cleaning up so well (jones_casey) wrote,
cleaning up so well

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i'm not one to stand on ceremony


un meteorite
m'a perce le coeur
vous sur la terre
vous avez
des docteurs


il me faut
une transfusion
de mercure
j'en ai tant perdu
par cette blessure


portez-moi ma
combinaison spatiale
cette poussiere


il me faut a tout prix
mon amour
dans la galaxie


o-hoshi-sama ga
heart ni meichu
o-isha-sama wo
yonde chodai


saturday lxxxiv

the card in the center represents the present status or challenge of the relationship. the chariot: perseverance. major effort. possible voyage or journey. rushing to decision. riding the crest of success or popularity. adversity, possibly already overcome. turmoil. vengeance. need for supervision. need for attention to details. urgency to gain control of one's emotions. this card suggests that one can achieve greatness when physical and mental powers are maintained in balance.

"but forget this never, whatever his choice may be; that there is laid on him a burden that is laid not on others--all space is open to him, and his choice is infinite--and if he falls beneath it, let men weep rather than curse, for he was born a son of god."

the card represents the critical factor for the issue at hand. venturio (wheel of fortune): the path of destiny. karma on a grand scale. an unexpected turn of good fortune. a link in the chain of events. success, luck, and happiness.

even as a child she had lived her own small life all within herself. at a very early period she had apprehended instinctively the dual life--that outward existence which conforms, the inward life which questions.

that summer at grand isle she began to loosen a little the mantle of reserve that had always enveloped her. there may have been--there must have been--influences, both subtle and apparent, working in their several ways to induce her to do this; but the most obvious was the influence of adele ratignolle. the excessive physical charm of the creole had first attracted her, for edna had a sensuous susceptibility to beauty. then the candor of the woman's whole existence, which every one might read, and which formed so striking a contrast to her own habitual reserve--this might have furnished a link. who can tell what metals the gods use in forging the subtle bond which we call sympathy, which we might as well call love.

"we will have dinner together," von gerhard said, "i cannot have you moping up there all alone all evening."

"i can't come."

"why? "

"because i want to so very much. and anyway, i'm much more cheerful now. i am going in to dinner. and after dinner i shall get acquainted with my room. there are six corners and all the space under the bed that i haven't explored yet."

slowly and reluctantly she came to realize that vivie warren was what is called an "ideal." there were no such girls and no such positions. no work that offered was at all of the quality she had vaguely postulated for herself. with such qualifications as she possessed, two chief channels of employment lay open, and neither attracted her, neither seemed really to offer a conclusive escape from that subjection to mankind against which, in the person of her father, she was rebelling. one main avenue was for her to become a sort of salaried accessory wife or mother, to be a governess or an assistant schoolmistress, or a very high type of governess-nurse. the other was to go into business --into a photographer's reception-room, for example, or a costumer's or hat-shop. the first set of occupations seemed to her to be altogether too domestic and restricted; for the latter she was dreadfully handicapped by her want of experience. and also she didn't like them. she didn't like the shops, she didn't like the other women's faces; she thought the smirking men in frock-coats who dominated these establishments the most intolerable persons she had ever had to face. one called her very distinctly "my dear!"

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