Wife Full Form Quotes

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

For the first time, his wife was waking up in his arms...And if he'd known how it would feel to have her there, his heart bursting out of his chest and his throat so full and tight that he couldn't have spoken a word if he'd wanted too, Thom would never have been able to pass a single night away form her. He didn't know how he ever would again.

I immersed myself in my relationship with my husband, in little ways at first. Dutch would come home from his morning workout and I’d bring him coffee as he stepped out of the shower. He’d slip into a crisp white shirt and dark slacks and run a little goop through his hair, and I’d eye him in the mirror with desire and a sultry smile that he couldn’t miss. He’d head to work and I’d put a love note in his bag—just a line about how proud I was of him. How beautiful he was. How happy I was as his wife. He’d come home and cook dinner and instead of camping out in front of the TV while he fussed in the kitchen, I’d keep him company at the kitchen table and we’d talk about our days, about our future, about whatever came to mind. After dinner, he’d clear the table and I’d do the dishes, making sure to compliment him on the meal. On those weekends when he’d head outside to mow the lawn, I’d bring him an ice-cold beer. And, in those times when Dutch was in the mood and maybe I wasn’t, well, I got in the mood and we had fun. As the weeks passed and I kept discovering little ways to open myself up to him, the most amazing thing happened. I found myself falling madly, deeply, passionately, head-over-heels in love with my husband. I’d loved him as much as I thought I could love anybody before I’d married him, but in treating him like my own personal Superman, I discovered how much of a superhero he actually was. How giving he was. How generous. How kind, caring, and considerate. How passionate. How loving. How genuinely good. And whatever wounds had never fully healed from my childhood finally, at long last, formed scar tissue. It was like being able to take a full breath of air for the first time in my life. It was transformative. And it likely would save our marriage, because, at some point, all that withholding would’ve turned a loving man bitter. On some level I think I’d known that and yet I’d needed my sister to point it out to me and help me change. Sometimes it’s good to have people in your life that know you better than you know yourself.

Ruby,” Kai said in a strained voice that was a far cry from his usual lackadaisical tones, “I know I am far from worthy of you, but would you do me the great honor of consenting to be my wife?” If the sky had rained fire, I would have been less shocked. I turned to stone. At least, that’s what it felt like. I didn’t move, didn’t breathe, didn’t even blink for what felt like a full minute. Then Kai lifted a brow and the air rushed back into my lungs. “You’re not serious” was all I could manage. He produced a winning, though forced, smile. “I assure you, the queen—that is, I—am quite serious. I’m asking for your hand in marriage.” “To…you,” I said with heavy emphasis. “Yes, that is why I am the one asking.” Despite his blinding display of teeth, he spoke as if his jaw was too rigid to form words properly. “To me.” I said it carefully, as if testing out new words in a foreign language. “Which is why it is your hand I’m asking for.

I dreamed of the day when computer games would be a viable medium of artistic expression — an art form. I dreamed of computer games expressing the full breadth of human experience and emotion. I dreamed of computer games that were tragedies, games about duty and honour, self-sacrifice and patriotism. I dreamed of satirical games and political games; games about the passionate love between a boy and girl, and the serene and mature love of a husband and wife of decades; games about a boy becoming a man, and a man realizing that he is no longer young. I dreamed of games about a man facing truth on a dusty main street at high noon, and a boy and his dog, and a prostitute with a heart of gold.

I know of no actor who is so pure onstage that he thinks only what his character thinks. If he did, he would presumably become the character: a form of madness. This may be of course what happens to Hamlet--he puts on an antic disposition, and gets stuck with it. [...] Acting is mostly a twin-track mental activity. In one track runs the role, requiring thoughts ranging from, say, gentle amusement to towering rage. Then there is the second track, which monitors the performance: executing the right moves, body language, and voice level; taking note of audience reaction and keeping an eye on fellow actors; coping with emergencies such as a missing prop or a faulty lighting cue. These two tracks run parallel, night by night. If one should go wrong, then it is likely that the other will misbehave too. [...] But there is a third and wholly subversive track that intrudes itself at intervals, full of phantom thoughts and feelings that come and go of their own volition. This ghost train of random musings is, of course, to be discouraged, but it can never be entirely denied. As Bohr and his wife, Margrethe, say in the play: "So many things we think about at the same time. Our lives and our physics...All the things that come into our heads out of nowhere.

the hand like a beggar’s upheld with the fingers forming a suggestion of what he deserves and desires to receive, shaping the alms, thumb almost touching finger tips, as though on the tip of the tongue he’s about to say in sleep and with that gesture what he couldnt say awake: ‘Why have you taken this away from me, that I cant draw my breath in the peace and sweetness of my own bed but here in these dull and nameless rags on this humbling stoop I have to sit waiting for the wheels of the city to roll,’ and further, ‘I dont want to show my hand but in sleep I’m helpless to straighten it, yet take this opportunity to see my plea, I’m alone, I’m sick, I’m dying – see my hand up-tipped, learn the secret of my human heart, give me the thing, give me your hand, take me to the emerald mountains beyond the city, take me to the safe place, be kind, be nice, smile – I’m too tired now of everything else, I’ve had enough, I give up, I quit, I want to go home, take me home O brother in the night – take me home, lock me in safe, take me to where all is peace and amity, to the family of life, my mother, my father, my sister, my wife and you my brother and you my friend – but no hope, no hope, no hope, I wake up and I’d give a million dollars to be in my own bed – O Lord save me –’ In evil roads behind gas tanks where murderous dogs snarl from behind wire fences cruisers suddenly leap out like getaway cars but from a crime more secret, more baneful than words can tell. The woods are full of wardens.

As the most perfect subject for painting I have already specified inwardly satisfied [reconciled and peaceful] love, the object of which is not a purely spiritual ‘beyond’ but is present, so that we can see love itself before us in what is loved. The supreme and unique form of this love is Mary’s love for the Christ-child, the love of the one mother who has borne the Saviour of the world and carries him in her arms. This is the most beautiful subject to which Christian art in general, and especially painting in its religious sphere, has risen. The love of God, and in particular the love of Christ who sits at’ the right hand of God, is of a purely spiritual kind. The object of this love is visible only to the eye of the soul, so that here there is strictly no question of that duality which love implies, nor is any natural bond established between the lovers or any linking them together from the start. On the other hand, any other love is accidental in the inclination of one lover for another, or,’ alternatively, the lovers, e.g. brothers and sisters or a father in his love for his children, have outside this relation other conceI1l8 with an essential claim on them. Fathers or brothers have to apply themselves to the world, to the state, business, war, or, in short, to general purposes, while sisters become wives, mothers, and so forth. But in the case of maternal love it is generally true that a mother’s love for her child is neither something accidental just a single feature in her life, but, on the contrary, it is her supreme vocation on earth, and her natural character and most sacred calling directly coincide. But while other loving mothers see and feel in their child their husband and their inmost union with him, in Mary’s relation to her child this aspect is always absent. For her feeling has nothing in common with a wife’s love for her husband; on the contrary, her relation to Joseph is more like a sister’s to a brother, while on Joseph’s side there is a secret awe of the child who is God’s and Mary’s. Thus religious love in its fullest and most intimate human form we contemplate not in the suffering and risen Christ or in his lingering amongst his friends but in the person of Mary with her womanly feeling. Her whole heart and being is human love for the child that she calls her own, and at the same time adoration, worship, and love of God with whom she feels herself at one. She is humble in God’s sight and yet has an infinite sense of being the one woman who is blessed above all other virgins. She is not self-subsistent on her own account, but is perfect only in her child, in God, but in him she is satisfied and blessed, whether. at the manger or as the Queen of Heaven, without passion or longing, without any further need, without any aim other than to have and to hold what she has. In its religious subject-matter the portrayal of this love has a wide series of events, including, for example, the Annunciation, the Visitation, the Birth, the Flight into Egypt, etc. And then there are, added to this, other subjects from the later life of Christ, i.e. the Disciples and the women who follow him and in whom the love of God becomes more or less a personal relation of love for a living and present Saviour who walks amongst them as an actual man; there is also the love of the angels who hover over the birth of Christ and many other scenes in his life, in serious worship or innocent joy. In all these subjects it is painting especially which presents the peace and full satisfaction of love. But nevertheless this peace is followed by the deepest suffering. Mary sees Christ carry his cross, she sees him suffer and die on the cross, taken down from the cross and buried, and no grief of others is so profound as hers. Mary’s grief is of a totally different kind. She is emotional, she feels the thrust of the dagger into the centre of her soul, her heart breaks, but she does not turn into stone.

The very concept that dragons can recall their previous lives is so hard for humans to grasp. I should so dearly love to listen to whatever you wished to tell me, and to make a complete record of all you recall. Such conversations alone would make a journey worthwhile! Oh, please, say that you will!” A taut quiet followed her words. “Alise,” Sedric said warningly, “I think you should come away from the railing.” But she clung there, even though she, too, could feel the wave of uneasiness that swept through the ship. The smoothness went out of the sailing; the deck under her feet shifted subtly. Surely it was her imagination that the wind flowed more chill than it had? Paragon spoke into the roaring silence. “I choose not to remember,” he said. Alise felt as if his words broke a spell. Sound and life came suddenly back to the world. It included the sudden thud of feet on the deck behind her. A woman’s voice said, without preamble, “I fear you’re upsetting my ship. I’ll have to ask you to leave the foredeck.” “She’s not upsetting me, Althea,” Paragon interjected as Alise turned to see the captain’s wife advancing on her. Alise had met her when they embarked and had spoken with her several times, but still did not feel at ease with her. She was a small woman who wore her hair in a long black pigtail down her back. She dressed in sailor’s garb; it was well tailored and of quality fabric, but for all that, she was a woman in trousers and a jacket. Less feminine garb Alise could not imagine, and yet the very inappropriateness of it seemed to emphasize her female form. Her eyes were very dark, and right now they sparked with either anger or fear. Alise retreated a step and put her hand on Sedric’s arm. For his part, he turned his body so that he stood almost between them and said, “I’m sure the lady meant no harm. The ship asked us to come up and speak with him.” “That I did,” Paragon confirmed. He twisted to look over his shoulder at all of them. “No harm done, Althea, I assure you. We were speaking of dragons, and quite naturally, she asked me what I recalled of being one. I told her that I chose to recall nothing at all.” “Oh, Ship,” the woman said, and Alise felt as if she had disappeared. Althea Trell did not even glance at her as she moved forward to take Alise’s place at the bow. She leaned on the railing and stared far ahead up the river as if sharing the ship’s thoughts. “Par’gon!” A child’s voice piped up suddenly behind them. Alise turned to watch a small boy of three or four clambering onto the raised foredeck. He was bare armed and bare legged and baked dark by the sun. He scampered forward, dropped to his hands and knees, and thrust his head out under the ship’s railing. Alise gasped, expecting him to pitch overboard at any moment. Instead he demanded the ship’s attention with a strident, “Par’gon? You awright?” His babyish voice was full of concern. The ship swung his head around to stare at the child. His mouth puckered oddly and then suddenly he smiled, an expression that transformed his face. “I’m fine.” “Catch me!” the boy commanded, and before his mother could even turn to him, he launched himself into the figurehead’s waiting hands. “Fly me!” the imp commanded the ship. “Fly me like a dragon!” And without a word, the ship obeyed him. He cupped the child in his two immense hands and lifted him high and forward. The boy leaned fearlessly against the ship’s laced fingers and spread his small arms wide as if they were wings. The figurehead gently wove his hands through the air, swaying the youngster from left to right. A squeal of glee drifted back to them. Abruptly the charge of tension in the air vanished. Alise wondered if Paragon even recalled they were there. “Let’s leave them shall we?” Althea suggested quietly. “Is it safe for the child?” Sedric objected in horror. “It’s the safest place the boy can possibly be,” Althea replied with certainty. “And for the ship, it’s the best place, too.

I knew the instant I saw you that you were not her.” “But you didn’t say anything!” He smirks. “To be honest, I was intrigued. I intended to question you in private, so as not to alarm my mother or Emily. But then I saw the change in my cousin. She had been quite despondent over her impending marriage--until your arrival. I admit I had no intention of interfering in her engagement, yet I could hardly take away what happiness you brought. Perhaps it was a way of alleviating my guilt for not helping her. And aside from that, you seemed to be doing no harm.” He grins at that last statement, as it’s obvious I was up to far more mischief than he realized. “You mean all this time I’ve been freaking out over you hating me and you knew?” He smiles sheepishly. It’s the closest thing to embarrassment I’ve ever seen on his face. “Yes.” I groan. “I guess I deserve that.” I turn back to the sky, and for the first time, an odd sense of peace washes over me. I want to stay here. I know now, without a shadow of a doubt, I want to stay here. Those mixed feelings have been replaced by something else: fear. Fear that it’s not really my choice to make. His thumb picks up its soft circling on my hand. “What will you do now?” “I don’t…I don’t know. I mean, I’m so lost I can’t find my way home. And maybe that sounds weird, but it’s true.” “You may stay here. As long as you need to.” I squeeze his hand. “Thank you. I’m not sure if I should, though. I belong somewhere else, and there may come a day when I need to go. When I…have to go. And I don’t want you to…I don’t want you to put anything on hold because of me.” I can’t believe I just said that. I can’t believe I implied he’d be so stuck on me that he wouldn’t pay attention to the other girls and his supposed duty to find a wife. A Duchess for Harksbury. “I would not wish you to leave if it is not your desire.” I nod and swallow the boulder-sized lump forming in my throat. I don’t know if he feels quite as strongly for me as I do for him, but he does care about me. And it feels good. “Thank you.” We turn back to the sky again, and I edge closer to him. I feel strange, dressed in my jeans and T-shirt, while he is still dressed as he always is. It makes it so painfully obvious that we’re from different worlds. Worlds that will never see one another. Worlds much too far apart. I turn toward him, so my cheek is resting on the cool grass. When he looks back at me, his eyes nearly blend with the blades until all I see is a sea of intense green. And then I do it. I edge closer to him, close my eyes, and kiss him. His lips are as soft and full as before, but I enjoy it this time, because my mind isn’t reeling like it was. I lose myself to the moment as he presses back against me. It is perfect. It is everything I want it to be and more. And then we both retreat, and I open my eyes. He moves his arm so that it wraps around my shoulders, and I have somewhere to rest my head, and then I snuggle up against him and close my eyes again, as the heavy draw of sleep lulls me under.

He leaned forward and tucked a blanket back around her feet. “When are you going to tell me about your striped socks?” “Why, Connell McCormick.” She gave a mock gasp. “Have you been peeking at my feet?” “I haven’t meant to. But there’ve been a few times—” “Few!” Again she pretended shock, but her smile gave away her playfulness. “So not only have you been peeking, you’ve made it a regular practice to glimpse under my hem.” “It’s hard to miss those bright colors—” “Come on. Admit it. You like seeing my ankles.” He poked at the fire and ducked his head. She gave a soft laugh. Pleasure from his obvious attraction wove through her like a sweet summer breeze. She shifted her legs and let the blanket slide from her feet again, revealing them once more. He glanced sideways for only an instant before focusing his full attention on the fire, prodding the logs and sending the flames higher—almost as if their lives depended upon how hot he could get them. She laughed again. A slow grin made its way up his lips. “Well, if you must know,” she said, “Oren’s wife, Betty, made them for me.

She does not always agree with us, but she's always straight." Over and over Bill sticks the landing, as they say in gymnastics, every applause line hits via a potent combination of elder-statesman gravitas and gleeful good fun; he is a granddaddy lion romping with the cubs. We get the full treatment tonight, the twinkly eyes, the coyly bit lip, the curl of devilment in the grin, and so we're reminded that seduction is his basic unit of being, every transaction a form of charming the pants off someone. One has to say it worked out pretty well for him, a large life by any measure though not without its lumps and bumps, an impeachment here, humiliated wife there, not to mention the histrionic "values" backlash that brought us George W. Bush. But Bill Clinton's so smooth you might forget all that, for an evening at least. Whoever said the man's lost it has rocks for brains. Perhaps he just needed a few days to strike the proper frame of mind, a trick of the Method actor's craft—he has to walk onstage pretending he's the candidate here.

The third component of yama is nonstealing (asteya). Once again, this is to be understood in a very comprehensive sense. As a form of dispassion it is the abstention—in deed, word, and thought—from grasping after another’s property. Even merely coveting our neighbor’s strawberries, let alone his wife or her husband (who is of course not property), constitutes an infringement of this moral commandment. This virtue is connected on the one hand with nongrasping (aparigraha) and on the other hand with contentment (samtosha), which will be discussed below. Where does faith come into play in this case? The Yoga practitioner’s faith is placed in the Self as the inexhaustible Fullness (pūrnatva) that, once it has been realized, leaves nothing to be desired. Our external grasping after, or seizing of, things (and also relationships) is an expression of the ego’s strategy to overcome its basic fearfulness created by its self-isolation (or separation from the Self). But in this endeavor to extend its radius, the ego necessarily encroaches on the life-space of others, and this violates the first law of nonharming. Through surrender to the Self as the absolutely self-sufficient Reality, the ego’s harmful activity is gradually neutralized. The yogins or yoginīs who live this ideal are no longer at war with the world or themselves. The next element of yama is chastity (brahmacarya). The literal meaning of this old Sanskrit word is “brahmic conduct,” that is, the “behavior of a brahmin” or “mode of the Absolute.” Here the principle of reversal, spoken of above as the very essence of the yogic process, is most clearly expressed. To behave like the Absolute means to model one’s life on the ideal condition of the genderless Absolute. This is the underlying idea of chastity. Our ordinary experience of the world is always framed in terms of male and female (and occasionally neuter). “Chastity” is, first of all, the attempt to break away from this binary compartmentalization of life. True continence begins in the mind. Spiritual practitioners who have mastered this virtue regard all people as the same (sama), irrespective of their sex. On the physical level, chastity involves the abstinence from sexual activity. Some schools make this an unqualified condition, whereas others hold a more lenient view. The latter apply the principle of moderation to this aspect of one’s personal life, but also have rather definite notions about what is to be considered as legitimate sex. Sexual exploitation between men and women, which is often what today’s sexual revolution is about, is in yogic terms not only a waste of precious vital energy (ojas), but also a kind of violence, theft, and deception. Certain that the eternal Self not only transcends all bodily distinctions but also is inherently blissful (ānanda), Yoga practitioners are able to surrender their desire for the transient pleasure afforded through sexual activity.3

I believe that we shocked each other by how swiftly we went from being the people who knew each other best in the world to being a pair of the most mutually incomprehensible strangers who ever lived. But it was vital to my survival to have a one bedroom of my own i saw the aprtment almost as a sanatorium a hospice clinci for my own recovery I painted the walls in the warmest colors i could find and bought myself flowers every week as if i were visiting myself in the hospital is this lifetime supposed to be only about duty why are you studying Italian so that just in case Italy ever invades Ethiopia again and is actually successful this time? ciao comes from if you must know it's an abbreviation of a phrase used by medieval venetians as an intimate salutation Sono il Suo Schiavo meaning i am your slave. om Naamah Shivaya meaning I honor the divinity that resides whin me. I wanted to experience both , I wanted worldly enjoyment and divine transcendence the dual glories of a human life I wanted what the Greeks called kalos kai agathos the singular balance of the good and he beautiful I'd been missing both during these last hard years because both pleasure and devotion require a stress free space in which to flourish and I'd been living in a giant trash compactor of nonstop anxiety , As for how to balance the urge for pleasure against the longing for devotion. four feet on the ground a head full of foliage looking at the world through the heart. it was more than I wanted to toughly explore one aspect of myself set against the backdrop of each country in a place that has traditionally done that one thing very well. same guatemalan musicians are always playing id rather be a sparrow than a snail on their bamboo windpipes oh how i want italian to open itself up to me i havent felt so starved for comprehension since then dal centro della mia vita venne una grande fontanana dolce sitl nuovo Dante wrote his divine comedy in terza rima triple rhyme a chain of rhymes with each rhyme repeating here times every five lines. lamor che move il sole e laltre stelle we are the masters of bel far niente larte darrangiarsi The reply in italy to you deserve a break today would probably be yeah no duh that's why I'm planning on taking a break at noon to go over to your house and sleep with your wife, I walked home to my apartment and soft-boiled a pair of fresh brown eggs for my lunch i peeled the eggs and arranged them on a plate beside the seven stalks of the asparagus (which were so slim and snappy they didn't need to be cooked at all,)I put some olives on the plate too and the four knobs of goat cheese I'd picked up yesterday from the fromagerie down the street tend two slices of pink oily salmon for dessert a lovely peach which the woman at the market had given to me for free and which was still warm form the roman sunlight for the longest time I couldn't even touch this food because it was such a masterpiece of lunch a true expression of the art of making something out of nothing finally when i had fully absorbed the prettiness of my meal i went and sat in apatch of sunbeam on my clean wooden floor and ate every bit of it with my fingers while reading my daily newspaper article in Italian happiness inhabited my every molecule. I am inspired by the regal self assurance of this town so grounded and rounded so amused and monumental knowing that she is held securely in the palm of history i would like to be like rome when i am an old lady. I linger over my food and wine for many hours because nobody in

In human form, my cum would simply act to heighten her desire. It’s only in full monster form that the tiny tentacle can slide its way past her cervix and into her womb.

Sargent painted a series of three portraits of the author Robert Louis Stevenson and the second, Portrait of Robert Louis Stevenson and his Wife (1885), is now one of the artist’s best known portraits. Completed less than a year before the publication of the hugely popular The Strange Case of Dr Jekyll and Mr Hyde, Sargent depicts Stevenson pacing before us, while his wife Fanny is seated in background to the right of the door. Reviews were mixed about the painting, with some critics feeling that the arrangement of the composition was odd and the depiction of the novelist was unflattering. However, Stevenson thought Sargent had correctly captured his odd manner of fidgeting about the room while he was trying to write. When Sargent painted the canvas, he wrote to Henry James and said that Stevenson “seemed to me the most intense creature I had ever met.” Sargent was twenty-nine years old at the time and Stevenson was thirty-four and at the height of his most productive period. He had just published Treasure Island in book form in 1883, his first full-length novel, and his popularity only grew in the public’s eye with The Black Arrow (1883), A Child’s Garden of Verses (1885) and Kidnapped (1886). Interestingly, Portrait of Robert Louis Stevenson and his Wife sold in 2004 for $8.8 million to the Las Vegas casino mogul Steve Wynn to be installed at his newest casino, Wynn Las Vegas.

I like most of my fellow Republicans and conservatives was a victim of the progressive paradigm, embedded in all our institutions of culture, from academia to Hollywood to the media. In this case, the story that we had accepted, like suckers, was the idea that fascism and Nazism are inherently “right wing.” The Left is really good at inventing and disseminating these paradigms. When one of them falls, they simply reach for another. In my previous book and film, Hillary’s America, I challenged another powerful leftist paradigm. This is the paradigm that the progressives and the Democrats are the party of emancipation, equality, and civil rights. I showed instead that they are the party of slavery and Indian removal, of segregation and Jim Crow, of racial terrorism and the Ku Klux Klan, and of opposition to the civil rights movement of the 1960s. My goal was to strip away the race card from the Democrats—a card they had been successfully playing against Republicans for a generation. Incredibly the Democrats had taken full credit for the civil rights movement, even though Republicans are the ones who got it passed, and even though the opposition to it came almost entirely from the Democratic Party. Democrats accused Republicans—the party of emancipation and opposition to segregation, bigotry, and white supremacy—of being the party of bigotry and white supremacy. Talk about transference. This was my introduction to the Left’s political strategy of shifting the blame for racism onto the party that had historically opposed racism in all its forms. So successful were the Democrats in this con that in 2005 a head of the Republican National Committee, Ken Mehlman, went around apologizing to black groups for sins that had actually been committed, not by the Republicans, but by the Democrats. 5 Equally astonishing, the Democrats have never admitted their racist history, never taken responsibility for what they did, never apologized for it, never paid one penny of restitution for their crimes. What intrigued me most was how one can get away with such a big lie. The answer is you have to dominate all the large megaphones of the culture, from academia to the movies to the major media. With this cultural arsenal at their disposal, big liars can spin out falsehoods with the confidence that no one else has a large enough megaphone to challenge them. They can have their lies taught in classrooms, made into movies and TV shows, and reported in the everyday media as the unvarnished truth. This is how big lies come to be widely believed, sometimes even by the people who are being lied about. Hillary’s America was met with outrage on the Left, but no one could rebut a single fact in the book or movie. Even my most incriminating allegations proved invulnerable. I noted that, in 1860, the year before the Civil War, no Republican owned a slave; all the four million slaves at the time were owned by Democrats. Now this generalization could easily be refuted by someone providing a list of Republicans who owned slaves. The Left couldn’t do it. One assiduous researcher finally sought to dispute me with a single counterexample. Ulysses S. Grant, he pointed out, once inherited a slave from his wife’s family. I conceded the point but reminded him that, at the time, Ulysses S. Grant was not a Republican. Fearful that they had no substantive answer to Hillary’s America, the mainstream media went into complete denial. If you watched the major networks or public television, or listened to National Public Radio, you would have no idea that Hillary’s America even existed. The book was Number One on the New York Times bestseller list and the movie was the top-grossing documentary of the year. Both were dense with material directly relevant to the ongoing election debate. Yet they were completely ignored by a press that was squarely in the Hillary camp.

The Catholic Church’s policy of blaming women and sex for the ills of the world came to full fruition in the late Middle Ages and on into the Renaissance. At minimum, hundreds of thousands of innocent women and men were hunted down, tortured horribly, reduced to physical, social, and economic wreckage, or burnt at the stake for being “witches”. The Catholic Church, so obsessed with it’s paranoid, irrational, illogical, and superstitious fantasies, deliberately tortured and executed human beings for a period of three hundred years. All this carnage, due to the Church's fear of learning, kept Europe in the throws of abysmal ignorance for a thousand years. What has been lacking in the world since the fall of the ancient world is a logical view of the godhead. To the Greek and Roman mind the gods were utilitarian; that is they offered convenient place to appreciate human archetypes. Sin and redemption from sin had nothing to do with the gods. The classic Greek and Roman gods did not offer recompense in life nor a heavenly afterlife as reward. Rather morality was determined by your service to humanity whether it was in the form of philosophy, science, art, architecture, engineering, leadership, or conquest. In this way humanity could live up to great potential instead of wasting their energy on worship, and false promises For almost a thousand years after the fall of Rome the Catholic Church’s control of society and law guaranteed that woman’s position was degraded to that of a second class citizen, far below the ancient Roman standard. Every literary reference depicts women as inferior, unworthy of inheritance, foolish, lustful and sinful. The Church ordained wife beating and encouraged total obedience to fathers and husbands. Women generally could not own land, join a guild, nor earn money like a man. Despite all this, a series of events unfolded; the crusades, rebirth of classical ideas, the printing press, the Reformation, and the Renaissance, all of which began to move womankind forward. VALENTINES DAY CARDS The Lupercalia festival of the New Year became an orgiastic carnival. A lottery ceremony ensued where men chose their sexual partners by choosing small bits of paper naming each woman present. Later the Christians, trying to incorporate and tame this sexual festival substituted the mythical saint Valentine; and ‘the cards of lust’ evolved into the valentine cards we exchange today.