3
" Miss Dearheart gave him a very brief look, and shook her head. There was movement under the table, a small fleshy kind of noise and the drunk suddenly bent forward, colour draining from his face. Probably only he and Moist heard Miss Dearheart purr: ‘What is sticking in your foot is a Mitzy “Pretty Lucretia” four-inch heel, the most dangerous footwear in the world. Considered as pounds per square inch, it’s like being trodden on by a very pointy elephant. Now, I know what you’re thinking: you’re thinking, “Could she press it all the way through to the floor?” And, you know, I’m not sure about that myself. The sole of your boot might give me a bit of trouble, but nothing else will. But that’s not the worrying part. The worrying part is that I was forced practically at knifepoint to take ballet lessons as a child, which means I can kick like a mule; you are sitting in front of me; and I have another shoe . Good, I can see you have worked that out. I’m going to withdraw the heel now.’
There was a small ‘pop’ from under the table. With great care the man stood up, turned and, without a backward glance, lurched unsteadily away.
‘Can I bother you?’ said Moist. Miss Dearheart nodded, and he sat down, with his legs crossed. ‘He was only a drunk,’ he ventured.
‘Yes, men say that sort of thing,’ said Miss Dearheart. "
― Terry Pratchett , Going Postal (Discworld, #33; Moist von Lipwig, #1)
5
" Say you've just read Faulkner's 'Barn Burning'. Like the son in the story, you've sensed the faults in your father's character. Thinking about them makes you uncomfortable, left alone you'd probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal - of the self and the world outside the circle of blood.
You've never had this conversation before, not with anyone. And even as its happening you understand that just as your father's troubles with the world - emotional frailty, self-doubt, incomplete honesty - will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father, as the boy in the story does, but foresake him, without regret. And as you accept that separation, it seems to happen; your father's sad, fleshy face grows vague, and you blink it away and look up to where your teachers leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery. "
― Tobias Wolff , Old School
6
" Man disavows, and Deity disowns me;
Hell might afford my miseries a shelter;
Therefore Hell keeps her ever-hungry mouths all
Bolted against me.
Hard lot! encompassed with a thousand dangers,
Weary, faint, trembling with a thousand terrors,
I'm called, if vanquished, to receive a sentence
Worse than Abiram's.
Him the vindictive rod of angry Justice
Sent quick and howling to the centre headlong;
I, fed with judgement, in a fleshy tomb, am
Buried above ground. "
― William Cowper , The Poetical Works Of William Cowper
7
" What we seek in travel is neither discovery nor trade but rather a gentle deterritorialization: we want to be taken over by the journey - in other words, by absence. As our metal vectors transcend meridians, oceans and poles, absence takes on a fleshy quality. The clandestineness of the depths of private life gives way to annihilation by longitude and latitude. But in the end the body tires of not knowing where it is, even if the mind finds this absence exalting, as if it were a quality proper to itself.
Perhaps, after all, what we seek in others is the same gentle deterritorialization that we seek in travel. Instead of one's own desire, instead of discovery, we are tempted by exile in the desire of the other, or by the desire of the other as an ocean to cross. The looks and gestures of lovers already have the distance of exile about them; the language of lovers is an expatriation in words that are afraid to signify; and the bodies of lovers are a tender hologram to eye and hand, offering no resistance and hence susceptible of being crisscrossed, like airspace, by desire. We move around with circumspection on a mental planet of circumvolutions, and from our excesses and passions we bring back the same transparent memories as we do from our travels. "
― Jean Baudrillard
10
" We have all seen them circling pastures, have looked up from the mouth of a barn, a pine clearing, the fences of our own backyards, and have stood amazed by the one slow wing beat, the endless dihedral drift. But I had never seen so many so close, every limb of the dead oak feathered black; and I cut the engine let the river grab the jon boat and pull it toward the tree... Then as I passed under their dream, I saw for the first time its soft countenance the raw fleshy jowls, wrinkled and generous like the faces of the very old who have grown to empathize with everything. And I drifted away from them, reluctant, looking back at their roost, calling them what they are- transfiguring angels who pray over the leaf graves of the anonymous lost with mercy enough to consume us all and give us wings. "
11
" The Corinthians talked about spiritual things, but they did so in a fleshy and soulish way. The apostle Paul told them in the first book that they were fleshy and not spiritual (3:1), and in chapter 2 of the first book, he spoke of soulish men (v. 14). A spiritual man (v. 15) is one who does not behave according to the flesh or act according to the soulish life but lives according to the spirit, that is, his spirit (Rom. 1:9) mingled with the Spirit of God (8:16; 1 Cor. 6:17). Such a one is dominated, governed, directed, moved, and led by such a mingled spirit. Although the Corinthians spoke much about spiritual things, the apostle Paul designated them as fleshy and soulish. They were talking about spiritual things in the soul and in the flesh. Some may talk about the heavenly things in Ephesians, but they do so as Corinthians—in the soul or in the flesh. "
― Witness Lee
14
" She raised one hand and flexed its fingers and wondered, as she had sometimes before, how this thing, this machine for gripping, this fleshy spider on the end of her arm, came to be hers, entirely at her command. Or did it have some little life of its own? She bent her finger and straightened it. The mystery was in the instant before it moved, the dividing moment between not moving and moving, when her intention took effect. It was like a wave breaking. If she could only find herself at the crest, she thought, she might find the secret of herself, that part of her that was really in charge. "
― Ian McEwan , Atonement
18
" Inside a wool jacket the man had made a pocket for the treasure and from time to time he would jiggle the pocket, just to make sure that it was still there. And when on the train he rode to work he would jiggle it there also, but he would disguise his jiggling of the treasure on the train by devising a distraction. For example, the man would pretend to be profoundly interested in something outside the train, such as the little girl who seemed to be jumping high up on a trampoline, just high enough so that she could spy the man on the train, and in this way he really did become quite interested in what occurred outside the train, although he would still jiggle the treasure, if only out of habit. Also on the train he'd do a crossword puzzle and check his watch by rolling up his sleeve; when he did so he almost fell asleep. Antoine often felt his life to be more tedious with this treasure, because in order not to be overly noticed he had deemed it wise to fall into as much a routine as possible and do everything as casually as possible, and so, as a consequence, despite the fact that he hated his wife and daughter, he didn't leave them, he came home to them every night and he ate the creamed chicken that his wife would prepare for him, he would accept the large, fleshy hand that would push him around while he sat around in his house in an attempt to read or watch the weather, he took out the trash, he got up on time every morning and took a quick, cold shower, he shaved, he accepted the cold eggs and orange juice and coffee, he picked the newspaper off the patio and took it inside with him to read her the top headlines, and of course he went to the job. "
19
" Syn stared into Furi’s sparkling eyes. He brought one hand up and tenderly brushed Furi’s cheek. “Congratulations.”
“Thank you.” Furi kissed his lips gently. “I’ll be fine. I’m a big boy.”
“I know you are.” Syn winked.
Furi flushed with embarrassment. “Shut up. Don’t start something you can’t finish.”
“I’ll finish it later,” Syn promised. His look was pure lust as he pushed his rising cock against Furi’s jean-clad thigh.
“Fuckin’ right you will,” Furi moaned against Syn’s cheek, rocking back against him. “I’d fuckin’ take you right now if your bosses weren’t in the front room.”
Syn groaned.
Furi gripped Syn’s cock in a firm grip and stroked a couple times, wrapping his other arm around Syn’s back to hold him close. He nipped at Syn’s stubbled chin, peppering sweet kisses along his jaw to his ear. Furi flicked his tongue out and pulled the fleshy lobe between his soft lips. Furi’s lips were pressed against his ear as he spoke in a low, sexy drawl, “I’d bend you over this sink and fuck you until you yelled my name and begged me not to stop.”
“Fuck,” Syn moaned. Heat tore up through him at Furi’s nasty words.
“Fuck you hard, just how you like it, baby.” Furi increased the speed of his stroke.
“Oh fuck, fuck. No. Stop honey,” Syn protested weakly, his balls already throbbing with the need for release.
“Why?” Furi hissed.
“Because I fucking refuse to let Day hear me come.” Syn put some room between their bodies and kept backing up until he hit the wall. He tried to control his breathing, but staring at Furi’s gorgeous, flushed face didn’t help.
“You guys are crazy.” Furi shook his head.
“Day’s pranks have no boundaries. I wouldn’t be surprised if my moans are broadcasted over the loudspeaker in the office today.” Syn opened the bathroom door and gestured for Furi to look out into the hallway. “See.”
Furi busted out laughing at Day standing there in the hallway with his cell phone in his hand, studying the non-existent art on Syn’s bare wall. He whistled like he was just lounging around not looking for trouble. Syn just flipped him off and pulled Furi into his bedroom, slamming the door behind them.
“Oh my fucking god. That shit is too funny.” Furi laughed while he put a few things into his backpack.
“Yeah, because you don’t’ have to deal with his silliness.” Syn hurried to get dressed. "
― A.E. Via
20
" A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me - the capacity sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-grey sofa, between two flushed, happily disintegrating ladies.At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, he would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman's husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtatious anger, of clumsy pursuit-and the quiet half smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs. (" The Vane Sisters" ) "
