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A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders. ↗
I agree. To me, it [galloping on horseback] is the essence of freedom—the power of the beast beneath you, the wind in your face, the thundering of the hooves. It is a great elixir for the soul.” “And does your soul need healing, Benjamin?” she asked quietly, gently running her fingertips across his bicep and down his forearm. He turned away from the view of the pond and looked at her with clear, blue eyes, his expression serious. He captured her fingers in the palm of his hand. “My healing started the day I met you. You are my elixir.” “Then perhaps you need another dose,” she whispered, her face upturned as she leaned closer to him. ↗
Richard Branson once said: 'Tony's very good at selling bands and he's very good at making television programmes. But he'll never be great at either, until he decides which one he wants to do.' I entirely accept that. That doesn't matter to me very much. I like the irony of the two lives. ↗
