25
" Shapes began to appear in the mist as it thickened. Clary saw herself and Simon as children, holding hands, crossing a street in Brooklyn,; she had barrettes in her hair and Simon was adorably rumpled, his glasses sliding off his nose. There they were again, throwing snowballs in Prospect Park; and at Luke's farmhouse, tanned from summer, hanging upside down from tree branches. She saw them in Java Jones, listening to Eric's terrible poetry, and on the back of a flying motorcycle as it crashed into a parking lot, with Jace there, looking at them, his eyes squinted against the sun. And there was Simon with Isabelle, his hands curved around her face, kissing her, and she could see Isabelle as Simon saw her: fragile and strong, and so, so beautiful. And there was Valentine's ship, Simon kneeling on Jace, blood on his mouth and shirt, and blood at Jace's throat, and there was the cell in Idris, and Hodge's weathered face, and Simon and Clary again, Clary etching the Mark of Cain onto his forehead. Maureen, and her blood on the floor, and her little pink hat, and the rooftop in Manhattan where Lilith had raised Sebastian, and Clary was passing him a gold ring across a table, and an Angel was rising out of a lake before him and he was kissing Isabelle... "
― Cassandra Clare , City of Heavenly Fire (The Mortal Instruments, #6)
26
" Tell me you didn’t,” she groaned, knowing it would not be the truth. “Please tell me you didn’t take advantage of these poor people.” “I didn’t,” he chirped. “Liar.” With an irritated sigh he tried to convince her. “Amora, you’re not seeing things from an immortal perspective. The people who built this temple…” “Temple?” she cried, cutting him off. “You forced these people to build you a temple? Why? Because all of a sudden you’re God now?” Perturbed by her interruption, he raised a warning finger. “No, no, Amora, not God. But from their viewpoint I may seem a bit…..god-like.” She rolled her eyes in an exaggerated manner. “If you would let me finish,” he went on, “these particular individuals had no part in the construction of that monument; it was their ancestors who erected it. And I must say, they did a fine job. My likeness has weathered the centuries quite well.” “You’re despicable.” He frowned at the insult. “Nobody was forced to build us a temple, Amora. They chose to do so.” “You were that impressive to them, huh?” “Apparently.” His eyes twinkled at the memory. He took a few steps toward the distant city, pulling Eena along. “Come on, let’s go have some fun.” “No way.” She planted her feet, refusing. Surprisingly it put a stop to him. “And why not?” “Because your sudden appearance will upset them! No doubt you’ll want to show off with some shockingly grand entrance. I’m not going to take part in a game of deceit.” “I’m not deceiving anyone,” Edgar disputed. “I can’t help it if they happen to think I’m perfectly magnificent.” His pompous view of himself earned a nasty look as well as a lecture. “I can’t believe you’re okay with selling people lies that affect the way they live and think! You’re not even close to being a god, Edgar, and yet you allow them to accept you as some sort of deity because of your unusual abilities. For centuries now you’ve abandoned this world and a population who probably looked to you and your lousy sisters for help. It’s all a big, disgusting sham!” Edgar pouted like a child. “Fine—spoil all my fun. We’ll go do something else. Something that doesn’t include your poor, fragile, stupid mortals.” “They’re not stupid.” “They think I’m a god,” he sn "
29
" The undulating terrain was cloaked in lush abundance, the vineyards like garlands of deep green and yellow, orchards and farms sprouting here and there, hillocks of dry golden grass crowned by beautiful sun-gilt houses, barns and silos. And overhead was the bluest sky she'd ever seen, as bright and hard polished as marble.
There was something about the landscape that caught at her emotions. It was both lush and intimidating, its beauty so abundant. Far from the bustle of the city, she was a complete stranger here, like Dorothy stepping out of her whirling house into the land of Oz. Farm stands overflowing with local produce marked the long driveways into farms with whimsical names- Almost Paradise, One Bad Apple, Toad Hollow. Boxes and bushels were displayed on long, weathered tables. Between the farms, brushy tangles of berries and towering old oak trees lined the roadway. "
― Susan Wiggs , The Apple Orchard (Bella Vista Chronicles, #1)