146
" Temperance Dews stood with quiet confidence, a respectable women who lived in the sewer that was St. Giles. Her eyes had widened at the sight of Lazarus, but she made no move to flee. Indeed, finding a strange man in her pathetic sitting room seemed not to frighten her at all.
Interesting.
“I am Lazarus Huntington, Lord Caire,” he said.
“I know. What are you doing here?”
He tilted his head, studying her. She knew him, yet did not recoil in horror? Yes, she’d do quite well. “I’ve come to make a proposition to you, Mrs. Dews.”
Still no sign of fear, though she eyed the doorway. “You’ve chosen the wrong woman, my lord. The night is late. Please leave my house.”
No fear and no deference to his rank. An interesting woman indeed.
“My proposition is not, er, illicit in nature,” he drawled. “In fact, it’s quite respectable. Or nearly so.”
She sighed, looked down at her tray, and then back up at him. “Would you like a cup of tea?”
He almost smiled. Tea? When had he last been offered something so very prosaic by a woman? He couldn’t remember.
But he replied gravely enough. “Thank you, no.”
She nodded. “Then if you don’t mind?”
He waved a hand to indicate permission.
She set the tea tray on the wretched little table and sat on the padded footstool to pour herself a cup. He watched her. She was a monochromatic study. Her dress, bodice, hose, and shoes were all flat black. A fichu tucked in at her severe neckline, an apron, and cap—no lace or ruffles—were all white. No color marred her aspect, making the lush red of her full lips all the more startling. She wore the clothes of a nun, yet had the mouth of a sybarite.
The contrast was fascinating—and arousing.
“You’re a Puritan?” he asked.
Her beautiful mouth compressed. “No. "
― Elizabeth Hoyt , Wicked Intentions (Maiden Lane, #1)
151
" Leslie-Ann set down her own bucket and watched, marveling, as a quarter of an inch of water covered the bottom.
When she looked away, she saw an older kid. She’d seen him around. But usually he was with Orc and she was too scared of Orc ever to get near him.
She tugged on Howard’s wet sleeve. He seemed not to be sharing in the general glee. His face was severe and sad.
“What?” he asked wearily.
“I know something.”
“Well, goody for you.”
“It’s about Albert.”
Howard sighed. “I heard. He’s dead. Orc’s gone and Albert’s dead and these idiots are partying like it’s Mardi Gras or something.”
“I think he might not be dead,” Leslie-Ann said.
Howard shook his head, angry at being distracted. He walked away. But then he stopped, turned, and walked back to her. “I know you,” he said. “You clean Albert’s house.”
“Yes. I’m Leslie-Ann.”
“What are you telling me about Albert?”
“I saw his eyes open. And he looked at me. "
― Michael Grant , Plague (Gone, #4)
154
" The power of music, narrative and drama is of the greatest practical and theoretical importance. One may see this even in the case of idiots, with IQs below 20 and the extremest motor incompetence and bewilderment. Their uncouth movements may disappear in a moment with music and dancing—suddenly, with music, they know how to move. We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music—the sequence of movements they cannot hold as schemes being perfectly holdable as music, i.e. embedded in music. The same may be seen, very dramatically, in patients with severe frontal lobe damage and apraxia—an inability to do things, to retain the simplest motor sequences and programmes, even to walk, despite perfectly preserved intelligence in all other ways. This procedural defect, or motor idiocy, as one might call it, which completely defeats any ordinary system of rehabilitative instruction, vanishes at once if music is the instructor. All this, no doubt, is the rationale, or one of the rationales, of work songs. "
― Oliver Sacks , The Man Who Mistook His Wife for a Hat and Other Clinical Tales
155
" So, what's the story?" " No story. Just a nightmare.”“Meaning?”“Meaning, heavy compression lines in his cartilage, severe bruising on his kidneys, liver and lower intestines. Fracture marks on his collar bone, tibia, radius, humerus, scapular, femur and every single one of his ribs have been broken. Don't even get me started on the concussive damage to his skull and brain tissue. Twenty-three percent of this boys body is scared for life. And yet, every organ is functioning normally and his neurological activity is above average. He's eighteen years old and he weights about two bills but remove the scar tissue and he'd weigh about a buck-ten. All in all, I say he lived inside a hydraulic car press, went through the Napoleonic wars and was on board the Hindenburg when it went down in flame and yet he's okay...this boy just refuses to die. "