23
" Lotari turned back to the dance floor in time to see Stitch spin Carah before sweeping her into a low dip. Stitch grinned at Jerin and gave him a wink. Jerin's fist clenched. His face went from red to almost purple. Lotari thought he might need to intervene before this got out of hand and Jerin pulled out the sword. He glanced at Alyra. The bird was gone. The girl sat wide-eyed, her hands fumbling with something beneath the table. " Ooh, oh, my." The palomino stumbled. Lotari rushed over to help. " Oh, my leg. My leg!" he limped, draping his arm over Carah's shoulder. " Please, my dear, help me over to my friends where I can rest it a moment. Ohhh, this is tragic. I was having such fun. Oh my." Lotari stopped, realizing Stitch had suddenly switched the leg he limped on. " I am sorry. You are such a marvelous dancer. Jerin, you must take her out for me. She is much too good to be another wallflower." Jumping right into the game, Lotari gave the big man a hard push. " Yes, you must." Carah's gaze narrowed on Stitch with suspicious amusement. Perhaps realizing the opportunity given her, she smiled endearingly, turning the solid young man into a puddle of mush. " I'll be most grateful if you could finish the song with me, Jerin." She even flipped her strawberry curls from her face. Perfect.Lotari wasn't sure, but thought Jerin said something that sounded like, " Ilbebbedgladtoooo." As he led Carah to the dance floor, Stitch and Lotari clapped each other's back. " Well done, Son" Lotari looked toward Alyra. " Pure brilliance." She was gone. "
24
" I suppose there hasn’t been a single month since the war, in any trade you care to name, in which there weren’t more men than jobs. It’s brought a peculiar, ghastly feeling into life. It’s like on a sinking ship when there are nineteen survivors and fourteen lifebelts. But is there anything particularly modern in that, you say? Has it anything to do with the war? Well, it feels as if it had. The feeling that you’ve got to be everlastingly fighting and hustling, that you’ll never get anything unless you grab it from somebody else, that there’s always somebody after your job, that next month or the month after they’ll be reducing staff and it’s you that’ll get the bird – that, I swear, didn’t exist in the old life before the war. "
― George Orwell , Coming Up for Air
27
" When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful.
The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do. "
― Audrey Niffenegger , The Time Traveler's Wife
34
" I caught a red bird once, I fell in love with her,Took the red bird home with me,I saw her eyes, at saw my peace,I love the red bird much, I cut her wings, I wanted the bird to stay, I made a cage for her,No wings, and trapped, the red bird cried, I saw her eyes in pain; it broke my heart to see,I was the one to blame, for the red bird’s pain, It grew back its wings, no longer in the cage,She looked at me once more, spread its wings and left,I loved that red bird still; I wish she was with meBut now I know for sure , her pain was caused by me. "
40
" The black bird cocked its head to one side, and then said, in a voice like stones being struck, 'You shadow man.'
'I'm Shadow,' said Shadow. The bird hopped up onto the fawn's rump, raised its head, ruffled its crown and neck feathers. It was enormous and its eyes were black beads. There was something intimidating about a bird that size, this close.
'Says he will see you in Kay-ro.' tokked the raven. Shadow wondered which of Odin's ravens this was: Huginn or Munnin, Memory or Thought.
'Kay-ro?' he asked.
'In Egypt.'
'How am I going to go to Egypt?'
'Follow Mississippi. Go south. Find Jackal.'
'Look,' said Shadow, 'I don't want to seem like I'm-- Jesus, look...' he paused. Regrouped. He was cold, standing in a wood, talking to a big black bird who was currently brunching on Bambi. 'Okay. What I'm trying to say is I don't want mysteries.'
'Mysteries,' agreed the bird helpfully.
'What I want is explanations. Jackal in Kay-ro. This does not help me. It's a line from a bad spy thriller. "
― Neil Gaiman , American Gods (American Gods, #1)