Man may deceive his fellow-men, deception may follow deception, and the children of the wicked one may have power to seduce the foolish and untaught, till naught but fiction feeds the many, and the fruit of falsehood carries in its current the giddy to the grave; but one touch with the finger of his love, yes, one ray of glory from the upper world, or one word from the mouth of the Savior, from the bosom of eternity, strikes it all into insignificance, and blots it forever from the mind. (Messenger and Advocate Oct 1934 pp 14-16)

I heard from clear across the city, over the Hudson in the Jersey yards, one fierce whistle of a locomotive which took me to a train late at night hurling through the middle of the West, its iron shriek blighting the darkness. One hundred years before, some first trains had torn through the prairie and their warning had congealed the nerve. "Beware," said the sound. "Freeze in your route. Behind this machine comes a century of maniacs and a heat which looks to consume the earth." What a rustling those first animals must have known.

The writer's characters must stand before us with a wonderful clarity, such continuous clarity that nothing they do strikes us as improbable behavior for just that character, even when the character's action is, as sometimes happens, something that came as a surprise to the writer himself. We must understand, and the writer before us must understand, more than we know about the character; otherwise neither the writer nor the reader after him could feel confident of the character's behavior when the character acts freely.

Perhaps the critics are right: this generation may not produce literature equal to that of any past generation--who cares? The writer will be dead before anyone can judge him--but he must go on writing, reflecting disorder, defeat, despair, should that be all he sees at the moment, but ever searching for the elusive love, joy, and hope--qualities which, as in the act of life itself, are best when they have to be struggled for, and are not commonly come by with much ease, either by a critic's formula or by a critic's yearning.

When the boy was with his father in the house outside of the city, he was drilled about visitors to the apartment. His father took careful notes. Were there men? he said. And all the boy could think of were the men who brought their dinners, who fixed their sink and toilet. What about late nights? Does she go out at night? Does she leave you alone? The light on those mornings streaming through the windows made him yearn for the the diffuse gray light of the city, its cool tones, like the side of a ship gliding into a harbor.- third eye

On a nightstand in a teenager’s room, a glass vase filled with violets leans precariously against a wall. The only thing saving the vase from a thousand-piece death on the hardwood floor is the groove in the nightstand’s surface that catches the bottom of vase, and of course the wall itself. The violets, nearly a week old, droop in the light of a waning gibbous moon. Wrinkled petals are already piling up on the floor between the nightstand and the wall, and a girl only six days sixteen stares at the dying bouquet from her bed.

King Yorandt to Kristina in book three of Fracture the Secret Enemy Saga~Secretsrelease date: Summer 2014 Even the master does not play perfectly. He can only hope to make fewer mistakes than his opponent, and that in the end, he is the victor. Sajah (chess) is a ruthless game where the pieces are all pawns and the Queen is the true killer. She spares no one to protect the king. The king however, is ruled by all of the pieces that lay before him, even his opponent. Every move is a decision that can change the whole board, and the endgame.

The day the earth-moving machines arrived, it was as if aliens had invaded Earth. Overnight they appeared, diggers with huge scoops, plodding their slow and ancient ways across the landscape. By the next week they had multiplied and evolved into diverse forms—cranes with long arms, bulldozers and levellers, an assortment of lorries. All day they worked towards some unseen design, creating and removing debris, their latticework of tracks remaking and writing over the space. Untenanted and vulnerable, the attap huts offered no resistance.

If you focus your eyes towards the horizon, everything and everyone walking in front of you becomes a blurry mass. That's what everyone else became. All of their dark wool suits began to mesh into one, and they began to rhythmically march in unison, all while I gazed at the sliver of sky that seemed to be pressed tightly in between the skyscrapers. I kept on walking and staring at the sky, and I began to notice the skyscrapers becoming larger and larger, and before I knew it, I had to turn to get to my building, and of course, the automat.

Ridley nodded. 'She told me I couldn't ever tell General Harding or anybody else. Told me I wouldn't be safe.' 'Safe?' Uncle Bob stopped rocking and took the pipe from between his teeth. 'She started in talkin' 'bout you bein' safe, sir?' Ridley nodded again, and that's when Uncle Bob grinned. 'Well, shoot . . . you ain't lost her yet, sir. Not altogether, anyhow. Any female goes to talkin' 'bout you bein' safe . . . hmmph. There still be somethin' left in her heart for ya.

I love our summer game and its letters as much as the next man, and surely no less than my colleagues. I do not, however, repose much faith in its fiction. The short stories are fair to middling, and Conan Doyle, Wodehouse and Ian Peebles have contributed memorably, but my only previous novel-length experience, before the one under review, was of Maurice Moiseiwitsch's A Sky-Blue Life (1953). This penny dreadful, when last I saw it, was windmilling out of my bedroom window. It was resuscitated in 2006 by the misguided folks at Coldspring. Avoid it.

Khoan Độ chắp tay ngẩng mặt lên trời, lầm bầm trong miệng. Hai người cưa một cái đầu. Kẻ bị bó giò rú lên như một con chó dại sủa trăng. Chiếc thuyền bêu đầu trôi sông dập dềnh trên nước. Ông sư ngửa mặt lên trời ăn mày lòng từ bi của thế gian.

I have read that long ago there was a land of glass castles that sank beneath the sea. It was not called Atlantis, but Lyonesse. This happened before history and across the ocean, but when I was little I wondered about that place, how it could be so beautiful and so lost. Sometimes it seemed that the land around my New England home was like that flooded country, with mud where the streets of gold should be and mayflies swarming where there should be lovely fishes, but here and there a shard of crystal to call the heart to beauty. --"Wetlands," in Phoebe.

I, SINUHE, the son of Senmut and of his wife Kipa, write this. I do not write it to the glory of the gods in the land of Kem, for I am weary of gods, nor to the glory of the Pharaohs, for I am weary of their deeds. I write neither from fear nor from any hope of the future but for myself alone. During my life I have seen, known, and lost too much to be the prey of vain dread; and, as for the hope of immortality, I am as weary of that as I am of gods and kings. For my own sake only I write this; and herein I differ from all other writers, past and to come.

نحن لا نزرع الشوك... بالطبع نحن لا نفعل لكننا لا نمنع زارعيهِ عن ذلك لذلك لا يفوتنا نصيبنا من الوجع !