3
" Juliet stared at their reflection. One big hand lay flat against her belly, the other cupped and fondled her breast. Her nipples were a dark reddish-brown from the torment. She didn’t recognise the woman who stared back, her face all flushed, her mouth parted, her head fallen back against his chest having lost its capacity to support itself.
“Juliet?”
His urgent prompt dragged her gaze down, to where his finger pushed lower, disappearing entirely beneath her tights while his remaining fingers stayed firmly on the outside. It found the lacy edge of her underwear and stopped, brushing back and forth.
“Just the one finger.” His voice was like gravel. “That’s all I need.”
Juliet moaned and closed her eyes against the wickedly delicious thought of it— watching him get her off, with just one finger.
That’s all I need.
Fuck... Even his arrogance was sexy.
She opened her eyes, thrilling at the sight of him pawing her, one hand on her breast the other down her pants. “Yes.” Her tongue flicked out to wet dry lips. “Hurry.”
He smiled triumphantly, his nostrils flaring as his middle finger slipped under the barrier of her underwear. The waistband of her tights dragged lower, dipping in the middle, as he slid into the slick folds of her pussy.
Juliet cried out at the delicious invasion, arching her back and curling her fingers into his neck.
“Jesus Christ.” He pressed his face into her nape and groaned. It echoed down her spine and she shivered. “You’re so fucking wet. "
― Amy Andrews , Playing With Forever (Sydney Smoke Rugby, #4)
7
" Why do you like show jumping?" " ... Beauty and excitement. The elements of trust, talent, training, love, and danger make show jumping a thrilling and aesthetic experience. It's really the ultimate test of two nervous systems--the kinetic transfer of the rider's muscle to the horse's muscle enables them to clear those jumps. And there's nothing like it--horse and rider forming an arc of beauty, efficiency, and power, like a double helix." " DNA," " Yes, DNA, the code to life. "
11
" To the Buddhist or the eastern fatalist, existence is a science or a plan, which must end up in a certain way. But to a Christian, existence is a STORY, which may end up in any way. In a thrilling novel (that purely Christian product) the hero is not eaten by cannibals; but it is essential to the existence of the thrill that he MIGHT be eaten by cannibals. The hero must (so to speak) be an eatable hero. So Christian morals have always said to the man, not that he would lose his soul, but that he must take care that he didn't. In Christian morals, in short, it is wicked to call a man " damned" : but it is strictly religious and philosophic to call him damnable.All Christianity concentrates on the man at the cross-roads. The vast and shallow philosophies, the huge syntheses of humbug, all talk about ages and evolution and ultimate developments. The true philosophy is concerned with the instant. Will a man take this road or that? - that is the only thing to think about, if you enjoy thinking. "
16
" Natasha, with a vigorous turn from her heel on to her toe, walked over to the middle of the room and stood still... Natasha took the first note, her throat swelled, her bosom heaved, a serious expression came into her face. She was thinking of no one and of nothing at that moment, and from her smiling mouth poured forth notes, those notes that anyone can produce at the same intervals, and hold for the same length of time, yet a thousand times leave us cold, and the thousand and first time they set us thrilling and weeping. "
― Leo Tolstoy , War and Peace
19
" Speak to me about power. What is it?”
I do believe I’m being out-Cambridged. “You want me to discuss power? Right here and now?”
Her shapely head tilts. “No time except the present.”
“Okay.” Only for a ten. “Power is the ability to make someone do what they otherwise wouldn’t, or deter them from doing what they otherwise would.”
Immaculée Constantin is unreadable. “How?”
“By coercion and reward. Carrots and sticks, though in bad light one looks much like the other. Coercion is predicated upon the fear of violence or suffering. ‘Obey, or you’ll regret it.’ Tenth-century Danes exacted tribute by it; the cohesion of the Warsaw Pact rested upon it; and playground bullies rule by it. Law and order relies upon it. That’s why we bang up criminals and why even democracies seek to monopolize force.” Immaculée Constantin watches my face as I talk; it’s thrilling and distracting. “Reward works by promising ‘Obey and benefit.’ This dynamic is at work in, let’s say, the positioning of NATO bases in nonmember states, dog training, and putting up with a shitty job for your working life. How am I doing?”
Security Goblin’s sneeze booms through the chapel.
“You scratch the surface,” says Immaculée Constantin.
I feel lust and annoyance. “Scratch deeper, then.”
She brushes a tuft of fluff off her glove and appears to address her hand: “Power is lost or won, never created or destroyed. Power is a visitor to, not a possession of, those it empowers. The mad tend to crave it, many of the sane crave it, but the wise worry about its long-term side effects. Power is crack cocaine for your ego and battery acid for your soul. Power’s comings and goings, from host to host, via war, marriage, ballot box, diktat, and accident of birth, are the plot of history. The empowered may serve justice, remodel the Earth, transform lush nations into smoking battlefields, and bring down skyscrapers, but power itself is amoral.” Immaculée Constantin now looks up at me. “Power will notice you. Power is watching you now. Carry on as you are, and power will favor you. But power will also laugh at you, mercilessly, as you lie dying in a private clinic, a few fleeting decades from now. Power mocks all its illustrious favorites as they lie dying. ‘Imperious Caesar, dead and turn’d to clay, might stop a hole to keep the wind away.’ That thought sickens me, Hugo Lamb, like nothing else. Doesn’t it sicken you? "
― David Mitchell , The Bone Clocks
