Square Dance Quotes

We've searched our database for all the quotes and captions related to Square Dance. Here they are! All 100 of them:

It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive. It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life's betrayals or have become shriveled and closed from fear of further pain!I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it, or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn't interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithlessand therefore trustworthy. I want to know if you can see beauty even when it's not pretty, every day,and if you can source your own life from its presence. I want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “Yes!” It doesn't interest me to know where you live or how much money you have. I want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children. It doesn't interest me who you know or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn't interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.
Oriah Mountain Dreamer
Listen: I am ideally happy. My happiness is a kind of challenge. As I wander along the streets and the squares and the paths by the canal, absently sensing the lips of dampness through my worn soles, I carry proudly my ineffable happiness. The centuries will roll by, and schoolboys will yawn over the history of our upheavals; everything will pass, but my happiness , dear, my happiness will remain,in the moist reflection of a street lamp, in the cautious bend of stone steps that descend into the canal's black waters, in the smiles of a dancing couple, in everything with which God so generously surrounds human loneliness.
Vladimir Nabokov (Selected Letters, 1940-1977)
We must strive to be like the moon.' An old man in Kabati repeated this sentence often... the adage served to remind people to always be on their best behavior and to be good to others. [S]he said that people complain when there is too much sun and it gets unbearably hot, and also when it rains too much or when it is cold. But, no one grumbles when the moon shines. Everyone becomes happy and appreciates the moon in their own special way. Children watch their shadows and play in its light, people gather at the square to tell stories and dance through the night. A lot of happy things happen when the moon shines. These are some of the reasons why we should want to be like the moon.
Ishmael Beah
Sometimes I would make left turns all the way around a block, and when I returned to the original intersection, I would feel disappointed to find all the drivers were new. It wasn't like a square dance, where you miraculously end up with your original partner, laughing and feeling giddily relieved to find him after dancing with everyone else in the world. Instead, they swung around and kept on going, some people were at work by now, or halfway to the airport. In fact, driving might be the thing most opposite of dancing.
Miranda July
THE INVITATION by Oriah Mountain Dreamer It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart's longing. It doesn't interest me how old you are. I want to know if you will risk looking like a fool for love, for your dreams, for the adventure of being alive. It doesn't interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life's betrayals or have become shriveled and closed from fear of future pain. I want to know if you can sit with pain, mine or your own, without moving to hide it, or fade it, or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn't interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy. I want to know if you can see beauty even when it's not pretty, every day, and if you can source your own life from its presence. I want to know if you can live with failure, yours or mine, and still stand on the edge of the lake and shout to the silver of the full moon, "yes!" It doesn't interest me who you know, or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn't interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with your and if you truly like the company you keep in the empty moments.
Oriah Mountain Dreamer
Tonight I want to forget all your insecurities. Tonight I want you to reject anyone or anything that has made you feel like you don't belong, or don't fit in, or has made you feel like you're not good enough or pretty enough or thin enough, or like you can't sing well enough or dance well enough, or write a song well enough, or like YOU'LL NEVER WIN A GRAMMY, or like YOU'LL NEVER SELL OUT MADISON SQUARE GARDEN! You just remember that you are a god damn superstar and you were born this way!
Lady Gaga
I remembered what Morrie said during our visit: “The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” "Morrie true to these words, had developed his own culture – long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted not time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities– conversations, interaction, affection–and it filled his life like an overflowing soup bowl.
Mitch Albom
Sometimes I feel like New Yorkers do New York wrong. Where are the people swinging from subway poles and dancing on fire escapes and kissing in Times Square? The post office flash mob proposal was a start, but when’s the next big number? I pictured New York like West Side Story plus In the Heights plus Avenue Q—but really, it’s just construction and traffic and iPhones and humidity.
Becky Albertalli (What If It's Us (What If It's Us #1))
The people in the city seem paper thin in the mist. They believe they are dancing to the music of their lives... But I think, like the puppets, each of us is pulled upon invisible strings, until the night comes and we are put away. I shiver, and hurry from the square, as the darkness of the city closes over me like canal water or the grave.
Neil Gaiman (The Sandman: Endless Nights)
sometimes he just can’t help but think that there really is a grand plan. In a way, it reminds him of square dancing, how you can see the pattern fully only by looking at it from above, by not being a part of it.
Elizabeth Berg (The Story of Arthur Truluv (Mason, #1))
As human beings, we live by emotions and thoughts. We exchange them when we are in the same place at the same time, talking to each other, looking into each other's eyes, brushing against each other's skin. We are nourished by this network of encounters and exchanges. But, in reality, we do not need to be in the same place and time to have such exchanges. Thoughts and emotions that create bonds of attachment between us have no difficulty in crossing seas and decades, sometimes even centuries, tied to thin sheets of paper or dancing between the microchips of a computer. We are part of a network that goes far beyond the few days of our lives and the few square meters that we tread. This book is also a part of that weave...
Carlo Rovelli (L'ordine del tempo)
Elliott performed a dance called the Dance of the Twenty-Eight Veils in Times Square. It is on YouTube. Many commenters described it as the most boring erotic dance ever performed in the history of the world. I have never been so embarrassed in my unlife. I’m thinking of quitting being leader of the clan and becoming a vampire nun.
Cassandra Clare (Born to Endless Night (Tales from the Shadowhunter Academy, #9))
We took a bus to Victoria, then passed on foot into a vast, desolate region of stucco streets and squares upon which a doom seemed to have fallen. The gloom was cosmic.
Anthony Powell (A Dance to the Music of Time: 2nd Movement (A Dance to the Music of Time, #4-6))
It was in America that horses first roamed. A million years before the birth of man, they grazed the vast plains of wiry grass and crossed to other continents over bridges of rock soon severed by retreating ice. They first knew man as the hunted knows the hunter, for long before he saw them as a means to killing other beasts, man killed them for their meat. Paintings on the walls of caves showed how. Lions and bears would turn and fight and that was the moment men speared them. But the horse was a creature of flight not fight and, with a simple deadly logic, the hunter used flight to destroy it. Whole herds were driven hurtling headlong to their deaths from the tops of cliffs. Deposits of their broken bones bore testimony. And though later he came pretending friendship, the alliance with man would ever be but fragile, for the fear he'd struck into their hearts was too deep to be dislodged. Since that neolithic moment when first a horse was haltered, there were those among men who understood this. They could see into the creature's soul and soothe the wounds they found there. Often they were seen as witches and perhaps they were. Some wrought their magic with the bleached bones of toads, plucked from moonlit streams. Others, it was said, could with but a glance root the hooves of a working team to the earth they plowed. There were gypsies and showmen, shamans and charlatans. And those who truly had the gift were wont to guard it wisely, for it was said that he who drove the devil out, might also drive him in. The owner of a horse you calmed might shake your hand then dance around the flames while they burned you in the village square. For secrets uttered softly into pricked and troubles ears, these men were known as Whisperers.
Nicholas Evans (The Horse Whisperer)
I don't really know how dating works," Jared told her. "High school for me was mostly musical numbers. That's how it is in the States, you've seen the movies. Every time someone had an emotional dilemma or epiphany, they would burst into song, and we would all have to break out into perfectly choreographed dance sequences. It took a lot of intensive training. So many jazz squares, no time for love.
Sarah Rees Brennan (Unmade (The Lynburn Legacy, #3))
Why was fabulousness important? The world was a scary, sad place and adornment was one of the only ways she knew to make herself and the people around her forget their troubles. That was why she had opened her store almost five years ago. Everyone who entered the little square white house with miniature Corinthian columns, cherub statues, and French windows seemed to leave carrying armloads of newly handmade and well spruced-up recycled vintage clothing, humming sixties girl-group songs, seventies glam and punk, eighties New Wave one-hit wonders, or nineties grunge, doing silly dances, and not caring what anyone thought. Weetzie loved the old dresses she found and sold, because they had their own secret histories. She always wondered where, when, and how they had been worn. What they had seen. Old dresses were like old ladies.
Francesca Lia Block (Necklace of Kisses (Weetzie Bat, #6))
One of my greatest pleasures there was enjoying the smell of bacon frying and coffee brewing and knowing that white folks were doing the preparing instead of me. There was swimming in the man-made lake, volleyball, square dancing. It was quite enjoyable to be with at Highlander. We forgot what color anybody was. I was forty-two years old, and it was one of the few times in my life up to that point when I did not feel any hostility from white people.
Rosa Parks (Rosa Parks: My Story)
I am the interpretation of the prophet I am the artist in the coffin I am the brave flag stained with blood I am the wounds overcome I am the dream refusing to sleep I am the bare-breasted voice of liberty I am the comic the insult and the laugh I am the right the middle and the left I am the poached eggs in the sky I am the Parisian streets at night I am the dance that swings till dawn I am the grass on the greener lawn I am the respectful neighbour and the graceful man I am the encouraging smile and the helping hand I am the straight back and the lifted chin I am the tender heart and the will to win I am the rainbow in rain I am the human who won’t die in vain I am Athena of Greek mythology I am the religion that praises equality I am the woman of stealth and affection I am the man of value and compassion I am the wild horse ploughing through I am the shoulder to lean onto I am the Muslim the Jew and the Christian I am the Dane the French and the Palestinian I am the straight the square and the round I am the white the black and the brown I am the free speech and the free press I am the freedom to express I will die for my right to be all the above here mentioned And should threat encounter I’ll pull my pencil
Mie Hansson (Where Pain Thrives)
There is a most profound and beautiful question associated with the observed coupling constant, e - the amplitude for a real electron to emit or absorb a real photon. It is a simple number that has been experimentally determined to be close to 0.08542455. (My physicist friends won't recognize this number, because they like to remember it as the inverse of its square: about 137.03597 with about an uncertainty of about 2 in the last decimal place. It has been a mystery ever since it was discovered more than fifty years ago, and all good theoretical physicists put this number up on their wall and worry about it.) Immediately you would like to know where this number for a coupling comes from: is it related to pi or perhaps to the base of natural logarithms? Nobody knows. It's one of the greatest damn mysteries of physics: a magic number that comes to us with no understanding by man. You might say the "hand of God" wrote that number, and "we don't know how He pushed his pencil." We know what kind of a dance to do experimentally to measure this number very accurately, but we don't know what kind of dance to do on the computer to make this number come out, without putting it in secretly!
Richard P. Feynman (QED: The Strange Theory of Light and Matter)
Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.
Hakim Bey (TAZ: The Temporary Autonomous Zone (New Autonomy))
...a square dance might start innocent, but it sure don’t take long to cut off the corners.
Sam Torode (The Dirty Parts of the Bible)
Well, a square dance might start innocent, but it sure don’t take long to cut off the corners.” Father
Sam Torode (The Dirty Parts of the Bible)
I did pretty good for a guy who never finished high school and used to yodel at square dances.
Roy Rogers
Jimmy said, "We survived slavery. Think about that. Not because we were strong. The American Indians were strong, and they were on their own land. But they have not survived genocide. You know how we survived?" I said nothing. "We put surviving into our poems and into our songs. We put it into our folk tales. We danced surviving in Congo Square in New Orleans and put it in our pots when we cooked pinto beans. We wore surviving on our backs when we clothed ourselves in the colors of the rainbow. We were pulled down so low we could hardly lift our eyes, so we knew, if we wanted to survive, we had better lift our own spirits. So we laughed whenever we got the chance.
Maya Angelou (A Song Flung Up to Heaven)
..in the 21st century, we don’t need to march against size zero models, risible pornography, lap-dancing clubs and Botox. We don’t need to riot, or go on hunger strike. There’s no need to throw ourselves under a horse, or even a donkey. We just need to look it in the eye, squarely, for a minute, and then start laughing at it. We look hot when we laugh. People fancy us when they observe us giving out relaxed, earthy chuckles.
Caitlin Moran
Like a lot of gym teachers, Coach Babcock loved to torture his students. He felt he had failed as a teacher if his students didn't cry out for mercy. He often bragged that he held the school district's record for causing the most hysterical breakdowns in one afternoon. He used such classic forms of torture as weight training, wrestling, long-distance running, rope climing, wind spirits, chin-ups, and the occasional game of wet dodgeball (the wet ball was superloud when it hit a kid, and it left a huge red welt). But his favorite device of torment was so horrible, so truly evil, that it would drive most children to the brink of madness. It was the square dance. For six weeks of the school year, his students suffered through the Star Promenade, the Slip the Clutch, and the Ferris Wheel. As Babcock saw it, square dancing was the most embarrassing and uncomfortable form of dancing ever created, and a perfect way to prepare his students for the crushing heartbreak of life. Square dancing was a metaphor for like- you got swung around and just when you thought you were free, you got dragged back into the dance. He really thought he was doing the kids a favor.
Michael Buckley (M Is for Mama's Boy (NERDS, #2))
Bellatrix was still fighting too, fifty yards away from Voldemort, and like her master she dueled three at once: Hermione, Ginny, and Luna, all battling their hardest, but Bellatrix was equal to them, and Harry’s attention was diverted as a Killing Curse shot so close to Ginny that she missed death by an inch — He changed course, running at Bellatrix rather than Voldemort, but before he had gone a few steps he was knocked sideways. “NOT MY DAUGHTER, YOU BITCH!” Mrs. Weasley threw off her cloak as she ran, freeing her arms. Bellatrix spun on the spot, roaring with laughter at the sight of her new challenger. “OUT OF MY WAY!” shouted Mrs. Weasley to the three girls, and with a swipe of her wand she began to duel. Harry watched with terror and elation as Molly Weasley’s wand slashed and twirled, and Bellatrix Lestrange’s smile faltered and became a snarl. Jets of light flew from both wands, the floor around the witches’ feet became hot and cracked; both women were fighting to kill. “No!” Mrs. Weasley cried as a few students ran forward, trying to come to her aid. “Get back! Get back! She is mine!” Hundreds of people now lined the walls, watching the two fights, Voldemort and his three opponents, Bellatrix and Molly, and Harry stood, invisible, torn between both, wanting to attack and yet to protect, unable to be sure that he would not hit the innocent. “What will happen to your children when I’ve killed you?” taunted Bellatrix, as mad as her master, capering as Molly’s curses danced around her. “When Mummy’s gone the same way as Freddie?” “You — will — never — touch — our — children — again!” screamed Mrs. Weasley. Bellatrix laughed, the same exhilarated laugh her cousin Sirius had given as he toppled backward through the veil, and suddenly Harry knew what was going to happen before it did. Molly’s curse soared beneath Bellatrix’s outstretched arm and hit her squarely in the chest, directly over her heart. Bellatrix’s gloating smile froze, her eyes seemed to bulge: For the tiniest space of time she knew what had happened, and then she toppled, and the watching crowd roared, and Voldemort screamed.
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
Before you start your full day of watching Equestrian Square Dancing, Soccer Balling, Hoop Dreaming, Cricket Batting, Rugby Punching, Volleyball Chopping, Skateboard Falling, Martial Arts Bowing, Bicycle Peddlers, and College Football Hecklers, maybe we have time to learn something Scientifically.
James Hauenstein
Jimmy said, "We survived slavery.... You know how we survived?" ....We put surviving into our poems and into our songs. We put it into our folk tales. We danced surviving in Congo Square in New Orleans and put it in our bots when we cooked pinto beans. We wore surviving on our backs when we clothed ourselves in the colors of the rainbow. We were pulled down so low we could hardly lift our eyes, so we knew, if we anted to survive, we better lift our own spirits. So we laughed whenever we got the chance.
Maya Angelou (A Song Flung Up to Heaven)
A woman without a stitch to her name should not dance at the market square.
Anyaele Sam Chiyson (The Sagacity of Sage)
Henry looks Philip square in the face and says, 'I've been gay as a maypole since the dance I came out of Mum, Philip.
Casey McQuiston (Red, White & Royal Blue)
I danced with too many squares tonight. Let's melt 'em all down.
Daniel Keyes (Flowers for Algernon)
As human beings, we live by emotions and thoughts. We exchange them when we are in the same place at the same time, talking to each other, looking into each other’s eyes, brushing against each other’s skin. We are nourished by this network of encounters and exchanges. But, in reality, we do not need to be in the same place and time to have such exchanges. Thoughts and emotions that create bonds of attachment between us have no difficulty in crossing seas and decades, sometimes even centuries, tied to thin sheets of paper or dancing between the microchips of a computer. We are part of a network that goes far beyond the few days of our lives and the few square meters that we tread. This book is also a part of that weave. . .
Carlo Rovelli (The Order of Time)
It doesn't interest me what you do for a living. I want to know what you ache for, and if you dare to dream of meeting your heart’s longing. It doesn’t interest me how old you are. I want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive. It doesn’t interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow, if you have been opened by life’s betrayals or have become shriveled and closed from fear of further pain. I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn’t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy. I want to know if you can see beauty, even when it’s not pretty, every day, and if you can source your own life from its presence. I want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “Yes!” It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children. It doesn’t interest me who you know or how you came to be here. I want to know if you will stand in the center of the fire with me and not shrink back. It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.
Oriah Mountain Dreamer (The Invitation)
In fourth grade we played hard. The fifth-grade girls played four square, too, but they didn't jeer at each other when they played, and they hit the ball gently from square to square. Their slowness seemed deliberate, as if they were dancing. Their skirts brushed slowly against their knees as they swayed. It wasn't so much that they looked different; they just looked as if they knew they were being watched.
Sarah Manguso (Very Cold People)
So Justo comes to listen. The language always has been the most important act of separation anyway, as the bond is to the words more than to the land. Since nothing on maps reflects their existence, the extent of their “country” is the range of their language. But like the dances, the flag, and the celebrations, the words are banned, making a prayer whispered in Basque as illegal as a call to arms in the public square.
Dave Boling (Guernica)
I don't know. Sometimes I feel like New Yorkers do New York wrong. Where are the people swinging from subway poles and dancing on fire escapes and kissing in Times Square? The post office flash mob proposal was a start, but when's the next big number? I pictured New York like West Side Story plus In the Heights plus Avenue Q--but really, it's just construction and traffic and iPhones and humidity. They might as well write musicals about Milton, Georgia. We'd open with a ballad: 'Sunday at the Mall.' And then 'I Left My Heart at Target,' If Ethan were here, he'd have the whole libretto written by the time we stepped out of the car.
Becky Albertalli (What If It's Us (What If It's Us, #1))
Any hawk looking down on the orchard's cloistered square, hoping for the titbit of a beetle or a mouse, would see a patterned canopy of trees, line on line, the orchard's melancholy solitude, the jewellery of leaves. It would see the backs of horses, the russet, apple-dotted grass, the saltire of two crossing paths worn smooth by centuries of feet, and two grey heads, swirling in a lover's dance, like blown seed husks caught up in an impish and exacting wind and with no telling when or where they'll come to ground again.
Jim Crace (Harvest)
In the morning it was raining. A fog had come over the mountains from the sea. You could not see the tops of the mountains. The plateau was dull and gloomy, and the shapes of the trees and the houses were changed. I walked out beyond the town to look at the weather. The bad weather was coming over the mountains from the sea. The flags in the square hung wet form the with poles and the banners were wet and hung damp against the front of the houses, and in between the steady drizzle the rain came down and drove every one under the arcades and made pools of water in the square, and the streets were dark and deserted; yet the fiesta kept up without any pause. It was only driven under covers. The covered seats of the bull-ring had been crowded with people sitting out of the rain watching the concourse of Basque and Navarrais dancers and singers, and afterward the Val Carlos dancers in their costumes danced down the street in the rain, the drums sounding hallow and damp, and the chiefs of the bands riding ahead of their big, heavy-footed horse, their costumes wet, the horses’ coats wet in the rain. The crowd was in the cafés and the dancers came in, too, and sat, their tight-wound white legs under the tables, shaking the water from their belled caps, and spreading their red and purple jackets over the chairs to dry. It was raining hard outside.
Ernest Hemingway (The Sun Also Rises)
Stuyvesants and Vanderbilts and Roosevelts and staid, respectable Washington Square. Trinity Church. Mrs. Astor’s famous ballroom, the Four Hundred, snobby Ward McAllister, that traitor Edith Wharton, Delmonico’s. Zany Zelda and Scott in the Plaza fountain, the Algonquin Round Table, Dottie Parker and her razor tongue and pen, the Follies. Cholly Knickerbocker, 21, Lucky Strike dances at the Stork, El Morocco. The incomparable Hildegarde playing the Persian Room at the Plaza, Cary Grant kneeling at her feet in awe. Fifth Avenue: Henri Bendel, Bergdorf’s, Tiffany’s.
Melanie Benjamin (The Swans of Fifth Avenue)
But that is just half the story. The Gospel of Thomas has what I take to be the full text. The Kingdom of God is within you and all around you. Split a piece of wood. I am there. Lift up a stone, and you will find me there. The holiest thing then, the Kingdom, is inside, the observing consciousness, the deep core of being, and outside, the Brown Thrasher, the little girl skipping over the squares of the sidewalk, the universe itself that, so far as we know is unlimited. It would be best here to start singing and dancing for the spacious joy of inside and outside.
Coleman Barks
Mentally, I found her to be a disgustingly conventional little girl. Sweet hot jazz, square dancing, gooey fudge sundaes, musicals, movie magazines and so forth - these were the obvious items on her list of beloved things. The Lord knows how many nickels I fed to the gorgeous music boxes that came with every meal we had! I still hear the nasal voices of those invisibles serenading her, people with names like Sammy and Jo and Eddy and Tony and Peggy and Guy and Patty and Rex, and sentimental song hits, all of them as similar to my ear as her various candies were to my palate.
Vladimir Nabokov (Lolita)
It doesn’t interest me what you do for a living. I want to know what you ache for and if you dare to dream of meeting your heart’s longing. It doesn’t interest me how old you are. I want to know if you will risk looking like a fool for love for your dream for the adventure of being alive. It doesn’t interest me what planets are squaring your moon... I want to know if you have touched the centre of your own sorrow if you have been opened by life’s betrayals or have become shrivelled and closed from fear of further pain. I want to know if you can sit with pain mine or your own without moving to hide it or fade it or fix it. I want to know if you can be with joy mine or your own if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful to be realistic to remember the limitations of being human. It doesn’t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself. If you can bear the accusation of betrayal and not betray your own soul. If you can be faithless and therefore trustworthy. I want to know if you can see Beauty even when it is not pretty every day. And if you can source your own life from its presence. I want to know if you can live with failure yours and mine and still stand at the edge of the lake and shout to the silver of the full moon, “Yes.” It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up after the night of grief and despair weary and bruised to the bone and do what needs to be done to feed the children. It doesn’t interest me who you know or how you came to be here. I want to know if you will stand in the centre of the fire with me and not shrink back. It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you from the inside when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.
Oriah Mountain Dreamer
dressed in a formal frock coat—with an Iron Cross still pinned on its front3—the same outfit he’d worn for the putsch, for his failed march to Odeon Square, and during his escape to Ernst Hanfstaengl’s villa. Beside him, “their shadows flickering and dancing in the darkness before them,” walked Landsberg Prison warden Otto Leybold and two police officers, one of them leading a “strong dog” on a chain. The prison was still, except for the slamming of iron doors behind the men. In the dead of night, Adolf Hitler had arrived at what would be his home for most of the next thirteen months. Located
Peter Ross Range (1924: The Year That Made Hitler)
Down the street, tree branches strung in purple Halloween lights began to shudder and sway. Dusty whirlwinds rose from the ground, and from the north came a great rush of wind. From Congo Square, she thought. Where the slaves danced and sang. "...and St. Louis Cemetery," whispered in her ear. The wind blew as cold as the icy breath of Lake Superior. Blowing veins seizured round the wrought iron gate. Yet the music continued. The only one oblivious to the sudden shift in the air--as if she were expecting it--was Angelique, who continued her dance, face to the sky. As though nothing had changed, though everything had.
Eve Wallinga (The Voodoo Breast: A Novel of Healing)
Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.
Anne Sexton
In the 21st century, we don’t need to march against size-zero models, risible pornography, lap-dancing clubs, and Botox. We don’t need to riot or go on hunger strikes. There’s no need to throw ourselves under a horse, or even a donkey. We just need to look it in the eye, squarely, for a minute, and then start laughing at it.
Caitlin Moran (How To Be A Woman)
All I had to do was cry. In a way it makes me feel unbelievably sleazy to write that, but in another way it does not; in another way I recognize it as just another symptom of what’s wrong between the fellers and the girls in this particular square-dance. He didn’t entirely believe I was serious until I started to cry, you see.
Stephen King (Gerald's Game)
Apart from the scenic majesty of the mountainous countryside, unspoiled by modern, conveniences, there is also the small but vibrant capital city of Quetchyl (pronounced “Clutch”), with its many squares and plazas, each with its magnificent statue of President Malagua, sometimes astride a horse and sometimes not astride a horse.
Donald E. Westlake (Dancing Aztecs)
And at the same time I was careful not to step on any of the cracks. "Bears," I exclaimed merrily — being practically impossible to hoodwink and simultaneously doing one of my nifty little dances, nifty and artistic, "bears, look at me walking in just the squares!" I believe that on the second occasion somebody actually heard me — yes, and saw me, too! Oh, Lordy Moses!
Stephen Benatar (Wish Her Safe at Home)
It doesn't really feel like driving when you don't know where you’re going. There should be an option on the car for driving in place, like treading water. Or at least a light that shines between the brake lights that you can turn on to indicate that you have no destination. I felt like I was fooling the other drivers and I just wanted to come clean. But the more I drove, the more I felt like I had somewhere to go. I was making difficult left turns that no one would ever do unless they had to. Sometimes I would make left turns all the way around a block, and when I returned to the original intersection, I would feel disappointed to find all the drivers were new. It wasn’t like a square dance, where you miraculously end up with your original partner, laughing and feeling giddily relieved to find him after dancing with everyone else in the world.
Miranda July (No One Belongs Here More Than You)
Afghan Girl Ice blue eyes that look to the morning sky as I knit the pieces and remnants of my life. I have No books, no paper, no pencils, and no black boards. I look at the holes in my life as I see the hills of the Appalachians that echo. I think to myself, who will I marry? Is my life-like Pari? These strings please come together. Snowflakes give me hope, and my dreams dance all around me. I‘ll put another log on the fire. I watch the brown paper bag over the broken glass pane letting the cold wind in; I’ll take some of these remnants and stuff it. These strings are come together. Mama told me that life would be hard. I bartered for flour the other day, and the chickens ain’t laying no eggs. I struggle with life and these strings. My hands are worn and tired. Now, I have granny square hands. I am unclean, unblemished, and finished, Afghan girl.
Edna Stewart (Carpe Diem)
ref·u·gee noun: a person who flees for refuge or safety We are, each of us, refugees when we flee from burning buildings into the arms of loving families. When we flee from floods and earthquakes to sleep on blue mats in community centres. We are, each of us, refugees when we flee from abusive relationships, and shooters in cinemas and shopping centres. Sometimes it takes only a day for our countries to persecute us because of our creed, race, or sexual orientation. Sometimes it takes only a minute for the missiles to rain down and leave our towns in ruin and destitution. We are, each of us, refugees longing for that amniotic tranquillity dreaming of freedom and safety when fences and barbed wires spring into walled gardens. Lebanese, Sudanese, Libyan and Syrian, Yemeni, Somali, Palestinian, and Ethiopian, like our brothers and sisters, we are, each of us, refugees. The bombs fell in their cafés and squares where once poetry, dancing, and laughter prevailed. Only their olive trees remember music and merriment now as their cities wail for departed children without a funeral. We are, each of us, refugees. Don’t let stamped paper tell you differently. We’ve been fleeing for centuries because to stay means getting bullets in our heads because to stay means being hanged by our necks because to stay means being jailed, raped and left for dead. But we can, each of us, serve as one another’s refuge so we don't board dinghies when we can’t swim so we don’t climb walls with snipers aimed at our chest so we don’t choose to remain and die instead. When home turns into hell, you, too, will run with tears in your eyes screaming rescue me! and then you’ll know for certain: you've always been a refugee.
Kamand Kojouri
Short, square, cleanshaven, his head seemed carved out of an elephant's tusk, the whole massive cone of ivory left more or less complete in its original shape, eyes hollowed out deep in the roots, the rest of the protuberance accommodating his other features, terminating in a perfectly colossal nose that stretched directly forward from the totally bald cranium. The nose was preposterous, grotesque, slapstick, a mask from a Goldoni comedy.
Anthony Powell (A Dance to the Music of Time: 3rd Movement (A Dance to the Music of Time, #7-9))
But if you could just pay her some small attention-or better yet, escort her yourself-it would be ever so helpful, and I would be grateful forever.” “Alex, if you were married to anyone but Jordan Townsende, I might consider asking you how you’d be willing to express your gratitude. However, since I haven’t any real wish to see my life brought to a premature end, I shall refrain from doing so and say instead that your smile is gratitude enough.” “Don’t joke, Roddy, I’m quite desperately in need of your help, and I would be eternally grateful for it.” “You are making me quake with trepidation, my sweet. Whoever she is, she must be in a deal of trouble if you need me.” “She’s lovely and spirited, and you will admire her tremendously.” “In that case, I shall deem it an embarrassing honor to lend my support to her. Who-“ His gaze flicked to a sudden movement in the doorway and riveted there, his eternally bland expression giving way to reverent admiration. “My God,” he whispered. Standing in the doorway like a vision from heaven was an unknown young woman clad in a shimmering silver-blue gown with a low, square neckline that offered a tantalizing view of smooth, voluptuous flesh, and a diagonally wrapped bodice that emphasized a tiny waist. Her glossy golden hair was swept back off her forehead and held in place with a sapphire clip, then left to fall artlessly about her shoulders and midway down her back, where it ended in luxurious waves and curls that gleamed brightly in the dancing candlelight. Beneath gracefully winged brows and long, curly lashes her glowing green eyes were neither jade nor emerald, but a startling color somewhere in between. In that moment of stunned silence Roddy observed her with the impartiality of a true connoisseur, looking for flaws that others would miss and finding only perfection in the delicately sculpted cheekbones, slender white throat, and soft mouth. The vision in the doorway moved imperceptibly. “Excuse me,” she said to Alexandra with a melting smile, her voice like wind chimes, “I didn’t realize you weren’t alone.” In a graceful swirl of silvery blue skirts she turned and vanished, and still Roddy stared at the empty doorway while Alexandra’s hopes soared. Never had she seen Roddy display the slightest genuine fascination for a feminine face and figure. His words sent her spirits even higher: “My God,” he said again in a reverent whisper. “Was she real?” “Very real,” Alex eagerly assured him, “and very desperately in need of your help, though she mustn’t know what I’ve asked of you. You will help, won’t you?” Dragging his gaze from the doorway, he shook his head as if to clear it. “Help?” he uttered dryly. “I’m tempted to offer her my very desirable hand in marriage!
Judith McNaught (Almost Heaven (Sequels, #3))
his is exactly what I mean about rabbit holes. I love them. I don’t find them a waste of time at all. The Internet works like the subconscious - I’m sure somebody’s said that already, it’s so obvious, I just can’t think who it would have been. The point is, this is how dreamwork works: you wake up and think, “Why the hell did I dream that my 2nd grade teacher was masturbating my dental hygienist?” If you were in analysis, you’d probably be able to figure it out if you really wanted to, just like you could probably eventually figure out why YouTube thinks some SpongeBob SquarePants video is related to Natalya Makarova dancing the dying swan. I do like to understand some of the connections, and for others to remain mysterious. This is how I feel about my subconscious as well. And I never really find it a waste of time. If you think about it, you always find something out. Gray seems to be wasting a lot of time, but in his quiet way, he’s figuring out how to deal with the fact that the people we love die. I really don’t think that’s a waste of time. Also, for the record, I really don’t think looking at art (MJ, Pina, Merce) over and over and over, trying to understand what it’s trying to tell you, is a waste of time. I think it may be the most meaningful thing we do. I tell my graduate students this all the time. Don’t let anybody make you feel bad about this.
Barbara Browning
At the time, I paid no heed to the emblem above the door of a compass crossed with a square; the library had been founded by Masons. There, in the quiet shadows, I read for hours from the books that the kind librarian allowed me to take from the shelves: fairy tales, adventure stories, adaptations of classics for children, and dictionaries of symbols. One day while browsing among the shelves I ran across a yellowed volume: Les Tarots by Eteilla. All my efforts to read it were in vain. The letters looked strange and the words were incomprehensible. I began to worry that I had forgotten how to read. When I communicated my anguish to the librarian, he began to laugh. “But how could you understand it; it’s written in French, my young friend! I can’t understand it either!” Oh, how I felt drawn to those mysterious pages! I flipped through them, seeing many numbers, sums, the frequent occurrence of the word Thot, some geometric shapes . . . but what fascinated me most was a rectangle inside which a princess, wearing a three-pointed crown and seated on a throne, was caressing a lion that was resting its head on her knees. The animal had an expression of profound intelligence combined with an extreme gentleness. Such a placid creature! I liked the image so much that I committed a transgression that I still have not repented: I tore out the page and brought it home to my room. Concealed beneath a floorboard, the card “STRENGTH” became my secret treasure. In the strength of my innocence, I fell in love with the princess.
Alejandro Jodorowsky (The Dance of Reality: A Psychomagical Autobiography)
Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.
Mitch Albom (Tuesdays with Morrie)
A drumbeat joins Sami's rhythm, the crowd ripples and separates, and soon we are dancing. Here in this place the city carved out and abandoned, there is only movement and heat and darkness. I can't see my body, or Reem's, or Sami's, or anyone's. I can only feel my hips moving the stale air and listen to the rise and fall of the feet of those around me. I have been taught all my life that masculinity means short hair and square-toed shoes, taking up space, raising one's voice. To be soft is to be less of a man. To be gentle, to laugh, to create art, to bleed between the legs -- I have been taught that these things make me a woman. I have been taught all my life that to dance is to be vulnerable, and that the world will crush the vulnerable. I was taught to equate invincibility with being worthy of love. But here in the darkness of his abandoned subway platform, I can almost imagine a world big enough for boys like Sami and me to love each other, to dance and let the pain out of our bodies, to breathe and make love and be enough and be enough and be enough.
Zeyn Joukhadar (The Thirty Names of Night)
One morning Profane woke up early, couldn't get back to sleep and decided on a whim to spend the day like a yo-yo, shuttling on the subway back and forth underneath 42nd Street, from Times Square to Grand Central and vice versa. He made his way to the washroom of Our Home, tripping over two empty mattresses on route. Cut himself shaving, had trouble extracting the blade and gashed a finger. He took a shower to get rid of the blood. The handles wouldn't turn. When he finally found a shower that worked, the water came out hot and cold in random patterns. He danced around, yowling and shivering, slipped on a bar of soap and nearly broke his neck. Drying off, he ripped a frayed towel in half, rendering it useless. He put on his skivvy shirt backwards, took ten minutes getting his fly zipped and another fifteen repairing a shoelace which had broken as he was tying it. All the rests of his morning songs were silent cuss words. It wasn't that he was tired or even notably uncoordinated. Only something that, being a schlemihl, he'd known for years: inanimate objects and he could not live in peace.
Thomas Pynchon (V.)
What if Mike pitches a fit at the reception? What if he causes a scene? Did I pack enough shoes for the honeymoon? What if I don’t like living in the country? Am I supposed to plant a garden? I don’t know how to saddle a horse. What if I feel out of place? I never learned how to square dance. Is it do-si-do or allemande left? Wait…is it square dancing? Or two-stepping? I don’t even know the dances. I don’t belong out there. What if I want to get a job? There IS no job. Does J know I’m getting married today? Does Collin? Does Kev? What if I pass out during the ceremony? I’ve seen it on America’s Funniest Home Videos dozens of times. Someone always passes out. What if the food’s cold when we get to the reception? Wait…it’s supposed to be cold. Wait…some of it is, some of it isn’t. What if I’m not what Marlboro Man’s looking for? What if my face flakes off as I’m saying “I do”? What if my dress gets caught inside my panty hose? I’m so shaky all of a sudden. My hands feel so wet and clammy… I’ve never had a panic attack before. But as I would soon find out, there’s a first time for everything. Oh, Ree…don’t do this now.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
On May 7 crowds had gathered on Dam Square in the center of Amsterdam in front of the Royal Palace, cheering, dancing, singing, waving the orange flag of the Dutch royal family, in anticipation of the triumphant British and Canadian troops whose arrival was imminent. Watching the happy throng from the windows of a gentlemen’s club on the square, German naval officers decided in a last-minute fit of pique to fire into the crowd with a machine gun mounted on the roof. Twenty-two people died, and more than a hundred were badly injured. Even that was not the very last violent act of the war.
Ian Buruma (Year Zero: A History of 1945)
Lewis appeared beside them, roguish grin on his handsome face. “Miss Macy, as I live and breathe! How I have longed to see you again. Do say you’ll dance with me. Nate won’t mind if I cut in. Will you, ol’ boy?” Nathaniel felt the old stab of jealousy. He glanced from his brother’s face—perfectly confident she would agree—to Margaret’s. She looked at Lewis squarely and said, “Actually, I would prefer to dance with your brother.” Lewis’s mouth parted in disbelief. Heart lifting, Nathaniel whirled Margaret away from his stunned brother. It was likely the first time a woman had turned him down for anything.
Julie Klassen (The Maid of Fairbourne Hall)
NO ONE COULD say exactly when the great celebration erupted. There were those who claimed it kicked off as soon as the war was over, straight after the Japanese surrender on 14 August 1945, when everyone danced in the streets and a Jewish refugee, Alfred Eisenstaedt of Life magazine, took the photograph of his life on Times Square: a sailor, delirious with joy, kissing a nurse on the lips. These were the months when GIs returned from all corners of the globe, the years when people suddenly had money in their pockets. Even in America, luxuries had been scarce and rationed for years; now you could buy washing
Geert Mak (In America: Travels with John Steinbeck)
Parks waits a long while, until he’s absolutely certain that Justineau’s monologue is finished. The truth is, for most of the time he’s been trying to figure out what it is exactly that she’s trying to tell him. Maybe he was right the first time about where they were heading, and Justineau airing her ancient laundry is just a sort of palate-cleanser before they have sex. Probably not, but you never know. In any case, the countermove to a confession is an absolution, unless you think the sin is unforgivable. Parks doesn’t. “It was an accident,” he tells her, pointing out the obvious. “And probably you would have ended up doing the right thing. You don’t strike me as the sort of person who just lets shit slide.” He means that, as far as it goes. One of the things he likes about Justineau is her seriousness. He frigging flat-out hates frivolous, thoughtless people who dance across the surface of the world without looking down. “Yeah, but you don’t get it,” Justineau says. “Why do you think I’m telling you all this?” “I don’t know,” Parks admits. “Why are you telling me?” Justineau steps away from the parapet wall and squares off against him – range, zero metres. It could be erotic, but somehow it’s not. “I killed that boy, Parks. If you turn my life into an equation, the number that comes out is minus one. That’s my lifetime score, you understand me? And you … you and Caldwell, and Private Ginger f**king Rogers … my God, whether it means anything or not, I will die my own self before I let you take me down to minus two.” She says the last words right into his face. Sprays him with little flecks of spit. This close up, dark as it is, he can see her eyes. There’s something mad in them. Something deeply afraid, but it’s damn well not afraid of him. She leaves him with the bottle. It’s not what he was hoping for, but it’s a pretty good consolation prize.
M.R. Carey (The Girl with All the Gifts (The Girl With All the Gifts, #1))
Christy dug her hand deeper into her shoulder bag. Scanning the papers she finally located there, she found no phone numbers or addresses listed. All the plans had been made in such haste. All she knew was that someone was supposed to meet her here. She was here, and he or she wasn't. Never in her life had she felt so completely alone. Stranded with nowhere to turn. A prayer came quickly to her lips. "Father God, I'm at Your mercy here. I know You're in control. Please show me what to do." Suddenly she heard a voice calling to her. "Kilikina!" Christy's heart stopped. Only one person in the entire world had ever called her by her Hawaiian name. She spun around. "Kilikina," called out the tall, blond surfer who was running toward her. Christy looked up into the screaming silver-blue eyes that could only belong to one person. "Todd?" she whispered, convinced she was hallucinating. "Kilikina," Todd wrapped his arms around her so tightly that for an instant she couldn't breathe. He held her a long time. Crying. She could feel his warm tears on her neck. She knew this had to be real. But how could it be? "Todd?" she whispered again. "How? I mean, what...? I don't..." Todd pulled away, and for the first time she noticed the big gouquet of white carnations in his hand. They were now a bit squashed. "For you," he said, his eyes clearing and his rich voice sounding calm and steady. Then, seeing her shocked expression, he asked, "You really didn't know I was here, did you?" Christy shook her head, unable to find any words. "Didn't Dr. Benson tell you?" She shook her head again. "You mean you came all this way by yourself, and you didn't even know I was here?" Now it was Todd's turn to look surprised. "No, I thought you were in Papua New Guinea or something. I had no idea you were here!" "They needed me here more," Todd said with a chin-up gesture toward the beach. "It's the perfect place for me." With a wide smile spreading above his square jaw, he said, "Ever since I received the fax yesterday saying they were sending you, I've been out of my mind with joy! Kilikina, you can't imagine how I've been feeling." Christy had never heard him talk like this before. Todd took the bouquet from her and placed it on top of her luggage. Then, grasping both her quivering hands in his and looking into her eyes, he said, "Don't you see? There is no way you or I could ever have planned this. It's from God." The shocked tears finally caught up to Christy's eyes, and she blinked to keep Todd in focus. "It is," she agreed. "God brought us back together, didn't He?" A giggle of joy and delight danced from her lips. "Do you remember what I said when you gave me back your bracelet?" Todd asked. "I said that if God ever brought us back together, I would put that bracelet back on your wrist, and that time, it would stay on forever." Christy nodded. She had replayed the memory of that day a thousand times in her mind. It had seemed impossible that God would bring them back together. Christy's heart pounded as she realized that God, in His weird way, had done the impossible. Todd reached into his pocket and pulled out the "Forever" ID bracelet. He tenderly held Christy's wrist, and circling it with the gold chain, he secured the clasp. Above their heads a fresh ocean wind blew through the palm trees. It almost sounded as if the trees were applauding. Christy looked up from her wrist and met Todd's expectant gaze. Deep inside, Christy knew that with the blessing of the Lord, Todd had just stepped into the garden of her heart. In the holiness of that moment, his silver-blue eyes embraced hers and he whispered, "I promise, Kilikina. Forever." "Forever," Christy whispered back. Then gently, reverently, Todd and Christy sealed their forever promise with a kiss.
Robin Jones Gunn (A Promise Is Forever (Christy Miller, #12))
Think of it as plastic memory, this force within you which trends you and your fellows toward tribal forms. This plastic memory seeks to return to its ancient shape, the tribal society. It is all around you—the feudatory, the diocese, the corporation, the platoon, the sports club, the dance troupes, the rebel cell, the planning council, the prayer group . . . each with its master and servants, its host and parasites. And the swarms of alienating devices (including these very words!) tend eventually to be enlisted in the argument for a return to “those better times.” I despair of teaching you other ways. You have square thoughts which resist circles.
Frank Herbert (God Emperor of Dune (Dune, #4))
The changing of the seasons, the cold slicing winds, the falling leaves, sunlight on green grass, snow on the land, London particular. Oh what it is and where it is and why it is, no one knows, but to have said: ‘I walked on Waterloo Bridge,’ ‘I rendezvoused at Charing Cross,’ ‘Piccadilly Circus is my playground,’ to say these things, to have lived these things, to have lived in the great city of London, centre of the world. To one day lean against the wind walking up the Bayswater Road (destination unknown), to see the leaves swirl and dance and spin on the pavement (sight unseeing), to write a casual letter home beginning: ‘Last night, in Trafalgar Square …
Sam Selvon (The Lonely Londoners)
Do you want my jacket?” Jared asked. He was taking it off as he spoke, a little awkwardly as he still had to hang onto her. “Yes,” said Kami instantly. He drew it close around her shoulders. “Also your pin and your class ring. That’s how you do dating in America, isn’t it? You see, I know the ways of your people.” “I don’t really know how dating works,” Jared told her. “High school for me was mostly musical numbers. That’s how it is in the States, you’ve seen the movies. Every time someone had an emotional dilemma or epiphany, they would burst into song, and we would all have to break out into perfectly choreographed dance sequences. It took a lot of intensive training. So many jazz squares, no time for love.
Sarah Rees Brennan (Unmade (The Lynburn Legacy, #3))
Only last Sunday, when poor wretches were gay—within the walls playing with children among the clipped trees and the statues in the Palace Garden; walking, a score abreast, in the Elysian Fields, made more Elysian by performing dogs and wooden horses; between whiles filtering (a few) through the gloomy Cathedral of Our Lady to say a word or two at the base of a pillar within flare of a rusty little gridiron-full of gusty little tapers; without the walls encompassing Paris with dancing, love-making, wine-drinking, tobacco-smoking, tomb-visiting, billiard card and domino playing, quack-doctoring, and much murderous refuse, animate and inanimate—only last Sunday, my Lady, in the desolation of Boredom and the clutch of Giant Despair, almost hated her own maid for being in spirits. She cannot, therefore, go too fast from Paris. Weariness of soul lies before her, as it lies behind—her Ariel has put a girdle of it round the whole earth, and it cannot be unclasped—but the imperfect remedy is always to fly from the last place where it has been experienced. Fling Paris back into the distance, then, exchanging it for endless avenues and cross-avenues of wintry trees! And, when next beheld, let it be some leagues away, with the Gate of the Star a white speck glittering in the sun, and the city a mere mound in a plain—two dark square towers rising out of it, and light and shadow descending on it aslant, like the angels in Jacob's dream!
Charles Dickens (Bleak House)
I sprinkle some flour on the dough and roll it out with the heavy, wooden rolling pin. Once it’s the perfect size and thickness, I flip the rolling pin around and sing into the handle—American Idol style. “Calling Gloriaaaaaaaaaaaaaaaaaaa . . .” And then I turn around. “AHHHHHHHHHHHHHH!” Without thinking, I bend my arm and throw the rolling pin like a tomahawk . . . straight at the head of the guy who’s standing just inside the kitchen door. The guy I didn’t hear come in. The guy who catches the hurling rolling pin without flinching—one-handed and cool as a gorgeous cucumber—just an inch from his perfect face. He tilts his head to the left, looking around the rolling pin to meet my eyes with his soulful brown ones. “Nice toss.” Logan St. James. Bodyguard. Totally badass. Sexiest guy I have ever seen—and that includes books, movies and TV, foreign and domestic. He’s the perfect combo of boyishly could-go-to-my-school kind of handsome, mixed with dangerously hot and tantalizingly mysterious. If comic-book Superman, James Dean, Jason Bourne and some guy with the smoothest, most perfectly pitched, British-Scottish-esque, Wessconian-accented voice all melded together into one person, they would make Logan fucking St. James. And I just tried to clock him with a baking tool—while wearing my Rick and Morty pajama short-shorts, a Winnie-the-Pooh T-shirt I’ve had since I was eight and my SpongeBob SquarePants slippers. And no bra. Not that I have a whole lot going on upstairs, but still . . . “Christ on a saltine!” I grasp at my chest like an old woman with a pacemaker. Logan’s brow wrinkles. “Haven’t heard that one before.” Oh fuck—did he see me dancing? Did he see me leap? God, let me die now. I yank on my earbuds’ cord, popping them from my ears. “What the hell, dude?! Make some noise when you walk in—let a girl know she’s not alone. You could’ve given me a heart attack. And I could’ve killed you with my awesome ninja skills.” The corner of his mouth quirks. “No, you couldn’t.” He sets the rolling pin down on the counter. “I knocked on the kitchen door so I wouldn’t frighten you, but you were busy with your . . . performance.” Blood and heat rush to my face. And I want to melt into the floor and then all the way down to the Earth’s core.
Emma Chase (Royally Endowed (Royally, #3))
It’s so cute, isn’t it?” Arianna said dreamily. “Are we seeing the same creature? It’s like a demented goat with a bone growth.” “You’re going to hurt its feelings! Now shut up and sit on the ground.” I did as I was told, sticking my ankle out. “How is it going to heal me?” I asked, suddenly nervous. I pictured it licking my ankle and gagged. I could only imagine the diseases unicorn saliva had or what it carried around in its filthy, matted beard and hair. Bleating reproachfully, it stared at me with its doleful, square-pupiled brown eyes. “Oh, fine. Great, glorious unicorn, beloved of oblivious girls everywhere, please heal me. Now, if you don’t mind.” With one last bat of its gunk-crusted eyelashes, it lowered its head and put its stubby horn against my ankle. I cringed, waiting for pain, but felt instead tingling warmth spread out, almost like having butterflies in my stomach. Only in my ankle. Butterflies . . . with rainbows. The feeling of wholeness and well-being spread up my leg and into my entire body, and I couldn’t stop grinning. The forest was beautiful! The tree branches, naked against the brightening sky, held unimaginable wonders. The hard-packed dirt beneath me was a treasure trove of unrealized potential, lovely for what it could eventually give life to. I could sit out here forever and just enjoy nature. I was so happy! And rainbows! Why did I keep thinking of rainbows? Who cared! Rainbows were totally awesome! And the unicorn! I beamed at it, reaching out my hand to stroke it. There was never a creature more beautiful, more majestic. I’d spend the rest of my life out here, and we’d prance around the forest, worship the sunlight, bathe in the moonlight, and . . . I shook my head, scattering the idiotic warm fuzzies that had invaded. “Whoa,” I said, shoving the unicorn’s head away. “That’s enough of that.” I looked down at my ankle, which was now completely healed, not even a scar left. I fixed a stern look on the unicorn. “I am not going to frolic in an eternal meadow of sunshine and moonlight with you, you rotten little fink. But thanks.” I smiled, just enough to be nice without being too encouraging, and patted it quickly on the head. I was going to soak that hand in bleach. “Okay, let’s get out of here.” I stood, testing my ankle and relieved with the utter lack of pain. I still had an irrational desire to do an interpretive dance about rainbows, but it was a small price to pay for being healed.
Kiersten White (Endlessly (Paranormalcy, #3))
NOT MY DAUGHTER, YOU BITCH!’ Mrs Weasley threw off her cloak as she ran, freeing her arms. Bellatrix spun on the spot, roaring with laughter at the sight of her new challenger. ‘OUT OF MY WAY!’ shouted Mrs Weasley to the three girls, and with a swipe of her wand she began to duel. Harry watched with terror and elation as Molly Weasley’s wand slashed and twirled, and Bellatrix Lestrange’s smile faltered, and became a snarl. Jets of light flew from both wands, the floor around the witches’ feet became hot and cracked; both women were fighting to kill. ‘No!’ Mrs Weasley cried, as a few students ran forwards, trying to come to her aid. ‘Get back! Get back! She is mine!’ Hundreds of people now lined the walls, watching the two fights, Voldemort and his three opponents, Bellatrix and Molly, and Harry stood, invisible, torn between both, wanting to attack and yet to protect, unable to be sure that he would not hit the innocent. ‘What will happen to your children when I’ve killed you?’ taunted Bellatrix, as mad as her master, capering as Molly’s curses danced around her. ‘When Mummy’s gone the same way as Freddie?’ ‘You – will – never – touch – our – children – again!’ screamed Mrs Weasley. Bellatrix laughed, the same exhilarated laugh her cousin Sirius had given as he toppled backwards through the veil, and suddenly Harry knew what was going to happen before it did. Molly’s curse soared beneath Bellatrix’s outstretched arm and hit her squarely in the chest, directly over her heart. Bellatrix’s gloating smile froze, her eyes seemed to bulge: for the tiniest space of time she knew what had happened, and then she toppled, and the watching crowd roared, and Voldemort screamed.
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
There are subtler ways of killing. Call it death by statistics. Today, white man lets his statistics do the killing for him. Indian reservations in South Dakota have the highest rates of poverty and unemployment and the highest rates of infant mortality and teenage suicide, along with the lowest standard of living and the lowest life expectancy — barely forty years! — in the country. Those statistics amount to genocide. Genocide also disguises itself in the form of poor health facilities and wretched housing and inadequate schooling and rampant corruption. Our remaining lands, eyed by a thousand local schemers only too eager to stir up trouble and division on the reservation, continue to be sold off acre by acre to pay off tribal and individual debts. No square inch of our ever-shrinking territory seems beyond the greedy designs of those who would drive us into nonexistence.
Leonard Peltier (Prison Writings: My Life Is My Sun Dance)
Meet Me In Toyland by Stewart Stafford Santa handed me the keys to Toyland, And, placing them squarely in the palm of my hand, He bid me go and have lots of fun, With all kinds of everyone. I skipped across the gingerbread bridge, Yuletide coffee flowing down from the ridge, To a Christmas tree consisting of mint, Lit all around by falling star glint. At the frosting gates of Castle St Nicholas, Silver snake tinsel began to hiss, As polar bears to a clockwork orchestra danced, With elves as their partners gleefully entranced. Multitudes of children whooped and cheered, Forgetting all their doubts and fears, Celebrating their gifts of toys, With every kind of girl and boy. Alas, our midwinter joy came to an end, And I tearfully bid adieu to all my new friends, And took a shooting star comet home, Across the Northern Lights in the sky’s dome. © Stewart Stafford, 2021. All rights reserved.
Stewart Stafford
We got into the car. It was my first time. The car was spotless and I liked its smell, the smell of old leather and old steel. When, two minutes later, we reached my building, I began to feel sorry for him but didn't know what to say or how to help. I was too shy to ask him to open up and tell me about the cloud that had cast such a gloomy shadow over him. Instead I suggested something so flatfooted that I'm surprised it did not irritate him even more than he was already. I told him to head home and sleep the whole thing off, as if sleep could free a castaway from his island. No, he needed to work, he replied. Besides, her was looking forward to driving at night. He loved cruising Boston by night. He loved jazz, old jazz, Gene Ammons — especially played en sardine, with the volume really low — as the tenor sax invariably blocked all bad feelings and made him think of romance and of sultry summer nights where a woman dances cheek to cheek with you to the saxophone's prolonged lyrical strains that made you want love even after you'd stopped trusting love exists on this planet.
André Aciman (Harvard Square)
Concealing himself from his father's wrath, behind the barn with wick turned low and his face two inches from the rough sawtooth page, Young Crawford had read of these atrocities in Beadle's Dime Library and fantasized about "calling out" the brutal old man who had sired him, "throwing down" on him with the "hogleg" he wore high on his hip, and blasting him into hell; after which he would go "on the scout," separating high-interest banks and arrogant railroad barons from their soiled coin and distributing it among their victims, or failing that into his own pockets and saddle pouches and living the "high Life" in saloons and "dance halls" where beautiful women in brief costumes admired his straight legs and square jaw and told him of the men who had "ruined" them (he knew not just how, only that the act was disgraceful and its effects permanent), whereupon he sought the blackguards out and deprived them of their lives. There was usually profit involved; invariably the men were thieves who lived in close proximity to their "ill-gotten booty," and didn't it say somewhere in Scripture that robbing a thief was no sin? If it didn't, it should have.
Loren D. Estleman (The Branch and the Scaffold: The True Story of the West's Hanging Judge)
Om-nipotent, Om-nipresent, Om-niscient, Om all is wholly undivided, instructed the physicist, David Bohm the enfolded and unfolded, that of formlessness and form from the implicate unmanifest to the explicate manifest born originating from an underlying nonphysical order emerges physical reality with its illusory borders the whole of existence exists in every wee part all is here now—the cosmos' stern, bow, starboard and port the invisible portion of existence is pure potentiality awareness itself as a field of infinite possibility physical reality a holographic illusion science says so—that's its conclusion the new science is within and is up to you a simple experiment with loving prayer will do following science honestly, one is led inward too with zero biases, mind and reality are seen as not-two who cares what proofs others are uttering live it yourself or you know nothing make a cloud square shape in a oneness experiment repeat “thank you square cloud” with joyous, grateful intent the results of this being easily duplicatable shows that a unitive conscious universe is no fable Native Americans have their time-tested rain dance a prayer to the Great Spirit resulting in watered plants
Jarett Sabirsh (Love All-Knowing: An Epic Spiritual Poem)
The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities—conversation, interaction, affection—and it filled his life like an overflowing soup bowl.I had also developed my own culture. Work. I did four or five media jobs in England, juggling them like a clown. I spent eight hours a day on a computer, feeding my stories back to the States. Then I did TV pieces, traveling with a crew throughout parts of London. I also phoned in radio reports every morning and afternoon. This was not an abnormal load. Over the years, I had taken labor as my companion and had moved everything else to the side.
Mitch Albom (Tuesdays with Morrie)
Six Significant Landscapes" I An old man sits In the shadow of a pine tree In China. He sees larkspur, Blue and white, At the edge of the shadow, Move in the wind. His beard moves in the wind. The pine tree moves in the wind. Thus water flows Over weeds. II The night is of the colour Of a woman's arm: Night, the female, Obscure, Fragrant and supple, Conceals herself. A pool shines, Like a bracelet Shaken in a dance. III I measure myself Against a tall tree. I find that I am much taller, For I reach right up to the sun, With my eye; And I reach to the shore of the sea With my ear. Nevertheless, I dislike The way ants crawl In and out of my shadow. IV When my dream was near the moon, The white folds of its gown Filled with yellow light. The soles of its feet Grew red. Its hair filled With certain blue crystallizations From stars, Not far off. V Not all the knives of the lamp-posts, Nor the chisels of the long streets, Nor the mallets of the domes And high towers, Can carve What one star can carve, Shining through the grape-leaves. VI Rationalists, wearing square hats, Think, in square rooms, Looking at the floor, Looking at the ceiling. They confine themselves To right-angled triangles. If they tried rhomboids, Cones, waving lines, ellipses -- As, for example, the ellipse of the half-moon -- Rationalists would wear sombreros.
Wallace Stevens (The Collected Poems)
Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.
Pamela Lake (Quixotic Ambitions)
They stood on tiptoe, strained their eyes. “Let me look.” “Well, look then.” “What you see?” That was the question. No one saw anything. Then, simultaneously, three distinct groups of marchers came into view. One came up 125th Street from the east, on the north side of the street, marching west towards the Block. It was led by a vehicle the likes of which many had never seen, and as muddy as though it had come out of East River. A bare-legged black youth hugged the steering-wheel. They could see plainly that he was bare-legged for the vehicle didn’t have any door. He, in turn, was being hugged by a bare-legged white youth sitting at his side. It was a brotherly hug, but coming from a white youth it looked suggestive. Whereas the black had looked plain bare-legged, the bare-legged white youth looked stark naked. Such is the way those two colors affect the eyes of the citizens of Harlem. In the South it’s just the opposite. Behind these brotherly youths sat a very handsome young man of sepia color with the strained expression of a man moving his bowels. With him sat a middle-aged white woman in a teen-age dress who looked similarly engaged, with the exception that she had constipation. They held a large banner upright between them which read: BROTHERHOOD! Brotherly Love Is The Greatest! Following in the wake of the vehicle were twelve rows of bare-limbed marchers, four in each row, two white and two black, in orderly procession, each row with its own banner identical to the one in the vehicle. Somehow the black youths looked unbelievably black and the white youths unnecessarily white. These were followed by a laughing, dancing, hugging, kissing horde of blacks and whites of all ages and sexes, most of whom had been strangers to each other a half-hour previous. They looked like a segregationist nightmare. Strangely enough, the black citizens of Harlem were scandalized. “It’s an orgy!” someone cried. Not to be outdone, another joker shouted, “Mama don’t ’low that stuff in here.” A dignified colored lady sniffed. “White trash.” Her equally dignified mate suppressed a grin. “What else, with all them black dustpans?” But no one showed any animosity. Nor was anyone surprised. It was a holiday. Everyone was ready for anything. But when attention was diverted to the marchers from the south, many eyes seemed to pop out in black faces. The marchers from the south were coming north on the east side of Seventh Avenue, passing in front of the Scheherazade bar restaurant and the interdenominational church with the coming text posted on the notice-board outside: SINNERS ARE SUCKERS! DON’T BE A SQUARE! What caused the eyes of these dazed citizens to goggle was the sight of the apparition out front. Propped erect on the front bumper of a gold-trimmed lavender-colored Cadillac convertible driven by a fat black man with a harelip, dressed in a metallic-blue suit, was the statue of the Black Jesus, dripping black blood from its outstretched hands, a white rope dangling from its broken neck, its teeth bared in a look of such rage and horror as to curdle even blood mixed with as much alcohol as was theirs. Its crossed black feet were nailed to a banner which read: THEY LYNCHED ME! While two men standing in the back of the convertible held aloft another banner reading: BE NOT AFRAID!
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
Does the prince play?" asked the lute player. "Hamish is a wee beast with all stringed things," Fergus said. "Pity those wolves didn't have strings." Immediately, the woman passed the lute to Hamish. He didn't move his arms in time to take it, so she simply plopped it down in his lap. "I'll trade you a tune for your dish of pears." Hamish sat there, a frozen little creature with big eyes. Pinned to the bench by fear and by the lute. How badly Merida wanted him to be able to play fearlessly for this group. Not for their benefit, but for his. How was it that his sense of fun had been replaced by a sense of fear? She whispered to him, "You could play 'Crosses and Squares.'" Still he was frozen. Maldouen said, "Don't you think you owe Ol' Flower a tune for saving your life?" Maldouen was being playful, but he had, without realizing, hit upon the only way Hamish perform: obligation. Hamish let fear rule him, but not at the expense of other people. Hamish whispered, "All right," and then added, to the dog, "Ma'am," which made the entire table laugh uproariously. Hamish began to play. The villagers began to clap in time with him. Hamish played faster. They clapped faster. Hamish played little riffs and twirls, and the villagers got up and danced along with the well-known tune. With the lute in his hand and the tune ringing out strongly, it was almost possible to believe Hamish wasn't afraid, but Merida knew better. This was how it always went. When Hamish played for other people, he always looked like a different person. Straighter, surer. More like Hubert or Harris. This was part of a good show, after all, and he felt obligated to give Ol' Flower a good show.
Maggie Stiefvater (Bravely)
It doesn’t interest me what you do for a living. I want to know what you ate for, and if you dare to dream of meeting your heart’s longing. It doesn’t interest me how old you are. I want to know if you still risk looking like a fool for love, for your dream, for the adventure of being alive. It doesn’t interest me what planets are squaring your moon. I want to know if you have touched the centre of your own sorrow, if you have been opened by life’s betrayals or have become shrivelled and closed from fear of further pain. I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it. I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human. It doesn’t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy. I want to know if you can see beauty, even when it’s not pretty, every day, and if you can source your own life from its presence. I want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “Yes!” It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children. It doesn’t interest me who you know or how you came to be here. I want to know if you will stand in the centre of the fire with me and not shrink back. It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you, from the inside, when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.
Oriah Mountain Dreamer (The Invitation)
Mr. Morales sidles up to the bar and says, “May I have this dance, Lara Jean?” “You may,” I say. To John I warn, “Don’t you dare come close to me.” He throws his hands out like he’s warding me off. “Don’t you come close to me!” As Mr. Morales leads me in a slow dance, I press my face against his shoulder to hide my smile. I’m really quite good at this espionage thing. John McClaren is sitting on a love seat now, watching Stormy play and chatting with Alicia. I’ve got him right where I want him. I can’t even believe how lucky I am. I’d been planning on showing up at his next Model UN meeting, but this is so much better. I’m thinking I’ll come up from behind him, take him by surprise, when Stormy stands up and declares she needs a piano break, she wants to dance with her grandson. I go turn on the stereo and cue up the CD we decided on for her break. John is protesting: “Stormy, I told you I don’t dance.” He used to try and fake sick during the square-dancing unit in gym--that’s how much he hates dancing. Stormy doesn’t listen, of course. She pulls him off the love seat and starts trying to teach him how to fox-trot. “Put your hand on my waist,” she orders. “I didn’t wear heels to sit behind a piano all night.” Stormy’s trying to teach him the steps, and he keeps stepping on her feet. “Ouch!” she snaps. I can’t stop giggling. Mr. Morales is too. He dances us over closer. “May I cut in?” he asks. “Please!” John practically pushes Stormy into Mr. Morales’s arms. “Johnny, be a gentleman and ask Lara Jean to dance,” Stormy says as Mr. Morales twirls her. John gives me a searching look, and I have a feeling he’s still suspicious of me and whether or not I have his name. “Ask her to dance,” Mr. Morales urges, grinning at me. “She wants to dance, don’t you, Lara Jean?” I shrug a sad kind of shrug. Wistful. The very picture of a girl who is waiting to be asked to dance. “I want to see the young people dance!” Normal yells. John McClaren looks at me, one eyebrow raised. “If we’re just swaying back and forth, I probably won’t step on your feet.” I feign hesitation and then nod. My pulse is racing. Target acquired.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
The village square teemed with life, swirling with vibrant colors and boisterous chatter. The entire village had gathered, celebrating the return of their ancestral spirit. Laughter and music filled the air, carrying with it an energy that made Kitsune smile. Paper lanterns of all colors floated lazily above, their delicate glow reflecting on the smiling faces below. Cherry blossoms caught in the playful breeze, their sweet, earthy scent settling over the scene. At the center, villagers danced with unbridled joy, the rhythm of the taiko drums and the melody of flutes guiding their steps. To the side, a large table groaned under the weight of a feast. Sticky rice balls, steamed dumplings, seaweed soup, sushi, and more filled the air with a mouthwatering aroma. As she approached the table, she was greeted warmly by the villagers, who offered her food, their smiles genuine and welcoming. She filled a plate and sat at a table with Goro and Sota, overlooking the celebration. The event brought back a flood of memories of a similar celebration from her childhood—a time when everything was much simpler and she could easily answer the question who are you? The memory filled her heart with a sweet sadness, a reminder of what she lost and what had carved the road to where she was now. Her gaze fell on the dancing villagers, but she wasn’t watching them. Not really. Her attention was fully embedded in her heart ache, longing for the past, for the life that was so cruelly ripped away from her. “I think... I think I might know how to answer your question,” she finally said, her voice soft and steady, barely audible over the cacophony of festivity around them. “Oh?” Goro responded, his face alight with intrigue. “I would have to tell you my story.” Kitsune’s eyes reflected the somber clouds of her past. Goro swallowed his bite of food before nodding. “Let us retire to the dojo, and you can tell me.” They retreated from the bustling square, leaving behind the chaos of the celebration. The sounds of laughter and chatter and drums carried away by distance. The dojo, with its bamboo and sturdy jungle planks, was bathed in the soft luminescence of the moonlight, the surface of its wooden architecture glistening faintly under the glow. They stepped into the silent tranquility of the building, and Kitsune made her way to the center, the smooth, cool touch of the polished wooden floor beneath her providing a sense of peace. Assuming the lotus position, she calmed herself, ready to speak of memories she hadn’t confronted in a long time. Not in any meaningful way at least. Across from her, Goro settled, his gaze intense yet patient, encouraging her with a gentle smile like he somehow already understood her story was hard to verbalize.
Pixel Ate (Kitsune the Minecraft Ninja: A middle-grade adventure story set in a world of ninjas, magic, and martial arts)
a mass spiritual purification campaign, these youths were raised on a diet of propaganda broadcast via loudspeakers from sunup to sundown in schools, factories and villages. The cacophony of today’s square dancing is a sonic memory bridge to an idealized past, according to Song Jiahong, a humanities professor at Yunnan University. “The intimate memories of the loudspeakers are
Anonymous
Epigraphs from Ballroom Dancing: An Erotic Romance of Dominance and Submission "He’s like my father in a way—loves the chase and is bored with the conquest—and once married, needs proof he’s still attractive, so flirts with other women and resents you." —Jacqueline Bouvier, July, 1952, making an observation about her future husband in a letter to her priest “Father L,” the Reverend Joseph Leonard of Dublin, Ireland. "Happy Birthday to you, Happy Birthday to you, Happy Birthday, Mr. President..." —Norma Jeane Mortenson, May 19, 1962, Madison Square Garden, New York City.
Anna Andreesen
Slowly and silently, Bentham Rudgutter reached into the bag he carried and brought out the large grey scissors he had had an aide buy in an ironmonger’s on the lowest commercial concourse of Perdido Street Station. He parted the scissors without a noise, held them up in the cloying air. Rudgutter brought the razor edges together. The room reverberated with the unmistakable sound of blade sliding along sharpened blade, and snapping shut with an inexorable division. The echoes trembled like flies in a funnelweb. They slid into a dark dimension at the room’s heart. A gust of cold sent gooseflesh dancing across the backs of those congregated. The echoes of the scissors came back. As they returned and crept up from below the threshold of hearing, they metamorphosed, becoming words, a voice, melodious and melancholy, that first whispered and then grew more bold, spinning itself into existence out of the scissor-echoes. It was not quite describable, heartbreaking and frightening, it tugged the listener close; and it sounded not in the ears but deeper inside, in the blood and bone, in the nerve-clusters. …FLESHSCAPE INTO THE FOLDING INTO THE FLESHSCAPE TO SPEAK A GREETING IN THIS THE SCISSORED REALM I WILL RECEIVE AND BE RECEIVED… In the fearful silence, Rudgutter gesticulated at Stem-Fulcher and Rescue, until they understood, and they raised their scissors as he had done, opened and sharply shut them, slicing the air with an almost tactile sound. He joined in, the three of them opening and closing their blades in macabre applause. At the sound of that snapping susurration, the unearthly voice resonated into the room again. It moaned with an obscene pleasure. Each time it spoke, it was as if what faded into audibility was only a snatch of an unceasing monologue. …AGAIN AGAIN AND AGAIN DO NOT WITHHOLD THIS BLADED SUMMONS THIS EDGED HYMN I ACCEPT I AGREE YOU SLICE SO NICE AND NICELY YOU LITTLE ENDOSKELETAL FIGURINES YOU SNIP AND SHAVE AND SLIVER THE CORDS OF THE WOVEN WEB AND SHAPE IT WITH AN UNCOUTH GRACE From out of shadows cast by some unseen shapes, shadows that seemed stretched-out and taut, tethered from corner to corner of the square room, something stalked into view.
Anonymous
I'm sorry." "Sorry? For what?" He straightened and moved a bit closer, sounding honestly puzzled. "I am not much of a conversationalist, I'm afraid. I am not used to - to any of this. You must find this terribly..." "Terribly what?" "Boring." She faced him squarely then, for she refused to shy away from difficulties. He let out a short bark of laughter. "Boring? My dear Miss Bainbridge, boring is definitely something you are not." "I don't know how you can say that," she retorted somewhat crossly. "There is really no need for you to be polite. I haven't said any of the things I should. I have been blunt and no doubt impolite. I have never danced before with any man I haven't known since I could toddle. And now I cannot even come up with the most commonplace remark." His chuckle was low and warm [...]. "Oh, you know what I mean." Really the man was maddening. "You shouldn't laugh at someone who is admitting their grievous social ineptitude." "What else should I do?" His teeth glinted in the darkness. "Let me assure you that I have danced with a great many girls whom I have not known since childhood. And I have heard a great many commonplace remarks. It is, quite frankly, a relief to enjoy the quiet and cool of the garden without hearing that the weather is quite nice this evening or that the breeze is most refreshing or that the party is so enjoyable.
Candace Camp (A Winter Scandal (Legend of St. Dwynwen, #1))
I joined Missy, helping her defend Duke. Mostly we just square danced with the bastards. It was a courageous moment. But it was suicide.
Natalie Carlisle (Finding Keith)
Heroes & Villains I've been in this town so long that back in the city I've been taken for lost and gone And unknown for a long long time Fell in love years ago With an innocent girl From the spanish and indian home Home of the heroes and villains Once at night the cotillion squared the fight And she was right in the rain of the bullets that eventually brought her down But she's still dancing in the night Unafraid of what a dudell do in a town full of heroes and villains Heroes and villains Just see what youve done Heroes and villains Just see what youve done Stand or fall I know there Shall be peace in the valley And it's all an affair Of my life with the heroes and villains My children were raised You know they suddenly rise They started slow long ago Head to toe healthy weathy and wise I've been in this town so long So long to the city I'm fit with the stuff To ride in the rough And sunny down snuff I'm alright By the heroes and Heroes and villains Just see what youve done Heroes and villains Just see what youve done
The Beach Boys
Although once in a while I think that maybe she’s back to herself again, and dancing, up there, wherever she is, and all the aliens love her pole dancing because they just don’t know any better, and they think it’s a whole new art form, and they don’t even mind that she’s sort of square.
Anonymous
[The Fitzgeralds] rode down Fifth Avenue on the top of taxis because it was hot or dove into the fountain at Union Square or tried to undress at the Scandals, or, in sheer delight at the splendor of new York, jumped, dead sober, into the Pulitzer fountain in front of the Plaza. Fitzgerald got in fights with waiters and Zelda danced on people’s dinner tables.
Arthur Mizener (The Far Side of Paradise: A Biography of F. Scott Fitzgerald)
May 19: At 2:00 p.m., Marilyn arrives at Madison Square Garden for a brief rehearsal. She departs to have her hair styled by Kenneth Battelle at a cost of $150. Then she returns to her New York apartment for a $125 makeup session with Marie Irvine. Finally, her maid, Hazel Washington, helps hook Marilyn into her Jean Louis gown, and she arrives at Madison Square Garden approximately three hours before she is to perform. Introduced to an audience of fifteen thousand as the “late Marilyn Monroe” after she delays her entrance (all part of the carefully rehearsed show), Marilyn performs flawlessly as the last of twenty-three entertainers and is clearly the highlight of the evening. Columnist Dorothy Kilgallen describes Marilyn as “making love to the president of the United States.” Marilyn also attends a party at the home of Arthur Krim, president of United Artists. She is photographed in a group of Kennedy supporters watching Diahann Carroll sing. To her right is Maria Callas and Arthur Miller’s father, Isidore. She is also photographed with both Robert and John Kennedy, as well as presidential advisor Arthur Schlesinger Jr. Schlesinger and Robert Kennedy playfully compete to dance with Marilyn. Contrary to sensationalistic reports, Marilyn spends the rest of the evening in her New York apartment with her friend Ralph Roberts and James Haspiel, one of her devoted fans.
Carl Rollyson (Marilyn Monroe Day by Day: A Timeline of People, Places, and Events)
In the ‘Broken Windows’ theory, if a single broken window on an empty building is ignored, and not repaired, the tendency is for vandals to break a few more windows. Eventually, they may break into the building, and light fires, or become squatters. When Rudy Giuliani became mayor of New York in 1993, his belief in the ‘Broken Windows’ theory led him to implement the ‘Zero Tolerance’ policy. Crime dropped dramatically, significantly, and continued to for the next ten years. Personally, I feel the time has come for women to introduce their own Zero Tolerance policy on the Broken Window issues in our lives – I want a Zero Tolerance policy on ‘All The Patriarchal Bullshit’. And the great thing about a Zero Tolerance policy on Patriarchal Broken Windows Bullshit is this: in the 21st century, we don’t need to march against size zero models, risible pornography, lap-dancing clubs and Botox. We don’t need to riot, or go on hunger strike. There’s no need to throw ourselves under a horse, or even a donkey. We just need to look it in the eye, squarely, for a minute, and then start laughing at it. We look hot when we laugh. People fancy us when they observe us giving out relaxed, earthy chuckles. ~
Caitlin Moran (How to Be a Woman)
I love roundabouts. I absolutely think they're the best invention, and I don't care who invented the pen, the biro; whoever invented the roundabout, they should be up there on that plinth that they've got going on in Trafalgar Square. You can have a little bit of fun with it, you know. Will I go? Will I not go? The other car might go in my lane. There's a bit of a dance going. It's like a samba. Because in this city, sometimes you just come to a sudden gridlock and you think, well I'm waiting for him, he's waiting for me, he's waiting for him, and you've got everyone looking at everyone—who will make the first move? And you begin to move and he begins to move and then you stop, and everyone's being really polite. But every day you get somebody who just doesn't care, a young lad and he doesn't give a monkey's.
Craig Taylor
home only to pine over an ex-girlfriend, so he stopped. He apologized, saying a few more things that Catherine once again just nodded her head to, smiling, and before she knew it, she had plans to go see a movie with Dickie the following Friday. It was a date, the first of many. It went like this for two months: Friday night dates. Rides home from school while other girls looked on in jealousy. Long nights parked up at The Point, the low rumble of his car idling away while they made out with the heat blowing on her legs. Him sliding his hands up her skirt. Under her shirt. Her moaning. Her face flushing red. Her toes curling. The Rolling Stones on the radio. Why did he taste so good? Never sex, though. Even when he begged for it, she would refuse. She knew what their relationship really was. It was great and fun and wild and exciting, but she knew it wouldn’t last; he was off to college soon, and she remembered how he felt about being tethered to something familiar. That conversation never left her mind for the duration of their relationship, always reminding her to be ready to lose him. At the time, she was still a virgin, and as much as she loved Dickie she did not wish to give herself fully to someone who would more than likely forget about her within months, if not weeks, of leaving. Catherine was young, but never stupid or naive. She knew how the world worked… even Dickie’s world. What she felt and experienced with him may have been real by her definition, but she understood that that did not make the relationship everlasting or meant-to-be. Their time together had been great and fun and had changed her in ways she would never be able to put into words. She would forever cherish their moments together. Or at least, that’s what she’d thought at the time, before these cherished memories soured. Everything changed the night of the dance. The night he changed. The night she changed, too. It was Dickie’s senior prom. He invited her to go and she happily accepted. She even bought a new dress with the money she’d saved working shifts down at Woolworth’s. The dance was fine and good. They had a blast. They’d even kissed in the middle of the gymnasium during the last slow dance. It had been so romantic. But afterward was a different sort of time. Dickie and some of his friends rented a few rooms at the Heartsridge Motel for a place to hang out after the dance. But it was more than just a place to hang out. It was a place to party, a place to drink alcohol purchased illegally, a place for some of the looser girls to sleep with their dates. She had been to parties with Dickie before, parties with drinking and drugs and where there were rooms dedicated to fooling around. She wasn’t a square. But this was different. This place made her skin crawl. There was a raw energy in the air. She remembered feeling it on her skin. And the fact that it was a motel made the whole scene seem depraved. It just felt off, and she wanted to beg him to go somewhere else. But instead she held her tongue and went along with Dickie. He was leaving soon, after all. Why not appease him? He seemed excited about going. A few of them—all friends of Dickie’s—ended up together in one room, drinking Schnapps, smoking cigarettes, having
Christian Galacar (Cicada Spring)
The crowds were crazy. Thousands and thousands of people dancing, singing, waving flags, kissing anybody in a military uniform. When Mr. Churchill began his radio address in Trafalgar Square, the crowd stood in complete silence, hanging onto every word. This was the man who had got them through the war. The man who would never let them give up. The man who had promised them victory. Yet it had come at such a price. The people standing in the crowd had all made a sacrifice, and as they stood listening to the words
Ann Brough (The Welsh Guardsman)
As human beings, we live by emotions and thoughts. We exchange them when we are in the same place at the same time, talking to each other, looking into each other’s eyes, brushing against each other’s skin. We are nourished by this network of encounters and exchanges. But, in reality, we do not need to be in the same place and time to have such exchanges. Thoughts and emotions that create bonds of attachment between us have no difficulty in crossing seas and decades, sometimes even centuries, tied to thin sheets of paper or dancing between the microchips of a computer. We are part of a network that goes far beyond the few days of our lives and the few square meters that we tread.
Carlo Rovelli (The Order of Time)