A Quote by Sylvia Plath

But when it came right down to it, the skin of my wrist looked so white and defensless that I couldn't do it. It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get.
But when it came right down to it, the skin of my wrist looked so white and defensless that I couldn't do it. It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get." I know what she's talking about. The something deeper and more secret. It's like cracks inside of you. Like there are these fault lines where things don't meet up right.
Last year a friend went dark in a nervous city alone, the sea flashing against his glasses, the sea sorted out at last in his inner ear so he could leave this world as he'd entered it through the undependable irrational influence of water. -Kevin Jeffery Clark It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get at.
But when it came right down to it, the skin of my wrist looked so white and defenseless that I couldn't do it.
In the middle of a wrist's suicide slash-line, below the layered skin and above the pulse, there's an acupuncture point that says, Get back to who you were meant to be. This is the heart spot, the center. Your whole life the skin on that place will stay closest to being a baby's skin, as close as you can get anymore to the way you started, the way you once thought you'd always be.
Sean reaches out between us and takes my wrist. He press his thumb on my pulse. My heartbeat trips and surges against his skin. I'm pinned by his touch, a sort of fearful magic. We stand and stand, and I wait for my pulse against his finger to slow, but it doesn't Finally, he releases my wrist and says," I'll see you on the cliffs tomorrow.
Why should anyone think a white skin superior in evaluating the qualities of human life? I did not really admire a white skin so much myself. Did I not prefer the brown skin that came with exposure to the sun?
In the middle of a wrist's suicide slash-line, below the layered skin and above the pulse, there's an acupuncture point that says, “Get back to who you were meant to be.”
I never wanted to grow a thicker skin; I felt a real sense of pride in my thin skin, and in a weird way, I still do, because it's my thin skin that allows me to empathize with other people. It's the thing that allows me to create vulnerable art. It's the thing that allows me to create other feelings and make songs that actually grab people and touch people. I feel like I've spent my life fighting that thicker skin because I don't want to become an embittered asshole.
Brown people and black people and red people swarmed through our great halls, until those who were white looked simply faded-out human beings beside them. Indeed, I came to see that white is not a color in skin any more than in textiles, and if it had not quality, it had no value even for humanity. I saw that color in skin had a certain advantage in strength and warmth as a means of beauty.
If I describe a person's physical appearance in my writing, which I often do, especially in fiction, I never say someone is "black" or "white." I may describe the color of their skin - black eyes, beige skin, blue eyes, dark skin, etc. But I'm not talking about race.
You have to have a thin skin. As a creative person, you have to. You can't get a thick skin.
With relationships, I always had a reason why some time in the future would be better for me than it was that day. When I was fat, I thought I'd feel pretty when I was thin, and when I was thin, I thought I'd be happier if I was more toned and muscular and had more money to look more coordinated. I wasn't comfortable in my own skin unless there was a man there to tell me just how radiant that skin looked. I was a victim of low self-esteem and had the Soon syndrome bad. I was running toward a brighter future, unaware of the mirages I'd created in the distance.
Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.
I want to steer the national conversation in the right direction, from my point of view. I want to get under Robert Gibbs' skin and Rahm Emanuel's skin and Barack Obama's skin.
We shouldn't be discriminating against each other. The whole 'light skin versus dark skin' is an idea we need to break down.
Thin skin is the only kind of skin human beings come with.
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