45
" It is not enough to say the crow flies purposefully, or heavily, or rowingly, or whatever. There are no words to capture the infinite depth of crowiness in the crow's flight. All we can do is use a word as an indicator, or a whole bunch of words as a general directive. But the ominous thing in the crow's flight, the bare-faced, bandit thing, the tattered beggarly gipsy thing, the caressing and shaping yet slightly clumsy gesture of the down-stroke, as if the wings were both too heavy and too powerful, and the headlong sort of merriment, the macabre pantomime ghoulishness and the undertaker sleekness - you could go on for a very long time with phrases of that sort and still have completely missed your instant, glimpse knowledge of the world of the crow's wingbeat. And a bookload of such descriptions is immediately rubbish when you look up and see the crow flying. "
― Ted Hughes , Poetry in the Making: An Anthology
50
" Caine has Drake and Orc, Panda and Chaz, and I hear Mallet has made peace with him. And maybe a half dozen other guys.”
“Are you afraid of them?” Astrid asked him.
“Yeah, Astrid, I am.”
“Okay,” she said. “But you were scared of going into a burning building, too.”
“You don’t get this, do you?” Sam demanded with enough heat that Astrid took a step back. “I know what you want, okay? I know what you and a bunch of other people want. You want me to be the anti-Caine. You don’t like the way he’s doing things and you want me to go kick him out. Well, here’s what you don’t know: even if I could do all that, I wouldn’t be any better than him.”
“You’re wrong about that, Sam. You’re—”
“That night when I first used the power? When I hurt my stepfather? How do you think I felt?”
“Sad. Regretful.” Astrid looked at his face like the answer would be written there. “Scared, probably.”
“Yeah. All that. And one more thing.” He held up his hand and inches from her nose squeezed his fingers into a tight fist. “I also felt a rush, Astrid. A rush. I thought, oh my God, look at the power I have. Look what I can do. A huge, crazy rush.”
“Power corrupts,” Astrid said softly.
“Yeah,” Sam said sarcastically. “I’ve heard that.”
“Power corrupts, absolute power corrupts absolutely. I forget who said it.”
“I make a lot of mistakes, Astrid. I don’t want to make that mistake. I don’t want to be that guy. I don’t want to be Caine. I want to…” He spread his arms wide, a gesture of helplessness. “I just want to go surfing.”
“You won’t be corrupted, Sam. You wouldn’t do those things.” He had moved back. She moved to close the distance.
“How can you be so sure?”
“Well, two reasons. First, it’s not your character. Of course you felt a rush from the power. Then, you pushed it away. You didn’t grab at it, you pushed it away. That’s reason number one. You’re you, you’re not Caine or Drake or Orc.”
Sam wanted to agree, wanted to accept that, but he felt he knew better. “Don’t be so sure.”
“And reason number two: you have me, "
― Michael Grant
51
" I love the way you feel inside me,” he said.
Ryder made a low, rumbling noise of contentment. “I love the way I feel inside you, too.”
“I love that you did this for me because you wanted to give me something special.” Luca started rocking back and forth on Ryder’s cock. “I love that you’ve never done it for anyone else.”
Ryder’s brow creased. “Luca…”
Luca put his hand over Ryder’s mouth, a domineering gesture that silenced Ryder instantly. He didn’t know where the words were coming from, just that they were clawing at his throat, demanding to get out.
“I love the way you treat me,” he said. “I love that you’re so much stronger than me but you never make me feel weak. I love that you take care of me without implying that I can’t take care of myself. I love that you let me take control but always call me on my bullshit.”
Luca had to pause for a moment; the pleasure of their slow, rhythmic fucking was making it difficult for him to gather his thoughts. Ryder waited, eyes watchful.
“I love that you’re always worried about doing the right thing, even when nobody else is.” Certain that Ryder wouldn’t interrupt now, Luca let go of his mouth and braced his hands on Ryder’s chest. He bounced shallowly on Ryder’s cock, soaking up his size, his strength, his steady, reassuring presence. “I love that I can trust you, and I love that I can rely on you, and – and I love you, Ryder, I do, I love you – ”
Because he did, of course he did. It was crazy to pretend that he didn’t. He might be damning them both, but he couldn’t hide from this any longer, couldn’t let Ryder go on thinking he wasn’t head-over-heels in love with him. "
― , Close Protection
52
" I’ve been moving a little to the music while I worked …and then I realize I am actually dancing. It feels wonderful, though I can feel how stiff my muscles are, how rigidly I’ve been holding myself…Mostly I’ve been moving cautiously, numbly, steeled because I know, at any moment, I may be ambushed by overwhelming grief. You never know when it’s coming, the word or gesture or bit of memory that dissolved you entirely…It happens every day at first, then not for a day or two, then there’s a week when grief washes in every morning, every afternoon. "
― Mark Doty , Heaven's Coast: A Memoir
55
" Procuring the house in Ballister was a desperate bid for respect, for recognition, the ultimate gesture (or sacrifice, as it turned out) that would prove him a worthy successor to the Flo and Walter Prices of the world. To my mind, the Culver was Norm’s way home, the only way he knew. It was an ever-evolving means to an ever-evolving end that eventually ended him. Who or what led Norm down that thorny path—devotion, economic pressures, family cynicism, Beth’s insatiable appetite—has been a topic of endless debate. You can believe what you want to believe. Personally, I don’t think any rational argument under the sun would have deterred Beth’s “messiah” from his mission. If the Ballister acquisition was Norm’s cross, as everyone seems to think it was, then it was Norm who chose to bear that cross. And pride that nailed him to it. "
58
" Woman is the opposite, the ‘other’ of man: she is non-man, defective man, assigned a chiefly negative value in relation to the male first principle. But equally man is what he is only by virtue of ceaselessly shutting out this other or opposite, defining himself in antithesis to it, and his whole identity is therefore caught up and put at risk in the very gesture by which he seeks to assert his unique, autonomous existence. Woman is not just an other in the sense of something beyond his ken, but an other intimately related to him as the image of what he is not, and therefore as an essential reminder of what he is. Man therefore needs this other even as he spurns it, is constrained to give a positive identity to what he regards as no-thing. Not only is his own being parasitically dependent upon the woman, and upon the act of excluding and subordinating her, but one reason why such exclusion is necessary is because she may not be quite so other after all. Perhaps she stands as a sign of something in man himself which he needs to repress, expel beyond his own being, relegate to a securely alien region beyond his own definitive limits. Perhaps what is outside is also somehow inside, what is alien also intimate — so that man needs to police the absolute frontier between the two realms as vigilantly as he does just because it may always be transgressed, has always been transgressed already, and is much less absolute than it appears. "
― Terry Eagleton , Literary Theory: An Introduction
59
" Time dims memory. But not that kind. Somewhere in a corner of the brain, one little cell never forgets. It keeps the song that, heard again, recreates the room, the person, the moment. It preserves the phrase or the laugh or the gesture that resurrects a friend long gone. It knows precisely where you were and what you were doing when you heard about Pearl Harbor if you're old enough, or Kennedy's assassination, or Martin Luther King's, or the Challenger explosion. Every detail is frozen in memory, despite all the years. It keeps the innocuous question, too. The question that sometime later, when all the synapses are working, produces the epiphany, the moment when you're driving along and you realize that finally you understand. And why did it take you so long? "
60
" I should point out, creating one's own style, as much as is required to illustrate one of the aspects, the golden seam of language, involves beginning again at once, in a different manner, adopting the guise of a pupil when one risked becoming pedantic - thus by a shrugging of one's shoulders, disconcerting some with their genuflecting stance, and immortalizing oneself in multiple, impersonal, or even anonymous forms in response to the gesture of arms raised in stupefaction. "
― Stéphane Mallarmé , Mallarmé in Prose
