41
" The noise of his zip was like the drag of a fingernail down her spine, and Juliet moaned, helpless to stop, as he pushed first his jeans, then his underwear, down and off. He stood tall and proud in front of her, his abs taut, his shoulders back, his stare still fixed between her legs, dark and hooded and intense.
His nudity was breathtaking, his cock jutting out thick and hard as he shoved his hands on his hips.
It was a thoroughly arrogant pose. Like a prince. Or a feudal Lord.
And her body responded in kind, waiting with baited breath for his next royal command, his next move. Knowing she’d do just about anything for him in this moment with the wild beat of her pulse echoing though her ears and her gut and the slick heat at her heart.
Open her mouth. Roll over. Get on all fours.
Beg. "
― Amy Andrews , Playing With Forever (Sydney Smoke Rugby, #4)
45
" The nutritionist said I should eat root vegetables.Said if I could get down thirteen turnips a dayI would be grounded, rooted.Said my head would not keep flying awayto where the darkness lives.The psychic told me my heart carries too much weight.Said for twenty dollars she’d tell me what to do.I handed her the twenty. She said, “Stop worrying, darling.You will find a good man soon.”The first psycho therapist told me to spendthree hours each day sitting in a dark closetwith my eyes closed and ears plugged.I tried it once but couldn’t stop thinkingabout how gay it was to be sitting in the closet.The yogi told me to stretch everything but the truth.Said to focus on the out breath. Said everyone finds happinesswhen they care more about what they givethan what they get.The pharmacist said, “Lexapro, Lamicatl, Lithium, Xanax.”The doctor said an anti-psychotic might help meforget what the trauma said.The trauma said, “Don’t write these poems.Nobody wants to hear you cryabout the grief inside your bones.”But my bones said, “Tyler Clementi jumpedfrom the George Washington Bridgeinto the Hudson River convincedhe was entirely alone.”My bones said, “Write the poems. "
48
" Hear me now or regret it later: Everything you write must be read aloud. Once all the context items are in place, this is the final test for any written piece...Do not neglect your sense of hearing in the process of writing and reading. As a longtime teacher of English as a foreign language, I can tell you on good authority that you have been listening to the English language at least five or six years longer than you have been writing and reading. And, most probably, your ears also had eighteen or more years of familiarity with the language before you began to read or write with a writer's sensibility. For these reasons, your ears know when things sound okay, good, beautiful, strange, awkward, or just plain bad, before your eye can pick up on such things...Your written voice should burn with the fire of fervent prayer, soothe like a friend's voice during a late-night phone call, alure like a lover's whisper. You must, through your accessible, infinitely read-aloudable voice, make your audience into an insatiable reader of your words. "
49
" The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the workshop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Perhaps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
56
" We have a predator that came from the depths of the cosmos and took over the rule of our lives. Human beings are its prisoners. The Predator is our lord and master. It has rendered us docile, helpless. If we want to protest, it suppresses our protest. If we want to act independently, it demands that we don't do so... I have been beating around the bush all this time, insinuating to you that something is holding us prisoner. Indeed we are held prisoner! " This was an energetic fact for the sorcerers of ancient Mexico ... They took us over because we are food for them, and they squeeze us mercilessly because we are their sustenance. just as we rear chickens in chicken coops, the predators rear us in human coops, humaneros. Therefore, their food is always available to them." " No, no, no, no," [Carlos replies] " This is absurd don Juan. What you're saying is something monstrous. It simply can't be true, for sorcerers or for average men, or for anyone." " Why not?" don Juan asked calmly. " Why not? Because it infuriates you? ... You haven't heard all the claims yet. I want to appeal to your analytical mind. Think for a moment, and tell me how you would explain the contradictions between the intelligence of man the engineer and the stupidity of his systems of beliefs, or the stupidity of his contradictory behaviour. Sorcerers believe that the predators have given us our systems of belief, our ideas of good and evil, our social mores. They are the ones who set up our hopes and expectations and dreams of success or failure. They have given us covetousness, greed, and cowardice. It is the predators who make us complacent, routinary, and egomaniacal." " 'But how can they do this, don Juan? [Carlos] asked, somehow angered further by what [don Juan] was saying. " 'Do they whisper all that in our ears while we are asleep?" " 'No, they don't do it that way. That's idiotic!" don Juan said, smiling. " They are infinitely more efficient and organized than that. In order to keep us obedient and meek and weak, the predators engaged themselves in a stupendous manoeuvre stupendous, of course, from the point of view of a fighting strategist. A horrendous manoeuvre from the point of view of those who suffer it. They gave us their mind! Do you hear me? The predators give us their mind, which becomes our mind. The predators' mind is baroque, contradictory, morose, filled with the fear of being discovered any minute now." " I know that even though you have never suffered hunger... you have food anxiety, which is none other than the anxiety of the predator who fears that any moment now its manoeuvre is going to be uncovered and food is going to be denied. Through the mind, which, after all, is their mind, the predators inject into the lives of human beings whatever is convenient for them. And they ensure, in this manner, a degree of security to act as a buffer against their fear." " The sorcerers of ancient Mexico were quite ill at ease with the idea of when [the predator] made its appearance on Earth. They reasoned that man must have been a complete being at one point, with stupendous insights, feats of awareness that are mythological legends nowadays. And then, everything seems to disappear, and we have now a sedated man. What I'm saying is that what we have against us is not a simple predator. It is very smart, and organized. It follows a methodical system to render us useless. Man, the magical being that he is destined to be, is no longer magical. He's an average piece of meat." " There are no more dreams for man but the dreams of an animal who is being raised to become a piece of meat: trite, conventional, imbecilic. "