unpossessed

To be a great lover is to be a great mystic, since in the highest conception of mortal beauty that the mind can form there lies always the unattainable, the unpossessed, suggesting the world of beauty and finality beyond our mortal reach.

It was a small bit of pork suspended from the kettle-hanger by a string passed through a large door-key, in a way known to primitive housekeepers unpossessed of jacks.

He carried me over many fields of mortal men and over much land untilled and unpossessed, where savage wild-beasts roam through shady coombes, until I thought never again to touch the life-giving earth with my feet.

Unpossessed of conscience or moral instinct, you might have mastered the world, broken it to your hand.

"I heard there by chance, yesterday morning," said Wemmick, "that a certain person not altogether of uncolonial pursuits, and not unpossessed of portable property - I don't know who it may really be - we won't name this person--"

" I was then almost assured that the inheritance had neither profited the Borgias nor the family, but had remained unpossessed like the treasures of the Arabian Nights, which slept in the bosom of the earth under the eyes of the genie.

The distinction between creatures and God is precisely the distinction between things that possess esse and unpossessed esse itself.

to a state of nature and non-possession, and remains unpossessed until

The winner of this year's prize is Heather Arvidson's "Numb Modernism: Sentiment and the Intellectual Left in Tess Slesinger's The Unpossessed." The judge is Cristanne Miller, SUNY Distinguished Professor and Edward H.

When Kublai throws a series of questions to Marco such as: "You advance always with your head turned back?" or "Is what you see always behind you?" or "Does your journey take place only in the past?" in an attempt to determine the exact temporal nature of Marco's journey, Marco responds by saying: "Arriving at each new city, the traveler finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places" (Cities 24).

It is interesting to note that the villager's embedded voice constitutes an essential trademark of postcolonial travel writing, and contrasts with canonical colonial travel accounts in which "landscape is written as uninhabited, unpossessed, unhistoricized, [and] unoccupied even by the travelers themselves" (Pratt [1992] 2008, 50).