Twisted Series Quotes

I am alone this evening, and I am alone because of a cruel twist of fate, a phrase which here means that nothing has happened the way I thought it would. Once I was a content man, with a comfortable home, a successful career, a person I loved very much, and an extremely reliable typewriter, but all of those things have been taken away from me, and now the only trace I have of those happy days is the tattoo on my left ankle. As I sit in this very tiny room, printing these words with a very large pencil, I feel as if my whole life has been nothing but a dismal play, presented just for someone else’s amusement, and that the playwright who invented my cruel twist of fate is somewhere far above me, laughing and laughing at his creation.

I have come to understand that life is composed of a series of coincidences. How we react to these - how we exercise what some refer to as free will - is everything; the choices we make within the boundaries of the twists of fate determine who we are.

When I put my hands on your body on your flesh I feel the history of that body. Not just the beginning of its forming in that distant lake but all the way beyond its ending. I feel the warmth and texture and simultaneously I see the flesh unwrap from the layers of fat and disappear. I see the fat disappear from the muscle. I see the muscle disappearing from around the organs and detaching iself from the bones. I see the organs gradually fade into transparency leaving a gleaming skeleton gleaming like ivory that slowly resolves until it becomes dust. I am consumed in the sense of your weight, the way your flesh occupies momentary space the fullness of it beneath my palms. I am amazed at how perfectly your body fits to the curves of my hands. If I could attach our blood vessels so we could become each other I would. If I could attach our blood vessels in order to anchor you to the earth to this present time I would. If I could open up your body and slip inside your skin and look out your eyes and forever have my lips fused with yours I would. It makes me weep to feel the history of your flesh beneath my hands in a time of so much loss. It makes me weep to feel the movement of your flesh beneath my palms as you twist and turn over to one side to create a series of gestures to reach up around my neck to draw me nearer. All these memories will be lost in time like tears in the rain.

...life is composed of a series of coincidences. How we react to these - how we exercise what some refer to as free will - is everything; the choices we make within the boundaries of the twists of fate determine who we are.

Among Violet's many useful skills was a vast knowledge of different types of knots. The particular knot she was using was called the Devil's Tongue. A group of female Finnish pirates invented it back in the fifteenth century, and named it the Devil's Tongue because it twisted this way and that, in the most complicated and eerie way.

People don't know that they do that to people when they do the things they shouldn't. Hurtful things are roots,they spread ,branch out, creep under the surface touching other parts of the lives of those they hurt. It's never one mistake, it's never one moment, it becomes a series of moments, each moment growing roots and spurting in different directions. And over time, they become muddled like an old twisted tree, strangling itself and tying itself up in knots.

But I have realized recently that words are just words, a series of letters, arranged in a certain order, most likely in the language we were assigned at birth. People are careless with their words nowadays. They throw them away in a text or a tweet, they write them, pretend to read them, twist them, misquote them, lie with, without, and about them. They steal them, then they give them away. Worst of all, they forget them. Words are only a value if we remember how to feel what they mean.

Life is full of ups and downs, twists and turns, love and loss. And life would not be worth experiencing if it weren't just that. You can't have the good without the bad, you need to somehow learn to accept the bad and adjust it in a way that you can endure and overcome. -Alexis Summers in Fulfillment (Book 3 in The Temptation series)

It is often said that if you have a room with a view, you will feel peaceful and relaxed, but if the room is a caravan hurtling down a steep and twisted road, and the view is an eerie mountain range racing backward away from you, while chilly mountain winds sting your face and toss dust into your eyes, then you will not feel one bit of peace and relaxation.

Rivers course through my dreams, rivers cold and fast, rivers well-known and rivers nameless, rivers that seem like ribbons of blue water twisting through wide valleys, narrow rivers folded in layers of darkening shadow, rivers that have eroded down deep in a mountain's belly, sculpted the land, peeled back the planet's history exposing he texture of time itself.

If you let lesser people determine your self-worth, you'll never reach higher than limited imagination. He leaned forward, expression intense. You don't have to work overtime to get people to love you, Ava. Love isn't earned, it's given.

He'd told her she was his. That he was jealous and he wasn't sharing her. Where the hell had that come from? He didn't know, but as she leaned forward and pressed her mouth to his abdomen, he knew he'd spoken the truth. He was jealous. Completely and utterly, and it twisted him up inside to realize it.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

But to deny fate is arrogance, to declare that we are the sole shapers of our existence is madness;if you deny fate life becomes the series of missed opportunities, a regret for what never was and could have been, a remorse of what was not done and could have been done, and the present is wasted, twisted into another missed oppurtunity.

I’ll still love you. You will always be my first, last, and only love.

She did something to his insides, twisted and melted them until he sometimes felt he couldn't think straight.

I had started to wonder if maybe my life wouldn't always hold so much pain if I could just find the courage to let it go.

The woman turns away; one wing blackens like an onyx gem while the other glows white like a bright spotlight. She flies into the sky, leaving the crowd staring in astonishment. Angels fly away in two directions. Half make a black storm of moving, twisting shapes. The other half forms a white-as-snow moving cloud. The ranks are divided.

While dragging herself up she had to hang onto the rail. Her twisted progress was that of a cripple. Once on the open deck she felt the solid impact of the black night, and the mobility of the accidental home she was about to leave. Although Lucette had never died before—no, dived before, Violet—from such a height, in such a disorder of shadows and snaking reflections, she went with hardly a splash through the wave that humped to welcome her. That perfect end was spoiled by her instinctively surfacing in an immediate sweep — instead of surrendering under water to her drugged lassitude as she had planned to do on her last night ashore if it ever did come to this. The silly girl had not rehearsed the technique of suicide as, say, free-fall parachutists do every day in the element of another chapter. Owing to the tumultuous swell and her not being sure which way to peer through the spray and the darkness and her own tentaclinging hair—t,a,c,l—she could not make out the lights of the liner, an easily imagined many-eyed bulk mightily receding in heartless triumph. Now I’ve lost my next note. Got it. The sky was also heartless and dark, and her body, her head,and particularly those damned thirsty trousers, felt clogged with Oceanus Nox, n,o,x. At every slap and splash of cold wild salt, she heaved with anise-flavored nausea and there was an increasing number, okay, or numbness, in her neck and arms. As she began losing track of herself, she thought it proper to inform a series of receding Lucettes—telling them to pass it on and on in a trick-crystal regression—that what death amounted to was only a more complete assortment of the infinite fractions of solitude. She did not see her whole life flash before her as we all were afraid she might have done; the red rubber of a favorite doll remained safely decomposed among the myosotes of an un-analyzable brook; but she did see a few odds and ends as she swam like a dilettante Tobakoff in a circle of brief panic and merciful torpor. She saw a pair of new vairfurred bedroom slippers, which Brigitte had forgotten to pack; she saw Van wiping his mouth before answering, and then, still withholding the answer, throwing his napkin on the table as they both got up; and she saw a girl with long black hair quickly bend in passing to clap her hands over a dackel in a half-tom wreath. A brilliantly illumined motorboat was launched from the not-too-distant ship with Van and the swimming coach and the oilskin-hooded Toby among the would-be saviors; but by that time a lot of sea had rolled by and Lucette was too tired to wait. Then the night was filled with the rattle of an old but still strong helicopter. Its diligent beam could spot only the dark head of Van, who, having been propelled out of the boat when it shied from its own sudden shadow, kept bobbing and bawling the drowned girl’s name in the black, foam-veined, complicated waters.

Are you in need of assistance?" The man's fierce, disturbing appearance should have caused her to run in the opposite direction as fast as possible, but she felt an unexplainable urge to help him. "My name is Gillian Adair. My father is a doctor. You look as though you might need his help." The man watched her; an expression of total confusion twisted his face. “Are ye my angel, then? Have ye come to take me from this hell?

Our Master can see it all. If you drive down a long curvy road, you don’t see the twists and turns until you are on top of them. But when you see things from a much higher perspective, you can see the whole road and the twists and the turns and the beginning and the end. In Heaven we can see where you are in relation to where you’re going and we can make things happen along the way at the intersections of life. We can create the right time and the right place and we can already see how it all ends. We can see the whole story of your life while you are living it in little bits and pieces.

It may be an olive branch that was still attached to a tree. A twisted tree which rotted from the inside out.

do me any good going to

When everything was lost, they came for me. I found my family, I found a new home. Pladeris – the city of wind.

Life was a game, and you never knew when the tides reversed, when the coin of fate changed its course, declared its contrary and life-altering outlooks.

is a series of minutes, gathered into hours, twisted into days, braided into months, and coiled into years. Never

Men tell women they have high standards when they can’t meet them. Your standards are exactly as they should be. He’s just not good enough for you.

Seth twisted up his mouth and somewhat sarcastically waved his hand toward the couch and said, “Won’t you please sit down, Madam Queen?” “Thank you,” Tate said primly.

SOPHIE WASN’T SURE HOW LONG she sat there staring blankly at her empty doorway. Could’ve been minutes. Could’ve been hours. It didn’t matter. No amount of time was going to quiet the chaos in her head. All it did was raise a whole lot of terrifying questions. Because even if Ro was right about Keefe’s feelings—and Sophie decided she wanted to see what would happen—this was so much bigger than just the two of them. Like… What would Grady and Edaline think? Sophie still didn’t know if she was actually allowed to date—much less date That Boy. And even if she was, there would surely be all kinds of annoying new rules and restrictions to deal with. Plus, Edaline would probably follow them around with a sappy, embarrassing smile, and Grady would make them sit through a series of horrifying Dad Talks. And what would her friends say when they found out? There’d been a time when Sophie had wondered if Biana had a crush on Keefe—and even though it seemed like Biana had gotten over it… what if she hadn’t? Better question: How would Fitz react? Keefe was Fitz’s best friend—and Fitz’s temper could be… challenging. The possibilities for drama were endless. Sophie’s insides twisted into knots on top of knots as she imagined the awkward conversations. And the stares. And the gossip. There would be So. Much. Gossip. She wanted to hide just thinking about it—and Keefe would probably love the attention. Did that prove they weren’t compatible? Or was she just looking for an excuse because she was scared? And why was she so scared? Keefe would honestly be… … … …a really awesome boyfriend. He was thoughtful. And supportive. And he could be incredibly sweet—when he was actually being serious instead of joking around with everybody. Though… maybe some of his jokes with her hadn’t just been teasing. Had some of it also been… flirting? If Ro were still there, she probably would’ve been nodding and shouting about the Great Foster Oblivion. And maybe she was right. Maybe Sophie had been too insecure to let herself see what was right in front of her. Or too distracted by her crush on Fitz. The last thought made her inner knots twist so much tighter. She’d liked Fitz for so long that she’d never even thought about liking someone else—and she was still trying to get over all of that. But… Did she want to risk missing out on something that might be… really great? Keefe’s face filled her mind, flashing his trademark smirk.

So we, in thoughtless play, twist the first gleaming and silky threads of the fatal cord which will cling about our necks, fastened beyond hope of release, as long as our lives shall last!

I wish you had been my father,” she said. If Hunyadi were her father, everything would be easier. She would jump at the chance to crusade with him, to fight at his side. If Hunyadi were her father, she would never have known Mehmed, never had her loyalties twisted and tugged into strange new shapes. And her heart would not have to constantly shield itself from the part that missed Mehmed so desperately. Hunyadi would have protected Radu, too. And Radu would have appreciated him in a way Matthias was incapable of. Hunyadi patted her arm with his heavy hand. “Do not wish away what you are. If you were my daughter, I would have extinguished your fire long ago. I would have given you the best tutors and the finest clothes and made you into a pretty doll to be traded away in marriage. I did the same with my son; I made him into someone I do not know, and it fills me with both pride and sadness. That is the best we can do for our children—turn them into strangers with better hopes than we ever had. Your father was a fool and a coward, but his choices shaped you into the fearsome creature you are. I do not want to imagine a world in which you are not you.

Once I was a content man, with a comfortable home, a successful career, a person I loved very much, and an extremely reliable typewriter, but all of those things have been taken away from me, and now the only trace I have of those happy days is the tattoo on my left ankle. As I sit in this very tiny room, printing these words with this very large pencil, I feel as if my whole life has been nothing but a dismal play, presented just for someone else’s amusement, and that the playwright who invented my cruel twist of fate is somewhere far above me, laughing and laughing at his creation.

If it makes you feel better to continue to deny it to yourself, so be it. I will not take an unwilling woman. But you cannot deny it from me, angel. I have seen you look my way many a time with passion in your eyes.

And like an epiphany just landed on my shoulder, everything feels right. A calming acceptance settles over me, and I know, that even through the twists and uncertainty of time, it's okay if my heart sometimes leads me.

But Wilson was ahead of the curve. Long before the first octopus-enrichment handbook was published, many octopuses ago, he set out to create a safe toy worthy of an octopus’s intellect. Working at his lab at Arthur D. Little Corp., Wilson devised a series of three clear Plexiglas cubes with different locks. The smallest of the three has a sliding latch that twists to lock down, like the bolt on a horse’s stall. You can put a live crab—a favorite food—inside and leave the lid unlocked. The octopus will lift the lid. When you lock the lid, invariably the octopus will figure out how to open it. Then it’s time to deploy the second cube. This one has a latch that slides counterclockwise to catch on a bracket. You put the crab in the first box and then lock it inside the second box. The octopus will figure it out. And finally, there’s a third cube. This one has two different latches: a bolt that slides into position to lock down, and a second one with a lever arm, sealing the lid much like an old-fashioned canning jar closes. Bill told me that once the octopus “gets it,” the animal can open all four locks in three or four minutes.

This is apparently a little promotional ¶ where we’re supposed to explain “how and why we came to” the subject of our GD series book (the stuff in quotations is the editor’s words). The overall idea is to humanize the series and make the books and their subjects seem warmer and more accessible. So that people will be more apt to buy the books. I’m pretty sure this is how it works. The obvious objection to such promotional ¶s is that, if the books are any good at all, then the writers’ interest and investment in their subjects will be so resoundingly obvious in the texts themselves that these little pseudo-intimate Why I Cared Enough About Transfinite Math and Where It Came From to Spend a Year Writing a Book About It blurblets are unnecessary; whereas, if the books aren’t any good, it’s hard to see how my telling somebody that as a child I used to cook up what amounted to simplistic versions of Zeno’s Dichotomy and ruminate on them until I literally made myself sick, or that I once almost flunked a basic calc course and have seethed with dislike for conventional higher-math education ever since, or that the ontology and grammar of abstractions have always struck me as one of the most breathtaking problems in human consciousness—how any such stuff will help. The logic of this objection seems airtight to me. In fact, the only way the objection doesn’t apply is if these ¶s are really nothing more than disguised ad copy, in which case I don’t see why anyone reading them should even necessarily believe that the books’ authors actually wrote them—I mean, maybe somebody in the ad-copy department wrote them and all we did was sort of sign off on them. There’d be a kind of twisted integrity about that, though—at least no one would be pretending to pretend.

Some of the things in the Bible take more study to understand than others, and people who haven't studied their Bibles (the unlearned and the unstable) wrest the Bible. They literally twist the scriptures and the end will be their own eternal destruction.

He pressed his forearms flat against the wall, caging me with his body. Electric heat sparked in the space between us. He pulled back. His irises swirled with silver flecks, twisting into a metallic pool. His Wolf stared down at me. "I don't want anyone touching you, except me.

Sunken yellow lurched in a mindfield of black twisted cylinders, falling like poisoned honey across my vision. It cleared, and became a series of flashing images, jagged edges of memories, each more beautiful and terrible than the last, playing across the screen of blackened cement.

Lies smoothed the way so we could go on pretending. They were the lube of life, and we all got a little messy in the process. But the darkest lies were the ones you told yourself. They lurked in the shadows of your subconscious, undermining you and twisting your perceptions. They hid the answers in plain sight, right when you needed them most.

There is a cause for every effect, AA, but not all causes are responsible for all effects. To trace all causes and all effects is to end up in a twisted web with no end. No single person can make decisions independently; every choice is the result of changes and inputs from everyone else. Viewed from a higher vantage point, Cheng Xin was chosen by all of humanity to be the Swordholder, and her choice was humanity’s choice, her values humanity’s values. Viewed from specifics, Cheng Xin made her choice because you woke her; you woke her because of me; I was sent into space by Cheng Xin; Cheng Xin went into hibernation because of me … and the one who started it all was Wade, who wanted to kill Cheng Xin. It’s a tangled mess.

Okay, someone’s been smoking the wacky tobacky. And keep your hands to yourself!” She smacked at his roving fingers, fighting the shivers following his touch. "I agreed to let you accompany me because, well...maybe you're right. We should try and put the animosity between our families-stop that!" She gripped his fingers and tried to twist them, but he easily pulled out of her grip. Alessandro laughed. “Darling, I haven’t laughed in ages like I do when I’m with you. I propose a clean slate, eh?” He sighed and sat back against the seat. “Brianna. I’m not going to give up until you are mine. You could make this so much easier if you just accept the inevitable.” He lifted his hand to cup the side of her face. “We belong to each other, and you know it.

And what kind of sick and twisted impulse would cause a professional sportswriter to deliver a sermon from the Book of Revelations off his hotel balcony on the dawn of Super Sunday? I had not planned a sermon for that morning. I had not even planned to be in Houston, for that matter… . But now, looking back on that outburst, I see a certain inevitability about it. Probably it was a crazed and futile effort to somehow explain the extremely twisted nature of my relationship with God, Nixon and the National Football League: The three had long since become inseparable in my mind, a sort of unholy trinity that had caused me more trouble and personal anguish in the past few months than Ron Ziegler, Hubert Humphrey and Peter Sheridan all together had caused me in a year on the campaign trail.

There, conspicuous in the light of the conflagration, lay the dead body of a woman—the white face turned upward, the hands thrown out and clutched full of grass, the clothing deranged, the long dark hair in tangles and full of clotted blood. The greater part of the forehead was torn away, and from the jagged hole the brain protruded, overflowing the temple, a frothy mass of gray, crowned with clusters of crimson bubbles—the work of a shell. The child moved his little hands, making wild, uncertain gestures. He uttered a series of inarticulate and indescribable cries—something between the chattering of an ape and the gobbling of a turkey—a startling, soulless, unholy sound, the language of a devil. The child was a deaf mute. Then he stood motionless, with quivering lips, looking down upon the wreck.

Come on, Caulder, come on, baby!" By now she jumped up and down like the kids in the stands. Five, four, three... She grabbed her other camera. The buzzer rang and Caulder's body lingered against the side of the bull. He was hung up and he tried to get his hand free. The bull still bucked and twisted, jumped and dropped. Velia grabbed her video camera. If she missed a shot like this, she'd probably be fired by the man himself.

That day, Cyrus had learned cowardice was a luxury. Only the priviledged few could afford to run away, to lock their doors and close their eyes to ugliness. The rest lived in homes without doors to lock, looked through eyes without lids to shut. They confronted the dark even as their hearts trembled, as their souls shook--for even strangled by fear, there was no choice but to endure. No one would be along to slay their demons.

The CN paints a false reality and says things about you that aren’t true, but you question yourself, wondering if they are right because they sound so confident and act like they know more than you, and you feel like you can’t think straight. They twist your words and confuse you with strange thinking. This leaves you questioning and doubting yourself constantly. You feel weak, confused, and fearful about your future. You feel alone.

The soft cream lace of her floaty dress fell to just mid-thigh and long bell sleeves grazed the backs of her hands, creating the picture of elegance. Her long blonde hair was half twisted up, half falling in gently curled tendrils over her shoulders and down her back to add to the effect, while the matte black platform heels and smoky eyes toughened it up. It was just a shame the mascara streaks on her cheeks completely ruined it all.

The edge of something mostly buried in the sand caught the sun, and I bent to pick up a pearl nautilus. Simple and uncomplicatedly lovely, a pearl nautilus whispered its beauty. It wasn’t showy like a cameo or frog shell, with their twists and nubs and variations. It never competed for attention, but it held and reflected a prism of light that perfectly complimented its surroundings. Someone else may have overlooked a pearl nautilus, but I preferred it. - Nicole Abbot (Whisper of Light)

Leviticus was a series of rules for a nomadic desert-dwelling culture, where it was sensible not to eat bacteria-enhanced shellfish or terrine of unclean creeping things, where you needed to isolate people who might have leprosy, granted. But consider: if you wish to condemn yourself to hell for Leviticus 18:22, then you need to carry out all the rest of the laws—stoning blasphemers, buying foreign slaves, killing witches, making burnt offerings, and slaying those who twist thread of two types, which

You're probably thinking the same thing we were: where did Jane get the rope to tie the prisoners? We researched this very conundrum thoroughly, and after two weeks we can say, without a doubt : nobody knows. It's a question that has baffled historians and archaeologists alike. Professor Herbert Halprin explains: "Ropes have been a mystery to scholars throughout the ages. The first ropes were thought to appear as far back as 17,000 BC and made of vines. Unfortunately, being made of vines, none of those early examples survived. Later, da Vinci drew sketches for a rope-making machine, but it was never built. In medieval times, there were secret societies, called Rope Guilds, whose rope-twisting practices were protected via a complicated series of handshakes and passwords -" Okay. Your narrators are interrupting the dear professor, for reasons of boredom. Plus, his English accent sounded sketchy and forced. We asked him where Jane could've gotten the rope, but maybe he thought we asked him where anyone could've gotten any rope at any given point in history. Trust us, we are as frustrated as you must be about the lack of a definitive answer.

Don’t you routinely push yourself into absurd plot twists? Aren’t you often lured into someone else’s drama? It’s hard to resist getting hooked. You believe the premise of their story, whatever it is, and sign on to the madness. It happens. Kids use their amazing imaginations for fun. For them, it’s great to be in an imagined world and to believe in it completely. In the company of other excited kids, they can take a thrilling ride. But staying too long in a fantasy is exhausting, even for a child. After an afternoon of pretending, children are relieved to be called home for supper and to collapse into a warm bed. We adults, too, need to be called home to ourselves. Young or old, no one wants to be locked in a tower forever, however magical it might have seemed at first. I’m asking you to notice where you put your faith, and make changes when you need to. Common sense says to put your faith in you. Don’t lie to yourself for the sake of an idyllic notion. It’s not enough to admit to the fantasy, you need to wake yourself up. See where a bad story is taking you, and alter your course. Say no to the drama. Win the war over fear. Protect yourself from your own abuses, no one can do it for you.

All this time you’ve spoken to it, looked into your soul, and spied that darkness lurking and twisting through the fabric of all that you are. You fed it nothing but your hatred, your anger and guilt, shame, regret, and yes, your loneliness. It grew fat on all the things you wanted to be rid of. You did not suspect? Did the Tallis never consider the darkness within was looking back? Learning? And growing strong, ever stronger. Stupid, foolish girl. The Tallis never knew! Ignoring it all, stuffing all the bad and ugly things down, down, down doesn’t get rid of them. What you choose to feed your divine spark is what it turns into!

I wanted to kiss you. I can't explain why. I have no excuses. At any rate, don't worry. It was clearly a mistake, and I promise it won't happen agai-" Again. He kissed her again. Or rather, he kissed her for the first time- and he was so much better at it than she. This kiss could not be mistaken for an accidental collision mouths. Oh, no. He kissed with purpose. His lips had ideas. His tongue had plans. She closed her eyes and melted against him, flattening her hands on his muscled arms. He brushed his lips to hers in a series of chaste, yet masterful kisses. He swept a hand up her spine and into her hair, where he twisted and gathered the tangled locks in his fist. Then he tugged sharply, tipping her face to his and sending electric sensation over her every nerve. When her mouth fell open in a gasp, he reclaimed her lips, sweeping his tongue between them. Her first instinct was to shy away, but Penny fought against it. She reached higher, lacing her arms about his neck and holding tight. His tongue stroked hers, slow and insistent. He tasted of soot and salt and... and of apples, strangely. Tart, smoky, just a hint of sweet. A lush, decadent pleasure unwound within her, snaking through her veins- as though it had lain coiled in anticipation for years. Waiting on this moment. Waiting on this man.

We are only as beautiful as we allow ourselves to be, our outsides and insides can sparkle just the same. We are allowed to destroy and empower, embrace and ignore. We can allow ourselves to twist a sour moment or word and make it sweet. We can allow ourselves to laugh at our mistakes because we are bound to make them...and learn from them. We are allowed to speak or be silent, feel passion or none. We are allowed to make choices from deep inside ourselves leaving others to question, leaving others to wonder. Life is but a series of allowances, events all wrapped into ones perspective. We are responsible for allowing what's coming to come and embrace it however we allow ourselves to.

Instead of continuing on the highway to the gravel road that led to his house, Marlboro Man took an alternate route. “I’ve got to turn some cattle out of the horse trap,” he said. I didn’t even know what that meant, but I was game. He drove through a series of twisted, confusing roads--roads I could never imagine understanding or negotiating myself--and stopped at a pasture full of black cattle. Swinging open a couple of gates, he made a few gestures with his arms--and in no time at all, the cattle had gone where they were supposed to go. This man had a way of getting creatures of all kinds--whether it be bovine animals or redheaded women in their midtwenties--to bend to his influence.

Terry Jones' Barbarians is about all those peoples whom the Romans wrote off as uncivilized, but it's also a chance to take a look at the Romans themselves from an alternative point of view – from the point of view of the people they trashed. And as such it fits into a thesis we've been banging on about in Terry Jones' Medieval Lives and in Terry's radio series The Anti-Renaissance Show. That thesis is that we've all been sold a false history of Rome that has twisted our entire understanding of our own history – glorifying (and glossing over) a long era of ruthless imperial power, celebrating it for the benefit of Renaissance tyrants and more modern empires, and wildly distorting our view of the so-called 'Middle Ages

Bree crossed her arms over her protruding belly. “I’m fine. No one has shot at me in the last twenty four hours, and my family is talking to me again. Things are looking up.” He grimaced at the mention of her family. “How fortunate for you.” Bree narrowed her eyes at him, picking up on the derogatory tone. “Well, you should know all about the importance of family. You’d do anything for yours, right? Bernardo says jump, you ask ‘how high?’ “ Alessandro felt a sick twist of guilt in his chest, “Well, congratulations, Brianna. You’ve worked very hard for the title of O’Reiley doormat. I hope it’s all you’ve ever wanted. I hope you’re happy.” “Blissfully,” Bree shot back and turned on her heel, leaving him there filled with anger and regret.

We got up, still talking, and began to dance again. “I want to try something,” he said. “Okay, what?” “Twist your arms behind your back.” “Hmm, okay … Like this?” “Yes. And now I’ll hold you like that.” I licked my lips and gave him the look, and I said, “Okay.” “If you want me to stop, tell me.” “Okay. I’ll bite you if I don’t like it. If I’m okay, you get a kiss.” He smiled and clasped my wrists tight, pinioning my arms behind my back. The pressure twisted my shoulders back, just a bit, and thrust my breasts forward. We moved, and I felt my breasts pressing through the silk T-shirt against his chest. I kissed him. “I like it,” I said. “I like it when you hold me, when you have me … in your power.” He kissed me. It was a rapid, sudden, ravishing kiss. He let go of my wrists, and I flung my arms around him. We twirled around. He lifted me up. We plunged back down onto the divan. I was astraddle him, on my knees, looking down on him, breathless. “Lift it off,” he said. “You lift it off,” I said. I bowed, and he pulled the silk T-shirt over my head, leaving it halfway off for just a minute, and masking my face. He kissed me on the forehead through the silk. His lips pressed on my lips, and I hungrily tried to kiss, but I was a prisoner of the silk, and then, slowly, he pulled the T-shirt off my head, and my lips were free, and our lips met, and we kissed, a deep, free warm, liquid kiss. I was melting into him. His hands went up and down my back, sweeping, exploring, pressing, and caressing. He kissed my breasts, slowly, licking and biting each nipple.

Depression, that is,” I continue. “People who’ve never experienced it think it’s a mask, but it’s not. It’s a curtain. And when it falls, it shuts you off from your life, plunging you into complete darkness. There you stand, arms flailing around you, reaching for anything to find your way back. But after exhausting yourself, grasping at only more darkness, you give up and drop to the floor in resignation. “And so you sit. You and the blackness. You and the accusations. You and the self-hatred, the lies that become truth, the failure and pain and hopelessness and black thoughts that twist through you, impaling you to the floor. There you bleed, alone in your black hole, convinced the audience on the other side of the curtain has given up and gone home. The show is over. “Before you know it, you realize the curtain has turned into a cement wall, and you couldn’t escape the darkness even if you wanted to, but by now you don’t care anymore. What’s the point? There’s nothing waiting for you on the other side, and even if there was, you’re such a useless waste of space that you wouldn’t dare to contaminate the world outside with your cancer anyway.” I stop, my eyes burning, my voice heavy in my throat. “You feel like crying all the time but you rarely do. Depression isn’t sadness; it’s numbness. You don’t have the energy for sadness. You can’t sleep. You don’t eat. You have no desire for the things you used to love, but it doesn’t matter because you can’t love anyway. You feel nothing, just a dull, heavy ache that makes it hard to breathe sometimes, let alone get up to start the search again. You fantasize about disappearing, just erasing your pointless existence and sparing the Earth from your toxic presence. By now you’re so exhausted just from the effort of living that there’s nothing left to live it.” I

Stillness pooled like blood and Devon sat, stunned and terrified to move in case her universe tilted again. The aunts were already cleaning up: wiping blood off her legs, changing the sheets around her as best they could. Someone carried the placenta away. “Your milk will be black, when it comes in,” Gailey said. “Don’t be alarmed by that. All perfectly normal.” Devon just nodded, too overwhelmed to speak. Perfectly normal? How could anything be normal ever again? Her life had been a series of twisted fairy tales in which she had imagined herself the princess, but this, here, living and breathing and snuffling in her arms, had more truth than all of her swallowed stories combined. She was her daughter’s whole world, a realization both humbling and empowering. Devon had never been anybody’s world before—had never been anything at all, in fact, except the sum of paper flesh she’d consumed without thought.

The history of persecution is a history of endeavors to cheat nature, to make water run up hill, to twist a rope of sand. It makes no difference whether the actors be many or one, a tyrant or a mob. A mob is a society of bodies voluntarily bereaving themselves of reason and traversing its work. The mob is man voluntarily descending to the nature of the beast. Its fit hour of activity is night. Its actions are insane, like its whole constitution. It persecutes a principle; it would whip a right; it would tar and feather justice, by inflicting fire and outrage upon the houses and persons of those who have these. It resembles the prank of boys, who run with fire-engines to put out the ruddy aurora streaming to the stars. The inviolate spirit turns their spite against the wrongdoers. The martyr cannot be dishonored. Every lash inflicted is a tongue of fame; every prison a more illustrious abode; every burned book or house enlightens the world; every suppressed or expunged word reverberates through the earth from side to side. The minds of men are at last aroused; reason looks out and justifies her own and malice finds all her work in vain. It is the whipper who is whipped and the tyrant who is undone.

Beyond a fence, they came to the swimming pool, which spilled over into a series of waterfalls and smaller rocky pools. The area was planted with huge ferns. “Isn’t this extraordinary?” Ed Regis said. “Especially on a misty day, these plants really contribute to the prehistoric atmosphere. These are authentic Jurassic ferns, of course.” Ellie paused to look more closely at the ferns. Yes, it was just as he said: Serenna veriformans, a plant found abundantly in fossils more than two hundred million years old, now common only in the wetlands of Brazil and Colombia. But whoever had decided to place this particular fern at poolside obviously didn’t know that the spores of veriformans contained a deadly beta-carboline alkaloid. Even touching the attractive green fronds could make you sick, and if a child were to take a mouthful, he would almost certainly die—the toxin was fifty times more poisonous than oleander. People were so naïve about plants, Ellie thought. They just chose plants for appearance, as they would choose a picture for the wall. It never occurred to them that plants were actually living things, busily performing all the living functions of respiration, ingestion, excretion, reproduction—and defense. But Ellie knew that, in the earth’s history, plants had evolved as competitively as animals, and in some ways more fiercely. The poison in Serenna veriformans was a minor example of the elaborate chemical arsenal of weapons that plants had evolved. There were terpenes, which plants spread to poison the soil around them and inhibit competitors; alkaloids, which made them unpalatable to insects and predators (and children); and pheromones, used for communication. When a Douglas fir tree was attacked by beetles, it produced an anti-feedant chemical—and so did other Douglas firs in distant parts of the forest. It happened in response to a warning alleochemical secreted by the trees that were under attack. People who imagined that life on earth consisted of animals moving against a green background seriously misunderstood what they were seeing. That green background was busily alive. Plants grew, moved, twisted, and turned, fighting for the sun; and they interacted continuously with animals—discouraging some with bark and thorns; poisoning others; and feeding still others to advance their own reproduction, to spread their pollen and seeds. It was a complex, dynamic process which she never ceased to find fascinating. And which she knew most people simply didn’t understand. But if planting deadly ferns at poolside was any indication, then it was clear that the designers of Jurassic Park had not been as careful as they should have been.

Let’s find out where your shame came from by taking a look at your past. But before we do that, I want to address a common misconception people have about looking at their past. I have heard many people misinterpret the apostle Paul’s words: I am focusing all my energies on this one thing: Forgetting the past and looking forward to what lies ahead…Philippians 3:13 People use this verse to teach that a person should never reflect on their past to resolve their present problems. They think looking to your past is a sign of doubt and weak faith. “Good Christians” should forget about their past, they say, and focus on who they are as a believer in Jesus. That might sound good, but I couldn't disagree more. That kind of thinking is both unbiblical and illogical. It is unbiblical because Paul wasn’t telling people to forget past problems. He was simply referring to his former life when he sought to please God through religious works like praying, giving money, or fasting. He boasted about these religious habits as if they got him closer to God. But he stopped that kind of foolish thinking when he came to learn what Jesus had done for him. Paul wasn’t making an all-inclusive statement telling people to forget everything about their past. He was simply telling his personal story and encouraging people to find their acceptance from God based on his love, not on their good works. To read more into his words is to twist the meaning.

Lillian’s lashes lowered as she let him ease her closer, his hand sliding over the length of her spine. Her breasts and waist felt swollen within the insulating grip of her corset, and she suddenly longed to be rid of it. Taking as deep a breath as the stays would allow, she became aware of a sweetly spicy scent in the air. “What is that?” she murmured, drawing in the fragrance. “Cinnamon and wine…” Turning in the circle of his arms, she looked around the spacious bedroom, past the poster bed to the small table that had been set near the window. There was a covered silver dish on the table, from which a few traces of sweet-scented steam were still visible. Perplexed, she twisted back to look at Marcus. “Go and find out,” he said. Curiously Lillian went to investigate. Taking hold of the cover’s handle, which had been wrapped with a linen napkin, she lifted the lid, letting a soft burst of intoxicating fragrance into the air. Momentarily puzzled, Lillian stared at the dish, and then burst out laughing. The white porcelain dish was filled with five perfect pears, all standing on end, their skin gleaming and ruby-red from having been poached in wine. They sat in a pool of clear amber sauce that was redolent of cinnamon and honey. “Since I couldn’t obtain a pear from a bottle for you,” came Marcus’s voice from behind her, “this was the next best alternative.” Lillian picked up a spoon and dug into one of the melting-soft pears, lifting it to her lips with relish. The bite of warm, wine-soaked fruit seemed to dissolve in her mouth, the spiced honey sauce causing a tingle in the back of her throat. “Mmmm…” She closed her eyes in ecstasy. Looking amused, Marcus turned her to face him. His gaze fell to the corner of her lips, where a stray drop of honey sauce glittered. Ducking his head, he kissed and licked away the sticky drop, the caress of his mouth causing a new pleasurable ache deep inside her. “Delicious,” he whispered, his lips settling more firmly, until she felt as if her blood were flowing in streams of white-hot sparks. She dared to share the taste of wine and cinnamon with him, tentatively exploring his mouth with her tongue, and his response was so encouraging that she wrapped her arms around his neck and pressed herself closer. He was delicious, the taste of his mouth clean and sweet, the feel of his lean, solid body immeasurably exciting. Her lungs expanded with shaky-hot breaths, restrained by the clench of her corset stays, and she broke the kiss with a gasp. “I can’t breathe.” Wordlessly Marcus turned her around and unfastened the gown. Reaching her corset, he untied the laces and loosened them with a series of expert tugs, until the stays expanded and Lillian gulped in relief. “Why did you lace so tightly?” she heard him ask. “Because the dress wouldn’t fasten otherwise. And because, according to my mother, Englishmen prefer their women to be narrow-waisted.” Marcus snorted as he eased her back to face him. “Englishmen prefer women to have larger waists in lieu of fainting from lack of oxygen. We’re rather practical that way.” Noticing that the sleeve of her unfastened gown had slipped over her white shoulder, he lowered his mouth to the smooth curve.

What secrets?” Eena blurted out. Kira answered the question by defensively listing them out on her fingers. “How about the fact that Derian was coming for you in a few short days, or the fact that Gemdorin was forcing you to search for some magic gem we were all unaware existed. How about the knowledge of your unusual powers that you stupidly used to infect the Ghengats, which was also a secret you kept to yourself until it was discovered by Gemdorin, making it too late for us to do anything about preventing you from being beaten half to death! You hide things as if you think your abilities are so superior to what the rest of us can possibly contribute!” Eena shook her head adamantly. “That’s not what I think…” “It’s how you behave. It’s how you come across to everyone. Your selfish actions speak a helluva lot louder than your hollow words or your foolish intentions.” The young queen felt a rise of tears burn her eyes. “My intentions are not foolish. All I ever meant to do was protect those around me.” “By keeping us in the dark? That’s not protection, girl. That’s neglect.” Eena sniffled as fresh waterworks ran down her cheeks. Her face twisted up, confused. “People get hurt when they’re involved in my problems.” “In our problems.” “No! My problems!” she insisted. Kira threw up her arms. “There you go being all selfish again!” Eena sucked in a ragged breath, almost crying out the next question. “How do you figure that’s being selfish? I’m trying to keep everyone safe!” “And what did I just get through telling you about that idiotic notion?” Eena looked up at the ceiling. She raised her palms in frustration as she bawled. “I don’t know what else to do! What do you want from me?” Kira stepped forward and knelt in front of her tortured sister. Her hand rested gently on Eena’s knee as the Mishmorat’s gruff countenance melted. A softer, kinder voice answered the desperate question. “We want you to understand that the world doesn’t rest on your shoulders. You’re only responsible for a small portion of what happens daily on Moccobatra. Life isn’t dependent upon you alone, Sha Eena. It’s dependent upon all of us. We’re a team. We work together doing our own part. We need you to be part of our team, not a single entity existing on your own.

Should I be scared?” “I think you should get ready for quite an inquiry, but they’re necessary questions that must be answered if I want to ask you out on a second date.” “What if I don’t want to go on a second date?” “Hmm.” He taps his chin with his fork, ready to dig in the minute the plate arrives at our table. “That’s a good point. All right. If the question arose, would you go on a second date with me?” “Well, now I feel pressured to say yes just so I can hear the inquiry.” “You’re going to have to deal with the pressure, sweet cheeks.” “Fine. Hypothetically, if you were to ask me out on a second date, I would hypothetically, possibly say yes.” “Great.” He bops his own nose with his fork and then sets it down on the table. “Here goes.” He looks serious; both his hands rest palm down on the table and his shoulders stiffen. Looking me dead in the eyes, he asks, “Bobbies and Rebels are in the World Series, what shirt do you wear?” “Bobbies obviously.” He blinks. Sits back. “What?” “Bobbies for life.” “But I’m on the Rebels.” “Yes, but are we dating, are we married? Are we just fooling around? There’s going to have to be a huge commitment on my part in order to put a Rebels shirt on. Sorry.” “We’re dating.” “Eh.” I wave my hand. “Fine. We’re living together.” “Hmm, I don’t know.” I twist a strand of hair in my finger. “Christ, we’re married.” “Ugh.” I wince. “I’m sorry, I just don’t think it will ever happen.” “Not even if we’re married, for fuck’s sake?” he asks, dumbfounded. It’s endearing, especially since he’s pushing his hand through his hair in distress, tousling it. “Do we have kids?” I ask. “Six.” “Six?” Now it’s time for my eyes to pop out of their sockets. “Do you really think I want to birth six children?” “Hell, no.” He shakes his head. “We adopted six kids from all around the world. We’re going to have the most diverse and loving family you’ll ever see.” Adopting six kids, now that’s incredibly sweet. Or mad? No, it’s sweet. In fact, it’s extremely rare to meet a man who not only knows he wants to adopt kids, but is willing to look outside of the US, knowing how much he could offer that child. Good God, this man is a unicorn. “We have the means for it, after all,” he says, continuing. “You’re taking over the city of Chicago, and I’ll be raining home runs on every opposing team. We would be the power couple, the new king and queen of the city. Excuse me, Oprah and Steadman, a new, hip couple is in town. People would wear our faces on their shirts like the royals in England. We’re the next Kate and William, the next Meghan and Harry. People will scream our name and then faint, only for us to give them mouth-to-mouth because even though we’re super famous, we are also humanitarians.” “Wow.” I sit back in my chair. “That’s quite the picture you paint.” I know what my mom will say about him already. Don’t lose him, Dorothy. He’s gold. Gorgeous and selfless. “So . . . with all that said, our six children at your side, would you wear a Rebels shirt?” I take some time to think about it, mulling over the idea of switching to black and red as my team colors. Could I do it? With the way Jason is smiling at me, hope in his eyes, how could I ever deny him that joy—and I say that as if we’ve been married for ten years. “I would wear halfsies. Half Bobbies, half Rebels, and that’s the best I can do.” He lifts his finger to the sky. “I’ll take it.

One: A Book Is A Universe and the Universe is a Book. Inside a book, any Physiks or Magical Laws or Manners or Histories may hold sway. A book is its own universe and while in it, you must play by their rules. More or less. Some of the more modern novels are lenient on this point and have very few policemen to spare. This is why sometimes, when you finish a book, you feel strange and woozy, as though you have just woken up. Your body is getting used to the rules and your own universe again. And your own universe is just the biggest and longest and most complicated book ever written—except for all the other ones. This is also why books along the walls make a place feel different—all those universes, crammed into one spot! Things are bound to shift and warp and hatch schemes! Two: Books Are People. Some are easy to get along with and some are shy, some are full of things to say and some are quiet, some are fanciful and some are plainspoken, some you will feel as though you've known forever the moment you open the cover, and some will take years to grow into. Just like people, you must be introduced properly and sit down together with a cup of something so that you can sniff at each other like tomcats but lately acquainted. Listen to their troubles and share their joys. They will have their tempers and you will have yours, and sometimes you will not understand a book, nor will it understand you—you can't love all books any more than you can love every stranger you meet. But you can love a lot of them. And the love of a book is a precious, subtle, strange thing, well worth earning, And just like people, you are never really done with a book—some part of it will stay with you, gently changing the way you see and speak and know. Three: People Are Books. This has two meanings. The first is: Every person is a story. They have a beginning and a middle and an end (though some may have sequels and series).They have motifs and narrative tricks and plot twists and daring escapes and love lost and love won. The rules of books are the rules of life because a book must be written by a person alive, and an alive person will usually try to tell the truth about the world, even if they dress it up in spangles and feathers. The other meaning is: When you read a book, it is not only a story. It is never only a story. Exciting plots may occur, characters suffer and triumph, yes, It is a story. But it is also a person speaking to you, directly to you. A person far away, perhaps in time, perhaps in space, perhaps both. A person who wanted to say something so loud that everyone could hear it. A book is a time-travelling teleportation machine. And there's millions and millions of them! When you read a book, you have a conversation with the person who wrote it. And that conversation is never quite the same twice. Every single reader has a different chat, because they are different people with different histories and ideas in their heads. Why, you cannot even have the same conversation with the same book twice! If you read a book as a child, and again as a Grown-Up, it will be something altogether other. New things will have happened to you, new folk will have come into your life and taught you wild and wonderful notions you never thought of before. You will not be the same person—and neither will the book. When you read, know that someone somewhere wrote those very words just for you, in hopes that you would find something there to take with you in your own travels through time and space.

Two kinds of development help explain how a readiness built up to kill all Jews, including women and children. One is a series of “dress rehearsals” that served to lower inhibitions and provided trained personnel hardened for anything. First came the euthanasia of incurably ill and insane Germans, begun on the day when World War II began. Nazi eugenics theory had long provided a racial justification for getting rid of “inferior” persons. War provided a broader justification for reducing the drain of “useless mouths” on scarce resources. The “T-4” program killed more than seventy thousand people between September 1939 and 1941, when, in response to protests from the victims’ families and Catholic clergy, the matter was left to local authorities. Some of the experts trained in this program were subsequently transferred to the occupied east, where they applied their mass killing techniques to Jews. This time, there was less opposition. The second “dress rehearsal” was the work of the Einsatzgruppen, the intervention squads specially charged with executing the political and cultural elite of invaded countries. In the Polish campaign of September 1939 they helped wipe out the Polish intelligentsia and high civil service, evoking some opposition within the military command. In the Soviet campaign the Einsatzgruppen received the notorious “Commissar Order” to kill all Communist Party cadres as well as the Jewish leadership (seen as identical in Nazi eyes), along with Gypsies. This time the army raised no objections. The Einsatzgruppen subsequently played a major role, though they were far from alone, in the mass killings of Jewish women and children that began in some occupied areas in fall 1941. A third “dress rehearsal” was the intentional death of millions of Soviet prisoners of war. It was on six hundred of them that the Nazi occupation authorities first tested the mass killing potential of the commercial insecticide Zyklon-B at Auschwitz on September 3, 1941. Most Soviet prisoners of war, however, were simply worked or starved to death. The second category of developments that helped prepare a “willingness to murder” consisted of blockages, emergencies, and crises that made the Jews become a seemingly unbearable burden to the administrators of conquered territories. A major blockage was the failure to capture Moscow that choked off the anticipated expulsion of all the Jews of conquered eastern Europe far into the Soviet interior. A major emergency was shortages of food supplies for the German invasion force. German military planners had chosen to feed the invasion force with the resources of the invaded areas, in full knowledge that this meant starvation for local populations. When local supplies fell below expectations, the search for “useless mouths” began. In the twisted mentality of the Nazi administrators, Jews and Gypsies also posed a security threat to German forces. Another emergency was created by the arrival of trainloads of ethnic Germans awaiting resettlement, for whom space had to be made available. Faced with these accumulating problems, Nazi administrators developed a series of “intermediary solutions.” One was ghettos, but these proved to be incubators for disease (an obsession with the cleanly Nazis), and a drain on the budget. The attempt to make the ghettos work for German war production yielded little except another category of useless mouths: those incapable of work. Another “intermediary solution” was the stillborn plan, already mentioned, to settle European Jews en masse in some remote area such as Madagascar, East Africa, or the Russian hinterland. The failure of all the “intermediary solutions” helped open the way for a “final solution”: extermination.

Someone really wise once told me that even Christians aren’t immune to tragedy. That we can’t use this fallen world to gauge our value to God.

twisted his ankle.

This book should never have happened. If it wasn’t for the most bizarre and twisted sequence of events involving a diverse array of people it wouldn’t have. Let us explain. If someone we, the authors, had wanted to impress - a publisher, say, or a book reviewer - had asked us how it had emerged, we could have come up with all kinds of things to establish our credentials for writing it. But they would have been only a small part of the story of how it came about, and not the interesting bit either. The truth is much more human and fascinating - and it also gets to the heart of the book and shows how networks really work. Greg has always been fascinated by ‘network theory’ - the findings of sociologists, mathematicians and physicists, which seemed to translate to the real world of links between people. Early in his professional life at Auto Trader magazine in Canada he got to see an extraordinary network of buyers and sellers in operation. Later, when he became a venture capitalist - someone who invests in new or young companies, hoping that some of them will become very valuable - he applied what he’d learned. He invested in businesses that could benefit from the way networks behave, and this approach yielded some notable successes. Richard came from a different slant. For twenty years, he was a ‘strategy consultant’, using economic analysis to help firms become more profitable than their rivals. He ended up co-founding LEK, the fastest-growing ‘strategy boutique’ of the 1980s, with offices in the US, Europe and Asia. He also wrote books on business strategy, and in particular championed the ‘star business’ idea, which stated that the most valuable venture was nearly always a ‘star’, defined as the biggest firm in a high-growth market. In the 1990s and 2000s, Richard successfully invested the money he had made as a management consultant in a series of star ventures. He also read everything available about networks, feeling intuitively that they were another reason for business success, and might also help explain why some people’s careers took off while equally intelligent and qualified people often languished. So, there were good reasons why Greg and Richard might want to write a book together about networks. But the problem with all such ‘formal’ explanations is that they ignore the human events and coincidences that took place before that book could ever see the light of day. The most

I’ve said this before, Lord, but I’m so sorry for all the stupid choices I’ve made. I want to start over, with your guidance. I can’t afford to make mistakes now. Will you turn up the volume on your voice, and turn mine down? Will you give me that wisdom you promised if we ask?

My ankle. It’s really painful.” “You must have twisted it.

Ricco went absolutely still. The pitch was low and sweet. That tone pushed into his chest, right into his center, as if it were a key unlocking something tight and hard in him. He moved his hand over his heart as an unknown emotion seized it hard, wrenching, twisting, forcing that lock to open so that his own music could be heard pounding in his ear, beating like a lost drum seeking the right rhythm.

Grace rolled up her sleeves and joined the group in the kitchen, where Gladys, Pablo's wife, had worked all day directing many other women who kept food pouring out the front and side door, onto a long series of folding tables, all covered in checkered paper table cloths. While some of the women prepped and cooked, others did nothing but bring food out and set it on the table- Southern food with a Mexican twist, and rivers of it: fried chicken, chicken and dumplings, chicken mole, shrimp and grits, turnip greens, field peas, fried apples, fried calabaza, bread pudding, corn pudding, fried hush puppies, fried burritos, fried okra, buttermilk biscuits, black-eyed peas, butter bean succotash, pecan pie, corn bread, and, of course, apple pie, hot and fresh with sloppy big scoops of local hand-churned ice creams. As the dinner hours approached, Carter grabbed Grace out of the kitchen, and they both joined Sarah, Carter's friend, helping Sarah's father throw up a half-steel-kettle barbecue drum on the side of the house. Mesquite and pecan hardwoods were quickly set ablaze, and Dolly and the quilting ladies descended on the barbecue with a hurricane of food that went right on to the grill, whole chickens and fresh catfish and still-kicking mountain trout alongside locally-style grass-fed burgers all slathered with homemade spicy barbecue sauce. And the Lindseys, the elderly couple who owned the fields adjoining the orchard, pulled up in their pickup and started unloading ears of corn that had been recently cut. The corn was thrown on the kettle drum, too, and in minutes massive plumes of roasting savory-sweet smoke filled the air around the house. It wafted into the orchards, toward the workers who soon began pouring out of the house.

They were like the honeysuckle vine, Which around a hazel tree will twine, Holding the trunk as in a fist And climbing until its tendrils twist Around the top and hold it fast. Together tree and vine will last. But then, if anyone should pry The vine away, they both will die. My love, we’re like that vine and tree; I’ll die without you, you without me.

There was nothing glamorous about the kiss. It was breathy and sloppy and noisy, more passion than finesse, but it was like a hit of speed tripping through his blood, rippling pleasure through his thighs and buttocks and belly, their heads twisting greedily in time to the wild buck of his hips.

Would you calm down? Stop fighting me.” His arms pinned mine to my body. “You’re going to hurt yourself.” “Don’t do that. Don’t ever do that. No grabbing.” I twisted as hard as I could to get free, but his hands were cement. “If you’ll stop fighting me, I’ll let you go.” I got an elbow free and jabbed him again. He let out a breath and mumbled something like “That was my pancreas” before tightening his grip. “You’ve gone completely mad, you know that?” He was onto something there. I had no idea why I was fighting back so hard. Maybe because it was the first time tonight I could. “If you’ll stop poking me with those freakishly bony elbows of yours, I’ll let you up.” “Fine.” “Fine?” “Great.” “Good.” His grip relaxed, but he didn’t let go, instead resting one hand on my left hip. My hurting hip. “Now,” he took on a paternal tone, “while in this moment of lucid behavior, you need to know it’s never wise to sneak up on a guy while he’s keeping watch.” “You were sleeping.” “It’s sleeping watch.” I snorted at that. “It’s possible.

Of all people, you should have been up their ass hourly.  You should have been on the phone to the major.  You should have called your friend the governor.  Tell that to Celina, too.  You’re partly responsible for all of this.

Honestly, Samantha.” Nick led her to the dance floor. “The twists and turns of your mind are a constant source of fascination to me.” “Glad I’m available to entertain you,” she grumbled. “You

And so-in what amounts to a deeply ironic twist of fate-Candrakirti was posthumously awarded highest honors from an orthodox scholarly tradition that could sustain its authority only by refusing to take seriously what he had himself insisted upon: Nagarjuna is not in the business of providing rational arguments designed to substantiate, prove, establish, or make certain anything.NN

rifled

You make me a better man. You make me what I am: strong, confident, and unyielding. I want to be loyal to you – now and forever.

Why did my heart plead and beg to beat uncontrollably for this stranger – for a man I'd never even seen before?

I glanced at the manor gardens once, and found Aaron on his knees, with his shoulders slumped as he cried and cried – his tears falling on the ground like raindrops from the sky.

Time is invaluable when you spend it with the Lady of your life. Make her feel special and loved with your presence; gifts are a mere show-off.

I gave myself to him, and he accepted every single inch of me with unadulterated affection and awe in his eyes.

So much pain. Such intense, unbearable agony.

ANALYSIS: “The Book of the Grotesque” (1919) from Winesburg, Ohio Sherwood Anderson (1876-1941) In the first of the sketches, ‘The Book of the Grotesque,’ utilizing as a statement of purpose, Anderson points out his approach in symbolic terms. As the title indicates, he shows that the individuals he is dealingwith in the stories have each been twisted into psychological shapes having, in most cases, little to do with external appearance. This distortion results from both the narrowness of their own vision and that of others; in some cases the first is primarily at fault, while in others it is the latter. From this point the problem inherent in human isolation takes on two aspects: the first is, of course, the specific cause in individual cases; the second and more important is determining with exactness and hence understanding the nature of each grotesque. Thus, in the book he is approaching the understanding that Sam McPherson sought in a way that demands empathy, compassion, and intuition… In this sketch, which characterizes an old writer who has attained understanding of his fellow men and has retired from life to observe men and to teach them understanding, Anderson defines his problem symbolically because he has learned that there is no direct, obvious cause but that there are causes as diverse as the individuals who make up the world. In the sketch the old writer reveals his secret knowledge of the nature of mankind, noting: … ‘It was the truths that made the people grotesques…. The moment that one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood.’ [italics added] Using this symbolic interpretation as a basis, Anderson sets off to use intuitive perception to try to find in the lives of the people with whom he is dealing whatever it is in themselves that has prevented them from reaching their full potential as human beings and that has cut them off from their fellows. He shows, too, his realization that the cause is not something as easily perceived and denounced as modern industrialism but that it is as old as the human race. False ideas, false dreams, false hopes, and false goals have distorted man’s vision almost from the beginning. Anderson is attempting in the stories to approach these people who have had such indignities inflicted on them as to become spiritual grotesques, and most importantly, he is attempting to understand them as people rather than as curious specimens of spiritual deformity.

Anderson’s use of the word ‘grotesque’ is quite important in this context. In its usual sense in reference to human beings it connotes disgust or revulsion, but Anderson’s use is quite different. To him a grotesque is, as he points out later, like the twisted apples that are left behind in the orchards because they are imperfect. These apples, he says, are the sweetest of all, perhaps even because of the imperfections that have caused them to be rejected. He approaches the people in his stories as he does the apples, secure in his knowledge that the sources or natures of their deformities are unimportant when compared to their intrinsic worth as human beings needing and deserving of understanding. This approach is based on intuition rather than objective knowledge, and it is the same sort of intuition with which one approaches the twisted apples; he believes that one dare not reject because of mere appearance, either physical or spiritual; that appearance may mask a significant experience made more intense and more worthwhile by the deformity itself. In the body of the work proper, following this introductory sketch, Anderson has set up an organizational pattern that no only gives partial unity to the book but explores systematically the diverse origins of the isolation of his people, each of whom is in effect a social displaced person because he is cut off from human intercourse with his fellow human beings. In the first three stories Anderson deals with three aspects of the problem of human isolation. The first story, ‘Hands,’ deals with the inability to communicate feeling; the second, ‘Paper Pills,’ is devoted to the inability to communicate thought; and the third, ‘Mother,’ focuses on the inability to communicate love. This three-phased examination of the basic problem of human isolation sets the tone for the rest of the book because these three shortcomings, resulting partially from the narrowness of the vision of each central figure but primarily from the lack of sympathy with which the contemporaries of each regard him, are the real creators of the grotesques in human nature. Each of the three characters has encountered one aspect of the problem: he has something that he feels is vital and real within himself that he wants desperately to reveal to others, but in each case he is rebuffed, and, turning in upon himself, he becomes a bit more twisted and worn spiritually. But, like the apples left in the orchards, he is the sweeter, the more human for it. In each case the inner vision of the main character remains clear, and the thing that he wishes to communicate is in itself good, but his inability to break through the shell that prevents him from talking to others results in misunderstanding and spiritual tragedy. David D. Anderson “Sherwood Anderson’s Moments of Insight

Heat surges over my face as we near the table where my friends all sit staring at us like we’re a Hallmark Christmas movie with a twist of porn. Someone should explore that topic.

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

I have realised recently that words are just words, a series of letters arranged in a certain order, most likely in the language we were assigned at birth. People are careless with their words nowadays. They throw them away in a text or tweet, they write them, pretend to read them, twist them, misquote them, lie with, without, and about them. They steal them, then they give them away. Worst of all, they forget them. Words are only of value if we remember how to feel what they mean. We won't forget, will we? I like to think that what we have is more than just words.

As far as I knew, no one knew Lucifer's actual appearance. At one point it was probably well known, but over the millennia it was twisted. He did somewhat look like Tom Ellis though, or was it that Tom Ellis looked like him?

Me fave book in the series it's makes my cry each time i read it it digs so deep for me and it really gives me the twists i want i one hundred percent recommend this to people

And so we entered the country of Saint Vincent and the Grenadines on the tiny island of Bequia with entry stamps given as if twisting through a turnstile to enter an amusement park.

Life itself is a journey, a series of ups and downs, twists and turns. But it's our perception, our attitude, and our resilience that determine how we navigate these paths. (I Am A Survivor speech August 12, 2023)

Ringo Starr. Chuck Lorre: Well, it was a fun conversation based on Simon’s haircut and physical appearance that you could buy the genetic link to Richard Starkey. [Laughs] I think the idea started with Simon, and it was a good idea. I think we pursued it to the point where we got a solid no [from Starr’s team]. But if not Ringo, then I wanted his impact to be such that we didn’t actually see him, but we saw the fact that he’s missing from this character’s life. His absence was more important than casting the character. Simon Helberg: That would have been the most absurd twist to find out Howard is actually the son of a Beatle from a wild night in the ’70s where Mrs. Wolowitz and Ringo had blacked out at the Rainbow Room or something, but it was never to be. Basically I’ll be working on my own Big Bang fan fiction in twenty years and selling it at Comic-Con. But yeah, we never did get to meet him.

The interstices of time are highly complex. Time is mutable, and one small step for a man sets mankind on a radically different path. "There are billions of paths, twists and fork-turns. Some lead to triumph, and others to doom. The one we have trodden has risked our annihilation as a species.