No subscription or hidden extras
Read through the most famous quotes by topic #ado
His large ears Hear everything A hermit wakes And sleeps in a hut Underneath His gaunt cheeks. His eyes blue, alert, Disappointed, And suspicious, Complain I Do not bring him The same sort of Jokes the nurses Do. He is a bird Waiting to be fed,— Mostly beak— an eagle Or a vulture, or The Pharoah's servant Just before death. My arm on the bedrail Rests there, relaxed, With new love. All I know of the Troubadours I bring to this bed. I do not want Or need to be shamed By him any longer. The general of shame Has discharged Him, and left him In this small provincial Egyptian town. If I do not wish To shame him, then Why not love him? His long hands, Large, veined, Capable, can still Retain hold of what He wanted. But Is that what he Desireed? Some Powerful engine Of desire goes on Turning inside his body. He never phrased What he desired, And I am his son. ↗
As you and I listen to Uncle Monty tell the three Baudelaire orphans that no harm will ever come to them in the Reptile Room, we should be experiencing the strange feeling that accompanies the arrival of dramatic irony. This feeling is not unlike the sinking in one's stomach when one is in an elevator that suddenly goes down, or when you are snug in bed and your closet door suddenly creaks open to reveal the person who has been hiding there. For no matter how safe and happy the three children felt, no matter how comforting Uncle Monty's words were, you and I know that soon Uncle Monty will be dead and the Baudelaires will be miserable once again. ↗
That if a thing is defined in contrast that's what life is, the shadow of death. So the mystery of death couldn't be the bad thing, because without it there wouldn't be life. The badness was life, just happening, as essential a part of the good as the good. And what was there to do but to take it as it comes and to hope, to hope constantly and carnally and with no time to lose. ↗
#carnally #constantly #death #essential #life
I love you,” he whispered as he thrust again. And again. Each movement controlled. Each small movement devastating in its effect. “I love you.” She lost all concept of time. She lost her place and surroundings. She couldn’t remember who he was—who she was. She lost her mind. ↗
Stories are thick with meanings. You can fall in love with a story for what you think it says, but you can't know for certain where it will lead your listeners. If you're telling a tale to teach children to be generous, they may fix instead on the part where your hero hides in an olive jar, then spend the whole next day fighting about who gets to try it first. People take what they need from the stories they hear. The tale is often wiser than the teller. ↗
I was laughing at you because declarations of love amuse me, especially when unrequited," he said. -Jace pg. 41 ↗
A Seelie. A fucking prince,” Lor said. “He’s got a couple hundred more Seelie from a dozen different castes waiting outside. Threatening war. Demanding you shut the place down, stop feeding the Unseelie.” I gasped, “V’lane?” “You told him to come!” Ryodan accused. “She knows him?” Lor exploded. “It’s her other boyfriend,” Ryodan said. “Besides Darroc?” one of the other men demanded. Lor glared at Barrons. “When are you going to wise up and shut that bitch down for good? ↗
#lor #mac #ryodan #shadowfever #men
This is the paradox of public space: even if everyone knows an unpleasant fact, saying it in public changes everything. One of the first measures taken by the new Bolshevik government in 1918 was to make public the entire corpus of tsarist secret diplomacy, all the secret agreements, the secret clauses of public agreements etc. There too the target was the entire functioning of the state apparatuses of power. (Žižek, S. "Good Manners in the Age of WikiLeaks." London Review of Books 33.2 (2011): 9-10. ) ↗
