Superb Love Quotes

To many, I was myth incarnate, the embodiment of a most superb legend, a fairy tale. Some considered me a monster, a mutation. To my great misfortune, I was once mistaken for an angel. To my mother, I was everything. To my father, nothing at all. To my grandmother, I was a daily reminder of loves long lost. But I knew the truth—deep down, I always did. I was just a girl.

The mind is a superb instrument if used rightly. Used wrongly, however, it becomes very destructive. To put it more accurately, it is not so much that you use your mind wrongly—you usually don't use it at all. It uses you. All the things that truly matter — beaut...y, love, creativity, joy, inner peace — arise from beyond the mind...

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

But what a superb game the three of us are playing. Who is the demon? Who is the liar? Who the human being? Who the cleverest? Who the strongest? Who loves the most? Are we three immense egos fighting for domination or for love, or are these things mixed?

Love is a word that is constantly heard, Hate is a word that is not. Love, I am told, is more precious that gold. Love, I have read, is hot. But hate is the verb that to me is superb, And love but a drug on the mart. Any kiddie in school can love like a fool, But hating, my boy, is an art.

I would rather be ashes than dust! I would rather that my spark burn out in a brilliant blaze than it be stifled by dry rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.

For over twenty-five centuries we’ve been bearing the weight of superb and heterogeneous civilizations, all from outside, none made by ourselves, none that we could call our own. This violence of landscape, this cruelty of climate, this continual tension in everything, and even these monuments of the past, magnificent yet incomprehensible because not built by us and yet standing round us like lovely mute ghosts; all those rulers who landed by main force from every direction who were at once obeyed, soon detested, and always misunderstood, their only expressions works of art we couldn't understand and taxes which we understood only too well and which they spent elsewhere: all these things have formed our character, which is thus conditioned by events outside our control as well as by a terrifying insularity of mind.

...Her parents were going to a conference for the weekend. The conference was called "Lawyers are Lovely, Great and Superb: so Why Does Everyone Think that They are Liars, Greedy and Scum?" and Mr Thomson was doing a speech called "Ten Tips to Make Lawyers as Popular as Doctors.

What - what - what are you doing?" he demanded. "I am almost six hundred years old," Magnus claimed, and Ragnor snorted, since Magnus changed his age to suit himself every few weeks. Magnus swept on. "It does seem about time to learn a musical instrument." He flourished his new prize, a little stringed instrument that looked like a cousin of the lute that the lute was embarrassed to be related to. "It's called a charango. I am planning to become a charanguista!" "I wouldn't call that an instrument of music," Ragnor observed sourly. "An instrument of torture, perhaps." Magnus cradled the charango in his arms as if it were an easily offended baby. "It's a beautiful and very unique instrument! The sound box is made from an armadillo. Well, a dried armadillo shell." "That explains the sound you're making," said Ragnor. "Like a lost, hungry armadillo." "You are just jealous," Magnus remarked calmly. "Because you do not have the soul of a true artiste like myself." "Oh, I am positively green with envy," Ragnor snapped. "Come now, Ragnor. That's not fair," said Magnus. "You know I love it when you make jokes about your complexion." Magnus refused to be affected by Ragnor's cruel judgments. He regarded his fellow warlock with a lofty stare of superb indifference, raised his charango, and began to play again his defiant, beautiful tune. They both heard the staccato thump of frantically running feet from within the house, the swish of skirts, and then Catarina came rushing out into the courtyard. Her white hair was falling loose about her shoulders, and her face was the picture of alarm. "Magnus, Ragnor, I heard a cat making a most unearthly noise," she exclaimed. "From the sound of it, the poor creature must be direly sick. You have to help me find it!" Ragnor immediately collapsed with hysterical laughter on his windowsill. Magnus stared at Catarina for a moment, until he saw her lips twitch. "You are conspiring against me and my art," he declared. "You are a pack of conspirators." He began to play again. Catarina stopped him by putting a hand on his arm. "No, but seriously, Magnus," she said. "That noise is appalling." Magnus sighed. "Every warlock's a critic." "Why are you doing this?" "I have already explained myself to Ragnor. I wish to become proficient with a musical instrument. I have decided to devote myself to the art of the charanguista, and I wish to hear no more petty objections." "If we are all making lists of things we wish to hear no more . . . ," Ragnor murmured. Catarina, however, was smiling. "I see," she said. "Madam, you do not see." "I do. I see it all most clearly," Catarina assured him. "What is her name?" "I resent your implication," Magnus said. "There is no woman in the case. I am married to my music!" "Oh, all right," Catarina said. "What's his name, then?" His name was Imasu Morales, and he was gorgeous.

If life is a song, you must be the superb lyrics to a sweet melody.

Careful crossing the street," Tommy called back to her as he crossed. [Jody is drunk] "Ha!" Jody said. "I am a finely tuned predator. I am a superbeing. I --" And at that point she bounced her forehead off a light pole with a dull twang and was suddenly lying on her back, looking at the streetlights above her, which kept going out of focus, the bastards.

He had been taught as a child that Urras was a festering mass of inequity, iniquity, and waste. But all the people he met, and all the people he saw, in the smallest country village, were well dressed, well fed, and contrary to his expectations, industrious. They did not stand about sullenly waiting to be ordered to do things. Just like Anaresti, they were simply busy getting things done. It puzzled him. He had assumed that if you removed a human being's natural incentive to work -- his initiative, his spontaneous creative energy -- and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe.

It's story that counts. No use telling me this isn't a story, or not the same story. I know you've fulfilled everything you promised, you love me, we sleep till noon and we spend the rest of the day eating, the food is superb, I don't deny that. But I worry about the future.... Don't evade, don't pretend you won't leave after all: you leave in the story and the story is ruthless.

Ah! my poor Bahorel, she is a superb girl, very literary, with tiny feet, little hands, she dresses well, and is white and dimpled, with the eyes of a fortune-teller. I am wild over her.

The richest love is that which submits to the arbitration of time." Lawrence Durrell in "Clea," book three of the epic Alexandria Quartet - which I am reading for the third time since my early 20s...relishing its superb prose and enigmatic insights into the nature of love.

Until then what can we do in our abandoned solitude but gaze at ourselves? Examine ourselves in endless bouts of fascinated distraction, fall in love and in hate with ourselves, make a theatre, myth and cult of ourselves. Because what else is there? To become superb in our technology, knowledge and intellect, to itch with a desire for fulfilment that we can’t quite scratch; to look to the void (which still isn’t answering) and build spaceships anyway, and make countless circlings of our lonely planet, and little excursions to our lonely moon and think thoughts like these in weightless bafflement and routine awe. To turn back to the earth, which gleams like a spotlit mirror in a pitch-dark room, and speak into the fuzz of our radios to the only life that appears to be there. Hello? Konnichiwa, ciao, zdraste, bonjour, do you read me, hello?

But in his years among the drow, Drizzt Do'Urden had learned to look beyond physical beauty and physical attraction. Drizzt did not separate the physical from the emotional. He was a superb fighter because he fought with his heart and would no sooner battle merely for the sake of battle than he would mate for the sake of the physical act.

He’s British. He’s addicted to waving his long stick around. He has a superb sweater collection.

the young woman was either a superb actress or had truly felt, as most women ultimately did, the utter betrayal of love. The

Pretty is one word and she is many. Beautiful. Alluring. Appealing. Charming. Cute. Dazzling. Delicate. Delightful. Elegant. Exquisite. Fascinating. Fine. Gorgeous. Graceful. Lovely. Magnificent. Marvelous. Pleasing. Splendid. Stunning. Wonderful. Superb. Angelic. Bewitching. Classy. Divine. Excellent. Enticing. Foxy. Fair. Pulchritudinous. Radiant. Ravishing. Resplendent. Shapely. Beautiful.

for the most part, my peers, like me, have embarked on the eternal compromise that is dealing with a toddler. We are no longer inexperienced, we are no longer naively confident that our superb parenting skills will produce the perfectly well-behaved mini-adult, we are willing to admit that for the most part we simply want to get through the day. We have been broken in. So we pick our battles.

The Desire To Paint" Unhappy perhaps is the man, but happy the artist, who is torn with this desire. I burn to paint a certain woman who has appeared to me so rarely, and so swiftly fled away, like some beautiful, regrettable thing the traveller must leave behind him in the night. It is already long since I saw her. She is beautiful, and more than beautiful: she is overpowering. The colour black preponderates in her; all that she inspires is nocturnal and profound. Her eyes are two caverns where mystery vaguely stirs and gleams; her glance illuminates like a ray of light; it is an explosion in the darkness. I would compare her to a black sun if one could conceive of a dark star overthrowing light and happiness. But it is the moon that she makes one dream of most readily; the moon, who has without doubt touched her with her own influence; not the white moon of the idylls, who resembles a cold bride, but the sinister and intoxicating moon suspended in the depths of a stormy night, among the driven clouds; not the discreet peaceful moon who visits the dreams of pure men, but the moon torn from the sky, conquered and revolted, that the witches of Thessaly hardly constrain to dance upon the terrified grass. Her small brow is the habitation of a tenacious will and the love of prey. And below this inquiet face, whose mobile nostrils breathe in the unknown and the impossible, glitters, with an unspeakable grace, the smile of a large mouth ; white, red, and delicious; a mouth that makes one dream of the miracle of some superb flower unclosing in a volcanic land. There are women who inspire one with the desire to woo them and win them; but she makes one wish to die slowly beneath her steady gaze.

The term ‘female’ is derogatory not because it emphasises woman’s animality, but because it imprisons her in her sex; and if this sex seems to man to be contemptible and inimical even in harmless dumb animals, it is evidently because of the uneasy hostility stirred up in him by woman. Nevertheless he wishes to find in biology a justification for this sentiment. The word female brings up in his mind a saraband of imagery – a vast, round ovum engulfs and castrates the agile spermatozoan; the monstrous and swollen termite queen rules over the enslaved males; the female praying mantis and the spider, satiated with love, crush and devour their partners; the bitch in heat runs through the alleys, trailing behind her a wake of depraved odours; the she-monkey presents posterior immodestly and then steals away with hypocritical coquetry; and the most superb wild beasts – the tigress, the lioness, the panther – bed down slavishly under the imperial embrace of the male. Females sluggish, eager, artful, stupid, callous, lustful, ferocious, abased – man projects them all at once upon woman.

And yet the king and his people did not love McAllister. In truth, they hated him horribly, and, to my knowledge, the whole population, with the priests at the head, tried vainly for three months to pray him to death. The devil-devils they sent after him were awe-inspiring, but since McAllister did not believe in devil-devils, they were without power over him. With drunken Scotchmen all signs fail. They gathered up scraps of food which had touched his lips, an empty whiskey bottle, a cocoanut from which he had drunk, and even his spittle, and performed all kinds of deviltries over them. But McAllister lived on. His health was superb. He never caught fever; nor coughs nor colds; dysentery passed him by; and the malignant ulcers and vile skin diseases that attack blacks and whites alike in that climate never fastened upon him. He must have been so saturated with alcohol as to defy the lodgment of germs. I used to imagine them falling to the ground in showers of microscopic cinders as fast as they entered his whiskey-sodden aura. No one loved him, not even germs, while he loved only whiskey, and still he lived.

Dining in restaurants is disappointing more often than not, I have learned. Even in the most celebrated restaurants---especially in the most celebrated restaurants. It's impossible for anything to live up to expectations set so high. There's chemistry involved in making a magical night out. Where you are sitting, your mood and that of your date, your rapport with the server, all these elements are as important as the food, and rarely do they all combine in harmony. Still when you hit it, it's so superb that it's worth taking the chance and going out every so often.

TO THE EAST AND TO THE WEST. To the East and to the West, To the man of the Seaside State and of Pennsylvania, To the Kanadian of the north, to the Southerner I love, These with perfect trust to depict you as myself, the germs are in all men, I believe the main purport of these States is to found a superb friendship, exaltè, previously unknown, Because I perceive it waits, and has been always waiting, latent in all men.

What was going on here was that like so many people in contemporary society, along the way to gaining their superb educations, and their shiny opportunities, they had absorbed the wrong lessons. They had mastered formulas in calculus and chemistry. They had read great books and learned world history and become fluent in foreign languages. But they had had never formally been taught how to maximize their brains' potential or how to find meaning and happiness. Armed with iPhones and personal digital assistants, they had multitasked their way through a storm of resume-building experiences, often at the expense of actual ones. In their pursuit of high achievement, they had isolated themselves from their peers and loved ones and thus compromised the very support systems they so ardently needed. Repeatedly, I noticed these patterns in my own students, who often broke down under the tyranny of expectations we place on ourselves and those around us.

It puzzled him. He had assumed that if you removed a human being’s natural incentive to work—his initiative, his spontaneous creative energy—and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe. He

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

They had their limitations to forget, and when they were drunk, their dim, stupid spirits were even as gods, and each ruled in his heaven of intoxicated desire. With Martin the need for strong drink had vanished. He was drunken in new and more profound ways - with Ruth, who had fired him with love and with a glimpse of higher and eternal life; with books, that had set a myriad maggots of desire gnawing in his brain; and with the sense of personal cleanliness he was achieving, that gave him even more superb health than what he had enjoyed and that made his whole body sing with physical well-being.

I am not Seamus, who tacks emotions to the outside of his skin and whose words charge from his mouth on horseback. No one sees through me, except Xavier, and he does so not because I choose to give him access but because he knows himself. I will have to offer myself to Seamus, if I want something 'more' with him. Part of me can't believe I'd contemplate it, even for a moment. What do I have in common with an oversized, yarn-spinning, bread-mauling, divorced deliveryman attached to a seven-year-old? The rest of me doesn't know if I remember how to be close to another person. I practice mimicry, a Viceroy butterfly masquerading as a Monarch, a Superb Lyrebird echoing the calls of everything from chickadees to chain saws. I practice stories of my past, telling this sad memory or that scary one, and people feel I'm confiding in them because the words touch their deepest wounds, not because the tales hold any emotional resonance for me. My intimacies, the ones that have become my Sisyphus stones, long-term romantic relationships, the college one, ended with the nice young man shocked when I said I didn't love him and we had nothing in common. "We've spent two years talking about everything," he said. Yes, mimicry.

Many, Lorenzo, have held and still hold the opinion, that there is nothing which has less in common with another, and that is so dissimilar, as civilian life is from the military. Whence it is often observed, if anyone designs to avail himself of an enlistment in the army, that he soon changes, not only his clothes, but also his customs, his habits, his voice, and in the presence of any civilian custom, he goes to pieces; for I do not believe that any man can dress in civilian clothes who wants to be quick and ready for any violence; nor can that man have civilian customs and habits, who judges those customs to be effeminate and those habits not conducive to his actions; nor does it seem right to him to maintain his ordinary appearance and voice who, with his beard and cursing, wants to make other men afraid: which makes such an opinion in these times to be very true. But if they should consider the ancient institutions, they would not find matter more united, more in conformity, and which, of necessity, should be like to each other as much as these (civilian and military); for in all the arts that are established in a society for the sake of the common good of men, all those institutions created to (make people) live in fear of the laws and of God would be in vain, if their defense had not been provided for and which, if well arranged, will maintain not only these, but also those that are not well established. And so (on the contrary), good institutions without the help of the military are not much differently disordered than the habitation of a superb and regal palace, which, even though adorned with jewels and gold, if it is not roofed over will not have anything to protect it from the rain. And, if in any other institutions of a City and of a Republic every diligence is employed in keeping men loyal, peaceful, and full of the fear of God, it is doubled in the military; for in what man ought the country look for greater loyalty than in that man who has to promise to die for her? In whom ought there to be a greater love of peace, than in him who can only be injured by war? In whom ought there to be a greater fear of God than in him who, undergoing infinite dangers every day, has more need for His aid? If these necessities in forming the life of the soldier are well considered, they are found to be praised by those who gave the laws to the Commanders and by those who were put in charge of military training, and followed and imitated with all diligence by others.

Ant then, opening her eyes, how fresh like frilled linen clean from a laundry, laid in wicker trays the roses looked; and dark and prim the red carnations, holding their heads up; and all the sweet peas spreading in their bowls, tinged violet, snow white, pale - as if it were the evening and girls in muslin frocks came out to pick sweet peas and roses after the superb summer's day, with its almost blue-black sky, its delphiniums, its carnations, its arum lilies was over; and it was the moment between six and seven when every flower - roses, carnations, irises, lilac - glows; white, violet, red, deep orange; every flower seems to burn by itself, softly, purely in the misty beds; and how she loved the grey-white moths spinning in and out, over the cherry pie, over the evening primroses!

Not long before my heart was shredded by “Ryan,” I saw the superb, painful, and infuriating documentary God Loves Uganda, a film by the astounding Roger Ross Williams. The doc examined the role of American evangelicalism in Uganda, its ties to a recently introduced bill, the Uganda Anti-Homosexuality Act—which then suggested the death penalty for LGBTQ+ people—as it gained serious momentum. It follows missionaries, evangelical leaders, and the LGBTQ+ people of Uganda who fight for their right to exist. These activists were standing up against vicious oppression, rhetoric, and ideas originally introduced and continuously perpetuated by the West. Concealed in “good deeds,” American missionaries created infrastructure for access to indoctrinate the populace, which fueled anti-LGBTQ+ violence and hate.

This Sarah Perez had the most beautiful eyes in the world, those green eyes spangled with gold that you love so much: the eyes of Antinous. In Rome, such eyes would have made her a concubine of Adrian; in Madrid they helped her become the princess of Eboli ensconced in the bed of the king. But Philip II was extremely jealous of those wonderful emerald eyes and their delicate transparency, and the princess - who was bored with the funereal palace and the even more funereal society of the king - had the fancy and the misfortune to cast her admirable gaze upon the Marquis de Posa while she was leaving church one day. It was on the threshold of the chapel, and the princess believed herself to be alone with her camarera mayor, but the vigilance of the clergy was equal to the challenge. She was betrayed, and that very evening, in the intimacy of their bedroom, in the course of some violent argument or tempestuous tussle, Philip threw his mistress to the floor. Blind with rage he leapt upon her, tore out her eye and devoured it in a single gulp. 'Thus was the princess covered in blood - a good title for a conte cruel, that, which Villiers de l'Isle Adam has somehow omitted to write! The princess was henceforth one-eyed: the royal pet had a gaping hole in her face. Philip II, who had the Jewess in his blood, could not cleave so closely to a princess who had only one eye. He made amends to her with some new titles and estates in the provinces and - regretful of the beautiful green eye that he had spoiled - he caused to be inserted into the empty and bloody orbit a superb emerald enshrined in silver, upon which surgeons then inscribed the semblance of a gaze. Oculists have made progress since then; the Princess of Eboli, already hurt by the ruination of her eye, died some little time afterwards, of the effects of the operation. The ways of love and surgery were equally barbarous in the time of Philip II! 'Philip, the inconsolable lover, gave the order to remove the emerald from the face of the dead princess before she was laid in the tomb, and had it mounted in a ring. He wore it about his finger, and would never take it off, even when he went to sleep - and when he died in his turn, he had the ring bearing the green tear clasped in his right hand.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

The first movie star I met was Norma Shearer. I was eight years old at the time and going to school with Irving Thalberg Jr. His father, the longtime production chief at Metro-Goldwyn-Mayer, devoted a large part of his creative life to making Norma a star, and he succeeded splendidly. Unfortunately, Thalberg had died suddenly in 1936, and his wife's career had begun to slowly deflate. Just like kids everywhere else, Hollywood kids had playdates at each other's houses, and one day I went to the Thalberg house in Santa Monica, where Irving Sr. had died eighteen months before. Norma was in bed, where, I was given to understand, she spent quite a bit of time so that on those occasions when she worked or went out in public she would look as rested as possible. She was making Marie Antoinette at the time, and to see her in the flesh was overwhelming. She very kindly autographed a picture for me, which I still have: "To Cadet Wagner, with my very best wishes. Norma Shearer." Years later I would be with her and Martin Arrouge, her second husband, at Sun Valley. No matter who the nominal hostess was, Norma was always the queen, and no matter what time the party was to begin, Norma was always late, because she would sit for hours—hours!—to do her makeup, then make the grand entrance. She was always and forever the star. She had to be that way, really, because she became a star by force of will—hers and Thalberg's. Better-looking on the screen than in life, Norma Shearer was certainly not a beauty on the level of Paulette Goddard, who didn't need makeup, didn't need anything. Paulette could simply toss her hair and walk out the front door, and strong men grew weak in the knees. Norma found the perfect husband in Martin. He was a lovely man, a really fine athlete—Martin was a superb skier—and totally devoted to her. In the circles they moved in, there were always backbiting comments when a woman married a younger man—" the stud ski instructor," that sort of thing. But Martin, who was twelve years younger than Norma and was indeed a ski instructor, never acknowledged any of that and was a thorough gentleman all his life. He had a superficial facial resemblance to Irving Thalberg, but Thalberg had a rheumatic heart and was a thin, nonathletic kind of man—intellectually vital, but physically weak. Martin was just the opposite—strong and virile, with a high energy level. Coming after years of being married to Thalberg and having to worry about his health, Martin must have been a delicious change for Norma.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

Beside her, the strings were tuned. The quartet started to play. When Tom began it, gently rolling sullen, swelling notes out of the cello, she assumed it would be designed to show him as the superb cellist he was. But when Ann’s viola came mourning in, she wondered if it might be intended as a dirge. Beyond Ann, Sam’s violin sang, and Ed’s sang and soared, and the music became something else again, nearly light-hearted. Showing how much the quartet needed Tom? Polly wondered. There was no question they were a good quartet these days. They had improved almost out of mind from the afternoon Polly had spent hearing them practice in the green basement. … The music broadened and depend, put on majesty and passion, and moved onward in some way, fuller and fuller. All four of the players were putting their entire selves into it. Polly knew they were not trying to prove anything—not really. She let the music take her, with relief, because while it lasted she would not have to make a decision or come to a dead end. She found her mind dwelling on Nowhere, as she and Tom used to imagine it. You slipped between Here ad Now to the hidden Now and Here—as Laurel had once told another Tom, there was that bonny path in the middle—but you did not necessarily leave the world. Here was a place where the quartet was grinding out dissonances. There was a lovely tune beginning to emerge from it. Two sides of Nowhere, Polly thought. One really was a dead end. The other was the voice that lay before you when you were making up something new out of ideas no one else had quite had before. That’s a discovery I must do something about, Polly thought, as the lovely tune sang out fully once and then fell away to the end, as the piece had begun, in a long, sullen cello note. And her mind was made up. (p. 399-400)

Then I’ll sing, though that will likely have the child holding his ears and you running from the room.” This, incongruously, had her lips quirking up. “My father isn’t very musical. You hold the baby, I’ll sing.” She took the rocking chair by the hearth. Vim settled the child in his arms and started blowing out candles as he paced the room. “He shall feed his flock, like a shepherd…” More Handel, the lilting, lyrical contralto portion of the aria, a sweet, comforting melody if ever one had been written. And the baby was comforted, sighing in Vim’s arms and going still. Not deathly still, just exhausted still. Sophie sang on, her voice unbearably lovely. “And He shall gather the lambs in his arm… and gently lead those that are with young.” Vim liked music, he enjoyed it a great deal in fact—he just wasn’t any good at making it. Sophie was damned good. She had superb control, managing to sing quietly even as she shifted to the soprano verse, her voice lifting gently into the higher register. By the second time through, Vim’s eyes were heavy and his steps lagging. “He’s asleep,” he whispered as the last notes died away. “And my God, you can sing, Sophie Windham.” “I had good teachers.” She’d sung some of the tension and worry out too, if her more peaceful expression was any guide. “If you want to go back to your room, I can take him now.” He didn’t want to leave. He didn’t want to leave her alone with the fussy baby; he didn’t want to go back to his big, cold bed down the dark, cold hallway. “Go to bed, Sophie. I’ll stay for a while.” She frowned then went to the window and parted the curtain slightly. “I think it’s stopped snowing, but there is such a wind it’s hard to tell.” He didn’t dare join her at the window for fear a chilly draft might wake the child. “Come away from there, Sophie, and why haven’t you any socks or slippers on your feet?” She glanced down at her bare feet and wiggled long, elegant toes. “I forgot. Kit started crying, and I was out of bed before I quite woke up.” They shared a look, one likely common to parents of infants the world over. “My Lord Baby has a loyal and devoted court,” Vim said. “Get into bed before your toes freeze off.” She gave him a particularly unreadable perusal but climbed into her bed and did not draw the curtains. “Vim?” “Hmm?” He took the rocker, the lyrical triple meter of the aria still in his head. “Thank you.” He

The Monk in the Kitchen I ORDER is a lovely thing; On disarray it lays its wing, Teaching simplicity to sing. It has a meek and lowly grace, Quiet as a nun's face. Lo—I will have thee in this place! Tranquil well of deep delight, All things that shine through thee appear As stones through water, sweetly clear. Thou clarity, That with angelic charity Revealest beauty where thou art, Spread thyself like a clean pool. Then all the things that in thee are, Shall seem more spiritual and fair, Reflection from serener air— Sunken shapes of many a star In the high heavens set afar. II Ye stolid, homely, visible things, Above you all brood glorious wings Of your deep entities, set high, Like slow moons in a hidden sky. But you, their likenesses, are spent Upon another element. Truly ye are but seemings— The shadowy cast-oft gleamings Of bright solidities. Ye seem Soft as water, vague as dream; Image, cast in a shifting stream. III What are ye? I know not. Brazen pan and iron pot, Yellow brick and gray flag-stone That my feet have trod upon— Ye seem to me Vessels of bright mystery. For ye do bear a shape, and so Though ye were made by man, I know An inner Spirit also made, And ye his breathings have obeyed. IV Shape, the strong and awful Spirit, Laid his ancient hand on you. He waste chaos doth inherit; He can alter and subdue. Verily, he doth lift up Matter, like a sacred cup. Into deep substance he reached, and lo Where ye were not, ye were; and so Out of useless nothing, ye Groaned and laughed and came to be. And I use you, as I can, Wonderful uses, made for man, Iron pot and brazen pan. V What are ye? I know not; Nor what I really do When I move and govern you. There is no small work unto God. He required of us greatness; Of his least creature A high angelic nature, Stature superb and bright completeness. He sets to us no humble duty. Each act that he would have us do Is haloed round with strangest beauty; Terrific deeds and cosmic tasks Of his plainest child he asks. When I polish the brazen pan I hear a creature laugh afar In the gardens of a star, And from his burning presence run Flaming wheels of many a sun. Whoever makes a thing more bright, He is an angel of all light. When I cleanse this earthen floor My spirit leaps to see Bright garments trailing over it, A cleanness made by me. Purger of all men's thoughts and ways, With labor do I sound Thy praise, My work is done for Thee. Whoever makes a thing more bright, He is an angel of all light. Therefore let me spread abroad The beautiful cleanness of my God. VI One time in the cool of dawn Angels came and worked with me. The air was soft with many a wing. They laughed amid my solitude And cast bright looks on everything. Sweetly of me did they ask That they might do my common task And all were beautiful—but one With garments whiter than the sun Had such a face Of deep, remembered grace; That when I saw I cried—"Thou art The great Blood-Brother of my heart. Where have I seen thee?"—And he said, "When we are dancing round God's throne, How often thou art there. Beauties from thy hands have flown Like white doves wheeling in mid air. Nay—thy soul remembers not? Work on, and cleanse thy iron pot.

This ability of the body is a source of never-ending wonder to me. It fights against lies with a tenacity and a shrewdness that are properly astounding. Moral and religious claims cannot deceive or confuse it. A little child is force-fed morality. He accepts this nourishment willingly because he loves his parents, and suffers countless illnesses in his school years. As an adult he makes use of his superb intellect to fight against conventional morality, possibly becoming a philosopher or a writer in the process. But his true feelings about his family, which were masked by illness during his school days, have a stunting effect on him, as was the case with Nietzsche and Schiller. Finally, he becomes victim of his parents, sacrificing himself to their ideas of morality and religion, even though as an adult he saw so clearly through the lies of "society." Seeing through his own self-deception, realizing that he had let himself be made the sacrifice of morality, was more difficult for him than penning philosophical tracts or writing courageous dramas. But it is only the internal processes taking place in the individual, not the thoughts divorced from our own bodies, that can bring about productive change in our mentality.

David’s favorite definition, which I’ve already alluded to, was Walter Burghardt’s: prayer is “a long, loving look at the real.” Prayer is “long,” said Burghardt, because it is done in a quiet, unhurried way. “Loving” because it happens in a context of love. Prayer is a “look” because it has to do with being aware. “I do not analyze or argue it, define or describe it,” wrote Burghardt. “I am one with it.” Finally, prayer is “real” because our spiritual life is primarily about what happened in our daily life. His superb definition emphasized the groundedness of prayer.

My parents shaped me in so many ways. They didn’t have a lot of things, yet in many ways they had everything: they had the courage of their convictions, they had superb values, and they had self-respect. I still miss them deeply and not a day goes by that I forget to appreciate them. In my quieter moments, I sometimes reflect on the fact that we generally take the people we love the most for granted. Until we lose them. Then we take long, silent walks and pray for a second chance to treat them the way they deserved to have been treated. Please don’t let that sort of regret infect your life. It happens too often, to too many among us. If you are blessed enough to still have your parents, honor them. And do it today.

In spite of the death of the big croc, I felt that our time at Cattle Creek had been superb. Even before we got back to the zoo and saw the footage, there was a hint in the air that something special had been accomplished. We were elated at saving one crocodile and bitterly disappointed at the one that had been shot. Perhaps Steve felt the failure to save the Cattle Creek croc from poachers more strongly than I did. He was normally an action man, focused on his next project. I wasn’t used to him being gloomy or fixated on mortality. But he kept asking me to promise him that I’d keep the zoo going if something happened to him. “Promise me,” he said, wanting me to say it out loud. I solemnly promised him that I would keep the zoo going. “But nothing’s going to happen,” I said lightly, “because the secret to being a great conservationist is living a long time.” On the drive back to the zoo, we had talked for a long time, a marathon conversation. We didn’t know whether our Cattle Creek documentary would make a huge difference or not. But we agreed that through our zoo and our shared life together, we would try to change the world. I told him about my days at the vet hospital in Oregon, and the times I’d sit on the floor and weep, I’d be so overwhelmed by the pain and suffering visited upon innocent animals. But that burden seemed much easier to bear now, because I had someone to share it with. Steve truly understood how I felt. And I was someone who could sympathize with the depth of his dedication to wildlife. There was a big wide world out there. We were just a small wildlife park in Australia. It was absurd to think the two of us could change the world. But our love seemed to make the impossible appear not only possible, but inevitable. I look back on the talk we had during the ride to the zoo from Cattle Creek as helping to create the basis of our marriage. No matter what problems came along, we were determined to stay together, because side by side we could face anything.

Apart from being a superb story teller, Corbett displayed great compassion for people from all walks of life and is still a legend in Garhwal and Kumaon amongst people who have never read his books. In

Freeman looked up and grinned. “Karl, this author is American and plainly loves twisted language. Listen: ‘The idiot god Azathoth, that last amorphous blight of nethermost confusion which blasphemes and bubbles at the center of all infinity.’ Superb nonsense.” Karl snorted. “Why are you reading such stuff?” “It’s a novel of horror. Seems appropriate in a war, somehow.” Karl

Tactile contact is the newborn’s earliest experience of the world. It is how we first receive love. Mammalian mothers invariably provide tactile stimulation to their offspring, for instance, rats by licking their pups, primates by stroking them. Ashley Montague writes in his superb book Touching: The Human Significance of the Skin, “The various forms in which the newborn and young receive it is of prime importance for their healthy physical and behavioural development. It appears probable that, for human beings, tactile stimulation is of fundamental significance for the development of healthy emotional or affectional relationships, that ‘licking,’ in its actual and in its figurative sense, and love are closely connected; in short, that one learns love not by instruction, but by being loved.” From animal experiments, it is known that physical touching induces growth-hormone production, promoting better weight gain and development. These findings also apply to human beings. In a study of premature babies, incubated infants were divided into two groups. All their nutritional and other conditions were identitical, except for one variable: one group was given fifteen minutes of tactile stimulation three times a day over a period of two weeks. “Providing this form of stimulation to these babies resulted in significant acceleration of weight gain, increased head circumference, and improved behavioural indices,” compared with the control group.

Despite mournful envy and Dejected wrath, We bask under blue skies, Bewitching stars, And mystical moons, Loving rumbles of thunder, Glistening raindrops, And a hazy peaceful sunrise. In the face of Sorrowful greed, We delight in magnificent mountains, Bountiful oceans, Turquoise lagoons, Beautiful blossoms, And the green, green grass Of springtime. Through raging anger, Aching sadness, We treasure radiant sunsets, Seek marble courtyards, Ancient architecture, And splendid arched bridges. We sing the praises of Breathtaking falls. Even crushed And bewildered, We are captivated by Exquisite winged creatures, Tropical forests, And the critters we nurture. We embrace the power in our divinity And the superb magic of everything. With every threat to the world We belong to And embrace, We revel in books and dreams. We’re mesmerized by Otherworldly visions And plentiful hues. We cherish The light in ever-curious Truth seekers, And are ever grateful For smiles, Rapturous affection, Laughter, And love.

She talked to Sidelnikov, and all the material on the serf composer is here. His name was Maxim Sasontovich Beriozovsky, and he was born on 16 October 1745 in Glukhov. In 1765 he was sent to the Musical Academy of Bologna, where he studied under Padre Tartini the Elder, who was a pupil of Mozart. He became an honorary member of the Bologna Academy, as well as being a member of other musical academies. He wrote the opera Demophones, based on texts by Metastasio, for the Livorno Opera. He composed a great deal of superb music and became very well known in Italy In 1774 he returned to Russia at the wish of Potyomkin, who proposed that he found a musical academy in Kremenschug. He fell in love with a serf actress belonging to Count Razoumovsky. When the Count heard of it he raped the girl and dispatched her to Siberia. Beriozovsky went to St. Petersburg where he started to drink heavily and in 1777 took his own life. In Bologna there lives someone called Napoleone Fonti, aged seventy, who knows a lot about Beriozovsky and what happened to him. His scores are in Bologna and Livorno

Most of us, most of the time, live in blissful ignorance of what a small elite, heroic group of Americans are doing for us night and day. As we speak, all over the globe, American Sailors and Submariners and Aviators are doing something very dangerous. People say, ‘Well, it can’t be too dangerous because there are no wrecks.’ But the reason we don’t have more accidents is that these are superb professionals; the fact that they master the dangers does not mean the dangers aren’t real. Right now, somewhere around the world, young men are landing aircraft on the pitching decks of aircraft carriers – at night! You can’t pay people to do that; they do it out of love of country, of adventure, of the challenge. We all benefit from it, and the very fact that we don’t have to think about it tells you how superbly they’re doing their job — living on the edge of danger so the rest of us need not think about, let alone experience, danger.” George Will commenting after the loss of the Space Shuttle Challenger, January, 1986

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Love ignites soul with the superb light.

Nevertheless, it strikes me more and more that America’s reputation for materialism is unfounded—that is, if a materialist is a person who thoroughly enjoys the physical world and loves material things. In this sense, we are superb materialists when it comes to the construction of jet aircraft, but when we decorate the inside of these magnificent monsters for the comfort of passengers it is nothing but frippery. High-heeled, narrow-hipped, doll-type girls serving imitation, warmed-over meals. For our pleasures are not material pleasures but symbols of pleasure—attractively packaged but inferior in content.

Nevertheless, it strikes me more and more that America’s reputation for materialism is unfounded—that is, if a materialist is a person who thoroughly enjoys the physical world and loves material things. In this sense, we are superb materialists when it comes to the construction of jet aircraft, but when we decorate the inside of these magnificent monsters for the comfort of passengers it is nothing but frippery. High-heeled, narrow-hipped, doll-type girls serving imitation, warmed-over meals. For our pleasures are not material pleasures but symbols of pleasure—attractively packaged but inferior in content. The explanation is simple: most of our products are being made by people who do not enjoy making them, whether as owners or workers. Their aim in the enterprise is not the product but money, and therefore every trick is used to cut the cost of production and hoodwink the buyer, by coloring and packaging chicanery, into the belief that the product is well and truly made. The only exceptions are those products which simply must be excellent for reasons of safety or high cost of purchase—aircraft, computers, space-rockets, scientific instruments, and so forth. But the whole scheme is a vicious circle, for when you have made the money what will you buy with it? Other pretentious fakes made by other money-mad manufacturers. The

I wanted to let you know that I had no problems the other night. I enjoyed myself immensely. The meal was outstanding, the waitstaff superb. You have one of the finest establishments I've ever dined in. I'm truly sorry I gave you the impression I wasn't pleased," Avery said. He stopped himself from being more forthcoming and asking the questions he really wanted answers to: will you…date me, make love with me, marry me? Kane visibly flexed as he spoke, and Avery had no idea what that meant.

PRIMAL’s specialist airborne platform. Looks like a run-of-the-mill air freighter, but Mitch has decked this baby out to do just about anything. She can jam radar, track aircraft, deliver bombs, drop supplies, and even launch drones. She’s an all-singing, all-dancing Special Operations support craft—state-of-the-fuckin’-art!” “All that from one platform? That’s superb!” Mirza said as he inspected the aircraft. “Well, if you like that, my good man, then you’re going to love this.” Mitch reached into the pocket of his gray coveralls and pulled out a small device. “This is a little piece of technology I custom-built myself. I call it iPRIMAL.” “iPRIMAL?” Mirza said, staring at what looked like a large touch-screen phone. “Well, actually it’s your combat interface, but iPRIMAL makes it sound sexier.

Do they this often?” Kassandra asked, unable to draw her eyes from the men. “Often enough,” Joanna replied softly. “They are superb, are they not?” Kassandra watched a little longer before she nodded. “It is as well they are not enemies.” The men locked swords just as Royce happened to be facing the balcony. The moment he saw the women, he stepped away, disengaging with a quick word to Alex, who turned and looked up. “You are back,” Alex said as he joined Royce in lowering his sword. “How was Gunter’s?” “Sticky,” Joanna replied. “We were very bad. Are you done?” “Yes, of course,” Royce said. “I hope we didn’t disturb you.” He looked to Kassandra as he spoke. She returned his scrutiny calmly despite the sudden, rapid beating of her heart. With difficulty, she dragged her gaze away and followed Joanna down the steps from the balcony. As the women emerged into the gallery, Joanna said, “Why ever would I be disturbed by the sight of my husband and my brother seemingly intent on skewering each other?” “You know it is only play,” Alex said, a touch defensively. “It relaxes us.” “I would hate to see how you fight when you are not relaxed,” Joanna rejoined, but tenderly. Between these two flowed a love and understanding so absolute that Kassandra felt compelled to look away lest she trespass even inadvertently in a realm where only they belonged. Royce must have felt the same, for after a quick glance, he turned his attention to Kassandra. “And what did you think of your excursion?” “It was wonderful. Everything was as I imagined, only more so.” “You will make enthusiasm the fashion.” “Will I?” she asked, scarcely aware of what she said, for awareness of him overwhelmed all else. He stood, sword in hand, the damp fabric of his shirt revealing the powerful, sculpted muscles of his chest and arms. He looked, she thought, uncannily like the warriors she and every other young Akoran girl had peeked at during illicit visits to the training fields, giggling behind their hands even as they goggled appreciatively. Yet he was British from the top of his golden head to the bottom of his brilliantly polished boots.

I love you, Harper.” His hands reached up but he only cupped her hips, letting her continue on her journey. She pressed a kiss to the scar across his right deltoid, an old injury from one of his first deployments, then his left collarbone, broken on a training trip to California. Then, moving carefully, she pressed kisses to the new scar still healing on his chest. That one had been too close to taking his life. Thank goodness he had been able to receive medical care as quickly as he did. Cat moved down Harper’s muscled abs and the slim line of black hair there. “I think everything about you is beautiful.” He puffed out a little laugh but she looked up at him with reproach. “I do. Your body is superb, even wounded. It always has been. That’s why I always have to beat the nurses off you.” She flashed him a grin. “Your mind is devious and brilliant, but I love that. The loyalty to your family and your men is humbling.” She stroked a finger over the tattoo that echoed those sentiments on his right pectoral. “Your unfailing courage in the face of everything that has happened is astounding. I know whatever we have to face you will conquer with that same indomitable, dogged, Navy SEAL will. And your heart,” she moved back up his chest to press a kiss to his sternum, “your heart is more loving and willing to try than I ever could have hoped. We’re going to put our family back together,” she promised. Harper stared up at her for several long seconds before he closed his eyes, but not before she’d seen the shine of moisture in their depths. He pulled her down on top of him, burying his face into her neck. “You are every bit the woman you’ve always been, calm and understanding, willing to put up with my shit. And I have to tell you. All of those things you see in me? I wouldn’t be any of them without you. And I mean that. You’ve supported me through everything. You flew across the country to be at my bedside even though you didn’t know the kind of reaction you’d receive. It amazes me that you would take that chance. But I’m so glad you did. I love you, Catherine Marie Preston. I always have.” She flashed a smile at the use of her full name. “And I love you, Harper Broderick Preston. I always will.” They

You will find your way to the object you love, so be very cautious about your object of love because that is going to decide your destiny. Your love is your destiny. Love something superb; love something of the supra-existence; love something of the divine, and you will find your way. - Osho

The values that America stands for are superb; it’s what we do, especially in those places few Americans care about, like the Valley of the Caves, or south-central Somalia, that makes a mockery of these values.

The curious child went back and asked the other attendants in the temple, only to realize that the young man living in the deep valley was named Shi Ying, a young priest in the Jiuyi Temple. He was only seventeen years old, but he has been practicing in Jiuyi Temple for twelve years. With magnificent spiritual power and superb skills, he is known as the only genius that Yunhuang has seen in the past hundred years. He usually lives alone deep in the mountains, is a vegetarian dressed in commoner clothes, is accompanied by a sacred bird, and never comes into contact with anyone except the Great Priest. “Remember, you can just look at him from a distance, but don’t try to disturb him,” the attendant in the temple patted the little child on the head and exhorted, “the young priest doesn’t like to talk to people, and the Great Priest won’t allow him to talk to anyone; whoever dares to get close to him and try to speak, will have to suffer!

I’d Love You To Want Me” was the theme song of the bachelors and unhappily married males of my generation, whether in the English original or the equally superb French and Vietnamese renditions. What the song expressed so perfectly from lyric to melody was unrequited love, and we men of the south loved nothing more than unrequited love, cracked hearts our primary weakness after cigarettes, coffee, and cognac.

It was rumoured of him once that he was about to join the Roman Catholic communion, and certainly the Roman ritual had always a great attraction for him. The daily sacrifice, more awful really than all the sacrifices of the antique world, stirred him as much by its superb rejection of the evidence of the senses as by the primitive simplicity of its elements and the eternal pathos of the human tragedy that it sought to symbolize. He loved to kneel down on the cold marble pavement and watch the priest, in his stiff flowered dalmatic, slowly and with white hands moving aside the veil of the tabernacle, or raising aloft the jewelled, lantern-shaped monstrance with that pallid wafer that at times, one would fain think, is indeed the “panis cælestis,” the bread of angels, or, robed in the garments of the Passion of Christ, breaking the Host into the chalice and smiting his breast for his sins. The fuming censers that the grave boys, in their lace and scarlet, tossed into the air like great gilt flowers had their subtle fascination for him. As he passed out, he used to look with wonder at the black confessionals and long to sit in the dim shadow of one of them and listen to men and women whispering through the worn grating the true story of their lives.

What’s Slipping Under Your Radar? Word Count: 1096 Summary: Ben, a high-level leader in a multi-national firm, recently confessed that he felt like a bad father. That weekend he had messed up his Saturday daddy duties. When he took his son to soccer practice, Ben stayed for a while to support him. In the process, though, he forgot to take his daughter to her piano lesson. By the time they got to the piano teacher’s house, the next student was already playing. This extremely successful businessman felt like a failure. Keywords: Dr. Karen Otazo, Global Executive Coaching, Leadership Article Body: Ben, a high-level leader in a multi-national firm, recently confessed that he felt like a bad father. That weekend he had messed up his Saturday daddy duties. When he took his son to soccer practice, Ben stayed for a while to support him. In the process, though, he forgot to take his daughter to her piano lesson. By the time they got to the piano teacher’s house, the next student was already playing. This extremely successful businessman felt like a failure. At work, one of Ben’s greatest strengths is keeping his focus no matter what. As a strategic visionary, he keeps his eyes on the ongoing strategy, the high-profile projects and the high-level commitments of his group. Even on weekends Ben spends time on email, reading and writing so he can attend the many meetings in his busy work schedule. Since he is so good at multi-processing in his work environment, he assumed he could do that at home too. But when we talked, Ben was surprised to realize that he is missing a crucial skill: keeping people on his radar. Ben is great at holding tasks and strategies in the forefront of his mind, but he has trouble thinking of people and their priorities in the same way. To succeed at home, Ben needs to keep track of his family members’ needs in the same way he tracks key business commitments. He also needs to consider what’s on their radar screens. In my field of executive coaching, I keep every client on my radar screen by holding them in my thinking on a daily and weekly basis. That way, I can ask the right questions and remind them of what matters in their work lives. No matter what your field is, though, keeping people on your radar is essential. Consider Roger, who led a team of gung-ho sales people. His guys and gals loved working with him because his gut instincts were superb. He could look at most situations and immediately know how to make them work. His gut was great, almost a sixth sense. But when Sidney, one of his team of sales managers, wanted to move quickly to hire a new salesperson, Roger was busy. He was managing a new sales campaign and wrangling with marketing and headquarters bigwigs on how to position the company’s consumer products. Those projects were the only things on his radar screen. He didn’t realize that Sidney was counting on hiring someone fast. Roger reviewed the paperwork for the new hire. It was apparent to Roger that the prospective recruit didn’t have the right background for the role. He was too green in his experience with the senior people he’d be exposed to in the job. Roger saw that there would be political hassles down the road which would stymie someone without enough political savvy or experience with other parts of the organization. He wanted an insider or a seasoned outside hire with great political skills. To get the issue off his radar screen quickly, Roger told Human Resources to give the potential recruit a rejection letter. In his haste, he didn’t consult with Sidney first. It seemed obvious from the resume that this was the wrong person. Roger rushed off to deal with the top tasks on his radar screen. In the process, Sidney was hurt and became angry. Roger was taken by surprise since he thought he had done the right thing, but he could have seen this coming.

When I hear “love yourself,” I get unnerved— it seems self is like “god” meant to be served. Oh how the business world exploited it— spoiling people’s self with all kinds of shit. “Take care of yourself” is rather superb— by it, self seems like a “tool” meant to serve. As we care for our tools to serve us well— we too with our self to serve others well.

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Another reason to love snook is their style, elegance, and beauty. There is no denying that, because of their fighting ability, bonefish are superb fly-fishing quarry. But compared with the elegantly proportioned snook, a bonefish—with its chinless, comically underdeveloped lower jaw, blunt wedge of a snout, and small, bottom-situated mouth—looks like a glorified sucker.

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Mandrake is medicinal because the root contains an alkaloid that belongs to the atropine group. It's a powerful narcotic and analgesic, and, in larger doses, a superb anesthetic. It's magical because of the bizarre shape of the root, which looks like a human being, sometimes male, sometimes female. This root can and will exercise supernatural power over the human body and mind. It's both an aphrodisiac and a strong hallucinogen. Think about it. Those two things together can create the most mind-bending sex you're ever likely to have. And babies, too. In the book of Genesis, the barren Rachel eats the root and becomes pregnant with Joseph. The plant produces out-of-body experiences in some susceptible people, and a vastly increased sex drive in almost all men." "Sounds good to me." "A lot of people think so. Folks love to experiment with the mandrake. The problem is that it's poisonous in the wrong doses, and, too often to mention, people end up sick, or worse. They forget that the mandrake is in the family Solanaceae, similar to deadly nightshade.

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Prayer is “long,” said Burghardt, because it is done in a quiet, unhurried way. “Loving” because it happens in a context of love. Prayer is a “look” because it has to do with being aware. “I do not analyze or argue it, define or describe it,” wrote Burghardt. “I am one with it.” Finally, prayer is “real” because our spiritual life is primarily about what happened in our daily life. His superb definition emphasized the groundedness of prayer.

Great things come with great smile. Wear it more !

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