42
" More proof that Lynn is still meant to continue with the government programme occurred during the winter of 2000, when she was sitting at a cafeteria table at the area college. It was later in the afternoon when a few people congregated there with books spread out so they could study while drinking coffee or snacking. Many tables were empty, yet after Lynn had been sitting for a few moments, an elderly man sat down across from her.
The old man seemed familiar to Lynn, though, at first, she pretended to ignore him. He said nothing, just sat there as someone might when all the tables are filled and it is necessary to share space with a stranger. His presence made her uncomfortable, yet there was nothing specific that alerted her.
A short while later, Mac, the man who had been Lynn's handler in Mexico, came out of the shadows and stopped at the table. He was younger than the old man. His clothes were military casual, the type of garments that veteran students who have military experience might recognise, but not think unusual. He leaned over Lynn and kissed her gently on the forehead, spoke quietly to her, and then said 'Wake up, Sleeping Beauty.' Those were the code words that would start the cover programme of which she was still part. The words led to her being switched from the control of the old man, a researcher she now believes may have been part of Dr Ewen Cameron's staff before coming to the United States for the latter part of his career, to the younger man.
The change is like a re-enlistment in an army she never willingly joined. In a very real way, she is a career soldier who has never been paid, never allowed to retire and never given a chance to lead a life free from the fear of what she might do without conscious awareness. "
― , Secret Weapons: How Two Sisters Were Brainwashed to Kill for Their Country
43
" Turning at the sound of voices, Amelia saw Merripen carrying her sister outside. Win was dressed in a nightgown and robe and swathed in a shawl, her slim arms looped around Merripen’s neck. With her white garments and blond hair and fair skin, Win was nearly colorless except for the flags of soft pink across her cheekbones and the vivid blue of her eyes.
“… that was the most terrible medicine,” she was saying cheerfully.
“It worked,” Merripen pointed out, bending to settle her carefully on the chaise.
“That doesn’t mean I forgive you for bullying me into taking it.”
“It was for your own good.”
“You’re a bully,” Win repeated, smiling into his dark face.
“Yes, I know,” Merripen murmured, tucking the lap blankets around her with extreme care.
Delighted by the improvement in her sister’s condition, Amelia smiled. “He really is dreadful. But if he manages to persuade more villagers to help clean the house, you will have to forgive him, Win.”
Win’s blue eyes twinkled. She spoke to Amelia, while her gaze remained on Merripen. “I have every faith in his powers of persuasion. "
― Lisa Kleypas , Mine Till Midnight (The Hathaways, #1)
47
" And when spring comes to the City people notice one another in the road; notice the strangers with whom they share aisles and tables and the space where intimate garments are laundered. going in and out, in and out the same door, they handle the handle; on trolleys and park benches they settle thighs on a seat in which hundreds have done it too. Copper coins dropped in the palm have been swallowed by children and tested by gypsies, but it’s still money and people smile at that. It’s the time of year when the City urges contradiction most, encouraging you to buy street food when you have no appetite at all; giving you a taste for a single room occupied by you alone as well as a craving to share it with someone you passed in the street. Really there is no contradiction—rather it’s a condition; the range of what an artful City can do. What can beat bricks warming up to the sun? The return of awnings. The removal of blankets from horses’ backs. Tar softens under the heel and the darkness under bridges changes from gloom to cooling shade. After a light rain, when the leaves have come, tree limbs are like wet fingers playing in woolly green hair. Motor cars become black jet boxes gliding behind hoodlights weakened by mist. On sidewalks turned to satin figures move shoulder first, the crowns of their heads angled shields against the light buckshot that the raindrops are. The faces of children glimpsed at windows appear to be crying, but it is the glass pane dripping that makes it seem so. "
― Toni Morrison , Jazz (Beloved Trilogy, #2)
