41
" THOMAS
Guilty
Of mankind. I have perpetrated human nature.
My father and mother were accessories before the fact,
But there’ll be no accessories after the fact,
By my virility there won’t! Just see me
As I am, like a perambulating
Vegetable, patched with inconsequential
Hair, looking out of two small jellies for the means
Of life, balanced on folding bones, my sex
No Beauty but a blemish to be hidden
Behind judicious rags, driven and scorched
By boomerang rages and lunacies which never
Touch the accommodating artichoke
Or the seraphic strawberry beaming in its bed:
I defend myself against pain and death by pain
And death, and make the world go round, they tell me
By one of my less lethal appetites:
Half this grotesque life I spend in a state
Of slow decomposition, using
The name of unconsidered God as a pedestal
On which I stand and bray that I’m best
Of beasts, until under some patient
Moon or other I fall to pieces,
Like a cake of dung. Is there a slut would
Hold this in her arms and put her lips against it?
JENNET
Sluts are only human. By a quirk
Of unastonished nature, your obscene
Decaying figure of vegetable fun
Can drag upon a woman’s heart, as though
Heaven were dragging up the roots of hell.
What is to be done? Something compels us into
The terrible fallacy that man is desirable
and there’s no escaping into truth. The crimes
And cruelties leave us longing, and campaigning
Love still pitches his tent of light among
The suns and moons. You may be decay and a platitude
Of flesh, but I have no other such memory of life.
You may be corrupt as ancient applies, well then
Corruption is what I most willingly harvest.
You are Evil, Hell, the Father of Lies; if so
Hell is my home and my days of good were a holiday:
Hell is my hill and the world slopes away from it
Into insignificance. I have come suddenly
Upon my heart and where it is I see no help for. "
― Christopher Fry
48
" The secrets of the kitchen were revealed to you in stages, on a need-to-know basis, just like the secrets of womanhood. You started wearing bras; you started handling the pressure cooker for lentils. You went from wearing skirts and half saris to wearing full saris, and at about the same time you got to make the rice-batter crepes called dosas for everyone’s tiffin. You did not get told the secret ratio of spices for the house-made sambar curry powder until you came of marriageable age. And to truly have a womanly figure, you had to eat, to be voluptuously full of food.
This, of course, was in stark contrast to what was considered womanly or desirable in the West, especially when I started modeling. To look good in Western clothes you had to be extremely thin. Prior to this, I never thought about my weight except to think it wasn’t ever enough. Then, with modeling, I started depending on my looks to feed myself (though my profession didn’t allow me to actually eat very much). When I started hosting food shows, my career went from fashion to food, from not eating to really eating a lot, to put it mildly. Only this time the opposing demands of having to eat all this food and still look good by Western standards of beauty were off the charts. This tug-of-war was something I would struggle with for most of a decade. "
― Padma Lakshmi, , Love, Loss, and What We Ate: A Memoir
49
" My least favorite form of street harassment is when a guy asks why I’m not smiling. It’s related to that: Women aren’t allowed to be quiet or stoic or shy—or, hell, just in a bad mood—without being criticized. Women are bitchy and frigid if we don’t seem accessible at all times, for the most part to men. We’re supposed to be perpetually friendly. Who wants to live up to that? And seriously, when was the last time you heard a quiet woman described as “deep”?
Men who are serious are just that—serious. Think laconic cowboys and Clint Eastwood-style movie heroes. Strong and silent is a desirable personality trait for men—women, not so much. Because where silence in men is seen as strength, silence in women (if not seen as bitchy) is seen as weakness—she’s shy, a wallflower. "
― Jessica Valenti , He's a Stud, She's a Slut, and 49 Other Double Standards Every Woman Should Know
55
" This is the great lesson the depressive learns: Nothing in the world is inherently compelling. Whatever may be really “out there” cannot project itself as an affective experience. It is all a vacuous affair with only a chemical prestige. Nothing is either good or bad, desirable or undesirable, or anything else except that it is made so by laboratories inside us producing the emotions on which we live. And to live on our emotions is to live arbitrarily, inaccurately—imparting meaning to what has none of its own. Yet what other way is there to live? Without the ever-clanking machinery of emotion, everything would come to a standstill. There would be nothing to do, nowhere to go, nothing to be, and no one to know. The alternatives are clear: to live falsely as pawns of affect, or to live factually as depressives, or as individuals who know what is known to the depressive. How advantageous that we are not coerced into choosing one or the other, neither choice being excellent. One look at human existence is proof enough that our species will not be released from the stranglehold of emotionalism that anchors it to hallucinations. That may be no way to live, but to opt for depression would be to opt out of existence as we consciously know it. "
― Thomas Ligotti , The Conspiracy Against the Human Race