22
" Consider this: when you stand at the entry to a steel factory, you can make out through the smoke some men, some metal, the fires. The furnaces roar, the hammers crash; and the metalworkers who forge ingots, weapons, tools, and so on are completely ignorant of the real uses to which their products will be put. The workers can only refer to their products by conventional names. Well, that's where we all stand, all of us! Nobody can see the real character of what he creates because every knife blade may become a dagger, and the use to which an object is put changes both its name and its nature. Only our ignorance shields us from terrible responsibilities. "
― Auguste Villiers de l'Isle-Adam , Tomorrow's Eve
23
" Humph.” She peered down suspiciously as he parted the leaves to reveal the choke. “That doesn’t look very tasty.”
“That’s because it isn’t,” he said. “Pay heed: the artichoke is a shy vegetable. She covers herself in spine-tipped leaves that must be carefully peeled away, and underneath shields her treasure with a barricade o’ soft needles. They must be tenderly, but firmly, scraped aside. Ye must be bold, for if yer not, she’ll never reveal her soft heart.”
He finished cutting away the thistles and placed the small, tender heart on the center of her plate.
She wrinkled her nose. “That’s it? But it’s so small.”
“Ah, and d’ye judge a thing solely upon size alone?”
She made a choking sound. "
― Elizabeth Hoyt , Scandalous Desires (Maiden Lane, #3)
24
" Then he made the mistake of looking into her eyes and froze. Her expression was so open, so full of tenderness and longing as well as heat that he almost balked. This was supposed to be about closure, about having the goodbye they’d never gotten last time. How was he supposed to leave after if she gave herself to him this completely? Her hand came up to cradle the side of his face, her thumb stroking back and forth across his jaw, her touch gentle and loving. “Need you,” she murmured,
It was good. Even better than he remembered. Liam buried his face in the side of her neck and sucked in a breath, struggling to hang on. Being cradled in Honor’s arms, buried to the hilt inside her while she opened her body and heart to him was the most incredible thing in the world. How the f*&^ was he going to walk away later? Without warning his eyes began to sting. As though she sensed how close he was to coming unglued, Honor murmured to him and pressed kisses to the side of his face, her hand urging his head to turn toward her. Liam shook his head, unable to bear that final level of intimacy when he knew this was their last time. Keeping his face in her neck he fought back the swell of emotion and began to move, a slow, shallow rocking motion that was more profound than words could ever be. He loved her. Would always love her, but it wasn’t enough because some things couldn’t be undone and he just couldn’t let her in the way he had before. All they had left was this bittersweet farewell, and he was going to make it memorable. .... A lump settled in his throat and he squeezed his eyes shut, torn between the excruciating pleasure swelling inside him and the need to see her face as he took her this last time. In the end, his heart won out. Powerless to stop himself, he lifted his head and looked down at her. Anguish sliced through his chest when he saw the tears glistening in her beautiful eyes. Don’t. Don’t cry. Shit, he didn’t want either of them to hurt anymore. He was sick of hurting. That’s why he was ending it all tonight. With a low sound of regret he covered her mouth with his, his tongue sliding against hers as he took her. Honor kissed him back deep and slow...
Cupping her cheek with his free hand he gave her everything he had left to give, allowing his emotional shields to drop for these final moments.
She ran her fingertips up and down his back in a soothing motion, her body limp and pliant beneath his, legs still wrapped around him. And all of a sudden he felt like crying. He felt too much, was in too deep again.
He didn’t know what to say to make this any easier. After what they’d just shared he was more conflicted than ever about what to do.
“I’ll miss you,” she murmured, and he caught the slight catch in her voice. Ah, fu&%. He gritted his teeth. It would be so much easier if they could just hate each other. For a moment he considered saying something to make her do exactly that, but couldn’t. Even he wasn’t enough of an a**hole to end things that way. And that look on her face… Against his better judgment, Liam sat back down on the edge of the bed and pulled her into his arms. Honor went willingly into his embrace, pressing her face to his chest as she hugged him tight in return.
“I’ll miss you too.”
Dammit, he should never have come here tonight. “I wish it could be different, but I just… I can’t do this anymore.” I’ll always love you but I can’t afford to let you back in again. “I’m sorry. "
― Kaylea Cross , Collateral Damage (Bagram Special Ops #5)
25
" After simmering years of censorship and repression, the masses finally throng the streets. The chants echoing off the walls to build to a roar from all directions, stoking the courage of the crowds as they march on the center of the capital. Activists inside each column maintain contact with each other via text messages; communications centers receive reports and broadcast them around the city; affinity groups plot the movements of the police via digital mapping. A rebel army of bloggers uploads video footage for all the world to see as the two hosts close for battle. Suddenly, at the moment of truth, the lines go dead. The insurgents look up from the blank screens of their cell phones to see the sun reflecting off the shields of the advancing riot police, who are still guided by close circuits of fully networked technology. The rebels will have to navigate by dead reckoning against a hyper-informed adversary.
All this already happened, years ago, when President Mubarak shut down the communications grid during the Egyptian uprising of 2011. A generation hence, when the same scene recurs, we can imagine the middle-class protesters - the cybourgeoisie - will simply slump forward, blind and deaf and wracked by seizures as the microchips in their cerebra run haywire, and it will be up to the homeless and destitute to guide them to safety. "
― CrimethInc. , Contradictionary
27
" A man who is awake in the open field at night or who wanders over silent paths experiences the world differently than by day. Nighness vanishes, and with it distance; everything is equally far and near, close by us and yet mysteriously remote. Space loses its measures. There are whispers and sounds, and we do not know where or what they are. Our feelings too are peculiarly ambiguous. There is a strangeness about what is intimate and dear, and a seductive charm about the frightening. There is no longer a distinction between the lifeless and the living, everything is animate and soulless, vigilant and asleep at once. What the day brings on and makes recognizable gradually, emerges out of the dark with no intermediary stages. The encounter suddenly confronts us, as if by a miracle: What is the thing we suddenly see - an enchanted bride, a monster, or merely a log? Everything teases the traveller, puts on a familiar face and the next moment is utterly strange, suddenly terrifies with awful gestures and immediately resumes a familiar and harmless posture.Danger lurks everywhere. Out of the dark jaws of the night which gape beside the traveller, any moment a robber may emerge without warning, or some eerie terror, or the uneasy ghost of a dead man - who knows what may once have happened at that very spot? Perhaps mischievous apparitions of the fog seek to entice him from the right path into the desert where horror dwells, where wanton witches dance their rounds which no man ever leaves alive. Who can protect him, guide him aright, give him good counsel? The spirit of Night itself, the genius of its kindliness, its enchantment, its resourcefulness, and its profound wisdom. She is indeed the mother of all mystery. The weary she wraps in slumber, delivers from care, and she causes dreams to play about their souls. Her protection is enjoyed by the un-happy and persecuted as well as by the cunning, whom her ambivalent shadows offer a thousand devices and contrivances. With her veil she also shields lovers, and her darkness keeps ward over all caresses, all charms hidden and revealed. Music is the true language of her mystery - the enchanting voice which sounds for eyes that are closed and in which heaven and earth, the near and the far, man and nature, present and past, appear to make themselves understood.But the darkness of night which so sweetly invites to slumber also bestows new vigilance and illumination upon the spirit. It makes it more perceptive, more acute, more enterprising. Knowledge flares up, or descends like a shooting star - rare, precious, even magical knowledge.And so night, which can terrify the solitary man and lead him astray, can also be his friend, his helper, his counsellor. "
31
" There’s something different about her. I realize it’s her breasts—they’re huge. I see that she’s stuffed her bikini top with wet balls of sand.
“What is that?” I say. “Scottie. Your suit.”
She shields her eyes with her hand and looks down at her chest. “Beach boobs,” she says.
“Take that out of there,” I say. “Alex. Why’d you let her do that?”
Alex is on her stomach, with the straps of her top untied. She lifts her head toward Scottie. “I didn’t know. Take them out, stupid.”
Sid lifts his head. “Honestly,” he says, “big boobs look kind of fatty.”
“As Bebe says, boobs suck,” Alex says, “and Sid’s full of shit. He loves big boobs.”
“Who’s Bebe?” Scottie lets the sand fall out of her top.
“Character from South Park,” Sid says. “And I love small boobs, too, Alex. I’m an equal-opportunity employer. "
― Kaui Hart Hemmings , The Descendants
34
" And when spring comes to the City people notice one another in the road; notice the strangers with whom they share aisles and tables and the space where intimate garments are laundered. going in and out, in and out the same door, they handle the handle; on trolleys and park benches they settle thighs on a seat in which hundreds have done it too. Copper coins dropped in the palm have been swallowed by children and tested by gypsies, but it’s still money and people smile at that. It’s the time of year when the City urges contradiction most, encouraging you to buy street food when you have no appetite at all; giving you a taste for a single room occupied by you alone as well as a craving to share it with someone you passed in the street. Really there is no contradiction—rather it’s a condition; the range of what an artful City can do. What can beat bricks warming up to the sun? The return of awnings. The removal of blankets from horses’ backs. Tar softens under the heel and the darkness under bridges changes from gloom to cooling shade. After a light rain, when the leaves have come, tree limbs are like wet fingers playing in woolly green hair. Motor cars become black jet boxes gliding behind hoodlights weakened by mist. On sidewalks turned to satin figures move shoulder first, the crowns of their heads angled shields against the light buckshot that the raindrops are. The faces of children glimpsed at windows appear to be crying, but it is the glass pane dripping that makes it seem so. "
― Toni Morrison , Jazz (Beloved Trilogy, #2)
