James Joyce

What did that mean, to kiss? You put your face up like that to say good night and then his mother put her face down. That was to kiss. His mother put her lips on his cheek; her lips were soft and they wetted his cheek; and they made a tiny little noise: kiss. Why did people do that with their two faces?

and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use—silence, exile, and cunning.

from point to point

fight your match

dog-in-the-blanket

holly and ivy round the pierglass and holly and ivy, green and red, twined round the chandeliers. There were red holly and green ivy round the old portraits on the walls. Holly and ivy for him and for Christmas.

It was not Wells's face, it was the prefect's. He was not foxing. No, no: he was sick really. He was not foxing. And he felt the prefect's hand on his forehead; and he felt his forehead warm and damp against the prefect's cold damp hand. That was the way a rat felt, slimy and damp and cold. Every rat had two eyes to look out of. Sleek slimy coats, little little feet tucked up to jump, black slimy eyes to look out of. They could understand how to jump. But the minds of rats could not understand trigonometry. When they were dead they lay on their sides. Their coats dried then. They were only dead things.

He was for Ireland and Parnell and so was his father: and so was Dante too for one night at the band on the esplanade she had hit a gentleman on the head with her umbrella because he had taken off his hat when the band played GOD SAVE THE QUEEN at the end.

Apologize,
Apologize,
Pull out his eyes.
Apologize,
Pull out his eyes,
Pull out his eyes,
Apologize.

brush with the maroon velvet back was for Michael Davitt and the brush with the green velvet back was for Parnell.