So is that a no?

Yes, you can eat your darling goldfish. He is most likely a form of ornamental carp, and he will taste as you expect: muddy and full of bones.
You can eat all your darlings, once you kill them. Although why you killed Prince Harry the goldfish I cannot understand. Was it all the staring, his bulging eyes? Was it his flashy orange scales, so out of place in your dark, dusty cabin full of your ancestors’ ghosts? Or was it that his beauty faded by the day, in your care, and you could not bear to watch it—how his scales grew dull and his swimming listless, until he mostly stayed put in the middle of the small, round, glass bowl that was his world since you brought him home from that Memorial Day carnival? His translucent fins fanned like the scarves of an old burlesque dancer still going through the motions.
You sure looked like you wanted him when you paid $3.00, six times in a row, tossing rings onto a pole. Prince Harry watched you from the table full of glass goldfish bowls and saw how you labored for him, how you fought against your own shortcomings to win him as a prize. But now it’s August, and you should have set him up with a proper tank by now, some plastic plants and aquarium gravel, at least.
Prince Harry was an $18.00 goldfish, which makes him as expensive as any other freshwater fish on the menu at your local upscale seafood place. But you should know that the diet you fed him of dehydrated fish flakes won’t please your palate, nor your conscience. (Maybe you could have treated him better?)
What’s done is done, I get it. I just hope you killed him with kindness.
Because, you know, Prince Harry the goldfish was miserable in that little glass bowl. He was never going to become the best fish he could be, trapped in there. In the wild—if you had released him, an invasive species—he could have grown far beyond your expectations. (Seriously, he could’ve grown to be a foot long!) But at what cost to the other fish in the lake that butts up to your cabin? Prince Harry would crowd out the others that belong there.
Your darlings can be eaten, and they should be, if they fail to thrive. If you fail them.
But Prince Harry the goldfish will leave a bad taste in your mouth. He watched you toss all those rings at the carnival. For him. He thought you loved him. He thought he was home.
I am out of the country atm, but thankfully, @TokyoPewPew and @flat lovenote are tending to my Book Quotes thread. You guys are the real heroes.
🙇🏻♀️
One humorous incident connected with the Hell's Angels insignia several years ago is still a source of amusement to the hard-riding cycle gang.
An Angel known as "the Mute" was stopped for speeding by a policeman near the beach in Santa Cruz one Sunday afternoon. The Mute was proudly displaying his colors on a ragged Levi jacket. "Take that off," the patrolman jotted down on a notepad politely offered by the Mute, who was deaf and dumb.
The Mute stripped off his Levi jacket, exposing another Angel decal on his leather jacket. "Take that off, too," the irate patrolman ordered, again using the Mute’s notepad and pencil. And under the leather jacket was a wool shirt — also emblazoned with the club colors. "Off with it," the officer scribbled angrily. Under the shirt was an undershirt. It too had been stenciled with the club insignia. "Okay, wise guy, take that off too," the nonplussed patrolman wrote.
With a smirk, the Mute removed his undershirt, and puffing out his chest, brought into full view the Hell's Angels' grinning death's-head, which had been tattooed on his body. The policeman threw up his hands in disgust, handed the Mute a ticket and sped off in his patrol car. But the Mute had the last laugh. He was prepared to go all the way. His trousers and shorts were also stenciled.
He must have fallen foul of yet other hands afterwards because when he woke in the hospital he had a broken finger, three broken ribs, a mouthful of loose teeth and one missing. He tried to move but the jagged ends of bone in his chest were like scissors. His head was pounding and his vision skewed in some way and he was vaguely amazed at being alive and not sure that it was worth it. He raised his eyes and felt the dried blood crack across his forehead. Lights kept rising one by one and after a while he realized that they were bulbs in a corridor ceiling and that the periodic squeaking sound was a caster on the cart that was wheeling him. The emergency room was filled with people bleeding. Grumous battlers with misshapen heads. All watched over by hordes of police. They wheeled Suttree on. Bearing his pained bones in their boat of flesh. To where the deadcarriage waits in the dark. Perhaps the wrath of God after all.
Friends row by row watched his passing and waved at him with their fingers and whispered among themselves. Who’d spoke of disorders of the soul and news of night. When you asked for the shop of the heart’s apothecary we thought you mad. We saw you took down to the brainsurgeon’s keep, deep in the cellar, under the street. Where saws sang in stoven skulls and wet bonemeal blew from an airshaft in the alleyway. Out there in the blue moonlight a gray shecorpse being loaded into a truck. It pulled away into the night. Horned minstrels, small dancing dogs in harlequin garb hobbled after.
The night is cold and colder, a fog moves with menace in the streets. Malefic stirrings underfoot, a foul breath rising visibly from the pierced sewerlids. The watertruck goes by like a nightbeast, its drum-shaped brush clanking. Water wells inkblack in the streets repeating the polelamps in glozy rosettes that dish and slide in the wash like radiolarians pale with phosphorous on a midnight sea. The sweepers broom the trash along the flooded gutters, their yellow slickers bright with wet. They leap to the truck and ride with brooms aloft like figures done in lacquered wax, like hortatory gnomes. The hotel nightlights shine behind the drawn Venetian blinds and the slatted patterns on the curbside cars give them the look of anchored smallcraft with lapstrake hulls. Out there in the winter streets a few ashen anthroparians scuttling yet through the falling soot. Above them the shape of the city a colossal horde of retorts and alembics ranged against a starless sky. Uneasy sleeper you will live to see the city of your birth pulled down to the last stone.
When I was born, the name for what I was did not exist. They called me nymph, assuming I would be like my mother and aunts and thousand cousins. Least of the lesser goddesses, our powers were so modest they could scarcely ensure our eternities. We spoke to fish and nurtured flowers, coaxed drops from the clouds or salt from the waves. That word, nymph, paced out the length and breadth of our futures. In our language, it means not just goddess, but bride.
My mother was one of them, a naiad, guardian of fountains and streams. She caught my father’s eye when he came to visit the halls of her own father, Oceanos. Helios and Oceanos were often at each other’s tables in those days. They were cousins, and equal in age, though they did not look it. My father glowed bright as just-forged bronze, while Oceanos had been born with rheumy eyes and a white beard to his lap. Yet they were both Titans, and preferred each other’s company to those new-squeaking gods upon Olympus who had not seen the making of the world.
Oceanos’ palace was a great wonder, set deep in the earth’s rock. Its high-arched halls were gilded, the stone floors smoothed by centuries of divine feet. Through every room ran the faint sound of Oceanos’ river, source of the world’s fresh waters, so dark you could not tell where it ended and the rock-bed began. On its banks grew grass and soft gray flowers, and also the unnumbered children of Oceanos, naiads and nymphs and river-gods. Otter-sleek, laughing, their faces bright against the dusky air, they passed golden goblets among themselves and wrestled, playing games of love. In their midst, outshining all that lily beauty, sat my mother.
Her hair was a warm brown, each strand so lustrous it seemed lit from within. She would have felt my father’s gaze, hot as gusts from a bonfire. I see her arrange her dress so it drapes just so over her shoulders. I see her dab her fingers, glinting, in the water. I have seen her do a thousand such tricks a thousand times. My father always fell for them. He believed the world’s natural order was to please him.
“Who is that?” my father said to Oceanos.
Oceanos had many golden-eyed grandchildren from my father already, and was glad to think of more. “My daughter Perse. She is yours if you want her.”
The next day, my father found her by her fountain-pool in the upper world. It was a beautiful place, crowded with fat-headed narcissus, woven over with oak branches. There was no muck, no slimy frogs, only clean, round stones giving way to grass. Even my father, who cared nothing for the subtleties of nymph arts, admired it.
My mother knew he was coming. Frail she was, but crafty, with a mind like a spike-toothed eel. She saw where the path to power lay for such as her, and it was not in bastards and riverbank tumbles. When he stood before her, arrayed in his glory, she laughed at him. Lie with you? Why should I?
My father, of course, might have taken what he wanted. But Helios flattered himself that all women went eager to his bed, slave girls and divinities alike. His altars smoked with the proof, offerings from big-bellied mothers and happy by-blows.
“It is marriage,” she said to him, “or nothing. And if it is marriage, be sure: you may have what girls you like in the field, but you will bring none home, for only I will hold sway in your halls.”
Conditions, constrainment. These were novelties to my father, and gods love nothing more than novelty. “A bargain,” he said, and gave her a necklace to seal it, one of his own making, strung with beads of rarest amber. Later, when I was born, he gave her a second strand, and another for each of my three siblings. I do not know which she treasured more: the luminous beads themselves or the envy of her sisters when she wore them. I think she would have gone right on collecting them into eternity until they hung from her neck like a yoke on an ox if the high gods had not stopped her. By then they had learned what the four of us were. You may have other children, they told her, only not with him. But other husbands did not give amber beads. It was the only time I ever saw her weep.
A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically ‘dead’ (e. g. iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgels for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles’ heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a ‘rift’, for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written as tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would avoid perverting the original phrase.

