β
You should have taken me with you," I whisper to him. Then I lean my head against his and begin to cry. In my mind, I make a silent promise to my brother's killer.
I will hunt you down. I will scour the streets of Los Angeles for you. Search every street in the Republic if I have to. I will trick you and deceive you, lie, cheat and steal to find you, tempt you out of your hiding place, and chase you until you have nowhere else to run. I make you this promise: your life is mine.
β
β
Marie Lu (Legend (Legend, #1))
β
The perfect killer has no friends. Only targets.
β
β
Brent Weeks (The Way of Shadows (Night Angel, #1))
β
I challenge you to come find us.β βThis is Penryn Young, Daughter of Man, Killer of Angels." Penryn
β
β
Susan Ee (End of Days (Penryn & the End of Days, #3))
β
There's nothing so much like a god on earth as a General on a battlefield.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Everything in the universe is everything else. A man is a killer is a saint is a monkey is a cockroach is a goldfish is a whale, and the Devil is just the angel who asked for More.
β
β
Craig Clevenger (Dermaphoria)
β
But we were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted into battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen. We are known among the stars by our poems, not our corpses.
β
β
Robert Ardrey (African Genesis: A Personal Investigation Into the Animal Origins and nature of Man)
β
Ah, come now. I look like an angel, but I'm not. The old rules of nature encompass many creatures like me. We're beautiful like the diamond-backed snake, or the striped tiger, yet we're merciless killers
β
β
Anne Rice (Interview with the Vampire (The Vampire Chronicles, #1))
β
The perfect killer has no conscience.
β
β
Brent Weeks (Beyond the Shadows (Night Angel, #3))
β
But you hardley even know him"she said."He could be a serial killer"
"I did have that thought.I checked the apartment out,but if his got an ice cooler full of arms in it,I havent seen it yet.Anyway he seems pretty since.
β
β
Cassandra Clare (City of Fallen Angels (The Mortal Instruments, #4))
β
Why do there have to be men like that, men who enjoy another man's dying?
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
If men were equal in America, all these Poles and English and Czechs and blacks, then they were equal everywhere, and there was really no such thing as foreigner; there were only free men and slaves.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The perfect killer has no identity.
β
β
Brent Weeks (Shadow's Edge (Night Angel, #2))
β
Southern women like their men religious and a little mad.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Life is empty. Life is meaningless. When we take a life, we arn't taking anything of value. Wetboys are killers. Thats all we do. Thats all we are. There are no poets in the bitter business.
β
β
Brent Weeks (The Way of Shadows (Night Angel, #1))
β
Perhaps it was only that when you try to put it into words you cannot express it truly, it never sounds as you dream it.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The thing about the heart was that you could not coax it or force it, as you could any other disease. Will power meant nothing.
β
β
Michael Shaara (The Killer Angels: The Classic Novel of the Civil War)
β
A man who has been shot at is a new realist, and what do you say to a realist when the war is a war of ideals?
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
It rained all that night. The next day was Saturday, the Fourth of July.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
This is Penryn Young, Daughter of Man, Killer of Angels.
β
β
Susan Ee (End of Days (Penryn & the End of Days, #3))
β
I don't really understand it. Never have. The more I think on it the more it horrifies me. How can they look in the eyes of a man and make a slave of him and then quote the Bible?
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The great white joker in the sky dooms us all to stupidity or poverty from birth. No two things on earth are equal or have an equal chance, not a leaf or a tree.
β
β
Michael Shaara (The Killer Angels)
β
I wish we could take the hill. Could flood right on over it and end the war, wipe them all away in one great motion. But we can't. No matter how much I wish...or trust in God...
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
He was one of those, like Stuart, who looked on war as God's greatest game.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Jackson is gone - not entirely gone; Jackson was there today watching, and Ewell sees his eyes - but you cannot blame him for not being Jackson. You must make do with the tools God has given for the job.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments?
β
β
Robert Ardrey (African Genesis: A Personal Investigation Into the Animal Origins and nature of Man)
β
Longstreet stayed up talking, as long as there was company, as long as there was a fire. Because when the fire was gone and the dark had truly come there was no way he could avoid the dead faces of his children.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
How do you force a man to fight β for freedom? The idiocy of it jarred him.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
In the dark of the trees he could smell splintered wood and see white upturned faces like wide white dirty flowers.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
He bent down, scratched the black dirt into his fingers. He was beginning to warm to it; the words were beginning to flow. No one in front of him was moving. He said, "This is free ground. All the way from here to the Pacific Ocean. No man has to bow. No man born to royalty. Here we judge you by what you do, not by what your father was. Here you can be something. Here's a place to build a home. It isn't the land--there's always more land. It's the idea that we all have value, you and me, we're worth something more than the dirt. I never saw dirt I'd die for, but I'm not asking you to come join us and fight for dirt. What we're all fighting for, in the end, is each other.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
There ought to be more than just that metallic end, and then silence, then the worms, and sometimes he believed, but just this moment he did not believe at all...there was nothing beyond the sound of the guns...not even silence, just an end.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
In the presence of real tragedy you feel neither pain nor joy nor hatred, only a sense of enormous space and time suspended, the great doors open to black eternity, the rising across the terrible field of that last enormous, unanswerable question.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
β"Cardinal Baggia," the killer hissed. "Have you prayed yet?" The Italian's eyes were fearless. "Only for your soul.
β
β
Dan Brown (Angels & Demons (Robert Langdon, #1))
β
How can they look in the eyes of a man and make a slave of him and then quote the Bible?
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
Never let them see you run.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Kilrain saluted, grinning, and withdrew. The only professional in the regiment. The drinking would kill him. Well. He would die happy.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
If you are not affected, if you are not hurt by what we do, then you will not do anything to stop it. The war will simply continue.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
To be a good soldier you must love the army. But to be a good officer you must be willing to order the death of the thing you love. That isΒ β¦Β a very hard thing to do. No other profession requires it. That is one reason why there are so very few good officers. Although there are many good men.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The Frenchman may fight for France, but the American fights for mankind, for freedom; for the people, not the land.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Ross said, βThey play even during an attack. Not very good. But inspiring. Have you heard the Rebel yell?β Fremantle nodded. βGodawful sound. I expect they learned it from Indians.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
He suspended thinking; his mind was a bloody vacancy, like a room in which there has been a butchering.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Then after that I asked this fella what rights he had that we were offendinβ, and he said, well, he didn't know, but he must have some rights he didn't know nothinβ about.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
I'll wave no more flags for home. No tears for Mother. Nobody ever died for apple pie.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
β¦[W]e have a country here where the past cannot keep a good man in chains, and that's the nature of the war.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
something new. I donβtΒ β¦Β this hasnβt happened much in the history of the world. Weβre an army going out to set other men free.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Just because a guy wears glasses and smiles at you doesn't mean he's nice." Lisa dug around in her purse for a tube of lip-gloss. "Maybe he's a visually impaired cannibal. Did you ever think of that? Like one of those serial killers you love so much."
"I don't love serial killers," Katie argued, defensive. "Not romantically, at least.
β
β
Cecily White (Prophecy Girl (Angel Academy, #1))
β
So it was no cause and no country he fought for, no ideal and no justice. He fought for his people, for the children and the kin, and not even the land, because not even the land was worth the war, but the people were, wrong as they were, insane even as many of them were, they were his own, he belonged with his own.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
And yet suddenly, terribly, he wanted it again, the way it used to be, arms linked together, all drunk and singing beautifully into the night, with visions of death from the afternoon and dreams of death in the coming dawn, the night filled with a monstrous and temporary glittering joy, fat moments, thick seconds dropping like warm rain, jewel after jewel.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
A true gentleman has no vices, but he allows you your own.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
This is the great battle. Tomorrow or the next day. This will determine the war. Virginia is here, all the South is here. What will you do tomorrow?
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Well, boy, if he's an angel, he's sure a murderinβ angel.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
The earth was actually shuddering. It was as if you were a baby and your mother was shuddering with cold.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
A little eccentricity is a help to a general. It helps with the newspapers. The women love it too. Southern women like their men religious and a little mad. Thatβs why the fall in love with preachers.
β
β
Michael Shaara (The Killer Angels: The Classic Novel of the Civil War)
β
General, you may attack'...He gave no further directions...With that word it was out of his hands. It had never really been in his hands at all. And yet his was the responsibility.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
One can't be a killer every moment of one's life. Some humanity is going to show itself now and then, some hunger for normality, no matter what you do.
β
β
Anne Rice (Angel Time (The Songs of the Seraphim, #1))
β
Saw the face of Robert Lee. Incredible eyes. An honest man, a simple man. Out of date. They all ride to glory, all the plumed knights.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
And so it was not even patriotism but a new faith. The Frenchman may fight for France, but the American fights for mankind, for freedom; for the people, not the land.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
I've been a soldier all my life. I've fought from the ranks on up, you know my service. But sir, I must tell you now, I believe this attack will fail. No 15,000 men ever made could take that ridge. It's a distance of more than a mile, over open ground. When the men come out of the trees, they will be under fire from Yankee artillery from all over the field. And those are Hancock's boys! And now, they have the stone wall like we did at Fredericksburg.
- Lieutenant General James Longstreet to General Robert E. Lee after the initial Confederate victories on day one of the Battle of Gettysburg.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The truth is, Colonel, that there's no divine spark, bless you. There's many a man alive no more value than a dead dog. Believe me, when you've seen them hang each other...Equality? Christ in Heaven. What I'm fighting for is the right to prove I'm a better man than many. Where have you seen this divine spark in operation, Colonel? Where have you noted this magnificent equality? The Great White Joker in the Sky dooms us all to stupidity or poverty from birth. no two things on earth are equal or have an equal chance, not a leaf nor a tree. There's many a man worse than me, and some better, but I don't think race or country matters a damn. What matters is justice. 'Tis why I'm here. I'll be treated as I deserve, not as my father deserved. I'm Kilrain, and I God damn all gentlemen. I don't know who me father was and I don't give a damn. There's only one aristocracy, and that's right here - " he tapped his white skull with a thick finger - "and YOU, Colonel laddie, are a member of it and don't even know it. You are damned good at everything I've seen you do, a lovely soldier, an honest man, and you got a good heart on you too, which is rare in clever men. Strange thing. I'm not a clever man meself, but I know it when I run across it. The strange and marvelous thing about you, Colonel darlin', is that you believe in mankind, even preachers, whereas when you've got my great experience of the world you will have learned that good men are rare, much rarer than you think.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Not all demons are born to the dark. And not all angels seek the light. Sometimes our circumstance demands a fusion of both. There is no good and evil. Only the time spent between both heaven and hell, where we find our peace. And love. Even the vilest of monsters deserve to be loved.
β
β
Trisha Wolfe (Born, Madly (Darkly, Madly, #2))
β
Chamberlain closed his eyes and saw it again. It was the most beautiful thing he had ever seen. No book or music would have that beauty. He did not understand it: a mile of men flowing slowly, steadily, inevitably up the long green ground, dying all the while, coming to kill you, and the shell bursts appearing above them like instant white flowers, and the flags all tipping and fluttering, and dimly you could hear the music and the drums, and then you could hear the officers screaming, and yet even above your own fear came the sensation of unspeakable beauty. He shook his head, opened his eyes. Professor's mind. But he thought of Aristotle: pity and terror. So this is tragedy. Yes. He nodded. In the presence of real tragedy you feel neither pain nor joy nor hatred, only a sense of enormous space and time suspended, the great doors open to black eternity, the rising across the terrible field of that last enormous, unanswerable question.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
The true rain came in a monster wind, and the storm broke in blackness over the hills and the bloody valley; the sky opened along the ridge, and the vast water thundered down, drowning the fires, flooding the red creeks, washing the rocks and the grass and the white bones of the dead, cleansing the earth and soaking it thick and rich with water and wet again with clean cold rainwater, driving the blood deep into the Earth, to grow it again with the roots toward heaven.
β
β
Michael Shaara (The Killer Angels)
β
This is free ground. All the way from here to the Pacific Ocean. No man has to bow. No man born to royalty. Here we judge you by what you do, not by what your father was. Here you can be something. Hereβs a place to build a home. It isnβt the land
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
But Pooky Bear made me special. I was more than just a girl with it. I was an angel killer.
β
β
Susan Ee (End of Days (Penryn & the End of Days, #3))
β
thought, Lee wants a frontal assault. I guess heβll have one. He turned to the messenger.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
It came to him in the night sometimes with a sudden appalling shock that the boys he was fighting were boys he had grown up with. The war had come as a nightmare in which you chose your nightmare side. Once chosen, you put your head down and went on to win.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
When he thought of the old man he could see him suddenly in a field in the spring, trying to move a gray boulder. He always knew instinctively the ones you could move, even though the greater part was buried in the earth, and he expected you to move the rock and not discuss it. A hard and silent man, an honest man, a noble man. Little humor but sometimes the door opened and you saw the warmth within a long way off, a certain sadness, a slow, remote, unfathomable quality as if the man wanted to be closer to the world but did not know how. Once Chamberlain had a speech memorized from Shakespeare and gave it proudly, the old man listening but not looking, and Chamberlain remembered it still: 'What a piece of work is man...in action how like an angel!' And the old man, grinning, had scratched his head and then said stiffly, 'Well, boy, if he's an angel, he's sure a murderin' angel.' And Chamberlain had gone on to school to make an oration on the subject: Man, the Killer Angel. And when the old man heard about it he was very proud, and Chamberlain felt very good remembering it. The old man was proud of his son, the colonel.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
IT'S MORNING, TIME to get up, so get up, Arturo, and look for a job. Get out there and look for what you'll never find. You're a thief and you're a crab-killer and a lover of women in clothes closets. You'll never find a job!
Every morning I got up feeling like that. Now I've got to find a job, damn it to hell. I ate breakfast, put a book under my arm, pencils in my pocket, and started out. Down the stairs I went, down the street, sometimes hot and sometimes cold, sometimes foggy and sometimes clear. It never mattered, with a book under my arm, looking for a job.
What job, Arturo? Ho ho! A job for you? Think of what you are, my boy! A crab-killer. A thief. You look at naked women in clothes closets. And you expect to get a job! How funny! But there he goes, the idiot, with a big book. Where the devil are you going, Arturo? Why do you go up this street and not that? Why go east - why not go west? Answer me, you thief! Who'll give you a job, you swine - who? But there's a park across town, Arturo. It's called Banning Park. There are a lot of beautiful eucalyptus trees in it, and green lawns. What a place to read! Go there, Arturo. Read Nietzsche. Read Schopenhauer. Get into the company of the mighty. A job? fooey! Go sit under a eucalyptus tree reading a book looking for a job.
β
β
John Fante (The Road to Los Angeles (The Saga of Arturo Bandini, #2))
β
We are never prepared for so many to die. So you understand? No one is. We expect some chosen few. We expect an occasional empty chair, a toast to dear departed comrades. Victory celebrations for most of us, a hallowed death for a few. But the war goes on. And men die. The price gets ever higher. Some officers can pay no longer. We are prepared to lose some of us, but never all of us. But that is the trap. You can hold nothing back when you attack. You must commit yourself totally. And yet, if they all die, a man must ask himself, will it have been worth it?
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
There is one thing you can do. You can resign now. You can refuse to lead it.
But I cannot even do that. Cannot leave the man alone. Cannot leave him with that attack in the hands of Hill. Cannot leave because I disagree, because, as he says, it's all in the hands of God. And maybe God really wants it this way. But they will mostly all die. We will lose it here. Even if they get to the hill, what will they have left, what will we have left, all ammunition gone, our best men gone? And the thing is, I cannot even refuse, I cannot even back away, I cannot leave him to fight it alone, they're my people, my boys. God help me, I can't even quit.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
You are a most effective killer, Michel. Is it true you wept like a child when they killed your sister? That you cried out in agony as if the sword had pierced your own heart? Such compassion. Does your handiwork not bring you to tears as well?
β
β
P.A. Minyard (The Beloved (The Beloved, #1))
β
I believe every man who stood up was either killed or wounded," said Lieutenant Oliver Williams, who was himself hit. This regiment had participated in a touching event, well remembered by both armies. At Fredericksburg in late 1862, after the Sharpsburg campaign, it had held a dress parade at which the band played "Dixie." Across the Rappahannock a Northern band heard and played back the song as a bit of camaraderie. The band of the 20th North Carolina responded by playing "Yankee Doodle." Then both bands, as if by prearrangement, joined in "Home, Sweet Home." This chorus ran along the lines and both armies sang and wept.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
He had grown up believing in America and the individual and it was a stronger faith than his faith in God. This was the land where no man had to bow. In this place at last a man could stand up free of the past, free of tradition and blood ties and the curse of royalty and become what he wished to become.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
Harriet Beecher Stowe published Uncle Tom's Cabin in 1852. It became a publishing sensation. Lincoln was later wryly to remark to her: βSo you're the little woman who wrote the book that made this great war.β The South reacted with fury to her attack on slavery.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
The bottom line is...if you were in the civilian population, you'd be a serial killer. Working for the government means you get to wave the American flag around when it suits you, but the truth is, you do what you do because you enjoy picking the wings off of flies. And everybody's an insect in your eyes.
β
β
J.R. Ward (Crave (Fallen Angels, #2))
β
Sheesh! Weβre in the middle of Fucking Madhouse Hollow, on the edge of the woods, and you give a girl a heart attack?! Not cool, Bennett. Not fucking cool,β says the redheaded girl who knowingly drove the killer into town.
β
β
S.T. Abby (Scarlet Angel (Mindf*ck, #3))
β
Home. One place is just like another, really. Maybe not. But truth is itβs all just rock and dirt and people are roughly the same. I was born up there but Iβm no stranger here. Have always felt at home everywhere, even in Virginia, where they hate me. Everywhere you go thereβs nothing but the same rock and dirt and houses and people and deer and birds. They give it all names, but Iβm at home everywhere. Odd thing: unpatriotic. I was at home in England. I would be at home in the desert. In Afghanistan or far Typee. All mine, it all belongs to me. My world.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
I tell you, Colonel, we got to win this war. What will happen, do you think, if we lose? Do you think the country will ever get back together again?
Doubt it. Would it too deep. The differences. . .If they win there'll be two countries, like France and Germany in Europe, and the border will be armed. Then there'll be a third country in the West, and that one will be the balance of power.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
philosophy
I studied philosophy for four years. But I'd trade everything I learned for this passage... quoted in the Britannica:
'But we were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted into battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen. We are known among the stars by our poems, not our corpses.'
Amen.
β
β
A.J. Jacobs (The Know-It-All)
β
If men were equal in America, all these former Poles and English and Czechs and blacks, then they were equal everywhere, and there was really no such thing as a foreigner; there were only free men and slaves. And so it was not even patriotism but a new faith. The Frenchman may fight for France, but the American fights for mankind, for freedom; for the people, not the land.
β
β
Michael Shaara (The Killer Angels: A Novel of the Civil War)
β
The faith itself was simple; he believed in the dignity of man. His ancestors were Huguenots, refugees of a chained and bloody Europe. He had learned their stories in the cradle. He had grown up believing in America and the individual and it was a stronger faith than his faith in God. This was the land where no man had to bow. In this place at last a man could stand up free of the past, free of tradition and blood ties and the curse of royalty and become what he wished to become. This was the first place on earth where the man mattered more than the state. True freedom had begun here and it would spread eventually over all the earth. But it had begun HERE. The fact of slavery upon this incredibly beautiful new clean earth was appalling, but more even than that was the horror of old Europe, the curse of nobility, which the South was transplanting to new soil. They were forming a new aristocracy, a new breed of glittering men, and Chamberlain had come to crush it. But he was fighting for the dignity of man and i that way he was fighting for himself. If men were equal in America, all the former Poles and English and Czechs and blacks, then they were equal everywhere, and there was really no such thing as foreigner; there were only free men and slaves. And so it was not even patriotism but a new faith. The Frenchman may fight for France, but the American fights for mankind, for freedom; for the people, not the land.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
It wasnβt the dying. He had seen men die all his life, and death was the luck of the chance, the price you eventually paid. What was worse was the stupidity. The appalling sick stupidity that was so bad you thought sometimes you would go suddenly, violently, completely insane just having to watch it. It was a deadly thing to be thinking on. Job to be done here. And all of it turns on faith.
β
β
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
β
Longstreet took a deep breath. In the winter the fever had come to Richmond. In a week they were dead. All within a week, all three. He saw the sweet faces: moment of enormous pain. The thing had pushed him out of his mind, insane, but no one knew it. He had not thought God would do a thing like that...she kept standing in the door: the boy is dead. And he could not even help her, could say nothing, could not move, could not even take her into his arms. Nothing to give. One strength he did not have. Oh God: my boy is dead.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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I have to admit I wasn't to keen on this idea when you first told me you were going out at midnight to see him, but I guess maybe I was wrong... Have you guys?
God, Karen. I rolled my eyes.
Oh well, let's not hope that's not the killer in the relationship since he sounds perfect in every other way.
Wow, thanks for spoiling it nerd.
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Karice Bolton
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Home. One place is just like another, really. Maybe not. But truth is it's all just rock and dirt and people are roughly the same. I was born up there but I'm no stranger here. Have always felt at home everywhere, even in Virginia, where they hate me. Everywhere you go there's nothing but the same rock and dirt and houses and people and deer and birds. They give it all names, but I'm at home everywhere. Odd thing: unpatriotic. I was at home in England. I would be at home in the desert. In Afghanistan or far Typee. All mine, it all belongs to me. My world.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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The great experiment. In democracy. The equality of rabble. In not much more than a generation they have come back to CLASS. As the French have done. What a tragic thing, that Revolution. Bloody George was a bloody fool. But no matter. The experiment doesn't work. Give them fifty years, and all that equality rot is gone. Here they have the same love of the land and of tradition, of the right form, of breeding, in their horses, their women. Of course slavery is a bit embarrassing, but that, of course, will go. But the point is they do it all exactly as we do in Europe. And the North does not. THAT'S what the war is really about. The North has those huge bloody cities and a thousand religions, and the only aristocracy is the aristocracy of wealth. The Northerner doesn't give a damn for tradition, or breeding, or the Old Country. He hates the Old Country. Odd. You very rarely hear a Southerner refer to "the Old Country". In that painted way a German does. Or an Italian. Well, of course, the South IS the Old Country. They haven't left Europe. They've merely transplanted it. And THAT'S what the war is about.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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Chamberlain raised his saber, let loose the shout that was the greatest sound he could make, boiling the yell up from his chest: Fix bayonets! Charge! Fix bayonets! Charge! Fix bayonets! Charge! He leaped down from the boulder, still screaming, his voice beginning to to crack and give, and all around him his men were roaring animal screams, and he saw the whole Regiment rising and pouring over the wall and beginning to bound down through the dark bushes, over the dead and dying wounded, hats coming off, hair flying, mouths making sounds, one man firing as he ran, the last bullet, last round.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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I believe every man who stood up was either killed or wounded," said Lieutenant Oliver Williams, who was himself hit. This regiment has participated in a touching event, well remembered by both armies. At Fredericksburg in late 1862, after the Sharpsburg campaign, it had held a dress parade at which the band played "Dixie." Across the Rappahannock a Northern band heard and played back the song as a bit of camaraderie. The band of the 20th North Carolina responded by playing "Yankee Doodle." Then both bands, as if by prearrangement, joined in "Home, Sweet Home." This chorus ran along the lines and both armies sang and wept.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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They rode for a while in silence, a tiny island in the smoky stream of marching men. Then Lee said slowly, in a strange, soft, slow tone of voice, "Soldiering has one great trap."
Longstreet turned to see his face. Lee was riding slowly ahead, without expression. He spoke in that same slow voice. "To be a good soldier you must love the army. But to be a good officer you must be willing to order the death of the thing you love. This is...a very hard thing to do. No other profession requires it. That is one reason why there are so very few good officers. Although there are many good men."
Lee rarely lectured. Longstreet sensed a message beyond it. He waited. Lee said, "We don't fear our own deaths, you and I." He smiled slightly, then glanced away. "We protect ourselves out of military necessity, not do not protect yourself enough and must give thought to it. I need you. But the point is, we are afraid to die. We are prepared for our own deaths, and for the deaths of comrades. We learn that at the Point. But I have seen this happen: we are not prepared for as many deaths as we have to face, inevitably as the war goes on. There comes a time..."
He paused. He had been gazing straight ahead, away from Longstreet. Now, black-eyed, he turned back, glanced once quickly into Longstreet's eyes, then looked away.
"We are never prepared for so many to die. So you understand? No one is. We expect some chosen few. We expect an occasional empty chair, a toast to dear departed comrades. Victory celebrations for most of us, a hallowed death for a few. But the war goes on. And the men die. The price gets ever higher. Some officers...can pay no longer. We are prepared to lose some of us." He paused again. "But never ALL of us. Surely not all of us. But...that is the trap. You can hold nothing back when you attack. You must commit yourself totally. And yet ,if they all die, a man must ask himself, will it have been worth it?
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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He was out in the open, waving his hat, pointing to a grove of trees. A moment later Buford looked that way and the horse was bare-backed. He did not believe it. He broke off and rode to see. Reynolds lay in the dirt road, the aides bending over him. When Buford got there the thick stain had already puddled the dirt beneath his head. His eyes were open, half asleep, his face pleasant and composed, a soft smile. Buford knelt. He was dead. An aide, a young sergeant, was crying. Buford backed away. They put a blanket over him. Off to the left there was massive firing. There was a moment of silence around them. Buford said, βTake him out of here.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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The faith itself was simple: he believed in the dignity of man. His ancestors were Huguenots, refugees of a chained and bloody Europe. He had learned their stories in the cradle. He had grown up believing in America and the individual and it was a stronger faith than his faith in God. This was the land where no man had to bow. In this place at last a man could stand up free of the past, free of tradition and blood ties and the curse of royalty and become what he wished to become. This was the first place on earth where the man mattered more than the state. True freedom had begun here and it would spread eventually over all the earth. But it had begun here. The fact of slavery upon this incredibly beautiful new clean earth was appalling, but more even than that was the horror of old Europe, the curse of nobility, which the South was transplanting to new soil. They were forming a new aristocracy, a new breed of glittering men, and Chamberlain had come to crush it.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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He had grown up believing in America and the individual and it was a stronger faith than his faith in God. This was the land where no man had to bow. In this place at last a man could stand up free of the past, free of tradition and blood ties and the curse of royalty and become what he wished to become. This was the first place on earth where the man mattered more than the state. True freedom had begun here and it would spread eventually over all the earth. But it had begun here. The fact of slavery upon this incredibly beautiful new clean earth was appalling, but more even than that was the horror of old Europe, the curse of nobility, which the South was transplanting to new soil.
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Michael Shaara (The Killer Angels: A Novel of the Civil War)
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showed him some of the gruesome crime-scene photos we worked with every day. I let him experience recordings made by killers while they were torturing their victims. I made him listen to one of two teenage girls in Los Angeles being tortured to death in the back of a van by two thrill-seeking killers who had recently been let out of prison. Glenn wept as his listened to the tapes. He said to me, βI had no idea there were people out there who could do anything like this.β An intelligent, compassionate father with two girls of his own, Glenn said that after seeing and hearing what he did in my office, he could no longer oppose the death penalty: βThe experience in Quantico changed my mind about that for all time.
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John E. Douglas (Mind Hunter: Inside the FBI's Elite Serial Crime Unit (Mindhunter #1))
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You were born a giver, don't die a taker.
You were born an earner, don't die a begger.
You were born a sharer, don't die a hoader.
You were born a lover, don't die a hater.
You were born a builder, don't die a destroyer.
You were born a creator, don't die an immitator.
You were born a leader, don't die a follower.
You were born a learner, don't die a teacher.
You were born a doer, don't die a talker.
You were born a dreamer, don't die a doubter.
You were born a winner, don't die a loser.
You were born an encourager, don't die a shamer.
You were born a defender, don't die an aggressor.
You were born a liberator, don't die an executioner.
You were born a soldier, don't die a murderer.
You were born an angel, don't die a monster.
You were born a protecter, don't die an attacker.
You were born an originator, don't die a repeater.
You were born an achiever, don't die a quitter.
You were born a victor, don't die a failure.
You were born a conqueror, don't die a warrior.
You were born a contender, don't die a joker.
You were born a producer, don't die a user.
You were born a motivator, don't die a discourager.
You were born a master, don't die an amateur.
You were born an intessessor, don't die an accusor.
You were born an emancipator, don't die a backstabber.
You were born a sympathizer, don't die a provoker.
You were born a healer, don't die a killer.
You were born a peacemaker, don't die an instigater.
You were born a deliverer, don't die a collaborator.
You were born a savior, don't die a plunderer.
You were born a believer, don't die a sinner.
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Matshona Dhliwayo
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He remembered the night in Arlington when the news came: secession. He remembered a paneled wall and firelight. When we heard the news we went into mourning. But outside there was cheering in the streets, bonfires of joy. They had their war at last. But where was there ever any choice? The sight of fire against wood paneling, a bonfire seen far off at night through a window, soft and sparky glows always to remind him of that embedded night when he found that he had no choice. The war had come. He was a member of the army that would march against his home, his sons. He was not only to serve in it but actually to lead it, to make the plans and issue the orders to kill and burn and ruin. He could not do that. Each man would make his own decision, but Lee could not raise his hand against his own. And so what then? To stand by and watch, observer at the death? To do nothing? To wait until the war was over? And if so, from what vantage point and what distance? How far do you stand from the attack on your home, whatever the cause, so that you can bear it? It had nothing to do with causes; it was no longer a matter of vows.
When Virginia left the Union she bore his home away as surely as if she were a ship setting out to sea, and what was left behind on the shore was not his any more. So it was no cause and no country he fought for, no ideal and no justice. He fought for his people, for the children and the kin, and not even the land, because not even the land was worth the war, but the people were, wrong as they were, insane even as many of them were, they were his own, he belonged with his own. And so he took up arms willfully, knowingly, in perhaps the wrong cause against his own sacred oath and stood now upon alien ground he had once sworn to defend, sworn in honor, and he had arrived there really in the hands of God, without any choice at all; there had never been an alternative except to run away, and he could not do that. But Longstreet was right, of course: he had broken the vow. And he would pay. He knew that and accepted it. He had already paid. He closed his eyes. Dear God, let it end soon.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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I have nothing to do with him,β L said. βTo be completely accurate, I do not even know B. He is simply someone I am aware of. But none of this affects my judgment. Certainly, I was interested in this case, and began to investigate it because I knew who the killer was. But that did not alter the way I investigated it, or the manner in which my investigation proceeded. Naomi Misora, I cannot overlook evil. I cannot forgive it. It does not matter if I know the person who commits evil or not. I am only interested in justice.β
βOnly... in justiceβ¦β Misora gasped. βThen... nothing else matters?β βI wouldnβt say that, but it is not a priority.β
βYou wonβt forgive any evil, no matter what the evil is?β βI wouldnβt say that, but it is not a priority.β
βBut...β
Like a thirteen-year-old victim. βThere are people who justice cannot save.β Like a thirteen-year old criminal. βAnd there are people who evil can save.β
βThere are. But even so,β L said, his tone not changing at all, as if gently admonishing Naomi Misora. βJustice has more power than anything else.β
βPower? By power... you mean strength?β
βNo. I mean kindness.β He said it so easily.
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NisiOisiN (Death Note: Another Note - The Los Angeles BB Murder Cases)
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But since Catt was more realist than fabulist, she understood her actual death at the hands of her killer would be something much slower. It would be a classical feminine death, like a marriageβ¦Raised by meek working-class parents, she despised petty groveling and had no talent for making shit up. She wanted to be a βrealβ intellectual moving with dizzying freedom between high and low points in the culture. And to a certain extent, sheβd succeeded. Cattβs semi-name attracted a following among Asbergerβs boys, girls whoβd been hospitalized for mental illness, sex workers, Ivy alumnae on meth, and always, the cutters. With her small self-made fortune, Catt saw herself as Moll Flanders, out-sourcing her visiting professorships and writing commissions to younger artists whose work she believed in. But sheβd reached a point lately where the same young people sheβd helped were blogging against her, exposing the βcottage industryβ she ran out of her Los Angeles compound facing the Hollywood sign β¦ the same compound these bloggers had lived in rent-free after arriving from Iowa City, Alberta, New Zealand. Loathing all institutions, Catt had become one herself. Even her dentist asked her for money.
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Chris Kraus (Summer of Hate)
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Givers are worth more than takers.
Earners are worth more than beggars.
Sharers are worth more than hoarders.
Lovers are worth more than haters.
Builders are worth more than destroyers.
Creators are worth more than imitators.
Leaders are worth more than followers.
Learners are worth more than teachers.
Doers are worth more than talkers.
Dreamers are worth more than doubters.
Winners are worth more than losers.
Encouragers are worth more than detractors.
Defenders are worth more than aggressors.
Liberators are worth more than jailers.
Soldiers are worth more than murderers.
Angels are worth more than monsters.
Protectors are worth more than attackers.
Originators are worth more than copiers.
Achievers are worth more than quitters.
Victors are worth more than failures.
Conquerors are worth more than warriors.
Contenders are worth more than spectators.
Producers are worth more than users.
Motivators are worth more than discouragers.
Masters are worth more than amateurs.
Intercessors are worth more than accusers.
Emancipators are worth more than backstabbers.
Sympathizers are worth more than provokers.
Healers are worth more than killers.
Peacemakers are worth more than instigators.
Deliverers are worth more than collaborators.
Saviors are worth more than invaders.
Believers are worth more than sinners.
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Matshona Dhliwayo
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This regiment was formed last fall, back in Maine. There were a thousand of us then. Thereβs not three hundred of us now.β He glanced up briefly. βBut what is left is choice.β
He was embarrassed. He spoke very slowly, staring at the ground.
βSome of us volunteered to fight for Union. Some came in mainly because we were bored at home and this looked like it might be fun. Some came because we were ashamed not to. Many of us cameΒ β¦Β because it was the right thing to do. All of us have seen men die. Most of us never saw a black man back home. We think on that, too. But freedomΒ β¦Β is not just a word.β
He looked up into the sky, over silent faces.
βThis is a different kind of army. If you look at history youβll see men fight for pay, or women, or some other kind of loot. They fight for land, or because a king makes them, or just because they like killing. But weβre here for something new. I donβtΒ β¦Β this hasnβt happened much in the history of the world. Weβre an army going out to set other men free.β
He bent down, scratched the black dirt into his fingers. He was beginning to warm to it; the words were beginning to flow. No one in front of him was moving. He said, βThis is free ground. All the way from here to the Pacific Ocean. No man has to bow. No man born to royalty. Here we judge you by what you do, not by what your father was. Here you can be something. Hereβs a place to build a home. It isnβt the landβthereβs always more land. Itβs the idea that we all have value, you and me, weβre worth something more than the dirt. I never saw dirt Iβd die for, but Iβm not asking you to come join us and fight for dirt. What weβre all fighting for, in the end, is each other.
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Jeff Shaara (The Killer Angels (The Civil War Trilogy, #2))
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Amazing. Chamberlain let his eyes close down to the slits, retreating within himself. He had learned that you could sleep on your feet on the long marches. You set your feet to going and after a while they went by themselves and you sort of turned your attention away and your feet went on walking painlessly, almost without feeling, and gradually you closed down your eyes so that all you could see were the heels of the man in front of you, one heel, other heel, one heel, other heel, and so you moved on dreamily in the heat and the dust, closing your eyes against the sweat, head down and gradually darkening, so you actually slept with the sight of the heels in front of you, one heel, other heel, and often when the man in front of you stopped you bumped into him. There were no heels today, but there was the horse he led by the reins. He did not know the name of this horse.
He did not bother any more; the horses were all dead too soon. Yet you learn to love it.
Isnβt that amazing? Long marches and no rest, up very early in the morning and asleep late in the rain, and thereβs a marvelous excitement to it, a joy to wake in the morning and feel the army all around you and see the campfires in the morning and smell the coffeeβ¦
β¦ awake all night in front of Fredericksburg. We attacked in the afternoon, just at dusk, and the stone wall was aflame from one end to the other, too much smoke, couldnβt see, the attack failed, couldnβt withdraw, lay there all night in the dark, in the cold among the wounded and dying. Piled-up bodies in front of you to catch the bullets, using the dead for a shield; remember the sound? Of bullets in dead bodies? Like a shot into a rotten leg, a wet thick leg.
All a man is: wet leg of blood. Remember the flap of a torn curtain in a blasted window, fragment-whispering in that awful breeze: never, forever, never, forever.
You have a professorβs mind. But that is the way it sounded.
Never. Forever.
Love that too?
Not love it. Not quite. And yet, I was never so alive.
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Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
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I've been ordered to take you men with me. I've been told that if you don't come I can shoot you. Well, you know I won't do that. Not Maine men. I won't shoot any man who doesn't want this fight. Maybe someone else will, but I won't. So that's that."
He paused again. There was nothing on their faces to lead him.
"Here's the situation. I've been ordered to take you along, and that's what I'm going to do. Under guard if necessary. But you can have your rifles if you want them. The whole Reb army is up the road a ways waiting for us and this is no time for an argument like this. I tell you this: we sure can use you. We're down below half strength and we need you, no doubt of that. But whether you fight or not is up to you. Whether you come along, well, you're coming."
Tom had come up with Chamberlain's horse. Over the heads of the prisoners Chamberlain could see the regiment falling into line out in the flaming road. He took a deep breath.
"Well, I don't want to preach to you. You know who we are and what we're doing here. But if you're going to fight alongside us there's a few things I want you to know."
He bowed his head, not looking at eyes. He folded his hands together.
"This regiment was formed last fall, back in Maine. There were a thousand of us then. There's not three hundred of us now." He glanced up briefly. "But what is left is choice."
He was embarrassed. He spoke very slowly, staring at the ground.
"Some of us volunteered to fight for Union. Some came in mainly because we were bored at home and this looked like it might be fun. Some came because we were ashamed not to. Many of us came...because it was the right thing to do. All of us have seen men die. Most of us never saw a black man back home. We think on that, too. Freedom...is not just a word."
He looked into the sky, over silent faces.
"This is a different kind of army. If you look at history you'll see men fight for pay, or women, or some other kind of loot. They fight for land, or because a king makes them, or just because they like killing. But we're here for something new. I don't...this hasn't happened much in the history of the world. We're an army going out to set other men free."
He bent down, scratched the black dirt into his fingers. He was beginning to warm to it; the words were beginning to flow. No one in front of him was moving. He said, "This is free ground. All the way to the Pacific Ocean. No man has to bow. No man born to royalty. Here we judge you by what you do, not by what your father was. Here you can be something. Here's a place to build a home. It isn't the land- there's always more land. It's the idea that we all have value, you and me, we're worth something more than the dirt. I never saw dirt I'd die for, but I'm not asking you to come join us and fight for dirt. What we're all fighting for, in the end, is each other.
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Michael Shaara (The Killer Angels: A Novel of the Civil War)