Fur Child Quotes

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A mother's body remembers her babies-the folds of soft flesh, the softly furred scalp against her nose. Each child has it's own entreaties to body and soul.
Barbara Kingsolver
When I was a child, luxury was fur coats, evening dresses, and villas by the sea. Later on, I thought it meant leading the life of an intellectual. Now I feel that it is also being able to live out a passion for a man or a woman.
Annie Ernaux (Simple Passion)
When you smell our candles burning, what does it make you think of, my child?" Winterfell, she might have said. I smell snow and smoke and pine needles. I smell the stables. I smell Hodor laughing, and Jon and Robb battling in the yard, and Sansa singing about some stupid lady fair. I smell the crypts where the stone kings sit. I smell hot bread baking. I smell the godswood. I smell my wolf. I smell her fur, almost as if she were still beside me. "I don't smell anything," she said.
George R.R. Martin (A Feast for Crows (A Song of Ice and Fire, #4))
Keep thinking back about what Mum said about being real and the Velveteen Rabbit book (though frankly have had enough trouble with rabbits in this particular house). My favorite book, she claims of which I have no memory was about how little kids get one toy that they love more than all the others, and even when its fur has been rubbed off, and it's gone saggy with bits missing, the little child still thinks it's the most beautiful toy in the world, and can't bear to be parted from it. That's how it works, when people really love each other, Mum whispered on the way out in the Debenhams lift, as if she was confessing some hideous and embarrassing secret. But, the thing is, darling, it doesn't happen to ones who have sharp edges, or break if they get dropped, or ones made of silly synthetic stuff that doesn't last. You have to be brave and let the other person know who you are and what you feel.
Helen Fielding (Bridget Jones: The Edge of Reason (Bridget Jones, #2))
Half a dozen brats turned with expressions of derision, and Lyra threw her cigarette down, recognizing the cue for a fight. Everyone's daemon instantly became warlike: each child was accompanied by fangs, or claws, or bristling fur, and Pantalaimon, contemptuous of the limited imaginations of these gyptian daemons, became a dragon the size of a deer hound.
Philip Pullman (The Golden Compass (His Dark Materials, #1))
Sometimes I like her calm, unwild, gentle as a sleeping child, and wonder as she lies, a fur ring, curled upon my lap, unstirring -- is it me or Tibbles purring?
Ian Serraillier
Conner howled in pain, causing Shayna to quickly dismiss her own. Shayna dismissed her own discomfort.  "Sorry about that. I guess I've smelled worse-like fur-lined boots that have been worn without socks. Now, that is pretty foul and—" "Get them off! Take them off now! It burns!" shrieked Conner. He attempted to jerk away, but Shayna held firm. "I can't, Conner. You heard what Rileau said. I just can't!" "It hurts really bad, like so unbelievably bad," he whined. "I's going to be okay," she whispered repeatedly. Shayna began humming and cooing as if he were a small child. She tried hard to block out his moans and focused on rocking him.  She held the wad of leaves firmly on the oozing blisters. She knew her friend was in pain, but she would not risk losing him, especially when she realized she could no longer hear Seneca screaming. The only sounds she heard came from Conner as he whimpered quietly next to her. Warm stinging tears cascaded down her cheeks, but she didn't dare wipe them, as she refused to lessen the pressure on the leaf compress.
C. Toni Graham (Crossroads and the Dominion of Four (Crossroads, #2))
A mother's body remembers her babies--the folds of soft flesh, the softly furred scalp against her nose. Each child has its own entreaties to body and soul. It's the last one, though, that overtakes you. I can't dare say I loved the others less, but my first three were all babies at once, and motherhood dismayed me entirely. . . . That's how it is with the firstborn, no matter what kind of mother you are--rich, poor, frazzled half to death or sweetly content. A first child is your own best food forward, and how you do cheer those little feet as they strike out. You examine every turn of flesh for precocity, and crow it to the world. But the last one: the baby who trails her scent like a flag of surrender through your life when there will be no more coming after--oh, that's love by a different name. She is the babe you hold in your arms for an hour after she's gone to sleep. If you put her down in the crib, she might wake up changed and fly away. So instead you rock by the window, drinking the light from her skin, breathing her exhaled dreams. Your heart bays to the double crescent moons of closed lashes on her cheeks. She's the one you can't put down.
Barbara Kingsolver (The Poisonwood Bible)
Ask you to keep an eye on her, keep her safe, and you allow my child to be used in that!" "Flatten your fur, Weiryn," replied the badger. "What makes you think I had a choice?" "The Great Ones can find another instrument! Why didn't you tell them so?" "I did tell them, you horn-headed idiot. They didn't listen. She didn't listen. If you have a complaint, you take it up with the Graveyard Hag.
Tamora Pierce (Emperor Mage (Immortals, #3))
We guard our bodies until they are old and tasteless, when we could have fed ourselves to claw and fur, been literally reincarnated in the cells of a lion sleeping in the sun, the wall of muscle that is a bear crashing through a rotten log in search of ant eggs. Why not return again and again, glistening, gilded every time?
Craig Childs (The Animal Dialogues: Uncommon Encounters in the Wild)
Everyone's dæmon instantly became warlike: each child was accompanied by fangs, or claws, or bristling fur, and Pantalaimon, contemptuous of the limited imaginations of these gyptian demons, became a dragon the size of a deer-hound.
Philip Pullman (The Golden Compass (His Dark Materials, #1))
My husband's personality was filled with serenity and sunlight. Not even the incurable illness which fell upon him soon after our marriage could long cloud his brow. On the very night of his death he took me in his arms, and during the many months when he lay dying in his wheel chair, he often said jokingly to me: 'Well, have you already picked out a lover?' I blushed with shame. 'Don't deceive me,' he added on one occasion, 'that would seem ugly to me, but pick out an attractive lover, or preferably several. You are a splendid woman, but still half a child, and you need toys.
Leopold von Sacher-Masoch (Venus in Furs)
She told no one of the otter. Garrett would want to trap it; Faina would ask her to draw it. She refused to confine it by any means because, in some strange way, she knew it was her heart. Living, twisting muscle beneath bristly damp fur. Breaking through thin ice, splashing in cold creek water, sliding belly-down across snow. Joyful, though it should have known better.
Eowyn Ivey (The Snow Child)
To My Wife You are like a young white hen. Her feathers ruffle in the wind, her neck curves down to drink, and she rummages in the earth: but, in walking, she has your slow, queenly step, haughty and proud. She is better than the male. She is like the females of all the serene animals who draw near to God. Here, if my eye, if my judgment doesn’t deceive me, among these, you find your equals, and in no other woman. When evening lulls the little hens to sleep, they make sounds that call to mind those mild, sweet voices with which you argue with your pains, and don’t know that your voice has the soft, sad music of the henyard. You are like a pregnant heifer, still free, and without heaviness, merry, in fact; who, if someone strokes her, turns her neck, where a tender pink tinges her flesh. If you meet up with her, and hear her bellow, so mournful is this sound that you tear at the earth to give her a present. In the same way, I offer my gift to you when you are sad. You are like a tall, thin female dog, that always has so much sweetness in her eyes and ferociousness in her heart. At your feet, she seems a saint who burns with an indomitable fervor and in this way looks at you as her God and Lord. When you are at home, or going down the street, to anyone who tries, uninvited, to approach you, she uncovers her shining white teeth. And her love suffers from jealousy. You are like the fearful rabbit. Within her narrow cage, she stands upright to look at you, and extends her long, still ear; she deprives herself of the husks and roots that you bring her, and cowers, seeking the darkest corners. Who might take away this food? Who might take away the fur which she tears from her back to add to the nest where she will give birth? Who would ever make you suffer? You are like the swallow which returns in the spring. But each autumn will depart— you don’t have this art. You have this of the swallow: the light movements; that which, to me, seemed and was old, you proclaim another spring. You are like the provident ant. She whom the grandmother speaks of to the child as they go out in the countryside. And thus I find you in the bumble bee and in all the females of all the serene animals who draw near to God. And in no other woman.
Umberto Saba
She caught him in his schoolboy mode, polite and dutiful, mailing letters to his grandparents and step-siblings, notes full of nothing written in perfect script. Yet he feels like she caught him so unaware and alone that she saw the other side, the wolf crawling through wreckage, through broken walls, cracked Venetian mirrors, dust, blood, a turned-over rocking horse - the child who doesn't know it's own name.
Jardine Libaire (White Fur)
Rarely did that hour of the evening come, rarely did I wake at night, rarely did I look up at the moon, or stars, or watch the falling rain, or hear the wind, but I thought of his solitary figure toiling on, poor pilgrim, and recalled the words: “I’m a-going to seek her, fur and wide. If any hurt should come to me, remember that the last words I left for her was, ‘My unchanged love is with my darling child, and I forgive her!
Charles Dickens (David Copperfield)
— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.
Anne Michaels
He ran from her suddenly, swift and quiet like a mountain cat among the high peeks of Eld mountain. She watched him dive in among the trees, and the autumn winds shoke suddenly at his heels. She sad down on a fallen trunk and dropped her head among the knees. A great soft warmth shiled her from the wind, and she looked up and saw into Gules Lyons quiet, golden eyes. What is it, white one? She knelt suddenly and flung his arms around the great mane, and burried her face against him. I wish that I had wings and could fly and fly and never come back. What has troubled you, Orams powerful child? What can trouble you? What can such a small one as Coren of Sirle say to touch you? For a long moment she did not answer. And then she said, her fingers tight around the gold tangeled fur. He has taken my heart and offered it back to me. And I thought he was harmless.
Patricia A. McKillip (The Forgotten Beasts of Eld)
Justin's small form was very still with excitement, his attention riveted on the black feline. "Look, Mama!" Phoebe glanced at Mr. Ravenel. "Is she feral?" "No, but she's undomesticated. We keep a few barn cats to reduce the rodent and insect population." "Can I pet her?" Justin asked. "You could try," Mr. Ravenel said, "but she won't come close enough. Barn cats prefer to keep their distance from people." His brows lifted as the small black cat made her way to Sebastian and curled around his leg, arching and purring. "With the apparent exception of dukes. My God, she's a snob." Sebastian lowered to his haunches. "Come here, Justin," he murmured, gently kneading the cat along its spine to the base of its tail. The child approached with his small hand outstretched. "Softly," Sebastian cautioned. "Smooth her fur the same way it grows." Justin stroked the cat carefully, his eyes growing round as her purring grew even louder. "How does she make that sound?" "No one has yet found a satisfactory explanation," Sebastian replied. "Personally, I hope they never do." "Why, Gramps?" Sebastian smiled into the small face so close to his. "Sometimes the mystery is more delightful than the answer.
Lisa Kleypas (Devil's Daughter (The Ravenels, #5))
Not very long ago I was driving with my husband on the back roads of Grey County, which is to the north and east of Huron County. We passed a country store standing empty at a crossroads. It had old-fashioned store windows, with long narrow panes. Out in front there was a stand for gas pumps which weren't there anymore. Close beside it was a mound of sumac trees and strangling vines, into which all kinds of junk had been thrown. The sumacs jogged my memory and I looked back at the store. It seemed to me that I had been here once, and the the scene was connected with some disappointment or dismay. I knew that I had never driven this way before in my adult life and I did not think I could have come here as a child. It was too far from home. Most of our drives out of town where to my grandparents'house in Blyth--they had retired there after they sold the farm. And once a summer we drove to the lake at Goderich. But even as I was saying this to my husband I remembered the disappointment. Ice cream. Then I remembered everything--the trip my father and I had made to Muskoka in 1941, when my mother was already there, selling furs at the Pine Tree Hotel north of Gravehurst.
Alice Munro (The View from Castle Rock)
I was never a child; I never had a childhood. I cannot count among my memories warm, golden days of childish intoxication, long joyous hours of innocence, or the thrill of discovering the universe anew each day. I learned of such things later on in life from books. Now I guess at their presence in the children I see. I was more than twenty when I first experienced something similar in my self, in chance moments of abandonment, when I was at peace with the world. Childhood is love; childhood is gaiety; childhood knows no cares. But I always remember myself, in the years that have gone by, as lonely, sad, and thoughtful. Ever since I was a little boy I have felt tremendously alone―and "peculiar". I don't know why. It may have been because my family was poor or because I was not born the way other children are born; I cannot tell. I remember only that when I was six or seven years old a young aunt of mind called me vecchio―"old man," and the nickname was adopted by all my family. Most of the time I wore a long, frowning face. I talked very little, even with other children; compliments bored me; baby-talk angered me. Instead of the noisy play of the companions of my boyhood I preferred the solitude of the most secluded corners of our dark, cramped, poverty-stricken home. I was, in short, what ladies in hats and fur coats call a "bashful" or a "stubborn" child; and what our women with bare heads and shawls, with more directness, call a rospo―a "toad." They were right. I must have been, and I was, utterly unattractive to everybody. I remember, too, that I was well aware of the antipathy I aroused. It made me more "bashful," more "stubborn," more of a "toad" than ever. I did not care to join in the games played by other boys, but preferred to stand apart, watching them with jealous eyes, judging them, hating them. It wasn't envy I felt at such times: it was contempt; it was scorn. My warfare with men had begun even then and even there. I avoided people, and they neglected me. I did not love them, and they hated me. At play in the parks some of the boys would chase me; others would laugh at me and call me names. At school they pulled my curls or told the teachers tales about me. Even on my grandfather's farm in the country peasant brats threw stones at me without provocation, as if they felt instinctively that I belonged to some other breed.
Giovanni Papini (Un uomo finito)
She was the first close friend who I felt like I’d re­ally cho­sen. We weren’t in each other’s lives be­cause of any obli­ga­tion to the past or con­ve­nience of the present. We had no shared his­tory and we had no rea­son to spend all our time to­ gether. But we did. Our friend­ship in­ten­si­fied as all our friends had chil­dren – she, like me, was un­con­vinced about hav­ing kids. And she, like me, found her­self in a re­la­tion­ship in her early thir­ties where they weren’t specif­i­cally work­ing to­wards start­ing a fam­ily. By the time I was thirty-four, Sarah was my only good friend who hadn’t had a baby. Ev­ery time there was an­other preg­nancy an­nounce­ment from a friend, I’d just text the words ‘And an­other one!’ and she’d know what I meant. She be­came the per­son I spent most of my free time with other than Andy, be­cause she was the only friend who had any free time. She could meet me for a drink with­out plan­ning it a month in ad­vance. Our friend­ship made me feel lib­er­ated as well as safe. I looked at her life choices with no sym­pa­thy or con­cern for her. If I could ad­mire her de­ci­sion to re­main child-free, I felt en­cour­aged to ad­mire my own. She made me feel nor­mal. As long as I had our friend­ship, I wasn’t alone and I had rea­son to be­lieve I was on the right track. We ar­ranged to meet for din­ner in Soho af­ter work on a Fri­day. The waiter took our drinks or­der and I asked for our usual – two Dirty Vodka Mar­ti­nis. ‘Er, not for me,’ she said. ‘A sparkling wa­ter, thank you.’ I was ready to make a joke about her un­char­ac­ter­is­tic ab­sti­nence, which she sensed, so as soon as the waiter left she said: ‘I’m preg­nant.’ I didn’t know what to say. I can’t imag­ine the ex­pres­sion on my face was par­tic­u­larly en­thu­si­as­tic, but I couldn’t help it – I was shocked and felt an un­war­ranted but in­tense sense of be­trayal. In a de­layed re­ac­tion, I stood up and went to her side of the ta­ble to hug her, un­able to find words of con­grat­u­la­tions. I asked what had made her change her mind and she spoke in va­garies about it ‘just be­ing the right time’ and wouldn’t elab­o­rate any fur­ther and give me an an­swer. And I needed an an­swer. I needed an an­swer more than any­thing that night. I needed to know whether she’d had a re­al­iza­tion that I hadn’t and, if so, I wanted to know how to get it. When I woke up the next day, I re­al­ized the feel­ing I was ex­pe­ri­enc­ing was not anger or jeal­ousy or bit­ter­ness – it was grief. I had no one left. They’d all gone. Of course, they hadn’t re­ally gone, they were still my friends and I still loved them. But huge parts of them had dis­ap­peared and there was noth­ing they could do to change that. Un­less I joined them in their spa­ces, on their sched­ules, with their fam­i­lies, I would barely see them. And I started dream­ing of an­other life, one com­pletely re­moved from all of it. No more chil­dren’s birth­day par­ties, no more chris­ten­ings, no more bar­be­cues in the sub­urbs. A life I hadn’t ever se­ri­ously con­tem­plated be­fore. I started dream­ing of what it would be like to start all over again. Be­cause as long as I was here in the only Lon­don I knew – mid­dle-class Lon­don, cor­po­rate Lon­don, mid-thir­ties Lon­don, mar­ried Lon­don – I was in their world. And I knew there was a whole other world out there.
Dolly Alderton (Good Material)
You know, I still feel in my wrists certain echoes of the pram-pusher’s knack, such as, for example, the glib downward pressure one applied to the handle in order to have the carriage tip up and climb the curb. First came an elaborate mouse-gray vehicle of Belgian make, with fat autoid tires and luxurious springs, so large that it could not enter our puny elevator. It rolled on sidewalks in a slow stately mystery, with the trapped baby inside lying supine, well covered with down, silk and fur; only his eyes moved, warily, and sometimes they turned upward with one swift sweep of their showy lashes to follow the receding of branch-patterned blueness that flowed away from the edge of the half-cocked hood of the carriage, and presently he would dart a suspicious glance at my face to see if the teasing trees and sky did not belong, perhaps to the same order of things as did rattles and parental humor. There followed a lighter carriage, and in this, as he spun along, he would tend to rise, straining at his straps; clutching at the edges; standing there less like the groggy passenger of a pleasure boat than like an entranced scientist in a spaceship; surveying the speckled skeins of a live, warm world; eyeing with philosophic interest the pillow he had managed to throw overboard; falling out himself when a strap burst one day. Still later he rode in one of those small contraptions called strollers; from initial springy and secure heights the child came lower and lower, until, when he was about one and a half, he touched ground in front of the moving stroller by slipping forward out of his seat and beating the sidewalk with his heels in anticipation of being set loose in some public garden. A new wave of evolution started to swell, gradually lifting him again from the ground, when, for his second birthday, he received a four-foot-long, silver-painted Mercedes racing car operated by inside pedals, like an organ, and in this he used to drive with a pumping, clanking noise up and down the sidewalk of the Kurfurstendamm while from open windows came the multiplied roar of a dictator still pounding his chest in the Neander valley we had left far behind.
Vladimir Nabokov
The people cast themselves down by the fuming boards while servants cut the roast, mixed jars of wine and water, and all the gods flew past like the night-breaths of spring. The chattering female flocks sat down by farther tables, their fresh prismatic garments gleaming in the moon as though a crowd of haughty peacocks played in moonlight. The queen’s throne softly spread with white furs of fox gaped desolate and bare, for Penelope felt ashamed to come before her guests after so much murder. Though all the guests were ravenous, they still refrained, turning their eyes upon their silent watchful lord till he should spill wine in libation for the Immortals. The king then filled a brimming cup, stood up and raised it high till in the moon the embossed adornments gleamed: Athena, dwarfed and slender, wrought in purest gold, pursued around the cup with double-pointed spear dark lowering herds of angry gods and hairy demons; she smiled and the sad tenderness of her lean face, and her embittered fearless glance, seemed almost human. Star-eyed Odysseus raised Athena’s goblet high and greeted all, but spoke in a beclouded mood: “In all my wandering voyages and torturous strife, the earth, the seas, the winds fought me with frenzied rage; I was in danger often, both through joy and grief, of losing priceless goodness, man’s most worthy face. I raised my arms to the high heavens and cried for help, but on my head gods hurled their lightning bolts, and laughed. I then clasped Mother Earth, but she changed many shapes, and whether as earthquake, beast, or woman, rushed to eat me; then like a child I gave my hopes to the sea in trust, piled on my ship my stubbornness, my cares, my virtues, the poor remaining plunder of god-fighting man, and then set sail; but suddenly a wild storm burst, and when I raised my eyes, the sea was strewn with wreckage. As I swam on, alone between sea and sky, with but my crooked heart for dog and company, I heard my mind, upon the crumpling battlements about my head, yelling with flailing crimson spear. Earth, sea, and sky rushed backward; I remained alone with a horned bow slung down my shoulder, shorn of gods and hopes, a free man standing in the wilderness. Old comrades, O young men, my island’s newest sprouts, I drink not to the gods but to man’s dauntless mind.” All shuddered, for the daring toast seemed sacrilege, and suddenly the hungry people shrank in spirit; They did not fully understand the impious words but saw flames lick like red curls about his savage head. The smell of roast was overpowering, choice meats steamed, and his bold speech was soon forgotten in hunger’s pangs; all fell to eating ravenously till their brains reeled. Under his lowering eyebrows Odysseus watched them sharply: "This is my people, a mess of bellies and stinking breath! These are my own minds, hands, and thighs, my loins and necks!" He muttered in his thorny beard, held back his hunger far from the feast and licked none of the steaming food.
Nikos Kazantzakis (The Odyssey: A Modern Sequel)
Now let me tell you something. I have seen a thousand sunsets and sunrises, on land where it floods forest and mountains with honey coloured light, at sea where it rises and sets like a blood orange in a multicoloured nest of cloud, slipping in and out of the vast ocean. I have seen a thousand moons: harvest moons like gold coins, winter moons as white as ice chips, new moons like baby swans’ feathers. I have seen seas as smooth as if painted, coloured like shot silk or blue as a kingfisher or transparent as glass or black and crumpled with foam, moving ponderously and murderously. I have felt winds straight from the South Pole, bleak and wailing like a lost child; winds as tender and warm as a lover’s breath; winds that carried the astringent smell of salt and the death of seaweeds; winds that carried the moist rich smell of a forest floor, the smell of a million flowers. Fierce winds that churned and moved the sea like yeast, or winds that made the waters lap at the shore like a kitten. I have known silence: the cold, earthy silence at the bottom of a newly dug well; the implacable stony silence of a deep cave; the hot, drugged midday silence when everything is hypnotised and stilled into silence by the eye of the sun; the silence when great music ends. I have heard summer cicadas cry so that the sound seems stitched into your bones. I have heard tree frogs in an orchestration as complicated as Bach singing in a forest lit by a million emerald fireflies. I have heard the Keas calling over grey glaciers that groaned to themselves like old people as they inched their way to the sea. I have heard the hoarse street vendor cries of the mating Fur seals as they sang to their sleek golden wives, the crisp staccato admonishment of the Rattlesnake, the cobweb squeak of the Bat and the belling roar of the Red deer knee-deep in purple heather. I have heard Wolves baying at a winter’s moon, Red howlers making the forest vibrate with their roaring cries. I have heard the squeak, purr and grunt of a hundred multi-coloured reef fishes. I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top. I have seen flying fish, skittering like quicksilver across the blue waves, drawing silver lines on the surface with their tails. I have seen Spoonbills flying home to roost like a scarlet banner across the sky. I have seen Whales, black as tar, cushioned on a cornflower blue sea, creating a Versailles of fountain with their breath. I have watched butterflies emerge and sit, trembling, while the sun irons their wings smooth. I have watched Tigers, like flames, mating in the long grass. I have been dive-bombed by an angry Raven, black and glossy as the Devil’s hoof. I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins. I have met a thousand animals and seen a thousand wonderful things. But— All this I did without you. This was my loss. All this I want to do with you. This will be my gain. All this I would gladly have forgone for the sake of one minute of your company, for your laugh, your voice, your eyes, hair, lips, body, and above all for your sweet, ever-surprising mind which is an enchanting quarry in which it is my privilege to delve.
Gerald Durrell
Kerah!" "Opal, finally, you little puke," Ronan said. A creature capered from between the woods, a scrawny, hollow-eyed child. She wore an oversized cable-knit sweater and a skullcap pulled down low over her short white-blond hair. Someone might have mistaken her for a human girl if not for her legs, which were densely furred and ended in hooves. "I told you, that's Chansaw's word. You have lips. Call me Ronan," he told her. The little creature threw her arms around his legs and then pranced around him in a hectic circle, her hooves leaving divots. He lifted a foot. "That was my food, come on.
Maggie Stiefvater (Call Down the Hawk (Dreamer Trilogy, #1))
Stepfather—January 6, 1980 In addition to imitation mayonnaise, fake fur, sugar substitutes and plastic that wears like iron, the nuclear family has added another synthetic to its life: step-people. There are stepmothers, stepfathers, stepsons and stepdaughters. The reception they get is varied. Some are looked upon as relief pitchers who are brought in late but are optimistic enough to try to win the game. Some are regarded as double agents, who in the end will pay for their crimes. There are few generalizations you can make about step-people, except they’re all locked into an awkward family unit none of them are too crazy about. I know. I’ve been there. Perhaps you’ve heard of me. I became a hyphenated child a few years after my “real” father died. I was the only stepchild in North America to have a stepfather who had the gall to make me go to bed when I was sleepy, do homework before I went to school, and who yelled at me for wearing bedroom slippers in the snow. My real father wouldn’t have said that. My stepfather punished me for sassing my mother, wouldn’t allow me to waste food and wouldn’t let me spend money I didn’t have. My real father wouldn’t have done that. My stepfather remained silent when I slammed doors in his face, patient when I insisted my mother take “my side” and emotionless when I informed him he had no rights. My real father wouldn’t have taken that. My stepfather paid for my needs and my whims, was there through all my pain of growing up...and checked himself out of the VA hospital to give me away at my wedding. My real father...was there all the time, and I didn’t know it. What is a “real” mother, father, son or daughter? “Real” translates to something authentic, genuine, permanent. Something that exists. It has nothing to do with labor pains, history, memories or beginnings. All love begins with one day and builds. “Step” in the dictionary translates to “a short distance.” It’s shorter than you think.
Erma Bombeck (Forever, Erma)
George listened to the radio and wondered whether that dear child Nancy would allow him to give her a fur coat. She was very proud, he knew. He didn't want to offend her. Still, she had complained of the cold. That tweed coat of hers was a cheap affair; it didn't keep the cold out. He could put it so that she wouldn't mind, perhaps... They must have another evening out soon. It was a pleasure to take a girl like that to a smart restaurant. He could see several young fellows were envying him. She was uncommonly pretty. And she liked him. To her, as she had told him, he didn't seem a bit old. He looked up and caught his wife's eye. He felt suddenly guilty, which annoyed him. What a narrow-minded, suspicious woman Maria was! She grudged him any little bit of happiness. He switched off the radio and went to bed.
Agatha Christie (The Case of the Middle-Aged Wife - a Parker Pyne Short Story)
I drink to the health of the child prodigy who finally met the gentleman with the golden ass. Vive little Sébastien, he’ll grow up. And the Schubert song that you said you only played for me, you little viper, you played it for him, your fingers melting on the notes like butter. You’re selling yourself. You’re giving yourself to a fur-trader, a man who’s going to kill seals on their sacred ground, who’s going to set traps for wolves in the wildest, most beautiful depths of the forests, who burns their territory — a merchant whom Jesus himself chased out of the temple! You’re the one who is riff-raff, not the man who kisses me on the mouth at the public pool! That’s what happens when you think you’re delicate, different from the others: you get yourself recognized by a pig. You’ve been recognized, now go lick his feet and anything else you want.
Marie-Claire Blais (The Wolf)
Chances are you’re making your way to camp with your satyr guide. Or maybe you’ve already arrived and are reading this with the hope that it’ll calm your nerves. I’d say there’s a fifty–fifty chance of that happening. But I’m getting off topic. (I do that. I have ADHD. Bet you know what that’s like.) What I’m supposed to do is explain the story behind this book. A few months ago, Chiron – he’s the immortal centaur who’s also our camp activities director – was called away to rescue two unclaimed demigods and their satyr guide. (The satyr had got himself into a sticky situation. It took him days to get his fur clean.) Anyway, Argus, our resident security guard and part-time chauffeur, drove Chiron on this mission because, well, can you imagine a centaur driving an SUV? (You can? Hmm. Maybe you’re a child of Hypnos and saw it in a dream.) Our camp director, Mr D (aka Dionysus, the god of wine), was MIA, so that left us demigods on our own. ‘Don’t destroy Half-Blood while we’re gone,’ was Chiron’s parting instruction.
Rick Riordan
Just then he heard the sweet tinkle of bells followed by the sound of four camels plodding towards him from the main roadway. Two were snowy in complexion and all four were straddled by men also dressed in white. They approached the inn and the riders drew their mounts to a halt. Guo Jing noticed the finely embroidered cushions padding the saddles. Guo Jing was a child of the steppes deserts, but white camels were rare, and he had never seen such fine animals. He could not take his eyes off them. The riders were only a few years older than him, in their early twenties he guessed, each one as delicately handsome as the last. They leaped from the camels and made for the inn. Guo Jing was enraptured by their expensive robes, fringed at the neck by the finest fox fur. One of the young men glanced toward Guo Jing, blushed and lowered his head. Another glared at him and growled, “What are you staring at, little boy?” Flustered, Guo Jing looked away. He heard them laugh. “Congratulations,” one of them mocked in a girlish voice. “He likes you.
Jin Yong (A Hero Born (Legends of the Condor Heroes, #1))
Sad understanding is what compassion means - I resign from the attempt to be happy. It’s all discrimination anyway, you value this and devalue that and go up and down but if you were like the void you’d only stare into space and in that space though you’d see stiffnecked people in their favorite various displaytory furs and armors sniffing and miffed on benches of this one-same-ferry-boat to the other shore you’d still be staring into space for form is emptiness, and emptiness is form - O golden eternity, these simperers in your show of things, take them and slave them to your truth that is forever true forever - forgive me my human floppings - I think therefore I die - I think therefore I am born - Let me be void still - Like a happy child lost in a sudden dream and when his buddy addresses him he doesnt hear, his buddy nudges him he doesnt move; finally seeing the purity and truth of his trance the buddy watches in wonder - you can never be that pure again, and jump out of such trances with a happy gleam of love, being an angel in the dream
Jack Kerouac
And she says..." I'd been fighting a losing battle with yawning for a while. I was failing fast. "I have no idea.'I'm in love with someone else'?" Nonna snorted hard enough to shake the mattress. "With who? There is no one else like Michelangelo. He is king of the sea! In love with someone else. Pah." "Okay.Fine.Tell me what she said." "Nonna leaned toward me, eyes bright. "She says, 'You do not see me.' And my bisnonno, he says, 'Of course I see you! Every day I see you by the seawall. I see you in my mind, too, in pearls and furs and silks. So, here,here I offer you these things.' And she says..." "Thank you?" "Per carita!" "'No,thank you?'" "Ah,Fiorella. I think you are not the child of my child! Rifletti. Use that good brain." "Nonna..." "She says, 'You do not see me!' And she sends him away." I wasn't sure I was getting the point. Here's an ordinary girl in ratty clothes who's going to end up a nun if she doesn't get married. Along comes a decent guy with money, promising to take her away from it all...Wasn't that where is usually faded to Happily Ever After?
Melissa Jensen (The Fine Art of Truth or Dare)
There are people in this country who will argue that because of the demise of morals in general, and Sunday school in particular, kids today are losing their innocence before they should, that because of cartoons and Ken Starr and curricula about their classmates who have two mommies, youth learn too soon about sex and death. Well, like practically everyone else in the Western world who came of age since Gutenberg, I lost my innocence the old-time-religion way, by reading the nursery rhyme of fornication that is the Old Testament and the fairy tale bloodbath that is the New. Job taught me Hey! Life's not fair! Lot's wife taught me that I'm probably going to come across a few weird sleazy things I won't be able to resist looking into. And the book of Revelation taught me to live in the moment, if only because the future's so grim. Being a fundamentalist means going straight to the source. I was asked to not only read the Bible, but to memorize Bible verses. If it wasn't for the easy access to the sordid Word of God I might have had an innocent childhood. Instead, I was a worrywart before my time, shivering in constant fear of a god who, from what I could tell, huffed and puffed around the cosmos looking like my dad did when my sister refused to take her vitamins that one time. God wasn't exactly a children's rights advocate. The first thing a child reading the Bible notices is that you're supposed to honor your mother and father but they're not necessarily required to reciprocate. This was a god who told Abraham to knife his boy Isaac and then at the last minute, when the dagger's poised above Isaac's heart, God tells Abraham that He's just kidding. This was a god who let a child lose his birthright because of some screwball mix-up involving fake fur hands and a bowl of soup. This was a god who saw to it that his own son had his hands and feet nailed onto pieces of wood. God, for me, was not in the details. I still set store by the big Judeo-Christian messages. Who can argue with the Ten Commandments? Don't kill anybody: don't mess around with other people's spouses: be nice to your mom and dad. Fine advice. It was the minutiae that nagged me.
Sarah Vowell (Take the Cannoli)
I here behold a Commander in Chief who looks idle and is always busy; who has no other desk than his knees, no other comb than his fingers; constantly reclined on his couch, yet sleeping neither in night nor in daytime. A cannon shot, to which he himself is not exposed, disturbs him with the idea that it costs the life of some of his soldiers. Trembling for others, brave himself, alarmed at the approach of danger, frolicsome when it surrounds him, dull in the midst of pleasure, surfeited with everything, easily disgusted, morose, inconstant, a profound philosopher, an able minister, a sublime politician, not revengeful, asking pardon for a pain he has inflicted, quickly repairing an injustice, thinking he loves God when he fears the Devil; waving one hand to the females that please him, and with the other making the sign of the cross; receiving numberless presents from his sovereign and distributing them immediately to others; preferring prodigality in giving, to regularity in paying; prodigiously rich and not worth a farthing; easily prejudiced in favor of or against anything; talking divinity to his generals and tactics to his bishops; never reading, but pumping everyone with whom he converses; uncommonly affable or extremely savage, the most attractive or most repulsive of manners; concealing under the appearance of harshness, the greatest benevolence of heart, like a child, wanting to have everything, or, like a great man, knowing how to do without; gnawing his fingers, or apples, or turnips; scolding or laughing; engaged in wantonness or in prayers, summoning twenty aides de camp and saying nothing to any of them, not caring for cold, though he appears unable to exist without furs; always in his shirt without pants, or in rich regimentals; barefoot or in slippers; almost bent double when he is at home, and tall, erect, proud, handsome, noble, majestic when he shows himself to his army like Agamemnon in the midst of the monarchs of Greece. What then is his magic? Genius, natural abilities, an excellent memory, artifice without craft, the art of conquering every heart; much generosity, graciousness, and justice in his rewards; and a consummate knowledge of mankind. There
Robert K. Massie (Catherine the Great: Portrait of a Woman)
The dumpkeeper had spawned nine daughters and named them out of an old medical dictionary gleaned from the rubbish he picked. These gangling progeny with black hair hanging from their armpits now sat idle and wide-eyed day after day in chairs and crates about the little yard cleared out of the tips while their harried dam called them one by one to help with chores and one by one they shrugged or blinked their sluggard lids. Uretha, Cerebella, Hernia Sue. They moved like cats and like cats in heat attracted surrounding swains to their midden until the old man used to go out at night and fire a shotgun at random just to clear the air. He couldn't tell which was the oldest or what age and he didn’t know whether they should go out with boys or not. Like cats they sensed his lack of resolution. They were coming and going all hours in all manner of degenerate cars, a dissolute carousel of rotting sedans and niggerized convertibles with bluedot taillamps and chrome horns and foxtails and giant dice or dashboard demons of spurious fur. All patched up out of parts and lowslung and bumping over the ruts. Filled with old lanky country boys with long cocks and big feet.
Cormac McCarthy (Child of God)
With hardly a pause she moved on again, questing. Next it was a small fish . . . then another frog . . . and then a real prize: a water-rat that squeaked and writhed and tried to bite. She crushed the life out of it and stuffed it into her mouth, paws and all. A moment later she bent her head down and regurgitated the waste – a twisted mass of fur and splintered bones. Show him this, then – always assuming that he and Jake get back from whatever adventure they’re on, that is. And say, ‘I know that women are supposed to have strange cravings when they carry a child, Eddie, but doesn’t this seem a little too strange? Look at her, questing through the reeds and ooze like some sort of human alligator. Look at her and tell me she’s doing that in order to feed your child. Any human child.’ Still he would argue. Roland knew it. What he didn’t know was what Susannah herself might do when Roland told her she was growing something that craved raw meat in the middle of the night. And as if this business wasn’t worrisome enough, now there was todash. And strangers who had come looking for them. Yet the strangers were the least of his problems. In fact, he found their presence almost comforting. He didn’t know what they wanted, and yet he did know. He had met them before, many times. At bottom, they always wanted the same thing.
Stephen King (Wolves of the Calla (The Dark Tower, #5))
A strange structure untangled itself out of the background like a hallucination, not part of the natural landscape. It was a funny-shaped, almost spherical, green podlike thing woven from living branches of trees and vines. A trellis of vines hung down over the opening that served as a door. Wendy was so delighted tears sprang to her eyes. It was her Imaginary House! They all had them. Michael wanted his to be like a ship with views of the sea. John had wanted to live like a nomad on the steppes. And Wendy... Wendy had wanted something that was part of the natural world itself. She tentatively stepped forward, almost swooning at the heavy scent of the door flowers. Languorously lighting on them were a few scissorflies, silver and almost perfectly translucent in the glittery sunlight. Their sharp wings made little snickety noises as they fluttered off. Her shadow made a few half-hearted attempts to drag back, pointing to the jungle. But Wendy ignored her, stepping into the hut. She was immediately knocked over by a mad, barking thing that leapt at her from the darkness of the shelter. "Luna!" Wendy cried in joy. The wolf pup, which she had rescued in one of her earliest stories, stood triumphantly on her chest, drooling very visceral, very stinky dog spit onto her face. "Oh, Luna! You're real!" Wendy hugged the gray-and-white pup as tightly as she could, and it didn't let out a single protest yelp. Although... "You're a bit bigger than I imagined," Wendy said thoughtfully, sitting up. "I thought you were a puppy." Indeed, the wolf was approaching formidable size, although she was obviously not yet quite full-grown and still had large puppy paws. She was at least four stone and her coat was thick and fluffy. Yet she pranced back and forth like a child, not circling with the sly lope Wendy imagined adult wolves used. You're not a stupid little lapdog, are you?" Wendy whispered, nuzzling her face into the wolf's fur. Luna chuffed happily and gave her a big wet sloppy lick across the cheek. "Let's see what's inside the house!" As the cool interior embraced her, she felt a strange shudder of relief and... welcome was the only way she could describe it. She was home. The interior was small and cozy; plaited sweet-smelling rush mats softened the floor. The rounded walls made shelves difficult, so macramé ropes hung from the ceiling, cradling halved logs or flat stones that displayed pretty pebbles, several beautiful eggs, and what looked like a teacup made from a coconut. A lantern assembled from translucent pearly shells sat atop a real cherry writing desk, intricately carved and entirely out of place with the rest of the interior. Wendy picked up one of the pretty pebbles in wonder, turning it this way and that before putting it into her pocket. "This is... me..." she breathed. She had never been there before, but it felt so secure and so right that it couldn't have been anything but her home. Her real home. Here there was no slight tension on her back as she waited for footsteps to intrude, for reality to wake her from her dreams; there was nothing here to remind her of previous days, sad or happy ones. There were no windows looking out at the gray world of London. There was just peace, and the scent of the mats, and the quiet droning of insects and waves outside. "Never Land is a... mishmash of us. Of me," she said slowly. "It's what we imagine and dream of- including the dreams we can't quite remember.
Liz Braswell (Straight On Till Morning)
He closes his eyes. What does God see? Cromwell in the fifty-fourth year of his age, in all his weight and gravitas, his bulk wrapped in wool and fur? Or a mere flicker, an illusion, a spark beneath a shoe, a spit in the ocean, a feather in a desert, a wisp, a phantom, a needle in a haystack? If Henry is the mirror, he is the pale actor who sheds no lustre of his own, but spins in a reflected light. If the light moves he is gone. When I was in Italy, he thinks, I saw Virgins painted on every wall, I saw in every fresco the sponged blood-colour of Christ's robe. I saw the sinuous tempter that winds from a branch, and Adam's face as he was tempted. I saw that the serpent was a woman, and about her face were curls of silver-gilt; I saw her writhe about the green bough, saw it sway under her coils. I saw the lamentation of Heaven over Christ crucified, angels flying and crying at the same time. I saw torturers nimble as dancers hurling stones at St Stephen, and I saw the martyr's bored face as he waited for death. I saw a dead child cast in bronze, standing over its own corpse: and all these pictures, images, I took into myself, as some kind of prophecy or sign. But I have known men and women, better than me and closer to grace, who have meditated on every splinter of the cross, till they forget who and what they are, and observe the Saviour's blood, running in the soaked fibres of the wood. Till they believe themselves no longer captive to misfortune nor crime, nor in thrall to a useless sacrifice in an alien land. Till they see Christ's cross is the tree of life, and the truth breaks inside them, and they are saved. He sands his paper. Puts down his pen. I believe, but I do not believe enough. I said to Lambert, my prayers are with you, but in the end I only prayed for myself, that I might not suffer the same death.
Hilary Mantel (The Mirror & the Light (Thomas Cromwell, #3))
Cummins marshals several forms of evidence to support the dominance theory. The first pertains to the early emergence in a child’s life of reasoning about rights and obligations, called deontic reasoning. Deontic reasoning is reasoning about what a person is permitted, obligated, or forbidden to do (e.g., Am I old enough to be allowed to drink alcoholic beverages?). This form of reasoning contrasts with indicative reasoning, which is reasoning about what is true or false (e.g., Is there really a tiger hiding behind that tree?). A number of studies find that when humans reason about deontic rules, they spontaneously adopt a strategy of seeking rule violators. For example, when evaluating the deontic rule “all those who drink alcohol must be twenty-one years old or older,” people spontaneously look for others with alcoholic drinks in their hands who might be underage. In marked contrast, when people evaluate indicative rules, they spontaneously look for confirming instances of the rule. For example, when evaluating the indicative rule “all polar bears have white fur,” people spontaneously look for instances of white-furred polar bears rather than instances of bears that might not have white fur. In short, people adopt two different reasoning strategies, depending on whether they are evaluating a deontic or an indicative rule. For deontic rules, people seek out rule violations; for indicative rules, people seek out instances that conform to the rule. These distinct forms of reasoning have been documented in children as young as 3, suggesting that reasoning emerges reliably early in life (Cummins, 1998). Perhaps not coincidentally, at age 3, children organize themselves into transitive dominance hierarchies. Moreover, young children also can reason about transitive dominance hierarchies earlier in life than they can reason transitively about other stimuli (Cummins, 1998).
David M. Buss (Evolutionary Psychology: The New Science of the Mind)
Sleepless City (Brooklyn Bridge Nocturne)" Out in the sky, no one sleeps. No one, no one. No one sleeps. Lunar creatures sniff and circle the dwellings. Live iguanas will come to bite the men who don’t dream, and the brokenhearted fugitive will meet on street corners an incredible crocodile resting beneath the tender protest of the stars. Out in the world, no one sleeps. No one, no one. No one sleeps. There is a corpse in the farthest graveyard complaining for three years because of an arid landscape in his knee; and a boy who was buried this morning cried so much they had to call the dogs to quiet him. Life is no dream. Watch out! Watch out! Watch out! We fall down stairs and eat the humid earth, or we climb to the snow’s edge with the choir of dead dahlias. But there is no oblivion, no dream: raw flesh. Kisses tie mouths in a tangle of new veins and those in pain will bear it with no respite and those who are frightened by death will carry it on their shoulders. One day horses will live in the taverns and furious ants will attack the yellow skies that take refuge in the eyes of cattle. Another day we’ll witness the resurrection of dead butterflies, and still walking in a landscape of gray sponges and silent ships, we’ll see our ring shine and rose spill from our tongues. Watch out! Watch out! Watch out! Those still marked by claws and cloudburst, that boy who cries because he doesn’t know bridges exist, or that corpse that has nothing more than its head and one shoe— they all must be led to the wall where iguanas and serpents wait, where the bear’s teeth wait, where the mummified hand of a child waits and the camel’s fur bristles with a violent blue chill. Out in the sky, no one sleeps. No one, no one. No one sleeps. But if someone closes his eyes, whip him, my children, whip him! Let there be a panorama of open eyes and bitter inflamed wounds. Out in the world, no one sleeps. No one. No one. I’ve said it before. No one sleeps. But at night, if someone has too much moss on his temples, open the trap doors so he can see in moonlight the fake goblets, the venom, and the skull of the theaters.
Federico García Lorca (Poet in New York (English and Spanish Edition))
I was never a child; I never had a childhood. I cannot count among my memories warm, golden days of childish intoxication, long joyous hours of innocence, or the thrill of discovering the universe anew each day. I learned of such things later on in life from books. Now I guess at their presence in the children I see. I was more than twenty when I first experienced something similar in my self, in chance moments of abandonment, when I was at peace with the world. Childhood is love; childhood is gaiety; childhood knows no cares. But I always remember myself, in the years that have gone by, as lonely, sad, and thoughtful. Ever since I was a little boy I have felt tremendously alone―and "peculiar". I don't know why. It may have been because my family was poor or because I was not born the way other children are born; I cannot tell. I remember only that when I was six or seven years old a young aunt of mind called me [i]vecchio[/i]―"old man," and the nickname was adopted by all my family. Most of the time I wore a long, frowning face. I talked very little, even with other children; compliments bored me; baby-talk angered me. Instead of the noisy play of the companions of my boyhood I preferred the solitude of the most secluded corners of our dark, cramped, poverty-stricken home. I was, in short, what ladies in hats and fur coats call a "bashful" or a "stubborn" child; and what our women with bare heads and shawls, with more directness, call a [i]rospo[/i]―a "toad." They were right. I must have been, and I was, utterly unattractive to everybody. I remember, too, that I was well aware of the antipathy I aroused. It made me more "bashful," more "stubborn," more of a "toad" than ever. I did not care to join in the games played by other boys, but preferred to stand apart, watching them with jealous eyes, judging them, hating them. It wasn't envy I felt at such times: it was contempt; it was scorn. My warfare with men had begun even then and even there. I avoided people, and they neglected me. I did not love them, and they hated me. At play in the parks some of the boys would chase me; others would laugh at me and call me names. At school they pulled my curls or told the teachers tales about me. Even on my grandfather's farm in the country peasant brats threw stones at me without provocation, as if they felt instinctively that I belonged to some other breed.
Giovanni Papini (Un uomo finito)
On these lands, in both the occupied places and those left to grow wild, alongside the community and the dwindling wildlife, there lived another creature. At night, he roamed the roads that connected Arcand to the larger town across the Bay where Native people were still unwelcome two centuries on. His name was spoken in the low tones saved for swear words and prayer. He was the threat from a hundred stories told by those old enough to remember the tales. Broke Lent? The rogarou will come for you. Slept with a married woman? Rogarou will find you. Talked back to your mom in the heat of the moment? Don't walk home. Rogarou will snatch you up. Hit a woman under any circumstance? Rogarou will call you family, soon. Shot too many deer, so your freezer is overflowing but the herd thin? If I were you, I'd stay indoors at night. Rogarou knows by now. He was a dog, a man, a wolf. He was clothed, he was naked in his fur, he wore moccasins to jig. He was whatever made you shiver but he was always there, standing by the road, whistling to the stars so that they pulsed bright in the navy sky, as close and as distant as ancestors. For girls, he was the creature who kept you off the road or made you walk in packs. The old women never said, "Don't go into town, it is not safe for us there. We go missing. We are hurt." Instead, they leaned in and whispered a warning: "I wouldn't go out on the road tonight. Someone saw the rogarou just this Wednesday, leaning against the stop sign, sharpening his claws with the jawbone of a child." For boys, he was the worst thing you could ever be. "You remember to ask first and follow her lead. You don't want to turn into Rogarou. You'll wake up with blood in your teeth, not knowing and no way to know what you've done." Long after that bone salt, carried all the way from the Red River, was ground to dust, after the words it was laid down with were not even a whisper and the dialect they were spoken in was rubbed from the original language into common French, the stories of the rogarou kept the community in its circle, behind the line. When the people forgot what they had asked for in the beginning - a place to live, and for the community to grow in a good way - he remembered, and he returned on padded feet, light as stardust on the newly paved road. And that rogarou, heart full of his own stories but his belly empty, he came home not just to haunt. He also came to hunt.
Cherie Dimaline (Empire of Wild)
cotton wool, decided that it was not good to eat, ran all round the table, sat up and put his fur in order, scratched himself, and jumped on the small boy’s shoulder. “Don’t be frightened, Teddy,” said his father. “That’s his way of making friends.” “Ouch! He’s tickling under my chin,” said Teddy. Rikki-tikki looked down between the boy’s collar and neck, snuffed at his ear, and climbed down to the floor, where he sat rubbing his nose. “Good gracious,” said Teddy’s mother, “and that’s a wild creature! I suppose he’s so tame because we’ve been kind to him.” “All mongooses are like that,” said her husband. “If Teddy doesn’t pick him up by the tail, or try to put him in a cage, he’ll run in and out of the house all day long. Let’s give him something to eat.” They gave him a little piece of raw meat. Rikki-tikki liked it immensely, and when it was finished he went out into the veranda and sat in the sunshine and fluffed up his fur to make it dry to the roots. Then he felt better. “There are more things to find out about in this house,” he said to himself, “than all my family could find out in all their lives. I shall certainly stay and find out.” He spent all that day roaming over the house. He nearly drowned himself in the bathtubs, put his nose into the ink on a writing table, and burned it on the end of the big man’s cigar, for he climbed up in the big man’s lap to see how writing was done. At nightfall he ran into Teddy’s nursery to watch how kerosene lamps were lighted, and when Teddy went to bed Rikki-tikki climbed up too. But he was a restless companion, because he had to get up and attend to every noise all through the night, and find out what made it. Teddy’s mother and father came in, the last thing, to look at their boy, and Rikki-tikki was awake on the pillow. “I don’t like that,” said Teddy’s mother. “He may bite the child.” “He’ll do no such thing,” said the father. “Teddy’s safer with that little beast than if he had a bloodhound to watch him. If a snake came into the nursery now–” But Teddy’s mother wouldn’t think of anything so awful. · · · Early in the morning Rikki-tikki came to early breakfast in the veranda riding on Teddy’s shoulder, and they gave him banana and some boiled egg. He sat on all their laps one after the other, because every well-brought-up mongoose always hopes to be a house mongoose some day and have rooms to run about in; and Rikki-tikki’s mother (she used to live in the general’s house at Segowlee) had carefully told Rikki what to do if ever he came across white men.
Rudyard Kipling (Rikki-Tikki-Tavi)
Chet looked like a big-eyed, potbellied, protohuman in fur-lined, duct-tape space boots - the feline love child of Gollum and Dobby the house-elf.
Christopher Moore (You Suck (A Love Story, #2))
I want no presents from the Beast,” said Father. “Is he trying to buy us off? Let him take his rich gifts back, and leave us our girl.” “Please, Father,” I said. “Think of them as presents from me. I’d like you to keep them, and think of me.” Father dropped his eyes, and reluctantly put out a hand and stroked the fur collar of his new jacket. Ger sighed. “I still don’t understand—and I don’t like not understanding. It makes me feel like a child again
Robin McKinley (Beauty: A Retelling of the Story of Beauty and the Beast)
The little boy touched his dust-streaked hand to Loretta’s hair and made a breathless “ooh” sound. He smelled like any little boy who had been hard at play, a bit sweaty yet somehow sweet, with the definite odor of dog and horse clinging to him. Blackbird concentrated on Loretta’s blue eyes, staring into them with unflinching intensity. The younger girl ran reverent fingertips over the flounces on Loretta’s bloomers, saying, “Tosi wannup,” over and over again. Loretta couldn’t help but smile. She was as strange to them as they were to her. She longed to gather them close and never let go. Friendly faces and human warmth. Their giggles made her long for home. With a throat that responded none too well to the messages from her brain, Loretta murmured, “Hello.” The sound of her own voice seemed unreal--an echo from the past. “Hi, hites.” Blackbird linked her chubby forefingers in an unmistakable sign of friendship. “Hah-ich-ka sooe ein conic?” Loretta had no idea what the child had asked until Blackbird steepled her fingers. “Oh--my house?” Loretta cupped a hand over her brow as if she were squinting into the distance. “Very far away.” Blackbird’s eyes sparkled with delight, and she burst into a long chain of gibberish, chortling and waving her hands. Loretta watched her, fascinated by the glow of happiness in her eyes, the innocence in her small face. She had always imagined Comanches, young and old, with blood dripping from their fingers. A deep voice came from behind her. “She asks how long you will eat and keep warm with us.” Startled, Loretta glanced over her shoulder to find Hunter reclining on a pallet of furs. Because he lay so low to the floor, she hadn’t seen him the first time she’d looked. Propping himself up on one elbow, he listened to his niece chatter for a moment. His eyes caught the light coming through the lodge door, glistening, fathomless. “You will tell her, ‘Pihet tabbe.’” Trust didn’t come easily to Loretta. “What does that mean?” A smile teased the corners of his mouth. “Pihet, three. Tabbe, the sun. Three suns. It was our bargain.” Relieved that she hadn’t dreamed his promise to take her home, Loretta repeated “pihet tabbe” to Blackbird. The little girl looked crestfallen and took Loretta’s hand. “Ka,” she cried. “Ein mea mon-ach.” “Ka, no. You are going a long way,” Hunter translated, pushing to his feet as he spoke. “I think she likes you.” He came to the bed and, with an indulgent smile, shooed the children away as Aunt Rachel shooed chickens. “Poke Wy-ar-pee-cha, Pony Girl,” he said as he scooped the unintimidated toddler off the furs and set her on the floor. His hand lingered a moment on her hair, a loving gesture that struck Loretta as totally out of character for a Comanche warrior. The fragile child, his rugged strength. The two formed a fascinating contrast. “She is from my sister who is dead.” Nodding toward the boy, he added, “Wakare-ee, Turtle, from Warrior.” Loretta didn’t want the children to leave her alone with their uncle. She gazed after them as they ran out the lodge door.
Catherine Anderson (Comanche Moon (Comanche, #1))
Loretta awoke shortly after dawn, alone in a cocoon of fur. She had only the haziest memory of Hunter carrying her to bed after making love to her last night. She sat up, clutching the buffalo robe to her naked breasts. Her clothing lay neatly folded on the foot of the bed, the rawhide wrappings for her braids resting on top. Her blond hair fascinated Hunter, and he had never yet made love to her without first unfastening her braids. A sad smile touched her mouth. Hunter, the typical slovenly Indian, picking up after his tosi wife. She had been so wrong about so many things. She hugged her knees and rested her chin on them, gazing sightlessly into the shadows, listening to the village sounds. A woman was calling her dog. Somewhere a child was crying. The smell of roasting meat drifted on the breeze. Familiar sounds, familiar smells, the voices of friends. When had the village begun to seem like home? Loretta closed her eyes, searching desperately within herself for her own identity and memories, but white society was no longer a reality to her. Hunter had become the axis of her world, Hunter and his people. Amy lay sleeping on her pallet a short distance away. Loretta listened to her even breathing. Amy, Aunt Rachel, home. Could she return there now and pick up the threads of her old life? The answer wasn’t long in coming. Life without Hunter would be no life at all.
Catherine Anderson (Comanche Moon (Comanche, #1))
A small brownish-gray terrier had been sitting on the brick, but he hopped to his feet as soon as he saw Bridget and gave one sharp emphatic bark. "Now hush," she said to him- not that he seemed to care. She set the tin plate down and uncovered it, revealing the scraps that Mrs. Bram had saved for her. The terrier immediately began gobbling the food as if he was starving which, sadly, he might be. "You'll choke," Bridget said sternly. The terrier didn't listen. He never did, no matter how businesslike she made her voice. Grown men- footmen- might jump to obey her, but this scrawny waif defied her. Bridget bit her lip. If she was forced to leave Hermes House, who would feed the terrier? Mrs. Bram might- if she remembered to do so- but the cook was a busy woman with other matters on her mind. The dog finished his meal and licked the plate so enthusiastically that he overturned it with a clatter. Bridget tutted and bent to pick it up. The dog thrust his short snout under her hand as she did so and she found herself stroking his head. His fur was wiry rather than silky, almost greasy, but the dog had liquid brown eyes and seemed to smile as his mouth hung open, tongue lolling out. He was very, very sweet. She'd never been allowed a pet dog as a child. Her foster father was a shepherd and had considered dogs farm animals. A pet dog wasn't even to be thought of, especially for her, the cuckoo. Housekeepers, and indeed servants of any kind, weren't allowed pets. Sometimes a cat might be kept to catch mice in the kitchens, but it was a working animal. Dogs were dirty things and required food and space that, technically, she didn't own. Bridget stood and frowned down at the dog. "Shoo now." The dog sat and slowly wagged his tail, sweeping the bricks. One of his triangular ears stood up while the other lay down.
Elizabeth Hoyt (Duke of Sin (Maiden Lane, #10))
The Witch stood on an isthmus connecting two rocky lands, and on either side of her stretch patches of cerulean blue sea, with white-lipped waves of astonishing vigor and particularity. The Witch held in her hands a beast of unrecognizable species, though it was clearly drowned, or nearly drowns. She cradled it in an arm that, without attention to actual skeletal flexibility, lovingly encircled the beast's wet, spiky-furred back. With her other hand she was freeing a breast from her robe, offering suck to the creature. Her expression was hard to read, or had the monk's hand smudged, or age and grime bestowed a sfumato sympathy? She was nearly motherly, with miserable child. Her look was inward, or sad, or something. But her feet didn't match her expression, for they were planted on the narrow strand with prehensile grip, apparent even through the silver-colored shoes, whose coin-of-the-realm brilliance had first caught Boq's eyes. Furthermore, the feet were turned out at ninety-degree angles to the shins. They showed in profile as mirror images, heels clicked together and toes pointing in opposite directions, like a stance in ballet. The gown was a hazy dawn blue.
Gregory Maguire (Wicked: The Life and Times of the Wicked Witch of the West (The Wicked Years, #1))
You will have a child, but there are no peacock feathers on his mantle. His hands are covered in gold, and he wears white fur on his shoulders – dripping with blood.
Sirius . (Condemned (The Draonir Saga, #3))
In February 1948, the Communist leader Klement Gottwald stepped out on the balcony of a Baroque palace in Prague to harangue hundreds of thousands of citizens massed in Old Town Square. That was a great turning point in the history of Bohemia. A fate­ful moment of the kind that occurs only once or twice a millennium. Gottwald was flanked by his comrades, with Clementis standing close to him. It was snowing and cold, and Gottwald was bareheaded. Bursting with solicitude, Clementis took off his fur hat and set it on Gottwald's head. The propaganda section made hundreds of thou­sands of copies of the photograph taken on the balcony where Gottwald, in a fur hat and surrounded by his comrades, spoke to the people. On that balcony the history of Communist Bohemia began. Every child knew that photograph, from seeing it on posters and in schoolbooks and museums. Four years later, Clementis was charged with trea­son and hanged. The propaganda section immediately made him vanish from history and, of course, from all photographs. Ever since, Gottwald has been alone on the balcony. Where Clementis stood, there is only the bare palace wall. Nothing remains of Clementis but the fur hat on Gottwald's head.
Milan Kundera (The Book of Laughter and Forgetting)
I was having a field day down the Westend; my deep pockets were jingling and full of money nearly every day of the week. My brother’s bird, Irene, wanted a fur coat, so I got her one by throwing a brick through the shop window and grabbing the coat off the shop dummy. Once I got to the bed-sit, I put the jacket on and waltzed in to the flat looking like Liberace, the two of them burst out laughing. Irene was like a tramp eating chips. ‘Let’s try it on, Jimmy, please?’ As she swooned around like Joan Collins with the fur coat on, she had the air of a council estate beauty queen about her.
Stephen Richards (Lost in Care: The True Story of a Forgotten Child)
Let me warn you of the need to be consistent. The cat that is prevented from coming into the house most of the time, but occasionally breaks through the barrier, will take the occasional success as impetus to always try to get in. However, if he is consistently kept out (100% of the time), he will lose the will to come in, even when the door is left open. You may scream at him, slam the door on his tail, and kick him sixty feet, but if you occasionally allow him to stay in long enough to eat scraps off the floor or sleep on the couch, he will forever risk running the gauntlet to get in. Your abuse (they mistakenly call it discipline where children are involved) may make him sufficiently wary to obey while you remain on guard, but the hairy fur-ball will still bolt through the door when he sees the opportunity.
Michael Pearl (To Train Up a Child: Turning the hearts of the fathers to the children)
White Owl turned to smile at her, and her heart began to beat wildly in her breast. For the rest of her life, she knew she would ride at his side across the vast western lands; their home would be wherever they spread their soft furs . . . and she would continue to pray that their people would all learn to live together in harmony someday. She thought of the beautiful child sleeping on her back. He was a combination of
Veronica Blake (White Owl)
You’re trying to explain the teeth, right?”  I sounded pathetic, like a child who needed reassurance.  I tried not to fidget on top of that. He gave me the reassurance I needed in one of his rare nods. Okay.  No kissing.  Just him moving closer.  He slept at the foot of my bed every night.  That was pretty close—right on my feet—and no big deal.  But he had fur on when he did that.  Now he looked... I eyed him again.  My stomach did a funny flip.  Maybe my fear wasn’t about his reaction, but mine.  I was afraid I’d forget myself.  I needed his control.  I took a deep breath. “It’s okay then.  Go ahead, explain.  I’ll behave,” I promised quietly.  I saw his mustache twitch with a quick smile.  The canines explained some of the facial hair, but the full-bearded, crazy-man look seemed overkill. After a slight hesitation, he leaned forward again while keeping his hands loose at his sides.  I pushed back the fear and held still.  He didn’t stop his slow approach until his whiskers tickled the side of my neck and collarbone.  There he paused and inhaled deeply. As soon as he inhaled, I knew what he was doing, and although I didn’t move, fear blossomed.  Heart pounding, eyes wide, I waited for him to finish scenting me as a werewolf would a potential Mate, not a distant inhale, but an up-close sample of my scent, infinitely more potent.  His warm exhale sent goose bumps skittering over my arms.  I braced myself, anticipating some type of slip in his highly-praised control.  He leisurely inhaled once more then lifted his head, exhaling as he went. With his face only inches from mine, he opened his mouth to display his teeth again.  The canines had grown even more pronounced, the surrounding gums swollen from their thickness. I didn’t know what to say.  He had canines when in his human form because of me. “So, when you’re around me, they’re worse?  I guess that means they’re like that all the time.” He shrugged and casually took a step back.  I was unsure what the shrug meant. We
Melissa Haag (Hope(less) (Judgement of the Six #1))
I used to think of you, when ye were small,” Jamie was saying to Bree, his voice very soft. “When I lived in the cave; I would imagine that I held ye in my arms, a wee babe. I would hold ye so, against my heart, and sing to ye there, watching the stars go by overhead.” “What would you sing?” Brianna’s voice was low, too, barely audible above the crackle of the fire. I could see her hand, resting on his shoulder. Her index finger touched a long, bright strand of his hair, tentatively stroking its softness. “Old songs. Lullabies I could remember, that my mother sang to me, the same that my sister Jenny would sing to her bairns.” She sighed, a long, slow sound. “Sing to me now, please, Da.” He hesitated, but then tilted his head toward hers and began to chant softly, an odd tuneless song in Gaelic. Jamie was tone-deaf; the song wavered oddly up and down, bearing no resemblance to music, but the rhythm of the words was a comfort to the ear. I caught most of the words; a fisher’s song, naming the fish of loch and sea, telling the child what he would bring home to her for food. A hunter’s song, naming birds and beasts of prey, feathers for beauty and furs for warmth, meat to last the winter. It was a father’s song—a soft litany of providence and protection. I
Diana Gabaldon (Drums of Autumn (Outlander, #4))
December, in my memory, is white as Lapland, though there were no reindeer. But there were cats. Patient, cold and callous, our hands wrapped in socks, we waited to snowball the cats. Sleek and long as jaguars and horrible-whiskered, spitting and snarling, they would slink and sidle over the white back-garden walls, and the lynx-eyed hunters, Jim and I, fur-capped and moccasined trappers from Hudson Bay, off Mumbles Road, would hurl our deadly snowballs at the green of their eyes.
Dylan Thomas (Παιδικά Χριστούγεννα στην Ουαλία)
Father and the child were no longer speaking, but they sat together in silence. The child was at his feet, and he sat, up in his throne, his eyes on the sky as well. It made her smile. They existed beneath the same stretch of stars. They loved the same night blanket above them. She looked at him, taking the opportunity to relish in his distraction to study him, his midnight hair, his pale body, only barely covered by the cloak, the fur of it distractingly like his hair, his lips just parted enough that his fangs were visible, his deep violet eyes, his long, elegant fingers, stroking the… She swallowed back pain that rose up her throat as she watched Father stroking the boy’s hair. Sitting together like that, the similarities between them were bewitching. She frowned, glancing once, disdainfully at the wavy-haired child with the slanted green eyes, walking to her Father’s throne and bending her knee in a bow. There was a sound like a chuckle, and she looked up at him. He was smiling at her. It warmed the quiet cold in her chest. “Come,” he said in his sonorous voice, and the darkness whispered with it, a thousand voices in varying degrees of age, gender, depth and lifted sweetness, all speaking together. She moved closer to him, sitting where his arm wound around her shoulder, fitting them together like childish toy blocks.
Carmen Dominique Taxer (Blood Deluge (Shades of the Sea and Flame, #2))
The propaganda section made hundreds of thousands of copies of the photograph taken on the balcony where Gottwald, in a fur hat and surrounded by his comrades, spoke to the people. On that balcony the history of Communist Bohemia began. Every child knew that photograph, from seeing it on posters and in schoolbooks and museums.
Milan Kundera (The Book of Laughter and Forgetting)
I buried my face in her fur, wrapping my arms around her neck. She waited patiently while I sobbed, my tears wetting her chest. I’d been so foolish—a child yearning for connection. And he’d taken advantage of that, letting me seek out his approval the way I’d sought my father’s. I had to be stronger than that. “I sent him away,” I told Thrana. “He lied and I told him to leave.” She let out a breath. It smelled of the ocean. A heavy paw came to rest on my back—her version of an embrace. I sagged into it, knowing that even though I loved her, it wasn’t enough for me. “You need other people,” she said, as though reading the thoughts in my head. “This is not good.” “It was the only thing I could do.” “I know. But, Lin—we were both hurt. I trust you now. You need this too.” I drew back, wiping at my cheeks with the back of my hand. “How do I find the right people? I don’t seem to be good at finding them.” She puffed up, as though proud to be giving me advice. “You make a mistake. You try again.” Her tail lashed. I let out a rueful laugh. I wished it were as simple as Thrana made it sound.
Andrea Stewart (The Bone Shard Emperor (The Drowning Empire, #2))
Ears torn, dozens of pieces of the body’s and limbs’ yellow-green fur ripped away … or chewed away—it was hard to tell—this was a rabbit that would never be cuddled by any child. It shouldn’t have been seen by a child, either.
Scott Cawthon (Gumdrop Angel: An AFK Book (Five Nights at Freddy’s: Fazbear Frights #8))
And lastly, the final departure of the great Emperor from his heroic army is presented to us by the historians as something great and characteristic of genius. Even that final running away, described in ordinary language as the lowest depth of baseness which every child is taught to be ashamed of- even that act finds justification in the historians' language. When it is impossible to stretch the very elastic threads of historical ratiocination any farther, when actions are clearly contrary to all that humanity calls right or even just, the historians produce a saving conception of "greatness." "Greatness," it seems, excludes the standards of right and wrong. For the "great" man nothing is wrong, there is no atrocity for which a "great" man can be blamed. "C'est grand!"* say the historians, and there no longer exists either good or evil but only "grand" and "not grand." Grand is good, not grand is bad. Grand is the characteristic, in their conception, of some special animals called "heroes." And Napoleon, escaping home in a warm fur coat and leaving to perish those who were not merely his comrades but were (in his opinion) men he had brought there, feels que c'est grand, and his soul is tranquil. "Du sublime (he saw something sublime in himself) au ridicule il n'y a qu'un pas," said he. And the whole world for fifty years has been repeating: "Sublime! Grand! Napoleon le Grand!" Du sublime au ridicule il n'y a qu'un pas. And it occurs to no one that to admit a greatness not commensurable with the standard of right and wrong is merely to admit one's own nothingness and immeasurable meanness. For us with the standard of good and evil given us by Christ, no human actions are incommensurable. And there is no greatness where simplicity, goodness, and truth are absent.
Leo Tolstoy (War and Peace)
For us, and for the fur children. What if the raft on which we travel with Charon is made of our own sins, and of our own generosity? What if we pay all our silver coins for that? If it is, for us the River Styx will be thick with muddy despair and our raft a rotten carcass……but for our fur children it shall be a gentle drift across a summer borne stream. A friend's rowboat….warmest sunshine…laughter…for we have many sins to build a boat with, but our fur children have none.
Finn Janis
It was like watching a pile of logs tremble and spill every which way. Hild doubted they understood a word Begu said, but despite the visitors’ Anglisc clothes and Anglisc voices-and Hild’s outlandish furs, great staff, and prominent seax-between one breath and the next they were no longer intruding seas but women like them. Or at least Begu was, and Hild, who was silent, was with child.
Nicola Griffith (Menewood (The Hild Sequence #2))
The door opens on its own, like I was told it would, and I steel my shoulders before walking over. There is a small staircase heading down into warm light, and I walk down the steps, surprised to see a meadow of blue and white flowers and waterfalls that pour down every wall, and it’s a breathtaking place to stand in. The cavern glitters with its own magic, and I can taste the magic in the air, along with the scent of the water and flowers. This place is old but familiar, and I wonder if Persephone ever stood where I did. The door shuts at the top of the stairs behind me, and I glance up at the dim lights on the ceiling, which are cut into star shapes to look like real stars in a night sky. It’s not too bright in here, just dim enough, but I don’t have to hear the door opening to sense them walking in. I head to the bottom of the stone steps, digging my toes into the thick grass. It must be some form of magic, and it certainly feels that way as my alphas walk together down the steps, in their wolf forms, and it takes my breath away to see them like this. Their wolves are large and black-furred, and red magic bounces off into the shadows with every step. It doesn’t seem real that we are finally going to be together, bonded in a way only death can stop. I’ve waited since I was a child to be their mate. Even when I couldn’t remember them, they were my entire heart. I’ve fallen for them more than once, and I fall even more with every second I spend in their arms. My alphas are mine, and I’m theirs. They are my mates. I turn and walk into the meadow, knowing they will follow me over, and they do.
G. Bailey (Her Salvation (Fall Mountain Shifters, #4))
For example, when you teach a toddler what a dog is, that child learns and can recognize dogs with ease for the rest of his or her life. For a machine to learn what a dog is, you have to train it using millions of images of dogs. After enough training, it can identify dogs with reasonable accuracy, but it still doesn’t actually know what a dog is. The machine uses what are called neural nets to analyze an image through different layers (such as a layer for size, a layer for color, a layer for shape, a layer for fur) and predict that what it is “seeing” is what it was trained to identify as a dog.
Paul Roetzer (Marketing Artificial Intelligence: Ai, Marketing, and the Future of Business)
There is one human a few miles away,” Mikhail stated. “I can detect no others. He is in the direction of Jacques’ old home. Do we go? Light was steaking the sky now, gray patches despite the dark, roiling clouds and the steady drizzle of rain. “Go, Mikhail,” Raven insisted softly. “You have to. Otherwise I would always feel I killed him. If you do not go, it will be because of me.” “You have to,” Shea added, looking into Jacques’ black eyes. He did, too; Shea felt it with great conviction. There would come a time when Jacques would remember his childhood, his great friendship with Byron, and how he had backed away from Byron’s attempt at reconciliation. He needed to do this for the sake of his own sanity. I know. His reply was a soft assent in her mind as he shared her thoughts. “I will go, Mikhail,” he said aloud. “You stay and protect the women. It is the only way.” “It could very well be a trap,” Gregori cautioned. “More than likely it is a trap. Otherwise this would be very careless on the part of one so cunning.” “That’s why all of you should go,” raven said. “Shea and I will wait here. We can destroy all evidence of her research while we wait.” Shea could not prevent the gasp that escaped her. She lifted her chin defiantly. She was not going to be intimidated by these powerful creatures. Her eyes flashed from one to the other. “I spent several years of my life gathering that data,” she said hotly. Raven caught her hand and squeezed it in warning. She tugged Shea away from Jacques and right up to the door of the cabin. “All right, Shea, we’ll talk about it.” “You are to leave this place and go to safety if the hour becomes too late or you receive warning from us,” Mikhail cautioned his lifemate. “No playing the heroine. On this I will have your word.” Raven smiled into his eyes, an intimate, tender acknowledgement. She nodded. “I would never endanger our child, my love.” Mikhail reached out and touched Raven’s face, trailing his fingertips tenderly down her skin even as his form wavered, contorted, began to snap and pop. Fur shimmered along his arms, his back. His powerful frame bent, and he leapt away, landed running, a large black wolf.
Christine Feehan (Dark Desire (Dark, #2))
You are to leave this place and go to safety if the hour becomes too late or you receive warning from us,” Mikhail cautioned his lifemate. “No playing the heroine. On this I will have your word.” Raven smiled into his eyes, an intimate, tender acknowledgement. She nodded. “I would never endanger our child, my love.” Mikhail reached out and touched Raven’s face, trailing his fingertips tenderly down her skin even as his form wavered, contorted, began to snap and pop. Fur shimmered along his arms, his back. His powerful frame bent, and he leapt away, landed running, a large black wolf.
Christine Feehan (Dark Desire (Dark, #2))
You are to leave this place and go to safety if the hour becomes too late or you receive warning from us,” Mikhail cautioned his lifemate. “No playing the heroine. On this I will have your word.” Raven smiled into his eyes, an intimate, tender acknowledgement. She nodded. “I would never endanger our child, my love.” Mikhail reached out and touched Raven’s face, trailing his fingertips tenderly down her skin even as his form wavered, contorted, began to snap and pop. Fur shimmered along his arms, his back. His powerful frame bent, and he leapt away, landed running, a large black wolf. Shea’s eyes widened, astonished at the quick change. Seeing the man becoming a wolf was incredible. Her heart was slamming so loudly she was afraid it might burst. She was uncertain whether it was from excitement and awe or from sheer terror. Jacques! It is all right, my love. To calm her he leaned close, brushed her forehead with his mouth. It is the way of our people to utilize the animals around us. It is natural for us. And it helps to protect our skin and eyes from the sun. I’m fine now, wild man. It was a shock. Shea breathed deeply to overcome her trembling. She found she was clinging to Raven’s hand and self-consciously dropped it. Jacques dropped another kiss on her forehead before he deliberately walked off the porch and into the dense forest, making sure he was out of her sight before his body began to change.
Christine Feehan (Dark Desire (Dark, #2))
I wave my arms, whimpering, spinning on the spot. The jungle is everywhere and, as I turn and see a monkey sitting on a signpost, I leap back with a yelp. He’s the size of a small child, hunched, with thick ginger fur.
Laura Coleman (The Puma Years)
As a child, Dahmer is not known to have tortured or killed animals, which is common in the childhoods of notorious killers. However, Dahmer is known to have collected, inspected, and dissected the corpses of dead animals he found in the woods or road kill from the streets near his family’s Ohio home. While escaping his parents’ fighting at home, young Dahmer rode around the slightly isolated neighborhood on his bike or hiked the woods behind his house. Dahmer was fascinated by animal corpses, the innards, the bones, and the decaying flesh. He found a bag or box, and using a stick, picked up dead animals. Once alone, he picked at the dead animal, examining its insides, removing the organs, and extracting the bones. He asked his father about using chemicals to burn away fur and flesh, thereby leaving the bones completely cleaned. His father, a chemist, believed he had a prodigy with an interest in chemistry in his midst, and so encouraged him.
Patrick Kennedy (GRILLING DAHMER: The Interrogation Of "The Milwaukee Cannibal")