“Pay attention to the road, Sensei. I know how you prefer to look at me while I'm blowing you, but I don't want to die choking on your dick after you wreck your fancy car.”
― Lorelei James, quote from Bound
“No. I'm afraid that I'll find out that I don't have any boundaries at all when it comes to you.”
― Lorelei James, quote from Bound
“So promise me you'll let me be whatever you need. Whatever you need.”
― Lorelei James, quote from Bound
“Emmylou kissed her forehead. “Darlin’ girl, I’ll never make fun of you for that. But if you really want to try waxing the lady taco, I’ll do it for you at the studio. Takes, like, ten minutes to heat up the wax tank.”
“Since when do you give wax jobs?”
“Since always. Some of the guys who come to me for a massage are apelike hairy. The fur on their backs grosses me out and reminds me why I prefer to eat the banana split rather than the banana.”
― Lorelei James, quote from Bound
“I can tell by your eyes. You have very expressive eyes, Amery. Your emotions are right there.”
― Lorelei James, quote from Bound
“The other reason I like your hair down is that I've fantasized about having these silken tresses wrapped around my fist as I'm fucking you”
― Lorelei James, quote from Bound
“The only person who saw your underwear was me. And they're pink.”
― Lorelei James, quote from Bound
“With a perfectly straight face he said, “If I need an item, I go into the store and buy it. Why would I waste time going into a store if I didn’t need to buy anything?” “For sheer shopping pleasure? The joy of being a consumer?” she offered. Ronin continued to give her a blank stare.”
― Lorelei James, quote from Bound
“Ronin was lonely. Maybe not always, but often enough that he understood that visceral fear that it might never change.”
― Lorelei James, quote from Bound
“I overheard Amery having to defend herself to you two. Friends don’t do that shit and you both know it. Now get out of this office and don’t show your faces again until you can apologize. I mean it.”
― Lorelei James, quote from Bound
“Volevo creare qualcosa di bello, anche se era fugace come il dolore. Non sarò mai un artista con i mezzi tradizionali, ma con una corda tra le mani e un’immagine nella testa, posso diventarlo anch’io”
― Lorelei James, quote from Bound
“Why did Amery have the overwhelming urge to curl into a ball and cry? Because he’d just shown her that she wasn’t a cold bitch in bed? He’d proven that she could burn hot and fast with a man who took the time to find her fuse before he prematurely lit the match.”
― Lorelei James, quote from Bound
“Her stomach twisted into a vicious knot every time she remembered the phone call from the police last month, after her sweet-natured employee, Molly, had been attacked by homeless guys in downtown Denver. Poor Molly had defined introverted even before the incident; the attack had pushed her further into her shell. So when Molly asked Amery to accompany her to a women’s self-defense class, Amery had agreed.”
― Lorelei James, quote from Bound
“She’d been lax in her responsibilities as the building owner because her tenants were her friends. Emmylou rented out the left half of the bottom floor space for her massage studio. Chaz rented the tiny center section for his various artistic enterprises. Amery’s graphic design business was on the right bottom half and she lived in the loft that spanned the length of the two-story building.”
― Lorelei James, quote from Bound
“Non conosceva abbastanza il bondage o qualunque cosa fosse per potersi formare un’opinione personale.
E visto che la conoscenza era l’unica arma in suo possesso per scacciare la paura, Amery aprì il portatile e digitò
“shibari” nel motore di ricerca.
La prima cosa che cercò fu la definizione.
"Shibari-kinbaku è una tecnica che prevede l’utilizzo di corde per dare
vita a un bondage sensuale, spettacolare ed erotico; questa tecnica ha origine nelle arti marziali giapponesi del XVI secolo, nelle punizioni giudiziarie del Giappone del XVIII secolo e nelle produzioni teatrali giapponesi del XIX secolo"
Approfondì la lettura e apprese che quelle pratiche erano inizialmente basate sulle punizioni del bondage jujitsu chiamato hojojutsu. Non c’era da sorprendersi se Ronin si era interessato a quella tecnica, visto che nasceva da
quell’arte marziale che aveva praticato per tutta la vita.
Sembrava che l’hojojutsu fosse diffuso sin dai tempi dei samurai. Quando essi trasportavano i prigionieri, usavano
delle corde per legarli e controllarli dopo la cattura. Alcuni samurai divennero famosi per la loro abilità nell’intrecciare le corde, attività che doveva essere funzionale, ma anche
umana. I samurai entrarono in competizione tra loro: più elaborate e diverse erano le loro opere, maggiore rispetto acquisiva il maestro della corda. Amery apprese anche che i termini si riferivano a due tipi leggermente diversi della stessa disciplina bondage. Lo shibari era più artistico e si concentrava sulla bellezza del disegno delle corde sulla tela umana, era costituito da motivi elaborati e spesso
veniva messo in scena come performance artistica.
Il kinbaku, sebbene avesse in comune molti nodi e legature con lo Shibari, aveva una carica sessuale più marcata.
Istituiva un legame tra il maestro della corda e la persona che veniva legata, fondato sul contatto della pelle durante il processo di legatura, e spesso i nodi venivano posti in zone erogene strategiche.
The Mastered Series - Legami”
― Lorelei James, quote from Bound
Lorelei James
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“Graystripe’s gone?” Firestar whispered. He sat down, drawing his tail around him. Leafpaw’s legs trembled. Her father had never seemed so far away, so far beyond her reach to comfort him.”
― Erin Hunter, quote from Dawn
“Baggy and the boys were in the Bar Room on the third floor, not directly under the cupola, but not far from it. In fact, they were probably the closest humans to the sniper when he began his target practice. After the shooting resumed for the ninth or tenth time, they evidently became even more frightened and, convinced they were about to be slaughtered, decided they had to take matters into their own hands. Somehow they managed to pry open the intractable window of their little hideaway. We watched as an electrical cord was thrown out and fell almost to the ground, forty feet below. Baggy’s right leg appeared next as he flung it over the brick sill and wiggled his portly body through the opening. Not surprisingly, Baggy had insisted on going first. “Oh my God,” Wiley said, somewhat gleefully, and raised his camera. “They’re drunk as skunks.” Clutching the electrical cord with all the grit he could muster, Baggy sprung free from the window and began his descent to safety. His strategy was not apparent. He appeared to give no slack on the cord, his hands frozen to it just above his head. Evidently there was plenty of cord left in the Bar Room, and his cohorts were supposed to ease him down. As his hands rose higher above his head, his pants became shorter. Soon they were just below his knees, leaving a long gap of pale white skin before his black socks bunched around his ankles. Baggy wasn’t concerned about appearances—before, during, or after the sniper incident. The shooting stopped, and for a while Baggy just hung there, slowly twisting against the building, about three feet below the window. Major could be seen inside, clinging fiercely to the cord. He had only one leg though, and I worried that it would quickly give out. Behind him I could see two figures, probably Wobble Tackett and Chick Elliot, the usual poker gang. Wiley began laughing, a low suppressed laugh that shook his entire body. With each lull in the shooting, the town took a breath, peeked around, and hoped it was over. And each new round scared us more than the last. Two shots rang out. Baggy lurched as if he’d been hit—though in reality there was no possible way the sniper could even see him, and the suddenness evidently put too much pressure on Major’s leg. It collapsed, the cord sprang free, and Baggy screamed as he dropped like a cinder block into a row of thick boxwoods that had been planted by the Daughters of the Confederacy. The boxwoods absorbed the load, and, much like a trampoline, recoiled and sent Baggy to the sidewalk, where he landed like a melon and became the only casualty of the entire episode. I heard laughter in the distance. Without a trace of mercy, Wiley recorded the entire spectacle. The photos would be furtively passed around Clanton for years to come. For a long time Baggy didn’t move. “Leave the sumbitch out there,” I heard a cop yell below us. “You can’t hurt a drunk,” Wiley said as he caught his breath. Eventually, Baggy rose to all fours. Slowly and painfully, he crawled, like a dog hit by a truck, into the boxwoods that had saved his life, and there he rode out the storm.”
― John Grisham, quote from The Last Juror
“But such was her faith in Simon that it colored her faith in God; unable to conceive of defeat, she never doubted that the Lord, too, willed Simon to win, and falling asleep in Simon’s arms, she did not dread the morrow, so secure was she in the strength of her yesterdays.”
― Sharon Kay Penman, quote from Falls the Shadow
“Because it was the right thing?"
"Oh shit, I hope not."
"Afraid of becoming noble?" he asked, his eyes twinkling.
"That too. But basically, that's the worst reason I can think of for killing. 'That its the right thing to do'. You kill out of outrage or fury or to keep from dying or something like it, that's fine. Hell, kill them rather than bother with them - or be bothered by them. But if you're killing them because 'its the right thing to do', its only the right thing because you've done so many wrong things up until then to make that spot. It's not the right thing to do. It's the best of the last of your choices."
"That's the longest I've ever heard you talk at one time."
"That's because you never ask me about my hair.”
― John Steakley, quote from Armor
“Fear..." I uncrossed her arms and linked my fingers with hers. "Is what makes us feel alive. Fear causes our blood vessels to constrict, and then the amygdala, a tiny almond shaped part of our brain, sends signals to our nervous system. The signal says run or fight.”
― Rachel Van Dyken, quote from Ruin
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