Wood Floor Quotes

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong. I will love you as a battlefield loves young men and as peppermints love your allergies, and I will love you as the banana peel loves the shoe of a man who was just struck by a shingle falling off a house. I will love you as a volunteer fire department loves rushing into burning buildings and as burning buildings love to chase them back out, and as a parachute loves to leave a blimp and as a blimp operator loves to chase after it. I will love you as a dagger loves a certain person’s back, and as a certain person loves to wear dagger proof tunics, and as a dagger proof tunic loves to go to a certain dry cleaning facility, and how a certain employee of a dry cleaning facility loves to stay up late with a pair of binoculars, watching a dagger factory for hours in the hopes of catching a burglar, and as a burglar loves sneaking up behind people with binoculars, suddenly realizing that she has left her dagger at home. I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguised and until every home is rebuilt from the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where we once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from slim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and now matter how I am discovered after what happens to me as I am discovering this.

Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

He threw his burning cigarette onto our clean living room floor and ground it into the wood with his boot. We were about to become cigarettes.

I settled on the floor and whispered to Sam, “I want you to listen to me, if you can.” I leaned the side of my face against his ruff and remembered the golden wood he had shown me so long ago. I remembered the way the yellow leaves, the color of Sam’s eyes, fluttered and twisted, crashing butterflies, on their way to the ground. The slender white trunks of the birches, creamy and smooth as human skin. I remembered Sam standing in the middle of the wood, his arms stretched out, a dark, solid form in the dream of the trees. His coming to me, me punching his chest, the soft kiss. I remembered every kiss we’d ever had, and I remembered every time I’d curled in his human arms. I remembered the soft warmth of his breath on the back of my neck while we slept. I remembered Sam.

While they sat, random noises came from the electronic transmitter inside the office. They heard a door open, followed by footsteps on the wood floor.

This near enough? Whatcha gonna do, doll girl? Cry all over me?" Claire hid her eyes as the biker reached out for Eve with one tattooed hand. No," Eve said breathlessly. "I'm going to let my boyfriend beat the crap out of you." There was a dull thunk of wood meeting flesh, and a howl. Then another, much harder thunk, and a crash as a body hit the floor. The biker was down. Claire stared at him in disbelief, then looked past him, to the figure standing there with the field hockey stick in both hands. Michael Glass.

There was a loud scraping noise as five chairs slid backward. The men rose as a unit. And started coming for her. She looked to the faces of the two she knew, but their grave expressions weren't encouraging. And then the knives came out. With a metallic whoosh, five black daggers were unsheathed. She backed up frantically, hands in front of herself. She slammed into a wall and was about to scream for Wrath when the men dropped down on bended knees in a circle around her. In a single movement, as if they'd been choreographed, they buried the daggers into the floor at her feet and bowed their heads. The great whoomp of sound as steel met wood seemed both a pledge and a battle cry. The handles of the knives vibrated. The rap music continued to pound. They seemed to be waiting for some kind of response from her. "Umm. Thank you," she said. The men's heads lifted. Etched into the harsh planes of their faces was total reverence. Even the scarred one had a respectful expression. And then Wrath came in with a squeeze bottle of Hershey's syrup. "Bacon's on the way." He smiled. "Hey, they like you." "And thank God for that," she murmured, looking down at the daggers.

Hill House,not sane, stood by itself against its hills, holding darkness within; it has stood for eighty years and might stand eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

No one can make you 'better' emotionally, mentally, spiritually or physically. You have to find this for yourself. You have to taste that brutal moment when you're crying in a corner of the room, curled up on the floor and you think this is your end. You have to fight to stand up, literally. And you have to walk over to your reflection and scream, scream it all out. Then you have pick up your sword and fight and never quit. This is your life. Don't let those bastards win.

A good soup attracts chairs. This is an African proverb. I can hear the shuffling and squeaking on the wood floor, the gathering 'round. This, from just five well-chosen words.

I see a few hands stretching out to me at the edge of the net, so I grabbed the first one I could reach and pull myself across. I roll off, and would have fallen face-first onto a wood floor if he had not caught me. "He" is the young man attached to the hand I grabbed. He has a spare upper lip and a full lower lip. His eyes are so deep-set that his eyelashes touch the skin under his eyebrows, and they are dark blue, a dreaming, sleeping, waiting color.

Of course the Man was wild too. He was dreadfully wild. He didn't even begin to be tame till he met the Woman, and she told him that she did not like living in his wild ways. She picked out a nice dry Cave, instead of a heap of wet leaves, to lie down in; and she strewed clean sand on the floor; and she lit a nice fire of wood at the back of the Cave; and she hung a dried wild-horse skin, tail down, across the opening of the Cave; and she said, 'Wipe your feet, dear, when you come in, and now we'll keep house.

I draw a line down the middle of a chalkboard, sketching a male symbol on one side and a female symbol on the other. Then I ask just the men: What steps do you guys take, on a daily basis, to prevent yourselves from being sexually assaulted? At first there is a kind of awkward silence as the men try to figure out if they've been asked a trick question. The silence gives way to a smattering of nervous laughter. Occasionally, a young a guy will raise his hand and say, 'I stay out of prison.' This is typically followed by another moment of laughter, before someone finally raises his hand and soberly states, 'Nothing. I don't think about it.' Then I ask women the same question. What steps do you take on a daily basis to prevent yourselves from being sexually assaulted? Women throughout the audience immediately start raising their hands. As the men sit in stunned silence, the women recount safety precautions they take as part of their daily routine. Here are some of their answers: Hold my keys as a potential weapon. Look in the back seat of the car before getting in. Carry a cell phone. Don't go jogging at night. Lock all the windows when I sleep, even on hot summer nights. Be careful not to drink too much. Don't put my drink down and come back to it; make sure I see it being poured. Own a big dog. Carry Mace or pepper spray. Have an unlisted phone number. Have a man's voice on my answering machine. Park in well-lit areas. Don't use parking garages. Don't get on elevators with only one man, or with a group of men. Vary my route home from work. Watch what I wear. Don't use highway rest areas. Use a home alarm system. Don't wear headphones when jogging. Avoid forests or wooded areas, even in the daytime. Don't take a first-floor apartment. Go out in groups. Own a firearm. Meet men on first dates in public places. Make sure to have a car or cab fare. Don't make eye contact with men on the street. Make assertive eye contact with men on the street.

Light bounced off the cut glass and illuminated the checkerboard floor: alternating squares of darker and lighter wood. If you climbed to the chandelier and looked down, they revealed themselves as the shape of the Angelic Power rune. Not that Emma would admit she’d done that. Though one did get an excellent view of the massive stone chair of the Institute’s head from that angle.

The Song of Wandering Aengus I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

There are only a few things that are more entertaining than watching a cat trying to run across a freshly waxed wood floor after a ball.

Blond trollops who don go-go boots flop pompoms nonstop to do promos for floorshows. Wow! Hot blonds who doff cotton frocks show off soft bosoms. Hot to trot, two blonds who smooch now romp on cold wood floors for crowds of morons, most of whom hoot or howl: whoop, whoop

There was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-titled streetlight; a frozen clock, a bird visited within its high tower; cold water from a tin jug; towering off one’s clinging shirt post-June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease. A bloody ross death-red on a platter; a headgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one’s own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one’s beloved’s name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead. Goodbye, I must now say goodbye to all of it. Loon-call in the dark; calf-cramp in the spring; neck-rub in the parlour; milk-sip at end of day. Some brandy-legged dog proudly back-ploughs the grass to cover its modest shit; a cloud-mass down-valley breaks apart over the course of a brandy-deepened hour; louvered blinds yield dusty beneath your dragging finger, and it is nearly noon and you must decide; you have seen what you have seen, and it has wounded you, and it seems you have only one choice left. Blood-stained porcelain bowl wobbles face down on wood floor; orange peel not at all stirred by disbelieving last breath there among that fine summer dust-layer, fatal knife set down in pass-panic on familiar wobbly banister, later dropped (thrown) by Mother (dear Mother) (heartsick) into the slow-flowing, chocolate-brown Potomac. None of it was real; nothing was real. Everything was real; inconceivably real, infinitely dear. These and all things started as nothing, latent within a vast energy-broth, but then we named them, and loved them, and in this way, brought them forth. And now we must lose them. I send this out to you, dear friends, before I go, in this instantaneous thought-burst, from a place where time slows and then stops and we may live forever in a single instant. Goodbye goodbye good-

You have grudged the very fire in your house because the wood cost overmuch!" he cried. "You have grudged life. To live cost overmuch, and you have refused to pay the price. Your life has been like a cabin where the fire is out and there are no blankets on the floor." He signaled to a slave to fill his glass, which he held aloft. "But I have lived. And I have been warm with life as you have never been warm. It is true, you shall live long. But the longest nights are the cold nights when a man shivers and lies awake. My nights have been short, but I have slept warm

Naoko stayed frozen in place, like a small nocturnal animal that has been lured out by the moonlight. The direction of the glow exaggerated the silhouette of her lips. Seeming utterly fragile and vulnerable, the silhouette pulsed almost imperceptibly with the beating of her heart or the motions of her inner heart, as if she were whispering soundless words to the darkness. I swallowed in hopes of easing my thirst, but in the stillness of the night, the sound I made was huge. As if this were a signal to her, Naoko stood and glided toward the head of the bed, gown rustling faintly. She knelt on the floor by my pillow, eyes fixed on mine. I stared back at her, but her eyes told me nothing. Strangely transparent, they seemed like windows to a world beyond, but however long I peered into their depths, there was nothing I could see. Our faces were no more than ten inches apart, but she was light-years away from me.

we pull the table into the corner of the room and lay the comforter down on the wood floor. I get the pillows and you open the wine. I wrap my body around yours and sigh into your chest. when you laugh catches in your throat I want to trap it in a jar and listen to it later. no one every says what a miracle it is to be in love and not suffer for it but every time I look at you, I know. I would fall asleep on the floor every night if it meant resting my head in our love.

I am unpacking my library. Yes I am. The books are not yet on the shelves, not yet touched by the mild boredom of order. I cannot march up and down their ranks to pass them in review before a friendly audience. You need not fear any of that. Instead, I must ask you to join me in the disorder of crates that have been wrenched open, the air saturated with the dust of wood, the floor covered with torn paper, to join me among piles of volumes that are seeing daylight again after two years of darkness, so that you may be ready to share with me a bit of the mood -- it is certainly not an elegiac mood but, rather, one of anticipation -- which these books arouse in a genuine collector.

Squeak sq-squeak sq-squeak: fifty tennis shoes jumping and skipping against the waxed wood floor. Dodgeball. Perfect. It smells like the armpits of Satan in here.

Sometimes friends do foolish things. My father told me that true friends are like gold coins. Ships are wrecked by storms and lie for hundreds of years on the ocean floor. Worms destroy the wood. Iron corrodes. Silver turns black but gold doesn't change in sea water. It loses none of its brilliance or colour. It comes up the same. It survives shipwrecks and time.

Lord, if I thought you were listening, I'd pray for this above all: that any church set up in your name should remain poor, and powerless, and modest. That it should wield no authority except that of love. That it should never cast anyone out. That it should own no property and make no laws. That it should not condemn, but only forgive. That it should be not like a palace with marble walls and polished floors, and guards standing at the door, but like a tree with its roots deep in the soil, that shelters every kind of bird and beast and gives blossom in the spring and shade in the hot sun and fruit in the season, and in time gives up its good sound wood for the carpenter; but that sheds many thousands of seeds so that new trees can grow in its place. Does the tree say to the sparrow, 'Get out, you don't belong here?' Does the tree say to the hungry man, 'This fruit is not for you?' Does the tree test the loyalty of the beasts before it allows them into the shade?

You ask me what it means to be irrelevant? The feeling is akin to visiting your old house as a wandering ghost with unfinished business. Imagine going back: the structure is familiar ,but the door is now metal instead of wood,the walls have been painted a garish pink ,the easy chair you loved so much is gone .Your office is now the family room and your beloved bookcases have been replaced by a brand-new television set . This is your house,and it is not. And you are no longer relevant to this house , to its walls and doors and floors ; you are not seen .

Oh, shit!” My breath caught as I slid, and I stupidly kept my weight on Tate, which was too much for her. Backward I fell and into my lap she stumbled. We slammed to the floor, hitting the wood hard. I’d probably bruised every damn inch of my ass, but Tate was cool. She landed on me. That was cool for me, too.

...and again she wished for Sherwood, and the dappled roof of leaves that never weighed upon her. She pulled her scarf closer around her and thought, I would rather live in a hut in the woods; a hut like the one of my first memories, with a clean-swept dirt floor, and a brown-eyed boy watching me from behind his mother's skirts as I watched him from behind mine.

Instead of thinking gigantic thoughts, I tried to focus on something small, the smallest thing I could think of. Someone once made this pew I’m sitting on, I thought. Someone sanded the wood and varnished it. Someone carried it into the church. Someone laid the tiles on the floor, someone fitted the windows. Each brick was placed by human hands, each hinge fitted on each door, every road surface outside, every bulb in every streetlight. And even things built by machines were really built by human beings, who built the machines initially. And human beings themselves, made by other humans, struggling to create happy children and families. Me, all the clothing I wear, all the language I know. Who put me here in this church, thinking these thoughts? Other people, some I know very well and others I have never met. Am I myself, or am I them? Is this me, Frances? No, it is not me. It is the others. Do I sometimes hurt and harm myself, do I abuse the unearned cultural privilege of whiteness, do I take the labor of others for granted, have I sometimes exploited a reductive iteration of gender theory to avoid serious moral engagement, do I have a troubled relationship with my body, yes. Do I want to be free of pain and therefore demand that others also live free of pain, the pain that is mine and therefore also theirs, yes, yes.

Out of absolutely nowhere I felt a sudden, sweet shot of joy, piercing and distilled as the jolt I imagine heroin users get when the fix hits the vein. It was my partner bracing herself on her hands as she slid fluidly off the desk, it was the neat practiced movement of flipping my notebook shut one-handed, it was my superintendent wriggling into his suit jacket and covertly checking his shoulders for dandruff, it was the garishly lit office with a stack of marker-labeled case files sagging in the corner and evening rubbing up against the window. It was the realization, all over again, that this was real and it was my life. Maybe Katy Devlin, if she had made it that far, would have felt this way about blisters on her toes, the pungent smell of sweat and floor wax in the dance studios, the early-morning breakfast bells raced down echoing corridors. Maybe she, like me, would have loved the tiny details and the inconveniences even more dearly than the wonders, because they are the things that prove you belong.

Uhhhhh." Without answering,I turned and hurried toward the back of the room, eaving around bodies on yoga mats in the center of the polished wood floor, thinking unkind thoughts about well-meaning old people who wanted to push me into being successful.

They began to invent humourless, glum jokes of their own and disastrous rumours about the destruction awaiting them at Bologna. Yossarian sidled up drunkenly to Colonel Korn at the officers' club one night to kid with him about the new Lepage gun that the Germans had moved in. 'What Lepage gun?' Colonle Korn inquired with curiousity. 'The new three-hundred-and-forty-four-millimeter Lepage glue gun,' Yossarian answered. 'It glues a whole formation of planes together in mid-air.' Colonel Korn jerked his elbow free from Yossarian's clutching fingers in startled affront. 'Let go of me, you idiot!' he cried out furiously, glaring with vindictive approval as Nately leaped upon Yossarian's back and pulled him away. 'Who is that lunatic anyway?' Colonel Cathcart chortled merrily. 'That's the man you made me give a medal to after Ferrara. You had me promote him to captain, too, remember? It serves you right.' Nately was lighter than Yossarian and had great difficulty maneuvering Yossarian's luching bulk across the room to an unoccupied table. 'Are you crazy?' Nately kept hissing with trepidation. 'That was Colonel Korn. Are you crazy?' Yossarian wanted another drink and promised to leave quietly if Nately bought him one. Then he made Nately bring him two more. When Nately finally coaxed him to the door, Captain Black came stomping in from outside, banging his sloshing shoes down hard on the wood floor and spilling water from his eaves like a high roof. 'Boy, are you bastards in for it!' he announced exuberantly, splashing away from the puddle forming at his feet. 'I just got a call from Colonel Korn. Do you know what they've got waiting for you at Bologna? Ha! Ha! They've got the new Lepage glue gun. It glues a whole formation of planes together in mid-air.' 'My God, it's true!' Yossarian shrieked, and collapsed against Nately in terror.

(Divorce) We’ll remarry someday when we’ve grown, Like royalty who’ve earned the throne. An aisle made of gold, To have and to hold. My dress made of rags, A suit that’s so torn. All eyes are on me, But mine only on you. You give your hand, A king to his queen, But know this darling, Mulligans aren’t for the weak. By changing the rules, We’re changing the war, The wounds that we’ve known, Battle stains on the floor. But from this day on, The same as before, You are the apple, My eyes still adore. Worth more than one shot, Though we’ll face the worst a lot, Better days will come, If we stay and don’t run. And if a wave takes us out, I know we’ll figure it out. And if the current takes us in, I know we’ll do it all again.

Lie there panning, looking, all ribs and elbows and dilated eyes. The awake floor is littered with gear and dirty clothes, blond hardwood with sealed seams, two throw-rugs, the bare waxed wood shiny in the windows' snowlight, the floor neutral, faceless, you cannot see any face in the floor, awake, lying there, faceless, blank, dilated, playing beam over floor again and again, not sure all night forever unsure you're not missing something that's right there: you lie there, awake and almost twelve, believing with all your might.

I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguished and until every home is rebuilt form the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love you until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from skim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and no matter how I am discovered after what happens to me happens to me as I am discovering this. I will love you if you don’t marry me. I will love you if you marry someone else – your co-star, perhaps, or Y., or even O., or anyone Z. through A., even R. although sadly I believe it will be quite some time before two women can be allowed to marry – and I will love you if you have a child, and I will love you if you have two children, or three children, or even more, although I personally think three is plenty, and I will love you if you never marry at all, and never have children, and spend your years wishing you had married me after all, and I must say that on late, cold nights I prefer this scenario out of all the scenarios I have mentioned. That, Beatrice, is how I will love you even as the world goes on its wicked way.

A moment later he was sent sprawling on a hard wood floor. The idiots left him alone – why they thought a simple bash on the head would keep him immobile for long was beyond him. They wouldn’t have much of a career if they made mistakes like this. There were times when the incompetence of the enemy was simply an insult.

Swear to God, you come near us and–” “Like this?” The biker sidestepped a slash from the hockey stick, grabbed it on the way, and yanked it out of Eve’s hands. He tossed it over his shoulder to land on the floor with a clatter. “This near enough? Whatcha gonna do, doll girl?” Claire hid her eyes as the biker reached out for Eve with one tattooed hand. “No,” Eve said breathlessly. “I’m going to let my boyfriend beat the crap out of you.” There was a dull thunk of wood meeting flesh, and a howl. Then another, harder thunk, and a crash as a body hit the floor. The biker was down. Claire stared at him in disbelief, then looked past him, to the figure standing there with the field hockey stick in both hands. Michael Glass. Back from the dead, again, a gorgeous blond avenging angel, breathing hard.

In my fancy, you perch in the Cooperage & I smell the Peel of the Wood, & the Staves are around you & the white Hogsheads newly bound & the Shavings curled and looped upon the Floor, silver and gold--& you are eating a fat Mushroom.

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

Light glinted off a bright yellow racquet as the stranger took a swing, and Neil was going too fast to stop. Wood slammed into his gut hard enough to crush his lungs into his spine. He didn't remember falling, but suddenly he was on his hands and knees, scrabbling ineffectually at the floor as he tried to breathe. He'd puke if he could only manage that first gasp, but his body refused to cooperate.

Life is like the big wheel at Luna Park. You pay five francs and go into a room with tiers of seats all around, and in the centre the floor is made of a great disc of polished wood that revolves quickly. At first you sit down and watch the others. They are all trying to sit in the wheel, and they keep getting flung off, and that makes them laugh too. It's great fun. You see, the nearer you can get to the hub of the wheel the slower it is moving and the easier it is to stay on. There's generally someone in the centre who stands up and sometimes does a sort of dance. Often he's paid by the management, though, or, at any rate, he's allowed in free. Of course at the very centre there's a point completely at rest, if one could only find it; I'm not very near that point myself. Of course the professional men get in the way. Lots of people just enjoy scrambling on and being whisked off and scrambling on again. How they all shriek and giggle! Then there are others, like Margot, who sit as far out as they can and hold on for dear life and enjoy that. But the whole point about the wheel is that you needn't get on it at all, if you don't want to. People get hold of ideas about life, and that makes them think they've got to join in the game, even if they don't enjoy it. It doesn't suit everyone. People don't see that when they say "life" they mean two different things. They can mean simply existence, with its physiological implications of growth and organic change. They can't escape that - even by death, but because that's inevitable they think the other idea of life is too - the scrambling and excitement and bumps and the effort to get to the middle, and when we do get to the middle, it's just as if we never started. It's so odd. Now you're a person who was clearly meant to stay in the seats and sit still and if you get bored watch the others. Somehow you got on to the wheel, and you got thrown off again at once with a hard bump. It's all right for Margot, who can cling on, and for me, at the centre, but you're static. Instead of this absurd division into sexes they ought to class people as static and dynamic. There's a real distinction there, though I can't tell you how it comes. I think we're probably two quite different species spiritually.

Hill House, not sane, stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

Black vomit came gushing out Samantha’s mouth, adding to the puddle already on the floor. Samantha was covered in a sheen of sweat, crouched on all fours on the wooden hallway floor, like an animal. Her thick yellow fingernails made deep scratches in the wood as her body convulsed with each new expulsion of the black vomit. Her hair was long and thick and full; thicker and fuller than he had ever seen it. It reminded him of a lion’s mane. Her skin was a sickly pale grey with disturbing red boils the size of grapefruit and weeping puss-filled black blotches where others had burst. Spider webs of blue veins were visible under the skin all over her body.

I didn’t tell them your secret.” My fingers dug into the wood of the window frame, the splinters cutting through my skin like little blades. The police officers were raiding the second floor, I could tell. I could hear them. They were going to find the attic, and then me. “Tell me you believe me, and I’ll jump.” “What difference does it make?” He bared his fangs, staring at me with forced boredom. The fire spread, licking at the grass and approaching us with surprising speed, though he didn’t seem to mind at all. We were already dangerously close to getting caught. “Because it’s the truth,” I screamed. Our eyes met in the dark and held for a moment. “I don’t believe you, but I’ll still catch you,” he said. “I will always catch you, the fucking dumbass that I am.” “What do you mean?” “You soften me.” “Why?” “Because I don’t want to fucking kill you! You’re too fun to fuck with. Now Get. The. Hell. Down.

The worm drives helically through the wood And does not know the dust left in the bore Once made the table integral and good; And suddenly the crystal hits the floor. Electrons find their paths in subtle ways, A massless eddy in a trail of smoke; The names of lovers, light of other days Perhaps you will not miss them. That's the joke. The universe winds down. That's how it's made. But memory is everything to lose; Although some of the colors have to fade, Do not believe you'll get the chance to choose. Regret, by definition, comes too late; Say what you mean. Bear witness. Iterate.

A quiet but indomitable voice behind me said, “I believe this is my dance.” It was Ren. I could feel his presence. The warmth of him seeped into my back, and I quivered all over like spring leaves in a warm breeze. Kishan narrowed his eyes and said, “I believe it is the lady’s choice.” Kishan looked down at me. I didn’t want to cause a scene, so I simply nodded and removed my arms from his neck. Kishan glared at his replacement and stalked angrily off the dance floor. Ren stepped in front of me, took my hands gently in his, and placed them around his neck, bringing my face achingly close to his. Then he slid his hands slowly and deliberately over my bare arms and down my sides, until they encircled my waist. He traced little circles on my exposes lower back with his fingers, squeezed my waist, and drew my body up tightly against him. He guided me expertly through the slow dance. He didn’t say anything, at least not with words, but he was still sending lots of signals. He pressed his forehead against mine and leaned down to nuzzle my ear. He buried his face in my hair and lifted his hand to stroke down the length of it. His fingers played along my bare arm and at my waist. When the song ended, it took both of us a min to recover our senses and remember where we were. He traced the curve of my bottom lip with his finger then reached up to take my hand from around his neck and led me outside to the porch. I thought he would stop there, but he headed down the stairs and guided me to a wooded area with stone benches. The moon made his skin glow. He was wearing a white shirt with dark slacks. The white made me think of him as the tiger. He pulled me under the shadow of a tree. I stood very still and quiet, afraid that if I spoke I’d say something I’d regret. He cupped my chin and tilted my face up so he could look in my eyes. “Kelsey, there’s something I need to say to you, and I want you to be silent and listen.” I nodded my head hesitantly. “First, I want to let you know that I heard everything you said to me the other night, and I’ve been giving your words some very serious thought. It’s important for you to understand that.” He shifted and picked up a lock of hair, tucked it behind my ear, and trailed his fingers down my cheek to my lips. He smiled sweetly at me, and I felt the little love plant bask in his smile and turn toward it as if it contained the nourishing rays of the sun. “Kelsey,” he brushed a hand through his hair, and his smile turned into a lopsided grin, “the fact is…I’m in love with you, and I have been for some time.” I sucked in a deep breath. He picked up my hand and played with my fingers. “I don’t want you to leave.” He began kissing my fingers while looking directly into my eyes. It was hypnotic. He took something out of his pocket. “I want to give you something.” He held out a golden chain covered with small tinkling bell charms. “It’s an anklet. They’re very popular here, and I got this one so we’d never have to search for a bell again.” He crouched down, wrapping his hand around the back of my calf, and then slid his palm down to my ankle and attached the clasp. I swayed and barely stopped myself from falling over. He trailed his warm fingers lightly over the bells before standing up. Putting his hands on my shoulders, he squeezed, and pulled me closer. “Kells . . . please.” He kissed my temple, my forehead, and my cheek. Between each kiss, he sweetly begged, “Please. Please. Please. Tell me you’ll stay with me.” When his lips brushed lightly against mine, he said, “I need you,” then crushed his lips against mine.

You Reading This, Be Ready Starting here, what do you want to remember? How sunlight creeps along a shining floor? What scent of old wood hovers, what softened sound from outside fills the air? Will you ever bring a better gift for the world than the breathing respect that you carry wherever you go right now? Are you waiting for time to show you some better thoughts? When you turn around, starting here, lift this new glimpse that you found; carry into evening all that you want from this day. This interval you spent reading or hearing this, keep it for life— What can anyone give you greater than now, starting here, right in this room, when you turn around?

Guns, double-crosses, hitmen… I can get used to a lot of things, but I’m never going to get used to sleeping where apocalypse bugs mate,” Wednesday said, walking into the room looking around. She dropped her Birkin on the floor and heard something scuttling behind the cheap plastic wood print veneer covered dresser. She turned to face Alvin, her head cocked to the side. “Seriously. I’m not saying five-star… I’m saying go on Expedia and find a place that actually has stars… any stars.

I scooted out of the laundry room and skipped down the hallway, arms flaying around my head like one of the hot pink puppets from the movie Labyrinth. “A scent and a sound, I’m lost and I’m found. And I’m hungry like the wolf. Something on a line, it’s discord and rhyme—whatever, whatever, la la la—Mouth is alive, all running inside, and I’m hungry like the—” Warmth spread down my neck. “It’s actually, ‘I howl and I whine. I’m after you,’ and not blah or whatever.” Startled by the deep voice, I shrieked and whipped around. My foot slipped on a section of well-cleaned wood and my butt smacked on the floor. “Holy crap,” I gasped, clutching my chest. “I think I’m having a heart attack.” “And I think you broke your butt.” Laughter filled Daemon’s voice. I remained sprawled across the narrow hallway, trying to catch my breath. “What the hell? Do you just walk into people’s houses?” “And listen to girls absolutely destroy a song in a matter of seconds? Well, yes, I make a habit out of it. Actually, I knocked several times, but I heard your…singing, and your door was unlocked.” He shrugged. “So I just let myself in.” “I can see that.” I stood, wincing. “Oh, man, maybe I did break my butt.” “I hope not. I’m kind of partial to your butt.” He flashed a smile. “Your face is pretty red. You sure you didn’t smack that on the way down?” I groaned. “I hate you.

Jobs described Mike Markkula's maxim that a good company must "impute"- it must convey its values and importance in everything it does, from packaging to marketing. Johnson loved it. It definitely applied to a company's stores. " The store will become the most powerful physical expression of the brand," he predicted. He said that when he was young he had gone to the wood-paneled, art-filled mansion-like store that Ralph Lauren had created at Seventy-second and Madison in Manhattan. " Whenever I buy a polo shirt, I think of that mansion, which was a physical expression of Ralph's ideals," Johnson said. " Mickey Drexler did that with the Gap. You couldn't think of a Gap product without thinking of the Great Gap store with the clean space and wood floors and white walls and folded merchandise.

Roland searched for a place that would be safe to climb, and found a staircase on the exposed inner wall of a house. The top step was the highest part of the house: everything above it, including the bedroom floor, had been knocked down. Roland tested his weight, but the wood was firm, so he went up.

We need an engineering friend.” She points a finger at Carin. “Go back to Briar and hook up with an engineering student.” “Okay, but I’ll need to actually have sex with him beforehand, so I won’t be back until,” she pretends to check the time, “ten or so.” “We’re all college graduates,” I proclaim. “We can put this together ourselves.” Clapping my hands, I motion for everyone to get on the floor with me. After three tries of trying to lower myself to the ground and making Hope and Carin nearly pee their pants laughing in the process, D’Andre takes pity on all of us and helps me onto my knees. Which is where Tucker finds us. “Is this some new fertility ritual?” he drawls from the doorway, one shoulder propped against the frame. “Because she’s already pregnant, you know.” “Get yo ass in here, white boy, and put this thing together,” D’Andre snaps. “This is ridiculous.” “What’s ridiculous?” Tucker stops next to me, and I take the opportunity to lean against his legs. Even kneeling is hard when you’re toting around an extra thirty pounds. “We took it apart. How can you not know how to put it back together?” D’Andre repeats his earlier excuse. “I’m an accounting major.” Tucker rolls his eyes. “You got an Allen wrench?” “Are you mocking us right now?” I grumble. “I don’t have any wrenches, let alone ones with names.” He grins. “Leave this to me, darlin’. I’ll get it fixed up.” “I want to help,” Hope volunteers. “This is like surgery, except with wood and not people.” “Lord help us,” D’Andre mutters.

Little gusts of sunshine blew, strangely bright, and lit up the celandines at the wood's edge, under the hazel-rods, they spangled out bright and yellow. And the wood was still, stiller, but yet gusty with crossing sun. The first windflowers were out, and all the wood seemed pale with the pallor of endless little anemones, sprinkling the shaken floor. 'The world has grown pale with thy breath.' But it was the breath of Persephone, this time; she came out of hell on a cold morning. Cold breaths of wind came, and overhead there was an anger of entangled wind caught among the twigs. It, too, was caught and trying to tear itself free, the wind, like Absalom. How cold the anemones looked, bobbing their naked white shoulders over crinoline skirts of green. But they stood it. A few first bleached little primroses too, by the path, and yellow buds unfolding themselves.

The sea contains many surprises for him who has his floor on a level with the surface and drifts along slowly and noiselessly. A sportsman who breaks his way through the woods may come back and say that no wild life is to be seen. Another may sit down on a stump and wait, and often rustlings and cracklings will begin and curious eyes peer out. So it is on the sea, too. We usually plow across it with roaring engines and piston strokes, with the water foaming round our bow. Then we come back and say that there is nothing to see far out on the ocean.

You Reading This, Be Ready Starting here, what do you want to remember? How sunlight creeps along a shining floor? What scent of old wood hovers, what softened sound from outside fills the air? Will you ever bring a better gift for the world than the breathing respect that you carry wherever you go right now? Are you waiting for time to show you some better thoughts? When you turn around, starting here, lift this new glimpse that you found; carry into evening all that you want from this day. This interval you spent reading or hearing this, keep it for life— Whatever can anyone give you greater than now, starting here, right in this room, when you turn around?

All praise to winter, then, was Henry's feeling. Let others have their sultry luxuries. How full of creative genius was the air in which these snow-crystals were generated. He could hardly have marveled more if real stars had fallen and lodged on his coat. What a world to live in, where myriads of these little discs, so beautiful to the most prying eye, were whirled down on every traveler's coat, on the restless squirrel's fur and on the far-stretching fields and forests, the wooded dells and mountain-tops,--these glorious spangles, the sweepings of heaven's floor.

[The intellect of fallen man] may be compared to a buzz-saw that is sharp and shining, ready to cut the boards that come to it. Let us say that a carpenter wishes to cut fifty boards for the purpose of laying the floor of a house. He has marked his boards. He has set his saw. He begins at one end of the mark on the board. But he does not know that his seven-year-old son has tampered with the saw and changed its set. The result is that every board he saws is cut slantwise and thus unusable because too short except at the point where the saw made its first contact with the wood. As long as the set of the saw is not changed, the result will always be the same. So also whenever the teachings of Christianity are presented to the natural man, they will be cut according to the set of sinful human personality.

We will never have any memory of dying. We were so patient about our being, noting down numbers, days, years and months, hair, and the mouths we kiss, and that moment of dying we let pass without a note - we leave it to others as memory, or we leave it simply to water, to water, to air, to time. Nor do we even keep the memory of being born, although to come into being was tumultuous and new; and now you don’t remember a single detail and haven’t kept even a trace of your first light. It’s well known that we are born. It’s well known that in the room or in the wood or in the shelter in the fishermen’s quarter or in the rustling canefields there is a quite unusual silence, a grave and wooden moment as a woman prepares to give birth. It’s well known that we were all born. But if that abrupt translation from not being to existing, to having hands, to seeing, to having eyes, to eating and weeping and overflowing and loving and loving and suffering and suffering, of that transition, that quivering of an electric presence, raising up one body more, like a living cup, and of that woman left empty, the mother who is left there in her blood and her lacerated fullness, and its end and its beginning, and disorder tumbling the pulse, the floor, the covers till everything comes together and adds one knot more to the thread of life, nothing, nothing remains in your memory of the savage sea which summoned up a wave and plucked a shrouded apple from the tree. The only thing you remember is your life." -"Births

Here's the plain truth, at least as it has been shown to me: We are never far from wonders. I remember when my son was about two, we were walking in the woods one November morning. We were along a ridge, looking down at a forest in the valley below, where a cold haze seemed to hug the forest floor. I kept trying to get my oblivious two-year-old to appreciate the landscape. At one point, I picked him up and pointed out toward the horizon and said, "Look at that, Henry, just look at it!" And he said, "Weaf!" I said, "What?" And again he said, "Weaf," and then reached out and grabbed a single brown oak leaf from the little tree next to us. I wanted to explain to him that you can see a brown oak leaf anywhere in the eastern United States in November, that nothing in the forest was less interesting. But after watching him look at it, I began to look as well, and I soon realized it wasn't just a brown leaf. Its veins spidered out red and orange and yellow in a pattern too complex for my brain to synthesize, and the more I looked at that leaf with Henry, the more I was compelled into an aesthetic contemplation I neither understood nor desired, face-to-face with something commensurate to my capacity for wonder. Marveling at the perfection of that leaf, I was reminded that aesthetic beauty is as much about how and whether you look as what you see. From the quark to the supernova, the wonders do not cease. It is our attentiveness that is in short supply, our ability and willingness to do the work that awe requires.

The tree is waiting. It has everything ready. Its fallen leaves are mulching the forest floor, and its roots are drawing up the extra winter moisture, providing a firm anchor against seasonal storms. Its ripe cones and nuts are providing essential food in this scarce time for mice and squirrels, and its bark is hosting hibernating insects and providing a source of nourishment for hungry deer. It is far from dead. It is in fact the life and soul of the wood. It’s just getting on with it quietly. It will not burst into life in the spring. It will just put on a new coat and face the world again.

Mossflower lay deep in the grip of midwinter beneath a sky of leaden gray that showed tinges of scarlet and orange on the horizon. A cold mantle of snow draped the landscape, covering the flatlands to the west. Snow was everywhere, filling ditches, drifting high against hedgerows, making paths invisible, smoothing the contours of earth in its white embrace. The gaunt, leafless ceiling of Mossflower Wood was penetrated by constant snowfall, which carpeted the sprawling woodland floor, building canopies on evergreen shrubs and bushes. Winter had muted the earth; the muffled stillness was broken only by a traveler’s paws.

After Laura and Mary had washed and wiped the dishes, swept the floor, made their bed, and dusted, they settled down with their books. But the house was so cosy and pretty that Laura kept looking up at it. The black stove was polished till it gleamed. A kettle of beans was bubbling on its top and bread was baking in the oven. Sunshine slanted through the shining windows between the pink-edged curtains. The red-checked cloth was on the table. Beside the clock on its shelf stood Carrie’s little brown-and-white dog, and Laura’s sweet jewel-box. And the little pink-and-white shepherdess stood smiling on the wood-brown bracket.

A house that lacks, seemingly, mistress and master, With doors that none but the wind ever closes, Its floor all littered with glass and with plaster; It stands in a garden of old-fashioned roses. I pass by that way in the gloaming with Mary; 'I wonder,' I say, 'who the owner of those is.' 'Oh, no one you know,' she answers me airy, 'But one we must ask if we want any roses.' So we must join hands in the dew coming coldly There in the hush of the wood that reposes, And turn and go up to the open door boldly, And knock to the echoes as beggars for roses. 'Pray, are you within there, Mistress Who-were-you?' 'Tis Mary that speaks and our errand discloses. 'Pray, are you within there? Bestir you, bestir you! 'Tis summer again; there's two come for roses. 'A word with you, that of the singer recalling-- Old Herrick: a saying that every maid knows is A flower unplucked is but left to the falling, And nothing is gained by not gathering roses.' We do not loosen our hands' intertwining (Not caring so very much what she supposes), There when she comes on us mistily shining And grants us by silence the boon of her roses.

In my mind, I could sense their roots under the soil, creeping in helical tangles of ever-increasing complexity outward and in all directions—out beyond the perimeter of the Helsingør Wood, out below Yami’s Under City, out along the banks of the river, out to the nearest coast and thereupon out into the sea; the roots crept down further along the continental shelf, downward into the abysses, downward into the ocean floor, burrowing under the corals and under trenches, and then back up again to sprout in the darkened forest on a foreign continent: all the trees of the world now had conjoined roots, for they were now of one conjoined consciousness!

She sulked about this. She tore up a stack of vintage car magazines in the sitting room and sat in the ruins of them and when Ronan came home and demanded what the hell is wrong with you like seriously, she told him that she was bored of being secret. He said, “Aren’t we all!” Then he made her clean up all the damp, gummed paper, and then he made her wipe down the floor because some of the printing had transferred to the wood because of her spit, and then he made her take out the trash plus the kitchen trash without even letting her dig through it first.

Was not everything, after all, like this bewildering woodland, this dance of dark and light? Everything only a glimpse, the glimpse always unforeseen, and always forgotten. For Gabriel Syme had found in the heart of that sun-splashed wood what many modern painters had found there. He had found the thing which the modern people call Impressionism, which is another name for that final scepticism which can find no floor to the universe.

Again I waited - oh, but for a brief interval: I presently distinguished an extraordinary shuffling and stamping of feet on the staircase, on the floors, on the carpets; a sound not only of boots and' human shoes, but tapping of crutches, of crutches of wood, and knocking of iron crutches which clanged like cymbals. And behold, I perceived, all at once, on the door sill, an armchair, my large reading chair, which came waddling out. Right into the garden it went, followed by others, the chairs of my drawing room, then the comfortable settee, crawling like crocodiles on their short legs; next, all my chairs bounding like goats,and the small footstools which followed like rabbits. Oh, what a hideous surprise! I stepped back behind the shrubs, where I stayed, crouched and watching this procession of my furniture; for out they all came, one behind the other, quickly or slowly according to their form and weight. My piano - my large grand piano - passed at a canter like a horse, with a faint murmur of music from within; the smallest objects crawled on the gravel like ants - brushes, glasses and cups glistening in the rays of the moon with phosphorescence like glowworms. The curtains, tablecloths and, draperies wriggled along, with their feelers in the puddles like the cuttle-fish in the sea. Suddenly I beheld my pet bureau, a rare specimen of the last century, and which contained all my correspondence, all my love letters, the whole history of my heart, an old history of how much I have suffered! And within, besides, were, above all, certain photographs! ("Who Knows?")

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, buy some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks meet neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

The world," said Pavone, "will swing to the left. The whole world except America. The world will swing, not because people read Karl Marx, or because agitators will come out of Russia, but because, after the war is over, that will be the only way they can turn. Everything else will have been tried, everything else will have failed. And I am afraid that American will be isolated, hated, backward, we will all be living there like old maids in a lonely house in the woods, locking the doors, looking under the beds, with a fortune in the mattress, not being able to sleep, because every time the wind blows and a floor creaks, we will think the murderers are breaking in to kill us and take our treasure...

Going somewhere?” Tamlin asked. His voice was not entirely of this world. I suppressed a shudder. “Midnight snack,” I said, and I was keenly aware of every movement, every breath I took as I neared him. His bare chest was painted with whorls of dark blue woad, and from the smudges in the paint, I knew exactly where he’d been touched. I tried not to notice that they descended past his muscled midriff. I was about to pass him when he grabbed me, so fast that I didn’t see anything until he had me pinned against the wall. The cookie dropped from my hand as he grasped my wrists. “I smelled you,” he breathed, his painted chest rising and falling so close to mine. “I searched for you, and you weren’t there.” He reeked of magic. When I looked into his eyes, remnants of power flickered there. No kindness, none of the wry humor and gentle reprimands. The Tamlin I knew was gone. “Let go,” I said as evenly as I could, but his claws punched out, imbedding in the wood above my hands. Still riding the magic, he was half-wild. “You drove me mad,” he growled, and the sound trembled down my neck, along my breasts until they ached. “I searched for you, and you weren’t there. When I didn’t find you,” he said, bringing his face closer to mine, until we shared breath, “it made me pick another.” I couldn’t escape. I wasn’t entirely sure that I wanted to. “She asked me not to be gentle with her, either,” he snarled, his teeth bright in the moonlight. He brought his lips to my ear. “I would have been gentle with you, though.” I shuddered as I closed my eyes. Every inch of my body went taut as his words echoed through me. “I would have had you moaning my name throughout it all. And I would have taken a very, very long time, Feyre.” He said my name like a caress, and his hot breath tickled my ear. My back arched slightly. He ripped his claws free from the wall, and my knees buckled as he let go. I grasped the wall to keep from sinking to the floor, to keep from grabbing him—to strike or caress, I didn’t know. I opened my eyes. He still smiled—smiled like an animal. “Why should I want someone’s leftovers?” I said, making to push him away. He grabbed my hands again and bit my neck. I cried out as his teeth clamped onto the tender spot where my neck met my shoulder. I couldn’t move—couldn’t think, and my world narrowed to the feeling of his lips and teeth against my skin. He didn’t pierce my flesh, but rather bit to keep me pinned. The push of his body against mine, the hard and the soft, made me see red—see lightning, made me grind my hips against his. I should hate him—hate him for his stupid ritual, for the female he’d been with tonight … His bite lightened, and his tongue caressed the places his teeth had been. He didn’t move—he just remained in that spot, kissing my neck. Intently, territorially, lazily. Heat pounded between my legs, and as he ground his body against me, against every aching spot, a moan slipped past my lips. He jerked away. The air was bitingly cold against my freed skin, and I panted as he stared at me. “Don’t ever disobey me again,” he said, his voice a deep purr that ricocheted through me, awakening everything and lulling it into complicity.

It was a woman in Minnesota who clarified this shift for me. She pointed out that her mother called herself a housewife. She, on the other hand, called herself a stay at home mom. The change in nomenclature reflects the shift in cultural emphasis: the pressures on women have gone from keeping an immaculate house to being an irreproachable mom … Back in the fifties, women were told to master the differences between oven cleaners and floor wax and special sprays for wood; today they’re told to master the differences between toys that hone problem solving skills and those that encourage imaginative play.

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

Something creaked beneath me! A soft step on rotting wood! I jumped startled, scared, and turned, expecting to see-God knows what! Then I sighed, for it was only Chris standing in the gloom, silently staring at me. Why? Did I look prettier than usual? Was it the moonlight, shining through my airy clothes? All random doubts were cleared when he said in a voice gritty and low, "You look beautiful sitting there like that." He cleared the frog in his throat. "The moonlight is etching you with silver-blue, and I can see the shape of your body through your clothes." Then, bewilderingly, he seized me by the shoulders, digging in his fingers, hard! They hurt. "Damn you, Cathy! You kissed that man! He could have awakened and seen you, and demanded to know who you were! And not thought you only a part of his dream!" Scary the way he acted, the fright I felt for no reason at all. "How do you know what I did? You weren't there; you were sick that night." He shook me, glaring his eyes, and again I thought he seemed a stranger. "He saw you, Cathy-he wasn't soundly asleep!" "He saw me?" I cried, disbelieving. It wasn't possible . . . wasn't! "Yes!" he yelled. This was Chris, who was usually in such control of his emotions. "He thought you a part of his dream! But don't you know Momma can guess who it was, just by putting two and two together-just as I have? Damn you and your romantic notions! Now they're on to us! They won't leave money casually about as they did before. He's counting, she's counting, and we don't have enough-not yet!" He yanked me down from the widow sill! He appeared wild and furious enough to slap my face-and not once in all our lives had he ever struck me, though I'd given him reason to when I was younger. But he shook me until my eyes rolled, until I was dizzy and crying out: "Stop! Momma knows we can't pass through a looked door!" This wasn't Chris . . . this was someone I'd never seen before . . . primitive, savage. He yelled out something like, "You're mine, Cathy! Mine! You'll always be mine! No matter who comes into your future, you'll always belong to me! I'll make you mine . . . tonight . . . now!" I didn't believe it, not Chris! And I did not fully understand what he had in mind, nor, if I am to give him credit, do I think he really meant what he said, but passion has a way of taking over. We fell to the floor, both of us. I tried to fight him off. We wrestled, turning over and over, writhing, silent, a frantic strug- gle of his strength against mine. It wasn't much of a battle. I had the strong dancer's legs; he had the biceps, the greater weight and height . . . and he had much more determination than i to use something hot, swollen and demanding, so much it stile reasoning and sanity from him. And I loved him. I wanted what he wanted-if he wanted it that much, right and wrong. Somehow we ended up on that old mattress-that filthy, smelly, stained mattress that must have known lovers long before this night. And that is where he took me, and forced in that swollen, rigid male sex part of him that had to be satisfied. It drove into my tight and resisting flesh which tore and bled. Now we had done what we both swore we'd never do.

In a valley shaded with rhododendrons, close to the snow line, where a stream milky with meltwater splashed and where doves and linnets flew among the immense pines, lay a cave, half, hidden by the crag above and the stiff heavy leaves that clustered below. The woods were full of sound: the stream between the rocks, the wind among the needles of the pine branches, the chitter of insects and the cries of small arboreal mammals, as well as the birdsong; and from time to time a stronger gust of wind would make one of the branches of a cedar or a fir move against another and groan like a cello. It was a place of brilliant sunlight, never undappled. Shafts of lemon-gold brilliance lanced down to the forest floor between bars and pools of brown-green shade; and the light was never still, never constant, because drifting mist would often float among the treetops, filtering all the sunlight to a pearly sheen and brushing every pine cone with moisture that glistened when the mist lifted. Sometimes the wetness in the clouds condensed into tiny drops half mist and half rain, which floated downward rather than fell, making a soft rustling patter among the millions of needles. There was a narrow path beside the stream, which led from a village-little more than a cluster of herdsmen's dwellings - at the foot of the valley to a half-ruined shrine near the glacier at its head, a place where faded silken flags streamed out in the Perpetual winds from the high mountains, and offerings of barley cakes and dried tea were placed by pious villagers. An odd effect of the light, the ice, and the vapor enveloped the head of the valley in perpetual rainbows.

Wood is an endlessly adaptive material. You can plane, chisel, saw, carve, sand, and bend it, and when the pieces are the shape you want you can use dovetail joints, tenpenny nails, pegs or glue; you can use lamination or inlay or marquetry; and then you can beautify it with French polish or plain linseed oil or subtle stains. And when you go to dinner at a friend's house, the candlelight will pick out the contours of grain and line, and when you take your seat you will be reminded that what you are sitting on grew from the dirt, stretched towards the sun, weathered rain and wind, and sheltered animals; it was not extruded by faceless machines lined on a cold cement floor and fed from metal vats. Wood reminds us where we come from.

Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.

Whatever any of us may have thought about Hatsumomo, she was like an empress in our okiya since she earned the income be which we all lived. And being an empress she would have been very displeased, upon returning late at night, to find her palace dark and all the servants asleep. That is to say, when she came home too drunk to unbutton her socks, someone had to unbutton them for her; and if she felt hungry, she certainly wasn't going to stroll into the kitchen and prepare something by herself--such as an umeboshi ochazuke, which was a favorite snack of hers, made with leftover rice and pickled sour plums, soaked in hot tea. Actually our okiya wasn't at all unusual in this respect. The job of waiting up to bow and welcome the geisha home almost always fell to the most junior of the "cocoons"--as the young geisha-in-training were often called. And from the moment I began taking lessons at the school, the most junior cocoon in our okiya was me. Long before midnight, Pumpkin and the two elderly maids were sound asleep on their futons only a meter or so away on the wood floor of the entrance hall; but I had to go on kneeling there, struggling to stay awake until sometimes as late as two o'clock in the morning. Granny's room was nearby and she slept with her light on and her door opened a crack. The bar of light that fell across my empty futon made me think of a day, not long before Satsu [Chiyo's sister] and I were taken away from our village, when I'd peered into the back room of our house to see my mother asleep there. My father had draped fishing nets across the paper screens to darken the room, but it looked so gloomy I decided to open one of the windows; and when I did, a strip of bright sunlight fell across my mother's futon and showed her hand so pale and bony. To see the yellow lights streaming from Granny's room onto my futon...I had to wonder if my mother was still alive. We ere so much alike, I felt sure I would have known if she'd died; but of course, I'd had no sign one way or the other.

Bill.' If you don't, I'll do this," and with that he gave me a twitch that I thought would have made me faint. Between this and that, I was so utterly terrified of the blind beggar that I forgot my terror of the captain, and as I opened the parlour door, cried out the words he had ordered in a trembling voice. The poor captain raised his eyes, and at one look the rum went out of him and left him staring sober. The expression of his face was not so much of terror as of mortal sickness. He made a movement to rise, but I do not believe he had enough force left in his body. "Now, Bill, sit where you are," said the beggar. "If I can't see, I can hear a finger stirring. Business is business. Hold out your left hand. Boy, take his left hand by the wrist and bring it near to my right." We both obeyed him to the letter, and I saw him pass something from the hollow of the hand that held his stick into the palm of the captain's, which closed upon it instantly. "And now that's done," said the blind man; and at the words he suddenly left hold of me, and with incredible accuracy and nimbleness, skipped out of the parlour and into the road, where, as I still stood motionless, I could hear his stick go tap-tap-tapping into the distance. It was some time before either I or the captain seemed to gather our senses, but at length, and about at the same moment, I released his wrist, which I was still holding, and he drew in his hand and looked sharply into the palm. "Ten o'clock!" he cried. "Six hours. We'll do them yet," and he sprang to his feet. Even as he did so, he reeled, put his hand to his throat, stood swaying for a moment, and then, with a peculiar sound, fell from his whole height face foremost to the floor. I ran to him at once, calling to my mother. But haste was all in vain. The captain had been struck dead by thundering apoplexy. It is a curious thing to understand, for I had certainly never liked the man, though of late I had begun to pity him, but as soon as I saw that he was dead, I burst into a flood of tears. It was the second death I had known, and the sorrow of the first was still fresh in my heart. 4 The Sea-chest I LOST no time, of course, in telling my mother all that I knew, and perhaps should have told her long before, and we saw ourselves at once in a difficult and dangerous position. Some of the man's money—if he had any—was certainly due to us, but it was not likely that our captain's shipmates, above all the two specimens seen by me, Black Dog and the blind beggar, would be inclined to give up their booty in payment of the dead man's debts. The captain's order to mount at once and ride for Doctor Livesey would have left my mother alone and unprotected, which was not to be thought of. Indeed, it seemed impossible for either of us to remain much longer in the house; the fall of coals in the kitchen grate, the very ticking of the clock, filled us with alarms. The neighbourhood, to our ears, seemed haunted by approaching footsteps; and what between the dead body of the captain on the parlour floor and the thought of that detestable blind beggar hovering near at hand and ready to return, there were moments when, as the saying goes, I jumped in my skin for terror. Something must speedily be resolved upon, and it occurred to us at last to go forth together and seek help in the neighbouring hamlet. No sooner said than done. Bare-headed as we were, we ran out at once in the gathering evening and the frosty fog. The hamlet lay not many hundred yards away, though out of view, on the other side of the next cove; and what greatly encouraged me, it was in an opposite direction from that whence the blind man had made his appearance and whither he had presumably returned. We were not many minutes on the road, though we sometimes stopped to lay hold of each other and hearken. But there was no unusual sound—nothing but the low wash of the ripple and the croaking of the inmates of the wood.

And so we weep for the fallen. We weep for those yet to fall, and in war the screams are loud and harsh and in peace the wail is so drawn-out we tell ourselves we hear nothing. And so this music is a lament, and I am doomed to hear its bittersweet notes for a lifetime. Show me a god that does not demand mortal suffering. Show me a god that celebrates diversity, a celebration that embraces even non-believers and is not threatened by them. Show me a god who understands the meaning of peace. In life, not in death. Show— 'Stop,' Gesler said in a grating voice. Blinking, Fiddler lowered the instrument. 'What?' 'You cannot end with such anger, Fid. Please.' Anger? I am sorry. He would have spoken that aloud, but suddenly he could not. His gaze lowered, and he found himself studying the littered floor at his feet. Someone, in passing – perhaps Fiddler himself – had inadvertently stepped on a cockroach. Half-crushed, smeared into the warped wood, its legs kicked feebly. He stared at it in fascination. Dear creature, do you now curse an indifferent god? 'You're right,' he said. 'I can't end it there.' He raised the fiddle again. 'Here's a different song for you, one of the few I've actually learned. From Kartool. It's called "The Paralt's Dance".' He rested the bow on the strings, then began. Wild, frantic, amusing. Its final notes recounted the triumphant female eating her lover. And even without words, the details of that closing flourish could not be mistaken. The four men laughed. Then fell silent once more.

Yes, it’s too much to ask,” Alexander said when he returned with no ice (“Tomorrow”) but with an ax, a hammer and nails, a saw, a wood plane, and a kerosene-burning Primus stove. “I didn’t marry you so we could go over there every night.” He laughed. “You invited them inside? That’s very brave of you, my wife. Did you at least make the bed before they came in?” He laughed harder. Tatiana was sitting down on the cool iron hearth, shaking her head. “You’re just impossible.” “I’m impossible? I’m not going there for dinner, forget it. Why don’t you just invite them here afterward then, for the post-dinner vaudeville—” “Vaudeville?” “Never mind.” He dropped all of his goods on the floor in the corner of the cabin. “Invite them here for the entertainment hour. Go ahead. As I make love to you, they can walk around the hearth, clucking to their hearts’ content. Naira will say, ‘Tsk, tsk, tsk. I told her to go with my Vova. I know he could do it better.’ Raisa will want to say, ‘Oh, my, oh, my,’ but she’ll be shaking too much. Dusia will say, ‘Oh, dear Jesus, I prayed to You to spare her from the horrors of the marriage bed!’ And Axinya will say—” “‘Wait till I tell the whole village about his horrors,’” said Tatiana. Alexander laughed and then went to the water to swim.

The problem of an ideal kitchen grows more complex as I ponder on it. There are many small things I am sure about: no shelf-papers; no sharp edges or protruding hooks or wires; no ruffled curtains; and no cheap-coloured stove, mauve or green or opalescent like a modern toilet seat. Instead of these things I would have smooth shelves of some material like ebony or structural glass, shelves open or protected by sliding transparent doors. I would have curved and rounded edges, even to the floor, for the sake of cleanliness, and because I hate the decayed colours of a bruise. Instead of curtains I would have Venetian blinds, of four different colours for the seasons of the year. They would be, somehow, on the outside of the glass. And the stove would be black, with copper and earthenware utensils to put on it. It would be a wood stove, or perhaps (of this I am doubtful, unless I am the charwoman and janitor as well as the cook) electrical with place for a charcoal grill.

I would choose you." The words were out before he thought better of them, and there was no way to pull them back. Silence stretched between them. Perhaps the floor will open and I'll plummet to my death, he thought hopefully. "As your general?" Her voice careful. She was offering him a chance to right the ship, to take them back to familiar waters. And a fine general you are. There could be no better leader. You may be prickly, but that what Ravka needs. So many easy replies. Instead he said, "As my queen." He couldn't read her expression. Was she pleased? Embarrassed? Angry? Every cell in his body screamed for him to crack a joke, to free both of them from the peril of the moment. But he wouldn't. He was still a privateer, and he'd come too far. "Because I'm a dependable soldier," she said, but she didn't sound sure. It was the same cautious, tentative voice, the voice of someone waiting for a punch line, or maybe a blow. "Because I know all of your secrets." "I do trust you more than myself sometimes- and I think very highly of myself." Hadn't she said there was no one else she'd choose to have her back in a fight? But that isn't the whole truth, is it, you great cowardly lump. To hell with it. They might all die soon enough. They were safe here in the dark, surrounded by the hum of engines. "I would make you my queen because I want you. I want you all the time." She rolled on to her side, resting her head on her folded arm. A small movement, but he could feel her breath now. His heart was racing. "As your general, I should tell you that would be a terrible decision." He turned on to his side. They were facing each other now. "As your king, I should tell you that no one could dissuade me. No prince and no power could make me stop wanting you." Nikolai felt drunk. Maybe unleashing the demon had loosed something in his brain. She was going to laugh at him. She would knock him senseless and tell him he had no right. But he couldn't seem to stop. "I would give you a crown if I could," he said. "I would show you the world from the prow of a ship. I would choose you, Zoya. As my general, as my friend, as my bride. I would give you a sapphire the size of an acorn." He reached in to his pocket. "And all I would ask in return is that you wear this damnable ribbon in your hair on our wedding day." She reached out, her fingers hovering over the coil of blue velvet ribbon resting in his palm. Then she pulled back her hand, cradling her fingers as if they'd been singed. "You will wed a Taban sister who craves a crown," she said. "Or a wealthy Kerch girl, or maybe a Fjerdan royal. You will have heirs and a future. I'm not the queen Ravka needs." "And if you're the queen I want?" ... She sat up, drew her knees in, wrapped her arms around them as if she would make a shelter of her own body. He wanted to pull her back down beside him and press his mouth to hers. He wanted her to look at him again with possibility in her eyes. "But that's not who I am. Whatever is inside me is sharp and gray as the thorn wood." She rose and dusted off her kefta. "I wasn't born to be a bride. I was made to be a weapon." Nikolai forced himself to smile. It wasn't as if he'd offered her a real proposal. They both knew such a thing was impossible. And yet her refusal smarted just as badly as if he'd gotten on his knee and offered her his hand like some kind of besotted fool. It stung. All saints, it stung. "Well," he said cheerfully, pushing up on his elbows and looking up at her with all the wry humour he could muster. "Weapons are good to have around too. Far more useful than brides and less likely to mope about the palace. But if you won't rule Ravka by my side, what does the future hold, General?" Zoya opened the door to the Cargo hold. Light flooded in gilding her features when she looked back at him. "I'll fight on beside you. As your general. As your friend. Because whatever my failings, I know this. You are the king Ravka needs.

Now that is a sword,” Freddy said in awe as he went to look at an impressive saber hanging from the hat rack near the door. “Stay away from it,” she cautioned. “I’m sure it’s sharper than yours.” As usual, Freddy ignored her. “Just think what I could do with this,” he said as he lifted it off its hook. “So far I haven’t seen you do anything with a sword, my boy,” Oliver remarked dryly. “Though I shudder to think what your cousin would attempt.” Maria glared at Oliver, which only made him laugh. Meanwhile, Freddy unsheathed the saber with a flourish. “Curse it, Freddy, put it back,” Maria ordered. “What a fine piece of steel.” Freddy swished it through the air. “Even the one Uncle Adam gave me isn’t near so impressive.” Maria appealed to Oliver. “Do something, for pity’s sake. Make him stop.” “And get myself skewered for the effort? No, thank you. Let the pup have his fun.” Freddy cast him a belligerent glance. “You wouldn’t call me a pup if I came at you with this.” “No, I’d call you insane,” Oliver drawled. “But you’re welcome to try and see what happens.” Don’t encourage him,” Maria told Oliver. The door opened suddenly, and Freddy whirled with the sword in hand, knocking a lamp off the desk. As the glass chimney shattered, spilling oil in a wide arc, the wick lit the lot, and fire sprang to life. Maria jumped back with a cry of alarm while Oliver leaped out of his chair to stamp it out, first with his boots and then with his coat. A string of curses filled the air, most of them Oliver’s, though Freddy got in a few choice ones as the fire licked at his favorite trousers. When at last Oliver put the flames out and nothing was left but a charred circle on the wood floor, dotted with shards of glass, the three of them turned to the door to find a dark-haired man observing the scene with an expression that gave nothing away. “If you hoped to catch my attention,” he remarked, “you’ve succeeded.” “Mr. Pinter, I presume?” Oliver said, tossing his now ruined coat and singed gloves into a nearby rubbish pail. “I hope you’ll forgive us for the dramatic intrusion. I’m Stonevi-“ “I know who you are, my lord,” he interrupted. “It’s what you’re doing here setting fire to my office that I’m not certain of.

By the time James had dressed and made his way down to the Great Hal for breakfast, it was nearly ten o’clock. Less than a dozen students could be seen moving disconsolately among the detritus of the morning’s earlier rush. At the far corner of the Slytherin table, Zane sat hunched and squinting under a beam of sunlight. Across from him was Ralph, who saw James enter and waved him over. As James made his way across the Hal , four or five house-elves, each wearing large linen napkins with the Hogwarts crest embroidered on them, circled the tables, meandering in what at first appeared to be random paths. Occasional y, one of them would duck beneath the surface of a table and then reappear a moment later, tossing a stray fork or half a biscuit casual y onto the mess of the table. As James passed one of the elves, it straightened, raised its spindly arms, and then brought them swiftly down. The contents on the table in front of him swirled together as if caught in a miniature cyclone. With a great clattering of dishes and silverware, the corners of the tablecloth shot upwards and twisted around the pile of breakfast debris, creating a huge clanking bag floating improbably over the polished wood table. The house-elf leaped from floor to bench to tabletop, and then jumped, turning in midair and landing lightly on top of the bag. It grasped the twisted top of the bag, using the knot as if it were a set of reins, and turned the bag, driving it bobbingly toward the gigantic service doors in the side of the Hal . James ducked as the bag swooped over his head.

Once there was a little girl who played her music for a little boy in the wood. She was small and dark, he was tall and fair, and the two of them made a fancy pair as they danced together, dancing to the music the little girl heard in her head. Her grandmother had told her to beware the wolves that prowled in the wood, but the little girl knew the little boy was not dangerous, even if he was the king of the goblins. Will you marry me, Elisabeth? the little boy asked, and the little girl did not wonder at how he knew her name. Oh, she replied, but I am too young to marry. Then I will wait, the little boy said. I will wait as long as you remember. And the little girl laughed as she danced with the Goblin King, the little boy who was always just a little older, a little out of reach. As the seasons turned and the years passed, the little girl grew older but the Goblin King remained the same. She washed the dishes, cleaned the floors, brushed her sister’s hair, yet still ran to the forest to meet her old friend in the grove. Their games were different now, truth and forfeit and challenges and dares. Will you marry me, Elisabeth? the little boy asked, and the little girl did not yet understand his question was not part of a game. Oh, she replied, but you have not yet won my hand. Then I will win, the little boy said. I will win until you surrender. And the little girl laughed as she played against the Goblin King, losing every hand and every round. Winter turned to spring, spring to summer, summer into autumn, autumn back into winter, but each turning of the year grew harder and harder as the little girl grew up while the Goblin King remained the same. She washed the dishes, cleaned the floors, brushed her sister’s hair, soothed her brother’s fears, hid her father’s purse, counted the coins, and no longer went into the woods to see her old friend. Will you marry me, Elisabeth? the Goblin King asked. But the little girl did not reply.

Science uses the Red Shift to measure deep cosmic distances. But how to measure deep historic time? How about—the Saffron Shift. If history itself had a color, it is . . . like wood or bark, or living forest floor. Assigning hues to time periods, the sum total of history is saffron-brown—but the chromatic arc starts from blinding white (prehistory) to sun-yellow (Ancient Greece), then deepening to pale wood tones (Dark Ages) and finally exploding like an infinite chord into a full brown palette that includes mahoganies, siennas (Middle Ages), oak, sandalwood (the Renaissance), cherry, maple (Age of Reason), and near-black old woods (Industrial Revolution) for which there may not be names. As time approaches our own, the wood-brown palette fades to a weird glassy colorlessness, goes black-and-white for a brief span as you think of photographs of your grandparents, and then again fades until we get a clear medium that is the color of the world. And the present moment is perfectly transparent. It's only as you start looking into the future, that the colors start returning. The glass is turning silvery with a murky haze, and there is blue somewhere in the distance . . .

Shall I tell you about life? Well, it's like the big wheel at Luna Park. You pay five francs and go into a room with tiers of seats all round, and in the centre the floor is made of a great disc of polished wood that revolves quickly. At first you sit down and watch the others. They are all trying to sit in the wheel, and they keep getting flung off, and that makes them laugh, and you laugh too. It's great fun. It is very much like life. You see, the nearer you can get to the hub of the wheel the slower it is moving and the easier it is to stay on. There's generally some one in the centre who stands up and sometimes does a sort of dance. Often he's paid by the management, though, or, at any rate, he's allowed in free. Of course at the very centre there's a point completely at rest, if one could only find it. I'm not sure I am not very near that point myself. Of course the professional men get in the way. Lots of people just enjoy scrambling on and being whisked off and scrambling on again. How they all shriek and giggle! Then there are others who sit as far out as they can and hold on for dear life and enjoy that. But the whole point about the wheel is that you needn't get on it at all, if you don't want to. People get hold of ideas about life, and that makes them think they've got to join in the game, even if they don't enjoy it. It doesn't suit every one.

Of course, I don’t remember any of this time. It is absolutely impossible to identify with the infant my parents photographed, indeed so impossible that it seems wrong to use the word “me” to describe what is lying on the changing table, for example, with unusually red skin, arms and legs spread, and a face distorted into a scream, the cause of which no one can remember, or on a sheepskin rug on the floor, wearing white pajamas, still red-faced, with large, dark eyes squinting slightly. Is this creature the same person as the one sitting here in Malmö writing? And will the forty-year-old creature who is sitting in Malmö writing this one overcast September day in a room filled with the drone of the traffic outside and the autumn wind howling through the old-fashioned ventilation system be the same as the gray, hunched geriatric who in forty years from now might be sitting dribbling and trembling in an old people’s home somewhere in the Swedish woods? Not to mention the corpse that at some point will be laid out on a bench in a morgue? Still known as Karl Ove. And isn’t it actually unbelievable that one simple name encompasses all of this? The fetus in the belly, the infant on the changing table, the forty-year-old in front of the computer, the old man in the chair, the corpse on the bench? Wouldn’t it be more natural to operate with several names since their identities and self-perceptions are so very different? Such that the fetus might be called Jens Ove, for example, and the infant Nils Ove, and the five- to ten-year-old Per Ove, the ten- to twelve-year-old Geir Ove, the twelve- to seventeen-year-old Kurt Ove, the seventeen- to twenty-three-year-old John Ove, the twenty-three- to thirty-two-year-old Tor Ove, the thirty-two- to forty-six-year-old Karl Ove — and so on and so forth? Then the first name would represent the distinctiveness of the age range, the middle name would represent continuity, and the last, family affiliation.

This place, our little cloud forest, even though we missed our papi, it was the most beautiful place you've ever seen. We didn't really know that then, because it was the only place we'd ever seen, except in picture in books and magazines, but now that's I've seen other place, I know. I know how beautiful it was. And we loved it anyway even before we knew. Because the trees had these enormous dark green leaves, as a big as a bed, and they would sway in the wind. And when it rain you could hear the big, fat raindrops splatting onto those giant leaves, and you could only see the sky in bright blue patches if you were walking a long way off to a friend's house or to church or something, when you passed through a clearing and all those leaves would back away and open up and the hot sunshine would beat down all yellow and gold and sticky. And there were waterfalls everywhere with big rock pools where you could take a bath and the water was always warm and it smelled like sunlight. And at night there was the sound of the tree frogs and the music of the rushing water from the falls and all the songs of the night birds, and Mami would make the most delicious chilate, and Abuela would sing to us in the old language, and Soledad and I would gather herbs and dry them and bundle them for Papi to sell in the market when he had a day off, and that's how we passed our days.' Luca can see it. He's there, far away in the misty cloud forest, in a hut with a packed dirt floor and a cool breeze, with Rebeca and Soledad and their mami and abuela, and he can even see their father, far away down the mountain and through the streets of that clogged, enormous city, wearing a long apron and a chef's hat, and his pockets full of dried herbs. Luca can smell the wood of the fire, the cocoa and cinnamon of the chilate, and that's how he knows Rebeca is magical, because she can transport him a thousand miles away into her own mountain homestead just by the sound of her voice.

That was your forest. Where you hunted.” He came closer to the painting, gazing at the bleak, empty cold, the white and gray and brown and black. “This was your life,” he clarified. I was too mortified, too stunned, to reply. He walked to the next painting I’d left against the wall. Darkness and dense brown, flickers of ruby red and orange squeezing out between them. “Your cottage at night.” I tried to move, to tell him to stop looking at those ones and look at the others I’d laid out, but I couldn’t—couldn’t even breathe properly as he moved to the next painting. A tanned, sturdy male hand fisted in the hay, the pale pieces of it entwined among strands of brown coated with gold—my hair. My gut twisted. “The man you used to see—in your village.” He cocked his head again as he studied the picture, and a low growl slipped out. “While you made love.” He stepped back, looking at the row of pictures. “This is the only one with any brightness." Was that … jealousy? “It was the only escape I had.” Truth. I wouldn’t apologize for Isaac. Not when Tamlin had just been in the Great Rite. I didn’t hold that against him—but if he was going to be jealous of Isaac— Tamlin must have realized it, too, for he loosed a long, controlled breath before moving to the next painting. Tall shadows of men, bright red dripping off their fists, off their wooden clubs, hovering and filling the edges of the painting as they towered over the curled figure on the floor, the blood leaking from him, the leg at a wrong angle. Tamlin swore. “You were there when they wrecked your father’s leg.” “Someone had to beg them to stop.” Tamlin threw a too-knowing glance in my direction and turned to look at the rest of the paintings. There they were, all the wounds I’d slowly been leeching these few months. I blinked. A few months. Did my family believe that I would be forever away with this so-called dying aunt? At last, Tamlin looked at the painting of the glen and the starlight. He nodded in appreciation. But he pointed to the painting of the snow-veiled woods. “That one. I want that one.

Later he would tell her that their story began at the Royal Hungarian Opera House, the night before he left for Paris on the Western Europe Express. The year was 1937; the month was September, the evening unseasonably cold. His brother had insisted on taking him to the opera as a parting gift. The show was Tosca and their seats were at the top of the house. Not for them the three marble-arched doorways, the façade with its Corinthian columns and heroic entablature. Theirs was a humble side entrance with a red-faced ticket taker, a floor of scuffed wood, walls plastered with crumbling opera posters. Girls in knee-length dresses climbed the stairs arm in arm with young men in threadbare suits; pensioners argued with their white-haired wives as they shuffled up the five narrow flights. At the top, a joyful din: a refreshment salon lined with mirrors and wooden benches, the air hazy with cigarette smoke. A doorway at its far end opened onto the concert hall itself, the great electric-lit cavern of it, with its ceiling fresco of Greek immortals and its gold-scrolled tiers. Andras had never expected to see an opera here, nor would he have if Tibor hadn’t bought the tickets. But it was Tibor’s opinion that residence in Budapest must include at least one evening of Puccini at the Operaház. Now Tibor leaned over the rail to point out Admiral Horthy’s box, empty that night except for an ancient general in a hussar’s jacket. Far below, tuxedoed ushers led men and women to their seats, the men in evening dress, the women’s hair glittering with jewels.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Could I love everyone and even include bad people? I bowed my forehead into my clasped hands, feeling faint. Instead of thinking gigantic thoughts, I tried to focus on something small, the smallest thing I could think of. Someone once made this pew I’m sitting on, I thought. Someone sanded the wood and varnished it. Someone carried it into the church. Someone laid the tiles on the floor, someone fitted the windows. Each brick was placed by human hands, each hinge fitted on each door, every road surface outside, every bulb in every streetlight. And even things built by machines were really built by human beings, who built the machines initially. And human beings themselves, made by other humans, struggling to create happy children and families. Me, all the clothing I wear, all the language I know. Who put me here in this church, thinking these thoughts? Other people, some I know very well and others I have never met. Am I myself, or am I them? Is this me, Frances? No, it is not me. It is the others. Do I sometimes hurt and harm myself, do I abuse the unearned cultural privilege of whiteness, do I take the labour of others for granted, have I sometimes exploited a reductive iteration of gender theory to avoid serious moral engagement, do I have a troubled relationship with my body, yes. Do I want to be free of pain and therefore demand that others also live free of pain, the pain which is mine and therefore also theirs, yes, yes. When I opened my eyes I felt that I had understood something, and the cells of my body seemed to light up like millions of glowing points of contact, and I was aware of something profound. Then I stood up from my seat and collapsed.

Screams died in them and floated belly up, like dead fish. Cowering on the floor, rocking between dread and disbelief, they realized that the man being beaten was Velutha. Where had he come from? What had he done? Why had the policemen brought him here? They heard the thud of wood on flesh. Boot on bone. On teeth. The muffled grunt when a stomach is kicked in The muted crunch of skull on cement. The gurgle of blood on a man's breath when his lung is torn by the jagged end of a broken rib. Blue-lipped and dinner-plate-eyed, they watched, mesmerized by something that they sensed but didn't understand: the absence of caprice in what the policemen did. The abyss where anger should have been. The sober, steady brutality, the economy of it all. They were opening a bottle. Or shutting a tap. Cracking an egg to make an omelette. The twins were too young to know that these were only history’s henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear — civilization’s fear of nature, men’s fear of women, power’s fear of powerlessness. Man’s subliminal urge to destroy what he could neither subdue nor deify. Men’s Needs. What Esthappen and Rahel witnessed that morning, though they didn’t know it then, was a clinical demonstration in controlled conditions (this was not war after all, or genocide) of human nature’s pursuit of ascendancy. Structure. Order Complete monopoly. It was human history, masquerading as God’s Purpose, revealing herself to an under-age audience. There was nothing accidental about what happened that morning. Nothing incidental. It was no stray mugging or personal settling of scores. This was an era imprinting itself on those who lived in it. History in live performance.

Already it is twilight down in the Laredito. Bats fly forth from their roostings in courthouse and tower and circle the quarter. The air is full of the smell of burning charcoal. Children and dogs squat by the mud stoops and gamecocks flap and settle in the branches of the fruit trees. They go afoot, these comrades, down along a bare adobe wall. Band music carries dimly from the square. They pass a watercart in the street and they pass a hole in the wall where by the light of a small forgefire an old man beats out shapes of metal. They pass in a doorway a young girl whose beauty becomes the flowers about. They arrive at last before a wooden door. It is hinged into a larger door or gate and all must step over the foot-high sill where a thousand boots have scuffled away the wood, where fools in their hundreds have tripped or fallen or tottered drunkenly into the street. They pass along a ramada in a courtyard by an old grape arbor where small fowl nod in the dusk among the gnarled and barren vines and they enter a cantina where the lamps are lit and they cross stooping under a low beam to a bar and belly up one two three. There is an old disordered Mennonite in this place and he turns to study them. A thin man in a leather weskit, a black and straightbrim hat set square on his head, a thin rim of whiskers. The recruits order glasses of whiskey and drink them down and order more. There are monte games at tables by the wall and there are whores at another table who look the recruits over. The recruits stand sideways along the bar with their thumbs in their belts and watch the room. They talk among themselves of the expedition in loud voices and the old Mennonite shakes a rueful head and sips his drink and mutters. They'll stop you at the river, he says. The second corporal looks past his comrades. Are you talking to me? At the river. Be told. They'll jail you to a man. Who will? The United States Army. General Worth. They hell they will. Pray that they will. He looks at his comrades. He leans toward the Mennonite. What does that mean, old man? Do ye cross that river with yon filibuster armed ye'll not cross it back. Don't aim to cross it back. We goin to Sonora. What's it to you, old man? The Mennonite watches the enshadowed dark before them as it is reflected to him in the mirror over the bar. He turns to them. His eyes are wet, he speaks slowly. The wrath of God lies sleeping. It was hid a million years before men were and only men have power to wake it. Hell aint half full. Hear me. Ye carry war of a madman's making into a foreign land. Ye'll wake more than the dogs. But they berated the old man and swore at him until he moved off down the bar muttering, and how else could it be? How these things end. In confusion and curses and blood. They drank on and the wind blew in the streets and the stars that had been overhead lay low in the west and these young men fell afoul of others and words were said that could not be put right again and in the dawn the kid and the second corporal knelt over the boy from Missouri who had been named Earl and they spoke his name but he never spoke back. He lay on his side in the dust of the courtyard. The men were gone, the whores were gone. An old man swept the clay floor within the cantina. The boy lay with his skull broken in a pool of blood, none knew by whom. A third one came to be with them in the courtyard. It was the Mennonite. A warm wind was blowing and the east held a gray light. The fowls roosting among the grapevines had begun to stir and call. There is no such joy in the tavern as upon the road thereto, said the Mennonite. He had been holding his hat in his hands and now he set it upon his head again and turned and went out the gate.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Hullo,” he said sleepily, rubbing a hand along his jaw. He’s here in my room, right in the middle of the afternoon. Great God, there’s a boy in my bed in my room- I came to life. “Get out!” He yawned, a lazy yawn, a yawn that clearly indicated he had no intention of leaving. In the moody gray light his body seemed a mere suggestion against the covers, his hair a shaded smudge against the paler lines of his collar and face. “But I’ve been waiting for you for over an hour up here, and bloody boring it’s been, too. I’ve never known a girl who didn’t keep even mildly wicked reading material hidden somewhere in her bedchamber. I’ve had to pass the time watching the spiders crawl across your ceiling.” Voices floated up from downstairs, a maids’ conversation about rags and soapy water sounding horribly loud, and horribly close. I shut the door as gently as I could and pressed my back against it, my mind racing. No lock, no bolt, no key, no way to keep them out if they decided to come up… Armand shifted a bit, rearranging the pillows behind his shoulders. I wet my lips. “If this is about the kiss-“ “No.” He gave a slight shrug. “I mean, it wasn’t meant to be. But if you’d like-“ “You can’t be in here!” “And yet, Eleanor, here I am. You know, I remember this room from when I used to live in the castle as a boy. It was a storage chamber, I believe. All the shabby, cast-off things tossed up here where no one had to look at them.” He stretched out long and lazy again, arms overhead, his shirt pulling tight across his chest. “This mattress really isn’t very comfortable, is it? Hark as a rock. No wonder you’re so ill-tempered.” Dark power. Compel him to leave. I was desperate enough to try. “You must go,” I said. Miraculously, I felt it working. I willed it and it happened, the magic threading through my tone as sly as silk, deceptively subtle. “Now. If anyone sees you, were never here. You never saw me. Go downstairs, and do not mention my name.” Armand sat up, his gaze abruptly intent. One of the pillows plopped on the floor. “That was interesting, how your voice just changed. Got all smooth and eerie. I think I have goose bumps. Was that some sort of technique they taught you at the orphanage? Is it useful for begging?” Blast. I tipped my head back against the wood of the door and clenched my teeth. “Do you have any idea the trouble I’ll be in if they should find you here? What people will think?” “Oh, yes. It rather gives me the advantage, doesn’t it?” “Mrs. Westcliffe will expel me!” “Nonsense.” He smiled. “All right, probably she will.” “Just tell me that you want, then!” His lashes dropped; his smile grew more dry. He ran a hand slowly along a crease of quilt by his thigh. “All I want,” he said quietly, “is to talk. “Then pay a call on me later this afternoon,” I hissed. “No.” “What, you don’t have the time to tear yourself away from your precious Chloe?” I hadn’t meant to say that, and, believe me, as soon as the words left my lips I regretted them. They made me sound petty and jealous, and I was certain I was neither. Reasonably certain.

CUCHULAIN’S FIGHT WITH THE SEA A MAN came slowly from the setting sun, To Emer, raddling raiment in her dun, And said, ‘I am that swineherd whom you bid Go watch the road between the wood and tide, But now I have no need to watch it more.’ Then Emer cast the web upon the floor, And raising arms all raddled with the dye, Parted her lips with a loud sudden cry. That swineherd stared upon her face and said, ‘No man alive, no man among the dead, Has won the gold his cars of battle bring.’ ‘But if your master comes home triumphing Why must you blench and shake from foot to crown?’ Thereon he shook the more and cast him down Upon the web-heaped floor, and cried his word: ‘With him is one sweet-throated like a bird.’ ‘You dare me to my face,’ and thereupon She smote with raddled fist, and where her son Herded the cattle came with stumbling feet, And cried with angry voice, ’It is not meet To idle life away, a common herd.’ ‘I have long waited, mother, for that word: But wherefore now?’ ‘There is a man to die; You have the heaviest arm under the sky.’ ‘Whether under its daylight or its stars My father stands amid his battle-cars.’ ‘But you have grown to be the taller man.’ ‘Yet somewhere under starlight or the sun My father stands.’ ‘Aged, worn out with wars On foot, on horseback or in battle-cars.’ ‘I only ask what way my journey lies, For He who made you bitter made you wise.’ ‘The Red Branch camp in a great company Between wood’s rim and the horses of the sea. Go there, and light a camp-fire at wood’s rim; But tell your name and lineage to him Whose blade compels, and wait till they have found Some feasting man that the same oath has bound.’ Among those feasting men Cuchulain dwelt, And his young sweetheart close beside him knelt, Stared on the mournful wonder of his eyes, Even as Spring upon the ancient skies, And pondered on the glory of his days; And all around the harp-string told his praise, And Conchubar, the Red Branch king of kings, With his own fingers touched the brazen strings. At last Cuchulain spake, ‘Some man has made His evening fire amid the leafy shade. I have often heard him singing to and fro, I have often heard the sweet sound of his bow. Seek out what man he is.’ One went and came. ‘He bade me let all know he gives his name At the sword-point, and waits till we have found Some feasting man that the same oath has bound.’ Cuchulain cried, ‘I am the only man Of all this host so bound from childhood on. After short fighting in the leafy shade, He spake to the young man, ’Is there no maid Who loves you, no white arms to wrap you round, Or do you long for the dim sleepy ground, That you have come and dared me to my face?’ ‘The dooms of men are in God’s hidden place,’ ‘Your head a while seemed like a woman’s head That I loved once.’ Again the fighting sped, But now the war-rage in Cuchulain woke, And through that new blade’s guard the old blade broke, And pierced him. ‘Speak before your breath is done.’ ‘Cuchulain I, mighty Cuchulain’s son.’ ‘I put you from your pain. I can no more.’ While day its burden on to evening bore, With head bowed on his knees Cuchulain stayed; Then Conchubar sent that sweet-throated maid, And she, to win him, his grey hair caressed; In vain her arms, in vain her soft white breast. Then Conchubar, the subtlest of all men, Ranking his Druids round him ten by ten, Spake thus: ‘Cuchulain will dwell there and brood For three days more in dreadful quietude, And then arise, and raving slay us all. Chaunt in his ear delusions magical, That he may fight the horses of the sea.’ The Druids took them to their mystery, And chaunted for three days. Cuchulain stirred, Stared on the horses of the sea, and heard The cars of battle and his own name cried; And fought with the invulnerable tide.

I would choose you." The words were out before he thought better of them, and there was no way to pull them back. Silence stretched between them. Perhaps the floor will open and I'll plummet to my death, he thought hopefully. "As your general?" Her voice careful. She was offering him a chance to right the ship, to take them back to familiar waters. And a fine general you are. There could be no better leader. You may be prickly, but that's what Ravka needs. So many easy replies. Instead he said, "As my queen." He couldn't read her expression. Was she pleased? Embarrassed? Angry? Every cell in his body screamed for him to crack a joke, to free both of them from the peril of the moment. But he wouldn't. He was still a privateer, and he'd come too far. "Because I'm a dependable soldier," she said, but she didn't sound sure. It was the same cautious, tentative voice, the voice of someone waiting for a punch line, or maybe a blow. "Because I know all of your secrets." "I do trust you more than myself sometimes- and I think very highly of myself." Hadn't she said there was no one else she'd choose to have her back in a fight? But that isn't the whole truth, is it, you great cowardly lump. To hell with it. They might all die soon enough. They were safe here in the dark, surrounded by the hum of engines. "I would make you my queen because I want you. I want you all the time." She rolled on to her side, resting her head on her folded arm. A small movement, but he could feel her breath now. His heart was racing. "As your general, I should tell you that would be a terrible decision." He turned on to his side. They were facing each other now. "As your king, I should tell you that no one could dissuade me. No prince and no power could make me stop wanting you." Nikolai felt drunk. Maybe unleashing the demon had loosed something in his brain. She was going to laugh at him. She would knock him senseless and tell him he had no right. But he couldn't seem to stop. "I would give you a crown if I could," he said. "I would show you the world from the prow of a ship. I would choose you, Zoya. As my general, as my friend, as my bride. I would give you a sapphire the size of an acorn." He reached in to his pocket. "And all I would ask in return is that you wear this damnable ribbon in your hair on our wedding day." She reached out, her fingers hovering over the coil of blue velvet ribbon resting in his palm. Then she pulled back her hand, cradling her fingers as if they'd been singed. "You will wed a Taban sister who craves a crown," she said. "Or a wealthy Kerch girl, or maybe a Fjerdan royal. You will have heirs and a future. I'm not the queen Ravka needs." "And if you're the queen I want?"... She sat up, drew her knees in, wrapped her arms around them as if she would make a shelter of her own body. He wanted to pull her back down beside him and press his mouth to hers. He wanted her to look at him again with possibility in her eyes. "But that's not who I am. Whatever is inside me is sharp and gray as the thorn wood." She rose and dusted off her kefta. "I wasn't born to be a bride. I was made to be a weapon." Nikolai forced himself to smile. It wasn't as if he'd offered her a real proposal. They both knew such a thing was impossible. And yet her refusal smarted just as badly as if he'd gotten on his knee and offered her his hand like some kind of besotted fool. It stung. All saints, it stung. "Well," he said cheerfully, pushing up on his elbows and looking up at her with all the wry humour he could muster. "Weapons are good to have around too. Far more useful than brides and less likely to mope about the palace. But if you won't rule Ravka by my side, what does the future hold, General?" Zoya opened the door to the Cargo hold.Light flooded in gilding her features when she looked back at him. "I'll fight on beside you. As your general. As your friend. Because whatever my failings, I know this. You are the king Ravka needs.