the realization that I had placed myself beyond the pale, there I was, beyond the pale. Then I discovered that there were other people beyond the pale with me, that there were quite as many people on the wrong side of the pale as there were on the right side of the pale and that the people on the wrong side of the pale were as complex as the people on the right side of the pale, as unhappy, as subject to time, as subject to death. So what the fuck? I said to myself in the colorful language I had learned on the wrong side of the pale. By this time I was no longer a young girl. I was mature.”
Alexandra had a special devotion to the Sacred Heart.
T HEORIES OF THE S ACRED H EART
L OSS AND R ECOVERY OF THE S ACRED H EART
C ONFLICTING C LAIMS OF THE G REAT C ATHEDRALS
T HE S ACRED H EART IN C ONTEMPORARY I CONOGRAPHY
A PPEARANCE OF S PURIOUS S ACRED H EARTS AND H OW T HEY M AY B E
D ISTINGUISHED FROM THE T RUE O NE
L OCATION OF THE T RUE S ACRED H EART R EVEALED
H OW THE A BBÉ S T . G ERMAIN P RESERVED THE T RUE S ACRED H EART
FROM THE H ANDS OF THE B ARBARIANS
W HY THE S ACRED H EART I s F REQUENTLY R EPRESENTED S URMOUNTED
BY A C ROWN OF T HORNS
M EANING OF THE T INY T ONGUE OF F LAME
O RDERS AND C EREMONIES IN THE V ENERATION OF THE S ACRED H EART
R OLE OF THE S ACRED H EART S OCIETY IN THE V ENERATION OF THE S ACRED H EART
Alexandra was also a member of the Knights of St. Dympna, patroness of the insane.
Alexandra and Henrietta were walking down the street in their long gowns. A man looked at them and laughed. Alexandra and Henrietta rushed at him and scratched his eyes out.
As a designer of artificial ruins, Alexandra was well-known. She designed ruins in the manners of Langley, Effner, Robert Adam, and Carlo Marchionni, as well as her own manner. She was working on a ruin for a park in Tempe, Arizona, consisting of a ruined wall nicely disintegrated at the top and one end, two classical columns upright and one fallen, vines, and a number of broken urns. The urns were difficult because it was necessary to produce them from intact urns and the workmen at the site were often reluctant to do violence to the urns. Sometimes she pretended to lose her temper. “Hurl the bloody urn, Umberto!”
Alexandra looked at herself in the mirror. She admired her breasts, her belly, and her legs, which were, she felt, her best feature.
“Now I will go into the other room and astonish Henrietta, who is also beautiful.”
Henrietta stood up and, with a heaving motion, threw the manuscript of her novel into the fire. The manuscript of the novel she had been working on ceaselessly, night and day, for the last ten years.
“Alexandra! Aren’t you going to rush to the fire and pull the manuscript of my novel out of it?”
“No.”
Henrietta rushed to the fire and pulled the manuscript out of it. Only the first and last pages were fully burned, and luckily, she remembered what was written there.
Henrietta decided that Alexandra did not love her enough. And how could nuances of despair be expressed if you couldn’t throw your novel into the fire safely?
Alexandra was sending a petition to Rome. She wanted her old marriage, a dim marriage ten years old to a man named Black Dog,annulled. Alexandra read the rules about sending petitions to Rome to Henrietta.
“All applications to be sent to Rome should be written on good paper, and a double sheet, 8⅛ inches x 10¾ inches, should be employed. The writing of petitions should be done with ink of a good quality, that will remain legible for a long time. Petitions are generally composed in the Latin language, but the use of the French and Italian languages is also permissible.
“The fundamental rule to be observed is that all petitions must be addressed to the Pope, who, directly or indirectly, grants the requested favors. Hence the regulation form of address in all petitions reads Beatissime Pater. Following this the petition opens with the customary deferential phrase
Alexandra had a special devotion to the Sacred Heart.
T HEORIES OF THE S ACRED H EART
L OSS AND R ECOVERY OF THE S ACRED H EART
C ONFLICTING C LAIMS OF THE G REAT C ATHEDRALS
T HE S ACRED H EART IN C ONTEMPORARY I CONOGRAPHY
A PPEARANCE OF S PURIOUS S ACRED H EARTS AND H OW T HEY M AY B E
D ISTINGUISHED FROM THE T RUE O NE
L OCATION OF THE T RUE S ACRED H EART R EVEALED
H OW THE A BBÉ S T . G ERMAIN P RESERVED THE T RUE S ACRED H EART
FROM THE H ANDS OF THE B ARBARIANS
W HY THE S ACRED H EART I s F REQUENTLY R EPRESENTED S URMOUNTED
BY A C ROWN OF T HORNS
M EANING OF THE T INY T ONGUE OF F LAME
O RDERS AND C EREMONIES IN THE V ENERATION OF THE S ACRED H EART
R OLE OF THE S ACRED H EART S OCIETY IN THE V ENERATION OF THE S ACRED H EART
Alexandra was also a member of the Knights of St. Dympna, patroness of the insane.
Alexandra and Henrietta were walking down the street in their long gowns. A man looked at them and laughed. Alexandra and Henrietta rushed at him and scratched his eyes out.
As a designer of artificial ruins, Alexandra was well-known. She designed ruins in the manners of Langley, Effner, Robert Adam, and Carlo Marchionni, as well as her own manner. She was working on a ruin for a park in Tempe, Arizona, consisting of a ruined wall nicely disintegrated at the top and one end, two classical columns upright and one fallen, vines, and a number of broken urns. The urns were difficult because it was necessary to produce them from intact urns and the workmen at the site were often reluctant to do violence to the urns. Sometimes she pretended to lose her temper. “Hurl the bloody urn, Umberto!”
Alexandra looked at herself in the mirror. She admired her breasts, her belly, and her legs, which were, she felt, her best feature.
“Now I will go into the other room and astonish Henrietta, who is also beautiful.”
Henrietta stood up and, with a heaving motion, threw the manuscript of her novel into the fire. The manuscript of the novel she had been working on ceaselessly, night and day, for the last ten years.
“Alexandra! Aren’t you going to rush to the fire and pull the manuscript of my novel out of it?”
“No.”
Henrietta rushed to the fire and pulled the manuscript out of it. Only the first and last pages were fully burned, and luckily, she remembered what was written there.
Henrietta decided that Alexandra did not love her enough. And how could nuances of despair be expressed if you couldn’t throw your novel into the fire safely?
Alexandra was sending a petition to Rome. She wanted her old marriage, a dim marriage ten years old to a man named Black Dog,annulled. Alexandra read the rules about sending petitions to Rome to Henrietta.
“All applications to be sent to Rome should be written on good paper, and a double sheet, 8⅛ inches x 10¾ inches, should be employed. The writing of petitions should be done with ink of a good quality, that will remain legible for a long time. Petitions are generally composed in the Latin language, but the use of the French and Italian languages is also permissible.
“The fundamental rule to be observed is that all petitions must be addressed to the Pope, who, directly or indirectly, grants the requested favors. Hence the regulation form of address in all petitions reads Beatissime Pater. Following this the petition opens with the customary deferential phrase
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