26
" I used to think grief was grey and spacious and insubstantial, like a damp fog that surrounds you on every side, one that you can't get away from because it colours the air, and you breathe it in and out, and it has its own earthy smell that seeps into your ores. I thought of grief as a fleeting thing like fog, like a damp that eventually disperses. One day the greyness is slightly lighter; after a few weeks the damp no longer collects on your skin, the musty smell diminishes, somewhere in the distance a pale sun flashes from between tatters of mist, and the grief dissolves into melancholy and then memory.
Never, not for a moment, did I think that grief could be as hard as a dagger, sharp and unrelenting. That it could strike again and again, always unexpected, hard, straight between my ribs, bright lights in my eyes, black and violet and pain so big that I gasp and stagger. I forget the dagger sometimes for a few moments, perhaps an hour, and that's the very worst--the stroke of the blade takes me by surprise, still just as hard, cruel, painful. "
― Johanna Sinisalo , Enkelten verta
34
" It was in a swampy village on the lagoon river behind the Turner Peninsula that Pollock's first encounter with the Porroh man occurred. The women of that country are famous for their good looks - they are Gallinas with a dash of European blood that dates from the days of Vasco da Gama and the English slave-traders, and the Porroh man, too, was possibly inspired by a faint Caucasian taint in his composition. (It's a curious thing to think that some of us may have distant cousins eating men on Sherboro Island or raiding with the Sofas.) At any rate, the Porroh man stabbed the woman to the heart as though he had been a mere low-class Italian, and very narrowly missed Pollock. But Pollock, using his revolver to parry the lightning stab which was aimed at his deltoid muscle, sent the iron dagger flying, and, firing, hit the man in the hand.He fired again and missed, knocking a sudden window out of the wall of the hut. The Porroh man stooped in the doorway, glancing under his arm at Pollock. Pollock caught a glimpse of his inverted face in the sunlight, and then the Englishman was alone, sick and trembling with the excitement of the affair, in the twilight of the place. It had all happened in less time than it takes to read about it.(" Pollock And The Porroh Man" ) "
35
" Sam," she said." I'm trying!" " Sam," she repeated." No," he spat, hearing her tone. " No!" He began screaming for help then. Celaena pressed her face to one of the holes in the grate. Help wasn't going to come-not fast enough." Please," Sam begged as he beat and yanked on the grate, he tried to wedge another dagger under the lid. " Please don't." She knew he wasn't speaking to her.The water hit her neck." Please," Sam moaned, his fingers now touching hers. She'd have one last breath. Her last words." Take my body home to Terrasen, Sam," she whispered. And with a gasping breath, she went under. "
37
" Hey, hey, just a little scare.” Said Nico, backing away from a very guarded Katty. “Gotta get used to those if your going to be a Vampire. Just wanted to see if you were on your game. As far as I can tell, you are.”
Katty immediately retreated, putting her dagger back inside of her purse. Now instead of stabbing Nico in his chest, she slapped him hard across his arm. “Jerk! Don't ever do that again! You nearly gave me a heart attack!” After her heart stopped fluttering for a moment, Katty drew her attention towards Nico and what he was wearing. Nico was lookin' pretty hot tonight. Jumping out and scaring her, now took second place. For what she saw before her was nothing less than a dark, Gothic dream. Mmm...oh yes..Yum..Yum..Yum! "
― Keira D. Skye , Bite!
38
" Albeit nurtured in democracy,
And liking best that state republican
Where every man is Kinglike and no man
Is crowned above his fellows, yet I see,
Spite of this modern fret for Liberty,
Better the rule of One, whom all obey,
Than to let clamorous demagogues betray
Our freedom with the kiss of anarchy.
Wherefore I love them not whose hands profane
Plant the red flag upon the piled-up street
For no right cause, beneath whose ignorant reign
Arts, Culture, Reverence, Honor, all things fade,
Save Treason and the dagger of her trade,
Or Murder with his silent bloody fee. "
― Oscar Wilde
39
" It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. "
― Charles Dickens , Oliver Twist