Castles In Their Bones Quotes

Queens II   Listen to me, girl: you have castles inside your bones, coronets in your heart. If he threatens you with battle, you raise him a whole war. The last time I checked, queens cower before no man.

There are moments that change everything, mired in the mass of more ordinary time like insects caught in amber. Without them, life would be a tame, predictable thing. But with them, ah. With them, life does as it will, like lightning, like the wind that blows across the castle battlements, and none may stop it, and none may tell it “no”.

Sugar, flour, and cinnamon won't make a house a home, So bake your walls of gingerbread and sweeten them with bone. Eggs and milk and whipping cream, butter in the churn, Bake our queen a castle in the hopes that she'll return.

Listen to me, girl, you have castles inside your bones, coronets in your heart, if he threatens you with battle, you raise him a whole war, the last time I checked, Queens cower before no man.

There are three points of view from which a writer can be considered: he may be considered as a storyteller, as a teacher, and as an enchanter. A major writer combines these three — storyteller, teacher, enchanter — but it is the enchanter in him that predominates and makes him a major writer...The three facets of the great writer — magic, story, lesson — are prone to blend in one impression of unified and unique radiance, since the magic of art may be present in the very bones of the story, in the very marrow of thought...Then with a pleasure which is both sensual and intellectual we shall watch the artist build his castle of cards and watch the castle of cards become a castle of beautiful steel and glass.

No matter where; of comfort no man speak: Let's talk of graves, of worms, and epitaphs; Make dust our paper and with rainy eyes Write sorrow on the bosom of the earth, Let's choose executors and talk of wills: And yet not so, for what can we bequeath Save our deposed bodies to the ground? Our lands, our lives and all are Bolingbroke's, And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God's sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison'd by their wives: some sleeping kill'd; All murder'd: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear'd and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour'd thus Comes at the last and with a little pin Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence: throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me, I am a king?

But music, de León…” The vampire leaned forward, animated for perhaps the first time since their conversation began. “Music is a truth beyond telling. A bridge between strangest souls. Two men who speak not a word of each other’s tongues may yet feel their hearts soar likewise at the same refrain. Gift a man the most important of lessons, he may forget it amorrow. Gift him a beautiful song, and he shall hum it ’til the day the crows make a castle of his bones.

I am glad that it is old and big. I myself am of an old family, and to live in a new house would kill me. A house cannot be made habitable in a day; and, after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may be amongst the common dead. I seek not gaiety nor mirth, not the bright voluptuousness of much sunshine and sparkling waters which please the young and gay. I am no longer young; and my heart, through wearing years of mourning over the dead, is not attuned to mirth. Moreover, the walls of my castle are broken; the shadows are many, and the wind breathes cold through the broken battlements and casements. I love the shade and the shadow, and would be alone with my thoughts when I may.

I’m here because I want to be. Because you are lightning– terrifying and beautiful and dangerous and bright all at once. And I wouldn’t wish you were anything else.

...They eat everything alive. People, dogs, horses. Everything with flesh on it. So many of them crawling. Everywhere. Leaving the bones behind.

CSI, Law & Order: Special Victims Unit, Criminal Minds, Blue Bloods, Castle, Bones, and Hawaii Five-0

Your future contains dry bones. Your slow demise begins right when you hold the queen in the palm of one hand. Beware the bird, for it will betray you. And from that, there’s no coming back. But daughters are the key to justice, find the right one and keep her close. All signs point toward your murder.

We sent whalesong into interstellar space because the creatures that sing these songs are superlative beings that fill us with awe, terror, and affection. We have hunted them for thousands of years and scratched them into our mythologies and iconography. Their bones frame the archways of medieval castles. They’re so compelling that we imagine aliens might find them interesting — or perhaps understand their otherworldly, ethereal song.

Adults are not idiots often in books such as this one, the opposite impression is given. Adults in those stories will either (a) get captured, (b) disappear conspicuously when there is trouble, or (c) refuse to help. ( im not sure what authors have against adults, but everyone seems to hate them to an extent usually reserved for dogs and mothers. Why else make them out to make such idiots? "Ah look, the dark lord of evil has come to attack the castle! Annnd. ther's my lunch break. Have fun saving the word on your own kids") In the real world adults tend to get involved in everything whether you want them to or not. They won't disappear when the dark lord appears, though they may try to sue them. This discrepancy is yet another proof that most books are fantasies while this book is utterly true and invaluable. you see in this book, I will make it completely clear that adults are not idiots. they are however hairy Adults are like hairy kids who like to tell other what to do. Dispite what other books may claim they do have their uses, they can reach things on high shelves for instance... Regardless, i often wish that the two groups-adults and kids- could find a way to get along better. Some sort of treaty or something. The biggest problem is the adults have one of the most effective recruitment stratagies in the world. Give them enough time and they'll turn any kid into one of them.

Everything that was not so must go. All the beautiful literary lies and flights of fancy must be shot in mid-air! So they lined them up against a library wall one Sunday morning thirty years ago, in 2006; they lined them up, St. Nicholas and the Headless Horseman and Snow White and Rumpelstiltskin and Mother Goose--oh, what a wailing!--and shot them down, and burned the paper castles and the fairy frogs and old kings and the people who lived happily ever after (for of course it was a fact that nobody lived happily ever after!), and Once Upon A Time became No More! And they spread the ashes of the Phantom Rickshaw with the rubble of the Land of Oz; they filleted the bones of Glinda the Good and Ozma and the shattered Polychrome in a spectroscope and served Jack Pumpkinhead with meringue at the Biologists' Ball! The Beanstalk died in a bramble of red tape! Sleeping Beauty awoke at the kiss of a scientist and expired at a fatal puncture of his syringe. And they made Alice drink something from a bottle which reduced her to a size where she could no longer cry 'Curiouser and curioser,' and they gave the Looking Glass one hammer blow to smash it and every Red King and Oyster away!

They sent a knight to save you once And found you curled up with the dragon Crown askew, skirts singed They tried marrying you, Couldn’t hack it, went home, You liked the acoustics much better In empty castles. (the dragon was teaching you to roar.) Six wars they waged against you— Disgruntled princes with their Silent knights. Blood in the fields, in the water, In the snow, on their crowns, When you added them To your collections. Rarely smiled, laughed only with the dragon, Looked so often over your shoulder You almost forgot to watch ahead. Here’s the secret you took to your grave; You were holding whole kingdoms But your palms were made of sand. - Elisabeth Hewer, “Obituary for the princess who forgot to be a fairytale

And he needs me here — I’m the only one who can cook.” “That’s hardly very important when we’ve nothing to cook,” said Rose. “Could I earn money as a model?” “I’m afraid not,” said Topaz. “Your figure’s too pretty — there isn’t enough drawing in your bones. And you’d never have the patience to sit still. I suppose if nothing turns up I’ll have to go to London. I could send about ten shillings a week home.

It feels like a fairy tale from one of those happily-ever-after books where the princess storms the castle, slays a goblin-dragon, and takes over the kingdom for herself. Except I am not golden-haired or fine-boned. I have no bones at all. I am a rag doll who married a skeleton king. A rag doll who woke from the impossible daydream and found herself in her own heroine story--a tale whose ending hasn't yet been written; but instead, is only just the beginning.

Daphne understands, suddenly, exactly what she is - not a girl, not a princess, not a spy or a saboteur. She is poison, brewed and distilled and fermented over sixteen years, crafted by her mother to bring ruination to whomever she touches. Poison is a woman's weapon, after all, and here she is, a weapon of a woman.

The 'devil' could be a naked, evil man in the bowels of a Scottish castle, laughing madly with horns gorilla-glued to his head. Or an anorexic cat lady in a cluttered and ammonia-laden loft on Fifth Avenue. Either way, I will reveal to you the precise mechanics of her craft, and unmask her historic 'dupes' before you right now.

Evil has always drawn its power from fear, from anger. So don’t hold on to any and it won’t have any power over you.

My dreams were nothing more than castles in the sky.

From castles of bone unknown music comes

One corner of Bairre’s mouth lifts. “I hate you,” he says, but Daphne hears I love you instead.

It's always easier to love people who need us than people we need, I think. Being needed makes one powerful. Needing, though, makes one vulnerable.

Power is an illusion, and the more of it people think you have, the more determined they will be to tear you down.

You've trained for this, my doves. You know who to strike. You know where they are vulnerable.

When I was a kid, I just read and read. We were lucky enough to have gone to England and had a whole bunch of Penguin Puffins books, like The Land of Green Ginger by Noel Langley, which is hilarious. I would love to be able to write a book like that, but I don't know that I have a humorous bone in my body when it comes to writing. Once on a Time by A.A. Milne. I read a lot of old, old fantasy stuff. The Carbonelbooks by Barbara Sleigh. Then when I got a little older I loved Zilpha Keatley Snyder. I was a big fan of romance and when I got a little bit older I would read a Harlequin romance or a Georgette Heyer novel and then David Copperfield, and then another genre book and then Irving Stone's The Agony and the Ecstasy. I was that kind of reader. One book that I loved was I Capture the Castle by Dodie Smith. I loved voice and that book had it in spades. And then of course I grew into loving Jane Eyre.

Obfuscation is my inheritance,” author C Pam Zhang writes in an essay in The New Yorker.[1] She says her parents “depicted their pre-America lives as mere prologue, quickly sketched…. It is far too easy…as the naturalized citizen of a country that tries to kick dirt over its bloody history…to see only the castle on the hill and not the thickets of bone we trod through to arrive at it.

Martin was swept up in the sound—no longer blood and bone, frozen feet and hungry belly, but an empty vessel filling with notes, carried by something older and bigger and more permanent than himself.

Oh, little virgin. I love you with every cold bone in my body. I love you with every dark thought, every violent impulse. I love you enough to leave the walls I’ve carefully built, the iron bars I refined, the castle I made.” “I

It was Christmas night in the Castle of the Forest Sauvage, and all around length. It hung on the boughs of the forest trees in rounded lumps, even better than apple-blossom, and occasionally slid off the roofs of the village when it saw the chance of falling on some amusing character and giving pleasure to all. The boys made snowballs with it, but never put stones in them to hurt each other, and the dogs, when they were taken out to scombre, bit it and rolled in it, and looked surprised but delighted when they vanished into the bigger drifts. There was skating on the moat, which roared with the gliding bones which they used for skates, while hot chestnuts and spiced mead were served on the bank to all and sundry. The owls hooted. The cooks put out plenty of crumbs for the small birds. The villagers brought out their red mufflers. Sir Ector’s face shone redder even than these. And reddest of all shone the cottage fires down the main street of an evening,

Perhaps he’d recently lost some bulk. But there was plenty of him remaining, and all of it was lean and hard. His body was much like this great hall around them. Suffering from a bit of neglect, but impressively made and strong to the bones. And that voice. Oh, it was dangerous. She didn’t know which upset her more: That this shadowy, handsome stranger had made so free with her person—carrying her in his arms, unlacing her stays, taking down her hair, and stripping her to her thinnest undergarments? Or that she’d somehow slept through the whole thing? She snuck another glance at him, silhouetted by orange firelight. The latter. Definitely the latter. The most exciting quarter hour of her life, and she’d spent it completely insensible.

I am glad that it is old and big. I myself am of an old family, and to live in a new house would kill me. A house cannot be made habitable in a day; and, after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may lie amongst the common dead. I seek not gaiety nor mirth, not the bright voluptuousness of much sunshine and sparkling waters which please the young and gay. I am no longer young; and my heart, through weary years of mourning over the dead, is not attuned to mirth. Moreover, the walls of my castle are broken; the shadows are many, and the wind breathes cold through the broken battlements and casements. I love the shade and the shadow, and would be alone with my thoughts when I may.

What do you want from me you who walk towards me over the long floor your arms outstretched, your heart luminous through the ribs around your head a crown of shining blood This is your castle, this is your metal door, these are your stairs, your bones, you twist all possible dimensions into your own

One of the rooms in the castle had a creature in it,” Curran said. “What kind of creature?” “A large cat,” Curran said. “It glowed.” “What happened to the large glowing cat?” Why did I have a feeling I wouldn’t like the answer? “I killed it,” Curran said. “Aha.” First, I broke Mishmar, then Curran stole Saiman back and killed my father’s glowing cat. Maybe Roland’s head would explode. “It was a saber-toothed tiger,” Julie said. “It glowed silver.” Silver meant divine magic. There was no telling what that saber-toothed tiger was or where my dad had gotten him. “Snitch,” Derek said. She waved him off. “He killed it and then he ate it.” I looked at Curran. “You killed an animal god and then you ate him?” “Maybe,” Curran said. “What do you mean maybe?” “I doubt it was a god.” “It glowed silver,” Julie said. “It was definitely worshipped.” Oh boy. Curran swerved to avoid a speed bump formed by tree roots raising the asphalt. “I could worship a lamp. That doesn’t make it a god.” “Why did you eat it?” I asked in a small voice. “It felt right at the time.” “He devoured it,” Julie said. “Completely. With bones.” If it was some sort of divine animal and he ate it, there was no telling what the flesh or the magic would do to him. There would be consequences. There were always consequences. “Do you feel any side effects?” “Not any I want to talk about with them in the car.

Men say poison is woman's weapon. They say it like an insult because they think it cowarldy, but poison is clean, it's covert. It is so much easier to control the effects of a poison than it is the tip of a blade in the heat of combat. It is easy to get away with and, if used correctly, impossible to trace. Poison is a woman's weapon because it is a smart weapon.

Lyric," it said. "Melodic. Suitable for singing. A lyric poem. Of the lyre." That didn't seem to make much sense in regards to a movie theater, until I continued following "lyre" in my dictionary. "Lyre" took me into the story-poems sung by traveling minstrels back when there were castles and kings. Which took me back to that wonderful word: story. It seemed to me at an early age that all human communication - whether it's TV, movies, or books - begins with somebody wanting to tell a story. That need to tell, to plug into a universal socket, is probably one of our grandest desires. And the need to hear stories, to live lives other than our own even for the briefest moment, is the key to the magic that was born in our bones.

The first thing to understand about the human race is that, in evolutionary terms, we’re babies. As a species we’ve only just emerged. Imagine that the whole history of life on earth spans just one calendar year, instead of four billion. Up until about mid-October, bacteria had the place to themselves. Not until November did life as we know it appear, with buds and branches, bones and brains. And we humans? We made our entrance on 31 December, at approximately 11 p.m. Then we spent about an hour roaming around as hunter-gatherers, only getting around to inventing farming at 11:58 p.m. Everything else we call ‘history’ happened in the final sixty seconds to midnight: all the pyramids and castles, the knights and ladies, the steam engines and rocket ships.

Manfred sighed. He looked at the ceiling and declared, ‘I am behind words on the way to music beneath a wing and before trumpets, masks and brushes.’ He paused for effect and brought his gaze back to Charlie. ‘Do I make myself clear?’ In any other circumstances, Charlie would have said, ‘Clear as ditchwater,’ but as the situation was already pretty grim, he decided to say, ‘Yes, Manfred.

Fairy-tale city. From the air, red rooftops hug a kink in a dark river, and by night the forested hills appear as spans of black nothing against the dazzle of the lit castle, the spiking Gothic towers, the domes great and small. The river captures all the lights and teases them out, long and wavering, and the side-slashing rain blurs it all to a dream. This was Akiva’s first sight of Prague;

From castles of bone unknown music comes But now, that toil rewarded; you, your calculations, ––you, your fits of impatience––are no more than your dancing and your voice, not fixed and certainly not forced, although an added reason for a double consequence of inventiveness + success, ––in brotherly and discreet humanity throughout the universe devoid of images;––force and justice reflect the dancing and the voices which are only now esteemed. The voices of instruction in exile... The body’s ingenuousness bit- terly put in its place... –– Adagio –– Ah! the infinite egotism of adolescence, the studious optimism: how full of flowers the world was that summer! Tunes and forms fading... ––A choir, to calm down impotence and absence! A choir of glass pieces, of nocturnal melodies... Soon, indeed, the nerves will slip their moorings.

How long would it be before the elements toppled these small structures as they had already toppled the broch and the castle? Would future archaeologists dig here, or had records grown so precise every aspect of the recent past would be charted and ready for those who wanted to know? Maybe, soon enough, there would be no one left, no world to chronicle and argue over. All things must end, why not this too? The thought almost had the power to cheer him.

MAGIC ISN'T DEAD All the seers predicted who I am but I don’t care They said she is a waiting room for bones Still I am after some non-predictable end Where I go beyond skin and hair I am a fuck demon in a fuck castle Also electricity and no dust And I am coming for you spirit I am avenging everything The gravestone they tried to make you in the rain I will make the rain stop Or I will make it rain animal bodies And you will see your face in the lions

I am glad that it is old and big. I myself am of an old family, and to live in a new house would kill me. A house cannot be made habitable in a day; and, after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may lie amongst the common dead. I seek not gaiety nor mirth, not the bright voluptuousness of much sunshine and sparkling waters which please the young and gay. I am no longer young; and my heart, through weary years of mourning over the dead, is not attuned to mirth. Moreover, the walls of my castle are broken; the shadows are many, and the wind breathes cold through the broken battlements and casements. I love the shade and the shadow, and would be alone with my thoughts when I may.” Somehow his words and his look did not seem to accord, or else it was that his cast of face made his smile look malignant and saturnine.

Yesterday I heard some of the castle servants talking about a funeral for one of the stable lads. He went skating last week on the pond in the village, but the ice was not thick enough and he drowned. I like to skate on the ice,too, Papa, have my own pair of bone skates. I could drown crossing the Channel as Uncle Robert fears... or I could drown back in Angers, if I was unlucky like that stable lad." Geoffrey's mouth twitched. "God help me," he said, "I've sired a lawyer!

When we remember we are queens from another kingdom, then the kings in this one will wake up at last and honor our presence and open the gates. We won't storm the castle walls; we will melt the castle walls. Kings will then set a table for us to feast at instead of tossing us bones. They will recognize us when we recognize ourselves. We come bearing gifts from another realm. We bring illumination when our minds are illuminated. We are only visiting here, but our visit is an honor, a mitzvah, and the entire earth kingdom is blessed by our presence. Wake up, damn it, and thank the stars. We have been playing so small and the crown is so huge. We will not wear it until we expand our heads. Don't your get it? Can't you see? As we change our minds, we will change the world. And until we do, we will remain where we are. And all the laws and all the bashing and all the silly, childish, petty political arguments will continue for years, and for more years beyond, until women remember, followed by men, that a woman is a miracle and her heart lies in God. She is here to love God, passionately and truly...

I did it again, Robert Childan informed himself. Impossible to avoid the topic. Because it's everywhere, in a book I happen to pick up or a record collection, in these bone napkin rings -- loot piled up by the conquerors. Pillage from my people. Face facts. I'm trying to pretend that the Japanese and I are alike. But observe: even when I burst out as to my gratification that they won the war, that my nation is lost -- there's still no common ground. What words mean to me is a sharp contrast vis-à-vis them. Their brains are different. Souls likewise. Witness them drinking from English bone china cups, eating with U.S. silver, listening to Negro style of music. It's all on the surface. Advantage of wealth and power makes this available to them, but it's ersatz as the day is long. Even the I Ching, which they've forced down our throats; it's Chinese. Borrowed from way back when. Whom are they fooling? Themselves? Pilfer customs right and left, wear, eat, talk, walk, as for instance consuming with gusto baked potato served with sour cream and chives, old-fashioned American dish added to their haul. But nobody fooled, I can tell you; me least of all.

Jon: Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. Sam: Do you ever find anyone in your dream? Jon: No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake.

It was my mother who first told me that there was no such thing as fairy tales with happy endings. That's because she spent her whole life waiting for the white knight to come and rescue her from the life she so desperately tried. to escape. I went in search of the villain, instead, and found him alone and in pain, living in a castle of bones. a darker version of my mother's knight, whose armor had dents and cracks, and his hands sullied with blood. A broken man who tasted of salt and depravity, and who took me selfishly, without apology. He's the curse my mother warned me about. The Devil of Bonesalt, The Mad Son, with whom I've fallen irrevocably in love.

She had launched right into inflammation, the body’s first response to any threat, the common denominator of all disease. In minutes she had drawn them into the thick of a battle: the invaders (typhoid bacteria) are spotted by the hilltop sentries (macrophages), who send signals back to the castle (the bone marrow and lymph nodes). The few aging veterans of previous battles with typhoid (memory T-lymphocytes) are roused from their beds, summoned to hastily teach untested conscripts the specific typhoid-grappling skills needed, and then to arm them with custom lances designed solely to latch onto and pierce the typhoid shield—in essence, the veterans clone their younger selves.

A few scrapes, my ass,” she muttered, wringing her shaking hands. Constance shoved a bulb of garlic at her. “They’re Highlanders, dear. They’ll get themselves stabbed, dragged through a briar patch, thrown over a cliff, and punched in the face all before breakfast and call it ‘a fair interesting morn’.’ Now, peel those and put the cloves in the hot water.” The older woman nodded toward the steaming kettle a maid had deposited on the hearth. “Garlic water cleans wounds better than plain water and keeps infection away.” She latched onto the competence Constance radiated. While calming her with brisk assurances that all would be well, the older woman deftly deployed a small army of castle servants on various missions relating to “doctoring a bone-headed Highland husband.

In his work Maladies and Remedies of the Life of the Flesh, published in Leiden under the pseudonym Christianus Democritus, he claimed to have discovered the Elixir of Life—a liquid counterpart to the Philosopher’s Stone—which would heal any ailment and grant eternal life to the person who drank it. He tried, but failed, to exchange the formula for the deed to Frankenstein Castle, and the only use he ever made of his potion—a mixture of decomposing blood, bones, antlers, horns and hooves—was as an insecticide, due to its incomparable stench. This same quality led the German troops to employ the tarry, viscous fluid as a non-lethal chemical weapon (therefore exempt from the Geneva Convention), pouring it into wells in North Africa to slow the advance of General Patton and his men, whose tanks pursued them across the desert sands. An ingredient in Dippel’s elixir would eventually produce the blue that shines not only in Van Gogh’s Starry Night and in the waters of Hokusai’s Great Wave, but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure invoked violence: a fault, a shadow, an existential stain passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras he tried to reanimate with electrical charges, the very same monsters that inspired Mary Shelley to write her masterpiece, Frankenstein; or, The Modern Prometheus, in whose pages she warned of the risk of the blind advancement of science, to her the most dangerous of all human arts.

Samwell Tarly looked at him for a long moment, and his round face seemed to cave in on itself. He sat down on the frost-covered ground and began to cry, huge choking sobs that made his whole body shake. Jon Snow could only stand and watch. Like the snowfall on the barrowlands, it seemed the tears would never end. It was Ghost who knew what to do. Silent as shadow, the pale direwolf moved closer and began to lick the warm tears off Samwell Tarly's face. The fat boy cried out, startled... and somehow, in a heartbeat, his sobs turned to laughter. Jon Snow laughed with him. Afterward they sat on the frozen ground, huddled in their cloaks with Ghost between them. Jon told the story of how he and Robb had found the pups newborn in the late summer snows. It seemed a thousand years ago now. Before long he found himself talking of Winterfell. "Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." The thought of Benjen Stark saddened him; his uncle was still missing. The Old Bear had sent out rangers in search of him. Ser Jaremy Rykker had led two sweeps, and Quorin Halfhand had gone forth from the Shadow Tower, but they'd found nothing aside from a few blazes in the trees that his uncle had left to mark his way. In the stony highlands to the northwest, the marks stopped abruptly and all trace of Ben Stark vanished. "Do you ever find anyone in your dream?" Sam asked. Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf s shaggy white fur.

-Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. -Do you ever find anyone in your dream? -No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake. Jon and Sam

When Dr. Ramasamy first lectured to their class in the century-old Donovan Auditorium, even the murmuring backbenchers were silenced when the tall, confident woman in a short-sleeved lab coat floated in. She had launched right into inflammation, the body’s first response to any threat, the common denominator of all disease. In minutes she had drawn them into the thick of a battle: the invaders (typhoid bacteria) are spotted by the hilltop sentries (macrophages), who send signals back to the castle (the bone marrow and lymph nodes). The few aging veterans of previous battles with typhoid (memory T-lymphocytes) are roused from their beds, summoned to hastily teach untested conscripts the specific typhoid-grappling skills needed, and then to arm them with custom lances designed solely to latch onto and pierce the typhoid shield—in essence, the veterans clone their younger selves. The same veterans of prior typhoid campaigns also assemble a biological-warfare platoon (B lymphocytes) who hastily manufacture a one-of-a-kind boiling oil (antibodies) to pour over the castle wall; it will melt the typhoid intruders’ shields, while not harming others. Meanwhile, having heard the call to battle, the rogue mercenaries (neutrophils), armed to the teeth,

SOMETIMES ON A PORCH in June, a girl begins to plunk her banjo; and after a spell of stillness, while the sound travels down their ear crinkles into their inmost feeling-chambers, the music starts to dance the people passing by. They toss like puppets on a bouncing sheet; like boys without a boat; they swing like weeds in the wind; they leap heptangularly about, dancing eccentric saltarellos, discovering that their springs are not so rusty. For even if you have built masterful aspen castles in your mind, have toppled whole forests to throttle the writhing elements into a liveably serene personal pond; if you have longtime sculled your ingenious fins to withstand the tumble-crazy currents; there is music that will dissolve your anchors, your sanctuaries, floating you off your feet, fetching you away with itself. And then you are a migrant, and then you are amuck; and then you are the music’s toy, juggled into its furious torrents, jostled into its foamy jokes, assuming its sparklyblue or greenweedy or brownmuddy tinges, being driven down to the dirgy bottom where rumble-clacking stones are lit by waterlogged and melancholy sunlight, warping back up to the surface, along with yew leaves and alewives and frog bones and other strange acquisitions snagged and rendered willy-nilly by the current, straggling away on its rambling cadenzas, with ever-changing sights—freckled children on the bank, chicken choirs, brewing thunderclouds, june bugs perched in wild parsley—until it spills you into a place whose dimensions make nonsense of your heretofore extraordinary spatial intelligence.

In A.D. 1223 an infant was born, clutching a jewel in her tiny fist. Her peasant father ran to the castle to bring back a priest, but by the time they returned to the hut, the jewel had disappeared. The priest declared that such would be the child's life: all good would slip through her fingers. The years passed, and the girl's beauty became celebrated. Knights and kings journeyed far to gaze into her eyes before leaving her on their crusades. Women and children made pilgrimages to look upon her angelic face. All who saw her felt blessed. But an ancient evil called the Atrox also saw her unearthly perfection and pursued her, offering her father great treasures if she would betroth it. The girl saw her father's poverty and agreed to the union, making only one request for herself--- that her beauty should last forever. The Atrox agreed, and she pledged her devotion for eternity. A Follower of the Atrox came to take the young woman to the underworld, but when he saw her beauty and grace, he fell desperately in love with her and she, too, with him. They tried to hide their love, but the Atrox saw through their deception. When the young woman stepped into the Cold Fire to receive immortality, instead of preserving her beauty for eternity, the flames consumed her flesh and bones, turning her into a wind spirit. The knight could not endure life without her. The force of his love drove him across the world, searching for a sorceress with the power to restore her human form. As he was crossing the sea, a storm broke out and sent his ship off course to the island of Aeaea, where Circe, an ancient enchantress, lived. Circe gave him a magic potion. With it, his beloved could possess any body she desired. Since then many young women have felt her presence and wondered afterward what made them act so wickedly, never understanding that for a brief time, the spirit of the wind had taken over their mind and soul.

Right about here will do,” I decided.  I cast a magelight to illuminate the place.  The first faint glow of dawn was arising along the horizon in the east, but it was still as dark as a miner’s butt.  “When my father heard that I was having a girl, he gave me some advice,” I said, stripping off my mantle.  “As the father of five daughter’s himself, he was full of sage wisdom on the subject of raising girls.” “Are they any different than raising boys?” “Worlds apart,” I nodded.  “But he said there are some things that you can count on with girls,” I continued, philosophically.  “When a young father has a girl, he’s strong.  By the time she grows into a lovely young woman, age takes a toll on a man.  He’s not as strong.  “So . . . when a young woman enters courting age, you might not be as hale as you are now, my friend.  And you will find the nights colder in your bones.” “You . . . you fear I won’t have the strength to show him the door?”  He still looked confused.  And a little drunk.  As big as he is, Arborn is a lightweight when it comes to his cups.   “Oh, no.  When the wrong sort of suitor shows interest in your daughter,” I explained, as I took out the hoxter wand, “then passion can provide the strength you need to contend with the situation.  “But passion fades, when the deed is done.  And then you are left with but your decrepit strength, and a long night of work ahead.”  I manifested two shovels from the hoxter.  “My father told me that the wise father of any daughter has the foresight to dig the hole while he’s still young and strong.  It saves the trouble of a long night, when you are old and weary.” “A hole?  For . . .?” “My father assures me this is effective: for someone who is not impressed by being shown a hole an attentive father dug before he was born and intended for him, at need,” I supplied.  “Mine is behind the stable at the castle.  If a young man is worrisome, I’ll show him the hole, and explain the purpose.  You have three daughters.  That’s three holes.  I’ll help you dig.

In 45 AC, construction finally came to an end on the Red Keep. King Maegor celebrated its completion by feasting the builders and workmen who had labored on the castle, sending them wagonloads of strongwine and sweetmeats, and whores from the city’s finest brothels. The revels lasted for three days. Afterward, the king’s knights moved in and put all the workmen to the sword, to prevent them from ever revealing the Red Keep’s secrets. Their bones were interred beneath the castle that they had built.

I knew you forever and you were always old, soft white lady of my heart. Surely you would scold me for sitting up late, reading your letters, as if these foreign postmarks were meant for me. You posted them first in London, wearing furs and a new dress in the winter of eighteen-ninety. I read how London is dull on Lord Mayor's Day, where you guided past groups of robbers, the sad holes of Whitechapel, clutching your pocketbook, on the way to Jack the Ripper dissecting his famous bones. This Wednesday in Berlin, you say, you will go to a bazaar at Bismarck's house. And I see you as a young girl in a good world still, writing three generations before mine. I try to reach into your page and breathe it back… but life is a trick, life is a kitten in a sack. This is the sack of time your death vacates. How distant your are on your nickel-plated skates in the skating park in Berlin, gliding past me with your Count, while a military band plays a Strauss waltz. I loved you last, a pleated old lady with a crooked hand. Once you read Lohengrin and every goose hung high while you practiced castle life in Hanover. Tonight your letters reduce history to a guess. The count had a wife. You were the old maid aunt who lived with us. Tonight I read how the winter howled around the towers of Schloss Schwobber, how the tedious language grew in your jaw, how you loved the sound of the music of the rats tapping on the stone floors. When you were mine you wore an earphone. This is Wednesday, May 9th, near Lucerne, Switzerland, sixty-nine years ago. I learn your first climb up Mount San Salvatore; this is the rocky path, the hole in your shoes, the yankee girl, the iron interior of her sweet body. You let the Count choose your next climb. You went together, armed with alpine stocks, with ham sandwiches and seltzer wasser. You were not alarmed by the thick woods of briars and bushes, nor the rugged cliff, nor the first vertigo up over Lake Lucerne. The Count sweated with his coat off as you waded through top snow. He held your hand and kissed you. You rattled down on the train to catch a steam boat for home; or other postmarks: Paris, verona, Rome. This is Italy. You learn its mother tongue. I read how you walked on the Palatine among the ruins of the palace of the Caesars; alone in the Roman autumn, alone since July. When you were mine they wrapped you out of here with your best hat over your face. I cried because I was seventeen. I am older now. I read how your student ticket admitted you into the private chapel of the Vatican and how you cheered with the others, as we used to do on the fourth of July. One Wednesday in November you watched a balloon, painted like a silver abll, float up over the Forum, up over the lost emperors, to shiver its little modern cage in an occasional breeze. You worked your New England conscience out beside artisans, chestnut vendors and the devout. Tonight I will learn to love you twice; learn your first days, your mid-Victorian face. Tonight I will speak up and interrupt your letters, warning you that wars are coming, that the Count will die, that you will accept your America back to live like a prim thing on the farm in Maine. I tell you, you will come here, to the suburbs of Boston, to see the blue-nose world go drunk each night, to see the handsome children jitterbug, to feel your left ear close one Friday at Symphony. And I tell you, you will tip your boot feet out of that hall, rocking from its sour sound, out onto the crowded street, letting your spectacles fall and your hair net tangle as you stop passers-by to mumble your guilty love while your ears die.

There are three points of view from which a writer can be considered: he may be considered as a storyteller, as a teacher, and as an enchanter. A major writer combines these three — storyteller, teacher, enchanter — but it is the enchanter in him that predominates and makes him a major writer…The three facets of the great writer — magic, story, lesson — are prone to blend in one impression of unified and unique radiance, since the magic of art may be present in the very bones of the story, in the very marrow of thought…Then with a pleasure which is both sensual and intellectual we shall watch the artist build his castle of cards and watch the castle of cards become a castle of beautiful steel and glass.” ~ Vladimir Nabokov

Anyone who’s had something truly crappy happen to them will tell you: It’s all about Before and After. What I’m talking about here is the ka-pow, shake-you-to-your-core-and-turn-your-bones-to-plastic kind of crappy.

Sure, guess I could give you a bullwhip and a fedora. We’d market you as Indiana Bones. Or maybe go sci-fi. You sorta look like that guy who roamed outer space everybody’s so crazy about.” “Malcolm Reynolds?” asked Rook.

The Drag Queen Dies in New Castle Returning home at twenty-nine, you made a bed your throne, your brothers carrying you from room to room, each one in turn holding the glass to your lips, though you were the oldest of the brood. Buried by the barn, you vanished, but the church women bought your wigs for the Christmas pageant that year, your blouses sewn into a quilt under which two newlyweds lay, skin to skin as if they carried some sense of your undressing. Skirts swayed where sheep grazed the plow and the farmer reached between legs to pull out the calf, fluid gushing to his feet. On lines across town, dresses flapped empty over mulch while you kept putting on your show, bones undressing like it's never over, throwing off your last great shift where a fox snake sank its teeth into a corn toad's back, the whole field flush with clover.

Reindeer blew like leaves across the white, blinding bowl of the landscape. The eye read them as script on a book-roll: the stretched neck, the tined bones of the antlers, the powerful, thick-pelted body; the long slurring stride with its snapping click as the cloven hooves met.

Faintly rattled, Delphine rounded a curve in the path and found herself at the edge of clearing, the trees pulling back from a carpet of verdigris grass. They gave up the wildness of the wood here, tamed into symmetrically intertwined branches whose openings revealed more pale paths into the forest. The diffuse light of the forest concentrated here, as though emanating from hidden gas lamps. Delphine toed the boundary of what she now saw was an enormous fairy ring. A structure of pure white rose from the center of the ring, the beams arching like the bones of a cathedral, the space between filled with delicate filigree of brittle white. Windows like translucent dragonfly wings shone under cornices carved like birds and flowers and trailing vines. A castle, Delphine thought, or a church--- all the same emphasis and gravitas translated here, and something stranger and deeper.

Her hand was soft in his, with long slender fingers and delicate nails like the newly bloomed petals of a flower. Again, a sensation like a gentle wind passed from her hand to his. Ico recalled diving headfirst into cold pools of water on a hot day in the middle of summer. In an instant, the day's dirt and grime were washed away, making him feel clean down to the bone.

Why is it that hearts know how to beat, and lungs unfailingly take in oxygen, while the brain, which is supposedly in charge of everything, sits up there in its bone case and screws everything up?

Why is it that hearts know how to beat, and lungs unfailingly take in oxygen, while the brain, which is supposedly in charge of everything, sits up there in its bone case and screws everything up?

‏"In 45 AC, construction finally came to an end on the Red Keep. King Maegor celebrated its completion by feasting the builders and workmen who had labored on the castle, sending them wagonloads of strongwine and sweetmeats, and whores from the city’s finest brothels. The revels lasted for three days. Afterward, the king’s knights moved in and put all the workmen to the sword, to prevent them from ever revealing the Red Keep’s secrets. Their bones were interred beneath the castle that they had built.

Poetry is much much more than all of the definitions, theories or explanations that you read or hear about everyday. Poetry is not just a form, a quote or one or two popular poets or pop stars in the media. Poetry is not hip hop or gangsta rap, slam or new formalism, gay or straight, white or black, dead or alive. Poetry does not belong either to the streets or the academics. Poetry is not always a love song. Poetry is not always about the rain or nature, mountains or castles. Poetry is neither happy nor depressed, a villain or a hero, a lover or a friend. Poetry is merely poetry for poetry’s sake. But the words are sacred, something sacred which we share. Poetry is a state of consciousness and the mind. Poetry is all of history and is the history of being. Poetry is all of us Poetry is you.

I will turn this swan into a raven; my goddess of darkness, my queen of death. Because only when she becomes as unprincipled as me, would she willingly stay with me in my castle of dead bones and blood

Noble born,” Roc fills in, as if he can read the questions on my face.  He spins us and I melt into his movements.  “Our family founded a society known as the Bone Society. Keepers of Time. Creators of Time. It was necessary, considering what we are. But beyond the beasts, we were the elite.” He laughs and the sound rumbles deeply through his chest. “Vane and I grew up in manor houses and castles, every whim catered to.”  I can’t imagine Vane being one of those wealthy spoiled assholes I came to know so well in my world. The kind of men who believed everything belonged to them, and if it didn’t, they would take it.

The world will forget you but I will forget you first.

SHREK Written by William Steig & Ted Elliott SHREK Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knights had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. (laughs) Like that's ever gonna happen. What a load of - (toilet flush) Allstar - by Smashmouth begins to play. Shrek goes about his day. While in a nearby town, the villagers get together to go after the ogre. NIGHT - NEAR SHREK'S HOME MAN1 Think it's in there? MAN2 All right. Let's get it! MAN1 Whoa. Hold on. Do you know what that thing can do to you? MAN3 Yeah, it'll grind your bones for it's bread. Shrek sneaks up behind them and laughs. SHREK Yes, well, actually, that would be a giant. Now, ogres, oh they're much worse. They'll make a suit from your freshly peeled skin. MEN No! SHREK They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. MAN1 Back! Back, beast! Back! I warn ya! (waves the torch at Shrek.) Shrek calmly licks his fingers and extinguishes the torch. The men shrink back away from him. Shrek roars very loudly and long and his breath extinguishes all the remaining torches until the men are in the dark. SHREK This is the part where you run away. (The men scramble to get away. He laughs.) And stay out! (looks down and picks up a piece of paper. Reads.) "Wanted. Fairy tale creatures."(He sighs and throws the paper over his shoulder.)

least, that’s what it looked like. A roped-off room in a castle somewhere, a room made entirely of blocks of stone, icy and cold, even though a fire burned low in the hearth. A room where doomed queens went to die.

It’s like people immediately imagine me sitting in some gothic, sweeping castle in Edinburgh, a piece of fine bone china full of English tea next to my neat writing station. They think that my car, my purse, my everything was financed by my lucrative but somehow not too time consuming writing career. I’ve even had one guy ask me if my hand cramps at signings. While I wanted to give a snarky, “Yes, just like Tom Brady’s does,” I can’t pull off snarky. My sarcasm immediately goes into b**ch territory

You little b*tch, you think you can stand in my way? You're so used to getting what you want, with your perfect pretty face. If you don't stop I swear I'll ruin that face. I'll put your bones in a box and send them to your loved ones. I'll take everything you ever wanted before I come for you.

It isn’t the danger or the challenge that keeps me climbing, it’s the purity and focus. When you’re a five-second drop from being a smear of guts and pulverized bone, when your whole weight is on eight fingers, then seven, then five, your choices are black and white, made on instinct without baggage. When you climb hard and reach an impossible peak or ledge, you gain a new perspective, you see the world differently. It’s not just the angle you’re looking from that changes. You change too. They say you can’t go back, and I learned that when I returned to the Tall Castle after four years on the road. I walked the same halls, saw the same people, but I hadn’t gone back; I’d come to a new castle, seen with new eyes. The same is true if you climb high enough, only with climbing you don’t need to stay away for years. Climb a mountain, see the world from its highest point, and a new man will climb down to a world of subtle differences the next day. Metaphysics aside, there is plenty to be seen from a high point in the mountains. If you sit with your legs dangling over the biggest drop in the world, with the wind streaming your hair behind you, and your shadow falling so far it might never hit the ground…you notice new things.

Is this-is this-the Castle of Bone-wh-where all the secrets of the w-w-world are hidden?” he got out at last. “YES,” thundered the Buzzle, though more quietly. “WHAT ABOUT IT?” “Well, can I come in?” “I DON’T SEE WHY NOT,” shouted the Buzzle. “AS LONG AS YOU WATCH OUT AND DON’T DIRTY MY FLOORS.” It waved them in and shut the door with a terrible bang. “I-er-won’t have to fight the Dragon of Brass, will I?” asked the Prince. “NO. THAT’S ONLY AT NIGHT.

It grew very quiet and dark, and then an icy wind came rushing from nowhere, sweeping like a great cold broom through the Castle of Bone. The Prince shuddered, and pressed himself back against the wall to let it past, because he felt the wind knew he was there, and would be angry if he didn’t show it proper respect.

As he ran away from the Dragon, the Prince was able to look up to see Ysome the Saffron and her lizards, and several Skrolls, skeletons, and Oggrings having gleeful hysterics on top of one of the bone palisades.

There was a tremendous flash, as the crystal of the Secret Country exploded into a billion colored shards, and a ringing, terrible, sustained crash as the land, from end to end, from the Mountains of the North to the Dubious Hills, from the Wide West Waste to the Sunrise Sea, cities of men and manners, climates, councils, governments, the boost of heraldry and pomp of power, all that heart heard of or mind expressed, trees, flowers, cottages, and wells, the unicorn, the cardinal, the dragon, and the owl, sun, moon, stars, clouds, the loving detail of High Castle, the barely imagined cities of the Dwarves, the fabulous mines whence came Lord Randolph's ring, the Green Caves and the Magic Wood, King John's solemn tomb, Laura and Ellen downstairs, the stones beneath them and their very bones, shook, rang, shattered, and seemed to collapse in dust.

Your home, too, isn’t it?” “Duty requires I remain here, with the King,” he said, his expression unwavering. “But it is not my home. My family’s estate is in town. The Destriers often train there, as they once did at Spindle House.” I frowned. “The castle at the top of the hill?” “The very same.” Castle Yew was old—the grounds historic. The wrought-iron gate and the dark, climbing ivy resided under the shadow of ancient yew trees—tall and foreboding. Beyond lay a statuary, a maze of stone and hedges, then the towering, ominous house. I had walked past the gate many times as a child, certain to my bones there was something to fear under those trees. I’d never been inside.

Music is a truth beyond telling. A bridge between strangest souls. Two men who speak not a word of each other's tongues may yet feel their hearts soar likewise at the same refrain. Gift a man the most important of lessons, he may forget it amorrow. Gift him a beautiful song, and he shall hum it 'til the day the crows make a castle of his bones.

The Forbidden Place by Stewart Stafford Bypass the chateau on the hill, For, as dusk falls, horrors creep, Griffins and gargoyles fly and flay, And grotesque statues come alive. Badinage becomes shrieks and roars, Shrill warnings for the straying and foolish, Cats as big as panthers stalk and slay, As their homicidal master flogs their fur. Wandering werewolves fetch human bones, A savage rampage beneath a Hunter's Moon, As the dawn routine reasserts its dominance, Denizens of night bathe in darkness's arms. © Stewart Stafford, 2022. All rights reserved.

Sugar, flour, and cinnamon won’t make a house a home, So bake your walls of gingerbread and sweeten them with bone. Eggs and milk and whipping cream, butter in the churn, Bake our queen a castle in the hopes that she’ll return. —CHILDREN’S CLAPPING RHYME, CONFECTION

Crash Into Me" You've got your ball You've got your chain Tied to me tight tie me up again Who's got their claws In you my friend Into your heart I'll beat again Sweet like candy to my soul Sweet you rock And sweet you roll Lost for you I'm so lost for you Oh, when you come crash into me And I come into you And I come into you In a boy's dream In a boy's dream Touch your lips just so I know In your eyes, love, it glows so I'm bare-boned and crazy for you Oh, when you come crash into me, baby And I come into you In a boy's dream In a boy's dream If I've gone overboard Then I'm begging you to forgive me Oh, in my haste When I'm holding you so, girl Close to me Oh, and you come crash into me, baby And I come into you Oh, hike up your skirt a little more You show the world to me Hike up your skirt a little more You show your world to me In a boy's dream In a boy's dream Oh, I watch you there Through the window and I stare At you wear nothing But you wear it so well Tied up and twisted The way I'd like to be For you, for me Come crash into me, baby Come crash into me, yeah Crash into me Crash into me Crash into me Crash into me Oh, you know I'm the king of the castle You're the dirty rascal Crash into me Please, crash into me I see the wave coming crash into me See the wave coming crash into me Crash into me Dave Matthews Band, Crash (1996)

The Revenant’s flat eyes met mine. “Now this is the really important part. I need you to make sure she understands that I’m coming for her. That I will burn every Revenant that stands between her and me. I will strike down every Ascended who defends her. I will topple every castle she seeks to hide in.

It is far too easy…as the naturalized citizen of a country that tries to kick dirt over its bloody history…to see only the castle on the hill and not the thickets of bone we trod through to arrive at it.

Gift a man the most important of lessons, he may forget it amorrow. Gift him a beautiful song, and he shall hum it ’til the day the crows make a castle of his bones.

Oh, little virgin. I love you with every cold bone in my body. I love you with every dark thought, every violent impulse. I love you enough to leave the walls I’ve carefully built, the iron bars I refined, the castle I made.” “I don’t want you to leave,” I whisper. “This castle is for you. I’m talking about the one inside me, the one locking up everything gentle and kind I ever might have been. And now I stand in front of you, completely defenseless.

Thou art bone of my bone, flesh of my flesh. The same words with which he’d vowed his life to Madeline, he whispered now to his unborn babe. This child would never know hunger, never feel cold. Never know the pain of fear and darkness. Not while Logan had breath in his lungs and life in his veins.

Up ahead, a shadowy building loomed. It looked more like a gothic cathedral than a school, with grossly elongated black spires jutting into the night sky. They unnerved Tony. Somehow, they resembled horns silhouetted against the moon. He counted ten of these protuberances, each with an arrowhead as its tip. Tony found the structure difficult to make his mind up about. It was beautiful, that was for sure, but its beauty was intermingled with an ill-masked sense of horror. The black exterior had a pair of peculiar projections on either side of the building resembling a bat's wings. His feet on concrete now, he pulled up to a webbed gate— also reminiscent of a bats with the hind, bone-like array supporting an oily black, translucent texture. He saw some girls a few dozen feet from the gate at the entrance of the building. They were garbed in black sailor fuku skirts too high above the knees to facilitate concentration upon anything academic. The males were also dressed in black corduroy pants and black dress shirt. A throng by the massive doors stared holes through them as they approached. Up close, he noted some of the girls were quite pale, sporting piercings and tattoos on their necks and hands. He even saw one with a spider web inked on the side of her face. When he followed Silver Man into the building— his toes squeaking in his soaked shoes—he was awed by the aesthetics. There was a rather large gathering in the hall that looked more like large shadows with all the children in black. Tony felt out of place in his brown pants and long sleeved white shirt. The hall was bleak; the only source of illumination was a pair of horizontal cylindrical lamps set upon wooden rafters near the ceiling. Silver Man proceeded toward the platform where Tony could just make out the form of a thin man donning a monocle. He looked like an old scientist. He was sitting cross-legged, stroking his chest-length pearl white beard. The man appeared to be watching them as they progressed through the hall. Then he stood as they neared the stage, now caressing his bald head. He had a monkish appearance. His black robe— quite similar to the one Silver Man wore— was tied at the waist by a red cloth. The bald, monocled man extended a spindly hand which Silver Man gave a firm tug before leaning in and whispering something. The man nodded, turning to Tony. Tony flinched as he regarded him through his peculiar eyewear: a single gold-rimmed, circular lens. He now folded himself into an accentuated bow. "Listen up folks!" he shouted. Tony saw the students rushing inside the castle pell-mell, summoned by the voice of the bespectacled man. “We have a late recruit ladies and gentlemen,” the man said. His voice was much stronger than his thin frame suggested. “Join me as I induct him into the hallowed spirit of Imajinaereum.

This is Northumbria, spanning Durham, Yorkshire, and Northumberland, the northernmost county in England. Here was once the frontier, the last place, where, in the second century, the Romans built their vast fortifications to hold back the Scots and the Picts: first Hadrian’s Wall, running from the banks of the Tyne in the east to the Solway Firth in the west; and later, in a fit of optimism – or arrogance – the more northerly Antonine Wall, from the Firth of Forth in the east to the Firth of Clyde in the west, before abandoning it in favor of a consolidation of the southern defenses. In time, the remains of the Antonine Wall will come to be referred to as the Devil’s Dyke, but by then the Romans will be long gone, their fortresses already falling into ruin, leaving the blood to dry, and the land to bear their scars. Because the land remembers. So the Romans depart, and chaos descends. The Angles invade from Germania, battling the natives and one another, before eventually forging two kingdoms, Northumbria and Mercia, only to see them fall to the Norsemen in the ninth century, who will themselves be defeated by the kings of Wessex. More blood, more scars. In 927 AD, Northumbria becomes part of Athelstan’s united England. In 1066 William the Conqueror lands with his Normans, and crushes the Northumbrian resistance to Norman rule. The Norman castles rise, but they, like the Romans and the Angles before, are forced to defend themselves against the Scots. They leave their dead at Alnwick and Redesdale, Tyndale and Otterburn. The land has a taste for blood now. More conflicts follow – the Wars of the Roses, the Rising in the North, the Civil War, the Jacobite rebellions – and the ground makes way for new bones, but the blood never really dries. Dig deep enough, expose the depths, and one might almost glimpse seams of red and white, like the strata of rock: blood and bone, over and over, the landscape infused by them, forever altered and forever changing. Because the killing never stops.

In the face of one of the cliffs is the grotto of Blandas, that has been occupied since remote ages. A methodical exploration has revealed a spearhead of silex, a bronze axe, bone bracelets, a coin of the Hundred Years' War, and lastly a little pin- cushion of cloth in the shape of a heart, ornamented with metal crosses, the relic of some refugee in the Reign of Terror, hiding to escape the guillotine.

Charlie. “But it’ll take me a while to get used to the second year.

What Smith wanted us to do was use our mental and physical capabilities to render the rulers of mankind as unnecessary and as inconsequential as possible, to leave them in their drafty castles throwing chicken bones on the floor.