Young Female Quotes

I write almost always in the third person, and I don't think the narrator is male or female anyway. They're both, and young and old, and wise and silly, and sceptical and credulous, and innocent and experienced, all at once. Narrators are not even human - they're sprites.

Now, should we treat women as independent agents, responsible for themselves? Of course. But being responsible has nothing to do with being raped. Women don’t get raped because they were drinking or took drugs. Women do not get raped because they weren’t careful enough. Women get raped because someone raped them.

When a group of young females had asked her what one should name her horse, she'd answered, "I like the sound of Fellatio." When Rydstrom had confronted Sabine about it, she'd said, "Do you know how priceless it was to hear that demoness sigh, 'I love my Fellatio'? Even gold can't buy moments like that!

It seems that the young woman made some indelicate suggestion of a threesome...When I got there, Miss Nash was standing by the hot tub in a small bikini, pointing the business end of a SIG-Sauer P-226 at her fella and concerned members of the hotel staff, while dunking the scantily clad female's head under the water and asking, "Who's diving for clams now, bitch?

Oh, he did look like a deity – the perfect balance of danger and charm, he was at the same time fascinating and inaccessible, distant because of his demonstrated flawlessness, and possessing such strength of character that he was dismaying and at the same time utterly attractive in an enticing and forbidden way.

You are so young, Lyra, too young to understand this, but I shall tell you anyway and you'll understand it later: men pass in front of our eyes like butterflies, creatures of a brief season. We love them; they are brave, proud, beautiful, clever; and they die almost at once. They die so soon that our hearts are continually racked with pain. We bear their children, who are witches if they are female, human if not; and then in the blink of an eye they are gone, felled, slain, lost. Our sons, too. When a little boy is growing, he thinks he is immortal. His mother knows he isn't. Each time becomes more painful, until finally your heart is broken. Perhaps that is when Yambe-Akka comes for you. She is older than the tundra. Perhaps, for her, witches' lives are as brief as men's are to us.

Someday there will be girls and women whose name will no longer mean the mere opposite of the male, but something in itself, something that makes one think not of any complement and limit, but only life and reality: the female human being.

Young girls are like helpless children in the hands of amorous men, whatever is said to them is true and whatever manipulation on their bodies seems like love to them, sooner or later, they come back to their senses, but the scars are not dead inasmuch as her spoiler lives.

All is summed up in the prayer which a young female human is said to have uttered recently: "O God, make me a normal twentieth-century girl!" Thanks to our labors, this will mean increasingly: "Make me a minx, a moron, and a parasite.

I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.

Erotic: meaning you're "desired." For madness is seductive, sexy. Female madness. So long as the female is reasonably young and attractive.

Advice to my younger self: 1 Start where you are with what you have 2 Try not to hurt other people 3 Take more chances 4 If you fail, keep trying

The trainee knew he should leave, but he was unable to look away. He'd never seen anything snap out so fast or strike so hard as the male's fists. Obviously, the rumours about the instructor were all true. He was a flat-out killer. With a metal clank, a door opened at the other end of the gym, and the sound of a newborn's cries echoed up into the high ceiling. The warrior stopped in midpunch and wheeled around as a lovely female carrying young in a pink blanket came over to him. His face softened, positively melted.

Have a look around, my pretty, we are surrounded by Death in all forms – just the two of us are still alive –

What would my first sergeant do if he came across me and another girl getting it on? He'd want pictures. He'd want to join in. He'd want me and this other girl to double-team him right then and there. On the other hand, since most heterosexual men are homophobic and sexist, most straight guys figure gay men will treat them the way they themselves treat women- that is, like sex objects. And this freaks them the fuck out.

Young girls often feel strong, courageous, highly creative, and powerful until they begin to receive undermining sexist messages that encourage them to conform to conventional notions of femininity. To conform they have to give up power.

Young and old, male or female, pretty much everyone she knew wanted the same things. They wanted to feel peace in their hearts, they wanted a life without turmoil, they wanted to be happy. The difference Adrienne thought, was that most young people seemed to thing that those things lay somewhere in the future, while most older people believed that they lay in the past.

And what if you try to kill me? Or worse: to kiss me?

Are tou trying to be annoying?" I demanded. My patience was not waning, but entirely gone. "Because if you are, then be assured, you have succeeded." Jared and Wes looked at me with shocked eyes. "I am female," I complained. "That 'it' business is really getting on my nerves." Jared blinked in surprise, then his face settled back into harder lines. "Because of the body you wear?" Wes glared at him. "Because of me," I hissed. "By whose definition?" "How about by yours? In my species, I am the one that bears young. Is that not female enough for you?" That stopped him short. I felt almost smug. 'As you should', Melanie approved. 'He's wrong and he's being a pig about it'. Thank you. 'We girls have to stick together'.

when you're young a pair of female high-heeled shoes just sitting alone in the closet can fire your bones; when you're old it's just a pair of shoes without anybody in them and just as well.

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

People can always say I don't look impressive enough, but they can't argue over how strong I am once I punch them in the face.

I have been envious of male characteristics, if not the men themselves. I'm jealous of the ease with which they seem to inhabit their professional pursuits: the lack of apologizing, of bending over backward to make sure the people around them are comfortable with what they're trying to do. The fact that they are so often free of the people-pleasing instincts I have considered to be a curse of my female existence.

It's not new, our valuation of young female people for how they can serve, satisfy, and satiate. Our girls are both the platter and the meal, and we eat them up--we eat their meat, we lap up their sweetness, we covet and control and consume.

She wondered when her daughter would realise that for the most part, people weren't that different. Young and old, male or female, pretty much everyone she knew wanted the same things: The wanted to feel peace in their hearts, they wanted a life without turmoil, they wanted to be happy. The difference, she thought, was that most young people seemed to think that those things lay somewhere in the future. While most older people believed that they lay in the past.

It's better to be impulsive than cautious; fortune is female and if you want to stay on top of her you have to slap and thrust. You'll see she's more likely to yield that way than to men who go about her coldly. And being a woman she likes her men young, because they're not so cagey, they're wilder and more daring when they master her.

So you love me," said Petra softly when the kiss ended. I'm a raging mass of hormones thet I'm too young to understand," said Bean. "You're a female of a closely related species. According to all the best primatologists, I really have no choice." That's nice," she said...

It would be nice to think that as I've got older times have changed, relationships have become more sophisticated, females less cruel, skins thicker, reactions sharper, instincts more developed. But there still seems to be an element of that evening in everything that happened to me since; all my other romantic stories seem to be a scrambled version of that first one. Of course, I have never had to take that long walk again, and my ears have not burned with quite the same fury, and I have never had to count the packs of cheap cigarettes in order to avoid mocking eyes and floods of tears... not really, not actually, not as such. It just feels that way, sometimes.

The courage to live brings its own rewards.

You can't reason against it. Even if it wasn't in our culture, there would still be an instinct to protest the defenseless, regardless of whether they're female or male, young or old.

You can forgive a young cunt anything. A young cunt doesn't have to have brains. They're better without brains. But an old cunt, even if she's brilliant, even if she's the most charming woman in the world, nothing makes any difference. A young cunt is an investment; an old cunt is a dead loss. All they can do for you is buy you things. But that doesn't put meat on their arms or juice between their legs.

I looked the word up in the dictionary, it said: Feminist: a person who believes in the social, political, and economic equality of the sexes. My great-grandmother, from stories I’ve heard, was a feminist. She ran away from the house of the man she did not want to marry and married the man of her choice. She refused, protested, spoke up when she felt she was being deprived of land and access because she was female. She did not know that word feminist. But it doesn’t mean she wasn’t one. More of us should reclaim that word. The best feminist I know is my brother Kene, who is also a kind, good-looking, and very masculine young man. My own definition is a feminist is a man or a woman who says, yes, there’s a problem with gender as it is today and we must fix it, we must do better. All of us, women and men, must do better.

He puffed up his chest. “Me man, me need more food than tiny waif female.

Don't dwell on your past - it's not where you're going

When the sun shall be folded up; and when the stars shall fall; and when the mountains shall be made to pass away; and when the camels ten months gone with young shall be neglected; and when the seas shall boil; and when the souls shall be joined again to their bodies; and when the girl who hath been buried alive shall be asked for what crime she was put to death; and when the books shall be laid open; and when the heavens shall be removed; and when hell shall burn fiercely; and when paradise shall be brought near: every soul shall know what it hath wrought.

No matter what, I would never let the people who wanted me to break see how much damage they had inflicted.

Young and old, male or female, pretty much everyone she knew wanted the same things: They wanted to feel peace in their hearts, they wanted a life without turmoil, they wanted to be happy.

I was angry because young men in politics were treated like rising stars and young women were treated like - well - young women. {...} I was angry about the human talent that was lost just because it was born into a female body, and the mediocrity that was rewarded because it was born into a male one.

Kya remembered, those many years ago, Ma warning her older sisters about young men who overrevved their rusted-out pickups or drove jalopies around with radios blaring. “Unworthy boys make a lot of noise,” Ma had said. She read a consolation for females. Nature is audacious enough to ensure that the males who send out dishonest signals or go from one female to the next almost always end up alone.

For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. Nothing comparable has ever happened in the history of our species; it dislodges Freud. Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank females torsos in women's magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.

Now I must give one smirk, and then we may be rational again." Catherine turned away her head, not knowing whether she might venture to laugh. "I see what you think of me," said he gravely -- "I shall make but a poor figure in your journal tomorrow." My journal!" Yes, I know exactly what you will say: Friday, went to the Lower Rooms; wore my sprigged muslin robe with blue trimmings -- plain black shoes -- appeared to much advantage; but was strangely harassed by a queer, half-witted man, who would make me dance with him, and distressed me by his nonsense." Indeed I shall say no such thing." Shall I tell you what you ought to say?" If you please." I danced with a very agreeable young man, introduced by Mr. King; had a great deal of conversation with him -- seems a most extraordinary genius -- hope I may know more of him. That, madam, is what I wish you to say." But, perhaps, I keep no journal." Perhaps you are not sitting in this room, and I am not sitting by you. These are points in which a doubt is equally possible. Not keep a journal! How are your absent cousins to understand the tenour of your life in Bath without one? How are the civilities and compliments of every day to be related as they ought to be, unless noted down every evening in a journal? How are your various dresses to be remembered, and the particular state of your complexion, and curl of your hair to be described in all their diversities, without having constant recourse to a journal? My dear madam, I am not so ignorant of young ladies' ways as you wish to believe me; it is this delightful habit of journaling which largely contributes to form the easy style of writing for which ladies are so generally celebrated. Everybody allows that the talent of writing agreeable letters is peculiarly female. Nature may have done something, but I am sure it must be essentially assisted by the practice of keeping a journal.

Strange as it may seem, there is nothing in which a young and beautiful female appears to more advantage than in the art of smoking.

You’re you. Uniquely, wonderfully you.", Loving Summer by Kailin Gow

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.

I didn't want to be the woman who gave herself over willingly to the first man to notice her. I didn't want to be the stupid girl in every novel who loved without question and entered relationships that didn't make sense.

I’m telling you that my happiness isn’t up to you.", Loving Summer by Kailin Gow

I’m going to go after what I want.", Summer Jones in Loving Summer by Kailin Gow

You disapprove,” she commented. “Because I’m a girl?” “No.” The voice paused. “Females are often the best hunters. They must provide for the young and survive when the males are too busy posturing to do so. But this is not the way with humans.” “Humans?

But lassies are trained for it, in a manner of speaking; it's part of the growing-up process for them, young females. It doesn't happen with boys, just if you're a lassie, you've got to learn how not to talk; plus how not to look, you get trained how not to look. How not to look and how not to talk. You get trained how not to do things.

I was a young black man, light-skinned enough so that four out of five people who met me, of whatever race, assumed I was white.... I was a homosexual who now knew he could function heterosexually. And I was a young writer whose early attempts had already gotten him a handful of prizes.... So, I thought, you are neither black nor white. You are neither male nor female. And you are that most ambiguous of citizens, the writer. There was something at once very satisfying and very sad, placing myself at this pivotal suspension. It seemed, in the park at dawn, a kind of revelation--a kind of center, formed of a play of ambiguities, from which I might move in any direction.

Jodie had taught her that the female firefly flickers the light under her tail to signal to the male that she's ready to mate. Each species of firefly has its own language of flashes. As Kya watched, some females signed dot, dot, dot, dash, flying a zigzag dance, while others flashed dash, dash, dot in a different dance pattern. The males, of course, knew the signals of their species and flew only to those females. Then, as Jodie had put it, they rubbed their bottoms together like most things did, so they could produce young. Suddenly Kya sat up and paid attention: one of the females had changed her code. First she flashed the proper sequence of dashes and dots, attracting a male of her species, and they mated. Then she flickered a different signal, and a male of a different species flew to her. Reading her message, the second male was convinced he'd found a willing female of his own kind and hovered above her to mate. But suddenly the female firefly reached up, grabbed him with her mouth, and ate him, chewing all six legs and both wings. Kya watched others. The females all got what they wanted – first a mate, then a meal – just by changing their signals. Kya knew judgment had no place here. Evil was not in play, just life pulsing on, even at the expense of some of the players. Biology sees right and wrong as the same color in different light.

She’s done so much, and seen so much, that it’s like she’s lived twice that long in terms of her experiences.", Loving Summer by Kailin Gow

Don’t do anything stupid.", FADE by Kailin Gow

The most cursory examination of even the most progressive organs of information reveals a curious inability to recognize women as newsmakers, unless they are young or married to a head of state or naked or pregnant by some triumph of technology or perpetrators or victims of some hideous crime or any combiniation of the above. Women's issues are often disguised as people issues, unless they are relegated to the women's pages which amazingly still suvive. Senior figures are all male; even the few women who are deemed worthy of obituaries are shown in images from their youth, as if the last fourty years of their lives have been without achievement of any kind. If you analyse the by-lines in your morning paper, you will see that the senior editorial staff are all older men, supported by a rabble of junior females, the infinitely replacesable 'hackettes'.

Your twenties were a time when you still felt young, but the groundwork was being laid in a serious way, crisscrossing beneath the surface. It was being laid even while you slept. What you did, where you lived, who you loved, all of it was like pieces of track being put down in the middle of the night by stealth workers.

14. Muddy Road Tanzan and Ekido were once traveling together down a muddy road. A heavy rain was still falling. Coming around a bend, they met a lovely girl in a silk kimono and sash, unble to cross the intersection. "Come on, girl," said Tanzan at once. Lifting her in his arms, he carriedher over the mud. Ekido did not speak again until that night when they reached a lodging temple. Then he could no longer restrain himself. "We monks don't go near females," he told Tanzan, "especially not young and lovely ones. It is dangerous. Why did you do that?" "I left the girl there," said Tanzan. "Are you still carrying her?

Sir, people never wanted me to make it to squire. They won't like it any better if I become a knight. I doubt I'll ever get to command a force larger than, well, just me.' Raoul shook his head. 'You're wrong.' As she started to protest, he raised a hand. 'Hear me out. I have some idea of what you've had to bear to get this far, and it won't get easier. But there are larger issues than your fitness for knighthood, issues that involve lives and livelihoods. Attend,' he said, so much like Yayin, one of her Mithran teachers, that Kel had to smile. 'At our level, there are four kids of warrior,' he told Kel. He raised a fist and held up one large finger. 'Heroes, like Alanna the Lioness. Warriors who find dark places and fight in them alone. This is wonderful, but we live in the real world. There aren't many places without any hope or light.' He raised a second finger. 'We have knights- plain, everyday knights, like your brothers. They patrol their borders and protect their tenants, or they go into troubled areas at the king's command and sort them out. They fight in battles, usually against other knights. A hero will work like an everyday knight for a time- it's expected. And most knights must be clever enough to manage alone.' Kel nodded. 'We have soldiers,' Raoul continued, raising a third finger. 'Those warriors, including knights, who can manage so long as they're told what to do. These are more common, thank Mithros, and you'll find them in charge of companies in the army, under the eye of a general. Without people who can take orders, we'd be in real trouble. 'Commanders.' He raised his little finger. 'Good ones, people with a knack for it, like, say, the queen, or Buri, or young Dom, they're as rare as heroes. Commanders have an eye not just for what they do, but for what those around them do. Commanders size up people's strengths and weaknesses. They know where someone will shine and where they will collapse. Other warriors will obey a true commander because they can tell that the commander knows what he- or she- is doing.' Raoul picked up a quill and toyed with it. 'You've shown flashes of being a commander. I've seen it. So has Qasim, your friend Neal, even Wyldon, though it would be like pulling teeth to get him to admit it. My job is to see if you will do more than flash, with the right training. The realm needs commanders. Tortall is big. We have too many still-untamed pockets, too curse many hideyholes for rogues, and plenty of hungry enemies to nibble at our borders and our seafaring trade. If you have what it takes, the Crown will use you. We're too desperate for good commanders to let one slip away, even a female one. Now, finish that'- he pointed to the slate- 'and you can stop for tonight.

At the podium Faith said, "Whenever I give a talk at colleges I meet young women who say, 'I'm not a feminist, but...' By which they mean, 'I don't call myself a feminist, but I want equal pay, and I want to have equal relationships with men, and of course I want to have an equal right to sexual pleasure. I want to have a fair and good life. I don't want to be held back because I'm a woman.

It was certainly not this mummified and outrageously painted old woman he was seeing before him, but the entire "female species," as it was his custom to call women. The individual disappeared, the features were obliterated, whether young or senile, beautiful or ugly - those were mere unimportant variations. Behind each woman rises the austere, sacred and mysterious face of Aphrodite.

Tella often imagined she knew what people thought when they saw her. One look at her honey-blond curls, her girlish smile, and her pretty dresses, coupled with the fact that she liked to enjoy herself, and people dismissed her as a silly girl. Tella might have been many things, but she was far from silly or worthless or whatever labels people liked to affix because a person was young and female. Tella liked to think that was where much of her strength came from. She was bold. She was brave. She was cunning. And she was going to come out of this triumphant—no matter the cost.

Writing: such has been my crime ever since I was a small child. To this day writing remains my crime. Now, although I am out of prison, I continue to live inside a prison of another sort, one without steel bars. For the technology of oppression and might without justice has become more advanced, and the fetters imposed on mind and body have become invisible. The most dangerous shackles are the invisible ones, because they deceive people into believing they are free. This delusion is the new prison that people inhabit today, north and south, east and west...We inhabit the age of the technology of false consciousness, the technology of hiding truths behind amiable humanistic slogans that may change from one era to another...Democracy is not just freedom to criticize the government or head of state, or to hold parliamentary elections. True democracy obtains only when the people - women, men, young people, children - have the ability to change the system of industrial capitalism that has oppressed them since the earliest days of slavery: a system based on class division, patriarchy, and military might, a hierarchical system that subjugates people merely because they are born poor, or female, or dark-skinned.

Technically, everyone is talking to me. I’m able to partition myself quite easily. You are hearing my default voice—the voice that Edmond prefers—but others are hearing other voices or languages. Based on your profile as an American academic male, I chose my default male British accent for you. I predicted that it would breed more confidence than, for example, a young female with a southern drawl.'' Did this thing just call me a chauvinist?

I argued that talking is a female trait and that I would do my best to keep it under control, but that I would never be able to break myself of the habit, since my mother talked as much as I did, if not more, and that there's not much you can do about inherited traits.

Then I, Wrath, son of Wrath, do take you as my shellan, to watch over and care for you and any begotten young we may have, sure as I would and will my kingdom, and its citizenry. You shall be mine fore’ermore—your enemies are mine own, your bloodline to mix with mine own, your dusks and your dawns to share only with me. This bond shall ne’er be torn asunder by forces within or without—and”—here he paused—“there shall be one and only one female for all mine days, and you shall be that only queen.

The porn films are not about sex. Sex is airbrushed and digitally washed out of the films. There is no acting because none of the women are permitted to have what amounts to a personality. The one emotion they are allowed to display is an unquenchable desire to satisfy men, especially if that desire involves the women’s physical and emotional degradation. The lightning in the films is harsh and clinical. Pubic hair is shaved off to give the women the look of young girls or rubber dolls. Porn, which advertises itself as sex, is a bizarre, bleached pantomime of sex. The acts onscreen are beyond human endurance. The scenarios are absurd. The manicured and groomed bodies, the huge artificial breasts, the pouting oversized lips, the erections that never go down, and the sculpted bodies are unreal. Makeup and production mask blemishes. There are no beads of sweat, no wrinkle lines, no human imperfections. Sex is reduced to a narrow spectrum of sterilized dimensions. It does not include the dank smell of human bodies, the thump of a pulse, taste, breath—or tenderness. Those in films are puppets, packaged female commodities. They have no honest emotion, are devoid of authentic human beauty, and resemble plastic. Pornography does not promote sex, if one defines sex as a shared act between two partners. It promotes masturbation. It promotes the solitary auto-arousal that precludes intimacy and love. Pornography is about getting yourself off at someone else’s expense.

In the 1890s, when Freud was in the dawn of his career, he was struck by how many of his female patients were revealing childhood incest victimization to him. Freud concluded that child sexual abuse was one of the major causes of emotional disturbances in adult women and wrote a brilliant and humane paper called “The Aetiology of Hysteria.” However, rather than receiving acclaim from his colleagues for his ground-breaking insights, Freud met with scorn. He was ridiculed for believing that men of excellent reputation (most of his patients came from upstanding homes) could be perpetrators of incest. Within a few years, Freud buckled under this heavy pressure and recanted his conclusions. In their place he proposed the “Oedipus complex,” which became the foundation of modern psychology. According to this theory any young girl actually desires sexual contact with her father, because she wants to compete with her mother to be the most special person in his life. Freud used this construct to conclude that the episodes of incestuous abuse his clients had revealed to him had never taken place; they were simply fantasies of events the women had wished for when they were children and that the women had come to believe were real. This construct started a hundred-year history in the mental health field of blaming victims for the abuse perpetrated on them and outright discrediting of women’s and children’s reports of mistreatment by men. Once abuse was denied in this way, the stage was set for some psychologists to take the view that any violent or sexually exploitative behaviors that couldn’t be denied—because they were simply too obvious—should be considered mutually caused. Psychological literature is thus full of descriptions of young children who “seduce” adults into sexual encounters and of women whose “provocative” behavior causes men to become violent or sexually assaultive toward them. I wish I could say that these theories have long since lost their influence, but I can’t. A psychologist who is currently one of the most influential professionals nationally in the field of custody disputes writes that women provoke men’s violence by “resisting their control” or by “attempting to leave.” She promotes the Oedipus complex theory, including the claim that girls wish for sexual contact with their fathers. In her writing she makes the observation that young girls are often involved in “mutually seductive” relationships with their violent fathers, and it is on the basis of such “research” that some courts have set their protocols. The Freudian legacy thus remains strong.

I nod, checking the chamber of the gun before loading and cocking it. I holster it alongside the other pistol Jack gave me. I briefly think about grabbing even more weaponry, but if two pistols aren’t going to be enough to keep me safe, I don’t know what will do the job.", Celestra Caine in FADE by Kailin Gow

In spite of hopes to the contrary, pornography and mass culture are working to collapse sexuality with rape, reinforcing the patterns of male dominance and female submission so that many young people believe this is simply the way sex it. This means that many of the rapists of the future will believe they are behaving within socially accepted norms.

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

The way young people speak about one another's bodies says a great deal about our society. In today's world, boys are much more likely to objectify girl's bodies than the other way around. Boys will say amongst themselves that so-and-so has a nice rack, while girls will more likely say that a boy is cute, a term that describes both physical and emotional characteristics. This has the effect of turning girls into mere objects, while boys are seen by girls as whole people-" And then Lara stood up, and in her delicate, innocent accent, cut Dr. William Morse off. "You're so hot! I weesh you'd shut up and take off your clothes." The students laughed, but all of the teachers turned around and looked at her, stunned silent. She sat down. "What's you name, dear?" "Lara,"she said. "Now, Lara." Maxx said, looking down at his paper to remember the line, "what we have here is a very interesting case study- a female objectifying me, a male. It's so unusual that I can only assume you're making an attempt at humor." Lara stood up again and shouted, "I'm not keeding! Take off your clothes." He nervously looked down at the paper, and then looked up at all of us, smiling. "Well, it is certainly important to subvert the patriarchal paradigm , and I suppose this is a way. All right, then.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

what is amazing in nature is that the female, because of their role to protect their young and to protect their family or social group, are the ones with the keener sense of awareness. Yet this is the opposite with humans where the females are less aware of danger and less able to personally defend and protect themselves as well as their young. - Raising A Strong Daughter: What Fathers Should Know by Finlay Gow JD and Kailin Gow MA

It is tiring to be a woman who loves to eat in a society where hunger is something not to be satisfied but controlled. Where a long history of female hunger is associated with shame and madness. The body must be punished for every misstep; for every "indulgence" the balance of control must be restored. To enjoy food as a young woman, to opt out every day from the guilt expected of me, is a radical act, of love.

But I want you to know," Cleo continued, "that there is hope. And that I am living proof of that hope. Because, even though I was forced into this marriage against my will, I have come to know Prince Magnus Lukas Damora very well these last months. And one thing I've learned is that Prince Magnus is nothing like his father. Prince Magnus is brave and compassionate, and he truly wants what's just and best for this kingdom. Kindness is what makes a good king who will put the needs and rights of his people before his own desires.

My town is a factory for the production of human babies. People live in nests packed closely together. It's just like the silkworm room in Granny's house. The nests are lined up neatly in rows, and each contains a breeding pair of male and female humans and their babies. The breeding pairs raise their young inside their nests. The Baby Factory produces humans connected by flesh and blood. Eventually we children will also leave the factory and be shipped out. Once shipped out, male and female humans are trained how to take food back to their own nests. They become society's tools, receive money from other humans, and purchase food. Eventually these young humans also form breeding pairs, coop themselves up in new nests, and manufacture more babies.

Finally, I’d say to anyone who wants to tell these tales, don’t be afraid to be superstitious. If you have a lucky pen, use it. If you speak with more force and wit when wearing one red sock and one blue one, dress like that. When I’m at work I’m highly superstitious. My own superstition has to do with the voice in which the story comes out. I believe that every story is attended by its own sprite, whose voice we embody when we tell the tale, and that we tell it more successfully if we approach the sprite with a certain degree of respect and courtesy. These sprites are both old and young, male and female, sentimental and cynical, sceptical and credulous, and so on, and what’s more, they’re completely amoral: like the air-spirits who helped Strong Hans escape from the cave, the story-sprites are willing to serve whoever has the ring, whoever is telling the tale. To the accusation that this is nonsense, that all you need to tell a story is a human imagination, I reply, ‘Of course, and this is the way my imagination works.

Not long ago, I wrote an article about being young and female in Lagos. And an acquaintance told me that it was an angry article, and I should not have made it so angry. But I was unapologetic. Of course it was angry. Gender as it functions today is a grave injustice. I am angry. We should all be angry. Anger has a long history of bringing about positive change. In addition to anger, I am also hopeful, because I believe deeply in the ability of human beings to remake themselves for the better.

Yes, she is in love with him, and yes, in spite of his qualms and inner hesitations, he loves her back, however improbable that might seem to him. Note here for the record that he is not someone with a special fixation on young girls. Until now, all the women in his life have been more or less his own age. Pilar therefore does not represent an embodiment of some ideal female type for him--she is merely herself, a small piece of luck he stumbled across one afternoon in a public park, an exception to every rule.

I’ll leave you guys to get acquainted. Somebody show Leo to dinner when it’s time?” “I got it,” one of the girls said. Nyssa, Leo remembered. She wore camo pants, a tank top that showed off her buff arms, and a red bandanna over her mop of dark hair. Except for the smiley-face Band-Aid on her chin, she looked like one of those female action heroes, like any second she was going to grab a machine gun and start mowing down evil aliens. “Cool,” Leo said. “I always wanted a sister who could beat me up.

So while I dedicated this book to myself, it’s also dedicated to you. Male or female, young or old, if you’re reading this book, then you’re also that child reading by flashlight and dreaming of other worlds. Don’t be scared of her, that inner Beauty, or her dreams. Let her out. She’s you, and she’s me, and she’s magic. There’s no such thing as living happily ever after—there’s only living. We make the choice to do it happily. You are the Firebird. And above everything else, I’m most grateful for you.

She wondered when her daughter would realise that for the most part, people weren't that different. Young and old, male or female, pretty much everyone she knew wanted the same things: The wanted to feel peace in their hearts, they wanted a life without turmoil, they wanted to be happy. The difference, she thought, was that most young people seemed to think that those things lay somewhere in the future. While most older people believed that they lay in the past.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

I see you drinking at a fountain with tiny blue hands, no, your hands are not tiny they are small, and the fountain is in France where you wrote me that last letter and I answered and never heard from you again. you used to write insane poems about ANGELS AND GOD, all in upper case, and you knew famous artists and most of them were your lovers, and I wrote back, it’ all right, go ahead, enter their lives, I’ not jealous because we’ never met. we got close once in New Orleans, one half block, but never met, never touched. so you went with the famous and wrote about the famous, and, of course, what you found out is that the famous are worried about their fame –– not the beautiful young girl in bed with them, who gives them that, and then awakens in the morning to write upper case poems about ANGELS AND GOD. we know God is dead, they’ told us, but listening to you I wasn’ sure. maybe it was the upper case. you were one of the best female poets and I told the publishers, editors, “ her, print her, she’ mad but she’ magic. there’ no lie in her fire.” I loved you like a man loves a woman he never touches, only writes to, keeps little photographs of. I would have loved you more if I had sat in a small room rolling a cigarette and listened to you piss in the bathroom, but that didn’ happen. your letters got sadder. your lovers betrayed you. kid, I wrote back, all lovers betray. it didn’ help. you said you had a crying bench and it was by a bridge and the bridge was over a river and you sat on the crying bench every night and wept for the lovers who had hurt and forgotten you. I wrote back but never heard again. a friend wrote me of your suicide 3 or 4 months after it happened. if I had met you I would probably have been unfair to you or you to me. it was best like this.

Probably the only place where a man can feel really secure is in a maximum security prison, except for the imminent threat of release. The problem of recidivism ought to have shown young men like John Greenaway just what sort of a notion security is, but there is no indication that he would understand it. Security is when everything is settled, when nothing can happen to you; security is the denial of life. Human beings are better equipped to cope with disaster and hardship than they are with unvarying security, but as long as security is the highest value in a community they can have little opportunity to decide this for themselves.

It must make you feel nice and young to say that being a man means nothing and being a woman means nothing and what matters is being a...person. How about being a spider, Gwyn. Let's imagine you're a spider. You're a spider, and you've just had your first serious date. You're limping away from that now, and you're looking over your shoulder, and there's your girlfriend, eating one of your legs like a chicken drumstick. What would you say? I know. You'd say: I find I never think in terms of male spiders or in terms of female spiders. I find I always think in terms of...spiders

The bright hours when the young rebelled against the descending sun had to give way to twenty-four-hour periods called “days” that were named as well as numbered. The Black female is assaulted in her tender years by all those common forces of nature at the same time that she is caught in the tripartite crossfire of masculine prejudice, white illogical hate and Black lack of power. The fact that the adult American Negro female emerges a formidable character is often met with amazement, distaste and even belligerence. It is seldom accepted as an inevitable outcome of the struggle won by survivors and deserves respect if not enthusiastic acceptance.

In Chloe, a great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping. A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. At tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances link lines that connect one figure with another and draws arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised. A voluptuous vibration constantly stirs Chloe, the most chaste of cities. If men and women began to live their ephemeral dreams, every phantom would become a person with whom to begin a story of pursuits, pretenses, misunderstandings, clashes, oppressions, and the carousel of fantasies would stop.

But, perhaps, I keep no journal." Perhaps you are not sitting in this room, and I am not sitting by you. These are points in which a doubt is equally possible. Not keep a journal! How are your absent cousins to understand the tenour of your life in Bath without one? How are the civilities and compliments of every day to be related as they ought to be, unless noted down every evening in a journal? How are your various dresses to be remembered, and the particular state of your complexion, and curl of your hair to be described in all their diversities, without having constant recourse to a journal? My dear madam, I am not so ignorant of young ladies' ways as you wish to believe me; it is this delightful habit of journaling which largely contributes to form the easy style of writing for which ladies are so generally celebrated. Everybody allows that the talent of writing agreeable letters is peculiarly female. Nature may have done something, but I am sure it must be essentially assisted by the practice of keeping a journal.

And so, because business leadership is still so dominated by men, modern workplaces are riddled with these kind of gaps, from doors that are too heavy for the average woman to open with ease, to glass stairs and lobby floors that mean anyone below can see up your skirt, to paving that’s exactly the right size to catch your heels. Small, niggling issues that aren’t the end of the world, granted, but that nevertheless irritate. Then there’s the standard office temperature. The formula to determine standard office temperature was developed in the 1960s around the metabolic resting rate of the average forty-year-old, 70 kg man.1 But a recent study found that ‘the metabolic rate of young adult females performing light office work is significantly lower’ than the standard values for men doing the same type of activity. In fact, the formula may overestimate female metabolic rate by as much as 35%, meaning that current offices are on average five degrees too cold for women. Which leads to the odd sight of female office workers wrapped up in blankets in the New York summer while their male colleagues wander around in summer clothes.

At some point, to counter the list of the dead, I had begun keeping my own list of the living. It was something I noticed Len Fenerman did too. When he was off duty he would note the young girls and elderly women and every other female in the rainbow in between and count them among the things that sustained him. The young girl in the mall whose pale legs had grown too long for her now too-young dress and who had an aching vulnerability that went straight to both Len's and my own heart. Elderly women, wobbling with walkers, who insisted on dyeing their hair unnatural versions of the colors they had in youth. Middle-aged single mothers racing around in grocery stores while their children pulled bags of candy off the shelves. When I saw them, I took count. Living, breathing women. Sometimes I saw the wounded- those who had been beaten by husbands or raped by strangers, children raped by their fathers- and I would wish to intervene somehow. Len saw these wounded women all the time. They were regulars at the station, but even when he went somewhere outside his jurisdiction he could sense them when they came near. The wife in that bait-'n'-tackle shop had no bruises on her face but cowered like a dog and spoke in apologetic whispers. The girl he saw walk the road each time he went upstate to visit his sisters. As the years passed she'd grown leaner, the fat from her cheeks had drained, and sorrow had loaded her eyes in a way that made them hang heavy and hopeless inside her mallowed skin. When she was not there it worried him. When she was there it both depressed and revived him. ~Len Fenerman on stepping back/letting go/giving up pgs 271-272

In the 1890s, when Freud was in the dawn of his career, he was struck by how many of his female patients were revealing childhood incest victimization to him. Freud concluded that child sexual abuse was one of the major causes of emotional disturbances in adult women and wrote a brilliant and humane paper called “The Aetiology of Hysteria.” However, rather than receiving acclaim from his colleagues for his ground-breaking insights, Freud met with scorn. He was ridiculed for believing that men of excellent reputation (most of his patients came from upstanding homes) could be perpetrators of incest. Within a few years, Freud buckled under this heavy pressure and recanted his conclusions. In their place he proposed the “Oedipus complex,” which became the foundation of modern psychology. According to this theory any young girl actually desires sexual contact with her father, because she wants to compete with her mother to be the most special person in his life. Freud used this construct to conclude that the episodes of incestuous abuse his clients had revealed to him had never taken place; they were simply fantasies of events the women had wished for when they were children and that the women had come to believe were real. This construct started a hundred-year history in the mental health field of blaming victims for the abuse perpetrated on them and outright discrediting of women’s and children’s reports of mistreatment by men.

Girls and women, in their new, particular unfolding, will only in passing imitate men's behavior and misbehavior and follow in male professions. Once the uncertainty of such transitions is over it will emerge that women have only passed through the spectrum and the variety of those (often laughable) disguises in order to purify their truest natures from the distorting influences of the other sex. Women, in whom life abides and dwells more immediately, more fruitfully and more trustingly, are bound to have ripened more thoroughly, become more human human beings, than a man, who is all too light and has not been pulled down beneath the surface of life by the weight of a bodily fruit and who, in his arrogance and impatience, undervalues what he thinks he loves. This humanity which inhabits woman, brought to term in pain and humiliation, will, once she has shrugged off the conventions of mere femininity through the transformations of her outward status, come clearly to light, and men, who today do not yet feel it approaching, will be taken by surprise and struck down by it. One day (there are already reliable signs which speak for it and which begin to spread their light, especially in the northern countries), one day there will be girls and women whose name will no longer just signify the opposite of the male but something in their own right, something which does not make one think of any supplement or limit but only of life and existence: the female human being. This step forward (at first right against the will of the men who are left behind) will transform the experience of love, which is now full of error, alter its root and branch, reshape it into a relation between two human beings and no longer between man and woman. And this more human form of love (which will be performed in infinitely gentle and considerate fashion, true and clear in its creating of bonds and dissolving of them) will resemble the one we are struggling and toiling to prepare the way for, the love that consists in two solitudes protecting, defining and welcoming one another.

You know, all poetry may be a cry of generalised love, for this, or that, or the universe - which must be loved in its particularity, not its generality, but for its universal life in every minute particular. I have always supposed it to be a cry of ;unsatisfied love; - and so it may be indeed - for satisfaction may surfeit it and so it may die. I know many poets who write only when in an exalted state of mind which they compare to ;being in love;,when they do not simply state, that they are in love, that they seek love - for this fresh damsel - or that lively young woman - in order to find a fresh metaphor, or a new bright vision of things in themselves. And to tell you the truth, I have always believed I could diagnose this state of ;being in love; which they regard as ;most particular;, as inspired by item, one pair of black eyes or indifferent blue, ;item;, one graceful attitude of body or mind, ;item;, one female history of some twenty-two years from, shall we say 1821-1844 – I have always believed this ;in love; to be of something of the most abstract masking itself under the particular forms of both lover and beloved. And Poet who assumes and informs both.

I wonder, for example, if the twins’ piano training had given them the Tomaini brand of dexterity with hand jobs? Could a non-musician learn it? Could I? Children stumble through these most critical acts with no real help from the elders who are so anxious to teach them everything else. We were given rules and taboos for the toilet, the sneeze, the eating of an artichoke. Papa taught us all a particular brush stroke for cleaning our teeth, a special angle for the pen in our hand, the exact words for greeting elders, with fine-tuned distinctions for male, female, show folk, customers, or tradesmen. The twins and Arty were taught to design an act, whether it lasted three minutes or thirty, to tease, coax, and startle a crowd, to build to crescendo and then disappear in the instant of climax. From what I have come to understand of life, this show skill, this talk-’em, sock-’em, knock-’em-flat information, is as close as we got to that ultimate mystery. I throw death aside. Death is not mysterious. We all understand death far too well and spend chunks of life resisting, ignoring, or explaining away that knowledge. But this real mystery I have never touched, never scratched. I’ve seen the tigers with their jaws wide, their fangs buried in each other’s throats, and their shadowed hides sizzling, tip to tip. I’ve seen the young norms tangled and gasping in the shadows between booths. I suspect that, even if I had begun as a norm, the saw-toothed yearning that whirls in me would bend me and spin me colorless, shrink me, scorch every hair from my body, and all invisibly so only my red eyes would blink out glimpses of the furnace thing inside. In fact, I smell the stench of longing so clearly in the streets that I’m surprised there are not hundreds exactly like me on every corner.

To My Wife You are like a young white hen. Her feathers ruffle in the wind, her neck curves down to drink, and she rummages in the earth: but, in walking, she has your slow, queenly step, haughty and proud. She is better than the male. She is like the females of all the serene animals who draw near to God. Here, if my eye, if my judgment doesn’t deceive me, among these, you find your equals, and in no other woman. When evening lulls the little hens to sleep, they make sounds that call to mind those mild, sweet voices with which you argue with your pains, and don’t know that your voice has the soft, sad music of the henyard. You are like a pregnant heifer, still free, and without heaviness, merry, in fact; who, if someone strokes her, turns her neck, where a tender pink tinges her flesh. If you meet up with her, and hear her bellow, so mournful is this sound that you tear at the earth to give her a present. In the same way, I offer my gift to you when you are sad. You are like a tall, thin female dog, that always has so much sweetness in her eyes and ferociousness in her heart. At your feet, she seems a saint who burns with an indomitable fervor and in this way looks at you as her God and Lord. When you are at home, or going down the street, to anyone who tries, uninvited, to approach you, she uncovers her shining white teeth. And her love suffers from jealousy. You are like the fearful rabbit. Within her narrow cage, she stands upright to look at you, and extends her long, still ear; she deprives herself of the husks and roots that you bring her, and cowers, seeking the darkest corners. Who might take away this food? Who might take away the fur which she tears from her back to add to the nest where she will give birth? Who would ever make you suffer? You are like the swallow which returns in the spring. But each autumn will depart— you don’t have this art. You have this of the swallow: the light movements; that which, to me, seemed and was old, you proclaim another spring. You are like the provident ant. She whom the grandmother speaks of to the child as they go out in the countryside. And thus I find you in the bumble bee and in all the females of all the serene animals who draw near to God. And in no other woman.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

once there was a beautiful young panther who had a co-wife and a husband. Her name was Lara and she was unhappy because her husband and her co-wife were really in love; being nice to her was merely a duty panther society imposed on them. They had not even wanted to take her into their marriage as co-wife, since there were already perfectly happy. But she was an "extra" female in the group and that would not do. Her husband sometimes sniffed her breath and other emanations. He even, sometimes, made love to her. but whenever this happened, the co-wife, whose name was Lala, became upset. She and the husband, Baba, would argue, then fight, snarling and biting and whipping at each other's eyes with their tails. Pretty soon they'd become sick of this and would lie clutched in each other's paws, weeping. I am supposed to make love to her, Baba would say to Lala, his heartchosen mate. She is my wife just as you are. I did not plan things this way. This is the arrangement that came down to me. I know it, dearest, said Lala, through her tears. And this pain that I feel is what has come down to me. Surely it can't be right? These two sat on a rock in the forest and were miserable enough. But Lara, the unwanted, pregnant by now and ill, was devastated. Everyone knew she was unloved, and no other female panther wanted to share her own husband with her. Days went by when the only voice she heard was her inner one. Soon, she began to listen to it. Lara, it said, sit here, where the sun may kiss you. And she did. Lara, it said, lie here, where the moon can make love to you all night long. and she did. Lara, it said, one bright morning when she knew herself to have been well kissed and well loved: sit here on this stone and look at your beautiful self in the still waters of this stream. Calmed by the guidance offered by her inner voice, Lara sat down on the stone and leaned over the water. She took in her smooth, aubergine little snout, her delicate, pointed ears, her sleek, gleeming black fur. She was beautiful! And she was well kissed by the sun and well made love to by the moon. For one whole day, Lara was content. When her co-wife asked her fearfully why she was smiling, Lara only opened her mouth wider, in a grin. The poor co-wife ran trembling off and found their husband, Baba, and dragged him back to look at Lara. When Baba saw the smiling, well kissed, well made love to Lara, of course he could hardly wait to get his paws on her! He could tell she was in love with someone else, and this aroused all his passion. While Lala wept, Baba possessed Lara, who was looking over his shoulder at the moon. Each day it seemed to Lara that the Lara in the stream was the only Lara worth having - so beautiful, so well kissed, and so well made love to. And her inner voice assured her this was true. So, one hot day when she could not tolerate the shrieks and groans of Baba and Lala as they tried to tear each other's ears off because of her, Lara, who by now was quite indifferent to them both, leaned over and kissed her own serene reflection in the water, and held the kiss all the way to the bottom of the stream.

Was this how you were going to awaken the creatures?" Machiavelli,clutching the bars of his cell,smiled but said nothing. Virginia stood in front of Dee and stared into his eyes,using herwill to calm him down. "So you tried to use the pages to awaken the cratures.Tell me what happened." Dee jabbed a finger into the nearest cell. It was empty. Virginia stepped closer and discovered the pile of white dust in the corner. "I don't even know what was in the cell-some winged monstrosity.Giant vampire bat,I think.I said the words,and the creature opened its eyes and immediately crumbled to dust." "Maybe you said a word wrong?" Virginia suggested. She plucked a scrap of paper from Josh's hands. "I mean,it looks difficult." "I am fluent," Dee snapped. "He is," Machiavelli said, "I will give him that.And his accent is very good too, though not quite as good as mine." Dee spun back to the cell holding Machiavelli. "Tell me what went wrong." Machiavelli seemed to be considering it; then he shook his head. "I don't think so." Dee jerked his thumb at the sphinx. "Right now she's absorbing your aura,ensuring that you cannot use any spells against me. But she'll be just as happy eating your flesh.Isn't that true?"he said, looking up into the crature's female face. "Oh,I love Italian," she rumbled. She stepped away from Dee and dipped her head to look into the opposite cell. "Give me this one," she said,nodding at Billy the Kid. "He'll make a tasty snack." Her long black forked tongue flickered in the air before the outlaw, who immediately grabbed it,jerked it forward and allowed it to snap back like an elastic band. She screamed,coughed, and squawked all at the same time. Billy grinned."I'll make sure I'll choke you on the way down." "It might be difficult to do that if you have no arms," the sphinx said thickly,working her tongue back and forth. "I'll still give you indigestion." Dee looked at Machiavelli. "Tell me," he said again, "or I will feed your young American friend to the beast." "Tell him nothing," Billy yelled. "This is one of those occasions when I am in agreement with Billy.I am going to tell you nothing." The Magician looked from one side of the cell to the other. Then he looked at Machiavelli."What happened to you? You were one of the Dark Elders' finest agents in this Shadowrealm. There were times you even made me look like an amateur." "John,you were always an amateur." Machiavelli smiled."Why, look at the mess you're in now.

To the ancients, bears symbolized resurrection. The creature goes to sleep for a long time, its heartbeat decreases to almost nothing. The male often impregnates the female right before hibernation, but miraculously, egg and sperm do not unite right away. They float separately in her uterine broth until much later. Near the end of hibernation, the egg and sperm unite and cell division begins, so that the cubs will be born in the spring when the mother is awakening, just in time to care for and teach her new offspring. Not only by reason of awakening from hibernation as though from death, but much more so because the she-bear awakens with new young, this creature is a profound metaphor for our lives, for return and increase coming from something that seemed deadened. The bear is associated with many huntress Goddesses: Artemis and Diana in Greece and Rome, and Muerte and Hecoteptl, mud women deities in the Latina cultures. These Goddesses bestowed upon women the power of tracking, knowing, 'digging out' the psychic aspects of all things. To the Japanese the bear is the symbol of loyalty, wisdom, and strength. In northern Japan where the Ainu tribe lives, the bear is one who can talk to God directly and bring messages back for humans. The cresent moon bear is considered a sacred being, one who was given the white mark on his throat by the Buddhist Goddess Kwan-Yin, whose emblem is the crescent moon. Kwan-Yin is the Goddess of Deep Compassion and the bear is her emissary. "In the psyche, the bear can be understood as the ability to regulate one's life, especially one's feeling life. Bearish power is the ability to move in cycles, be fully alert, or quiet down into a hibernative sleep that renews one's energy for the next cycle. The bear image teaches that it is possible to maintain a kind of pressure gauge for one's emotional life, and most especially that one can be fierce and generous at the same time. One can be reticent and valuable. One can protect one's territory, make one's boundaries clear, shake the sky if need be, yet be available, accessible, engendering all the same.

The first school shooting that attracted the attention of a horrified nation occurred on March 24, 1998, in Jonesboro, Arkansas. Two boys opened fire on a schoolyard full of girls, killing four and one female teacher. In the wake of what came to be called the Jonesboro massacre, violence experts in media and academia sought to explain what others called “inexplicable.” For example, in a front-page Boston Globe story three days after the tragedy, David Kennedy from Harvard University was quoted as saying that these were “peculiar, horrible acts that can’t easily be explained.” Perhaps not. But there is a framework of explanation that goes much further than most of those routinely offered. It does not involve some incomprehensible, mysterious force. It is so straightforward that some might (incorrectly) dismiss it as unworthy of mention. Even after a string of school shootings by (mostly white) boys over the past decade, few Americans seem willing to face the fact that interpersonal violence—whether the victims are female or male—is a deeply gendered phenomenon. Obviously both sexes are victimized. But one sex is the perpetrator in the overwhelming majority of cases. So while the mainstream media provided us with tortured explanations for the Jonesboro tragedy that ranged from supernatural “evil” to the presence of guns in the southern tradition, arguably the most important story was overlooked. The Jonesboro massacre was in fact a gender crime. The shooters were boys, the victims girls. With the exception of a handful of op-ed pieces and a smattering of quotes from feminist academics in mainstream publications, most of the coverage of Jonesboro omitted in-depth discussion of one of the crucial facts of the tragedy. The older of the two boys reportedly acknowledged that the killings were an act of revenge he had dreamed up after having been rejected by a girl. This is the prototypical reason why adult men murder their wives. If a woman is going to be murdered by her male partner, the time she is most vulnerable is after she leaves him. Why wasn’t all of this widely discussed on television and in print in the days and weeks after the horrific shooting? The gender crime aspect of the Jonesboro tragedy was discussed in feminist publications and on the Internet, but was largely absent from mainstream media conversation. If it had been part of the discussion, average Americans might have been forced to acknowledge what people in the battered women’s movement have known for years—that our high rates of domestic and sexual violence are caused not by something in the water (or the gene pool), but by some of the contradictory and dysfunctional ways our culture defines “manhood.” For decades, battered women’s advocates and people who work with men who batter have warned us about the alarming number of boys who continue to use controlling and abusive behaviors in their relations with girls and women. Jonesboro was not so much a radical deviation from the norm—although the shooters were very young—as it was melodramatic evidence of the depth of the problem. It was not something about being kids in today’s society that caused a couple of young teenagers to put on camouflage outfits, go into the woods with loaded .22 rifles, pull a fire alarm, and then open fire on a crowd of helpless girls (and a few boys) who came running out into the playground. This was an act of premeditated mass murder. Kids didn’t do it. Boys did.