21
" He handed me something done up in paper. 'Your mask,' he said. 'Don't put it on until we get past the city-limits.' It was a frightening-looking thing when I did so. It was not a mask but a hood for the entire head, canvas and cardboard, chalk-white to simulate a skull, with deep black hollows for the eyes and grinning teeth for the mouth. The private highway, as we neared the house, was lined on both sides with parked cars. I counted fifteen of them as we bashed by; and there must have been as many more ahead, in the other direction. We drew up and he and I got out. I glanced in cautiously over my shoulder at the driver as we went by, to see if I could see his face, but he too had donned one of the death-masks.'Never do that,' the Messenger warned me in a low voice. 'Never try to penetrate any other member's disguise.' The house was as silent and lifeless as the last time - on the outside. Within it was a horrid, crawling charnel-house alive with skull-headed figures, their bodies encased in business-suits, tuxedos, and evening dresses. The lights were all dyed a ghastly green or ghostly blue, by means of colored tissue-paper sheathed around them. A group of masked musicians kept playing the Funeral March over and over, with brief pauses in between. A coffin stood in the center of the main living-room. I was drenched with sweat under my own mask and sick almost to death, even this early in the game.At last the Book-keeper, unmasked, appeared in their midst.Behind him came the Messenger. The dead-head guests all applauded enthusiastically and gathered around them in a ring.Those in other rooms came in. The musicians stopped the Death Match. The Book-keeper bowed, smiled graciously. 'Good evening, fellow corpses,' was his chill greeting. 'We are gathered together to witness the induction of our newest member.' There was an electric tension. 'Brother Bud!' His voice rang out like a clarion in the silence. 'Step forward.' (" Graves For Living" ) "
24
" The things that could be controlled, though, was this moment. And Elijah kissed me like it was a natural-born instinct. We had our story and they had theirs. No, ours wasn’t exactly beautiful or magical, or any of those things they made us believe in. More often than not, we cried and were reckless with every decision. Those feelings we held onto in that moment were ever-changing; we did the impossible and never doubted for a second that we’d do it again. Because in our story there were no rules to hold us back or people to judge and misuse us. We were limitless.“Our love,” Elijah breathed against my lips, “will be infamous. And that’s our secret.”I nodded with my eyes still closed and allowed his touch to overwhelm me. Every moment with him was like a walk in the dark, a dive into the forbidden deep. And unlike the others—I welcomed the darkness.“Make love to me,” I whispered. They were words uttered before, but this time they held the weight of the moment and our will to never let it go. Eli needed no further permission and he encased me—consumed my very being—with his soft kisses and soothing caresses. Everywhere he touched flared and burned. And I flew. "
31
" There’s this anomaly that happens sometimes with twins. It occurs in the womb when the fetuses are growing too closely to each other. The stronger twin develops normally, while the weaker twin crumples and is encased by the body of the stronger twin, where it becomes a parasite. The result is a single child, plagued by a twin-shaped fossil inside. Like a tumor.
In death Rose became Linden’s parasitic twin. They were two separate organisms once, growing steadily beside each other. Two pulses. Two brains. But she has crumpled and died, and still he carries her inside himself. She goes where he goes, feeling nothing, seeing nothing, a shadow behind his ribs. "
― Lauren DeStefano , Sever (The Chemical Garden, #3)
38
" In these days of physical fitness, hair dye, and plastic surgery, you can live much of your life without feeling or even looking old. But then one day, your knee goes, or your shoulder, or your back, or your hip. Your hot flashes come to an end; things droop. Spots appear. Your cleavage looks like a peach pit. If your elbows faced forward, you would kill yourself. You’re two inches shorter than you used to be. You’re ten pounds fatter and you cannot lose a pound of it to save your soul. Your hands don’t work as well as they once did and you can’t open bottles, jars, wrappers, and especially those gadgets that are encased tightly in what seems to be molded Mylar. If you were stranded on a desert island and your food were sealed in plastic packaging, you would starve to death. You take so many pills in the morning you don’t have room for breakfast.
You lose close friends and discover one of the worst truths of old age: they’re irreplaceable. People who run four miles a day and eat only nuts and berries drop dead. People who drink a quart of whiskey and smoke two packs of cigarettes a day drop dead. You are suddenly in a lottery, the ultimate game of chance, and someday your luck will run out. Everybody dies. There’s nothing you can do about it. Whether or not you eat six almonds a day. Whether or not you believe in God. "
― Nora Ephron , I Remember Nothing: and Other Reflections
39
" The brain, he writes, is like Kublai Khan, the great Mongol emperor of the thirteenth century. It sits enthroned in its skull, " encased in darkness and silence," at a lofty remove from brute reality. Messengers stream in from every corner of the sensory kingdom, bringing word of distant sights, sounds, and smells. Their reports arrive at different rates, often long out of date, yet the details are all stitched together into a seamless chronology. The difference is that Kublai Khan was piecing together the past. The brain is describing the present—processing reams of disjointed data on the fly, editing everything down to an instantaneous now. How does it manage it? "