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Quote by Mitta Xinindlu

“Intimacy in marriage should be between the intimate spouses. Family members should not insert themselves unnecessarily.”

Quote by Mitta Xinindlu

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Mitta Xinindlu

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“But in this case,” he continues, tracing the line of the plasterwork with one finger, “I feel that there is one cliché that sums up my position so admirably that it would be pure egotism to attempt a more interesting periphrasis. Plain speaking, therefore, there is to be. “There is undoubtedly a strong possibility, notwithstanding the vagaries of contingency and misfortune, that my son might have fallen—or might, we could say, have voluntarily jumped, in accordance with the ethical codes with which he has been brought up—for a play you have made with some success, although, as I am persuaded you would concede, very little originality.” Plain speaking if you’re Henry James, perhaps.”

HumorRelationshipsPowerMisogynyMenaceHenry JamesIn LawsClass DifferenceClass DividePlain SpeakingCircumlocutionJamesian
Book:The Bookstore
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“Here, this is for you," the girl said, holding out one of the pages on which she'd been drawing. "Oh, I... well, thank you." Meg reached out and took the sketch between her fingers. Gazing down, her eyes widened. Instead of the typical childish scribble she'd expected, she discovered two well-rendered figures. The style was a bit loose, and still immature with a tendency to distort the proportions. Even so, it was refined enough enough to have captured remarkably accurate likenesses of her and Cade seated side by side on the sofa. Esme might be only be nine years of age, but already she was an exceptional artist, better than many adults would ever hope to be. "This is... extraordinary," Meg said. "It's you and Cade," the girl offered, clutching a small fist against her yellow wool skirt. "Do you like it?" "I most certainly do. How could I not? You've drawn Cade and me so perfectly. It's beautiful." The girl's oval features came alive with a pleased smile. "Good night, Miss Amberley. I'm glad you're going to be my sister." At a sudden loss for what she knew would never be, Meg settled on the only honest reply she could offer. "Sweet dreams, Esme.”

ArtistDrawingIn LawsAwwwww MomentsEarly AgeMeg AmberleyEsme Byron
Book:Tempted by His Kiss
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“Mama, is that Aunt Eula’s chicken recipe?” Emily tore into a drumstick with enough fervor for both of them. “Sure is.” Her aunts had been up since before dawn cooking. The sweets table was piled with pies and sponge cake with fresh berries and Aunt Marline’s divinity fudge. She picked at her chicken, feeling her appetite improving with each bite of familiar cooking. “Can I have seconds, Mama?” “Of course. let me get some for you.” Alaine took Em’s plate to the buffet, still loaded with more food than an army could do away with. She chose a drumstick from the plate of chicken, then froze. “Now, Stella, it’s quaint,” Mrs. Mark Grafton, Pierce’s mother. Alaine stiffened. “They’ve done the best they can— and I think they rather expected us to enjoy a country luncheon.” “But chicken fricassee? For a wedding luncheon? Are they going to have us dance a reel next?” A woman younger than Mrs. Grafton, but bearing the same sharp dark eyes, tittered quietly. “I told Pierce they should have a fish course, at least. And a consommé. Of course I knew an aspic would be asking far too much.” “Pierce always did have an independent streak.” Stella said this as though it were a blight. “Marrying some country nobody when the Harris girls or Georgia Lawson would have—” “Not polite to speak of it now, dear,” Mrs. Grafton said with a tone that told Alaine it was only propriety keeping her from joining. Alaine seethed. Delphine wasn’t a nobody— she was better than any of these Perrysburg ninnies. “Pierce has his career to consider, that’s all I’m saying. She can’t go blundering about, mucking that up. After all, we stand to catch the ill effects of any mistakes she makes.” “I’ve advised Pierce how to handle himself, and he’ll make sure she knows her place. You needn’t concern yourself with your brother’s affairs.” Mrs. Grafton swept away in a wake of heady perfume, but not before Alaine heard her add in a sharp whisper, “He didn’t listen to me about marrying the girl, why do you think he’d listen about a fish course?” Neither Grafton woman had noticed Alaine; they were, Alaine presumed, well practiced in ignoring anything that didn’t benefit them specifically. Country nobody, indeed— Del would show them all up before Christmas. If the best chicken in the county wasn’t good enough for the Graftons, she would enjoy it double.”

ChickenIn LawsWealthy PeopleNitpickingCountry Foods
Book:The Fairy Bargains of Prospect Hill
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“Mr. Walsh?” a woman’s voice said. “Can I get a comment, Mr. Walsh?” “That’s not about me, is it?” I said. “No, my client. He’s on trial for killing his business partner and dissolving him in quicklime. Which is ridiculous.” “Uh-huh.” “It is. Anyone in my client’s line of work knows that quicklime is a very poor solvent. Chemical hydrolysis is the method of choice these days.”

GabrielReporterClientDefense LawyerMurder Method
Book:Omens
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“Porque, não importa o que diga, a linha sobre a qual caminhava, de recta que talvez fosse, tinha passado a curva desde que me viu, e eu apercebi-me do momento exacto em que me viu pelo momento exacto em que o seu caminho se tornou curvo, e não uma curva que o afastasse de mim, mas uma curva para vir ter comigo, senão nunca nos teríamos encontrado, mas teria antes afastado ainda mais de mim, porque você estava à andar à velocidade de alguém que caminha de um ponto para outro; e eu nunca o teria apanhado porque eu só caminho lentamente, calmamente, quase imóvel, com o passo de alguém que não vai de um ponto para o outro mas que, num lugar imutável, espreita quem passa à sua frente e espera que modifique ligeiramente o seu percurso. E se eu digo que fez uma curva, e como sem dúvida há-de dizer que era um desvio para me evitar, ao que eu afirmarei, em resposta, que foi um movimento para se aproximar, sem dúvida que isso é assim porque no fim de contas você não se desviou, que qualquer linha recta só existe em relação a um plano, que nós nos movemos segundo dois planos distintos, e que no fim de contas só existe o facto que você olhou para mim e que eu interceptei esse olhar ou o inverso, e que, à partida, de absoluta que era, a linha segundo a qual você se movia tornou-se relativa e complexa, nem recta nem curva, mas fatal.”

TheatreDealTeatroLineClient
Book:Dans la solitude des champs de coton
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