Tea Skins Quotes

Do you know what most people have from their grandmother? A tea set. Or a quilt.” Curran smiled. “If your family had a quilt, it would be made out of chimera skin and stuffed with feathers from dead angels.

Should we leave now?” “I need to finish my tea first,” Jem said. “Anyway, I don’t see what you’re so fired up about. You said the place hadn’t been used as a brothel in ages?” “I want to be back before dark,” Will said. He was leaning nearly across Tessa’s lap, and she could smell that faint boy-smell of leather and metal that seemed to cling to his hair and skin. “I have an assignation in Soho this evening with a certain attractive someone.” “Goodness,” Tessa said to the back of his head. “If you keep seeing Six-Fingered Nigel like this, he’ll expect you to declare your intentions.” Jem choked on his tea.

I started the day with some nothin’ tea. Nothin’ tea is easy to make. First, get some hot water, then add nothin’. I experimented with potato skin tea a few weeks ago. The less said about that the better.

It is a kind of love, is it not? How the cup holds the tea, How the chair stands sturdy and foursquare, How the floor receives the bottoms of shoes Or toes. How soles of feet know Where they're supposed to be. I've been thinking about the patience Of ordinary things, how clothes Wait respectfully in closets And soap dries quietly in the dish, And towels drink the wet From the skin of the back. And the lovely repetition of stairs. And what is more generous than a window?

I experimented with potato skin tea a few weeks ago. The less said about that the better.

She didn’t know that my heart was a sandstorm waiting to open her skin in a desert of cuts. She didn’t know the animal that waited in my stomach, silently shredding the walls. For her, my heart wore small white shoes and carried a purse, went to bed early. I wanted to shoot myself into her arms so she understood the need to crash cars with me, to tear up pavement because we were beautiful.

You ask if I will write a poem I could, I suppose write the most splendiferous one of all but not right now not when your hands are brewing warm cinnamon tea across my skin not when I’m trying to imagine what might happen if you began flowering kisses upon me My dear, how can I write a poem when I’m already inside one?

The art of tea, whichever way you drink it, or whichever country you are from, has one underlining thread for all of us. It is the cultivation of yourself as you follow the ceremony of preparing your tea, the way in which you make your tea, how and where you drink it, and with whom. Making a cup of tea creates a space for just being.

We lived for honey. We swallowed a spoonful in the morning to wake us up and one at night to put us to sleep. We took it with every meal to calm the mind, give us stamina, and prevent fatal disease. We swabbed ourselves in it to disinfect cuts or heal chapped lips. It went in our baths, our skin cream, our raspberry tea and biscuits. Nothing was safe from honey...honey was the ambrosia of the gods and the shampoo of the goddesses.

This is an ode to all of those that have never asked for one. A thank you in words to all of those that do not do what they do so well for the thanking. This is to the mothers. This is to the ones who match our first scream with their loudest scream; who harmonize in our shared pain and joy and terrified wonder when life begins. This is to the mothers. To the ones who stay up late and wake up early and always know the distance between their soft humming song and our tired ears. To the lips that find their way to our foreheads and know, somehow always know, if too much heat is living in our skin. To the hands that spread the jam on the bread and the mesmerizing patient removal of the crust we just cannot stomach. This is to the mothers. To the ones who shout the loudest and fight the hardest and sacrifice the most to keep the smiles glued to our faces and the magic spinning through our days. To the pride they have for us that cannot fit inside after all they have endured. To the leaking of it out their eyes and onto the backs of their hands, to the trails of makeup left behind as they smile through those tears and somehow always manage a laugh. This is to the patience and perseverance and unyielding promise that at any moment they would give up their lives to protect ours. This is to the mothers. To the single mom’s working four jobs to put the cheese in the mac and the apple back into the juice so their children, like birds in a nest, can find food in their mouths and pillows under their heads. To the dreams put on hold and the complete and total rearrangement of all priority. This is to the stay-at-home moms and those that find the energy to go to work every day; to the widows and the happily married. To the young mothers and those that deal with the unexpected announcement of a new arrival far later than they ever anticipated. This is to the mothers. This is to the sack lunches and sleepover parties, to the soccer games and oranges slices at halftime. This is to the hot chocolate after snowy walks and the arguing with the umpire at the little league game. To the frosting ofbirthday cakes and the candles that are always lit on time; to the Easter egg hunts, the slip-n-slides and the iced tea on summer days. This is to the ones that show us the way to finding our own way. To the cutting of the cord, quite literally the first time and even more painfully and metaphorically the second time around. To the mothers who become grandmothers and great-grandmothers and if time is gentle enough, live to see the children of their children have children of their own. To the love. My goodness to the love that never stops and comes from somewhere only mothers have seen and know the secret location of. To the love that grows stronger as their hands grow weaker and the spread of jam becomes slower and the Easter eggs get easier to find and sack lunches no longer need making. This is to the way the tears look falling from the smile lines around their eyes and the mascara that just might always be smeared with the remains of their pride for all they have created. This is to the mothers.

You learn to forgive (the South) for its narrow mind and growing pains because it has a huge heart. You forgive the stifling summers because the spring is lush and pastel sprinkled, because winter is merciful and brief, because corn bread and sweet tea and fried chicken are every bit as vital to a Sunday as getting dressed up for church, and because any southerner worth their salt says please and thank you. It's soft air and summer vines, pine woods and fat homegrown tomatoes. It's pulling the fruit right off a peach tree and letting the juice run down your chin. It's a closeted and profound appreciation for our neighbors in Alabama who bear the brunt of the Bubba jokes. The South gets in your blood and nose and skin bone-deep. I am less a part of the South than it is part of me. It's a romantic notion, being overcome by geography. But we are all a little starry-eyed down here. We're Rhett Butler and Scarlett O'Hara and Rosa Parks all at once.

I am the woman at the water’s edge, offering you oranges for the peeling, knife glistening in the sun. This is the scent and taste of my skin: citon and sweet. Touch me and your life will unfold before you, easily as this skirt billows then sinks, lapping against my legs, my toes filtering through the rivers silt. Following the current out to sea, I am the kind of woman who will come back to haunt your dreams, move through your humid nights the way honey swirls through a cup of hot tea

Death bleeds red no matter of the color of one's skin.

You cannot go around in grief and panic every day; people will not let you, they will coax you with tea and tell you to move on, bake cakes and paint walls. [...] So what you do is you let them coax you. You bake the cake and paint the wall and smile; you buy a new freezer as if you now had a plan for the future. And secretly--in the early morning--you sew a pocket in your skin. At the hollow of your throat. So that every time you smile, or nod your head at a teacher meeting, or bend over to pick up a fallen spoon, it presses and pricks and stings and you know you’ve not moved on. You never even planned to.

He finishes the tea with a single swallow. Breathing deeper, he senses the energy beneath his skin. He focuses on the minute smells in the air, catching the scent of a recently varnished piano—it’s not here, not in the lounge, but the Mesmerizer can smell it along with its premium packaging—vinyl blanket and wooden box. He smirks. That Monk mocks. Challenges.

islam. is still in my life. we are old soulmates. who could not work out the knots against skin. who could not believe in each other. while believing in ourselves. who could not make each other happy. without. making each other a sadness. who were born to each other. and never fell in love. but we still sip tea. share our hands. touch hearts. every now and then.

The hands were ivory-coloured, the skin finely wrinkled everywhere, like the crust on a pool of wax, and under it appreared livid bruises, arthritic nodes, irregular tea-brown stains. ...The flesh under the horny nails was candlvwax-coloured, and bloodless.

I read the paragraph again. A peculiar feeling it gave me. I don't know if you have ever experienced the sensation of seeing the announcement of the engagement of a pal of yours to a girl whom you were only saved from marrying yourself by the skin of your teeth. It induces a sort of -- well, it's difficult to describe it exactly; but I should imagine a fellow would feel much the same if he happened to be strolling through the jungle with a boyhood chum and met a tigress or a jaguar, or what not, and managed to shin up a tree and looked down and saw the friend of his youth vanishing into the undergrowth in the animal's slavering jaws. A sort of profound, prayerful relief, if you know what I mean, blended at the same time with a pang of pity. What I'm driving at is that, thankful as I was that I hadn't had to marry Honoria myself, I was sorry to see a real good chap like old Biffy copping it. I sucked down a spot of tea and began brooding over the business.

Her face was luminous and hopeful; she'd go into the dark with him in a heartbeat, sharp teeth and all. Human girls were stupid that way. No, not stupid. Primal in their skin, without even knowing it. The things that made thier pulse quicken were all the wrong things, but Mihai didn't take advantage of it, except for the free tea.

By afternoon, a dense crowd had gathered around the Bedford as word spread that an enormous infidel in brown pajamas was loading a truck full of supplies for Muslim schoolchildren. ...Mortenson's size-fourteen feet drew a steady stream of bouncing eyebrows and bawdy jokes from onlookers. Spectators shouted guesses at Mortenson's nationality as he worked. Bosnia and Chechnya were deemd the most likely source of this large mangy-looking man. When Mortenson, with his rapidly improving Urdu, interrupted the speculation to tell them he was American, the crowd looked at his sweat-soaked and dirt-grimed shalwar, at his smudged and oily skin, and several men told him they didn't think so.

When I was around four years old I asked my father, “Aba, what color are you?” He replied, “I don’t know, a bit white, a bit black.” “It’s like when one mixes milk with tea,” I said. He laughed a lot, but as a boy he had been so self-conscious about being dark-skinned that he went to the fields to get buffalo milk to spread on his face, thinking it would make him lighter. It was only when he met my mother that he became comfortable in his own skin. Being loved by such a beautiful girl gave him confidence.

But why, why all the hurt? Because, said Mr. Halloway. You need fuel, gas, someting to run a carnival on, don't you? Women live off gossip, and what's gossip but a swap of headaches, sour spit, arthritic bones, ruptured and mended flesh, indiscretions, storms of madness, calms after the storms? If some people didn't have something juicy to chew on, their choppers would prolapse, their souls with them. Multiply their pleasure at funerals, their chuckling through breakfast obituaries, add all the cat-fight marriages where folks spend careers ripping skin off each other and patching it back upside around, add quack doctors slicing persons to read their guts like tea leaves, then sewing them tight with fingerprinted thread, square the whole dynamite factory by ten quadrillion, and you got the black candlepower of this one carnival. All the meannesses we harbor, they borrow in redoubled spades. They're a billion times itchier for pain, sorrow, and sickness than the average man. We salt our lives with other people's sins. Our flesh to us tastes sweet. But the carnival doesn't care if it stinks by moonlight instead of sun, so long as it gorges on fear and pain. That's the fuel, the vapor that spins the carousel, the raw stuffs of terror, the excruciating agony of guilt, the scream from real or imagined wounds. The carnival sucks that gas, ignites it, and chugs along its way.

Contemplations on the belly When pregnant with our first, Dean and I attended a child birth class. There were about 15 other couples, all 6-8 months pregnant, just like us. As an introduction, the teacher asked us to each share what had been our favorite part of pregnancy and least favorite part. I was surprised by how many of the men and women there couldn't name a favorite part. When it was my turn, I said, "My least favorite has been the nausea, and my favorite is the belly." We were sitting in the back of the room, so it was noticeable when several heads turned to get a look at me. Dean then spoke. "Yeah, my least favorite is that she was sick, and my favorite is the belly too." Now nearly every head turned to gander incredulously at the freaky couple who actually liked the belly. Dean and I laughed about it later, but we were sincere. The belly is cool. It is one of the Seven Natural Wonders of the World, an unmistakable sign of what's going on inside, the wigwam for our little squirmer, the mark of my undeniable superpower of baby-making. I loved the belly and its freaky awesomeness, and especially the flutters, kicks, and bumps from within. Twins belly is a whole new species. I marvel at the amazing uterus within and skin without with their unceasing ability to stretch (Reed Richards would be impressed). I still have great admiration for the belly, but I also fear it. Sometimes I wonder if I should build a shrine to it, light some incense, offer up gifts in an attempt both to honor it and avoid its wrath. It does seem more like a mythic monstrosity you'd be wise not to awaken than a bulbous appendage. It had NEEDS. It has DEMANDS. It will not be taken lightly (believe me, there's nothing light about it). I must give it its own throne, lying sideways atop a cushion, or it will CRUSH MY ORGANS. This belly is its own creature, is subject to different laws of growth and gravity. No, it's not a cute belly, not a benevolent belly. It would have tea with Fin Fang Foom; it would shake hands with Cthulhu. It's no wonder I'm so restless at night, having to sleep with one eye open. Nevertheless, I honor you, belly, and the work you do to protect and grow my two precious daughters inside. Truly, they must be even more powerful than you to keep you enslaved to their needs. It's quite clear that out of all of us, I'm certainly not the one in control. I am here to do your bidding, belly and babies. I am your humble servant.

“Shut up!” I say, laughing hysterically. Alice transforms back to an inanimate jade piece as I toss her. My aim is off and she plops into Morpheus’s tea, splattering him and the chessboard. With a graceful sweep of his hand, he retracts his magic. Tea drizzles down his face as his inky eyes turn up to mine, alight with something both dangerous and daring, shifting moods faster than I can blink. “Careful, plum.” It’s his deep cockney accent now. He wipes his face with a napkin. “Don’t start something you have no intention of finishing.” “Oh, I’ll finish it,” I say—spurred by the dark confidence fluttering at the edge of my psyche. The side of me that knows I’m his match in every way. “And you know I’ll win.” I rise from my chair to scope out the room for weapons, vaguely aware of the prisms of glittery light reflected off my skin onto the surroundings. “I know I’ll let you win,” Morpheus says, standing up. “I won’t even put up a fight.” His white-toothed smile spans to something forebodingly provocative, as though mimicking the spread of his wings. “Well, perhaps a small one, just for sport.”

It was hard not to watch Arthie Casimir. The way she worked and schemed, at times as still as stone, other times as restless as a bee. For the most part, Arthie obscured her femininity. She was, after all, a girl in a man’s world, but it snuck through every once in a while. When she turned a certain way. When she lit up at Jin’s words or countered Matteo’s provocations or slid a glance at Laith. When the waves of her hair caught the light, illuminating the copper of her skin and making her gaze come alive with mischief.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient -- nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one's body aged, was it not a sign that this was not the natural order of things, if one's heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one's socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

Harry paused with his fork held in midair, mesmerized by the sight of her slim fingers twirling the honey stick, meticulously filling each hole with thick umber liquid. Realizing that he was staring, Harry took a bite of his breakfast. Poppy replaced the honey stick in a small silver pot. Discovering a stray drop of sweetness on the tip of her thumb, she lifted it to her lips and sucked it clean. Harry choked a little, reached for his tea, and took a swallow. The beverage scalded his tongue, causing him to flinch and curse. Poppy gave him an odd look. "Is there anything the matter?" Nothing. Except that watching his wife eating breakfast was the most erotic act he had ever seen. "Nothing at all," Harry said scratchily. "Tea's hot." When he dared to look at Poppy again, she was consuming a fresh strawberry, holding it by the green stem. Her lips rounded in a luscious pucker as she bit neatly into the ripe flesh of the fruit. Christ. He moved uncomfortably in his chair, while all the unsatisfied desire of the previous night reawakened with a vengeance. Poppy ate two more strawberries, nibbling slowly, while Harry tried to ignore her. Heat collected beneath his clothing, and he used a napkin to blot his forehead. Poppy lifted a bite of honey-soaked crumpet to her mouth, and gave him a perplexed glance. "Are you feeling well?" "It's too warm in here," Harry said irritably, while lurid thoughts went through his mind. Thoughts involving honey, and soft feminine skin, and moist pink-

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining-board, which I have padded with our dog's blanket and the tea-cosy. I can't say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring - I wrote my very best poem while sitting on the hen-house. Though even that isn't a very good poem. I have decided my best poetry is so bad that I mustn't write any more of it. Drips from the roof are plopping into the water-butt by the back door. The view through the windows above the sink is excessively drear. Beyond the dank garden in the courtyard are the ruined walls on the edge of the moat. Beyond the moat, the boggy ploughed fields stretch to the leaden sky. I tell myself that all the rain we have had lately is good for nature, and that at any moment spring will surge on us. I try to see leaves on the trees and the courtyard filled with sunlight. Unfortunately, the more my mind's eye sees green and gold, the more drained of all colour does the twilight seem. It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing - though she obviously can't see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.) Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although I am rather used to her I know she is a beauty. She is nearly twenty-one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but I have a neatish face. I have just remarked to Rose that our situation is really rather romantic - two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it. The house itself was built in the time of Charles II, but it was grafted on to a fourteenth-century castle that had been damaged by Cromwell. The whole of our east wall was part of the castle; there are two round towers in it. The gatehouse is intact and a stretch of the old walls at their full height joins it to the house. And Belmotte Tower, all that remains of an even older castle, still stands on its mound close by. But I won't attempt to describe our peculiar home fully until I can see more time ahead of me than I do now. I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how to write a novel - I intend to capture all our characters and put in conversations. It ought to be good for my style to dash along without much thought, as up to now my stories have been very stiff and self-conscious. The only time father obliged me by reading one of them, he said I combined stateliness with a desperate effort to be funny. He told me to relax and let the words flow out of me.

We entered the cool cave of the practice space with all the long-haired, goateed boys stoned on clouds of pot and playing with power tools. I tossed my fluffy coat into the hollow of my bass drum and lay on the carpet with my worn newspaper. A shirtless boy came in and told us he had to cut the power for a minute, and I thought about being along in the cool black room with Joey. Let's go smoke, she said, and I grabbed the cigarettes off the amp. She started talking to me about Wonder Woman. I feel like something big is happening, but I don't know what to do about it. With The Straight Girl? I asked in the blankest voice possible. With everything. Back in the sun we walked to the edge of the parking lot where a black Impala convertible sat, rusted and rotting, looking like it just got dredged from a swamp. Rainwater pooling on the floor. We climbed up onto it and sat our butts backward on the edge of the windshield, feet stretched into the front seat. Before she even joined the band, I would think of her each time I passed the car, the little round medallions with the red and black racing flags affixed to the dash. On the rusting Chevy, Joey told me about her date the other night with a girl she used to like who she maybe liked again. How her heart was shut off and it felt pretty good. How she just wanted to play around with this girl and that girl and this girl and I smoked my cigarette and went Uh-Huh. The sun made me feel like a restless country girl even though I'd never been on a farm. I knew what I stood for, even if nobody else did. I knew the piece of me on the inside, truer than all the rest, that never comes out. Doesn't everyone have one? Some kind of grand inner princess waiting to toss her hair down, forever waiting at the tower window. Some jungle animal so noble and fierce you had to crawl on your belly through dangerous grasses to get a glimpse. I gave Joey my cigarette so I could unlace the ratty green laces of my boots, pull them off, tug the linty wool tights off my legs. I stretched them pale over the car, the hair springing like weeds and my big toenail looking cracked and ugly. I knew exactly who I was when the sun came back and the air turned warm. Joey climbed over the hood of the car, dusty black, and said Let's lie down, I love lying in the sun, but there wasn't any sun there. We moved across the street onto the shining white sidewalk and she stretched out, eyes closed. I smoked my cigarette, tossed it into the gutter and lay down beside her. She said she was sick of all the people who thought she felt too much, who wanted her to be calm and contained. Who? I asked. All the flowers, the superheroes. I thought about how she had kissed me the other night, quick and hard, before taking off on a date in her leather chaps, hankies flying, and I sat on the couch and cried at everything she didn't know about how much I liked her, and someone put an arm around me and said, You're feeling things, that's good. Yeah, I said to Joey on the sidewalk, I Feel Like I Could Calm Down Some. Awww, you're perfect. She flipped her hand over and touched my head. Listen, we're barely here at all, I wanted to tell her, rolling over, looking into her face, we're barely here at all and everything goes so fast can't you just kiss me? My eyes were shut and the cars sounded close when they passed. The sun was weak but it baked the grime on my skin and made it smell delicious. A little kid smell. We sat up to pop some candy into our mouths, and then Joey lay her head on my lap, spent from sugar and coffee. Her arm curled back around me and my fingers fell into her slippery hair. On the February sidewalk that felt like spring.

So sentences are copied, constructed, or created; they are uttered, mentioned, or used; each says, means, implies, reveals, connects; each titillates, invites, conceals, suggests; and each is eventually either consumed or conserved; nevertheless, the lines in Stevens or the sentences of Joyce and James, pressed by one another into being as though the words before and the words after were those reverent hands both Rilke and Rodin have celebrated, clay calling to clay like mating birds, concept responding to concept the way passionate flesh congests, every note a nipple on the breast, at once a triumphant pinnacle and perfect conclusion, like pelted water, I think I said, yet at the same time only another anonymous cell, and selfless in its service to the shaping skin as lost forgotten matter is in all walls; these lines, these sentences, are not quite uttered, not quite mentioned, peculiarly employed, strangely listed, oddly used, as though a shadow were the leaves, limbs, trunk of a new tree, and the shade itself were thrust like a dark torch into the grassy air in the same slow and forceful way as its own roots, entering the earth, roughen the darkness there till all its freshly shattered facets shine against themselves as teeth do in the clenched jaw; for Rabelais was wrong, blue is the color of the mind in borrow of the body; it is the color consciousness becomes when caressed; it is the dark inside of sentences, sentences which follow their own turnings inward out of sight like the whorls of a shell, and which we follow warily, as Alice after that rabbit, nervous and white, till suddenly—there! climbing down clauses and passing through ‘and’ as it opens—there—there—we’re here! . . . in time for tea and tantrums; such are the sentences we should like to love—the ones which love us and themselves as well—incestuous sentences—sentences which make an imaginary speaker speak the imagination loudly to the reading eye; that have a kind of orality transmogrified: not the tongue touching the genital tip, but the idea of the tongue, the thought of the tongue, word-wet to part-wet, public mouth to private, seed to speech, and speech . . . ah! after exclamations, groans, with order gone, disorder on the way, we subside through sentences like these, the risk of senselessness like this, to float like leaves on the restful surface of that world of words to come, and there, in peace, patiently to dream of the sensuous, imagined, and mindful Sublime.