A Quote by J. D. Salinger
She was not one for emptying her face of expression.
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an expression of surprise falls from her face, though she's trying to keep it. it breaks off and she seems to catch it and fidget with it in her hands.
Annabeth recognized something else in her face, too - in the hard set of her mouth and the deliberate way she raised her chin like she was ready to accept any challenge. Reyna was forcing a look of courage, while holding back a mixture of hopefulness and worry and fear that she couldn't show in public. Annabeth knew that expression. She saw it every time she looked in a mirror.
For hours she danced and sang and flirted and did this thing that's-she did Marilyn Monroe. And then there was the inevitable drop. And when the night was over and the white wine was over and the dancing was over, she sat in the corner like a child, with everything gone. I saw her sitting quietly without expression on her face, and I walked towards her but I wouldn't photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.
What about Isabelle?" Simon asked. "Where is she?" The humor, such as it was, left Jace's expression. "She won't come out of her room," he said. "She thinks that what happened to Max was her fault. She won't even come to the funeral." "Have you tried talking to her?" "No," Jace said, "we've been punching her repeatedly in the face instead. Why, do you think that won't work?" "Just thought I'd ask." Simon's tone was mild.
And when she started becoming a “young lady,” and no one was allowed to look at her because she thought she was fat. And how she really wasn’t fat. And how she was actually very pretty. And how different her face looked when she realized boys thought she was pretty. And how different her face looked the first time she really liked a boy who was not on a poster on her wall. And how her face looked when she realized she was in love with that boy. I wondered how her face would look when she came out from behind those doors.
Griffin, please,” she whispered. “Do you want me?” he asked. “Yes!” She tossed her head restlessly. She’d explode if he didn’t give her release soon. “Do you need me?” He kissed her nipple too gently. “Please, please, please.” “Do you love me?” And somehow, despite her extremis, she saw the gaping hole of the trap. She peered up at him blindly in the dark. She couldn’t see his face, his expression. “Griffin,” she sighed hopelessly. “You can’t say it, can you?” he whispered. “Can’t admit it either.
The good enough mother, owing to her deep empathy with her infant, reflects in her face his feelings; this is why he sees himselfin her face as if in a mirror and finds himself as he sees himself in her. The not good enough mother fails to reflect the infant's feelings in her face because she is too preoccupied with her own concerns, such as her worries over whether she is doing right by her child, her anxiety that she might fail him.
She couldn't believe what she did then. Before she could stop herself, she leaned up on tiptoes, put her arms around his neck, and kissed him on the mouth. Her lips brushed over his for the barest of seconds, but it was still a kiss, and when she came to her senses and dared to pull away and look at him, he had the most curious expression on his face. Brodick knew she regretted her sponatenity, but as he stared into her brilliant green eyes, he also knew, with a certainty that shook him to the core, that his life had just been irrevocably changed by this mere slip of a woman.
Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is expression. When I paint a mother I try to render her beautiful by the mere look she gives her child.
My grandmother has strongly influenced my approach to beauty. She has always cared for her skin by cleansing and washing her face with warm water in the morning. At all times, she has lipstick on and her face is immaculately powdered - she follows the same routine to this day and looks great at 94.
The expression a woman wears on her face is far more important than the clothes she wears on her back.
Passion such as hers is all consent, asking little in return. I had merely to enter a room where she was to see her face take on that peaceful expression of one who is resting in bed. If I touched her, I had the impression that all the blood in her veins was turning to honey.
She never sat down in a car but stood, braced tense, facing the wind. Now and again she would turn her face toward me with an apologetic expression as though to say: "I have not forgotten that you are here but there are certain pleasures I cannot share with you." Her nose never ceased its sensitive quivering.
For a moment she turned in a circle, staring at her hands, which she held high and useless, close to her breast. She bobbed and shambled like an ape doing a trick, and her face was the silly, bewildered face of a joker's victim. And yet she could make no move that was not beautiful. Her trapped terror was more lovely than any joy that Molly had ever seen, and that was the most terrible thing about it.
She paints her face to hide her face. Her eyes are deep water. It is not for Geisha to want. It is not for geisha to feel. Geisha is an artist of the floating world. She dances, she sings. She entertains you, whatever you want. The rest is shadows, the rest is secret.
Murphy watched me thoughtfully for several empty seconds. Then she said, very gently, "You're a good man, Harry." I swallowed and bowed my head, made humble by the tone of her voice and the expression on her face, more than the words themselves. Not always rational," she said, smiling. "But you're the best kind of crazy.
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