“She feels bruised by her reading and by life too. She wonders, does she always fight her books before yielding to them?”

“She loved him, and her heart was breaking. If she had known how much it hurt to love someone, she never would have given away her heart. But it wasn't a question of giving as much as falling.”

“And it was no shame to her that she so dreamed. It was no shame that she called before her, one by one, those who had asked her to cross with them the threshold (of marriage) and those who might still ask her. It was no shame that, while her heart said always, "no," she still waited - waited for one whom she knew not, but only knew that she would know him when he came. And it was no shame to her that, even while this was so, she saw herself in the years to come a wife and mother. ”

“For a moment she believed he had left, but as she shifted away from the wall she sensed him there beside the bed. He was very close. Wretched curiosity! But she would fight it and not look. “Katherine,” he whispered, his breath rolling in a warm wave across her cheek. A traitor tear spilled out, the humiliation was too much to contain. Gently, a finger dabbed the wetness from her skin. He said it again, softly, as though it pleased him just to say it, “Katherine.” “Viktor!” the accented voice bellowed from below. And then the shadow was gone. Darkness overwhelmed her then and carried her away to a land of crows and mocking strangers.”

“The heat building inside her burst into flames.Her ass clenched,her breasts tightened into sensitive buds and she felt her pussy cream right before him.”

“Great artistic works are often based on solving several psychological problems simultaneously. In literature this is often accomplished by splitting apart the conflict and assigning each aspect to a different character. Marjie Rynearson, for instance, wrote an award-winning play, Jenny, about the meeting and reconciliation of two women: the mother of a murder victim and the mother of the murderer. Within the dialogue between the two characters she sought to resolve two sets of problems: the rage and grief of the victim's mother, and the horror, guilt, and grief of the murderer's mother. She worked on the play for several years, and only when it was finished did she realize that through it she was struggling to resolve her feelings about the suicide of her best friend. Rynearson had simultaneously been, in effect, both the friend of the victim and the friend of the perpetrator of the killing. The power of the work lay in its simultaneous resolution of conflicting problems.”

“She was opinionated without being pushy. When choosing a book to read aloud, she would try to interest him in those spunky English heroines she liked so much. He proposed Thucydides, but he understood how she, being a Quaker, did not want to read about the Peloponnesian War. They came together on Henry James.”