82
" Katarina wasn’t afraid of Baden. Not anymore.
He took a step to the side, intending to move around her. Oh, no. She flattened her hands on his shoulders, keeping him in place.
“I want to know what’s wrong with you.” She said. “Tell me.”
He snapped his teeth at her in a show of dominance. “You think you want to know my problem. You’re wrong.”
Her tone dry, she said, “I’m so glad you know my mind better than I do.”
“Very well. I need sex.” He threw the words at her as if they were weapons. “Badly.”
Whoa. Blindside!
Heart pounding, she jerked her hands away from him. “Sex...from me?”
“Yesss.” A hiss. “Only from you.”
Only. Amazing how one little word could send pleasure soaring through her, warming her. “You told me never to touch you.” Which she’d just done, she realized. My bad.
“I’ve changed my mind.” His gaze dropped, lingered on her lips.
Burning her... “But you and I...we’re a different species.” As if that mattered to her body. Gimme!
He took a step closer, invading her personal space. “We’ll fit, I promise you.”
Tristo hrmenych! The raspy quality of his voice, all smoke and gravel...she shivered with longing. Must resist his allure.
But...but...why? Before she’d committed to Peter, she’d dated around, had made out in movie theaters, cars and on couches. She’d liked kissing and touching and “riding the belt buckle,” as her friends had called it. Then, after committing to Peter, she’d gifted him with her virginity. At first, he hadn’t known what to do with her—he’d been just as inexperienced—and she’d left each encounter disappointed. When finally she’d gathered the courage to tell him what she wanted, he’d satisfied her well.
She missed sex. But connection...intimacy...she thought she missed those more.
The dogs barked, jolting her from her thoughts. They’d cleaned their food bowls, and now wanted to play. She clasped Baden’s hand to lead him out of the kennel. He jerked away, severing contact.
One action. Tons of hurt.
“I’m allowed to touch you and you want to have sex with me, but you’re still disgusted by me.” She stomped outside the kennel, done with him. “Well, I’m leaving. Good riddance! Your do-what-I-say-or-else attitude was annoying, anyway.”
He darted in front of her, stopping her. Breath caught in her throat as sunlight streamed over him, paying his chiseled features absolute tribute, making his bronzed skin glimmer.
So beautiful. Too beautiful.
“I’m not disgusted by you. You need me. I’ve come to accept it,” he admitted, looking away from her. “But being skin-to-skin with another is painful for me. We’ll have to proceed carefully. And you’ll get over your annoyance.”
Another order! She would show him the error of his ways. "
― Gena Showalter , The Darkest Torment (Lords of the Underworld, #12)
88
" Everything passed, and what trace of its passage remained? It seemed to Kitty that they were all, the human race, like the drops of water in that river and they flowed on, each so close to the other and yet so far apart, a nameless flood, to the sea. When all things lasted so short a time and nothing mattered very much, it seemed pitiful that men, attaching an absurd importance to trivial objects, should make themselves and one another so unhappy. "
― W. Somerset Maugham , The Painted Veil
91
" I had been brought up to be something of an intellectual, but there seemed at the time no connection between my newly formed ideas and the world to which I had returned. Indeed, I did not even recognize my ideas as ideas at all: they seemed to be culled from somewhere else and did not belong to me. I did not know then what I am just beginning to know now: that my ideas were indeed mine, that I had reacted and changed and moved, that I had already analyzed and synthesized, rejecting some thoughts, adopting others, putting yet others away for a while to be thought on. I did not recognize how mentally active an individual I had become, already divorced from the world through my own thoughts, my own perceptions of right and wrong, of honour and justice, of what mattered and what did not. (2007: 117) "
― Jean Said Makdisi
96
" He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality.
Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit. "
― Cornell Woolrich , The Fantastic Stories of Cornell Woolrich (Alternatives SF Series)
