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I want to see the Parthenon by moonlight.' I had my way. They floodlight it now, to great advantage I am told, but it was not so then, and since it was late in the year there were few tourists. My companions were all intelligent men, including my own husband, and they had the sense to stay mute. I suppose, being a woman, I confuse beauty with sentiment, but, as I looked on the Parthenon for the first time in my life, I found myself crying. It had never happened to me before. Your sunset weepers I despise. It was not full moon, or anywhere near it. The half circle put me in mind of the labrys, the Cretan double axe, and the pillars were the most ghostly in consequence. What a shock for the modern aesthete, I thought when my crying was done, if he could see the ruddy glow of colour, the painted eyes, the garish lips, the orange-reds and blues that were there once, and Athene herself a giantess on her pedestal touched by the rising sun. Even in those distant times the exigencies of a state religion had brought their own traffic, the buying and selling of doves, of trinkets: to find himself, a man had to go to the woods, to the hills. "Come on," said Stephen. "It's beautiful and stark, if you like, but so is St. Pancras station at 4 A.M. It depends on your association of ideas." We crammed into Burns's small car, and went back to our hotel. ("The Chamois") ↗
Quote from BEAUTIFULLY BROKEN – pgs. 86 -87 “A Kiss”: I went to snatch my hand away, but Trent caught my hand in his, startling me. I looked up to see warmth on his face. His smile held the promise of happiness. He scooted closer and held my gaze for a breath, glanced down. He leaned forward, as if he had no control over his actions. I inhaled his nice, soapy-clean scent, and all coherent thought left my head. His hands gripped my waist and Trent yanked me against him, his mouth covering mine in a deep kiss. The caress of his lips was softer than I’d imagined. An unfamiliar rush of excitement engulfed my senses. My hands wrapped around his neck, fingering his silky tousled hair. His moist lips seared a path from my lips to my neck, igniting a blaze of desire that flooded my skin everywhere his lips and roaming hands touched. Boys had kissed me before, but not like this. Never like this... ↗
Their eyes met and locked. If Cumbria were to take the form of a man, here he stood. Half-tamed, and that half much in doubt, forbiddingly beautiful and dangerous to the unwary. A voice in the back of her head warned that she ought to keep her silence, but she plowed on. "You belong here." Without thought, she stepped toward him and touched his cheek, following the line back to his temple. His skin felt warm, the heat of him filled her. Inside her, in her heart and in her soul, she knew him. She knew everything about him that mattered. All of him was inside her right now, complete and right and heartbreaking because he was lost. He turned his head and for a moment, she felt the warmth of his breath against her gloved palm. "My poor, dear Captain Alexander. You are too young to feel such desolation. You think you've lost your heart, but you haven't. It's here at Pennhyll. It's in the ground and the air, the trees and the stone, everywhere you look. You have only to take it. Take what is yours. ↗
There is a beauty in paradox when it comes to talking about things of ultimate concern. Paradox works against our tendency to stay superficial in our faith, or to rest on easy answers or categorical thinking. It breaks apart our categories by showing the inadequacy of them and by pointing to a reality larger than us, the reality of gloria, of light, of beyond-the-beyond. I like to call it paradoxology—the glory of paradox, paradox-doxology—which takes us somewhere we wouldn’t be capable of going if we thought we had everything all wrapped up, if we thought we had attained full comprehension. The commitment to embracing the paradox and resisting the impulse to categorize people (ourselves included) is one of the ways we follow Jesus into that larger mysterious reality of light and love. ↗
My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries. Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places. Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted. ↗
