Trash Taste Quotes

I had hundreds of books under my skin already. Not selected reading, all of it. Some of it could be called trashy. I had been through Nick Carter, Horatio Alger, Bertha M. Clay and the whole slew of dime novelists in addition to some really constructive reading. I do not regret the trash. It has harmed me in no way. It was a help, because acquiring the reading habit early is the important thing. Taste and natural development will take care of the rest later on.

What do you care?" I barked, and his grip tightened enough on my wrists that I knew my bones would snap with a little more pressure. "What do I care?" he breathed, wrath twisting his features. Wings - those membranous, glorious wings - flared from his back, crafted from the shadows behind him. "What do I care?" But before he could go on, his head snapped to the door, then back to my face. The wings vanished as quickly as they had appeared, and then his lips were crushing into mine. His tongue pried my mouth open, forcing himself into me, into the space where I could still taste Tamlin. I pushed and trashed, but he held firm, his tongue sweeping over the roof of my mouth, against my teeth, claiming me - The door was flung wide, and Amarantha's curved figure filled its space. Tamlin - Tamlin was beside her, his eyes slightly wide, shoulders tight as Rhys's lips still crushed mine. Amarantha laughed, and a mask of stone slammed down on Tamlin's face. void of feeling, void of anything vaguely like the Tamlin I'd been tangled up with moments before.

As readers, we remain in the nursery stage so long as we cannot distinguish between taste and judgment, so long, that is, as the only possible verdicts we can pass on a book are two: this I like; this I don't like. For an adult reader, the possible verdicts are five: I can see this is good and I like it; I can see this is good but I don't like it; I can see this is good and, though at present I don't like it, I believe that with perseverance I shall come to like it; I can see that this is trash but I like it; I can see that this is trash and I don't like it.

Belize: Hell or heaven? [Roy indicates "Heaven" through a glance] Belize: Like San Francisco. Roy Cohn: A city. Good. I was worried... it'd be a garden. I hate that shit. Belize: Mmmm. Big city. Overgrown with weeds, but flowering weeds. On every corner a wrecking crew and something new and crooked going up catty corner to that. Windows missing in every edifice like broken teeth, fierce gusts of gritty wind, and a gray high sky full of ravens. Roy Cohn: Isaiah. Belize: Prophet birds, Roy. Piles of trash, but lapidary like rubies and obsidian, and diamond-colored cowspit streamers in the wind. And voting booths. Roy Cohn: And a dragon atop a golden horde. Belize: And everyone in Balencia gowns with red corsages, and big dance palaces full of music and lights and racial impurity and gender confusion. And all the deities are creole, mulatto, brown as the mouths of rivers. Race, taste and history finally overcome. And you ain't there. Roy Cohn: And Heaven? Belize: That was Heaven, Roy.

And yet in only a few hours we've managed to erase her almost entirely. All of her things - bought, received, painstakingly selected; her tastes and preferences; all the random stuff accumulated over the years - all of it sorted, trashed, or packed up in less than a day. How easily we get erased.

America is now wholly given over to a damned mob of scribbling women, and I should have no chance of success while the public taste is occupied with their trash--and should be ashamed of myself if I did succeed. What is the mystery of these innumberable editions of The Lamplighter (by Maria Susanna Cummins), and other books neither better nor worse? Worse they could not be, and better they need not be, when they sell by the hundred thousand.

America is now wholly given over to a damned mob of scribbling women, and I should have no chance of success while the public taste is occupied with their trash.

I thought that I would go to Romania and that when I got there I would go to some small town and buy secondhand clothes in the market. Shoes. A blanket. I’d burn everything I owned. My passport. Maybe I’d just put my clothes in the trash. Change money in the street. Then I’d hike into the mountains. Stay off the road. Take no chances. Crossing the ancestral lands by foot. Maybe by night. There are bears and wolves up there. I looked it up. You could have a small fire at night. Maybe find a cave. A mountain stream. I’d have a canteen for water for when the time came that I was too weak to move about. After a while the water would taste extraordinary. It would taste like music. I’d wrap myself in the blanket at night against the cold and watch the bones take shape beneath my skin and I would pray that I might see the truth of the world before I died. Sometimes at night the animals would come to the edge of the fire and move about and their shadows would move among the trees and I would understand that when the last fire was ashes they would come and carry me away and I would be their eucharist. And that would be my life. And I would be happy.

Life is an endless attempt to word the unwordable, to make what cannot be touched walk on the ground, to embody what can never be fit inside a single lifetime. We see reflections of ourselves in sunrises, hear our perfection in thunderstorms and babies' laughter--touch, taste and feel--and then try to somehow remember all of that while taking out the trash, paying bills and a million other ways we have invented to forget. We weave together within ourselves mud and spirit, shadow and light, animal and angel. No wonder humans feel crazy most of the time. But you aren't crazy. You are doing a heroic thing by being here as yourself.

and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding — joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine–hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens — there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel–reader — I seldom look into novels — Do not imagine that I often read novels — It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss — ?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language. Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favourable idea of the age that could endure it.

We -- the industrialized, technologized world -- have never been richer. And yet to an extraordinary extent we in the West continue to inhabit a moral and cultural universe shaped by the hedonistic imperatives and radical ideals of the Sixties. Culturally, morally the world we inhabit is increasingly a trash world: addicted to sensation, besieged everywhere by the cacophonous, mind-numbing din of rock music, saturated with pornography, in thrall to the lowest common denominator wherever questions of taste, manners or intellectual delicacy are concerned. Marwick was right: 'The cultural revolution, in short, had continuous, uninterrupted, and lasting consequences'.

It doesn't feel like teasing when you go out of your way to make me feel like garbage for liking what I like. I already have to defend it enough with my parents, and with my friends. Like, I get it, ha ha, sometimes there are shirtless men on the covers. But what I'll never understand is why people are so quick to trash this one thing that's always been for women first. They won't let us have this one thing that makes us happy. Nope, if you like romance novels, you have zero taste or you're a lonely spinster.

But it's all a matter of taste, you say. It's true that among the perfumes reckoned good or great, there are some that will move you more than others, and some that will leave you entirely cold or even sickened, because either they won't say what you're longing to hear or they say what you never want to hear again. All the same, when considering perfume as an art, it's possible to appreciate when something is done exceptionally well. If you've tried several perfumes, you know things can go wrong. Many compositions smell great in the first few minutes, then fade rapidly to a murmur or an unpleasant twang you can never quite wash off. Some seem to attack with what feels like an icepick in the eye. Others smell nice for an hour in the middle but boring at start and finish. Some veer uncomfortably sweet, and some fall to pieces, with various parts hanging there in the air but not really cooperating in any useful way. Some never get around to being much of anything at all. The way you can love a person for one quality despite myriad faults, you can sometimes love a perfume for one particular moment or effect, even if the rest is trash. Yet in the thousands of perfumes that exist, some express their ideas seamlessly and eloquently from top to bottom and give a beautiful view from any angle. A rare subset of them always seem to have something new and interesting to say, even if you encounter them daily. Those are the greats. By these criteria, one can certainly admire a perfume without necessarily loving it. Love, of course, is personal (but best when deserved).

God damn there is nothing better tasting in the whole damn world than warm brains when you were shot the hell up, like a cold beer after a long hot day of working in the yard.

The man obviously had a taste for high-class trash.

Ordell knew he wanted to be a hooker the first time he saw Mama zip up her thigh-high boots, lean against the sink and scrub her rancid fanny with a wet-wipe.

Bella came into my office. I was working on a poem. The poem was about butts.

God damn, but there was nothing better tasting in the whole damn world than warm brain when you were shot the hell up. Like a cold beer after a long hot day of working in the yard.

Don’t be cross, boss.

Oh God, for a few who will love me in tiny ways every single day of my flashing existence. For a mere one or two who will treat me like the trash I am, who will love the smell of garbage and rummage through the bin of my failings to find the wrapped cheeseburger they can do without but consider long enough to get their taste buds used to the idea. Oh for a melodious tongue to sing me a song about french fries.

And yet in only a few hours we managed to erase her almost entirely. All of her things - bought, received, painstakingly selected; her tastes and preferences; all the random stuff accumulated over the years - all of it sorted, trashed, or packed up in less than a day. How easily we get erased.

The smell of smoke from trash burning in back yards was held by the mist; and as he walked slowly through the evening, breathing the fragrance and tasting upon his tongue the sharp night-time air, it seemed to him that the moment he walked in was enough and that he might not need a great deal more.

As I sat there in the uncomfortable silence, the first visual that crept into my mind was that dreadful scene in The Silence of the Lambs when Hannibal Lecter exposes Jodie Foster’s character, FBI agent Clarice Starling: “You’re so-o-o ambitious, aren’t you? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well-scrubbed, hustling rube, with a little taste. Good nutrition’s given you some length of bone, but you’re not more than one generation from poor white trash, are you, Agent Starling? And that accent you’ve tried so desperately to shed—pure West Virginia. What does your father do? Is he a coal miner? Does he stink of the lamp?

Like, I get it, ha ha, sometimes there are shirtless men on the covers. But what I’ll never understand is why people are so quick to trash this one thing that’s always been for women first. They won’t let us have this one thing that isn’t hurting anyone and makes us happy. Nope, if you like romance novels, you have zero taste or you’re a lonely spinster.

Their eyes, warm not only with human bond but with the shared enjoyment of the art objects he sold, their mutual tastes and satisfactions, remained fixed on him; they were thanking him for having things like these for them to see, pick up and examine, handle perhaps without even buying. Yes, he thought, they know what sort of store they are in; this is not tourist trash, not redwood plaques reading Muir Woods, Marin County, PSA, or funny signs or girly rings or postcards or views of the Bridge. The girl’s eyes especially, large, dark. How easily, Childan thought, I could fall in love with a girl like this. How tragic my life, then; as if it weren’t bad enough already. The stylish black hair, lacquered nails, pierced ears for the long dangling brass handmade earrings. “Your

Does this popcorn taste burnt to you?" Miles asked, chewing loudly. "Don't eat that," Roland said, plucking the popcorn from Miles's palm. "Arriane got it out of the trash after Luce set the dorm room kitchen on fire." Miles began spitting frantically, leaning over the edge of Roland's wings. "It was my way of connecting with Luce." Arriane shrugged. "But here, if you must, have some Milk Duds." "Is it weird that we're watching the two of them like a movie?" Shelby asked. "We should imagine them like a novel, or a poem, or a song. Sometimes I feel oppressed by how reductive the filmic medium is." "Hey. Roland didn't have to fly you out here, Nephilim. So don't act smart, just watch. Look." Arriane clapped. "He's totally staring at her hair. I bet he goes home and sketches it tonight. How cuuute!" "Arriane, you got way too good at being a teenager," Roland said. "How long are we going to watch for? I mean, don't you think they've earned a little privacy?" "He's right," Arriane said. "We have other things on our celestial plates. Like..." Her smirk faded when she couldn't seem to think of anything.

While this dump was reviled by humans, to Shadow it was a magical place of the most succulent fragrances . . . of rotting meat and fermenting apples. He braved the ravaging moths and the mad hornets to romp among the piles of garbage, intoxicated by the smells of life on earth—of brine in the pick-ling vat, coffee grounds, blackened toast, the flat, moist plug of apple tobacco, decaying books, broken hens’ eggs, sawdust shavings, and the whiff of the cold metal in the mattress springs. His nose trembled in the flutter of his nostrils. The odor of metal was so potent he could taste the steel in his mouth.

It was dark outside, and a spring chill was in the evening air. He breathed deeply and felt his body tingle in the coolness. Beyond the jagged outline of the apartment houses the town lights glowed upon a thin mist that hung in the air. At the corner a street light pushed feebly against the darkness that closed around it; from the darkness beyond it the sound of laughter broke abruptly into the silence, lingered and died. The smell of smoke from trash burning in back yards was held by the mist; and as he walked slowly through the evening, breathing the fragrance and tasting upon his tongue the sharp night-time air, it seemed to him that the moment he walked in was enough and that he might not need a great deal more.

When my mother died I was a baby,' Cyrus finally said. 'And so I didn’t really know what I’d lost until I was much older. I mean, maybe I still don’t. But there was this one day when I was fifteen or sixteen when I decided I was really going to feel it. Like, I didn’t get to have a day to grieve my mother properly when it happened. So I made one up. I skipped school and just wandered around downtown Fort Wayne listening to my Walkman, weeping wherever I went, trying to picture her in my head. I kept ducking into these alleys and side streets bawling my eyes out, imagining all the days she’d never seen me. All the days I’d never see her. I got dehydrated from all the crying, I remember feeling super thirsty. I remember stopping into a gas station to buy a Gatorade, and the clerk there asking if I was okay, if I needed any help. That’s such a funny detail, I’d forgotten about that till just now. It tasted like trash, so sweet it burned. But I chugged it! I was so thirsty from crying. I felt it I think maybe for the first time then. All that grief consolidated, concentrated into a single hard point. Like a diamond. That one day.

Okay, try this, ma’am,” Januscheitis said, setting down a shot glass with a clear liquid in it. “What is this?” Faith said. She sniffed it and her nose wrinkled. “Seriously? A Marine has to drink?” “Not has to, ma’am,” Januscheitis said. “Just interested. And it’s chilled vodka. Try it.” Faith tossed back the drink as the assembled group watched with sneaky smiles. “Okay, that’s not bad,” Faith said, shrugging. “No reaction at all?” Paula said, looking shocked. “No coughing? No choking?” “Was there supposed to be one?” Faith asked. She picked up the bottle, poured another shot and tossed it back. “There, happy?” “Try this one… ” Sophia said, carefully, sliding across a shot of dark liquor. “Ick,” Faith said. “That’s not so good. What was it?” “Twenty-five-year-old Strathsclyde,” Sophia said. “Which is?” Faith asked. “Scotch, ma’am,” Januscheitis said. “Good scotch.” “Tastes like piss,” Faith said. “Not that I’ve ever drunk piss. Okay, what else you got?” Thirty minutes later there were a dozen bottles on the table and Faith had had at least one shot from each. “Okay, rum’s pretty good,” she said, smacking her lips. “Not as good as Razzleberry tea but not bad.” “She’s not even slightly drunk?” Derek slurred. He was, for sure. “Isn’t it supposed to be doing something by now?” Faith asked, taking another shot of 151. “I mean, I’d just finished seventh grade,” Faith said. “I’ve been to, like, two school dances! I’m never going to get to go to prom… ” She took another drink and frowned. “That sucks. That’s one of the reasons I hate fucking zombies. I’m never going to get to go to prom.” “Marine corps ball, ma’am,” Januscheitis said. He’d stopped drinking when the LT started to get shit-faced. Which had taken enough straight booze to drown a Force Recon platoon. “Way better than prom.” “Really?” Faith said. “Really,” Derek said. “Marine Corps ball is like prom for Marines.” “Christ, it’s coming up, isn’t it?” Januscheitis said. “Time’s sort of gotten to be one of those things you forget.” “We gonna have one?” Derek said. “Bet you,” Januscheitis said. “Gunny will insist. Probably use the Alpha or the Money.” “That’d be cool,” Derek said, grinning. “Use the Alpha. Marine Corps ball on a megayacht captured from zombies? I can dig that. Besides it’s more trashed out. You know how ball gets… ” “Semper fucking Fi,” Faith said. “I get to go to prom.” “We’ll make sure of it, ma’am,” Januscheitis said. “Great!” Faith slurred. “So why do I gotta puke?

No Mirrors in My Nana’s House” Sweet Honey in the Rock LYRICS BY YSAYE MARIA BARNWELL Sweet Honey in the Rock is a Grammy Award–winning vocal group of black women vocalists founded in 1973 by Bernice Johnson Reagon. The group’s members have changed during its long tenure, but it retains a core of five vocalists and a sign-language interpreter. Their performances are deeply embodied celebrations of black women’s lived experiences. The group’s name is derived from Psalm 81:16: “But you would be fed with the finest of wheat; with honey from the rock I would satisfy you.” Sign-language interpreter Dr. Ysaye Barnwell joined Sweet Honey in the Rock in 1979 and appears in more than thirty recordings with the group. She is the author of one of the group’s most popular recordings, “No Mirrors in My Nana’s House.” It is a stirring piece that reveals how the loving protection of black women can shield black girls from a painful world that seeks to negate their beauty and worth. In 1998 the lyrics became a children’s book published by Harcourt Brace. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I never knew that my skin was too black. I never knew that my nose was too flat. I never knew that my clothes didn’t fit. I never knew there were things that I’d missed, cause the beauty in everything was in her eyes (like the rising of the sun); . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I was intrigued by the cracks in the walls. I tasted, with joy, the dust that would fall. The noise in the hallway was music to me. The trash and the rubbish just cushioned my feet. And the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). The world outside was a magical place. I only knew love. I never knew hate, and the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun).

The Robot With Human Hair Pt2" Said it's the coming of man And I forget when you went away Like a kick to the face Not winning the race (Lion, I've seen you from afar) I've seen her in the car Knowing that you deserve such more Deserved to know you're free Leave, I'm the director Agree to the role of the pilot inspector Breathe, pilot inspector Feed off the role of the radar detector Leave, I'm the director Agree to the role of the pilot inspector Breathe, pilot inspector Feed off the role of the radar detector Well, then, you said you could do this on your own I'm sorry baby, I can't aid you (And then you say, hands down, right now, I'll let this go) You... Well, now it's up to god to save you Save you from all of those bruised, bruised and battered wounds (Wave right with a gun in his hand wave right) Can you taste this blood Dripping sweeter than...? And over your eyes And I, and I fall to both knees Not to beg for your forgiveness But to hate the word And you speak Take a right off these cliffs The ground is staring at your wounded weapons Wounded weapons (And I can't believe that you're right) You can bank the night on this its round And glaring at your well I get hyphy Tell 'em I get hyphy And this is where it ends Well, then, you said you could do this on your own I'm sorry baby, I can't aid you (And then you say, hands down, right now, I'll let this go) You... Well, now it's up to god to save you Save you, save you Save you, save you I can't believe these long words Come from many national absurd This is a line cut across Hope, defeat, the line, the loss I can never be this lone wolf You can never see me across this earth This will be a light that I run from You thought you were so strong You pleaded to never be wrong (Brace yourself, fasten belts) Well, now that you go (Close the hatch, flip the latch) I sit here and wonder (They're not dead, speed ahead) Times have changed It's like we've been trashing silos (Well, now that you go) In the time bomb aisle (I sit here and wonder) Maybe they'll dodge the spill Oil kills, sure it will And I can't breathe the air (Hide your daughter 'cause I'm coming over) To reach for this light (You know I'm not lying about) (Trashing silos in the time bomb aisle) And you can't breathe the air (About trashing silos in the time bomb aisle) Not leaving her to reach The line, the work, the rope, the love And I have seen such worse for you It's a no, I'm not coming back It's a no, I'm not coming back It's a no, I'm not coming back And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone And now you see the sky has turned black Why do think everyone has turned back? It's cause he's gone

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

The smell that hits me is almost overwhelming. Familiar and alien at the same time. Hellion food tastes like what a butcher shop throws in the trash and then a hobo sleeps on it for a couple of days.

In 1949, an Australian observer described this phenomenon best. Americans had a taste for what he called a "democracy of manners," which was not the same as a real democracy. He meant that voters accepted huge disparities in wealth but at the same time expected their elected leaders to "cultivate the appearance of being no different from the rest of us.

As for trust, at best all you can trust is that they are good kids who will inevitably roam into bad tech terrain. But unlike grown-ups, whose fully matured brain should be able to tell right from wrong, a joke from bullying, and tasteful content from trash, and should be able to exercise impulse control and mature judgment in how we use tech, our children are not there yet. They are still children. Our

33. Keep Good Company Ever heard the phrase that you can judge a man - and a woman - by the company he keeps? I’ve already talked about steering clear of the dream-stealers, but there are other people that most of us have in our lives who do us no favours whatsoever. If you’ve got a friend who’s always putting you down, or always telling you that your ideas are naff, or who takes the mick out of your taste in clothes, music or books, then I bet you go home after seeing that friend feeling less good about yourself. We’ve all had friends who turn up, open their mouths and spew out a torrent of negative junk about their lives. Now, if someone came round to your home and emptied an actual bag of trash all over your sitting room, you’d go crazy - and you’d be unlikely to invite them round again. Well, we should do the same to those who dump their junk on us mentally. Just because you can’t see their negative verbal junk, it doesn’t mean it isn’t cluttering your life, and polluting your dreams and attitude. Don’t hang out with people like that. If, on the other hand, you have a friend who laughs along at your same old jokes, encourages you to try new things and makes you feel good about yourself, then that’s the person to spend time with. That’s the positive junk! The good stuff. The less you see of your toxic friends and the more you see of your enthusiastic friends, the better you will feel about yourself, and the better you will become. We are such social creatures that we all tend to become like the people we hang out with. It is human nature. So spend your days in the company of people who build you up and who see your mountain as achievable.

What Morrison’s remark underscores is the blurring of boundaries between black and white that white trash represents. Clinton’s perceived blackness comes from being white trash: white-skinned and poor, with crude culinary tastes, and raised in a defective family in the South.

I tap the link, and it opens up a bright, cheery, robin's-egg blue web page. P&P Bake, it's called. It's clearly one of those WordPress blogs converted into a website, but that doesn't make it any less captivating--- the pictures on the posts are so vivid, I can practically taste them through the screen. I scroll down, glancing at the dessert names, lingering on the pictures. The most recent is Tailgate Trash Twinkies, which are apparently a homemade cake roll infused with PBR; I scroll down and see A-Plus Angel Cake, and Butter Luck Next Time Butter Cookies, and then--- And then, on Halloween, there's an entry for Monster Cake. My breath stops before it can leave my chest, my entire body stiffening on the couch like a corpse. There's no mistaking it. I may have a bad habit of eating Pepper's baked goods so fast, it threatens the time-space continuum, but the bright colors and gooey mess of that cake are so distinct in my mind and in my taste buds, I could see it in another life and immediately identify it. Yet my brain still refuses to process it, and I'm still scrolling as if I'll blink and it will disappear, a vivid, sleep-deprived teenage hallucination. But the further I scroll the worse it gets. The So Sorry Blondies. The Pop Quiz Cake Pops she and Pooja were eating the other day. A few things I've never heard of before, with irreverent, silly names, some of which must be Paige's, but others that are so distinctly Pepper it stings to read.

He straightened and crossed his arms. He wanted her to forget: forget about her family and what she’d left behind. He wanted her sass, not her sorrow. And he wasn’t above baiting her to get it. He fixed a stern expression on his face and jutted a chin at the car. “Get busy, little girl. As much as I’d love to clean out this garbage pit of a car, I don’t have a Dumpster available. Trash bags alone won’t get the job done.” She shot up, planting her hands on her hips. “What did you say?” Yes, there it was: the fire she hid under those layers of Catholic guilt. He cocked a brow. “What’s your objection? That I called you little girl, or messy?” She threw her shoulders back, thrusting out breasts that were almost lost in Gracie’s too-big T-shirt. “Both!” “I call it like I see it.” He shrugged a shoulder. “What are you going to do about it?” Her mouth fell open, and her eyes flashed all sorts of interesting variations of green. She stepped forward and poked him in the center of his chest. “You . . . you . . . ,” she sputtered. He leaned in close, sucking in the scent of lavender, breathing in her hint of wildness. Jesus, he wanted her. He needed every ounce of control to not take her mouth in a hard, brutal fuck-you-where-you-stand kiss. Instead he whispered, “You what?” With another hard jab of her sharp, white-tipped nail, she stomped a foot, temper riled. “You, you jerk!” “Come on, you can do better than that, can’t you?” He paused, waiting one delicious beat that made her lean in closer. “Little girl?” “You arrogant, egotistical . . .” With a strangled scream, she hauled back and punched him in the chest, hard enough that some of the air in his lungs whooshed out. Before she could strike again, he snagged her wrist, caught her around the waist with his free hand, and pulled her close. Her cheeks were flushed a pretty pink. Body rigid, she met his gaze with fiery defiance. He searched her face and found what he was looking for under her righteous, indignant temper: excitement. Hunger. He tightened his hold, pressing along her spine to force her the last couple of inches she needed to be flush against him. He needed one taste of that mouth. But before he could give in to the impulse that was riding him hard, a police cruiser pulled into the parking lot and flashed its lights. “Ah, fuck.” He dropped his hold. Impeccable timing.

taught him how to test the trash can food first—how to hold it in his mouth, what to taste for, to know it was OK to eat, before swallowing.

Wipe Out The I (The Sonnet) Once a person gives up all for others, They'll achieve everything worth achieving. The art of self-discovery is in self-annihilation, Whereas self-obsession only causes suffering. Once a person is insane with the sacrificial spirit, They'll know the meaning of civilized sanity. Once a person feels the joy of selflessness, All worldly pleasures will turn into foul vanity. Once a person hones the power of simplicity, They'll trash all trace of pomposity from life. Once a person senses the valor of humility, They'll discard all arrogant divide. Life is simple, but we mess it up with selfishness. Wipe out the I, and you will taste its sweetness.

Jeffrey ran to his car parked outside Mr Roslan's block, not wanting to lose sight of the young man and remembering Faizal's number plate. He found the black Nissan and pursued it from two or three cars away. It had started to drizzle and he almost lost him a few times along the Bukit Timah and Kranji Expressways, but kept a close eye on the back of Faizal's car. For twenty minutes they drove like an invisible convoy, before Faizal turned off the highway into the Lim Chu Kang area. Keeping his distance, Jeffrey saw Faizal stop his car by the main gate of Pusara Abadi, the Muslim cemetery ground. Jeffrey swerved to the side and waited until he saw Faizal getting out of the car empty-handed and entering the cemetery. Then, getting out of his car he pried open the Nissan's boot with an Allan key that he always carried in his pocket. Inside was a black trash bag and a long machete, well-worn and used, crusted along its edges with a dark stain. It was soil, not blood, as he lifted his finger to taste it. Jeffrey put the machete back, closed the boot and went closer into the burial grounds, the long weeds brushing the sides of his trousers. Faizal stood in a far corner of the cemetery. Jeffrey stopped, crouched behind a large tombstone and watched. A darker, smaller man appeared next to Faizal. They talked for a few minutes; several crumpled dollar notes were exchanged. Faizal patted the man's back. The man departed. Then Faizal walked back to his car. Jeffrey continued to watch. Faizal returned with the machete. Taking his time, he hacked away at the overgrown scrub around a blue minaret tombstone. Slow and lethargic like a landscape gardenener, he pulled up the weeds and threw them into a pile at the side. Jeffrey waited until Faizal cleared the vegetation and left the grounds, before inching forward. On the minaret tombstone, he saw the engraved name, 'Rubianah binte Bakar' - she had died eight years ago.

She wondered where Oida was, and what he was doing. Somehow, things would be different if he was there; he’d have books, and nice things to eat, and a comfortable coach to ride in and take them somewhere with a roof and clean sheets and a warm fire. Suddenly she saw him as a man in armour, impervious to spears and arrows inside his cap-a-pie of money, charm, success and taste. The whole world could come crashing down, but he’d still have brought her something to read, and figs preserved in honey. It was then that she understood. It was just a matter of semantics, that was all. Like someone who’s learning a foreign language, she’d failed to grasp the true meaning of love. All this time, she’d thought it meant something else, to do with fire in the blood and skin tingling at a certain touch, when really it was all about completely different things—food, shelter, comfort, money, a defensible space, something that would still be there in the morning. Stupid, she thought. It takes a valley full of dead bodies and a burned-out inn and her mother’s grave and a night with Axio and Senza Belot trashing and torching everything in his path to reveal the true definition of an everyday word. Simpler to have bought a dictionary.

But unlike grown-ups, whose fully matured brain should be able to tell right from wrong, a joke from bullying, and tasteful content from trash, and should be able to exercise impulse control and mature judgment in how we use tech, our children are not there yet. They are still children.

But I do feel like I’ve seen tiles like this in other places.” “You have,” says Bronca, grinning, “because back before people with no taste started replacing every beautiful thing in this city with cheap bullshit, it was one of the most distinctive architectural forms in the world—an art movement that was centered in New York. They’re called Guastavino tiles. Obsolete now, but back in the day they were designed to be fireproof and self-stabilizing. Perfect for a city that’s half-underground and full of flammable trash.” She taps the ceiling in the photo. “There’s only a few examples of this left in the city. So…