42
" He moves suddenly so that his hand is cupping my sex, and one of his fingers sinks slowly into me. His other arm holds me firmly in place around my waist.
“This is mine,” he whispers aggressively. “All mine. Do you understand?” He eases his finger in and out as he gazes down at me, gauging my reaction, his eyes burning.
“Yes, yours…”
Abruptly, he moves, doing several things at once: Withdrawing his fingers, leaving me wanting, unzipping his fly, and pushing me down onto the couch so he’s lying on top of me.
“Hands on your head,” he commands through gritted teeth as he kneels up, forcing my legs wider…
“We don’t have long. This will be quick, and it’s for me, not you. Do you understand?
Don’t come, or I will spank you,” he says through clenched teeth. "
― E.L. James , Fifty Shades of Grey (Fifty Shades, #1)
52
" Supermarkets this large and clean and modern are a revelation to me. I spent my life in small steamy delicatessens with slanted display cabinets full of trays that hold soft wet lumpy matter in pale colours. High enough cabinets so you had to stand on tiptoes to give your order. Shouts, accents. In cities no one notices specific dying. Dying is a quality of the air. It's everywhere and nowhere. Men shout as they die to be noticed, remembered for a second or two. To die in an apartment instead of a house can depress the soul, I would imagine, for several lives to come. In a town there are houses, plants in bay windows. People notice dying better. The dead have faces, automobiles. If you don't know a name you know a street name, a dog's name. 'He drove an orange Mazda.' You know a couple of useless things about a person that become major facts of identification and cosmic placement when he dies suddenly, after a short illness, in his own bed, with a comforter and matching pillows, on a rainy Wednesday afternoon, feverish, a little congested in the sinuses and chest, thinking about his dry cleaning. "
― Don DeLillo , White Noise
55
" While he was waiting, leaning on the counter at a coffee place, he remembered the dream he'd had the night before about Antonio Jones, who had been dead for several years now. As before, he asked himself what Jones could have died of, and the one answer that occurred to him was old age. One day, walking down some street in Brooklyn, Antonio Jones had felt tired, sat down on the sidewalk, and a second later stopped existing. "
― Roberto Bolaño , 2666
59
" He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, " The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist. "
60
" If I could sum up my poetry in a few well-chosen words, the result might be a poem. Several years ago, when I was asked to say something on this topic, I came up with the notion that for me the making of poems is both a commemoration (a moment captured) and an evocation (the archaeologist manqué side of me digging into something buried and bringing it to light). But I also said that I find the processes that bring poems into being mysterious, and I wouldn't really wish to know them; the thread that links the first unwilled impulse to the object I acknowledge as the completed poem is a tenuous one, easily broken. If I knew the answers to these riddles, I would write more poems, and better ones. " Simple Poem" is as close as I can get to a credo':Simple PoemI shall make it simple so you understand.Making it simple will make it clear for me.When you have read it, take me by the handAs children do, loving simplicity.This is the simple poem I have made.Tell me you understand. But when you doDon't ask me in return if I have saidAll that I meant, or whether it is true. "
