turn to look, the sound of his teeth clicking together the only greeting he tendered.

Sommeil gives her that exact feeling: those brief hours when you are holding an unread story in your hands and don't yet know how it will end. You would be content if the biscuits never rose and were never consumed, the irises in the garden never bloomed and faded, the rain hovered but never fell. The not-yet-ness tastes sweeter than the thing you're waiting for.

Katriona’s theory was that cats were one of the few members of the animal kingdom who had a strong artistic sense, and that aggravated chaos was the chief feline art form, but she had never coaxed a straight enough answer out of a cat to be sure. It was the sort of thing a cat would like a human to think, particularly if it weren’t true.

It was not an easy vocation, being a priest in that country, where magic was vibrantly everywhere, maddening and unquenchable, and the gods were assumed to be a kind of super-fairy except that you never saw them nor were offered any concrete proof of what the priests claimed they had done for you.

For as much as everyone lives in fear that he or she might be destined for tragic ends, Malfleur was equally revolted by the idea of a happily ever after. Perhaps because both actually suggested the same thing to her: an ending.