61
" I'd read the section in my guidebook about the trail's history the winter before, but it wasn't until now—a couple of miles out of Burney Falls, as I walked in my flimsy sandals in the early evening heat—that the realization of what that story meant picked up force and hit me squarely in the chest: preposterous as it was, when Catherine Montgomery and Clinton Clarke and Warren Rogers and the hundreds of others who'd created the PCT had imagined the people who would walk that high trail that wound down the heights of our western mountains, they'd been imagining me. It didn't matter that everything from my cheap knockoff sandals to my high-tech-by-1995-standards boots and backpack would have been foreign to them, because what mattered was utterly timeless. It was the thing that compelled them to fight for the trail against all the odds, and it was the thing that drove me and every other long-distance hiker onward on the most miserable days. It had nothing to do with gear or footwear or the backpacking fads or philosophies of any particular era or even with getting from point A to point B.
It had only to do with how it felt to be in the wild. With what it was like to walk for miles for no reason other than to witness the accumulation of trees and meadows, mountains and deserts, streams and rocks, rivers and grasses, sunrises and sunsets. The experience was powerful and fundamental. It seemed to me that it had always felt like this to be a human in the wild, and as long as the wild existed it would always feel this way. That's what Montgomery knew, I supposed. And what Clarke knew and Rogers and what thousands of people who preceded and followed them knew. It was what I knew before I even really did, before I could have known how truly hard and glorious the PCT would be, how profoundly the trail would both shatter and shelter me. "
― Cheryl Strayed , Wild: From Lost to Found on the Pacific Crest Trail
62
" Over the plains of Ethiopia the sun rose as I had not seen it in seven years. A big, cool, empty sky flushed a little above a rim of dark mountains. The landscape 20,000 feet below gathered itself from the dark and showed a pale gleam of grass, a sheen of water. The red deepened and pulsed, radiating streaks of fire. There hung the sun, like a luminous spider's egg, or a white pearl, just below the rim of the mountains. Suddenly it swelled, turned red, roared over the horizon and drove up the sky like a train engine. I knew how far below in the swelling heat the birds were an orchestra in the trees about the villages of mud huts; how the long grass was straightening while dangling locks of dewdrops dwindled and dried; how the people were moving out into the fields about the business of herding and hoeing. "
― Doris Lessing , Going Home
63
" I knew I sounded hysterical, and Adrian’s calmness only drove that home. “I think I have an idea,” he said. “An idea that’ll get us some hardcore protection … but I don’t know how you’ll feel about it.”
“I’m open to anything,” I assured him.
He hesitated a moment and gave a decisive nod. Then, to my complete and utter astonishment, he got down on his knees before me and clasped my hands in his. “Sydney Katherine Sage,” he said, his green eyes full of love and earnestness. “Would you do a brooding, deadbeat Moroi the honor of being his wife? "
― Richelle Mead , Silver Shadows (Bloodlines, #5)
65
" God, had it really been that long? It had. Nineteen years since Georgie stumbled across Seth in the Spoon offices, seventeen years since she first noticed Neal, fourteen since she married him, standing beside a row of lilac trees in his parents' back yard. Georgie never thought she'd be old enough to talk about life in big, decade-long chunks like this. It's not that she'd thought she was going to die before now, she'd just never imagined it would feel this way, the heaviness of the proportions. Twenty years with the same dream, seventeen with the same man. Pretty soon she'd have been with Neal longer than she'd been without him. She'd know herself as his wife better than she'd ever known herself as anyone else. It felt like too much, not too much have, just too much to contemplate. Commitments like boulders that were too heavy to carry. Fourteen years since their wedding, fifteen years since Neal tried to drive away from her, fifteen since he drove back. Seventeen since she first saw him, saw something in him that she couldn't look away from. "
― Rainbow Rowell , Landline
67
" I want you here. I want you in my home, my bed, my life,” he murmured, the smooth out of his voice, it was low and so rough with sex and emotion, it was abrasive, scoring through me.
“Baby –”
“I want your clothes in my closet. I wanna hear your voice in my house when you’re talkin’ on the phone. I want you sittin’ beside me when we’re watchin’ TV. I want shit you like in my fridge. I want “your razors in my shower. I want my roof over your head. Your car in my garage. I want to give you what I should have been giving you for sixteen years. As good as you deserve. A showplace. A place where I can make you happy.”
God. He was killing me.
“Creed, let me –”
He didn’t let me finish. He pressed on, driving in, our bodies jolting with his thrusts, his voice harsh in my ear.
“Give me that, Sylvie. Give me that and, swear to God, I’ll give you everything.”
“I –”
His head came up, his cock drove deep and stayed planted and his eyes burned into mine.
“All I’ll ask. All I’ll ever ask. You give me that and you got a lifetime of nothin’ but take. "
― Kristen Ashley , Creed (Unfinished Hero, #2)
68
" Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The " Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years. "
70
" The storm is passing over us. Do you want to go to the bayou this night?” he asked softly, separating her hair deftly and beginning to weave it into a thick braid.
She loved the feel of his hands in her hair, his fingers massaging her scalp, tugging so gently on the thick length of braid. She reached up to place a palm over her bare shoulder, the exact spot where his lips had touched her. “I would love to go to the bayou with you.”
He smiled at her, his silver eyes molten mercury. “We can observe wildlife for a change. No vampires.”
“No weird society types,” she added.
“No mortals in need of rescuing,” Gregori said with intense satisfaction. “Get dressed.”
“You’re always taking my clothes off, then telling me to get dressed again,” Savannah complained with her infuriating smile, that little sexy one that drove him mad.
He turned her around to face him, caught the front of her shirt, and drew the gaping edges together to cover her tempting body. “You cannot expect me to dress you myself, do you?” he asked, leaning down to brush her lips with his. She actually felt her heart jump in response. Or maybe it was his heart. It was nearly impossible to tell the difference anymore. "
― Christine Feehan , Dark Magic (Dark, #4)
79
" As mandatory reporting laws and community awareness drove an increase its child protection investigations throughout the 1980s, some children began to disclose premeditated, sadistic and organised abuse by their parents, relatives and other caregivers such as priests and teachers (Hechler 1988). Adults in psychotherapy described similar experiences. The dichotomies that had previously associated organised abuse with the dangerous, external ‘Other’ had been breached, and the incendiary debate that followed is an illustration of the depth of the collective desire to see them restored. Campbell (1988) noted the paradox that, whilst journalists and politicians often demand that the authorities respond more decisively in response to a ‘crisis’ of sexual abuse, the action that is taken is then subsequently construed as a ‘crisis’. There has been a particularly pronounced tendency of the public reception to allegations of organised abuse. The removal of children from their parents due to disclosures of organised abuse, the provision of mental health care to survivors of organised abuse, police investigations of allegations of organised abuse and the prosecution of alleged perpetrators of organised abuse have all generated their own controversies.
These were disagreements that were cloaked in the vocabulary of science and objectivity but nonetheless were played out in sensationalised fashion on primetime television, glossy news magazines and populist books, drawing textual analysis. The role of therapy and social work in the construction of testimony of abuse and trauma. in particular, has come under sustained postmodern attack. Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214).
Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation. "
― , Organised Sexual Abuse
