81
" Plan all you want, it is a very different thing to actually kill a person than to fantasize about it. In your fantasy, you have superhuman strength. Or your action takes no strength at all. You just do it, your arms gliding effortlessly through the weightlessness of your dream world. In reality, you have to plunge a knife or pull a trigger. You have to look into the eyes of an actual person. You see their humanity. You have to push past the respect for life that has been drilled into you since before you could talk. I’m not saying it’s impossible. It happens every day. But for normal people who have lived their whole lives as law-abiding citizens, trying to be polite and well-mannered, respectful of their elders and kind to animals, good listeners and good employees; for people who use their turn signals, and hurry to get to work on. time, leave tips for their letter carrier, and put dollars in the Salvation Army’s red bucket, hoping to make the world a little better— killing another human being is not an easy thing. "
86
" Antonia Valleau cast the first shovelful of dirt onto her husband’s fur-shrouded body, lying in the grave she’d dug in their garden plot, the only place where the soil wasn’t still rock hard. I won’t be breakin’ down. For the sake of my children, I must be strong. Pain squeezed her chest like a steel trap. She had to force herself to take a deep breath, inhaling the scent of loam and pine. I must be doing this.
She drove the shovel into the soil heaped next to the grave, hefted the laden blade, and dumped the earth over Jean-Claude, trying to block out the thumping sound the soil made as it covered him. Even as Antonia scooped and tossed, her muscles aching from the effort, her heart stayed numb, and her mind kept playing out the last sight of her husband. The memory haunting her, she paused to catch her breath and wipe the sweat off her brow, her face hot from exertion in spite of the cool spring air.
Antonia touched the tips of her dirty fingers to her lips. She could still feel the pressure of Jean-Claude’s mouth on hers as he’d kissed her before striding out the door for a day of hunting. She’d held up baby Jacques, and Jean-Claude had tapped his son’s nose. Jacques had let out a belly laugh that made his father respond in kind. Her heart had filled with so much love and pride in her family that she’d chuckled, too.
Stepping outside, she’d watched Jean-Claude ruffle the dark hair of their six-year-old, Henri. Then he strode off, whistling, with his rifle carried over his shoulder. She’d thought it would be a good day—a normal day. She assumed her husband would return to their mountain home in the afternoon before dusk as he always did, unless he had a longer hunt planned.
As Antonia filled the grave, she denied she was burying her husband. Jean-Claude be gone a checkin’ the trap line, she told herself, flipping the dirt onto his shroud.
She moved through the nightmare with leaden limbs, a knotted stomach, burning dry eyes, and a throat that felt as though a log had lodged there. While Antonia shoveled, she kept glancing at her little house, where, inside, Henri watched over the sleeping baby. From the garden, she couldn’t see the doorway.
She worried about her son—what the glimpse of his father’s bloody body had done to the boy. Mon Dieu, she couldn’t stop to comfort him. Not yet. Henri had promised to stay inside with the baby, but she didn’t know how long she had before Jacques woke up.
Once she finished burying Jean-Claude, Antonia would have to put her sons on a mule and trek to where she’d found her husband’s body clutched in the great arms of the dead grizzly. She wasn’t about to let his last kill lie there for the animals and the elements to claim. Her family needed that meat and the fur.
She heard a sleepy wail that meant Jacques had awakened. Just a few more shovelfuls. Antonia forced herself to hurry, despite how her arms, shoulders, and back screamed in pain.
When she finished the last shovelful of earth, exhausted, Antonia sank to her knees, facing the cabin, her back to the grave, placing herself between her sons and where their father lay. She should go to them, but she was too depleted to move. "
― Debra Holland , Healing Montana Sky (Montana Sky, #5)
87
" Writing is making love under a crescent moon: I see shadows of what’s to come, and it’s enough; I have faith in what I can’t see and it’s substantiated by a beginning, a climax, an ending. And if it’s an epic novel in hand, I watch the sunrise amid the twigs and dewing grass; the wordplay is what matters.
Simply put, I’m in love, and any inconvenience is merely an afterthought.
The sun tips the horizon; the manuscript is complete. The author, full of profound exhaustion, lays his stylus aside. His labor of love stretches before him, beautiful, content, sleeping, until the next crescent moon stars the evening sky. "
― Chila Woychik ,
88
" What did you do to make him smile?” “Ah…” Alessandro bit back a grin and cleared his throat. “I might’ve sung a song.” “Really? What song?” “As his mother, I don’t think I should repeat it for you,” Alessandro said, his cheeks and the tips of his ears pink. “Oh come on, Alessandro. The windows didn’t break so you couldn’t have done that bad a job.” “It’s not my ability that I’m referring to,” Alessandro replied. Bree narrowed her eyes. “Just what were you singing to my son? And so help me if you say anything by Sir Mix-a-lot I’ll castrate you,” “Not quite,” Alessandro said. “All right. But, remember you asked for it. Your cousin Max, taught it to me.” Bree crossed her arms over her breasts and waited. "
― E. Jamie , The Betrayal (Blood Vows, #2)
91
" A young woman stood before the railing, speaking to the reception clerk. Her slender body seemed out of all scale in relation to a normal human body; its lines were so long, so fragile, so exaggerated that she looked like a stylized drawing of a woman and made the correct proportions of a normal being appear heavy and awkward beside her. She wore a plain gray suit; the contrast between its tailored severity and her appearance was deliberately exorbitant—and strangely elegant.She let the finger tips of one hand rest on the railing, a narrow hand ending the straight imperious line of her arm. She had gray eyes that were not ovals, but two long, rectangular cuts edged by parallel lines of lashes; she had an air of cold serenity and an exquisitely vicious mouth. Her face, her pale gold hair, her suit seemed to have no color, but only a hint, just on the verge of the reality of color, making the full reality seem vulgar. Keating stood still, because he understood for the first time what it was that artists spoke about when they spoke of beauty. "
― Ayn Rand
92
" When I lived on the Bluff in Yokohama I spend a good deal of my leisure in the company of foreign residents, at their banquets and balls. At close range I was not particularly struck by their whiteness, but from a distance I could distinguish them quite clearly from the Japanese. Among the Japanese were ladies who were dressed in gowns no less splendid than the foreigners’, and whose skin was whiter than theirs. Yet from across the room these ladies, even one alone, would stand out unmistakably from amongst a group of foreigners. For the Japanese complexion, no matter how white, is tinged by a slight cloudiness. These women were in no way reticent about powdering themselves. Every bit of exposed flesh—even their backs and arms—they covered with a thick coat of white. Still they could not efface the darkness that lay below their skin. It was as plainly visible as dirt at the bottom of a pool of pure water. Between the fingers, around the nostrils, on the nape of the neck, along the spine—about these places especially, dark, almost dirty, shadows gathered. But the skin of the Westerners, even those of a darker complexion, had a limpid glow. Nowhere were they tainted by this gray shadow. From the tops of their heads to the tips of their fingers the whiteness was pure and unadulterated. Thus it is that when one of us goes among a group of Westerners it is like a grimy stain on a sheet of white paper. The sight offends even our own eyes and leaves none too pleasant a feeling. "
― Jun'ichirō Tanizaki , In Praise of Shadows
97
" 5 Tips for Mirroring Others
1. Body language. When they smile, you smile. When they lean back in their chair, you lean back in your chair. When they cross their legs or fold their arms, you do the same.
2. Vocabulary or specific words. Notice their language and the words they choose and use—their keywords, expressions, expletives, or phrases.
3. Communication style. People receive, process, and deliver information in different ways. Notice whether someone is results driven or relaxed, emotional or pragmatic, talkative or observant. Recognizing their style will enable you to adapt your style to theirs to build rapport and improve communication.
4. Vocal style.
a. Speech rate—If they are talking fast, you talk fast. If they are talking slowly, you talk slowly. Consider rhythm, pace, and tempo.
b. Volume—If they are speaking quietly and softly, match their volume.
c. Tone—Mirror their emotion, tone, and pitch. You can even seek to mirror their grammar and dialect, as long as it is discreet and respectful. "
― Susan C. Young , The Art of Body Language: 8 Ways to Optimize Non-Verbal Communication for Positive Impact (The Art of First Impressions for Positive Impact, #3)
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" Cbtf club website is only for England, Australia, uk and other Betting Permitted Country Visitor’s and it’s for entertainment purpose not for Business purpose If you are from India please Don’t visit again this website because betting is not legal in India . Cbtf club articles are published every day. We publish tips like cricket betting tips, cbtf, free cricket betting tips, ipl betting tips, cricket betting tips free, ram slam betting tips, IPL betting tips, big bash betting tips, PSL, Asia cup & MCL betting tips.
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― Cbtf Club
100
" The reindeer are immortal. They are, in fact, the eight demiurges of reindeer-kind, and this accounts for their flying. Their names might sound whimsical, but they are the closest the human tongue can come to approximating the true names of the caribou lords. Rudolph, far from being the adorable, earnest fellow of the tale, is in fact Ruyd-al-Olafforid, the All-Destroying Flame of the Yukon. His mother was Kali and his father was an ice floe. His nose appears red because his body is full of coals, and his eyes flare with a terrible conflagration of the soul. The tips of his antlers are like candles in the snowy wind. He is not vengeful, but he is the light in the dark of winter, consuming and giving life at the same time. Your carrots only make the lord of flame stronger. "
― Catherynne M. Valente , The Bread We Eat in Dreams