Blood trickled from the corner of her (Annabeth) mouth. She croaked, "Family, Luke. You promised."Luke stared at the knife in Annabeth's hand, the blood on her face. "Promise." Then he gasped like he couldn't get air. "Annabeth . . ." But it wasn't the Titan's voice. It was Luke's. He stumbled forward like he couldn't control his own body. "You're bleeding. . . ." He gasped again."He's changing. Help. He's . . . he's almost ready. He won't need my body anymore. Please—""The knife, Percy," Annabeth muttered. Her breath was shallow. "Hero . . . cursed blade . . ."Luke turned and collapsed, clutching his ruined hands."Please, Percy . . ."Luke seemed to know what I was thinking. He moistened his lips. "You can't . . . can't do it yourself. He'll break my control. He'll defend himself. Only my hand. I know where. I can . . . can keep him controlled."I raised the knife to strike. Then I looked at Annabeth, at Grover. And I finally understood what she'd been trying to tell me. You are not the hero, Rachel had said. It will affect what you do. The line from the great prophecy echoed in my head: A hero's soul, cursed blade shall reap. My whole world tipped upside down,and I gave the knife to Luke.I watched as Luke grasped the hilt he stabbed himself

Summer days, and the flat water meadows and the blue hills in the distance, and the willows up the backwater and the pools underneath like a kind of deep green glass. Summer evenings, the fish breaking the water, the nightjars hawking round your head, the smell of nightstocks and latakia. Don’t mistake what I’m talking about. It’s not that I’m trying to put across any of that poetry of childhood stuff. I know that’s all baloney. Old Porteous (a friend of mine, a retired schoolmaster, I’ll tell you about him later) is great on the poetry of childhood. Sometimes he reads me stuff about it out of books. Wordsworth. Lucy Gray. There was a time when meadow, grove, and all that. Needless to say he’s got no kids of his own. The truth is that kids aren’t in any way poetic, they’re merely savage little animals, except that no animal is a quarter as selfish.A boy isn’t interested in meadows, groves, and so forth. He never looks at a landscape, doesn’tgive a damn for flowers, and unless they affect him in some way, such as being good to eat, he doesn’t know one plant from another. Killing things - that’s about as near to poetry as a boy gets. And yet all the while there’s that peculiar intensity, the power of longing for things as you can’t long when you’re grown up, and the feeling that time stretches out and out in front of you and that whatever you’re doing you could go on for ever.

I have never fully unbosomed myself to any human being; I have never been encouraged to trust much in the sympathy of my fellow men. But we have all a chance of meeting with some pity, some tenderness, some charity, when we are dead: it is the living only who cannot be forgiven - the living only from whom men's indulgence and reverence are held off, like the rain by the hard east wind. While the heart beats, bruise it - it is your only opportunity; while the eye can still turn towards you with moist, timid entreaty, freeze it with an icy unanswering gaze; while the ear, that delicate messenger to the inmost sanctuary of the soul, can still take in the tones of kindness, put it off with hard civility, or sneering compliment, or envious affectation of indifference; while the creative brain can still throb with the sense of injustice, with the yearning for brotherly recognition - make haste - oppress it with your ill-considered judgements, your trivial comparisons, your careless misrepresentations. The heart will by and by be still - ubi saeoa indignatio ulterius cor lacerate nequit; the eye will cease to entreat; the ear will be deaf; the brain will have ceased from all wants as well as from all work. Then your charitable speeches may find vent; then you may remember and pity the toil and the struggle and the failure; then you may give due honour to the work achieved; then you may find extenuation for errors, and may consent to bury them ("The Lifted Veil")

Yeah, well, he’s having a hard time dealing, you know?” Bree asked uneasily. “That’s understandable. How are you coping?” he asked, reaching out and touching her arm. Gianni shifted in her arms and looked down at Colin’s hand. “It’s taking some getting used to. Let’s just say it’s a bit of a relief to take a break for a little while. I’m more worried about the kids though and this is affecting them so I’m hoping to get in to see Dr. Graham. She was a big help to Will a while back.” “Oh, yeah. I hear great things about her. You know she doesn’t just work with kids, right?” Bree narrowed her eyes but smiled in amusement. “Is that a hint?” “Not a very subtle one, I know. Hey Gianni, how you doing, huh? Wow, you’re sure getting big,” Colin remarked. “He sure is. He’s almost standing all by himself now, aren’t you, Gianni? You wanna show Colin?” Bree asked. “Nooo,” Gianni insisted, burying his face in Bree’s neck. “Oh, speaking of Mr. Cranky Pants, huh? He didn’t get a lot of sleep last night.” Gianni lifted his head and then looked down, and it was then that Bree noticed Colin still had his hand on her arm. “Dat,” Gianni said. Bree cleared her throat and took a step back, not wanting to make the movement seem like she was uncomfortable with Colin touching her.

As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.

You're Nash's brother. And a grim reaper?" She blinked again, and I readied myself for hysterics, or fear, or laughter. But knowing emma, I should have known better. "So you, what? Kill people? Did you kill me that day in the gym?" She clenched the headrest, her expression an odd mix of anger, awe, and confusion. But there was no disbelief. She'd seen and heard enough of the bizarre following her own temporary death that Tod's admission obviously didn't come as that much of a surprise.Or maybe Nash's Influence was still affecting her a little."No," Tod shook his head firmly, but the corners of his mouth turned up in amusement. "I had nothing to do with that. I do kill people, then I reap their souls and take them to be recycled. But only people who are on my list.""So, you're not...dangerous?"His pouty grin deepened into something almost predatory, like the Tod I'd first met two months earlier. "Oh, I'm dangerous....""Tod..." I warned, as Nash punched his brother in the arm, hard enough to actually hurt. "Just not to you," the reaper finished, shrugging at Emma. "I see you all the time, but you've never seen me, because Kaylee said if I got too close to you, I'd suffer eternity without my balls.""Jeez, Tod!" I shouted, my anger threatening to boil over and scald us all.The reaper leaned closer to Emma and spoke in a stage whisper. "She's not as scary as she thinks she is, but I respect her intent.

-BDB on the board-Knitter's AnonimousMay 8, 2006Rhage (in his bedroom posting in V's room on the board)Hi, my name is V.("Hi, V")I've been knitting for 125 years now.(*gasping noises*)It's begun to impact my personal relationships: my brothers think I'm a nancy. It's begun to affect my health: I'm getting a callus on my forefinger and I find bits of yarn in all my pockets and I'm starting to smell like wool. I can't concentrate at work: I keep picturing all these lessers in Irish sweaters and thick socks.(*sounds of sympathy*)I've come seeking a community of people who, like me, are trying not to knit. Can you help me?(*We're with you*)Thank you (*takes out hand-knitted hankie in pink*)(*sniffles*)("We embrace you, V")Vishous (in the pit): Oh hell no...you did not just put that up. And nice spelling in the title. Man...you just have to roll up on me, don't you. I got four words for you, my brother.Rhage: Four words? Okay...lemme see... Rhage, you're so sexy.hmmm....Rhage, you're SO smart. No wait! Rhage, you're SO right! That's it, isn't it...g'head. You can tell me. Vishous: First one starts with a "P"Use your head for the other three. Bastard.Rhage: P? Hmm... Please pass the yarnVishous: Payback is a bitch!Rhage: OhhhhhhhhhhhhI'm so scuuuuuurred. Can you whip me up a blanket to hide under?

If only you would realize some day, how much have you hurt me,If only your heart ever, craves for me or my presence…If only you feel that love again someday for me,If only you are affected someday by my absence…Only you can end all my suffering and this unbearable pain,If only you would know what you could never procure…If only you go through the memories of past once again,Since the day you left my heart has bled, no one has its cure…If only you would bring that love, those showers and that rain…If only you would come back and see what damage you create,I’ve been waiting for your return since forever more…If only you would see the woman that you have made,You said we cannot sail through, how were you so sure?If only you can feel the old things that can never fade,You may have moved on, but a piece of my heart is still with you…I know how I’ve come so far alone; I know how I’m able to wade,People say that I’m insane and you won’t ever come back again…Maybe you would have never made your separate way,Maybe you would have stayed with me and proved everyone wrong…If only you would know the pain of dying every day,If only you would feel the burden of smiling and being strong…

A thug. In peacetime Fitch would be hanging around a pool table giving the cops trouble. He was perfect for war. Tibbets had chosen his men well - most of them, anyway. Moving back past Haddock January stopped to stare at the group of men in the navigation cabin. They joked, drank coffee. They were all a bit like Fitch: young toughs, capable and thoughtless. They're having a good time, an adventure. That was January's dominant impression of his companions in the 509th; despite all the bitching and the occasional moments of overmastering fear, they were having a good time. His mind spun forward and he saw what these young men would grow up to be like as clearly as if they stood before him in businessmen's suits, prosperous and balding. They would be tough and capable and thoughtless, and as the years passed and the great war receded in time they would look back on it with ever-increasing nostalgia, for they would be the survivors and not the dead. Every year of this war would feel like ten in their memories, so that the war would always remain the central experience of their lives - a time when history lay palpable in their hands, when each of their daily acts affected it, when moral issues were simple, and others told them what to do - so that as more years passed and the survivors aged, bodies falling apart, lives in one rut or another, they would unconsciously push harder and harder to thrust the world into war again, thinking somewhere inside themselves that if they could only return to world war then they would magically be again as they were in the last one - young, and free, and happy. And by that time they would hold the positions of power, they would be capable of doing it.

How to read this book:Even after I was told my father was dead, I believed (I still believe) that I could fix everything- that if I logged enough miles in my VW and kept telling stories through the countless dead ends and breakdowns, I could undo the terrible tree events…not that I should have expected to with this particular power, which is incomplete (as I was forced to sell a few stories and procedures for time-of-money), full of holes. Sure, the book turns on, lights up; its fans whirr and the bookengine crunches. But some of the pages are completely blank; others hang by a thread. the book’s transmission is shot, too, so don’t’ be surprised if the book slips from one version to the next as you’re reading .Finally, the thermostat’s misked, so you should expect sudden changes in temperature, the pages might get cold, or it may begin to snow between paragraphs, or you may turn the page and get hit with a faceful of rain or blinding beams of sunlight.So go ahead. Do it-open the book. See? You see me, right? And I see you. See? I am reading your face, your eyes, your lips. I know the sufferdust on your brow. I can see you reading, and I can tell, too, when you are here, when you are absent, what you’ve read and how it affects you. There is no more hiding. I see your chords- your fratures, your cold gifts, where and when you’ve hurt people…your stories are written right there on your face!