Wolf Woman Quotes

Some days I am more wolf than woman, and I am still learning how to stop apologizing for my wild.

There is no spectacle on earth more appealing than that of a beautiful woman in the act of cooking dinner for someone she loves.

What becomes of a man who acquires a beautiful woman, with her "beauty" his sole target? He sabotages himself. He has gained no friend, no ally, no mutual trust: She knows quite well why she has been chosen. He has succeeded in buying something: the esteem of other men who find such an acquisition impressive.

Mercy is not a proper Indian name."..........."Rash Coyote Who Runs With Wolf. We could shorten it to Dinner Woman.

A healthy woman is much like a wolf: robust, chock-full, strong life force, life-giving, territorially aware, inventive, loyal, roving.

The Victorian woman became her ovaries, as today's woman has become her "beauty.

Sadly, the signals that allow men and women to find the partners who most please them are scrambled by the sexual insecurity initiated by beauty thinking. A woman who is self-conscious can't relax to let her sensuality come into play. If she is hungry she will be tense. If she is "done up" she will be on the alert for her reflection in his eyes. If she is ashamed of her body, its movement will be stilled. If she does not feel entitled to claim attention, she will not demand that airspace to shine in. If his field of vision has been boxed in by "beauty"--a box continually shrinking--he simply will not see her, his real love, standing right before him.

You can love her with everything you have and she still wont belong to you. She will run wild with you, beside you with everystep but let me tell you something about women who run with wolves, their fierce hearts dont settle between walls and their instinct is stronger than upbringing. Love her wild or leave her there.

Three things never anger or you'll not live for long; A wolf with cubs, A man with power, And a woman's sense of wrong.

Cosmetic surgery processes the bodies of woman-made women, who make up the vast majority of its patient pool, into man-made women.

Never violate a woman, nor harm a child. Do not lie, cheat or steal. These things are for lesser men. Protect the weak against the evil strong. And never allow thoughts of gain to lead you into the persuit of evil.

Little Red was a tender young morsel, and the wolf knew she would be even tastier than the old woman.

A consequence of female self-love is that the woman grows convinced of social worth. Her love for her body will be unqualified, which is the basis of female identification. If a woman loves her own body, she doesn't grudge what other women do with theirs; if she loves femaleness, she champions its rights. It's true what they say about women: Women are insatiable. We are greedy. Our appetites do need to be controlled if things are to stay in place. If the world were ours too, if we believed we could get away with it, we would ask for more love, more sex, more money, more commitment to children, more food, more care. These sexual, emotional, and physical demands would begin to extend to social demands: payment for care of the elderly, parental leave, childcare, etc. The force of female desire would be so great that society would truly have to reckon with what women want, in bed and in the world.

A strong woman is a woman who craves love like oxygen or she turns blue choking. A strong woman is a woman who loves strongly and weeps strongly and is strongly terrified and has strong needs. A strong woman is strong in words, in action, in connection, in feeling; she is not strong as a stone but as a wolf suckling her young. Strength is not in her, but she enacts it as the wind fills a sail.

No matter what a woman's appearance may be, it will be used to undermine what she is saying and taken to individualize - as her personal problem - observations she makes about the beauty myth in society.

Today a woman must ignore her reflection in the eyes of her lover, since he might admire her, and seek it in the gaze of the God of Beauty, in whose perception she is never complete.

Whatever is deeply, essentially female--the life in a woman's expression, the feel of her flesh, the shape of her breasts, the transformations after childbirth of her skin--is being reclassified as ugly, and ugliness as disease. These qualities are about an intensification of female power, which explains why they are being recast as a diminution of power. At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not exist on the woman's body, and how much of a female life does not show on her face?

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.

The maturing of a woman who has continued to grow is a beautiful thing to behold. Or, if your ad revenue or your seven-figure salary or your privileged sexual status depend on it, it is an operable condition.

Sometimes a woman has experienced too much life to have any blush left in her cheeks, but the man who puts it there is someone not easily forgotten.

Women could probably be trained quite easily to see men first as sexual things. If girls never experienced sexual violence; if a girl's only window on male sexuality were a stream of easily available, well-lit, cheap images of boys slightly older than herself, in their late teens, smiling encouragingly and revealing cuddly erect penises the color of roses or mocha, she might well look at, masturbate to, and, as an adult, "need" beauty pornography based on the bodies of men. And if those initiating penises were represented to the girl as pneumatically erectible, swerving neither left nor right, tasting of cinnamon or forest berries, innocent of random hairs, and ever ready; if they were presented alongside their measurements, length, and circumference to the quarter inch; if they seemed to be available to her with no troublesome personality attached; if her sweet pleasure seemed to be the only reason for them to exist--then a real young man would probably approach the young woman's bed with, to say the least, a failing heart.

The one thing you should never do to a woman, whether you make love to her or fuck her, is apologise straight after.

I wanted to drown inside a woman in the feeling and drooling of the love I could give her. I wanted her pulse to crush me with its intensity. That's what I wanted. That's what I wanted myself to be.

So what do wolves do to date?” Nick asked. “We don’t date,” Vane said. “When a woman is in season, we fight for her and then she picks who mounts her.” Nick gaped. “Are you kidding? You don’t have to buy her dinner? You mean you don’t even have to talk to her?” He turned to Acheron. “Dayam, Ash, make me a wolf.

The fate of peoples is made like this, two men in small rooms. Forget the coronations, the conclaves of cardinals, the pomp and processions. This is how the world changes: a counter pushed across a table, a pen stroke that alters the force of a phrase, a woman's sigh as she passes and leaves on the air a trail of orange flower or rose water; her hand pulling close the bed curtain, the discreet sigh of flesh against flesh.

When [beauty pornography is] aimed at men, its effect is to keep them from finding peace in sexual love. The fleeting chimera of the airbrushed centerfold, always receding before him, keeps the man destabilized in pursuit, unable to focus on the beauty of the woman--known, marked, lined, familiar—-who hands him the paper every morning.

What does this wildish intuition do for women? Like the wolf, intuition has claws that pry things open and pin things down, it has eyes that can through the shields of persona, it has ears that hear beyond the range of mundane human hearing. With these formidable psychic tools a woman takes on a shrewd and even precognitive animal consciousness, one that deepens her femininity and sharpens her ability to move confidently in the outer world.

We think that we know a man or a woman, when so much of what we know is actually that man's or that woman's situation, his or her place on the board of life. Move the pawn to the last row and see her rise in armor, sword in hand.

A soft woman is simply a wolf caught in meditation.

We do not have to spend money and go hungry and struggle and study to become sensual; we always were. We need not believe we must somehow earn good erotic care; we always deserved it. Femaleness and its sexuality are beautiful. Women have long secretly suspected as much. In that sexuality, women are physically beautiful already; superb; breathtaking. Many, many men see this way too. A man who wants to define himself as a real lover of women admires what shows of her past on a woman's face, before she ever saw him, and the adventures and stresses that her body has undergone, the scars of trauma, the changes of childbirth, her distinguishing characteristics, the light is her expression. The number of men who already see in this way is far greater than the arbiters of mass culture would lead us to believe, since the story they need to tell ends with the opposite moral.

No man was ever taken to hell by a woman unless he already had a ticket in his pocket or at least had been fooling around with timetables.

The surgeons are playing on the myth's double standard for the function of the body. A man's thigh is for walking, but a woman's is for walking and looking "beautiful." If women can walk but believe our limbs look wrong, we feel that our bodies cannot do what they are meant to do; we feel as genuinely deformed and disabled as the unwilling Victorian hypochondriac felt ill.

He could have watched her all night. He could watch her for an eternity and still never be able to capture the essence of what it is that makes ‘love’.

Men who read it [beauty pornography] don't do so because they want women who look like that. The attraction of what they are holding is that it is not a woman, but a two-dimensional woman-shaped blank. The appeal of the material is not the fantasy that the model will come to life; it is precisely that she will not, ever. Her coming to life would ruin the vision. It is not about life. Ideal beauty is ideal because it does not exist; The action lies in the gap between desire and gratification. Women are not perfect beauties without distance. That space, in a consumer culture, is a lucrative one. The beauty myth moves for men as a mirage, its power lies in its ever-receding nature. When the gap is closed, the lover embraces only his own disillusion.

I could do it. I could rip your life out like a fury, like a beast. I could stand over you with my red hands and lap the heart out of your hollow chest. I'm a wolf, I'm a woman, I'm a building hurricane. I'm whole-way sharp teeth, soul-sick wet claws. I say "love me," and you say, "you're killing me." I say, "i'd die for you," and you say," You'd kill for me—that's not the same thing.

Our society does reward beauty on the outside over health on the inside. Women must not be blamed for choosing short-term beauty "fixes" that harm our long-term health, since our life spans are inverted under the beauty myth, and there is no great social or economic incentive for women to live a long time. A thin young woman with precancerous lungs [who smokes to stay thin] is more highly rewarded socially that a hearty old crone. Spokespeople sell women the Iron Maiden [an intrinsically unattainable standard of beauty used to punish women for their failure to achieve and conform to it]and name her "Health": if public discourse were really concerned with women's health, it would turn angrily upon this aspect of the beauty myth.

Cosmetic surgery is not "cosmetic," and human flesh is not "plastic." Even the names trivialize what it is. It's not like ironing wrinkles in fabric, or tuning up a car, or altering outmoded clothes, the current metaphors. Trivialization and infantilization pervade the surgeons' language when they speak to women: "a nip," a "tummy tuck."...Surgery changes one forever, the mind as well as the body. If we don't start to speak of it as serious, the millennium of the man-made woman will be upon us, and we will have had no choice.

This wolf-woman Self must have freedom to move, to speak, to be angry, and to create.

There’s no sight on earth more appealing than that of a woman making dinner for someone she loves.

Half naked, he drank her in with his eyes, imprinting this moment into his mind. This, he would take to his death – the woman that stirred him to life.

From p. 40 of Signet Edition of Thomas Wolfe's _You Can't Go Home Again_ (1940): Some things will never change. Some things will always be the same. Lean down your ear upon the earth and listen. The voice of forest water in the night, a woman's laughter in the dark, the clean, hard rattle of raked gravel, the cricketing stitch of midday in hot meadows, the delicate web of children's voices in bright air--these things will never change. The glitter of sunlight on roughened water, the glory of the stars, the innocence of morning, the smell of the sea in harbors, the feathery blur and smoky buddings of young boughs, and something there that comes and goes and never can be captured, the thorn of spring, the sharp and tongueless cry--these things will always be the same. All things belonging to the earth will never change--the leaf, the blade, the flower, the wind that cries and sleeps and wakes again, the trees whose stiff arms clash and tremble in the dark, and the dust of lovers long since buried in the earth--all things proceeding from the earth to seasons, all things that lapse and change and come again upon the earth--these things will always be the same, for they come up from the earth that never changes, they go back into the earth that lasts forever. Only the earth endures, but it endures forever. The tarantula, the adder, and the asp will also never change. Pain and death will always be the same. But under the pavements trembling like a pulse, under the buildings trembling like a cry, under the waste of time, under the hoof of the beast above the broken bones of cities, there will be something growing like a flower, something bursting from the earth again, forever deathless, faithful, coming into life again like April.

What if once you get to know me, you don’t like what you see?” He took my hand and lifted it to his battered lips. “I already know you’re the only woman in the world I’d allow myself to get my ass kicked for. I’m pretty sure it can only get better from here.” I almost smiled. “Ah, so you’re an optimist.” “Not until I met you.

Some say the Tudors transcend this history, bloody and demonic as it is: that they descend from Brutus through the line of Constantine, son of St Helena, who was a Briton. Arthur, High King of Britain, was Constantine's grandson. He married up to three women, all called Guinevere, and his tomb is at Glastonbury, but you must understand that he is not really dead, only waiting his time to come again. His blessed descendant, Prince Arthur of England, was born in the year 1486, eldest son of Henry, the first Tudor king. This Arthur married Katharine the princess of Aragon, died at fifteen and was buried in Worcester Cathedral. If he were alive now, he would be King of England. His younger brother Henry would likely be Archbishop of Canterbury, and would not (at least, we devoutly hope not) be in pursuit of a woman of whom the cardinal hears nothing good: a woman to whom, several years before the dukes walk in to despoil him, he will need to turn his attention; whose history, before ruin seizes him, he will need to comprehend. Beneath every history, another history.

Every woman is wired differently. Some women's nerves branch more in the vagina; other women's nerves branch more in the clitoris. Some branch a great deal in the perineum, or at the mouth of the cervix. That accounts for some of the differences in female sexual response.

You could see the signs of female aging as diseased, especially if you had a vested interest in making women too see them your way. Or you could see that a woman is healthy if she lives to grow old; as she thrives, she reacts and speaks and shows emotion, and grows into her face. Lines trace her thought and radiate from the corners of her eyes as she smiles. You could call the lines a network of 'serious lesions' or you could see that in a precise calligraphy, thought has etched marks of concentration between her brows, and drawn across her forehead the horizontal creases of surprise, delight, compassion and good talk. A lifetime of kissing, of speaking and weeping, shows expressively around a mouth scored like a leaf in motion. The skin loosens on her face and throat, giving her features a setting of sensual dignity; her features grow stronger as she does. She has looked around in her life and it shows. When gray and white reflect in her hair, you could call it a dirty secret or you could call it silver or moonlight. Her body fills into itself, taking on gravity like a bather breasting water, growing generous with the rest of her. The darkening under her eyes, the weight of her lids, their minute cross-hatching, reveal that what she has been part of has left in her its complexity and richness. She is darker, stronger, looser, tougher, sexier. The maturing of a woman who has continued to grow is a beautiful thing to behold.

The beauty myth sets it up this way: A high rating as an art object is the most valuable tribute a woman can exact from her lover. If he appreciates her face and body because it is hers, that is next to worthless. It is very neat: The myth contrives to make women offend men by scrutinizing honest appreciation when they give it; it can make men offend women merely by giving them honest appreciation. It can manage to contaminate the sentence "You're beautiful," which is next to "I love you" in expressing a bond of regard between a woman and a man. A man cannot tell a woman that he loves to look at her without risking making her unhappy. If he never tells her, she is destined to be unhappy. And the "luckiest" woman of all, told she is loved because she's "beautiful," is often tormented because she lacks the security of being desired because she looks like who she lovably is.

In this little room full of people he was suffering the pangs of men whose egos lose their virginity—as happens when they overhear for the first time a beautiful woman’s undiluted, full-strength opinion of their masculine selves.

Beauty" and sexuality are both commonly misunderstood as some transcendent inevitable fact; falsely interlocking the two makes it seem doubly true that a woman must be "beautiful" to be sexual. That of course is not true at all. The definitions of both "beautiful" and "sexual" constantly change to serve the social order, and the connection between the two is a recent invention.

I am no longer scared of being a woman — it doesn’t make me any less a man. I am both. I am neither. I am only myself.

Like a wolf, she lived by instinct.

Is a woman bound to wifely obedience, when the result will be to turn her out of the estate of wife?

And then there was Lydia. Lydia who had hurtled into his life – into their lives – with hair like fire, eyes like amethysts and a fuck-me scent so palpable that he’d betrayed the only woman he’d ever loved.

At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not show on her body, and how much of a female life does not show on her face?

I’ve heard people say that you have to tip-toe around a woman’s emotions, but a man’s ego is every bit as fragile, if not more so.

I have never in my life wanted a woman more than I want you right now.

The anthropologist Margaret Mead concluded in 1948, after observing seven different ethnic groups in the Pacific Islands, that different cultures made different forms of female sexual experience seem normal and desirable. The capacity for orgasm in women, she found, is a learned response, which a given culture can help or can fail to help its women to develop. Mead believed that a woman's sexual fulfillment, and the positive meaning of her sexuality in her own mind, depend upon three factors: 1: She must live in a culture that recognizes female desire as being of value; 2: Her culture must allow her to understand her sexual anatomy; 3: And her culture must teach the various sexual skills that give women orgasms.

Do I perceive a softening in your heart for me, damoiselle?" He laughed at her scowl. "Beware maid. I will tell you true. After you will come another and then another. There are no strings that can tether me to any woman. So guard your heart." "My lord, you greatly exaggerate your appeal," she replied indignantly. "If I fell anything for you, 'tis hatred. You are the enemy and you are to be despised as such." "Indeed?" He smiled slowly into her eyes. "Then tell me, damoiselle, do you always kiss the enemy so warmly?

Does a wolf know how beautiful she is when she leaps? Does a feline know what beautiful shapes she makes when she sits? Is a bird awed by the sound it hears when it snaps open its wings? Learning from them, we just act in our own true way and do not draw back from or hide our natural beauty. Like the creatures, we just are, and it is right.

She gave his fake boob a poke. "What the hell is in here?" He laughed and pulled the top down part of the way to reveal a grapefruit. She groaned onto her hands. "Hey, I know it's been a while since I've seen a real tit up close, but I think I remember the basic shape. What would you have used?" "Oh, hell, Michael,I have no idea what a man uses to stuff a maid's uniform. Where did you get it anyways?" Another of his shit-eating grins lit his face. "From the plus sized section of the lingerie store in Sweedesboro. I'm a woman's extra large." He was so proud of the fact that she laughed until her side ached.

In the forest you may find yourself lost, without companions. You may come to a river which is not on a map. You may lose sight of your quarry, and forget why you are there. You may meet a dwarf, or the living Christ, or an old enemy of yours; or a new enemy, one you do not know until you see his face appear between the rustling leaves, and see the glint of his dagger. You may find a woman asleep in a bower of leaves. For a moment, before you don’t recognise her, you will think she is someone you know.

I looked at my sister, really looked at her, at this woman who couldn’t stomach the sycophants who now surrounded her, who had never spent a day in the forest but had gone into wolf territory… Who had shrouded the loss of our mother, then our downfall, in an icy rage and bitterness, because the anger had been a lifeline, the cruelty a release. But she had cared—beneath it, she had cared, and perhaps loved more fiercely than I could comprehend, more deeply and loyally.

So, you tumbled that wolf you were with?” Mercy was too much a pack animal to take offense at the personal question. She grinned. “How did you know it was me?” “Do I look senile to you?” ... “Yes,” Mercy said. “And I'm not doing it again.” If she kept telling herself that, maybe her traitorous body would actually notice and shut up with its demands. The older woman gave her a sour look. “Damn shame. What, you like them prettier?” A snort. “In my day, we liked men who looked like men.

Are you my daddy?” Ricky Lee Reed, originally of Smithtown, Tennessee, and only replanted to New York City a few years back, gawked at the child who’d asked him the question for a mere moment before he turned his attention to the adult female who held the child. He’d admit it wasn’t a question he expected to get, you know, ever. For a bunch of reasons, too, but mostly because he didn’t know this woman. He wasn’t one of those guys who nailed so many females he forgot their faces or names. So then . . . why was this child asking him this question? And even stranger, why was the female raising her brows and suddenly asking, “Well . . . are you?” Wait. Wouldn’t she know? Shouldn’t she? Good Lord, this city.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

What am I supposed to think, when you imagine me pure as the driven snow? I am not a child. If you strip me of the responsibility for my decisions, you strip me of the capacity to make them, as well. I am not a kitten, to be rescued from the jaws of a wolf. I'm a grown woman. And it is not your place to solve my problems without asking me for my opinion.

Humanity has four and a half billion passionate advocates - but how many speak....for the gray wolf?....it is a man's duty to speak for the voiceless. A woman's obligation to aid the defenseless. Human needs do not take precedence over other forms of life; we must share this lovely, delicate, vapor-clouded little planet with all

You ever see a man who doesn’t know he’s unhappy, Leopard? Look for it in the scars on his woman’s face. Or in the excellence of his woodcraft and iron making, or in the masks he makes to wear himself because he forbids the world to see his own face. I am not happy, Leopard. But I am not unhappy that I know.

She tried to break from his hold, and he tightened his grip. “You’re safe. I killed the rogues.” The woman stilled and searched his face, the wildness still heavy in her blue eyes. “You’re a wolf.” He smiled and nodded. “And you’re a tiger.” “A white tiger.” To match her white-blond hair. “And a beautiful one.

You know,” Ricky began, “if you’re not busy tonight—” Pointing at Ricky with her cell phone, the teen asked, “Are you our daddy?” Disgusted, Ricky stated to the jackal, “Woman, there has to be an easier way for you to get rid of a man.” “Perhaps, but I’ve found that there’s nothing quicker. “She winked at him, then gestured behind him with her chin. “And you may want to check on your brother—he’s still bleeding.” “Yeah. I think Novikov nicked an artery . . . again.

As soon as a woman's primary social value could no longer be defined as the attainment of virtuous domesticity, the beauty myth redefined it as the attainment of virtuous beauty. It did so to substitute both a new consumer imperative and a new justification for economic unfairness in the workplace where the old ones had lost their hold over newly liberated women.

He says that woman speaks with nature. That she hears voices from under the earth. That wind blows in her ears and trees whisper to her. That the dead sing through her mouth and the cries of infants are clear to her. But for him this dialogue is over. He says he is not part of this world, that he was set on this world as a stranger. He sets himself apart from woman and nature. And so it is Goldilocks who goes to the home of the three bears, Little Red Riding Hood who converses with the wolf, Dorothy who befriends a lion, Snow White who talks to the birds, Cinderella with mice as her allies, the Mermaid who is half fish, Thumbelina courted by a mole. (And when we hear in the Navaho chant of the mountain that a grown man sits and smokes with bears and follows directions given to him by squirrels, we are surprised. We had thought only little girls spoke with animals.) We are the bird's eggs. Bird's eggs, flowers, butterflies, rabbits, cows, sheep; we are caterpillars; we are leaves of ivy and sprigs of wallflower. We are women. We rise from the wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we are flame, we are oyster and pearl, we are girls. We are woman and nature. And he says he cannot hear us speak. But we hear.

He wants to say, because Anne is not a carnal being, she is a calculating being, with a cold slick brain at work behind her hungry black eyes. "I believe any woman who can say no to the King of England and keep on saying it, has the wit to say no to any number of men, including you, including Harry Percy, including anyone else she may choose to torment for her own sport while she is arranging her career in the way it suits her. So I think, yes, you've been made into a fool, but not quite in the way you thought.

Penelope decided a crippled-up second lieutenant didn’t have much of a future in the military, as well as no longer fitting her criteria for dashing.  With encouragement from her, Bob Tregonne saw his opportunity and took it. Poor bastard. Last I heard they married and moved to Washington where Bob got a promotion and a new post. My guess, he won’t be the last of the woman’s fools, especially in Washington society. Probably be a long list of husbands and lovers in that bucket.

She shuddered, convulsing beneath the whiplash of his tongue as the world dissolved around her. “Now.” He moved before the last violent pulses stilled. He came over her body, catching his weight on his elbows, staring down at her with savage intensity as the bulbous head of his c#ck nudged against the sensitive opening of her pussy. “Now,” he whispered again. “I make you my woman, Elizabeth. Now.

Women are mere "beauties" in men's culture so that culture can be kept male. When women in culture show character, they are not desirable, as opposed to the desirable. A beautiful heroine is a contradiction in terms, since heroism is about individuality, interesting and ever changing, while "beauty" is generic, boring, and inert. While culture works out moral dilemmas, "beauty" is amoral: If a woman is born resembling an art object, it is an accident of nature, a fickle consensus of mass perception, a peculiar coincidence--but it is not a moral act. From the "beauties" in male culture, women learn a bitter amoral lesson--that the moral lessons of their culture exclude them.

Where woman do not fit the Iron Maiden [societal expectations/assumptions about women's bodies], we are now being called monstrous, and the Iron Maiden is exactly that which no woman fits, or fits forever. A woman is being asked to feel like a monster now though she is whole and fully physically functional. The surgeons are playing on the myth's double standard for the function of the body. A man's thigh is for walking, but a woman's is for walking and looking "beautiful." If women can walk but believe our limbs look wrong, we feel that our bodies cannot do what they are meant to do; we feel as genuinely deformed and disabled as the unwilling Victorian hypochondriac felt ill.

I’m Caitlin McDonald,” she said, loosening the thick wool scarf from around her neck and down off her face, motioning her chin toward the big male. “You’ve already met Hector and his gang.” When Major Standback said widow I pictured an older woman. Not this one. She was young, no more than thirty. The cold on the skin of her fine features made her face shine. She had the clean, clear beauty of a china doll.

The fate of peoples is made like this, two men in small rooms. Forget the coronations, the conclaves of cardinals, the pomp and processions. This is how the world changes: a counter pushed across a table, a pen stroke that alters the force of a phrase, a woman’s sigh as she passes and leaves on the air a trail of orange flower or rose water; her hand pulling close the bed curtain, the discreet sigh of flesh against flesh.

Let me tell you something about wolves, child. When the snows fall and the white winds blow, the lone wolf dies, but the pack survives. Summer is the time for squabbles. In winter, we must protect one another, keep each other warm, share our strengths. So if you must hate, Arya, hate those who would truly do us harm. Septa Mordane is a good woman, and Sansa... Sansa is your sister. You may be as different as the sun and moon, but the same blood flows through both your hearts. You need her, as she needs you... and I need both of you, gods help me.

The deep bowl of frozen air that lay still across the land promised to make the clear night colder than the day. Through the warm glow of the dining room window, we could see Standback and a woman taking their meal. A servant came in to say something to him, and he looked out the window at our approach in the remaining daylight. Standback met us on the porch as we walked our horses up.

Feeling Robyn grow still, Shay’s heart stopped for a microsecond. Dread cut through her like ice. She looked at the female and noticed her staring at Shay’s upper thigh. She swallowed hard, afraid of what the woman might be thinking of her now, of the symbol tattooed into her skin. Just under the denim, but poking out enough, was the brand she’d worn her whole life. The dark moon rising out of the clouds. The mark of the Onyx Pack

The problem with cosmetics exists only when women feel invisible or inadequate without them. The problem with working out exists only if women hate ourselves when we don’t. When a woman is forced to adorn herself to buy a hearing, when she needs her grooming in order to protect her identity, when she goes hungry in order to keep her job, when she must attract a lover so that she can take care of her children, that is exactly what makes “beauty” hurt. Because what hurts women about the beauty myth is not adornment, or expressed sexuality, or time spent grooming, or the desire to attract a lover. Many mammals groom, and every culture uses adornment. “Natural” and “unnatural” are not the terms in question. The actual struggle is between pain and pleasure, freedom and compulsion.

Oh, but once my memories had pulsed with the blood-heat of life. In desperation, I forced myself to recall that once, I had walked with kings and conversed in languages never heard in this land. Once I had stood at the prow of a Sea Wolf ship and sailed oceans unknown to seamen here. I had ridden horses through desert lands, and dined on exotic foods in Arab tents. I had roamed Constantinople’s fabled streets, and bowed before the Holy Roman Emperor’s throne. I had been a slave, a spy, a sailor. Advisor and confidant of lords, I had served Arabs, Byzantines, and barbarians. I had worn captive’s rags, and the silken robes of a Sarazen prince. Once I had held a jeweled knife and taken a life with my own hand. Yes, and once I had held a loving woman in my arms and kissed her warm and willing lips...Death would have been far, far better than the gnawing, aching emptiness that was now my life.

We talk of strong personalities, and they are strong, until the not-every-day when we see them as we might see one woman alone in a desert, and know that all the strength we thought we knew was only courage, only her lone song echoing among the stones; and then at last when we have understood this and made up our minds to hear the song and admire its courage and its sweetness, we wait for the next note and it does not come. The last word, with its pure tone, echoes and fades and is gone, and we realize—only then—that we do not know what it was, that we have been too intent on the melody to hear even one word. We go then to find the singer, thinking she will be standing where we last saw her. There are only bones and sand and a few faded rags.

Gregory picks up his little dog. He hugs her, and nuzzles the fur at the back of her neck. He waits. ‘Rafe and Richard say that when my education is sufficient you mean to marry me to some old dowager with a great settlement and black teeth, and she will wear me out with lechery and rule me with her whims, and she will leave her estate away from the children she has and they will hate me and scheme against my life and one morning I shall be dead in my bed.’ The spaniel swivels in his son's arms, turns on him her mild, round, wondering eyes. ‘They are making sport of you, Gregory. If I knew such a woman, I would marry her myself.

The sagebrush is so short in some places that it is not large enough to make a fire, so we had to drive until quite late before we camped that night. After driving all day over what seemed a level desert of sand, we came about sundown to a beautiful cañon, down which we had to drive for a couple of miles before we could cross. In the cañon the shadows had already fallen, but when we looked up we could see the last shafts of sunlight on the tops of the great bare buttes. Suddenly a great wolf started from somewhere and galloped along the edge of the cañon, outlined black and clear by the setting sun. His curiosity overcame him at last, so he sat down and waited to see what manner of beast we were. I reckon he was disappointed for he howled most dismally. I thought of Jack London's "The Wolf.

Consumer culture is best supported by markets made up of sexual clones, men who want objects and women who want to be objects, and the object desired ever-changing, disposable, and dictated by the market. The beautiful object of consumer pornography has a built-in obsolescence, to ensure that as few men as possible will form a bond with one woman for years or for a lifetime, and to ensure that women's dissatisfaction with themselves will grow rather than diminish over time. Emotionally unstable relationships, high divorce rates, and a large population cast out into the sexual marketplace are good for business in a consumer economy. Beauty pornography is intent on making modern sex brutal and boring and only as deep as a mirror's mercury, anti-erotic for both men and women.

You cannot escape that you are a woman,” she began. “I wish I could,” Firekeeper muttered, but Elise continued as if she hadn’t heard. “Since you cannot, you cannot escape the expectations that our society and our class places upon women.” “Why?” Firekeeper said querulously. “...Consider,” she offered, “what you told me about learning to see at night so that you could hunt with the wolves. Learning to wear a gown, to walk gracefully, to eat politely…” “I do that!” “You’re learning,” Elise admitted, “but don’t change the subject. All of these are ways of learning to see in the dark.” “Maybe,” Firekeeper said, her tone unconvinced. “Can you climb a tree?” “Yes.” “Swim?” “Yes!” This second affirmative was almost indignant. “And these skills let you go places that you could not go without them.” Stubborn silence. Elise pressed her point. “Why do you like knowing how to shoot a bow?” “It lets me kill farther,” came the answer, almost in a growl. “And using a sword does the same?” “Yes.” “Let me tell you, Firekeeper, knowing a woman’s arts can keep you alive, let you invade private sanctums, even help you to subdue your enemies. If you don’t know those arts, others who do will always have an advantage over you.” “All this from wearing a gown that tangles your feet?

Women incorporate the values of the male sexual objectifiers within themselves. Catharine MacKinnon calls this being "thingified" in the head (MacKinnon, 1989). They learn to treat their own bodies as objects separate from themselves. Bartky explains how this works: the wolf whistle sexually objectifies a woman from without with the result that, ``"The body which only a moment before I inhabited with such ease now floods my consciousness. I have been made into an object'' (Bartky, 1990, p. 27). She explains that it is not sufficient for a man simply to look at the woman secretly, he must make her aware of his looking with the whistle. She must, "be made to know that I am a 'nice piece of ass': I must be made to see myself as they see me'' (p. 27). The effect of such male policing behaviour is that, "Subject to the evaluating eye of the male connoisseur, women learn to evaluate themselves first and best'" (Bartky, 1990, p. 28). Women thus become alienated from their own bodies.

The proof that the One Stone Solution is political lies in what women feel when they eat 'too much': guilt. Why should guilt be the operative emotion, and female fat be a moral issue articulated with words like good and bad? If our culture's fixation on female fatness of thinness were about sex, it would be a private issue between a woman and her lover; if it were about health, between a woman and herself. Public debate would be far more hysterically focused on male fat than on female, since more men [40 percent] are medically overweight than women [32 percent] and too much fat is far more dangerous for men than for women... ...But female fat is the subject of public passion, and women feel guilty about female fat, because we implicitly recognize that under the myth, women's bodies are not our own but society's, and that thinness is not a private aesthetic, but hunger a social concession exacted by the community.

Because I questioned myself and my sanity and what I was doing wrong in this situation. Because of course I feared that I might be overreacting, overemotional, oversensitive, weak, playing victim, crying wolf, blowing things out of proportion, making things up. Because generations of women have heard that they’re irrational, melodramatic, neurotic, hysterical, hormonal, psycho, fragile, and bossy. Because girls are coached out of the womb to be nonconfrontational, solicitous, deferential, demure, nurturing, to be tuned in to others, and to shrink and shut up. Because speaking up for myself was not how I learned English. Because I’m fluent in Apology, in Question Mark, in Giggle, in Bowing Down, in Self-Sacrifice. Because slightly more than half of the population is regularly told that what happens doesn’t or that it isn’t the big deal we’re making it into. Because your mothers, sisters, and daughters are routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, bullied, harassed, threatened, punished, propositioned, and groped, and challenged on what they say. Because when a woman challenges a man, then the facts are automatically in dispute, as is the speaker, and the speaker’s license to speak. Because as women we are told to view and value ourselves in terms of how men view and value us, which is to say, for our sexuality and agreeability. Because it was drilled in until it turned subconscious and became unbearable need: don’t make it about you; put yourself second or last; disregard your feelings but not another’s; disbelieve your perceptions whenever the opportunity presents itself; run and rerun everything by yourself before verbalizing it—put it in perspective, interrogate it: Do you sound nuts? Does this make you look bad? Are you holding his interest? Are you being considerate? Fair? Sweet? Because stifling trauma is just good manners. Because when others serially talk down to you, assume authority over you, try to talk you out of your own feelings and tell you who you are; when you’re not taken seriously or listened to in countless daily interactions—then you may learn to accept it, to expect it, to agree with the critics and the haters and the beloveds, and to sign off on it with total silence. Because they’re coming from a good place. Because everywhere from late-night TV talk shows to thought-leading periodicals to Hollywood to Silicon Valley to Wall Street to Congress and the current administration, women are drastically underrepresented or absent, missing from the popular imagination and public heart. Because although I questioned myself, I didn’t question who controls the narrative, the show, the engineering, or the fantasy, nor to whom it’s catered. Because to mention certain things, like “patriarchy,” is to be dubbed a “feminazi,” which discourages its mention, and whatever goes unmentioned gets a pass, a pass that condones what it isn’t nice to mention, lest we come off as reactionary or shrill.

Tenways showed his rotten teeth. ‘Fucking make me.’ ‘I’ll give it a try.’ A man came strolling out of the dark, just his sharp jaw showing in the shadows of his hood, boots crunching heedless through the corner of the fire and sending a flurry of sparks up around his legs. Very tall, very lean and he looked like he was carved out of wood. He was chewing meat from a chicken bone in one greasy hand and in the other, held loose under the crosspiece, he had the biggest sword Beck had ever seen, shoulder-high maybe from point to pommel, its sheath scuffed as a beggar’s boot but the wire on its hilt glinting with the colours of the fire-pit. He sucked the last shred of meat off his bone with a noisy slurp, and he poked at all the drawn steel with the pommel of his sword, long grip clattering against all those blades. ‘Tell me you lot weren’t working up to a fight without me. You know how much I love killing folk. I shouldn’t, but a man has to stick to what he’s good at. So how’s this for a recipe…’ He worked the bone around between finger and thumb, then flicked it at Tenways so it bounced off his chain mail coat. ‘You go back to fucking sheep and I’ll fill the graves.’ Tenways licked his bloody top lip. ‘My fight ain’t with you, Whirrun.’ And it all came together. Beck had heard songs enough about Whirrun of Bligh, and even hummed a few himself as he fought his way through the logpile. Cracknut Whirrun. How he’d been given the Father of Swords. How he’d killed his five brothers. How he’d hunted the Shimbul Wolf in the endless winter of the utmost North, held a pass against the countless Shanka with only two boys and a woman for company, bested the sorcerer Daroum-ap-Yaught in a battle of wits and bound him to a rock for the eagles. How he’d done all the tasks worthy of a hero in the valleys, and so come south to seek his destiny on the battlefield. Songs to make the blood run hot, and cold too. Might be his was the hardest name in the whole North these days, and standing right there in front of Beck, close enough to lay a hand on. Though that probably weren’t a good idea. ‘Your fight ain’t with me?’ Whirrun glanced about like he was looking for who it might be with. ‘You sure? Fights are twisty little bastards, you draw steel it’s always hard to say where they’ll lead you. You drew on Calder, but when you drew on Calder you drew on Curnden Craw, and when you drew on Craw you drew on me, and Jolly Yon Cumber, and Wonderful there, and Flood – though he’s gone for a wee, I think, and also this lad here whose name I’ve forgotten.’ Sticking his thumb over his shoulder at Beck. ‘You should’ve seen it coming. No excuse for it, a proper War Chief fumbling about in the dark like you’ve nothing in your head but shit. So my fight ain’t with you either, Brodd Tenways, but I’ll still kill you if it’s called for, and add your name to my songs, and I’ll still laugh afterwards. So?’ ‘So what?’ ‘So shall I draw?

Paths of the mirror" I And above all else, to look with innocence. As if nothing was happening, which is true. II But you, I want to look at you until your face escapes from my fear like a bird from the sharp edge of the night. III Like a girl made of pink chalk on a very old wall that is suddenly washed away by the rain. IV Like when a flower blooms and reveals the heart that isn’t there. V Every gesture of my body and my voice to make myself into the offering, the bouquet that is abandoned by the wind on the porch. VI Cover the memory of your face with the mask of who you will be and scare the girl you once were. VII The night of us both scattered with the fog. It’s the season of cold foods. VIII And the thirst, my memory is of the thirst, me underneath, at the bottom, in the hole, I drank, I remember. IX To fall like a wounded animal in a place that was meant to be for revelations. X As if it meant nothing. No thing. Mouth zipped. Eyelids sewn. I forgot. Inside, the wind. Everything closed and the wind inside. XI Under the black sun of the silence the words burned slowly. XII But the silence is true. That’s why I write. I’m alone and I write. No, I’m not alone. There’s somebody here shivering. XIII Even if I say sun and moon and star I’m talking about things that happen to me. And what did I wish for? I wished for a perfect silence. That’s why I speak. XIV The night is shaped like a wolf’s scream. XV Delight of losing one-self in the presaged image. I rose from my corpse, I went looking for who I am. Migrant of myself, I’ve gone towards the one who sleeps in a country of wind. XVI My endless falling into my endless falling where nobody waited for me –because when I saw who was waiting for me I saw no one but myself. XVII Something was falling in the silence. My last word was “I” but I was talking about the luminiscent dawn. XVIII Yellow flowers constellate a circle of blue earth. The water trembles full of wind. XIX The blinding of day, yellow birds in the morning. A hand untangles the darkness, a hand drags the hair of a drowned woman that never stops going through the mirror. To return to the memory of the body, I have to return to my mourning bones, I have to understand what my voice is saying.

When you enter the woods of a fairy tale and it is night, the trees tower on either side of the path. They loom large because everything in the world of fairy tales is blown out of proportion. If the owl shouts, the otherwise deathly silence magnifies its call. The tasks you are given to do (by the witch, by the stepmother, by the wise old woman) are insurmountable - pull a single hair from the crescent moon bear's throat; separate a bowl's worth of poppy seeds from a pile of dirt. The forest seems endless. But when you do reach the daylight, triumphantly carrying the particular hair or having outwitted the wolf; when the owl is once again a shy bird and the trees only a lush canopy filtering the sun, the world is forever changed for your having seen it otherwise. From now on, when you come upon darkness, you'll know it has dimension. You'll know how closely poppy seeds and dirt resemble each other. The forest will be just another story that has absorbed you, taken you through its paces, and cast you out again to your home with its rattling windows and empty refrigerator - to your meager livelihood, which demands, inevitably, that you write about it.

Her womb from her body. Separation. Her clitoris from her vulva. Cleaving. Desire from her body. We were told that bodies rising to heaven lose their vulvas, their ovaries, wombs, that her body in resurrection becomes a male body. The Divine Image from woman, severing, immortality from the garden, exile, the golden calf split, birth, sorrow, suffering. We were told that the blood of a woman after childbirth conveys uncleanness. That if a woman's uterus is detached and falls to the ground, that she is unclean. Her body from the sacred. Spirit from flesh. We were told that if a woman has an issue and that issue in her flesh be blood, she shall be impure for seven days. The impure from the pure. The defiled from the holy. And whoever touches her, we heard, was also impure. Spirit from matter. And we were told that if our garments are stained we are unclean back to the time we can remember seeing our garments unstained, that we must rub seven substances over these stains, and immerse our soiled garments. Separation. The clean from the unclean. The decaying, the putrid, the polluted, the fetid, the eroded, waste, defecation, from the unchanging. The changing from the sacred. We heard it spoken that if a grave is plowed up in a field so that the bones of the dead are lost in the soil of the field, this soil conveys uncleanness. That if a member is severed from a corpse, this too conveys uncleanness, even an olive pit's bulk of flesh. That if marrow is left in a bone there is uncleanness. And of the place where we gathered to weep near the graveyard, we heard that planting and sowing were forbidden since our grieving may have tempted unclean flesh to the soil. And we learned that the dead body must be separated from the city. Death from the city. Wilderness from the city. Wildness from the city. The Cemetery. The Garden. The Zoological Garden. We were told that a wolf circled the walls of the city. That he ate little children. That he ate women. That he lured us away from the city with his tricks. That he was a seducer and he feasted on the flesh of the foolish, and the blood of the errant and sinful stained the snow under his jaws. The errant from the city. The ghetto. The ghetto of Jews. The ghetto of Moors. The quarter of prostitutes. The ghetto of blacks. The neighborhood of lesbians. The prison. The witch house. The underworld. The underground. The sewer. Space Divided. The inch. The foot. The mile. The boundary. The border. The nation. The promised land. The chosen ones.

YORK. She-wolf of France, but worse than wolves of France, Whose tongue more poisons than the adder's tooth, How ill-beseeming is it in thy sex To triumph, like an Amazonian trull, Upon their woes whom fortune captivates! But that thy face is, vizard-like, unchanging, Made impudent with use of evil deeds, I would assay, proud queen, to make thee blush. To tell thee whence thou cam'st, of whom deriv'd, Were shame enough to shame thee, wert thou not shameless. Thy father bears the type of King of Naples, Of both the Sicils and Jerusalem, Yet not so wealthy as an English yeoman. Hath that poor monarch taught thee to insult? It needs not, nor it boots thee not, proud queen; Unless the adage must be verified, That beggars mounted run their horse to death. 'T is beauty that doth oft make women proud; But, God he knows, thy share thereof is small. 'T is virtue that doth make them most admir'd; The contrary doth make thee wond'red at. 'T is government that makes them seem divine; The want thereof makes thee abominable. Thou art as opposite to every good As the Antipodes are unto us, Or as the south to the Septentrion. O tiger's heart wrapp'd in a woman's hide! How couldst thou drain the life-blood of the child, To bid the father wipe his eyes withal, And yet be seen to bear a woman's face? Women are soft, mild, pitiful, and flexible; Thou stern, obdurate, flinty, rough, remorseless. Bid'st thou me rage? why, now thou hast thy wish: Wouldst have me weep? why, now thou hast thy will; For raging wind blows up incessant showers, And when the rage allays the rain begins. These tears are my sweet Rutland's obsequies, And every drop cries vengeance for his death, 'Gainst thee, fell Clifford, and thee, false Frenchwoman.

Meg slashed through the last of Tarquin’s minions. That was a good thing, I thought distantly. I didn’t want her to die, too. Hazel stabbed Tarquin in the chest. The Roman king fell, howling in pain, ripping the sword hilt from Hazel’s grip. He collapsed against the information desk, clutching the blade with his skeletal hands. Hazel stepped back, waiting for the zombie king to dissolve. Instead, Tarquin struggled to his feet, purple gas flickering weakly in his eye sockets. “I have lived for millennia,” he snarled. “You could not kill me with a thousand tons of stone, Hazel Levesque. You will not kill me with a sword.” I thought Hazel might fly at him and rip his skull off with her bare hands. Her rage was so palpable I could smell it like an approaching storm. Wait…I did smell an approaching storm, along with other forest scents: pine needles, morning dew on wildflowers, the breath of hunting dogs. A large silver wolf licked my face. Lupa? A hallucination? No…a whole pack of the beasts had trotted into the store and were now sniffing the bookshelves and the piles of zombie dust. Behind them, in the doorway, stood a girl who looked about twelve, her eyes silver-yellow, her auburn hair pulled back in a ponytail. She was dressed for the hunt in a shimmering gray frock and leggings, a white bow in her hand. Her face was beautiful, serene, and as cold as the winter moon. She nocked a silver arrow and met Hazel’s eyes, asking permission to finish her kill. Hazel nodded and stepped aside. The young girl aimed at Tarquin. “Foul undead thing,” she said, her voice hard and bright with power. “When a good woman puts you down, you had best stay down.” Her arrow lodged in the center of Tarquin’s forehead, splitting his frontal bone. The king stiffened. The tendrils of purple gas sputtered and dissipated. From the arrow’s point of entry, a ripple of fire the color of Christmas tinsel spread across Tarquin’s skull and down his body, disintegrating him utterly. His gold crown, the silver arrow, and Hazel’s sword all dropped to the floor. I grinned at the newcomer. “Hey, Sis.

THE FORTRESS Under the pink quilted covers I hold the pulse that counts your blood. I think the woods outdoors are half asleep, left over from summer like a stack of books after a flood, left over like those promises I never keep. On the right, the scrub pine tree waits like a fruit store holding up bunches of tufted broccoli. We watch the wind from our square bed. I press down my index finger -- half in jest, half in dread -- on the brown mole under your left eye, inherited from my right cheek: a spot of danger where a bewitched worm ate its way through our soul in search of beauty. My child, since July the leaves have been fed secretly from a pool of beet-red dye. And sometimes they are battle green with trunks as wet as hunters' boots, smacked hard by the wind, clean as oilskins. No, the wind's not off the ocean. Yes, it cried in your room like a wolf and your pony tail hurt you. That was a long time ago. The wind rolled the tide like a dying woman. She wouldn't sleep, she rolled there all night, grunting and sighing. Darling, life is not in my hands; life with its terrible changes will take you, bombs or glands, your own child at your breast, your own house on your own land. Outside the bittersweet turns orange. Before she died, my mother and I picked those fat branches, finding orange nipples on the gray wire strands. We weeded the forest, curing trees like cripples. Your feet thump-thump against my back and you whisper to yourself. Child, what are you wishing? What pact are you making? What mouse runs between your eyes? What ark can I fill for you when the world goes wild? The woods are underwater, their weeds are shaking in the tide; birches like zebra fish flash by in a pack. Child, I cannot promise that you will get your wish. I cannot promise very much. I give you the images I know. Lie still with me and watch. A pheasant moves by like a seal, pulled through the mulch by his thick white collar. He's on show like a clown. He drags a beige feather that he removed, one time, from an old lady's hat. We laugh and we touch. I promise you love. Time will not take away that.

And do not try to be so brave. I am your lifemate.You cannot hide from me something as powerful as fear." "Trepidation," she corrected, nibbling at the pad of his thumb. "Is there a difference?" His pale eyes had warmed to molten mercury. Just that fast, her body ent liquid in answer. "You know very well there is." She laughed again, and the sound traveled down from his heart to pool in his groin, a heavy,familiar ache. "Slight, perhaps, but very important." "I will try to make you happy, Savannah," he promised gravely. Her fingers went up to brush at the thick mane of hair falling around his face. "You are my lifemate, Gregori. I have no doubt you will make me happy." He had to look away,out the window into the night. She was so good, with so much beauty in her, while he was so dark, his goodness drained into the ground with the blood of all the lives he had taken while he waited for her. But now,faced with the reality of her, Gregori could not bear her to witness the blackness within him, the hideous stain across his soul. For beyond his killing and law-breaking, he had committed the gravest crime of all. And he deserved the ultimate penalty, the forfeit of his life. He had deliberately tempered with nature.He knew he was powerful enough, knew his knowledge exeeded the boundaries of Carpathian law. He had taken Savannah's free will, manipulated the chemistry between them so that she would believe he was her true lifemate. And so she was with him-less than a quarter of a century of innocence pitted against his thousand years of hard study.Perhaps that was his punishment, he mused-being sentenced to an eternity of knowing Savannah could never really love him, never really accept his black soul.That she would be ever near yet so far away. If she ever found out the extent of his manipulation, she would despise him. Yet he could never,ever, allow her to leave him. Not if mortals and immortals alike were to be safe. His jaw hardened, and he stared out the window, turning slightly away from her. His mind firmly left hers, not wanting to alert her to the grave crime he had committed.He could bear torture and centuries of isolation, he could bear his own great sins, but he could not endure her loathing him. Unconsciously, he took her hand in his and tightened his grip until it threatened to crush her fragile bones. Savannah glanced at him, let out a breath slowly to keep from wincing, and kept her hand passively in his.He thought his mind closed to her.Didn't believe she was his true lifemate. He truly believed he had manipulated the outcome of their joining unfairly and that somewhere another Carpathian male with the chemistry to match hers might be waiting.Though he had offered her free access to his mind, had himself given her the power,to meld her mind with his,both as her wolf and as her healer before she was born,he likely didn't think a woman,a fledging, and one who was not his true lifemate, could possibly have the skill to read his innermost secrets.But Savannah could. And completing the ancient ritual of lifemates had only strengthened the bond.

[T]he old stories of human relationships with animals can't be discounted. They are not primitive; they are primal. They reflect insights that came from considerable and elaborate systems of knowledge, intellectual traditions and ways of living that were tried, tested, and found true over many thousands of years and on all continents. But perhaps the truest story is with the animals themselves because we have found our exemplary ways through them, both in the older world and in the present time, both physically and spiritually. According to the traditions of the Seneca animal society, there were medicine animals in ancient times that entered into relationships with people. The animals themselves taught ceremonies that were to be performed in their names, saying they would provide help for humans if this relationship was kept. We have followed them, not only in the way the early European voyagers and prenavigators did, by following the migrations of whales in order to know their location, or by releasing birds from cages on their sailing vessels and following them towards land, but in ways more subtle and even more sustaining. In a discussion of the Wolf Dance of the Northwest, artists Bill Holm and William Reid said that 'It is often done by a woman or a group of women. The dance is supposed to come from the wolves. There are different versions of its origin and different songs, but the words say something like, 'Your name is widely known among the wolves. You are honored by the wolves.' In another recent account, a Northern Cheyenne ceremonialist said that after years spent recovering from removals and genocide, indigenous peoples are learning their lost songs back from the wolves who retained them during the grief-filled times, as thought the wolves, even though threatened in their own numbers, have had compassion for the people.... It seems we have always found our way across unknown lands, physical and spiritual, with the assistance of the animals. Our cultures are shaped around them and we are judged by the ways in which we treat them. For us, the animals are understood to be our equals. They are still our teachers. They are our helpers and healers. They have been our guardians and we have been theirs. We have asked for, and sometimes been given, if we've lived well enough, carefully enough, their extraordinary powers of endurance and vision, which we have added to our own knowledge, powers and gifts when we are not strong enough for the tasks required of us. We have deep obligations to them. Without other animals, we are made less. (from her essay "First People")