21
" But there she was, standing next to his mother, so beautiful, so radiant that he could not see anyone else.
Suddenly the rest of the world seemed like such a chore. He didn’t want to be here at this dance, with people he didn’t want to talk to and messages he didn’t particularly wish to deliver. He didn’t want to dance with young ladies he didn’t know, and he didn’t want to make polite conversation with people he did. He just wanted Billie, and he wanted her all to himself.
He forgot about Tallywhite. He forgot about pease, porridge, and pudding, and he stalked across the room with such single-minded purpose that the crowds seemed to melt from his path.
And somehow, amazingly, the rest of the world had not yet noticed her. She was so beautiful, so uncommonly alive and real in this room full of waxen dolls. She would not go undiscovered for long.
But not yet. Soon he would have to fight the throngs of eager young gentlemen, but for now, she was still his alone. "
― Julia Quinn , Because of Miss Bridgerton (Rokesbys, #1)
22
" But now, inside the gallery, something happens to him. He finds his emotions gripped by the paintings, the huge, colorful canvases by Diego Rivera, the tiny, agonized self-portraits by Frida Kahlo, the woman Rivera loved. Fabien barely notices the crowds that cluster in front of the pictures.
He stops before a perfect little painting in which she has pictured her spine as a cracked column. There is something about the grief in her eyes that won't let him look away. That is suffering, he thinks. He thinks about how long he's been moping about Sandrine, and it makes him feel embarrassed, self-indulgent. Theirs, he suspects, was not an epic love story like Diego and Frida's.
He finds himself coming back again and again to stand in front of the same pictures, reading about the couple's life, the passion they shared for their art, for workers' rights, for each other. He feels an appetite growing within him for something bigger, better, more meaningful. He wants to live like these people. He has to make his writing better, to keep going. He has to.
He is filled with an urge to go home and write something that is fresh and new and has in it the honesty of these pictures. Most of all he just wants to write. But what? "
― Jojo Moyes , Paris for One
25
" If I had thought the beef marrow might be a hell of a lot of work for not much difference, I needn’t have worried. The taste of the marrow is rich, meaty, intense in a nearly-too-much way. In my increasingly depraved state, I could think of nothing at first but that it tasted like really good sex. But there was something more than that, even. What it really tastes like is life, well lived. Of course the cow I got marrow from had a fairly crappy life – lots of crowds and overmedication and bland food that might or might not have been a relative. But deep in his or her bones, there was a capacity for feral joy. I could taste it. "
― Julie Powell , Julie and Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen
26
" The Strip was still lit by a million neon lights, though the crowds on the sidewalk had greatly decreased by this hour. Still, Bosch was awed by the spectacle of light. In every imaginable color and configuration, it was a megawatt funnel of enticement to greed that burned twenty-four hours a day. Bosch felt the same attraction that all the other grinders felt tug at them. Las Vegas was like one of the hookers on Sunset Boulevard in Hollywood. Even happily married men at least glanced their way, if only for a second, just to get an idea what was out there, maybe give them something to think about. Las Vegas was like that. There was a visceral attraction here. The bold promise of money and sex. But the first was a broken promise, a mirage, and the second was fraught with danger, expense, physical and mental risk. It was where the real gambling took place in this town. "
― Michael Connelly , Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6)
27
" If you grow up the type of woman men want to look at,
You can let them look at you.
But do not mistake eyes for hands,
Or windows for mirrors.
Let them see what a woman looks like.
They may not have ever seen one before.
If you grow up the type of woman men want to touch,
You can let them touch you.
Sometimes it is not you they are reaching for.
Sometimes it is a bottle, a door, a sandwich, a Pulitzer, another woman –
But their hands found you first.
Do not mistake yourself for a guardian, or a muse, or a promise, or a victim or a snack.
You are a woman –
Skin and bones, veins and nerves, hair and sweat
You are not made of metaphors,
Not apologies, not excuses.
If you grow up the type of woman men want to hold,
You can let them hold you.
All day they practice keeping their bodies upright.
Even after all this evolving it still feels unnatural,
Still strains the muscles, holds firm the arms and spine.
Only some men will want to learn what it feels like to curl themselves into a question mark around you,
Admit they don’t have the answers they thought they would by now.
Some men will want to hold you like the answer.
You are not the answer.
You are not the problem.
You are not the poem, or the punchline, or the riddle, or the joke.
Woman, if you grow up the type of woman men want to love,
You can let them love you.
Being loved is not the same thing as loving.
When you fall in love,
It is discovering the ocean after years of puddle jumping.
It is realising you have hands.
It is reaching for the tightrope after the crowds have all gone home.
Do not spend time wondering if you are the type of woman men will hurt.
If he leaves you with a car alarm heart.
You learn to sing along.
It is hard to stop loving the ocean,
Even after it’s left you gasping, salty.
So forgive yourself for the decisions you’ve made,
The ones you still call mistakes when you tuck them in at night,
And know this.
Know you are the type of woman who is searching for a place to call yours.
Let the statues crumble.
You have always been the place.
You are a woman who can build it yourself.
You are born to build. "
― Sarah Kay
30
" Love is the great intangible. In our nightmares, we can create beasts out of pure emotion. Hate stalks the streets with dripping fangs, fear flies down narrow alleyways on leather wings, and jealousy spins sticky webs across the sky. In daydreams, we can maneuver with poise, foiling an opponent, scoring high on fields of glory while crowds cheer, cutting fast to the heart of an adventure. But what dream state is love? Frantic and serene, vigilant and calm, wrung-out and fortified, explosive and sedate –love commands a vast army of moods. Hoping for victory, limping from the latest skirmish, lovers enter the arena once again. Sitting still, we are as daring as gladiators. "
― Diane Ackerman , A Natural History of Love
31
" I carry my liberty with me. It is in my thoughts, in my head. Shakespeare is one of my countries, Goethe another. You can change that badge that I wear, but you can’t change the way I think. It is through my intellect that I can escape the roles, intrusions, and obligations with which every civilisation, every community would burden me. I make myself my own homeland through my affinities, my choices, my ideas, and no one can take it away from me – I may even be able to enlarge it. I don’t spend my life in the company of crowds but individuals. If I could pick fifty individuals from each nation, then perhaps I could put together a society I’d be happy with. My first possession is myself; better to sent it into exile than to lose it, to change a few habits rather than terminate my role as a human being. We only have one homeland: the world. "
― Gabriel Chevallier , Fear: A Novel of World War I
33
" Do you have any idea why you might be feeling better?”
“No, not really,” I said curtly. Better wasn’t even the word for how I felt. There wasn’t a word for it. It was more that things too small to mention—laughter in the hall at school, a live gecko scurrying in a tank in the science lab—made me feel happy one moment and the next like crying. Sometimes, in the evenings, a damp, gritty wind blew in the windows from Park Avenue, just as the rush hour traffic was thinning and the city was emptying for the night; it was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live. For weeks, I’d been frozen, sealed-off; now, in the shower, I would turn up the water as hard as it would go and howl, silently. Everything was raw and painful and confusing and wrong and yet it was as if I’d been dragged from freezing water through a break in the ice, into sun and blazing cold. "
― Donna Tartt , The Goldfinch
36
" Sermon of the MountsMatthew 5AND SEEING THE MULTITUDES, HE WENT UP INTO THE MOUNTAINS, AND WHEN HE WAS SET, HIS DISCIPLES CAME UNTO HIM. The multitudes, the masses, the crowd, is the lowest state of consciousness. It is a deep ignorance and sleep. If you want to relate and communicate with the masses, you have to come down to their level. That is why whenever you go into the masses, the crowd, you start to feel suffocated. This suffocation is physical and psychological, beacuse you relate to people, who functions from a very low state of consciousness. They pull you down and you become physically and psychologically tired and drained. That is why a need for meditation and aloneness arises. There is a practice in the life of Jesus that he noves into the crowds of people, but after a few months he goes to the mountains. He goes away from the crowd, to be with God. When you are alone, you are with God. To relate to the masses brings you down to their level of consciousness, but only in the presence of God, you can fly.With the crowd, you can not fly, you become crippled, and the masses will not tolerate if you do not live according to them, according to their level of consciousness.To be able to work with the masses, to be able to help them, you have to relate to them according to their level fo consciousness - and this is tiring and draining.Both Jesus and Buddha moved to the mounatins, to a lonely place, just to be themselves, and to be with God to regain their vitality to be able to come back to the masses where people are thristy. The montain is where Jesus do not need to think about the masses, where he can forget the mind and the body. In that moment of aloneness and meditation, one simply is. This is the inner being, the source of life. And when you are full again, you can share again. AND WHEN HE WAS SET, HIS DISCIPLES CAME UNTO HIM. To talk to the masses and to talk to disciples is two very different things. To talk to the crowd is to talk to people, who are indifferent. The crowd is resisting, defensive and argumentative. To talk to disciples means to talk to people, who have a basic thirst. It means that they are not defensive, they are open to listen to the heart of truth. AND HE OPENED HIS MOUTH, AND TAUGHT THEM, SAYING.Jesus escaped into the mountains from the crowd, but he did not escape from the disciples.He was available to the disciples.In his aloneness, Jesus is with God. And through Jesus, the disciples can feel God. The closer the disciple come to Jesus, the more they will see that Jesus is a silence and emptiness through which God can sing. And the more the disciple himself will become an emptiness, he will also be able to help other people. AND HE OPENED HIS MOUTH, AND TAUGHT THEM, SAYING. BLESSED ARE THE POOR IN SPIRIT, FOR THEIRS IS THE KINGDOM OF GOD. This is the most fundamental statement of Jesus.With this statement, Jesus has said everything. The " poor in spirit" is exactly what Buddha means with the term Shunyatta - " emptiness" , no-self, nothingness.It is when the ego disappears, and you are a nobody, a silence. If you are a nobody, if you are nothing, you are God. "
40
" No one will shake my conviction that those leaders of men, who are in the nature of carbuncles, of semi-conscious abscesses, who draw feverish crowds to them like noxious humours, have an innate knowledge of arrested time. They play with those vacant moments as though at a game of chequers. A fraction of suspended, frozen time, of inert time, jammed like a wedge into the most wonderfully oiled cogs of the most lucid of minds: and the whole mechanism is brought crashing to the ground, prepared to accept any authority, to endorse the most monstrous aberrations, especially collective ones. "
― Jacques Yonnet , Paris Noir: The Secret History of a City
