“She waited for the material pictures which she thought would gather and blaze before her imagination. She waited in vain. She saw no pictures of solitude, of hope, of longing, or of despair. But the very passions themselves were aroused within her soul, swaying it, lashing it, as the waves daily beat upon her splendid body. She trembled, she was choking, and the tears blinded her.”

“Before marriage she had completely mastered my imagination, for she was a secret to me; and I created the unknown thought before which I trembled as if it were hers.”

“At the bottom of her heart, however, she was waiting for something to happen. Like shipwrecked sailors, she turned despairing eyes upon the solitude of her life, seeking afar off some white sail in the mists of the horizon. She did not know what this chance would be, what wind would bring it her, towards what shore it would drive her, if it would be a shallop or a three-decker, laden with anguish or full of bliss to the portholes. But each morning, as she awoke, she hoped it would come that day; she listened to every sound, sprang up with a start, wondered that it did not come; then at sunset, always more saddened, she longed for the morrow.”

“Leather cut into Usha's flesh and she screamed. She screamed for the soreness in her back, she screamed for the throbbing sensation in her soft belly, she screamed for the hope that was being lashed out of her; multiple screams for the first few lashings then whimpering as blinding pain clouded her head, numbness froze her body. Hope became hopeless. After twenty lashings even the whimpering stopped, only the nothingness of nothing remained.”

“Listen to a woman speak at a public gathering (if she hasn't painfully lost her wind). She doesn't "speak," she throws her trembling body forward; she lets go of herself, she flies; all of her passes into her voice, and it's with her body that she vitally sup- ports the "logic" of her speech. Her flesh speaks true. She lays herself bare. In fact, she physically materializes what she's thinking; she signifies it with her body. In a certain way she inscribes what she's saying, because she doesn't deny her drives the intractable and impassioned part they have in speaking. Her speech, even when "theoretical" or political, is never simple or linear or "objectified," generalized: she draws her story into history.”

“There has fallen a splendid tearFrom the passion-flower at the gate.She is coming, my dove, my dear;She is coming, my life, my fate.The red rose cries, "She is near, she is near;"And the white rose weeps, "She is late;"The larkspur listens, "I hear, I hear;"And the lily whispers, "I wait." She is coming, my own, my sweet;Were it ever so airy a tread,My heart would hear her and beat,Were it earth in an earthy bed;My dust would hear her and beat,Had I lain for a century dead,Would start and tremble under her feet,And blossom in purple and red.”