Ink Lines Quotes

Now I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

Clary widened her eyes, which was good for keeping herself from crying. "Isabelle, can I ask you something?" "Sure," said Isabelle, wielding the eyeliner expertly. "Is Alec gay?" Isabelle's wrist jerked. The eyeliner skidded, inking a long line of black from the corner of Clary's eye to her hairline. "Oh hell," Isabelle said, putting the pen down.

He kissed her like he was drawing a perfectly straight line. He kissed her in India ink.

The word 'however' is like an imp coiled beneath your chair. It induces ink to form words you have not yet seen, and lines to march across the page and overshoot the margin. There are no endings. If you think so you are deceived as to their nature. They are all beginnings. Here is one.

Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head.

Tears upon tears splat on to the lined pages in my hands as I read about a nightmare come true. Quickly, I wipe away the saltwater so it won't fade the ink. Because even as my chest caves in and makes me hate the chipper birds and everything else, I know that I needed to read this today, and I need to read it again tomorrow. For me, reading is remembering.

We were fools.” “You were children. Was there no one to protect you?” “Was there anyone to protect you?” “My father. My mother. They would have done anything to keep me from being stolen.” “And they would have been mowed down by slavers.” “Then I guess I was lucky I didn’t have to see that.” How could she still look at the world that way? “Sold into a brothel at age fourteen and you count yourself lucky.” “They loved me. They love me. I believe that.” He saw her draw closer in the mirror. Her black hair was an ink splash against the white tile walls. She paused behind him. “You protected me, Kaz.” “The fact that you’re bleeding through your bandages tells me otherwise.” She glanced down. A red blossom of blood had spread on the bandage tied around her shoulder. She tugged awkwardly at the strip of towel. “I need Nina to fix this one.” He didn’t mean to say it. He meant to let her go. “I can help you.” Her gaze snapped to his in the mirror, wary as if gauging an opponent. I can help you. They were the first words she’d spoken to him, standing in the parlor of the Menagerie, draped in purple silk, eyes lined in kohl. She had helped him. And she’d nearly destroyed him. Maybe he should let her finish the job.

The boy spends most of his time reading. And writing, of course. He copies out sections of books, writes out words and symbols he does not understand at first but that become intimately familiar beneath his ink-stained fingers, formed again and again in increasingly steady lines.

Time has a different meaning for me, and these events that seem so monumental in the moment will one day be nothing more than a line in a scroll. These humans are but letters to be inked into history. A hundred years from now, I will be free. I will have forgotten their names and faces, and the struggles they have will not matter. Time has a way of burying things, shifting like the desert and swallowing entire civilizations, erasing them from map and memory. Always, in the end, everything returns to dust.

...there was practically one handwriting common to the whole school when it came to writing lines. It resembled the movements of a fly that had fallen into an ink-pot, and subsequently taken a little brisk exercise on a sheet of foolscap by way of restoring the circulation.

Line by line, moment by moment, special times are etched into our memories in the permanent ink of everlasting love in our relationships.

but paper and ink have conjuring abilities of their own. arrangements of lines and shapes, of letters and words on a series of pages make a world we can dwell and travel in.

The ink line drawing flowed the cursive journey, created on paper canvas that brought the story to life.

THE MIDDLE OF WHAT? EAST OF WHERE? THE REGION’S VERY name is based on a European view of the world, and it is a European view of the region that shaped it. The Europeans used ink to draw lines on maps: they were lines that did not exist in reality and created some of the most artificial borders the world has seen. An attempt is now being made to redraw them in blood.

The Scholars "Bald heads forgetful of their sins, Old, learned, respectable bald heads Edit and annotate the lines That young men, tossing on their beds, Rhymed out in love’s despair To flatter beauty’s ignorant ear. They’ll cough in the ink to the world’s end; Wear out the carpet with their shoes Earning respect; have no strange friend; If they have sinned nobody knows. Lord, what would they say Should their Catullus walk that way?

The atmosphere of officialdom would kill anything that breathes the air of human endeavour, would extinguish hope and fear alike in the supremacy of paper and ink.

He who would be a writer, fine, Must take a deal of pains, Must criticize his every line, And mix his ink with brains.

Afternoon experience: autographing exposed legs, outstretched in lines like matchsticks. Afternoon epiphany: Those with smooth, hairless legs would soon lose all evidence of my contact when the sweat causes the ink from the marker to run. I am ephemeral. Skepticism would be the reaction to those with thick leg hair, as their curls frazzle the lines of my name outward illegibly. Among the scaly-legged, I flaked off immediately, like I never was at all.

I do not feel it. I watch the ink bloom across my skin, guided by her careful hand, watch the little line form between her brows as she concentrates, and the others dancing around us, and the night leaned up against a window, and please remember it like this, just like this. The good part. This part is so fucking good.

Round and round the questions flew, until finally I found myself standing at the open door of a bookshop. It’s natural in times of great perplexity, I think, to seek out the familiar, and the high shelves and long rows of neatly lined-up spines were immensely reassuring. Amid the smell of ink and binding, the dusty motes in beams of strained sunlight, the embrace of warm, tranquil air, I felt that I could breathe more easily.

Don't be afraid to make corrections! Whether the voice came from her memory or was a last whisper from the blinding new star far above, Nita never knew. But she knew what to do. While Kit was still on the first part of the name she pulled out her pen, her best pen that Fred had saved and changed. She clicked it open. The metal still tingled against her skin, the ink at the point still glittered oddly- the same glitter as the ink with which the bright Book was written. Nita bent quickly over the Book and with the pen, in lines of light, drew from the final circle an arrow pointing up-ward, the way out, the symbol that said change could happen- if, only if-

Upon scanning the sky, you don't really know when one color turns into another hue. And that's sort of how I fell for you. No definitive line or moment, just a slow blend of time inked by the earth's unexplainable.

Bleak as the scene was, though, there was growing joy in Inman's heart. He was nearing home; he could feel it in the touch of thin air on skin, in his longing to see the lead of hearth smoke from the houses of people he had known all his life. People he would not be called upon to hate or fear. He rose and took a wide stance on the rock and stood and pinched down his eyes to sharpen the view across the vast propect to one far mountain. It stood apart from the sky only as the stroke of a poorly inked pen, a line thin and quick and gestural. But the shape slowly grew plain and unmistakable. It was to Cold Mountain he looked. He had achieved a vista of what for him was homeland.

Then you get the wrong answer and you can't go to the Moon that way! Nature isn't a person, you can't trick them into believing something else, if you try to tell the Moon it's made of cheese you can argue for days and it won't change the Moon! What you're talking about is rationalization, like starting with a sheet of paper, moving straight down to the bottom line, using ink to write 'and therefore, the Moon is made of cheese', and then moving back up to write all sorts of clever arguments above. But either the Moon is made of cheese or it isn't. The moment you wrote the bottom line, it was already true or already false. Whether or not the whole sheet of paper ends up with the right conclusion or the wrong conclusion is fixed the instant you write down the bottom line.

This was a face such as I had never seen before, even in the most fanciful of dreams, a face that was, in its way, a work of art. For it was light and dark, night and day, this world and the Otherworld. On the left side, the face of a youngish man, the skin weathered but fair, the eye gray and clear, the mouth well formed if unyielding in character. On all the right side, extending from an undrawn mark down the exact center, an etching of line and curve and feathery pattern, like the mask of some fierce bird of prey. An eagle? A goshawk? No, it was, I thought, a raven, even as far as the circles about the eye and the suggestion of predatory beak around the nostril. The mark of the raven. If I had not been so frightened, I might have laughed at the irony of it. The pattern extended down his neck and under the border of his leather jerkin and the linen shirt he wore beneath it. His head was completely shaven, and the skull, too, was colored the same, half-man, half-wild creature; some great artist of the inks and needle had wrought this over many days, and I imagined the pain must have been considerable.

It's 2 lines. Font like typewriter inked across the very bottom of his torso. h e l l i s e m p t y a n d a l l t h e d e v i l s a r e h e r e

It’s perfect. Blurred lines; it’s when fact and fiction become indiscernible. Fantasy and reality fade into a color of grey yarn and you become tangled up in it and can’t escape into the world of black and white you desperately need as proof of the reality of life itself.

For most digital-age writers, writing is rewriting. We grope, cut, block, paste, and twitch, panning for gold onscreen by deleting bucketloads of crap. Our analog ancestors had to polish every line mentally before hammering it out mechanically. Rewrites cost them months, meters of ink ribbon, and pints of Tippex. Poor sods.

The night following the reading, Gansey woke up to a completely unfamiliar sound and fumbled for his glasses. It sounded a little like one of his roommates was being killed by a possum, or possibly the final moments of a fatal cat fight. He wasn’t certain of the specifics, but he was sure death was involved. Noah stood in the doorway to his room, his face pathetic and long-suffering. “Make it stop,” he said. Ronan’s room was sacred, and yet here Gansey was, twice in the same weak, pushing the door open. He found the lamp on and Ronan hunched on the bed, wearing only boxers. Six months before, Ronan had gotten the intricate black tattoo that covered most of his back and snaked up his neck, and now the monochromatic lines of it were stark in the claustrophobic lamplight, more real than anything else in the room. It was a peculiar tattoo, both vicious and lovely, and every time Gansey saw it, he saw something different in the pattern. Tonight, nestled in an inked glen of wicked, beautiful flowers, was a beak where before he’d seen a scythe. The ragged sound cut through the apartment again. “What fresh hell is this?” Gansey asked pleasantly. Ronan was wearing headphones as usual, so Gansey stretched forward far enough to tug them down around his neck. Music wailed faintly into the air. Ronan lifted his head. As he did, the wicked flowers on his back shifted and hid behind his sharp shoulder blades. In his lap was the half-formed raven, its head tilted back, beak agape. “I thought we were clear on what a closed door meant,” Ronan said. He held a pair of tweezers in one hand. “I thought we were clear that night was for sleeping.” Ronan shrugged. “Perhaps for you.” “Not tonight. Your pterodactyl woke me. Why is it making that sound?” In response, Ronan dipped the tweezers into a plastic baggy on the blanket in front of him. Gansey wasn’t certain he wanted to know what the gray substance was in the tweezers’ grasp. As soon as the raven heard the rustle of the bag, it made the ghastly sound again—a rasping squeal that became a gurgle as it slurped down the offering. At once, it inspired both Gansey’s compassion and his gag reflex. “Well, this is not going to do,” he said. “You’re going to have to make it stop.” “She has to be fed,” Ronan replied. The ravel gargled down another bite. This time it sounded a lot like vacuuming potato salad. “It’s only every two hours for the first six weeks.” “Can’t you keep her downstairs?” In reply, Ronan half-lifted the little bird toward him. “You tell me.

He'd never been in my house before and I was self-conscious, embarrassed by it. I was painfully aware of the fact that we didn't have enough books. My own room was less overtly deficient-- over the years I'd insulated myself from the rest of the house (the rest of the neighborhood, the rest of Ohio) with layers of ink and paper and poetry, like a squirrel lining a nest.

My job is not to sell the books - my father does that - but to look after them. Every so often I take out a volume and read a page or two. After all, reading is looking after in a manner of speaking. Though they're not old enough to be valuable for their age alone, nor improtant enough to be sought after by collectors, my charges are dear to me, even as often as not, they are as dull on the inside as on the outside. No matter how banal the contents, there is always something that touches me. For someone now dead once thought these words significant enough to write them down. People disappear when they die. Their voice, their laughter, the warmth of their breath. Their flesh. Eventually their bones. All living memory of them ceases. This is both dreadful and natural. Yet for some there is an exception to this annihilation. For in the boooks they write they continue to exist. We can rediscover them. Their humor, their tone of voice, their moods. Through the written word they can anger you or make you happy. They can comfort you. They can perplex you. They can alter you. All this, even though they are dead. Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. I clean them, do minor repairs, keep them in good order. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head. Do they sense it, these dead writers, when their books are read? Does a pinprick of light appear in their darkness? Is their soul stirred by the feather touch of another mind reading theirs? I do hope so. For it must be very lonely being dead.

Borders are scratched across the hearts of men, by strangers with a calm, judicial pen, and when the borders bleed we watch with dread the lines of ink along the map turn red.

I taught how to be sociable with ink on paper. I told my students that when they were writing they should be good dates on blind dates, should show strangers good times. Alternatively, they should run really nice whorehouses, come one, come all, although they were in fact working in perfect solitude. I said I expected them to do this with nothing but idiosyncratic arrangements in horizontal lines of twenty-six phonetic symbols, ten numbers, and maybe eight punctuation marks, because it wasn't anything that hadn't been done before. In 1996, with movies and TV doing such good jobs of holding the attention of literates and illiterates alike, I have to question the value of my very strange, when you think about it, charm school. There is this: Attempted seductions with nothing but words on paper are so cheap for would-be ink-stained Don Juans or Cleopatras!They don't have to get a bankable actor or actress to commit to the project, and then a bankable director, and so on, and then raise millions and millions of buckareenies from manic-depressive experts on what most people want. Still and all, why bother? Here's my answer: Many people need desperately to receive this message: "I feel and think much as you do, care about many of the things you care about, although most people don't care about them. You are not alone.

She was as free as the wildflowers she loved so much. My resolve weakened further, a hairline fracture breakin' through to a fault line runnin' the length of my willpower. I was going down fast.

Thanks,” I say, stepping into the room. Do brothers thank each other? Probably not. I should have said something along the lines of, “Took you long enough, asshole.” Hoover, Colleen; Fisher, Tarryn (2015-01-07). Never Never (p. 75). Hoover Ink. Kindle Edition.

I wore you on me at all times Like I now carry my pen. Unlike your own opinion my Belongings must have a function. You bled through the ink of my lines and To be my subject nursed your thirst. Was it my fault, or your own, that you forgot —I do not deal in tender verse.

Look at that," he said. "How the ink bleeds." He loved the way it looked, to write on a thick pillow of the pad, the way the thicker width of paper underneath was softer and allowed for a more cushiony interface between pen and surface, which meant more time the two would be in contact for any given point, allowing the fiber of the paper to pull, through capillary action, more ink from the pen, more ink, which meant more evenness of ink, a thicker, more even line, a line with character, with solidity. The pad, all those ninety-nine sheets underneath him, the hundred, the even number, ten to the second power, the exponent, the clean block of planes, the space-time, really, represented by that pad, all of the possible drawings, graphs, curves, relationships, all of the answers, questions, mysteries, all of the problems solvable in that space, in those sheets, in those squares.

Bright flashes of memory sparked through Kaz’s mind. A cup of hot chocolate in his mittened hands, Jordie warning him to let it cool before he took a sip. Ink drying on the page as he’d signed the deed to the Crow Club. The first time he’d seen Inej at the Menagerie, in purple silk, her eyes lined with kohl. The bone-handled knife he’d given her. The sobs that had come from behind the door of her room at the Slat the night she’d made her first kill. The sobs he’d ignored. Kaz remembered her perched on the sill of his attic window, sometime during that first year after he’d brought her into the Dregs. She’d been feeding the crows that congregated on the roof. “You shouldn’t make friends with crows,” he’d told her. “Why not?” she asked. He’d looked up from his desk to answer, but whatever he’d been about to say had vanished on his tongue. The sun was out for once, and Inej had turned her face to it. Her eyes were shut, her oil-black lashes fanned over her cheeks. The harbor wind had lifted her dark hair, and for a moment Kaz was a boy again, sure that there was magic in this world. “Why not?” she’d repeated, eyes still closed. He said the first thing that popped into his head. “They don’t have any manners.” “Neither do you, Kaz.” She’d laughed, and if he could have bottled the sound and gotten drunk on it every night, he would have. It terrified him.

Magnus stopped dead. The room was illuminated only by a reading lamp; all the other light came from outside the windows. Alec was painted with streetlights and moonlight, shadows curling around his biceps and the slender indentations of his collarbones, his torso all smooth, sleek, bare skin until the dark line of his jeans. There were runes on the flat planes of his stomach and the silvery scars of old Marks snaked around his ribs, with one on the ridge of his hip. His head was bowed, his hair black as ink, his luminously pale skin white as paper. He looked like a piece of art, chiaroscuro, beautifully and wonderfully made. Magnus had heard the story of how the Nephilim were created many times. They must have forgotten to leave out the bit that said: And the Angel descended from on high and gave his chosen ones fantastic abs.

Georgie," he said. Then he kissed her. That was it, really. That was when she added Neal to the list of things she wanted and needed and was bound to have someday. That's when she decided that Neal was the person who was going to drive on those overnight trips. And Neal was the one who is going to sit next to her at the Emmys. He kissed her like he was drawing a perfectly straight line. He kissed her in India ink.

Somehow, something changed. Something unspoken passed between us. I took my time exploring his body in a way I hadn't done before. I traced every line, every curve, and savored the feel of his skin beneath my lips and fingertips. We took our time, and enjoyed a tenderness I'd never experienced before. For the first time in my life, I made love.

Dear reader who finds this, if I am gone, My name is Jinny I lived here on this island. I loved it. I stayed. I held on. Then, after a pause, Jinny added a line. She'd never be able to write it in ink, bit it was there all the same, a ghost in the letter. As she slid the piece of paper into her pocket, she whispered it aloud. I held on Too long.

Don’t write with a pen. Ink tends to give the impression the words shouldn’t be changed. Write with what gives you the most sensual satisfaction. Write in a hard-covered notebook with green lined pages. Green is easy on the eyes. Blank white pages seems to challenge you to create the world before you start writing. It may be true that you, the modern poet, must make the world as you go, but why be reminded of it before you even have one word on the page? Don’t erase. Cross out rapidly and violently, never with slow consideration if you can help it. Start, as some smarty once said, in the middle of things. Play with syntax. Never want to say anything so strongly that you have to give up the option of finding something better – if you have to say it, you will. Read your poem aloud many times. If you don’t enjoy it every time, something may be wrong. If you ask a question, don’t answer it, or answer a question not asked, or defer. (If you can answer the question, to ask it is to waste time). Maximum sentence length: seventeen words. Minimum: One. Don’t be afraid to take emotional possession of words. If you don’t love a few words enough to own them, you will have to be very clever to write a good poem.

Set a pen to a dream, and the colour drains from it. The ink with which we write seems diluted with something holding too much of reality, and we find that after all we cannot delineate the incredible memory. It is as if our inward selves, released from the bonds of daytime and objectivity, revelled in prisoned emotions which are hastily stifled when we translate them. In dreams and visions lie the greatest creations of man, for on them rests no yoke of line or hue. Forgotten scenes, and lands more obscure than the golden world of childhood, spring into the sleeping mind to reign until awakening puts them to rout.

without repercussion.  Without rejection. Without heartache.

Thank God.

He would enjoy exploring each and every inked line with his tongue. Yeah, Mr. Ball Cap would do just fine.

As I began reconsidering my recently adopted “single forever” mantra,

Oh, Narcissus! My heart beats ink for you. A pulse in every line. It's your eyes my words want to be read by, your kind of mind they would be understood by, your heart they'd be felt by, and then you'd feel the same way that I do, if only these words could be read or heard by you.

many red devils ran from my heart and out upon the page, they were so tiny the pen could mash them. And many struggled in the ink. It was strange to write in this red much of things from my heart.

Nothing Here is Enough” I need a parrot, identical days, a quantity of needles, and artificial ink to make history. I need veiled eyelids, black lines, and ruined puppets to make geography. I need a sky wider than longing, and water that is not H2O to make wings. The days are no longer enough to distinguish the missing. I no longer see you because I no longer dream. I offer a tear to the rain as if scattering you in the Dead Sea, and in order to sing you, I need glass to muffle the sound.

I’d always believed that the truth of a person was easily spotted, a line drawn in dark ink on white paper. Now, I wonder. Maybe the truth of who we are lies hidden in all those shades of gray that everyone talks about.

Madame de Cintre's face had, to Newman's eye, a range of expression as delightfully vast as the wind-streaked, cloud-flecked distance on a Western prairie. But her mother's white, intense, respectable countenance, with its formal gaze, and its circumscribed smile, suggested a document signed and sealed; a thing of parchment, ink, and ruled lines.

Your basic-type jailhouse tatt is homemade with sewing needles from the jailhouse canteen and some blue ink from the cartridge of a fountain pen promoted from the breast pocket of an unaltert public defender, is why the jailhouse genre is always the same night-sky blue. The needle is dipped in the ink and jabbed as deep into the tattooee as it can be jabbed without making him recoil and fucking up your aim. Just a plain ultraminimal blue square like Gately's got on his right wrist takes half a day and hundreds of individual jabs. How come the lines are never quite straight and the color's never quite all the way solid is it's impossible to get all the individualized punctures down to the same uniform deepness in the, like, twitching flesh. This is why jailhouse tatts always look like they were done by sadistic children on rainy afternoons.

She kept thinking that a time like this required words-one million lines of type, laid out perfectly, with no ink stains, no backward letters-to say what should be said. But that couldn't happen, and she didn't know what else to put in its place.

You need only one taste of madness, and the timeless journey can be spent in thoughts that follow behind like the fiery tail of a comet. And this glowing chaos, the soul will carry under the linings of its peace, to weave beautiful memories with.

...she sometimes felt so alone she worried she might vanish like the ink in an overused book. But here, with wildlife all around her and magic sweet in the air like good cider, she felt her lines and colours returning, her edges darkening, her core filling in.

I care not how humble your bookshelf may be, nor how lowly the room which it adorns. Close the door of that room behind you, shut off with it all the cares of the outer world, plunge back into the soothing company of the great dead, and then you are through the magic portal into that fair land whither worry and vexation can follow you no more. You have left all that is vulgar and all that is sordid behind you. There stand your noble, silent comrades, waiting in their ranks. Pass your eye down their files. Choose your man. And then you have but to hold up your hand to him and away you go together into dreamland. Surely there would be something eerie about a line of books were it not that familiarity has deadened our sense of it. Each is a mummified soul embalmed in cere-cloth and natron of leather and printer's ink. Each cover of a true book enfolds the concentrated essence of a man. The personalities of the writers have faded into the thinnest shadows, as their bodies into impalpable dust, yet here are their very spirits at your command.

We can ask and ask but we can't have again what once seemed ours forever—the way things looked, that church alone in the fields, a bed on a belfry floor, a remembered voice, the touch of a hand, a loved face. They've gone and you can only wait for the pain to pass. All this happened so long ago. And I never returned, never wrote, never met anyone who might have given me news of Oxgody. So, in memory, it stays as I left it, a sealed room furnished by the past, airless, still, ink long dry on a put-down pen. But this was something I knew nothing of as I closed the gate and set off across the meadow.

I grew up poor among poor people in a poor town, but I never knew how poor I'd been until I moved to New York. These women with their fresh produce and diamonds and manicures. Even their skin was expensive. What got to me about them wasn't just the way they made me suddenly self-conscious about the ink under my fingernails or the haircut I gave myself in my own bathroom. It wasn't just that they'd spend more in one evening on chocolate, escarole, and jam than I did on the rice and beans and film and photo paper I needed for a week. What enraged me is that they didn't, couldn't, see me. I was less than a machine to them, less than a body. I did not even appear in their line of sight. I was nothing more than a couple of chanted phrases: Cash or charge? Paper or plastic? Thank you, have a nice night.

Sometimes there’s a single line in a book, or a sentence, or an entire paragraph that gives you pause, makes you think, makes you open that page over and over just so you see the same few words again and again. Relive them. Rethink them. These are the pages that connect to the part of the spine that has the least amount of ink, the most damage.

There are eight worlds, the first one said. They lie side by side, in degrees of perfection. This world is the most perfect one. Below these lines, written in a different ink, was: There is one single world, divided into three levels which are partitioned off from each other by greased membranes. Then in red ink: There are two worlds and they overlap. The first is the land of Day, which belongs to the humans. The second is the land of Twilight, which belongs to the free folk, and of which the woods is a little backwater part. Both lands must obey Time, but the Twilight is ruled by the Heart, whereas the Day is ruled by Thought. At the bottom of the page, large block letters proclaimed: ALL OF THIS IS TRUE.

Peeling aside the saran wrap on his thigh, he guided Zee’s lips to kiss the fresh, raised black lines of his signature. “You signed it,” he said softly. “It’s yours. But you owe me.

Cook was then very handsome in a fey English way and dressed in floor-length, striped djellaba. In the role of the dead-eyed Spiggott, he intoned lines like “You fill me with inertia,” while appearing utterly indifferent to the beauties who danced in attendance. It was a scene that might have provided the basic blueprint for what would later become the Pet Shop Boys’ career.

Caz cups my face with one steady, slender hand and traces a gentle line down my cheek, and my mind—my mind teeters toward oblivion. My breathing betrays me. His ink-black eyes lock on mine, and I am staring up at him, half in shock and maybe awe. He’s unreasonably beautiful and he’s so close it makes me ache and I want him closer still. I want him even though I shouldn’t. I want him to want me too.

His eyes go soft as they bounce over the words, following the path of the pen I used to ink each letter on the signature line.  “Kennedy.” “I do.” I chuckle a bit at those two words that got us here in the first place.  “Really?” “So much, Isaiah.” He finally takes his eyes off the page to look at me. “I love you,” I tell him, using the same words he found written on the signature line of our divorce papers. “It may have taken me a bit longer to allow myself to open my eyes and see it, but there’s no doubt in my mind that I love you. Every part of you. The parts you show everyone and the parts you show only me.

Perhaps the rivers of ink that have been expended discussing the nature of the “continuous” over the centuries, from Aristotle to Heidegger, have been wasted. Continuity is only a mathematical technique for approximating very finely grained things. The world is subtly discrete, not continuous. The good Lord has not drawn the world with continuous lines: with a light hand, he has sketched it in dots, like the painter Georges Seurat.

My own room was less overtly deficient— over the years I'd insulated myself from the rest of the house (the rest of the neighborhood, the rest of Ohio) with layers of ink and paper and poetry, like a squirrel lining a nest.

She recognizes the cramped handwriting, the internecine, slashing script. She has studied it under the gaze of the Institute Librarian, in locked rooms -- she even, in the early, giddy days of her conversion, practiced Fulton's handwriting for hours. Knows the ink. . . . Here it is now, on the familiar notebook paper Fulton preferred. She tracked down the manufacturer once; they have a plant across the river where they still turn out the Fontaine line.

Then I lean back and take in the side of her, every speck of flesh, every freckle, every line of ink she has. So fucking gorgeous I can't stand it. I feel like I'm about to combust. I want her so badly that my body is throbbing, my veins pulsating with desire and need. The need to be with her. Forever. And ever. And ever. And when I open my mouth to say it, this time it's different - this time it means more than the first time I said it, because I know I can say it and it'll be welcomed not feared. "I love you too, Violet Hayes," I whisper then let my lips crash against her showing her with my mouth just how much I mean it. God, do I fucking mean it. More than anything else in my life.

When finally the sky grew ink-black, the trees were visible only as their swaying branches blotted out the stars that crossed in blazing showers, as sometimes they do. The language of the stars, seldom read and heeded less, told beautifully and in silence of all the victories that had ever been won and all the defeats ever suffered. In uncountable lines of light across the widest sphere, the stars spoke of everything notable even down to a leaf blowing rhythmically in the wind.

On the whiteboard next to him, the Sheikh drew a line. Next to it, he sketched a circle. The line represented your space, the environment in which you find yourself. The space could be anywhere - a well, a prison cell, a state ruled by a despot, or a foreign country. Next he pointed to the circle. That symbolised the cycle of a Muslim's life, the steady bit of night and day, ticking away, for as long as God chose to keep you on this earth. The space you found yourself in was not in your control, said Akram. The cycle was. Your circumstances were given to you by Allah; using the cycle of your days to practice taqwa, or love and awe of God, was your job. Tend to this cycle of faith, said Akram, rather than worrying about your circumstances.

Letting go of my hand, he reached up to touch my face, thumb brushing across the line Vragi’s knife had left on my cheek. “Where is your husband?" What makes you think I’m wed?” I demanded, but he only turned and walked up the slope, ­toward a horse I hadn’t even been aware was tied to a tree. He pulled on a shirt before glancing back at me. “Your ring. Now, where might I find him?” Instinctively I tucked my hand, which bore a plain silver band, into the folds of my skirts. “Why do you wish to know where he is?” "Because I’m going to kill him. I’m going to make you a free woman so that you can bed me with no concerns for propriety,” he answered, tightening the girth before swinging onto the tall animal’s back. “What other reason could there be?

Desperately trying to remember her manners, she curtseyed and murmured, "Your Grace." The smile lines at his eyes deepened subtly. "You appear to be in need of rescue. Why don't you come inside with me, away from this riffraff? The duchess is eager to meet you." As Pandora hesitated, thoroughly intimidated, he assured her. "I'm quite trustworthy. In fact, I'm very nearly an angel. You'll come to love me in no time." "Take heed," Lord St. Vincent advised Pandora sardonically, fastening the loose sides of his vest. "My father is the pied piper of gullible women." "That's not true," the duke said, "The non-gullible ones follow me as well." Pandora couldn't help chuckling. She looked up into silvery-blue eyes lit with sparks of humor and playfulness. There was something reassuring about his presence, the sense of a man who truly liked women. When she and Cassandra were children, they had fantasized about a handsome father who would lavish them with affection and advice, and spoil them just a little, but not too much. A father who might have let them stand on his feet to dance. This man looked very much like the one Pandora had imagined. She moved forward and took his arm. "How was your journey, my dear?" the duke asked as he escorted her into the house. Before Pandora could reply, Lord St. Vincent spoke from behind them. "Lady Pandora doesn't like small talk, Father. She would prefer to discuss topics such as Darwin, or women's suffrage." "Naturally an intelligent young woman would wish to skip over mundane chitchat," the duke said, giving Pandora such an approving glance that she fairly glowed. "However," he continued thoughtfully, "most people need to be guided into a feeling of safety before they dare reveal their opinions to someone they've only just met. There's a beginning to everything, after all. Every opera has its prelude, every sonnet its opening quatrain. Small talk is merely a way of helping a stranger to trust you, by first finding something you can both agree on." "No one's ever explained it that way before," Pandora said with a touch of wonder. "It actually makes sense. But why must it be so often about weather? Isn't there something else we all agree on? Runcible spoons- everyone likes those, don't they? And teatime, and feeding ducks." "Blue ink," the duke added. "And a cat's purr. And summer storms- although I suppose that brings us back to weather." "I wouldn't mind talking about weather with you, Your Grace," Pandora said ingenuously. The duke laughed gently. "What a delightful girl.

He handed Mae a piece of paper, on which he'd written, in crude all capitals, a list of assertions under the headline "The Rights of Humans in a Digital Age." Mae scanned it, catching passages: "We must all have the right to anonymity." "Not every human activity can be measured." "The ceaseless pursuit of data to quantify the value of any endeavour is catastrophic to true understanding." "The barrier between public and private must remain unbreachable." At the end she found one line, written in red ink: "We must all have the right to disappear.

If someone doesn't like you because they tell others, "you come off as being" one way or another, they obviously haven't taken time to even know you, much less form a valid reason to dislike you. Bottom line, their opinion does not matter. Focus on the real ones in your life.

Nuryevet wasn't a real thing--it was a story that people told one another. An idea they constructed in fantasy and then in stone and mortar, in lines of ink in labyrinthine law books, in cities and roads. It was a map, if you will, drawn on a one-to-one scale and laid out over the whole landscape like so much smothering cloth. So when I say there was nothing in Nuryevet worth saving, that's what I mean: the story wasn't worth saving, and none of its monstrous whelps were either--the government, their methods, the idea that they could feed their poor to the story like cattle to a sea monster so the wealthy could eat its leavings.

This leads me to the Higher Editing. Take of well-ground Indian Ink as much as suffices and a camel-hair brush proportionate to the inter-spaces of your lines. In an auspicious hour, read your final draft and consider faithfully every paragraph, sentence and word, blacking out where requisite. Let it lie by to drain as long as possible. At the end of that time, re-read and you should find that it will bear a second shortening. Finally, read it aloud alone and at leisure. Maybe a shade more brushwork will then indicate or impose itself. If not, praise Allah and let it go, and ‘when thou hast done, repent not.’ The shorter the tale, the longer the brushwork and, normally, the shorter the lie-by, and vice versa. The longer the tale, the less brush but the longer lie-by. I have had tales by me for three or five years which shortened themselves almost yearly. The magic lies in the Brush and the Ink. For the Pen, when it is writing, can only scratch; and bottled ink is not to compare with the ground Chinese stick. Experto crede.

Can you hear me? Sighing. You were right. My requiem is well prepared. Still to be written is the poem that is never complete, an endless rubbing on the ink block, an endless dipping of the pen, an endless swoop over the white paper, the poem of my life. I will try to write it down. Soon, no, now, I will try. The first line. I called him Necktie. I will write: He taught me to see with eyes of feeling.

Harry would take off his coat, remove his cravat, roll up his shirt-sleeves, give his curly hair the right touch before the glass, get out his book on engineering, his boxes of instruments, his drawing paper, his profile paper, open the book of logarithms, mix his India ink, sharpen his pencils, light a cigar, and sit down at the table to "lay out a line," with the most grave notion that he was mastering the details of engineering.

ls the Conjugial Angel stone That here he stands with heavy head The backward-looking pillared dead Inert, moss-covered, aIl alone? The Holy Ghost trawls ln the Void, With fleshly Sophy on His Hook The Sons of God crowd round to look At plumpy limbs to be enjoyed The Greater Man casts out the line With dangling Sophy as the lure Who howls around the Heavens' colure To clasp the Human Form Divine Rose-petals fall from fallen hair That in the clay is redolent Of liquid oozings and the scent Of the dark Pit, the Beastly lair And is my Love become the beast That was, and is not, and yet is, Who stretches scarlet holes to kiss And clasps with claws the fleshly feast Sweet Rosamund, adult'rous Rose May lie inside her urn and stink Whlle Alfred's tears tum into ink And drop into her quelque-chose The Angel spreads his golden wings And raises high his golden cock And man and wife together lock Into one corpse that moans and sings

An oceanic expanse of pre-dawn gray white below obscures a checkered grid of Saskatchewan, a snow plain nicked by the dark, unruly lines of woody swales. One might imagine that little is to be seen from a plane at night, but above the clouds the Milky Way is a dense, blazing arch. A full moon often lights the planet freshly, and patterns of human culture, artificially lit, are striking in ways not visible in daylight. One evening I saw the distinctive glows of cities around Delhi diffused like spiral galaxies in a continuous deck of stratus clouds far below us. In Algeria and on the Asian steppes, wind-whipped pennants of gas flared. The jungle burned in incandescent spots in Malaysia and Brazil. One clear evening at 20,000 feet over Manhattan, I could see, it seemed, every streetlight halfway to the end of Long Island. A summer lightning bolt unexpectedly revealed thousands of bright dots on the ink-black veld of the northern Transvaal: sheep.

Those who wanted to change the world were certain to do great harm to it, while those who loved the world as they found it, those who shunned politics and theories, might discover in themselves a grace to match that of the sea; they might live a life that would be a beautiful line of calligraphy written not in ink, but in sunshine and mist, written in the wake carved in the water as you navigated the face of a wave, every trace of it gone with you when you left the planet, no stain or wreckage left behind.

I made a little book, in which I allotted a page for each of the virtues. I rul’d each page with red ink, so as to have seven columns, one for each day of the week, marking each column with a letter for the day. I cross’d these columns with thirteen red lines, marking the beginning of each line with the first letter of one of the virtues, on which line, and in its proper column, I might mark, by a little black spot, every fault I found upon examination to have been committed respecting that virtue upon that day.

Rich men spent small fortunes in engaging artists to make the most beautiful books ever known. A corps of papermakers, calligraphers, painters, and bookbinders in some cases worked for seventeen years on one volume. Paper had to be of the best; brushes were put together, we are told, from the white neck hairs of kittens not more than two years old; blue ink was sometimes made from powdered lapis lazuli, and could be worth its weight in gold; and liquid gold was not thought too precious for some lines or letters of design or text.

Go get her,' Amren hissed. 'Right now.' 'No,' I said, and hated the word. They gaped at me, and I wanted to roar at the sight of the blood coating them, at my unconscious and suffering brothers on the carpet before them. But I managed to say to my cousin, 'Weren't you listening to what Feyre said to him? She promised to destroy him- from within.' Mor's face paled, her magic flaring on Azriel's chest. 'She's going into that house to take him down. To take them all down.' I nodded. 'She is now a spy- with a direct line t me. What the King of Hybern does, where he goes, what his plans are, she will know. And report back.' Far between us, faint and soft, hidden so none might find it... between us lay a whisper of colour, and joy, of light and shadow- a whisper of her. Our bond. 'She's your mate,' Amren bit at me. 'Not your spy. Go get her.' 'She is my mate. And my spy,' I said too quietly. 'And she is the High Lady of the Night Court.' 'What?' Mor whispered. I caressed a mental finger down that bond now hidden deep, deep within us, and said, 'If they had removed her other glove, they would have seen a second tattoo on her right arm. The twin to the other. Inked last night, when we crept out, found a priestess, and I swore her in as my High Lady.' 'Not- not consort,' Amren blurted, blinking. I hadn't seen her surprised in... centuries. 'Not consort, not wife. Feyre is High Lady of the Night Court.' My equal in every way; she would wear my crown, sit on a throne beside mine. Never sidelined, never deigned to breeding and parties and child-rearing. My queen. As if in answer, a glimmer of love shuddered down the bond. I clamped down on the relief that threatened to shatter any calm I feigned having. 'You mean to tell me,' Mor breathed, 'that my High Lady is now surrounded by enemies?' A lethal sort of calm crept over her tear-stained face. 'I mean to tell you,' I said, watching the blood clot on Cassian's wings with Amren's tending. Beneath Mor's own hands. Azriel's bleeding at least eased. Enough to keep them alive until the healer got here. 'I mean to tell you,' I said again, my power building and rubbing itself against my skin, my bones, desperate to be unleashed upon the world, 'that your High Lady made a sacrifice for her court- and we will move when the time is right.' Perhaps Lucien being Elain's mate would help- somehow, I'd find a way. And then I'd assist my mate in ripping the Spring Court, Ianthe, those mortal queens, and the King of Hybern to shreds. Slowly. 'Until then?' Amren demanded. 'What of the Cauldron- of the book?' 'Until then,' I said, staring toward the door as if I might see her walk through it, laughing and vibrant and beautiful, 'we got to war.

The bottom of the sea was aflame with a vast bloody glow that spread beneath the schooner; the light slid under the keel and illuminated the sails and rigging from below. It was as though we were on a boat in the Drury Lane Theatre, lighted by an invisible row of flares. ‘Phosphorescence?’ I ventured. ‘Look,’ whispered Jellewyn. The water had become as transparent as glass. At an enormous depth, we saw great dark masses with unreal shapes: there were manors with immense towers, gigantic domes, horribly straight streets lined with frenzied houses. We appeared to be flying over a furiously busy city at an incredible height. ‘There seems to be movement,’ I said. ‘Yes.’ We could see a swarming crowd of amorphous beings engaged in some sort of feverish and infernal activity. ‘Get back!’ Jellewyn shouted, pulling me violently by the belt. One of those beings was rising toward us with astounding speed. In less than a second its immense bulk had hidden the undersea city from us; it was as though a flood of ink had instantaneously spread around us. The keel received a tremendous blow. In the crimson light, we saw three enormous tentacles, three times as high as the mainmast, hideously writhing in the air. A formidable face composed of black shadows and two eyes of liquid amber rose above the port side of the ship and gave us a terrifying look.

As we read through this small pile of correspondence, a curious duplicity gradually emerges. In their language, the letters are among Kierkegaard’s most outstanding achievements so far as a writer. The pen no longer pauses with the ink bleeding onto the paper; the creaky Latin syntax that once could force Kierkegaard’s language into lackluster constructions is here replaced by a beguiling suppleness that lifts the lines from the page. They steal gently around their subject and draw on well-known Danish writers, such as Johannes Ewald, Jens Baggesen, Adam Oehlenschläger, Christian Winter, and Poul Martin Møller. Far from being ordinary communication, these letters are art. Therein lies the triumph and the tragedy. For the letters, by virtue of their undeniably aesthetic quality, almost cry out to the writer that a husband is not at all what he is to become, but an author. This makes them in effect letters of “farewell that try, with great discretion and an ingenious indirectness, to make the recipient understand that the man who celebrates her up and down the page has long ago vanished from her life because he has lost himself in recollection of her. His love is bound in artifice and imagination, and he has to accept the truth of the situation, that he is in real life unsuited to the married state. From the recollection that gives life to imagination there spreads also the death that parts the lovers.

Fortunately that’s now changing. Today a magazine article from Working Mother magazine hangs framed on my wall. It reads: The Spirited Child with Spirited hand written in red ink and the word difficult crossed out with a thick black line. It thrills me to see it, to realize that the language, used to describe children who are “more,” is finally changing. Thinking about the words we use to describe a child may seem silly and unnecessary to many, but the research demonstrates that our expectations and attitude strongly influence how we respond to a child. Our words do make a difference. In fact they make us act differently—more friendly, supportive, and informative—and as a result the kids are more successful.

I want a love like me thinking of you thinking of me thinking of you type love or me telling my friends more than I've ever admitted to myself about how I feel about you type love or hating how jealous you are but loving how much you want me all to yourself type love or seeing how your first name just sounds so good next to my last name. and shit- I wanted to see how far I could get without calling you and I barely made it out of my garage. See, I want a love that makes me wait until she falls asleep then wonder if she's dreaming about us being in love type love or who loves the other more or what she's doing at this exact moment or slow dancing in the middle of our apartment to the music of our hearts. Closing my eyes and imagining how a love so good could just hurt so much when she's not there and shit I love not knowing where this love is headed type love. And check this- I wanna place those little post-it notes all around the house so she never forgets how much I love her type love then not have enough ink in my pen to write all the love type love and hope I make her feel as good as she makes me feel and I wanna deal with my friends making fun of me the way I made fun of them when they went through the same kind of love type love. The only difference is this is one of those real type loves and just like in high school I wanna spend hours on the phone not saying shit and then fall asleep and then wake up with her right next to me and smell her all up in my covers type love and I wanna try counting the ways I love her then lose count in the middle just so I could start all over again and I wanna celebrate one of those one-month anniversaries even though they ain't really anniversaries but doing it just 'cause it makes her happy type love and check this- I wanna fall in love with the melody the phone plays when our numbers dial in type love and talk to you until I lose my breath, she leaves me breathless, but with the expanding of my lungs I inhale all of her back into me. I want a love that makes me need to change my cell phone calling plan to something that allows me to talk to her longer 'cause in all honesty, I want to avoid one of them high cell phone bill type loves and I don't want a love that makes me regret how small my hands are I mean the lines on my palms don't give me enough time to love you as long as I'd like to type love and I want a love that makes me st-st-st-stutter just thinking about how strong this love is type love and I want a love that makes me want to cut off all my hair. Well maybe not all of the hair, maybe like I'd cut the split ends and trim the mustache but it would still be a symbol of how strong my love is for her. I kind of feel comfortable now so I even be fantasize about walking out on a green light just dying to get hit by a car just so I could lose my memory, get transported to some third world country just to get treated and somehow meet up again with you so I could fall in love with you in a different language and see if it still feels the same type love. I want a love that's as unexplainable as she is, but I'm married so she is gonna be the one I share this love with.

The trip was a kind of honeymoon. The boy and girl were eloping. They weren’t married, however, and had already agreed that they never would be—they weren’t that kind of couple. The boy, Andy, was a reader; he said that they were seafarers, wanderers. “Ever unfixed,” a line from Melville, was scraped in red ink across the veins of his arm. The girl, Angie, was three years sober and still struggling to find her mooring on dry land. On their first date they had decided to run away together. Andy bought a stupidly huge knife; Angie had a tiny magenta flashlight suspended on a gold chain, which she wore around her throat. He was twenty-two, she had just turned twenty-six. Kids were for later, maybe. They could still see the children they had been: their own Popsicle-red smiles haunting them.

This is life. We exist on a straight line. There’s point A, the beginning. Point C, the end. And point B, all the crap in between. And this tiny line, a drop of ink on paper, this is our line. This is all we get. It’s our one shot. And it’s terrifying, isn’t it? Because it ends. It’s not a circle that will loop us back around for another chance. We get stuck in point B, where we grieve and cry and get scared and fall in love and get left and wish that we could outlive our line or draw a better one. But that’s the beauty of point B. No one’s is exactly the same. This is the only line you’ve been drawn, Reggie. And it’s unfair that one line is all you get, but it’s all any of us get. The only way to waste it would be to not live it. and to not love the people who walk their own.” “Like a tightrope.

As the dawn approached, I gave up trying to sleep. I threw a cardigan over my pajamas, padded out to the kitchen, and made some coffee. I sat at the kitchen table and watched the sky grow lighter by the minute. It had been a long time since I’d seen the dawn. At one end of the sky a line of blue appeared, and like blue ink on a piece of paper, it spread slowly across the horizon. If you gathered together all the shades of blue in the world and picked the bluest, the epitome of blue, this was the color you would choose. I rested my elbows on the table and looked at that scene, my mind blank. When the sun showed itself over the horizon, that blue was swallowed up by ordinary sunlight A single cloud floated above the cemetery, a pure white cloud, its edges distinct A cloud so sharply etched you could write on it A new day had begun. But what this day would bring, I had no idea.

It happens surprisingly fast, the way your shadow leaves you. All day you’ve been linked by the light, but now that darkness gathers the world in a great black tide, your shadow joins the sea of all other shadows. If you stand here long enough, you, too, will forget your lines and merge with the tall grass and old trees, with the crows and the flooding river—all these pieces of the world that daylight has broken into objects of singular loneliness. It happens surprisingly fast, the drawing in of your shadow, and standing in the field, you become the field, and standing in the night, you are gathered by night, Invisible birds sing to the memory of light but then even those separate songs fade, tiny drops of ink in an infinite spilling. — Rosemerry Wahtola Trommer, “Still Life at Dusk,” Poetry of Presence: An Anthology of Mindfulness Poems, eds. Phyllis Cole-Dai & Ruby R. Wilson (Grayson Books, 2017)

Pack what you need for the divination,” he said. Relieved that he believed me capable, I walked to his desk. A detailed map of Hereswith was spread over the wood, river rocks pinning down the four corners. It was a map I had memorized with its crooked, winding streets. Above the desk, shelves lined the walls, burdened with leather-bound spell books, stacks of paper, jars brimming with crushed flowers and salt crystals and swan quills, ornate ink pots, cast-iron spoons with jewels embedded in the handles, silver bowls nestled into each other, a potted fern whose wilting leaves dangled like unrequited love. I gathered what I needed: a bowl that shone like a full moon, pink salt, dried gardenias, a spoon with an emerald chip, a pitcher full of water, a swan quill, a silver inkwell that was crafted as an octopus, its tentacles holding a vial of walnut ink. I charmed them all beneath my breath with a shrinking cantrip—a spell my mother had taught me—until the objects could sit cradled in my palm, and I slipped them into my pocket, where the remedies waited. The objects clinked like musical notes when they met, weightless as air.

I know if you are going to be for me or against me at first glance. I can read you just like an open book. I know that all book covers are misleading. It is a must to read between the lines of the individual characters, and that is when it is acknowledged with me what to think. I can figure out what anyone’s interpretations are, and if I want to be a part of their story or not. Just because one is well cultured, and observes the world that is before them does not make them strange. Each one of us has our unique way of expression- like me. Besides, sometimes, an expression can conflict, yet not meaning to; just move on, do not fear rejection. ‘Do not let the fear of the black ink spilling all over your drawing stop you from creating a masterpiece.’ The laughter is seen in my conscience, yet it plays out silently in my mind. My entire secret admirer base is left to admire, they have to close the door from the heart, and they are shut down if they desire, Because of the control of the tower, she holds the master keys. The tower and her clans can turn their backs at any time or face me, yet, there are cowards and fearless at the same time.

Hennessy carefully patted the blood away to reveal the tattoo. It was difficult to not be overwhelmed by the realness of it, the permanence of it. Part of him expected her to just wipe the blood and ink away to reveal bare skin, but instead, his entire left arm was patterned darkly from shoulder to wrist with something like chain mail. No, like snakeskin. Each scale was a pure dark green, and the only place his skin showed through was in a narrow line to indicate the edge of each interlocking scale. It felt like a lifetime ago he and Hennessy had held a snake in the abandoned museum. Bryde had ordered them to look at the reptile, to study it, take in its details in case they wanted to dream it later. They had. But Hennessy had been wide awake, not dreaming, when she’d painted these scales up and down his skin. “Fuck you,” he told her. “This is so good.” She gave him the ghost of a smile. “Welcome back, Ronan Lynch.” It was still jarring to be Ronan Lynch. Time behaved so differently here; it was important here. One did not have endless dark moments to fill; human lives were so short, so urgent— “Where’s Adam?” Hennessy asked, “What?” “Adam. My Adam. Adam!

You choose this moment to act like the Abnegation?” His voice fills the room and makes fear prickle in my chest. His anger seems too sudden. Too strange. “All that time you spent insisting that you were too selfish for them, and now, when your life is on the line, you’ve got to be a hero? What’s wrong with you?” “What’s wrong with you? People died. They walked right off the edge of a building! And I can stop it from happening again!” “You’re too important to just…die.” He shakes his head. He won’t even look at me--his eyes keep shifting across my face, to the wall behind me or the ceiling above me, to everything but me. I am too stunned to be angry. “I’m not important. Everyone will do just fine without me,” I say. “Who cares about everyone? What about me?” He lowers his head into his hand, covering his eyes. His fingers are trembling. Then he crosses the room in two long strides and touches his lips to mine. Their gentle pressure erases the past few months, and I am the girl who sat on the rocks next to the chasm, with river spray on her ankles, and kissed him for the first time. I am the girl who grabbed his hand in the hallway just because I wanted to. I pull back, my hand on his chest to keep him away. The problem is, I am also the girl who shot Will and lied about it, and chose between Hector and Marlene, and now a thousand other things besides. And I can’t erase those things. “You would be fine.” I don’t look at him. I stare at his T-shirt between my fingers and the black ink curling around his neck, but I don’t look at his face. “Not at first. But you would move on, and do what you have to.” He wraps an arm around my waist and pulls me against him. “That’s a lie,” he says, before he kisses me again. This is wrong. It’s wrong to forget who I have become, and to let him kiss me when I know what I’m about to do. But I want to. Oh, I want to. I stand on my tiptoes and wrap my arms around him. I press one hand between his shoulder blades and curl the other one around the back of his neck. I can feel his breaths against my palm, his body expanding and contracting, and I know he’s strong, steady, unstoppable. All things I need to be, but I am not, I am not. He walks backward, pulling me with him so I stumble. I stumble right out of my shoes. He sits on the edge of the bed and I stand in front of him, and we’re finally eye to eye. He touches my face, covering my cheeks with his hands, sliding his fingertips down my neck, fitting his fingers to the slight curve of my hips. I can’t stop. I fit my mouth to his, and he tastes like water and smells like fresh air. I drag my hand from his neck to the small of his back, and put it under his shirt. He kisses me harder. I knew he was strong; I didn’t know how strong until I felt it myself, the muscles in his back tightening beneath my fingers. Stop, I tell myself. Suddenly it’s as if we’re in a hurry, his fingertips brushing my side under my shirt, my hands clutching at him, struggling closer but there is no closer. I have never longed for someone this way, or this much. He pulls back just enough to look into my eyes, his eyelids lowered. “Promise me,” he whispers, “that you won’t go. For me. Do this one thing for me.” Could I do that? Could I stay here, fix things with him, let someone else die in my place? Looking up at him, I believe for a moment that I could. And then I see Will. The crease between his eyebrows. The empty, simulation-bound eyes. The slumped body. Do this one thing for me. Tobias’s dark eyes plead with me. But if I don’t go to Erudite, who will? Tobias? It’s the kind of thing he would do. I feel a stab of pain in my chest as I lie to him. “Okay.” “Promise,” he says, frowning. The pain becomes an ache, spreads everywhere--all mixed together, guilt and terror and longing. “I promise.

His dark room now seemed cool and restfully confining. You could imagine maps in the wallpaper. The roses had faded into vague shells of pink. Only a few silver lines along the vanished stems and in the veins of leaves, indistinct patches of the palest green remained—the faint suggestion of mysterious geography. A grease spot was a marsh, a mountain or a treasure. Irabestis went boating down a crack on cool days, under the tree boughs, bending his head. He fished in a chip of plaster. The perch rose to the bait and were golden in the sunwater. Specks stood for cities; pencil marks were bridges; stains and shutter patterns laid out fields of wheat and oats and corn. In the shadow of a corner the crack issued into a great sea. There was a tear in the paper that looked exactly like a railway and another that signified a range of hills. Some tiny drops of ink formed a chain of lakes. A darker decorative strip of Grecian pediments and interlacing ivy at the ceiling’s edge kept the tribes of Gog and Magog from invasion. Once he had passed through it to the ceiling but it made him dizzy and afraid. Shadows moved quixotically over the whole wall, usually from left to right in tall thin bands, and sank behind the bureau or below the bed or disappeared suddenly in a corner.

Kell skimmed the spell and frowned. “An eternal flame?” Rhy absently plucked one of the lin from the floor and shrugged. “First thing I grabbed.” He tried to sound as if he didn’t care about the stupid spell, but his throat was tight, his eyes burning. “Doesn’t matter,” he said, skipping the coin across the ground as if it were a pebble on water. “I can’t make it work.” Kell shifted his weight, lips moving silently as he read over the priest’s scrawl. He held his hands above the paper, palms cupped as if cradling a flame that wasn’t even there yet, and began to recite the spell. When Rhy had tried, the words had fallen out like rocks, but on Kell’s lips, they were poetry, smooth and sibilant. The air around them warmed instantly, steam rising from the penned lines on the scroll before the ink drew in and up into a bead of oil, and lit. The flame hovered in the air between Kell’s hands, brilliant and white. He made it look so easy, and Rhy felt a flash of anger toward his brother, hot as a spark—but just as brief. It wasn’t Kell’s fault Rhy couldn’t do magic. Rhy started to rise when Kell caught his cuff. He guided Rhy’s hands to either side of the spell, pulling the prince into the fold of his magic. Warmth tickled Rhy’s palms, and he was torn between delight at the power and knowledge that it wasn’t his. “It isn’t right,” he murmured. “I’m the crown prince, the heir of Maxim Maresh. I should be able to light a blasted candle.” Kell chewed his lip—Mother never chided him for the habit—and then said, “There are different kinds of power.” “I would rather have magic than a crown,” sulked Rhy. Kell studied the small white flame between them. “A crown is a sort of magic, if you think about it. A magician rules an element. A king rules an empire.” “Only if the king is strong enough.” Kell looked up, then. “You’re going to be a good king, if you don’t get yourself killed first.” Rhy blew out a breath, shuddering the flame. “How do you know?” At that, Kell smiled. It was a rare thing, and Rhy wanted to hold fast to it—he was the only one who could make his brother smile, and he wore it like a badge—but then Kell said, “Magic,” and Rhy wanted to slug him instead. “You’re an arse,” he muttered