"Got you. You’re mine now. For the rest of the day, week, month, year, life. Have you guessed who I am? Sometimes I think you have. Sometimes when you’re standing in a crowd I feel those sultry, dark eyes of yours stop on me. Are you too afraid to come up to me and let me know how you feel? I want to moan and writhe with you and I want to go up to you and kiss your mouth and pull you to me and say ‘I love you I love you I love you’ while stripping. I want you so bad it stings."

—  Bret Easton Ellis, The Rules of Attraction

"Given the hours I think of you, given the hours in my white-sheeted bed, you would think I could cook up a scene or two. But I can picture nothing that has not already happened. And so I am stuck with: a cup of tea in a public place on a winter afternoon. A failure of imagination? Or a self-protecting check, a screen blacked out when the home team plays."

— Amy Hempel, Tumble Home

"You said I killed you—haunt me then."

— Emily Bronte, Wuthering Heights

Swoon :: Phillip Dvorak
"

'Maybe you'll fall in love with me all over again.'

"Hell,’ I said, ‘I love you enough now. What do you want to do? Ruin me?’

'Yes. I want to ruin you.'

'Good.' I said. 'That's what I want, too.'

"

— Hemingway, A Farewell to Arms

"I want nothing from love, in short, but love."

—  Colette, La Vagabonde

"'I beg you,' she said in the gentlest of voices. 'It was so long ago that I don't know.' And when he pressed her further she protested: 'You shouldn't always return to the past. It's enough that we have to devote so much time to it against our will.'"

— Milan Kundera, Let the Old Dead Make Room for the Young Dead

"

she being Brand

-new;and you
know consequently a
little stiff i was
careful of her and(having

thoroughly oiled the universal
joint tested my gas felt of
her radiator made sure her springs were O.

K.)i went right to it flooded-the-carburetor cranked her

up,slipped the
clutch(and then somehow got into reverse she
kicked what
the hell)next
minute i was back in neutral tried and

again slo-wly;bare,ly nudg. ing(my

lev-er Right-
oh and her gears being in
A 1 shape passed
from low through
second-in-to-high like
greasedlightning)just as we turned the corner of Divinity

avenue i touched the accelerator and give

her the juice,good

(it

was the first ride and believe i we was
happy to see how nice she acted right up to
the last minute coming back down by the Public
Gardens i slammed on

the
internalexpanding
&
externalcontracting
brakes Bothatonce and

brought allofher tremB
-ling
to a:dead.

stand-
;Still)

"

— e.e. cummings, she being brand

"I want a red dress.
I want it flimsy and cheap,
I want it too tight, I want to wear it
until someone tears it off me.
I want it sleeveless and backless,
this dress, so no one has to guess
what’s underneath. I want to walk down
the street past Thrifty’s and the hardware store
with all those keys glittering in the window,
past Mr. and Mrs. Wong selling day-old
donuts in their café, past the Guerra brothers
slinging pigs from the truck and onto the dolly,
hoisting the slick snouts over their shoulders.
I want to walk like I’m the only
woman on earth and I can have my pick.
I want that red dress bad.
I want it to confirm
your worst fears about me,
to show you how little I care about you
or anything except what
I want. When I find it, I’ll pull that garment
from its hanger like I’m choosing a body
to carry me into this world, through
the birth-cries and the love-cries too,
and I’ll wear it like bones, like skin,
it’ll be the goddamned
dress they bury me in."

— Kim Addonizio, “What Do Women Want?”

"The reasons for choice of partner are obscure and what passes for love is generally a decidedly mixed bag: lust, anxiety, lack of self-worth, sadism, masochism, cowardice, fear, recklessness, self-glory, simple brutality, the need to control, the urge to be looked after; most dangerous of all, the desire to save. There are other, happier ingredients: kindness, compassion, honour, friendship, sympathy, the wish to help, the attendant wish to be good, though these finer impulses can often wreak more havoc than the more blackguardly ones."

— Salley Vickers, The Other Side of You

"That was the problem with most of the boys. Their intense wishes made me claustrophobic. They were always breathing on me, pulling, tugging, even begging for some mysterious gift they thought I could give them. But I didn’t really have it—the thing they wanted. I know they dreamed of sexual triumph, of some erotic cataclysm that would erase their need, and I know that by eluding them I became more and more a creature of their hopes…They weren’t to blame. Distortion is part of desire. We always change the things we want."

— Siri Hustvedt, The Blindfold