2
" No. No… No!’ the fear ebbed my voice, cut through me like a knife. I ran, bare feet slipping and sliding over the floorboards. I turned the corner and headed for the backdoor.
Run. Run. I must run.
As soon as I reached the backdoor in the kitchen, pulling the barn door from the hinges, I felt his gaze upon me. Cinders and kindling crunched at my feet; what had once been my lovely mahogany kitchen furniture was now little more than firewood. My crockery and china splintered in shards and as I turned to face him, I felt them dig into my skin, cut me with every shiver that bolted through my frame.
‘You wanted Hemlock House. You have, Hemlock House.’ His voice was dark, cruel and yet hauntingly light. As if cooing, whispering to a newborn. He was lounging against the countertop as if waiting for breakfast, as if waiting for something so meaningless. "
― Charlotte Munro , Skeletons in The Closet [A Horror Collection]
3
" Isn't she doing this too? Connecting and disconnecting. Facing grief then turning from it. One minute she is caught up in minutiae. Will her feet get sore standing in heels at the church? Have they made enough food? Will the kitten get scared by dozens of strangers in the house? Should she shut him in a room upstairs? The next moment she is weeping uncontrollably, taken over by pain so profound she can barely move. Then there was the salad bowl incident; her own fury scared her. But maybe these are different ways of dealing with events for all of them. Molly and Luke are infantile echos of her, their emotions paired down, their reactions simpler but similar. For if they have difficulty taking in what has happened, then so too does she. Why is she dressing up, for instance? Why can't she wear clothes to reflect the fact that she is at her lowest end? A tracksuit, a jumper full of holes, dirty jeans? Why can't she leave her hair a mess, her face unmade up? The crazed and grieving Karen doesn't care about her appearance. Yet she must go through with this charade, polish herself and her children to perfection. She, in particular, must hold it together. Oh, she can cry, yes, that's allowed. People expect that. They will sympathize. But what about screaming, howling, and hurling plates like she did yesterday? She imagines the shocked faces as she shouts and swears and smashes everything. But she is so angry, surely others must feel the same. Maybe a plate throwing ceremony would be a more fitting ritual than church, then everyone could have a go...smashing crockery up against the back garden wall. "
― Sarah Rayner , One Moment, One Morning
4
" Rojer!” his mother cried, stumbling towards the washing trough before falling to her knees. Screaming in pain, she reached back and got a firm grip on one of the coreling's horns.
“You... can't... have... my... son!” she screamed, and threw herself forward, pulling on the horn with all her strength. Torn from its perch, the demon took ribbons of flesh with it, as Kally flipped it into the trough.
Soaking crockery shattered on impact, and the flame demon gurgled and thrashed, steam filling the air as the water was brought to an instant boil. Kally screamed as her arms burned, but she held the creature under until its thrashes stopped. "
― Peter V. Brett , The Warded Man (The Demon Cycle, #1)