Uncut Quotes

Guard well your spare moments. They are like uncut diamonds. Discard them and their value will never be known. Improve them and they will become the brightest gems in a useful life.

But once that string gets cut, kid, you can't uncut it. Do you get what I'm saying?

I’d spent my entire life overdosing on uncut escapism, willingly allowing fantasy to become my reality.

I tried to make sense of the Four Books, until love arrived, and it all became a single syllable.

The women one meets - what are they but books one has already read? You're a library of the unknown, the uncut. Upon my word I've a subscription.

There was a wall. It did not look important. It was built of uncut rocks roughly mortared. An adult could look right over it, and even a child could climb it. Where it crossed the roadway, instead of having a gate it degenerated into mere geometry, a line, an idea of boundary. But the idea was real. It was important. For seven generations there had been nothing in the world more important than that wall. Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.

Like people would ever want to read books on an electronic screen.

You look... amazing!" And I have to say, I agree. I'm wearing all black - but expensive black. The kind of deep, soft black that you fall into. A simple sleeveless dress from Whistles, the highest of Jimmy Choos, a pair of stunning uncut amethyst earrings. And please don't ask how much it all cost, because that's irrelevant. This is investment shopping. The biggest investment of my life. I haven't eaten anything all day so I'm nice and thin and for once my hair has fallen perfectly into shape. I look... well, I've never looked better in my life. But of course, looks are only part of the package, aren't they?

Split the Castle open, find me, find you. We, two, felt sand, wind, air. One felt whip. Whipped, Once shipped. We, two, black. Me, you. One grew from cocoa's soil, birthed from nut, skin uncut, still bleeding. We two, wade. The waters seem different but are same. Our same. Sister skin. Who knew? Not me. Not you

You know, you remind me of my younger brother. I miss that kid, so much that I sometimes regret killing him.

I am not a finished poem, and I am not the song you’ve turned me into. I am a detached human being, making my way in a world that is constantly trying to push me aside, and you who send me letters and emails and beautiful gifts wouldn’t even recognise me if you saw me walking down the street where I live tomorrow for I am not a poem. I am tired and worn out and the eyes you would see would not be painted or inspired but empty and weary from drinking too much at all times and I am not the life of your party who sings and has glorious words to speak for I don’t speak much at all and my voice is raspy and unsteady from unhealthy living and not much sleep and I only use it when I sing and I always sing too much or not at all and never when people are around because they expect poems and symphonies and I am not a poem but an elegy at my best but unedited and uncut and not a lot of people want to work with me because there’s only so much you can do with an audio take, with the plug-ins and EQs and I was born distorted, disordered, and I’m pretty fine with that, but others are not.

That looks like a tree, let's call it a tree,' said Coyote to Earthmaker at the beginning, and they walked around the rootdrinker patting their bellies.

Like people would ever want to read books on an electronic screen.

Now for a handful of guilders I happen to have a private and uncut performance of the rape of the Sabine Women - or rather woman, or rather Alfred -Get your skirt on Alfred!

I walked in without knocking. The screen door banged to a close behind me announcing my presence. I followed my nose to the kitchen and found Kaleb standing by the stove. He stirred something that smelled absolutely delicious a wooden spoon in one hand and a huge chef’s knife in the other. “Are you sober?” I asked from the doorway. He turned and leveled a smile at me that made me a little wobbly. “I am." “Good. Because if not I was going to take the deadly kitchen utensil away from you.” I crossed the room and pulled myself up to sit on the counter beside the stove. A cutting board full of green peppers and two uncut stalks of celery waited for attention from the knife. Melted butter and diced onions bubbled in a sauté pan on the stove. “You cook." Kaleb was so pretty I was jealous. Pretty with ripped muscles and a tattoo of a red dragon covering most of his upper body. “Yes,” he said. “I cook.” “Do you usually wear a wife beater and,” I pushed him back a little by his shoulder “an apron that says ‘Kiss the Cook’ while you’re doing it? ” He leaned so close to me my heart skipped a couple of beats. “I’ll wear it all the time if you’ll consider it.

Anything to declare? the customs inspector said."Two pound of uncut heroin and a manual of pornographic art," Mark answered, looking about for Kity. All Americans are comedians, the inspector thought, as he passed Parker through. A government tourist hostess approached him."Are you Mr. Mark Parker?""Guilty.

You know, you remind me of my younger brother. I miss that kid, so much that I sometimes regret killing him.

Somewhere, excitement waited for me like an uncut cake.

You could have fucked me ’til your uncut, overexposed on the blogs, ‘too ginormous for my snatch’ pecker fell off. And I’d still no way never ever in a thousand years sell, loan, sample you my Easton. And to answer your question, I run my company with my pussy, and twenty-four other pussy-sporting employees. Easton girls do not allow dickheads or cocks in our fashion world. Period.

We shove the dirt over the book, tamping down the disturbed soil. The grass will grow back soon enough. It will be for us the beautiful uncut hair of graves.

A child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. ... What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

The Pomegranate The only legend I have ever loved is the story of a daughter lost in hell. And found and rescued there. Love and blackmail are the gist of it. Ceres and Persephone the names. And the best thing about the legend is I can enter it anywhere. And have. As a child in exile in a city of fogs and strange consonants, I read it first and at first I was an exiled child in the crackling dusk of the underworld, the stars blighted. Later I walked out in a summer twilight searching for my daughter at bed-time. When she came running I was ready to make any bargain to keep her. I carried her back past whitebeams and wasps and honey-scented buddleias. But I was Ceres then and I knew winter was in store for every leaf on every tree on that road. Was inescapable for each one we passed. And for me. It is winter and the stars are hidden. I climb the stairs and stand where I can see my child asleep beside her teen magazines, her can of Coke, her plate of uncut fruit. The pomegranate! How did I forget it? She could have come home and been safe and ended the story and all our heart-broken searching but she reached out a hand and plucked a pomegranate. She put out her hand and pulled down the French sound for apple and the noise of stone and the proof that even in the place of death, at the heart of legend, in the midst of rocks full of unshed tears ready to be diamonds by the time the story was told, a child can be hungry. I could warn her. There is still a chance. The rain is cold. The road is flint-coloured. The suburb has cars and cable television. The veiled stars are above ground. It is another world. But what else can a mother give her daughter but such beautiful rifts in time? If I defer the grief I will diminish the gift. The legend will be hers as well as mine. She will enter it. As I have. She will wake up. She will hold the papery flushed skin in her hand. And to her lips. I will say nothing.

A green hunting cap squeezed the top of the fleshy balloon of a head. The green earflaps, full of large ears and uncut hair and the fine bristles that grew in the ears themselves, stuck out on either side like turn signals indicating two directions at once. Full, pursed lips protruded beneath the bushy black moustache and, at their corners, sank into little folds filled with disapproval and potato chip crumbs. In the shadow under the green visor of the cap Ignatius J. Reilly’s supercilious blue and yellow eyes looked down upon the other people waiting under the clock at the D.H. Holmes department store, studying the crowd of people for signs of bad taste in dress. Several of the outfits, Ignatius noticed, were new enough and expensive enough to be properly considered offenses against taste and decency. Possession of anything new or expensive only reflected a person’s lack of theology and geometry; it could even cast doubts upon one’s soul.

The art of happiness is being content with what you have,' she would say, looking with apparent satisfaction out of the dusty windows at the garden, yellowing like an uncut hayfield in the October sunshine.

It is only when we can look inside and learn to love deeply that which resembles uncut gravel within ourselves that we will be blessed to find it filled with diamonds

I love the French edition with its uncut pages. I would not want a reader too lazy to use a knife on me.

To our indigenous ancestors, and to the many aboriginal peoples who still hold fast to their oral traditions, language is less a human possession than it is a property of the animate earth itself, an expressive, telluric power in which we, along with the coyotes and the crickets, all participate. Each creature enacts this expressive magic in its own manner, the honeybee with its waggle dance no less than a bellicose, harrumphing sea lion. Nor is this power restricted solely to animals. The whispered hush of the uncut grasses at dawn, the plaintive moan of trunks rubbing against one another in the deep woods, or the laughter of birch leaves as the wind gusts through their branches all bear a thicket of many-layered meanings for those who listen carefully. In the Pacific Northwest I met a man who had schooled himself in the speech of needled evergreens; on a breezy day you could drive him, blindfolded, to any patch of coastal forest and place him, still blind, beneath a particular tree -- after a few moments he would tell you, by listening, just what species of pine or spruce or fir stood above him (whether he stood beneath a Douglas fir or a grand fir, a Sitka spruce or a western red cedar). His ears were attuned, he said, to the different dialects of the trees.

These kids, they're like tied-down helium balloons. They strain against the string and strain against it, and then something happens, and that string gets cut, and they just float away. (...) But once that string gets cut, kid, you can't uncut it.

There is so much to know and we can only guess. Guess around him. To know him from these stray actions I am told about by those who loved him. And yet, he is still one of those books we long to read whose pages remain uncut. We are still unwise. It is not that he became too complicated but that he had reduced himself to a few things around him and he gave them immense meaning and significance.

It is only when we can look inside and learn to love deeply that which resembles uncut gravel within ourselves that we will be blessed to find it filled with diamonds.

I'm not about to argue with a full professor, but if you ever have a really unbreakable case of insomnia, do yourself a favor and start reading Chapter Three of the uncut version.

And now it seems to me the beautiful uncut hair of graves." "So grass is death too-it grows out of our buried bodies. The grass was so many different things at once, it was bewildering. So grass is a metaphor for life, and for death, and for equality, and for connectedness, and for God, and for hope.

I'm tired of the music industry these days! They polish everything until it no longer sounds real. The raw uncut sound is something I think no genre but alternative and Aerow music retain.

In the Apache language there is no word for ‘guilt.’ Our lives are like diamonds. When we are born we are pure and uncut. Each thing that happens to us in our lives teaches us how to reflect the light in the world; each experience gives us a new cut, a new facet in our diamond. How brilliantly do those diamonds sparkle whose facets are many, to whom life has given many cuts!

And now it [grass] seems to me the beautiful uncut hair of graves, Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you from old people, or from offspring taken soon out of their mother's laps, And here you are the mothers' laps." - Song of Myself: 6

The story of Samson, whose secret to strength was his uncut hair, may well typify the power we have when God is on our head; but it also illustrates the power that persistence holds to weaken our strength. Even the strongest resolve becomes weak when faced with negative thoughts time and again.

I only inched the tip in, but dammit to fucking hell if you milking the head of my cock doesn't have me wanting to blow my load. Do not fucking move your tight pussy one tenth of a centimeter until I can stop myself. Fuck!

Villains. Stories are nothing without them. Heroes cannot rise to greatness without them. In the absence of an enemy, our beloved protagonists are left kicking rocks in the Shire or taking tea and biscuits in a mind-numbingly cheery Spare Oom. We love villains because they turn their aches into action, their bruises into battering rams. They push through niceties and against societal restraints to propel the story forward. Unlike our lovable protagonists, villains - for better or worse - stop at literally nothing to achieve their goals. It's why we secretly root for them, why we find ourselves hoping they make their grand escape, and it's why our shoulders sag with equal parts relief and disappointment when they are caught. After all, how can you not give it up to someone who works that damned hard for what they want?... Look into a villain's eyes long enough and we might find our shadow selves, our uncut what-ifs and unchecked ambitions, a blurry line if ever there was one.

Roses are picked every day, they are told that they will be better off sold in the flower shoppe. And so they go from the hands of the picker; to the hands of the delivery man; to the hands of the florist; to the hands of the customer; and then often to the hands of the final recipient of the rose. From field, cut by scissors and passed from hand to hand. The world has forgotten that it is okay for roses to be in fields, the world has forgotten the beauty of the rose uncut. The bouquet is praised and given away but the wild roses are forgotten. People have forgotten what “wild” means; they think it means something entirely different. The wild rose remains untouched, with roots and swayed by the meadow winds. And that is wild. I am wild for having roots and for being untouched and for seeing things that people have forgotten. And I will always remember— that it is okay to be uncut, that it is okay to be untouched by darkness, it is okay to be wild.

They knew the difference between thoroughness and overkill. It was like Jay Gatsby's library: the books were real, but the pages were uncut.

Blue stands for many things at the end of time: for the forgotten, blazing blue stars of aeons past; the antithesis of redshift; the color of uncut veins beneath your skin.

to know the raw silk, hold the uncut wood. Need little, want less. Forget the rules. Be untroubled.

Marion and Alice were all for not using and so all went to sleep that night with a grim resolve. They got up about noon, smoked a joint with their coffee, feeling good about the fact that they werent giving any thought to not using, and sat around for a while, watched a little television, talked about maybe eating something, but not really feeling like it, then sort of moped around thinking and talking about the various things that should be done that day and making plans for doing them, then watched a little more TV, and more coffee, and more grass, spending much of the time dabbing at their running eyes and noses, and by three oclock they realized they were making a big deal out of nothing, that if they really wanted to stop using they certainly could, they were proving that right then, but it was stupid to panic and to think the world was coming to an end just because they couldnt score for any uncut weight right now, so they got back into the spoon. Their noses and eyes cleared up and they listened to music as they ate. A

Leatherbound books are an expensive form of wallpaper, and yet every English nobleman’s home seems to have had them. Their endless sets of the works of Cooper and Scott and Goethe, in finely tanned bindings with marbled endpapers, all end up with this sort of dealer sooner or later. I look through a set of Cooper and, without surprise, find uncut pages: these books were never actually read.

Because I saw, suddenly, how it would always be for me, Sam's life unfolding like slides in an old projector I'd always be clicking through in the dark, stunning leaps forward in time--but never the uncut reel.

He was looking for a brightness, a resolve, a triumph over tomorrow that hardly seemed to be there. Perhaps he had expected their faces to burn and glitter with the knowledge they carried, to glow as lanterns glow, with the light in them...They weren't at all certain that the things they carried in their heads might make every future dawn glow with a purer light, they were sure of nothing save that the books were on file behind their quiet eyes, the books were waiting, with their pages uncut, for the customers who might come by in later years, some with clean and some with dirty fingers.

Is there something I can do?" "About what?" she snapped. "About your problem," he persisted. "Does anybody's ass need kicking? I can take care of that for you. I kick good ass." Her laughter rang out, sweet and bright and gorgeous. "Wow," she said. "You'd do that for me? After, what has it been now, a fifteen-minute acquaintance? Twenty, maybe, tops?" He considered that, and opened his mouth, and the raw, uncut, uncensored truth just plopped right out. "Yeah," he said. "I would.

I used to believe, bless my naive little heart, that I had something to offer the robbed dead. Not revenge-there’s no revenge in the world that could return the tiniest fraction of what they’ve lost-and not justice, whatever that means, but the one thing left to give them: the truth. I was good at it. I had one, at least, of the things that make a great detective: the instinct for truth, the inner magnet whose pull tells you beyond any doubt what’s dross, what’s alloy, and what’s the pure, uncut metal. I dug out the nuggets without caring when they cut my fingers and brought them in my cupped hands to lay on graves, until I found out-Operation Vestal again-how slippery they were, how easily they crumbled, how deep they sliced and, in the end, how very little they were worth.

Walk with me, please. Jesus’ sake, amen

It says adult prison on the gates, not Hogwarts. Now, get in and say hi to your new housmate.

His lips were on mine, a deep, breathy intense kiss. A release.

The wind howled steadily, an endless ghost-train highballing through the black sky.

When I say I have a big dick, it's not a shit-talking attention-seeking ploy to impress a girl.

Uncut grass always meant something.

Many individuals have, like uncut diamonds, shining qualities beneath a rough exterior.” —Juvenal

The Country Squire station wagon behind her was peppered with buckshot. One of the windows was a cataract of milky cracks.

In this formative period, the soul is unsoiled by warfare with the world. It lies, like a block of pure, uncut Parian marble, ready to be fashioned into—what? —ORISON SWETT MARDEN

There was a wall. It did not look important. It was built of uncut rocks roughly mortared.

I’d spent my entire life overdosing on uncut escapism,

And now it seems to me the beautiful uncut hair of graves.

As they say, a jeweler knows the uncut gem. And I am. And she was. And so.

In fact, God seems to love that kind of raw, uncut prayer, skirting the line between blasphemy and desperate faith. He’s not nearly as scared of honesty as we are.

Keepers and Seekers were not permitted to do more than trim their hair to elbow length. Ashyn said they ought to be grateful they weren't like the spirit talkers, who weren't ever allowed to cut their hair or their nails. Personally, Moria would be more concerned with the "eyes plucked out, tongue cut off, and nostrils seared" part of being a spirit talker, but she could see that the uncut nails might be inconvenient as well.

As regards your government of yourself and your household, Sancho, my first piece of advice is to be clean and to cut your fingernails, and not to let them grow long, as some people do, moved by ignorance to believe that long nails make their hand look beautiful, as if those appendages, those excrescences that they leave uncut have any right to be called fingernails at all, because they are more like talons of a kestrel: a monstrous and filthy abuse.

It’s no conspiracy [for the Hindu] to make me a refugee in the very country of my birth It’s no conspiracy to poison the air I breathe and the space I live in It’s certainly no conspiracy to cut me to pieces and then imagine an uncut Bharat.

Blue stands for many things at the end of time: for the forgotten, blazing blue stars of aeons past; the antithesis of redshift, the color of uncut veins beneath your skin. This story is written in blue ink, although you do not know that yet.

After that they browsed for a minute or two in a semi-detached fashion. Nick found a set of Trollope which had a relatively modest and approachable look among the rest, and took down The Way We Live Now, with an armorial bookplate, the pages uncut. “What have you found there?” said Lord Kessler, in a genially possessive tone. “Ah, you’re a Trollope man, are you?” “I’m not sure I am, really,” said Nick. “I always think he wrote too fast. What was it Henry James said, about Trollope and his ‘great heavy shovelfuls of testimony to constituted English matters’?” Lord Kessler paid a moment’s wry respect to this bit of showing off, but said, “Oh, Trollope’s good. He’s very good on money.” “Oh…yes…” said Nick, feeling doubly disqualified by his complete ignorance of money and by the aesthetic prejudice which had stopped him from ever reading Trollope. “To be honest, there’s a lot of him I haven’t yet read.” “No, this one is pretty good,” Nick said, gazing at the spine with an air of judicious concession. Sometimes his memory of books he pretended to have read became almost as vivid as that of books he had read and half forgotten, by some fertile process of auto-suggestion. He pressed the volume back into place and closed the gilded cage.

I already checked," Rhage muttered. "They have the DVDs--they're probably watching the extended, uncut versions." "So the strippers aren't circumcised?" Lassiter put his palms up again before the growling got even worse. "Jesus, you guys are so damn touchy.

Sometimes, When the Light" Sometimes, when the light strikes at odd angles and pulls you back into childhood and you are passing a crumbling mansion completely hidden behind old willows or an empty convent guarded by hemlocks and giant firs standing hip to hip, you know again that behind that wall, under the uncut hair of the willows something secret is going on, so marvelous and dangerous that if you crawled through and saw, you would die, or be happy forever. Lisel Mueller, Alive Together: New and Selected Poems. (LSU Press October 1, 1996)

Then, amid a constant coming in, and going out, and running about, and a clatter of crockery, and a rumbling up and down of the machine which brings the nice cuts from the kitchen, and a shrill crying for more nice cuts down the speaking-pipe, and a shrill reckoning of the cost of nice cuts that have been disposed of, and a general flush and steam of hot joints, cut and uncut, and a considerably heated atmosphere in which the soiled knives and tablecloths seem to break out spontaneously into eruptions of grease and blotches of beer, the legal triumvirate appease their appetites.

Montag tried to see the men's faces, the old faces he remembered from the firelight, lined and tired. He was looking for a brightness, a resolve, a triumph over tomorrow that hardly seemed to be there. Pherhaps he had expected their faces to burn and glitter with the knowledge they carried, to glow as lanterns glow, with the light in them. But all the light had come from the campfire, and these men had seemed no different than any others who had run a long race, searched a long search, seen good things destroyed, and now, very late, were gathered to wait for the end of the party and the blowing out of the lamps. They weren't at all certain that the things they carried in their heads might make every future dawn glow with a purer light, they were sure of nothing save that the books were on file behind their quiet eyes, the books were waiting, with their pages uncut, for the customers who might come by in later years, some with clean and some with dirty fingers.

Pulling him all the way out, his c*#@ came free from his jeans with a thud, and my eyes went wide as saucers. This was not a penis but an anaconda. His d* was a weapon of mass destruction and could have had its own area code. To make matters more frightening, Peter was uncut. I was dealing with a hybrid: an anaconda turtle.

Forgiveness is the key. Don’t forget to do what makes you happy. I’m here to catch you—always.

Life is what you make of it.

Not one of them wanted to look into the face of another, for fear of seeing his own guilt mirrored there.

It is time some one undertook to rehumanise you,” said I, parting his thick and long uncut locks; “for I see you are being metamorphosed into a lion, or something of that sort. You have a ‘faux air’ of Nebuchadnezzar in the fields about you, that is certain: your hair reminds me of eagles’ feathers; whether your nails are grown like birds’ claws or not, I have not yet noticed.

The bucket tipped forward and the water flew out, all of it seeming to hang suspended for a moment in the yellow lamplight like the largest uncut diamond in the universe, and he saw the dark man’s face through it, reflected and refracted into the face of a supremely grinning troll who had just made its way up from hell’s darkest shit-impacted bowels to rampage on the earth; then the water fell on him, so cold that his swelled throat sprang momentarily open again, squeezing blood from its walls in big beads, shocking breath into him and making him kick the covers all the way over the foot of the bed in one convulsive spasm so that his body would be free to jackknife and sunfish as bitter cramps from these involuntary struggles whipped through him like greyhounds biting on the run.

Criterion offered cineastes who wished to see the original version of a picture their only practical alternative to visiting an archive and lacing up the film themselves on a viewing machine. The company was dedicated to presenting movies uncut, using transfers sourced from the best available elements and, beginning with Invasion of the Body Snatchers, their eighth release, presented in their original theatrical ratios.

In the nights, which he could create by turning the handle of a door, he lay for hours in contemplation of the skylight. The Earth’s disk was nowhere to be seen, the stars, thick as daisies on an uncut lawn, reigned perpetually with no cloud, no moon, no sunrise, to dispute their sway. There were planets of unbelievable majesty, and constellations undreamed of: there were celestial sapphires, rubies, emeralds and pin-pricks of burning gold. far out on the left of the picture hung a comet, tiny and remote: and between all and behind all, far more emphatic and palpable than it showed on Earth, the undimensioned, enigmatic blackness. The lights trembled: they seemed to grow brighter as he looked. Stretched naked on his bed, a second Dana, he found it night by night more difficult to disbelieve in old astrology: almost he felt, wholly he imagined, 'sweet influence' pouring or even stabbing into his surrendered body.

Like a small sun emerging from the stone itself, a ball of light burst from the floor. A star, twin to the one in Bryce’s chest. Her starlight at last awoke again, as if reaching with shining fingers for that star hovering inches away. With trembling hands, Bryce guided the star to the one gleaming on her chest. Into her body. White light erupted everywhere. Power, uncut and ancient, scorched through her veins. The hair on her head rose. Debris floated upward.

Nesta stretched out her legs, leaning her bruised palms on the stone. 'Enjoy your exercises.' Cassian bristled. But he held out his hand again. 'Please.' She'd never heard him say that word. It was a rope thrown between them. He'd meet her halfway- let her win the power battle, admit defeat, if she would just get off the rock. She told herself to get up, to take that outstretched hand. But she couldn't Couldn't bring her body to rise. His hazel eyes were bright with pleading in the morning sun, the wind dancing in his dark hair. Like he was made from these mountains, crafted from wind and stone. He was so beautiful. Not in the way that Azriel and Rhys were beautiful, but in an uncut way. Savage and unrelenting. The first time she'd seen Cassian, she couldn't take her eyes off him. She felt like she'd spent her life surrounded by boys, and then a man- a male, she supposed- had suddenly appeared. Everything about him had radiated that confident, arrogant masculinity. It had been heady and overwhelming, and all she'd wanted, all she'd wanted for so many months, was to touch him, smell him, taste him. Get close to that strength and throw everything she was against it because she knew he'd never break, never falter, never balk. But the light in his eyes dimmed as he lowered his hand. She deserved his disappointment. Deserved his resentment and disgust. Even if it carved something vital from her. 'Tomorrow, then,' Cassian said. He didn't speak to her again for the rest of the day.

They were nice enough people and all, but there wasn't much love in them. Because they were too busy being afraid. Love didn't grow very well in a place where there was only fear, just as plants didn't grow very well in a place where it was always dark.

Gulls churr; ducks cluck. Bulls plus bucks run thru buckrush; thus dun burrs clutch fur tufts. Ursus cubs plus Lupus pups hunt skunks. Curs skulk (such mutts lurk: ruff ruff). Gnus munch kudzu. Lush shrubs bud; thus church nuns pluck uncut mums. Bugs hum - buzz, buzz - dull susurrus gusts murmur hushful, humdrum murmurs; hush, hush. Dusk suns blush. Surf lulls us. Such scuds hurl up cumulus suds (Sturm und Druck) - furls unfurl: rush, rush; curls uncurl: gush, gush. Such tumult upturns unsunk hulls; thus gulfs crush us, - gulp! - dunk us; burst lungs succumb.

Once they were sitting at the kitchen table opposite each other. To his right and to her left was a window. Furious at something he drew his right hand across his body and lashed out. Half way there at full speed he realized it was a window he would be hitting and breaked. For a fraction of a second hid open palm touched the glass, beginning simultaneously to draw back. The window scarred and crumpled slowly two floors down. His hand miraculously uncut. It had acted exactly like a whip violating the target and still free, retreating from the outline of a star. She was delighted by the performance. Surprised he examined his fingers. [p.16]

I will begin by writing a sentence about cutting. I will begin by writing a sentence about silence. I will continue by writing a sentence about cutting. I will proceed to ask the question about cutting. I will proceed from this point without euphemism. The question is about the clitoris. I call my cousins in turn. I ask the question about the clitoris. I will begin by writing a sentence about the clitoris. I will begin with the assumption that we each continue to have a clitoris. False. We do not talk about this. I will begin with speculation about our mothers, that each continues to have a clitoris. False. We are never to ask. In the silence, my youngest cousin asks if our grandmothers were cut. We were meant to proceed without euphemism. The Arabic, however, does not allow it. The Arabic, cut by euphemism. We do not use the word cut. The word we use, left intact, is purified. I will ask. I will begin. I was born & allowed to mature uncut. I was born with a clitoris & remain uncut. I was born unnamed & upon arrival was given my orders. I was born & named for a woman who died. The Arabic here allows for nuance. My name, ours, is not the same as the word we use to mean cut. That word, conjugated, is the name of one of my grandmothers. I will not ask her the question. I am told she does not remember.

A child said, What is the grass? fetching it to me with full hands; How could I answer the child?. . . .I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropped, Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child. . . .the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them; It may be you are from old people and from women, and from offspring taken soon out of their mother’s laps, And here you are the mother’s laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues! And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? What do you think has become of the women and children? They are alive and well somewhere; The smallest sprouts show there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceased the moment life appeared. All goes onward and outward. . . .and nothing collapses, And to die is different from what any one supposed, and luckier.

It is said,’ said the Aga Morat, ‘that blindness of the eyes is a lighter thing than blindness of the perceptive faculties of the mind. The sun is high: the perception is dazzled. One has made divers chambers available to us in these poor houses for an hour. Let us retire and, by giving ease to the flesh, bring new light also to the proper functions of the mind. There, for the Hakim’s servant Mr Blyth, and the lady. In this chamber, Crawford Efendi and I shall have much to discuss.… Sweet to be taken up, you say, as medicine is by the lip. Such a creature I enjoy, thin-skinned, tender and delicate, light of flesh and goodly in make, impulsive in walk and beautiful in the justness of stature. Communing thus, shall not our dreaming souls melt?’ For a moment, Lymond did not reply. Then he said, in the same level voice, ‘It is written before God, that after this hour we depart all four, in good health to Djerba?’ The Aga Morat had risen. Looking down, his heavy face creased in a smile. ‘It is written,’ he said. Slowly, Lymond rose also. He looked neither at Jerott nor at Marthe, but stepped straight out from under the awning and confronted the Aga. In the blinding white light, the fine lines of his skin were all suddenly visible, and his eyes by contrast quite dark. But his hair, uncut since Marseilles, shone mint-gold in the sun. ‘If it is so agreed,’ Lymond said, ‘I am solicitous for thee, as thou art for me.’ And without pausing, he followed the Aga Morat into the house.

On London Tonight, on television right now, a reporter is standing in front of a building that is under construction. It’s windy, and the wind has pressed the fabric of his slacks against his body, outlining his penis. You can see everything—the length and width and the fact that he’s uncut and hangs to the right. But I bet none of the viewers even noticed. In America, there would be letters to the station. There would be a lawsuit because a child was watching. The headlines would dub the reporter “Anchor of Shame” and he’d be fired. When our own Greta Van Susteren got her eyes done, it was front-page news for a week. So you can be sure, if Anderson Cooper’s penis were to be visible in outline beneath his trousers, he’d be on the cover of People, Vanity Fair, and The New York Times. We are obsessed with sex in an unnatural way.

Well, what you ding this kind of work for--against your own people?" "Three dollars a day. I got damn sick of creeping for my dinner--and not getting it. I got a wife and kids. We got to eat. Three dollars a day and it comes every day." "But for your three dollars a day fifteen or twenty families can't eat at all. Nearly a hundred people have to go and wander on the roads for your three dollars a day. Is that right?" "Can't think of that. Got to think of my own kids." *** "Nearly a hundred people on the road for your three dollars. Where will we go?" "And that reminds me, you better get out soon. I'm going through the dooryard after dinner...I got orders wherever there's a family not moved out--if I have an accident--you know, get too close and cave in the house a little--well, I might get a couple of dollars. And my youngest kid never had no shoes yet." "I built this with my hands...It's mine. I built it. You bump it down--I'll be in the window with a rifle..." "It's not me. There's nothing I can do. I'll lose my job if I don't do it. And look--suppose you kill me? They'll just hang you, but not long before you're hung there'll be another guy on the tractor, and he'll bump the house down. You're not killing the right guy." *** Across the dooryard the tractor cut, and the hard, foot-beaten ground was seeded field, and the tractor cut through again; the uncut space was ten feet wide. And back he came. The iron guard bit into the house-corner, crumbled the wall and wrenched the house from its foundation so that it fell sideways,crushed like a bug...The tenant man stared after [the tractor], his rifle in his hand. His wife beside him, and the quiet children behind. And all of them stared after the tractor.

was so beautiful. Not in the way that Azriel and Rhys were beautiful, but in an uncut way. Savage and unrelenting. The first time she’d seen Cassian, she couldn’t take her eyes off him. She felt like she’d spent her life surrounded by boys, and then a man—a male, she supposed—had suddenly appeared. Everything about him had radiated that confident, arrogant masculinity. It had been heady and overwhelming, and all she’d wanted, all she’d wanted for so many months, was to touch him, smell him, taste him. Get close to that strength and throw everything she was against it because she knew he’d never break, never falter, never balk. But the light in his eyes dimmed as he lowered his hand. She deserved his disappointment. Deserved his resentment and disgust. Even if it carved something vital from her. “Tomorrow, then,” Cassian said. He didn’t speak to her again for the rest of the day.

Once upon a time, there was a ghoul who fell in love with a daughter of the port of Innsmouth. To say the least, her parents would hardly have looked upon this as an acceptable state of affairs. She, destined one day to descend through abyssal depths to the splendor of many spired Y’ha-nthlei in the depths well beyond the shallows of Jeffreys Ledge. She might have the fortune to marry well, perhaps, even, taking for herself a husband from among the amphibious Deep Ones who inhabit the city, or, at the very least, a fine and only once-human devotee of the Esoteric Order. She would be adorned in nothing more than the fantastic, partly golden alloy diadems and bracelets and anklets, the lavalieres of uncut rubies, emeralds, sapphires, and diamonds. What caring parent would not be alarmed that their only daughter might foolishly forsake so precious an inheritance, and all for an infatuation with so lowborn and vile creature as a ghoul?

Montag tried to see the men's faces, the old faces he remembered from the firelight, lined and tired. He was looking for a brightness, a resolve, a triumph over tomorrow that hardly seemed to be there. Perhaps he had expected their faces to burn and glitter with the knowledge they carried, to glow as lanterns glow, with the light in them. But all the light had come from the campfire, and these men had seemed no different than any others who had run a long race, searched a long search, seen good things destroyed, and now, very late, were gathered to wait for the end of the party and the blowing out of the lamps. They weren't at all certain that the things they carried in their heads might make every future dawn glow with a purer light, they were sure of nothing save that the books were on file behind their quiet eyes, the books were waiting, with their pages uncut, for the customers who might come by in later years, some with clean and some with dirty fingers.

The northern boreal world was unique and unlike any other on earth, still undisturbed, with deep linkages to other sub-artic cultures and its unbroken chain of story-lives going back into the pre-Columbian past. The forests are as yet uncut, the greed of great cities for water and power has, as yet, dammed up only a few of its rivers. It has not been trampled by gold-seekers and ideology-mad politicos and marked by the uncounted deaths that has made Siberia a land of tears and terror and pollution. It is still clean and mostly aboriginal and the call of the wild is a melody arriving from inside us, out of our own distant past. Somewhere in the world there are rock paintings created by the ancestors of each one of us, and there are songs behind the dancing figures, and thoughts behind the songs. It is a past to be reckoned with, replete with action, violence, wars, discord, resolution, and courage, star-legends with episodes following one on the heels of another.

A child said What is the grass? fetching it to me with full hands, How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colourless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

The light collapses. The figure smashes into focus, becoming physical. It's a real human. A skinny twenty-something: scruffy, uncut hair and a sketchy beard. He is shirtless, and there is a deep, black pit in his clavicle, a hole where he has clearly been very badly wounded. Blood has run down his chest, soaked his jeans and forearms, and dried black. Fresh blood is still coming, building up thick layers, which shouldn't be possible. Wheeler doesn't spot the second hole in his gut, obscured by too much blood. Wheeler is trying to keep his expression neutral, but he knows it isn't working. He can feel his left hand, his bad hand, starting to shake. A part of him still wants to ask the guy why. But there is no possible answer. "This is what the human race really is," the man explains, spreading his hands to gesture at the whole world. "We lied to ourselves that we could be better, for thousands of years. But this is it. This is what we've always been. We've never been anything else.

The thing about these balloons is that there are so goddamned many of them. The sky is choked full of them, rubbing up against one another as they float to here or from there, and every one of those damned balloons ends up on my desk one way or another, and after a while a man can get discouraged. Everywhere the balloons, and each of them with a mother or a father, or God forbid both, and after a while, you can’t even see ’em individually. You look up at all the balloons in the sky and you can see all of the balloons, but you cannot see any one balloon.” He paused then, and inhaled sharply, as if he was realising something. “But then every now and again you talk to some big-eyed kid with too much hair for his head and you want to lie to him because he seems like a good kid. And you feel bad for this kid, because the only thing worse than the skyful of balloons you see is what he sees: a clear blue day interrupted by just the one balloon. But once that string gets cut, kid, you can’t uncut it.

Anne Sexton, who died forty-two years ago today, did her best to respond to the legions of fans who wrote to her. The letter below, from August 1965, finds her dispensing unvarnished advice to an aspiring poet from Amherst. Read more of her correspondence in Anne Sexton: A Self-Portrait in Letters. Your letter was very interesting, hard to define, making it hard on me somehow to set limits for you, advise or help in any real way. First of all let me tell you that I find your poems fascinating, terribly uneven … precious perhaps, flashes of brilliance … but the terrible lack of control, a bad use of rhyme and faults that I feel sure you will learn not to make in time. I am not a prophet but I think you will make it if you learn to revise, if you take your time, if you work your guts out on one poem for four months instead of just letting the miracle (as you must feel it) flow from the pen and then just leave it with the excuse that you are undisciplined. Hell! I’m undisciplined too, in everything but my work … Everyone in the world seems to be writing poems … but only a few climb into the sky. What you sent shows you COULD climb there if you pounded it into your head that you must work and rework these uncut diamonds of yours. If this is impossible for you my guess is that you will never really make it … As for madness … hell! Most poets are mad. It doesn’t qualify us for anything. Madness is a waste of time. It creates nothing. Even though I’m often crazy, and I am and I know it, still I fight it because I know how sterile, how futile, how bleak … nothing grows from it and you, meanwhile, only grow into it like a snail. Advice … Stop writing letters to the top poets in America. It is a terrible presumption on your part. I never in my life would have the gall (sp?) to write Randall Jarrell out of the blue that way and all my life I have wanted to do so. It’s out of line … it isn’t done. I mean they get dozens of fan letters a day that they have no time to respond to and I’m sure dozens of poems. Meanwhile, these poets (fans of whatever) should be contacting other young poets on their way—not those who have made it, who sit on a star and then have plenty of problems, usually no money, usually the fear their own writing is going down the sink hole … make contact with others such as you. They are just as lonely, just as ready, and will help you far more than the distant Big Name Poet … I’m not being rejecting, Jon, I’m being realistic.

I used to believe, bless my naive little heart, that I had something to offer the robbed dead. Not revenge—there’s no revenge in the world that could return the tiniest fraction of what they’ve lost—and not justice, whatever that means, but the one thing left to give them: the truth. I was good at it. I had one, at least, of the things that make a great detective: the instinct for truth, the inner magnet whose pull tells you beyond any doubt what’s dross, what’s alloy and what’s the pure, uncut metal. I dug out the nuggets without caring when they cut my fingers and brought them in my cupped hands to lay on graves, until I found out—Operation Vestal again—how slippery they were, how easily they crumbled, how deep they sliced and, in the end, how very little they were worth. In Domestic Violence, if you can get one bruised girl to press charges or go to a shelter, then there’s at least one night when her boyfriend is not going to hit her. Safety is a small debased currency, copper-plated pennies to the gold I had been chasing in Murder, but what value it has it holds. I had learned, by that time, not to take that lightly. A few safe hours and a sheet of phone numbers to call: I had never been able to offer a single murder victim that much.

It describes a significantly different way of life. For instance, the Manuscript predicts that we humans will voluntarily decrease our population so that we all may live in the most powerful and beautiful places on the Earth. But remarkably, many more of these areas will exist in the future, because we will intentionally let the forests go uncut so that they can mature and build energy. “According to the Ninth Insight, by the middle of the next millennium,” he continued, “humans will typically live among five hundred year old trees and carefully tended gardens, yet within easy travel distance of an urban area of incredible technological wizardry. By then, the means of survival—foodstuffs and clothing and transportation—will all be totally automated and at everyone’s disposal. Our needs will be completely met without the exchange of any currency, yet also without any overindulgence or laziness. “Guided by their intuitions, everyone will know precisely what to do and when to do it, and this will fit harmoniously with the actions of others. No one will consume excessively because we will have let go of the need to possess and to control for security. In the next millennium, life will have become about something else. “According to the Manuscript,” he went on, “our sense of purpose will be satisfied by the thrill of our own evolution—by the elation of receiving intuitions and then watching closely as our destinies unfold. The Ninth depicts a human world where everyone has slowed down and become more alert, ever vigilant for the next meaningful encounter that comes along. We will know that it could occur anywhere: on a path that winds through a forest, for instance, or on a bridge that traverses some canyon. “Can you visualize human encounters that have this much meaning and significance? Think how it would be for two people meeting for the first time. Each will first observe the other’s energy field, exposing any manipulations. Once clear, they will consciously share life stories until, elatedly, messages are discovered. Afterward, each will go forward again on their individual journey, but they will be significantly altered. They will vibrate at a new level and will thereafter touch others in a way not possible before their meeting.

Sometimes we ate raw onions like apples, too, I wanted to tell her. Sometimes, the tin foil held shredded chicken petrified in aspic. A fish head to suck on! I was filled with shame and hateful glee: everything I was feeling turned out at the person next to me. I was the one with an uncut cow's tongue uncoiling in the refrigerator of his undergraduate quad, my roommates' Gatorades and half-finished pad Thai keeping a nervous distance. I sliced it thinly, and down it went with horseradish and cold vodka like the worry of a long day sloughing off, those little dots of fat between the cold meet like garlic roasted to paste. I am the one who fried liver. Who brought his own lunch in an old Tupperware to his cubicle in the Conde Nast Building; who accidentally warmed it too long, and now the scent of buckwheat, stewed chicken, and carrots hung like radiation over the floor, few of those inhabitants brought lunch from home, fewer of whom were careless enough to heat it for too long if they did, and none of whom brought a scent bomb in the first place. Fifteen floors below, the storks who staffed the fashion magazines grazed on greens in the Frank Gehry cafeteria. I was the one who ate mashed potatoes and frankfurters for breakfast. Who ate a sandwich for breakfast. Strange? But Americans ate cereal for dinner. Americans ate cereal, period, that oddment. They had a whole thing called 'breakfast for dinner.' And the only reason they were right and I was wrong was that it was their country. The problem with my desire to pass for native was that everything in the tinfoil was so f*****g good. When the world thinks of Soviet food, it thinks of all the wrong things. Though it was due to incompetence rather than ideology, we were local, seasonal, and organic long before Chez Panisse opened its doors. You just had to have it in a home instead of a restaurant, like British cooking after the war, as Orwell wrote. For me, the food also had cooked into it the memory of my grandmother's famine; my grandfather's black-marketeering to get us the 'deficit' goods that, in his view, we deserved no less than the political VIPs; all the family arguments that paused while we filled our mouths and our eyes rolled back in our heads. Food was so valuable that it was a kind of currency - and it was how you showed loved. If, as a person on the cusp of thirty, I wished to find sanity, I had to figure out how to temper this hunger without losing hold of what it fed, how to retain a connection to my past without being consumed by its poison.