A Quote by Ruth Westheimer
It's up to the man to not be offended when she tells him what she needs. He shouldn't say, "I know that!" And he shouldn't say, "The woman that I had before you had ten orgasms without her telling me anything!"
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Tessa had begun to tremble. This is what she had always wanted someone to say. What she had always, in the darkest corner of her heart, wanted Will to say. Will, the boy who loved the same books she did, the same poetry she did, who made her laugh even when she was furious. And here he was standing in front of her, telling her he loved the words of her heart, the shape of her soul. Telling her something she had never imagined anyone would ever tell her. Telling her something she would never be told again, not in this way. And not by him. And it did not matter. "It's too late", she said.
I once picked up a woman from a garbage dump and she was burning with fever; she was in her last days and her only lament was: My son did this to me. I begged her: You must forgive your son. In a moment of madness, when he was not himself, he did a thing he regrets. Be a mother to him, forgive him. It took me a long time to make her say: I forgive my son. Just before she died in my arms, she was able to say that with a real forgiveness. She was not concerned that she was dying. The breaking of the heart was that her son did not want her. This is something you and I can understand.
Her first reaction was one of hope, because his eyes were open and shining with a radiant light she had never seen there before. She prayed to God to give him at least a moment so that he would not go without knowing how much she had love him despite all their doubts, and she felt an irresistible longing to begin life with him over again so that they could say what they had left unsaid and do everything right that they had done badly in the past. But she had to give in to the intransigence of death. (Love in the Time of Cholera)
She imagined herself both queen and slave, dominatrix and victim. In her imagination she was making love with men of all skin colors--white, black, yellow--with homosexuals and beggars. She was anyone's, and anyone could do anything to her. She had one, two, three orgasms, one after another. She imagined everything she had never imagined before, and she gave herself to all that was most base and most pure.
Nora leaves her husband, not-as the stupid critic would have it-because she is tired of her responsibilities or feels the need of woman's rights, but because she has come to know that for eight years she had lived with a stranger and borne him children. Can there be anything more humiliating, more degrading than a life-long proximity between two strangers? No need for the woman to know anything of the man, save his income. As to the knowledge of the woman-what is there to know except that she has a pleasing appearance?
She saw him the first day on board, and then her heart sank into her shoes as she realized at last how much she wanted him. No matter what his past was, no matter what he had done. Which was not to say that she would ever let him know, but only that he moved her chemically more than anyone she had ever met, that all other men seemed pale beside him.
She always had a headache, or it was too hot, always, or she pretended to be asleep, or she had her period again, her period, always her period. So much so that Dr. Urbino had dared to say in class, only for the relief of unburdening himself without confession, that after ten years of marriage women had their periods as often as threes times a week.
A woman will test you to see if you are what you say you are. Any woman that you fall in love with: She loves you too, but she's going to try you; that's her nature. She has to know that she can depend on you; she has to know that you will stand up for her. She has to know that you will back up the children that she brings in the world for us.
And he absolutely had to find her at once to tell her that he adored her, but the large audience before him separated him from the door, and the notes reaching him through a succession of hands said that she was not available; that she was inaugurating a fire; that she had married an american businessman; that she had become a character in a novel; that she was dead.
He couldn't say it. He couldn't tell her how much she had come to mean to him. She could destroy him with her rejection. If she had feigned her feelings for him - if he'd bought into her lies and her quest for freedom... He wasn't sure what he would do. He could hurt her.
...she had always known under her mind and now she confessed it: her agony had been, half of it, because one day he would say farewell to her, like that, with the inflexion of a verb. As, just occasionally, using the word 'we' - and perhaps without intention - he had let her know that he loved her.
I saw him [Khizr Khan]. He was, you know, very emotional. And probably looked like - a nice guy to me. His wife, if you look at his wife, she was standing there. She had nothing to say. She probably - maybe she wasn't allowed to have anything to say.
Her life was beginning to make sense again, although she couldn’t say she was enjoying it. But her mind was clear, and her heart was not constantly as heavy. Only when she thought about him. But she knew that in time, she’d survive it. She had done it before and would again. Eventually the heart repairs.
Once she was certain, she didn't waiver. I had to make her stop for water or a bite to eat. She obeyed, but she was restless. As clear as if she spoke to me, she was saying, "Very well, I know you want to keep my strength up, but scent fades, you know!" And I'd say, "I know, girl, buy you're what I have and I'm going to take care of you.
She was more than human to me. She was a Fairy, a Sylph. I don't know what she was, anything that no one ever saw, and everything that everybody ever wanted. I was swallowed up in an abyss of love in an instant. There was no pausing on the brink, no looking down, or looking back. I was gone, headlong, before I had sense to say a word to her.
The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life - the number of children, whether she had money of her own, if she had a room to herself, whether she had help bringing up her family, if she had servants, whether part of the housework was her task - it is only when we can measure the way of life and experience made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
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