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dumped  QUOTES

65 " More than two dozen kids lined a low railing around the gazebo. They were all tied to it by a rope leash that gave them no more than a few feet of movement. Neck to rail, like tethered horses. Each of the kids was weighed down by a concrete block that encased their hands. Their eyes were hollow, their cheeks caved in.
Astrid used a word that Sam had never imagined coming from her.
“Nice language,” Drake said with a smirk. “And in front of the Pe-tard, too.”
A cafeteria tray had been placed in front of each of the prisoners. It must have been a very recent delivery because some were still licking their trays, hunched over, faces down, tongues out, licking like dogs.
“It’s the circle of freaks,” Drake said proudly, waving a hand like a showman.
In a crusty old wheelbarrow to one side, three kids were using a short-handled shovel to mix cement. It made a heavy sloshing sound. They dumped a shovelful of gravel into the mix and stirred it like lumpy gravy.
“Oh, no,” Lana said, backing away, but one of the Coates kids smashed her behind the knee with his baseball bat, and she crumpled.
“Gotta do something with unhelpful freaks,” Drake said. “Can’t have you people running around loose.” He must have seen Sam start to react because he stuck his gun against Astrid’s head. “Your call, Sam. You so much as flinch and we’ll get to see what a genius brain really looks like.”
“Hey, I got no powers, man,” Quinn said.
“This is sick, Drake. Like you’re sick,” Astrid said. “I can’t even reason with you because you’re just too damaged, too hopelessly messed up.”
“Shut up. "

Michael Grant

66 " You saved the world," annabeth said." We saved the world." " And Rachel is the new Oracle, which means she won't be dating anybody." " You don't sound disappointed," I noticed.Annabeth shrugged. " Oh, I don't care." " Uh-huh." She raised an eyebrow. " You got something to say to me, Seaweed Brain?" " You'd probably kick my butt." " You know I'd kick your butt." I brushed the cake off my hands. " When I was at the River Styx, turning invulnerable . . . Nico said I had to concentrate on one thing that kept me anchored to the world, that made me want to stay mortal." Annabeth kept her eyes on the horizon. " Yeah?" " Then up on Olympus," I said, " when they wanted to make me a god and stuff, I kept thinking—" " Oh, you so wanted to." " Well, maybe a little. But I didn't, because I thought—I didn't want things to stay the same for eternity, becausethings could always get better. And I was thinking . . ." My throat felt really dry." Anyone in particular?" Annabeth asked, her voice soft.I looked over and saw that she was trying not to smile." You're laughing at me," I complained." I am not!" " You are so not making this easy." Then she laughed for real, and she put her hands around my neck. " I am never, ever going to make things easy foryou, Seaweed Brain. Get used to it." When she kissed me, I had the feeling my brain was melting right through my body. I could've stayed that way forever, except a voice behind us growled, " Well, it's about time!" Suddenly the pavilion was filled with torchlight and campers. Clarisse led the way as the eavesdroppers charged and hoisted us both onto their shoulders." Oh, come on!" I complained. " Is there no privacy?" " The lovebirds need to cool off!" Clarisse said with glee." The canoe lake!" Connor Stoll shouted. and they dumped us in the water. "

70 " Sam,” Astrid yelled. “Quick.”
Sam thought he was too far gone to respond, but he somehow started his feet moving again and went up to where Little Pete was standing and Astrid kneeling.
There was a girl lying in the dirt. Her clothing was a mess, her black hair ratty. She was Asian, pretty without being beautiful, and little more than skin and bones. But the first thing they noticed was that her forearms ended in a solid concrete block.
Astrid made a quick sign of the cross and pressed two fingers against the girl’s neck. “Lana,” Astrid cried.
Lana sized up the situation quickly. “I don’t see any injuries. I think maybe she’s starving or else sick in some other way.”
“What’s she doing out here?” Edilio wondered. “Oh, man, what did someone do to her hands?”
“I can’t heal hunger,” Lana said. “I tried it on myself when I was with the pack. Didn’t work.”
Edilio untwisted the cap from his water bottle, knelt, and carefully drizzled water across the girl’s cheek so that a few drops curled into her mouth.
“Look, she’s swallowing.”
Edilio broke a tiny bite from one of the PowerBars and placed it gently into the girl’s mouth. After a second the girl’s mouth began to move, to chew.
“There’s a road over there,” Sam said. “I think so, anyway. A dirt road, I think.”
“Someone drove by and dumped her here,” Astrid agreed.
Sam pointed at the dirt. “You can see how she dragged that block.”
“Some sick stuff going on,” Edilio muttered angrily. “Who would do something like this? "

Michael Grant

77 " Biography is the medium through which the remaining secrets of the famous dead are taken from them and dumped out in full view of the world. The biographer at work, indeed, is like the professional burglar, breaking into a house, rifling through certain drawers that he has good reason to think contain the jewelry and money, and triumphantly bearing his loot away. The voyeurism and busybodyism that impel writers and readers of biography alike are obscured by an apparatus of scholarship designed to give the enterprise an appearance of banklike blandness and solidity. The biographer is portrayed almost as a kind of benefactor. He is seen as sacrificing years of his life to his task, tirelessly sitting in archives and libraries and patiently conducting interviews with witnesses. There is no length he will not go to, and the more his book reflects his industry the more the reader believes that he is having an elevating literary experience, rather than simply listening to backstairs gossip and reading other people’s mail. The transgressive nature of biography is rarely acknowledged, but it is the only explanation for biography’s status as a popular genre. The reader’s amazing tolerance (which he would extend to no novel written half as badly as most biographies) makes sense only when seen as a kind of collusion between him and the biographer in an excitingly forbidden undertaking: tiptoeing down the corridor together, to stand in front of the bedroom door and try to peep through the keyhole. "

Janet Malcolm , The Silent Woman: Sylvia Plath and Ted Hughes