45
" I want to say before I go on that I have never previously told anyone my sordid past in detail. I haven't done it now to sound as though I might be proud of how bad, how evil, I was.
But people are always speculating-why am I as I am? To understand that of any person, his whole life, from birth, must be reviewed. All of our experiences fuse into our personality. Everything that ever happened to us is an ingredient.
Today, when everything that I do has an urgency, I would not spend one hour in the preparation of a book which had the ambition to perhaps titillate some readers. But I am spending many hours
because the full story is the best way that I know to have it seen, and understood, that I had sunk to the very bottom of the American white man's society when-soon now, in prison-I found Allah and the religion of Islam and it completely transformed my life. "
― Malcolm X , The Autobiography of Malcolm X
48
" Why do we remember the Boys of Summer? We remember because we were young when they were, of course. But more, we remember because we feel the ache of guilt and regret. While they were running, jumping, leaping, we were slouched behind typewriters, smoking and drinking, pretending to some mystic communion with men we didn't really know or like. Men from ghettos we didn't dare visit, or rural farms we passed at sixty miles an hour. Loving what they did on the field, we could forget how superior we felt towards them the rest of the time. By cheering them on we proved we had nothing to do with the injustices that kept their lives separate from ours. There's nothing sordid or false about the Boys of Summer. Only our memories smell like sweaty jockstraps. "
― , The Boys of Summer
51
" After having imposed itself on us like the egomaniac it is, clamouring about its own needs, foisting upon us its own sordid and perilous desires, the body's final trick is simply to absent itself. Just when you need it, just when you could use an arm or a leg, suddenly the body has other things to do. It falters, it buckles under you; it melts away as if made of snow, leaving nothing much. Two lumps of coal, an old hat, a grin made of pebbles. The bones dry sticks, easily broken. "
― Margaret Atwood , The Blind Assassin
52
" Sweet Goddess! she thought suddenly. I have never even spoken to him. I know nothing about the man, nothing at all.
What if he tries to get me into some sordid little room and force himself on me, like an animal? How will I fight him off? All alone, not able to cry for help?
No, it will not be like that, it could not be. I would have known if he were that kind of man, and felt repelled. He could not sing and write such beautiful verses, and look so fine if he were not the man I want him to be. Yes, when we meet, it will be as it is in his songs. He will obey, do exactly what I tell him and no more. Oh, I have hoped so long for this. Goddess of Love, let it be beautiful. "
― Robert Shea , All Things Are Lights
53
" Vanity Fair--Vanity Fair! Here was a man, who could not spell, and did not care to read--who had the habits and the cunning of a boor: whose aim in life was pettifogging: who never had a taste, or emotion, or enjoyment, but what was sordid and foul; and yet he had rank, and honours, and power, somehow: and was a dignitary of the land, and a pillar of the state. He was high sheriff, and rode in a golden coach. Great ministers and statesmen courted him; and in Vanity Fair he had a higher place than the most brilliant genius or spotless virtue. "
― William Makepeace Thackeray , Vanity Fair
55
" In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see" . She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.'Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand.The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously." Music! more music!" she cried.Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. (" The Moon Slave" ) "
57
" For more than forty years, Judith Martin has inspired the world with advice on etiquette excellence, proper behavior, and codes of conduct through her critically acclaimed newspaper column, “Miss Manners.” In an interview for her book, Miss Manners Minds Your Business, Mrs. Martin reminds us that “When you go to work, you want a degree of professionalism which does not involve hearing about all of the sordid details of a person’s love life. We are not necessarily all friends, but have a job that needs to be done. A work friend is not always a social friend. One requires distance while the other embraces intimacy. "
― Susan C. Young , The Art of Action: 8 Ways to Initiate & Activate Forward Momentum for Positive Impact (The Art of First Impressions for Positive Impact, #4)
