22
" Now and then, an inch below the water's surface, the muscles of his stomach tightened involuntarily as he recalled another detail. A drop of water on her upper arm. Wet. An embroidered flower, a simple daisy, sewn between the cups of her bra. Her breasts wide apart and small. On her back, a mole half covered by a strap. When she climbed out of the pond a glimpse of the triangular darkness her knickers were supposed to conceal. Wet. He saw it, he made himself see it again. The way her pelvic bones stretched the material clear of the skin, the deep curve of her waist, her startling whiteness. When she reached for her skirt, a carelessly raised foot revealed a patch of soil on each pad of her sweetly diminished toes. Another mole the size of a farthing on her thigh and something purplish on her calf--a strawberry mark, a scar. Not blemishes. Adornments. "
― Ian McEwan , Atonement
25
" Since you haven’t got a name,” he said. “I guess you can pick one for yourself. Would you like to pick one for me to write down?”
She stopped rocking and looked at him. “I can do that? It’s legal and everything?”
He smiled. “It’s a free country again,” he said. “At least in theory.”
She nodded. “And when I pick a name it can be any name I want?”
He nodded.
“What’s your name?”
“Victor,” he said. “Vic, for short.”
“Okay,” she said, leaning forward and taking the pad from under his large thing hands. “How do you spell that?”
He spelled it and she wrote it down. Her handwriting was perfectly small and legible. “Can I be Victor, too?” she said, looking up from the pad.
He smirked. “It’s a boy’s name,” he said. “You’re a girl. You have to add an i and an a to the end if you want to make it a girl’s name.”
She looked down at the name she had written and added the letters i and a to the end. “Victoria,” she said, passing the notepad back to the cop.
“Hello, Victoria,” he said, smiling, taking the pad and pen back and presenting his hand for a shake. “It’s nice to meet you, officially. "
― Benjamin R. Smith , Atlas
27
" Shortly afterwards it started raining, very innocently at first, but the sky was packed tight with cloud and gradually the drops grew bigger and heavier, until it was autumn’s dismal rain that was falling—rain that seemed to fill the entire world with its leaden beat, rain suggestive in its dreariness of everlasting waterfalls between the planets, rain that thatched the heavens with drabness and brooded oppressively over the whole countryside, like a disease, strong in the power of its flat, unvarying monotony, its smothering heaviness, its cold, unrelenting cruelty. Smoothly, smoothly it fell, over the whole shire, over the fallen marsh grass, over the troubled lake, the iron-grey gravel flats, the sombre mountain above the croft, smudging out every prospect. And the heavy, hopeless, interminable beat wormed its way into every crevice in the house, lay like a pad of cotton wool over the ears, and embraced everything, both near and far, in its compass, like an unromantic story from life itself that has no rhythm and no crescendo, no climax, but which is nevertheless overwhelming in its scope, terrifying in its significance. And at the bottom of this unfathomed ocean of teeming rain sat the little house and its one neurotic woman. "
― Halldór Laxness , Independent People
31
" In this world, the thing people fear the most, and what pains people the most— is giving more than they receive. God forbid I cut off more of my fingernail for you than you cut from your fingernail, for me! Heaven forbid I hold my breath in longer while thinking about you, than the amount of time your breath is held in for me! Not a second longer! It is sad fact of the human nature that there you stand as an Infinite Soul and yet your greatest fear is not receiving from another person in proportion to what you give. Your viewpoint is low, your vision is clouded. You have become, in your eyes, a funny little drawing on the paper pad of the universe. Indeed, this race is yet to evolve. And yet, I am surrounded by such fear, to such a great extent that I begin to fear the same! "
― C. JoyBell C.
34
" The final option to have your book completed is to hire a ghost writer. The challenge with this option is that it is important to note that your voice IS an integral part of your branding. When you hire someone else, what your readers will ultimately get is their voice. When they see you later at your website or on your social media, your voice will not be the same. This will trigger a feeling of inconsistency when relationships need to be built upon trust and authenticity. Your audience will eventually come to think you are not the “real deal” and will find another to replace you. Finally, your book is a springboard and launching pad to greater things such as speaking, interviews, a product line, etc. Will your ghost writer be available for all of that as well? How will you be able to “ghost write” your way through an interview? Hence the reason I stress speaking in your own voice. You may think you are not perfect, but your authenticity will speak in volumes to your followers and they will be customers for life if they see your true being. "
― Kytka Hilmar-Jezek , Book Power: A Platform for Writing, Branding, Positioning & Publishing
35
" Isaiah lazily yet deliberately tilts his head as he stares into my eyes. My entire body hums and a fuzzy sensation fills my head, making it hard to focus. My mouth opens then closes. And as he slowly bends down, my tongue quickly licks my dry lips.
I hope I’m doing this right. I want to do this right.
Isaiah slips his hand from my chin to cradle my head. His fingers tunnel through my hair, making the back of my neck tingle with anticipation as the pad of his thumb whispers gently against my cheek. His lips hover right next to mine and his warm breath heats my face.
The blood pounds so wildly in my veins that he has to sense the vibration. There’s a magnetic pull taking over the small distance between our lips. An energy I can’t resist. My head inclines opposite his and the moment I close my eyes, his mouth brushes mine.
Soft. Warm. Gentle. His lips move slowly, exerting pressure. And I feel like I can’t breathe, yet like I’m flying. The pressure ends, but his mouth stays near mine. His hand grips my waist and my spine gives at the shockingly right pleasure of his touch.
Isaiah senses my weakness and his hand snakes its way around my waist, his strong arm holds me up. And he explores again. A little pressure on my lower lip. A little pressure on the top. And then I remember that I’m supposed to kiss him back.
Nerves send small shock waves through my chest, and my hand trembles as I raise it to his shoulders. I press both my lips into his lower one right as my fingers caress the side of his neck. Isaiah shivers. In a good way, I think.
I open my mouth to ask when his lips move fast against mine, sucking in my lower one, causing warmth and excitement to explode in my body, the aftermath of that divine encounter melting every piece of me.
I moan, and Isaiah’s arm tightens, bringing my body closer to his. My lips maneuver against his in response. A yes to his pulling me closer. A yes to his lips taking in mine. A yes to the fact that he allows me to perform the same succulent kiss on him.
I can’t help it. I permit the tip of my tongue to barely brush his lower lip. Isaiah curls my hair into his fist and I love how my touch affects him, affects me. Wrapping my other arm around his neck, I lose all sense of independence with his sweet taste.
I like this. I like this a lot. "
― Katie McGarry , Crash into You (Pushing the Limits, #3)
37
" On the morning of November 22nd, a Friday, it became clear the gap between living and dying was closing. Realizing that Aldous [Huxley] might not survive the day, Laura [Huxley's wife] sent a telegram to his son, Matthew, urging him to come at once. At ten in the morning, an almost inaudible Aldous asked for paper and scribbled " If I go" and then some directions about his will. It was his first admission that he might die ...Around noon he asked for a pad of paper and scribbledLSD-try itintermuscular100mmIn a letter circulated to Aldous's friends, Laura Huxley described what followed: 'You know very well the uneasiness in the medical mind about this drug. But no 'authority', not even an army of authorities, could have stopped me then. I went into Aldous's room with the vial of LSD and prepared a syringe. The doctor asked me if I wanted him to give the shot- maybe because he saw that my hands were trembling. His asking me that made me conscious of my hands, and I said, 'No, I must do this.'An hour later she gave Huxley a second 100mm. Then she began to talk, bending close to his ear, whispering, 'light and free you let go, darling; forward and up. You are going forward and up; you are going toward the light. Willingly and consciously you are going, willingly and consciously, and you are doing this beautifully — you are going toward the light — you are going toward a greater love … You are going toward Maria's [Huxley's first wife, who had died many years earlier] love with my love. You are going toward a greater love than you have ever known. You are going toward the best, the greatest love, and it is easy, it is so easy, and you are doing it so beautifully.'All struggle ceased. The breathing became slower and slower and slower until, 'like a piece of music just finishing so gently in sempre piu piano, dolcamente,' at twenty past five in the afternoon, Aldous Huxley died. "
