Karen Marie Moning · 16 pages
Rating: (6.4K votes)
“Sex either blows your fucking mind, or it’s not good enough.”
“Women have been repeating the same mistake since time began: falling for a man’s potential. We rarely see it the same way, and even more rarely care to achieve it.”
“I have no desire to sleep with you. I want to fuck you. And there is no such thing as perfectly good sex. If it’s “perfectly good,” I mock in falsetto, “he should be shot in the head and put out of everyone’s misery. Sex either blows your fucking mind, or it’s not good enough. You want me to blow your fucking mind, Ms. Lane? Come on. Do it. Be a big girl.”
“Actions talk. Words are worthless. You think to discover in me a vein of vulnerability, a marbling of sensitivity glimpsed only by you because you’re special, so you can proclaim, “Look, Barrons’ torturous past has made him a monster but only because he’s suffered so much. It’s understandable that he lives by no law but his own—a violent, bloody, conscienceless law—but the healing power of my love will restore his demolished humanity!”
Restore means to return a thing that was taken. Mine was not.”
“A woman who’s lived in a cage all her life. And hates it. Bored in there, aren’t you. Waiting for life to happen. And when it finally does, it steals from you what you loved most. So take back. Explode. Lash out. Blow up”
“I have found there to be little distance between the unlatching of a chain and the spreading of a woman’s legs. As if they can never unbar only a single entrance. It’s a disease called hope. Women suffer from it greatly.”
“Does she, like most women, lose a part of her soul in sex? Leave it lying there for the taking? Fuck.”
“Lust is a thing of the blood. Doesn't need head or heart.”
“I have studied humans for a small eternity. Intent infuses their every movement. Road maps to their inner navigation, plastered all over their skin. Born to be slaves.”
“She's chiffon and satin ribbons. I'm raw meat and razor blades.”
“Quando me dás a mão, quando te encostas a mim, quando me apertas, não preciso ver-te por dentro.”
“I shuffled to the back. ‘You there—new girl. I can’t see you.’ Precisely: that had been the idea.”
“We're going to do this nice and slow. All I want from you is your surrender. Beyond that, you don't have to think about a thing. Understand?”
“Honey, some boys stopped by to see you. They had wood.”
“Sand as far as the eye can see, between the last hills and the sea -- the sea -- in the cold air of an afternoon almost past, and blessed by the wind that always blows from the north.
The beach. And the sea.
It could be perfection -- an image for divine eyes -- a world that happens, that's all, the mute existence of land and water, a work perfectly accomplished, truth --truth -- but once again it is the redeeming grain of a man that jams the mechanism of that paradise, a bagatelle capable on its own of suspending all that great apparatus of inexorable truth, a mere nothing, but one planted in the sand, an imperceptible tear in the surface of that sacred icon, a minuscule exception come to rest on the perfection of that boundless beach. To see him from afar he would be no more than a black dot: amid nothingness, the nothing of a man and a painter's easel. The easel is anchored by slender cords to four stones placed on the sand. It sways imperceptibly in the wind that always blows from the north. The man is wearing waders and a large fisherman's jacket. He is standing, facing the sea, twirling a slim paintbrush between his fingers. On the easel, a canvas.”
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