Dc Character Quotes

There’s a reason I don’t have a list of villains as long as Bruce’s, Barry’s, or even yours. When I deal with them, I deal with them.

Wait for a hero? Barbara Joan Gordon -- Be your own damn hero.

Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.

You took nothing from me.

Same first name as a president and an obscure comic book character. Half-Jewish. Excellent grammar. Easily nauseated. Likes Reese's and Oreos (i.e. not an idiot). Divorced parents. Big brother to a fetus. Dad lives in Savannah. Dad's an English teacher. Mom's an epidemiologist. The problem is, I'm beginning to realize I hardly know anything about anyone. I mean I generally know who's a virgin. But I don't have a clue whether most people's parents are divorced, or what their parents do for a living. I mean, Nick's parents are doctors. But I don't know what Leah's mom does, and I don't even know what the deal is with her dad, because Leah never talks about him. I have no idea why Abby's dad and brother still live in DC. And these are my best friends. I've always thought of myself as nosy, but I guess I'm just nosy about stupid stuff. It's actually really terrible, now that I think about it.

To my mind, this embracing of what were unambiguously children's characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence. It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite 'universes' presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.

The multiverse model offers an elegantly postmodern solution to character stasis in a market-driven serial publishing system which privileges constancy over major change.

Disability fluctuates, growing visible, then invisible, then visible again, becoming both ever-present and haunting. Such a problematizing of physical life added a new wrinkle to the genre's double/secret identity trope: the characters now interact with their shifting bodies as bodies with all the complications involved.

Get to know about the Stargirl DC TV series Release Date, characters, trailer, plot and lot more about the superhero series. Stargirl created by Geoff Johns and Lee Moder, that is set to premiere on May 11, 2020 on DC Universe

In 2014 alone Marvel gave readers—among others—Original Sin, which promised to “reveal shocking secrets about every major Marvel character!” Axis, which the company trumpeted would “change everything!” and Death of Wolverine, “the single most important X-Men event of the decade.

If you expose what it is that we’re doing, if you inform your fellow citizens about all the things that we’re doing in the dark, we will destroy you. This is what their spate of prosecutions of whistleblowers have [sic] been about. It’s what trying to threaten journalists, to criminalize what they do, is about. It’s to create a climate of fear, so that nobody will bring accountability to them. It’s not going to work. I think it’s starting to backfire, because it shows their true character and exactly why they can’t be trusted to operate with power in secret. And we’re certainly not going to be deterred by it in any way. The people who are going to be investigated are not the people reporting on this, but are people like Dianne Feinstein and her friends in the National Security Agency, who need investigation and transparency for all the things that they’ve been doing.

Marvel and DC comics dealt with fantastical characters but at least they sent them on recognisable journeys, providing them with origin stories, personal tragedies (the villain Magneto was revealed to be a Holocaust survivor), love affairs, psychological issues, political awakenings and all the rest of it.

Batman was the only D.C. title in the bunch, and just barely. He had liked the movies more than the books, but there was something about the character that he just couldn’t dismiss. Maybe it was the fact that Batman was just a man with a neat suit. No super powers, no glowing rocks, no fast-motion – just a man with a mission. Man with a mission.

The decades that she devoted to conserving her husband’s legacy made Eliza only more militantly loyal to his memory, and there was one injury she could never forget: the exposure of the Maria Reynolds affair, for which she squarely blamed James Monroe. In the 1820s, after Monroe had completed two terms as president, he called upon Eliza in Washington, D.C., hoping to thaw the frost between them. Eliza was then about seventy and staying at her daughter’s home. She was sitting in the backyard with her fifteen-year-old nephew when a maid emerged and presented the ex-president’s card. Far from being flattered by this distinguished visitor, Eliza was taken aback. “She read the name and stood holding the card, much perturbed,” said her nephew. “Her voice sank and she spoke very low, as she always did when she was angry. ‘What has that man come to see me for?’” The nephew said that Monroe must have stopped by to pay his respects. She wavered. “I will see him,” she finally agreed. So the small woman with the upright carriage and the sturdy, determined step marched stiffly into the house. When she entered the parlor, Monroe rose to greet her. Eliza then did something out of character and socially unthinkable: she stood facing the ex-president but did not invite him to sit down. With a bow, Monroe began what sounded like a well-rehearsed speech, stating “that it was many years since they had met, that the lapse of time brought its softening influences, that they both were nearing the grave, when past differences could be forgiven and forgotten.” Eliza saw that Monroe was trying to draw a moral equation between them and apportion blame equally for the long rupture in their relationship. Even at this late date, thirty years after the fact, she was not in a forgiving mood. “Mr. Monroe,” she told him, “if you have come to tell me that you repent, that you are sorry, very sorry, for the misrepresentations and the slanders and the stories you circulated against my dear husband, if you have come to say this, I understand it. But otherwise, no lapse of time, no nearness to the grave, makes any difference.” Monroe took in this rebuke without comment. Stunned by the fiery words delivered by the elderly little woman in widow’s weeds, the ex-president picked up his hat, bid Eliza good day, and left the house, never to return.

I’m tired of books that claim the main characters don’t like each other. I want to see it. Give me a dagger to the throat,” Liam says, and Grant nods in agreement. “Pretty sure that could be considered assault,” Riley chimes in. “Not in dark romance it’s not,” Grant says. “That’s why I like that shit the most.” “Yeah, because stalkers are more believable than two people not liking each other,” I draw out.

Excerpt from page 3 of "Wicked Washington" Shelly Williams, the main character, speaking about her life: And close and dangerous calls were almost my last name. Yet I felt as comfortable among the street hustlers, junkies, thieves, and criminals of D.C. as I did dining with my white-collar, college-pedigreed friends over filet mignon, Maine lobster, and strawberry cheesecake at LaMermaid Seafood Restaurant.

Green Arrow is the embodiment of what one person can do. It’s a theme that comes up repeatedly in this book, one that explains why this powerless archer with a chip on his shoulder appeals to so many people. He wasn’t born of the heartbreaking tragedy of a Batman, he didn’t fall from the stars to deliver humanity from evil, nor is his origin wrapped in the fabric of Greek myths and legends. He is a human character that struggles with work, love, loss, darkness, death, and the weight of his own sins. Like the rest of us humans, Green Arrow is flawed, and a perpetually moving target.

There are food stations around the room, each representing one of the main characters. The Black Widow station is all Russian themed, with a carved ice sculpture that delivers vodka into molded ice shot glasses, buckwheat blini with smoked salmon and caviar, borsht bite skewers, minipita sandwiches filled with grilled Russian sausages, onion salad, and a sour cream sauce. The Captain America station is, naturally, all-American, with cheeseburger sliders, miniwaffles topped with a fried chicken tender and drizzled with Tabasco honey butter, paper cones of French fries, mini-Chicago hot dogs, a mac 'n' cheese bar, and pickled watermelon skewers. The Hulk station is all about duality and green. Green and white tortellini, one filled with cheese, the other with spicy sausage, skewered with artichoke hearts with a brilliant green pesto for dipping. Flatbreads cooked with olive oil and herbs and Parmesan, topped with an arugula salad in a lemon vinaigrette. Mini-espresso cups filled with hot sweet pea soup topped with cold sour cream and chervil. And the dessert buffet is inspired by Loki, the villain of the piece, and Norse god of mischief. There are plenty of dessert options, many of the usual suspects, mini-creme brûlée, eight different cookies, small tarts. But here and there are mischievous and whimsical touches. Rice Krispies treats sprinkled with Pop Rocks for a shocking dining experience. One-bite brownies that have a molten chocolate center that explodes in the mouth. Rice pudding "sushi" topped with Swedish Fish.

Something else happened at that time which is worth mentioning here. One of the questions the rabbinical students and I discussed at some length was why it is that in academic things, such as theoretical physics, there is a higher proportion of Jewish kids than their proportion in the general population. The rabbinical students thought the reason was that the Jews have a history of respecting learning: They respect their rabbis, who are really teachers, and they respect education. The Jews pass on this tradition in their families all the time, so that if a boy is a good student, it’s as good as, if not better than, being a good football player. It was the same afternoon that I was reminded how true it is. I was invited to one of the rabbinical students’ home, and he introduced me to his mother, who had just come back from Washington, D.C. She clapped her hands together, in ecstasy, and said, “Oh! My day is complete. Today I met a general, and a professor!” I realized that there are not many people who think it’s just as important, and just as nice, to meet a professor as to meet a general. So I guess there’s something in what they said.

the good itself cannot be separated from the Christian Neoplatonic tradition that lies at the roots of Western civilization.

USA • Canada • UK • Ireland • Australia • New Zealand • India • South Africa • China Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England For more information about the Penguin Group visit penguin.com Copyright © 2013 by Sue Grafton All rights reserved. No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission. Please do not participate in or encourage piracy of copyrighted materials in violation of the author’s rights. Purchase only authorized editions. Published simultaneously in Canada Library of Congress Cataloging-in-Publication Data Grafton, Sue. W is for wasted / Sue Grafton. p. cm. — (Kinsey Millhone mystery) ISBN 978-1-101-63645-9 1. Millhone, Kinsey (Fictitious character)—Fiction. 2. Women private investigators—Fiction. I. Title. PS3557.R13W17 2013 2013019292 813’.54—dc23 This is a work of fiction. Names, characters, places, and incidents either are the product

in the grave / Dana Stabenow.—1st ed.            p. cm.     ISBN 978-0-312-55913-7 (hardcover)     ISBN 978-1-4299-5038-1 (e-book)   1.  Shugak, Kate (Fictitious character)—Fiction.   2.  Women private investigators—Alaska—Fiction.   3.  Murder—Investigation—Fiction.   4.  Alaska—Fiction.   I.  Title.     PS3569.T1249R47 2012     813'.54—dc23 2011037662

Definition The five progressive dimensions (or stages) of the life of an apprentice are: trust in Jesus, desire to be his apprentice, obedience, inner transformation, and finally, the character and power to do the work of the kingdom. Quotes “We should be aware of, roughly, five dimensions of our eternal kind of life in The Kingdom Among Us, and these dimensions more or less arrange themselves in the following progression: 1.  Confidence in and reliance upon Jesus as ‘the Son of man,’ the one appointed to save us … This confidence is a reality, and it is itself a true manifestation of the ‘life from above,’ not of normal human capacities … 2.  But this confidence in the person of Jesus naturally leads to a desire to be his apprentice in living in and from the kingdom of God … . 3.  The abundance of life realized through apprenticeship to Jesus, ‘continuing in his word, naturally leads to obedience … Love of Jesus sustains us through the course of discipline and training that makes obedience possible. Without that love, we will not stay to learn. 4.  Obedience, with the life of discipline it requires, both leads to and, then, issues from the pervasive inner transformation of the heart and soul …  as we admire and emulate Jesus and do whatever is necessary to learn how to obey him. 5.  Finally, there is power to work the works of the kingdom … Great power requires great character if it is to be a blessing and not a curse, and that character is something we only grow toward.” (DC 366-68) “The various scenes and situations that Jesus discusses in his Discourse on the Hill are actually stages in a progression toward a life of agape love. They progressively presuppose that we know where our well-being really lies, that we have laid aside anger and obsessive desire, that we do not try to mislead people to get our way, and so on. Then loving and helping those who hurt us and hate us, for example, will come as a natural progression.” (DC 139) Exercise—

AUTHOR’S NOTE The First Assassin is a work of fiction, and specifically a work of historical fiction—meaning that much of it is based on real people, places, and events. My goal never has been to tell a tale about what really happened but to tell what might have happened by blending known facts with my imagination. Characters such as Abraham Lincoln, Winfield Scott, and John Hay were, of course, actual people. When they speak on these pages, their words are occasionally drawn from things they are reported to have said. At other times, I literally put words in their mouths. Historical events and circumstances such as Lincoln’s inauguration, the fall of Fort Sumter, and the military crisis in Washington, D.C., provide both a factual backdrop and a narrative skeleton. Throughout, I have tried to maximize the authenticity and also to tell a good story. Thomas Mallon, an experienced historical novelist, has described writing about the past: “The attempt to reconstruct the surface texture of that world was a homely pleasure, like quilting, done with items close to hand.” For me, the items close to hand were books and articles. Naming all of my sources is impossible. I’ve drawn from a lifetime of reading about the Civil War, starting as a boy who gazed for hours at the battlefield pictures in The Golden Book of the Civil War, which is an adaptation for young readers of The American Heritage Picture History of the Civil War by Bruce Catton. Yet several works stand out as especially important references. The first chapter owes much to an account that appeared in the New York Tribune on February 26, 1861 (and is cited in A House Dividing, by William E. Baringer). It is also informed by Lincoln and the Baltimore Plot, 1861, edited by Norma B. Cuthbert. For details about Washington in 1861: Reveille in Washington, by Margaret Leech; The Civil War Day by Day, by E. B. Long with Barbara Long; Freedom Rising, by Ernest B. Ferguson; The Regiment That Saved the Capitol, by William J. Roehrenbeck; The Story the Soldiers Wouldn’t Tell, by Thomas P. Lowry; and “Washington City,” in The Atlantic Monthly, January 1861. For information about certain characters: With Malice Toward None, by Stephen B. Oates; Lincoln, by David Herbert Donald; Abe Lincoln Laughing, edited by P. M. Zall; Lincoln and the Civil War in the Diaries of John Hay, edited by Tyler Dennett; Lincoln Day by Day, Vol. III: 1861–1865, by C. Percy Powell; Agent of Destiny, by John S. D. Eisenhower; Rebel Rose, by Isabel Ross; Wild Rose, by Ann Blackman; and several magazine articles by Charles Pomeroy Stone. For life in the South: Roll, Jordan, Roll, by Eugene D. Genovese; Runaway Slaves, by John Hope Franklin and Loren Schweninger; Bound for Canaan, by Fergus M. Bordewich; Narrative of the Life of Henry Box Brown, written by himself; The Fire-Eaters, by Eric H. Walther; and The Southern Dream of a Caribbean Empire, by Robert E. May. For background on Mazorca: Argentine Dictator, by John Lynch. This is the second edition of The First Assassin. Except for a few minor edits, it is no different from the first edition.

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

There are, of course, varying perspectives on the issue of criminal responsibility. Dr. Stanton Samenow is a psychologist who collaborated with the late psychiatrist Dr. Samuel Yochelson on a pioneering study at St. Elizabeth’s Hospital in Washington, D.C., about criminal behavior. After years of firsthand research that gradually stripped away most of his preconceived notions, Samenow concluded in his penetrating and insightful book, Inside the Criminal Mind, that “criminals think differently from responsible people.” Criminal behavior, Samenow believes, is not so much a question of mental illness as character defect.

Full Disclosure: when Dan DiDio approached me about doing one, I was wary to say the least. Nowadays events often mean character deaths or reboots or company-wide publishing initiatives and so on. But the run Greg Capullo and I had on BATMAN was, for better or for worse, idiosyncratic - about our own hopes, our fears, our interests. It was just... very much ours. Even so, I told Dan that I *did* have a story, one I'd been working on for a few years, a big one, in the back of my brain. It was about a detective case that stretched back to the beginnings of humanity, a mystery about the nature of the DC Universe that Batman would try to uncover, and which would lead him and the Justice League to discover that their own cosmology was much larger, scarier and more wondrous than they'd known. But I wasn't sure it would make a good "event". Dan, to his credit, said, "Work it up and let's see." So I did. But in the course of working it up, I reread all the events I could think of. Just for reference. Not only recent ones, but events from years ago, from when I was a kid. And what I discovered, or rediscovered, was that at their core, events are joyous things. They're these great big stories, ridiculous tales about alien invasions or cosmic gems or zombie-space-cop attacks that have the highest stakes possible - stories where the whole universe hangs in the balance and nothing will ever be the same again! They were *about* things, and - what I also realized while doing my homework - when I was a kid, they were THE stories that brought me and my friends together. We'd split our money and buy different parts of an event, just to be able to argue about it. We'd meet after school and go on for hours about who should win, who should lose... Because even the grimmest events are celebratory. They're about pushing the limits of an already ludicrous form to a breaking point. So that's what I came back with. I remember standing in my kitchen and getting ready to pitch DARK NIGHTS: METAL to Greg, having prepared a whole presentation, a whole argument as to why, crazy as it was, it was us, it was *our* event. I said "It's called METAL," and Greg said, "I'm in," before I could even tell him the story. And even though Dan thought it was crazy, he went with it, and for that I'm very grateful. In the end, METAL is a lot of things - it's about those moments when you find yourself face to face with the worst versions of yourself, moments when all looks like doom - but at it's heart it's a love letter to comic storytelling at its most lunatic, and a tribute to the kinds of stories, events that got me thought hard times as a kid and as an adult. It's about using friendship as a foundation to go further than you thought you could go, and that means it's about me and Greg, and you as well. Because we tried something different with it, something ours, hoping you'd show up, and you did. So thank you, sincerely, from all of us on the team. Because when they work, events are about coming together and rocking out over our love of this crazy art form. And you're all in the band, now and always.

I wonder if Connor’s DNA is superhuman too,” I mumble beneath my breath. And his eyes flit to me! I’m not making this up. Maybe he truly does have superhuman hearing. “Lo,” I say softly, breaking up his short conversation with Garrison. “Hmm?” he asks, swishing around the salsa with a chip. His other hand clutches my leg while I’m on his back. “Do you think Connor might be Batman or Superman?” Lo drops me. I land on my ass, and I gape up at him. “Lo!” It’s not the first time he’s dropped me mid-piggyback after I mentioned a DC character.

I wanted to make a mystery that unravelled across a world severed from the ground, one that wasn’t tied to ideas I could readily copy. Not with mages and dragons but with people in a world moving on from their kind, and with characters as unlikely as those I grew up knowing.

However, like Elasti-Girl and Batgirl, many of the DC’s female characters got better treatment than the heroines featured in Marvel Comics. Scanning a comic book rack in the ’60s, the covers would tell two different stories about the women starring within those pages. Wonder Woman and Supergirl starred in comic books that featured their names on the covers. These heroines were often seen performing great feats of strength like battling monsters or stopping missiles with their bare hands. Batgirl’s name might be featured prominently on a cover of Detective Comics. The Doom Patrol’s Elasti-Girl was shown in the thick of battle fighting side by side with her male compatriots. On the Marvel Comics covers, Invisible Girl, Wasp, and Marvel Girl were shown struggling in the clutches of a villain, or watching helplessly from the background as their male teammates took care of business.

He thinks how you shake someone’s hand is a measure of your character. He shakes hands so firmly, I see people wince in pain.” —Carla, Washington, D.C.

My baby sister, Janet, kept us all occupied with her antics. She could climb out of any enclosure and I actually found her on top of a bookcase one day. I gave her the nickname “Sweet Pea” after the character in the Popeye cartoon strip who possessed similar talents. She was a bundle of nervous energy and liked to tear out her pretty blonde hair in bunches, smiling all the while. I think she enjoyed all the attention from all of her supervisors. Thanksgiving was soon upon us, the time when Grandma would take out all her recipes and spices from a large Oriental tin she kept for the holiday seasons. I especially loved her Swedish Spritz Cookies pressed from a cookie press. Grandma took out the cookie sheets and said, “Carol Ann, you be in charge of the nonpareils. Linda, you can sprinkle the red and green sugar on the cookies after I press them out.” “Where did you get this recipe, Grandma?” “In Sweden, actually. I’ll tell you all about it as we bake. After only a three-year stay in Washington, during which Mr. Bliss was assigned to two different positions: first to the Washington, D.C. Conference on the Limitation of Armaments and then as Chairman of the Diplomatic Service Board of Engineers, President Warren Harding finally made Mr. Bliss, a lifelong Republican, the Ambassador to Sweden.

Joker Tattoos: Who Gets The Last Laugh? Every few years, interest in DC’s iconic character ‘Joker’ resurfaces. Sometimes it’s a new movie or comic that finds its way into the public sphere, shedding new light upon the twisted psyche of a character that has terrified Gotham and fans alike. Most recently, Joaquin Phoenix’s take on the role has gotten people talking – a lot! Other times, it might just be a guy in a clown suit terrorizing local towns, causing media outlets to run wild with theories on whether The Joker is a bad influence on the youth.

If you find yourself writing a lengthy denouement, rethink your structure. The story's finished, dammit. Your reader may enjoy a bit of additional information, or a final visit with your characters, but if you've done your work well, there's really very little left to interest them.

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I am a librarian. Locked in my head are references to the characters of Beowulf, Jane Eyre, and all of Hemingway’s classics, as well as the heroes and heroines appearing in both the DC and Marvel universes and the major manga comics. It is my job to know all of these things. And when I don’t know, I can find the answer. I’m the female equivalent of Doctor Strange.

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