Layers Of Fear 1 Quotes

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He pulls me close, too close. I’m frozen in five hundred layers of fear. Stunned in grief, in disbelief.
Tahereh Mafi (Shatter Me (Shatter Me, #1))
There was a girl, and her uncle sold her. Put like that it seems so simple. No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique. Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children? We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives. A life that is, like any other, unlike any other. And the simple truth is this: There was a girl, and her uncle sold her.
Neil Gaiman (American Gods (American Gods, #1))
We can really be together," he says to me, undeterred by my silence. He pulls me close, too close. I'm frozen in five hundred layers of fear. Stunned in grief, in disbelief. His hands reach for my face, his lips for mine. My brain is on fire, ready to explode from the impossibility of this moment. I feel like I'm watching it happen, detached from my own body, incapable of intervening. More than anything else, I'm shocked by his gentle hands, his earnest eyes. "I want you to choose me," he says. "I want you to choose to be with me. I want you to want this.
Tahereh Mafi (Shatter Me (Shatter Me, #1))
You need to fear me, not hate me." I did. I feared him. But I think I hated him more. No, I knew I hated him more. For what he'd done. For what he was doing. For the betrayal. Most of all, for tarnishing something so beautiful and making it ugly. I trusted him. I gave myself to him, and he took me, peeled back layers of my soul until he saw it all. Then he took me.
Nashoda Rose (Torn from You (Tear Asunder, #1))
Nicaise had picked up a gilt three-pronged fork, but had paused before sampling the dish in order to speak. The fear he'd shown of Damen at the ring seemed to still be there. His knuckles, clenched around the fork, were white. 'It's all right,' said Damen. He spoke to the boy as gently as he could. 'I'm not going to hurt you.' Nicaise stared back at him. His huge blue eyes were fringed like a whore's, or like a doe's. Around them, the table was a coloured wall of voices and laughter, courtiers caught up in their own amusements, paying them no attention. 'Good,' said Nicaise, and stabbed the fork viciously into Damen's thigh under the table. Even through a layer of cloth, it was enough to make Damen start, and instinctively grab the fork, as three drops of blood welled up. 'Excuse me a moment,' Laurent said smoothly, turning from Torveld to face Nicaise. 'I made your pet jump,' said Nicaise, smugly. Not sounding at all displeased: 'Yes, you did.' 'Whatever you're planning, it's not going to work.' 'I think it will, though. Bet you your earring.' 'If I win, you wear it,' said Nicaise. Laurent immediately lifted his cup and inclined it toward Nicaise in a little gesture sealing the bet. Damen tried to shake the bizarre impression that they were enjoying themselves. Nicaise waved an attendant over and asked for a new fork.
C.S. Pacat (Captive Prince (Captive Prince, #1))
Two men. I had just killed two men. A killing machine, I hadn't even hesitated. Fear and rage settled deep in my chest, forming a layer of ice around my heart.
Maria V. Snyder (Poison Study (Study, #1))
Tonight I saw the entire truth in his eyes, the panic, the fear, the pain, the desire, and the love. He didn’t care if I was too thin, or not thin enough. He didn’t see my scars as ugly, he didn’t want my face hidden behind layers of makeup. Jax wanted me as I was, broken, flawed and honest. And never before had I been so utterly consumed and owned as I was by Jax.
Kirsty Dallas (Saving Ella (Mercy's Angels, #1))
There is BEAUTY in every1, every-thing, every-place.All of life is either LOVE or a call for love. Underneath the layers of any fears is always a call 4 more love. Either from your own soul, your-self to BE reflected in your own world. Outer appearance means nothing as it is only the LIGHT with-IN 1's heart that matters, no matter WHO it IS
Angie karan
Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children? We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
Neil Gaiman (American Gods (American Gods, #1))
The simulacrum tilts its head, just like Darin used to. “They’re hurting me, Laia.” It’s not Darin. My mind is slipping. This is guilt, fear. The voice changes, twisting and layering as if there are three Darins all talking at once. The light in the fake-Darin’s eyes goes out as quickly as a sun in a storm, and his irises darken into black pits, as if his entire body is filled with shadow. “I won’t survive it, Laia. It hurts.” The
Sabaa Tahir (An Ember in the Ashes (An Ember in the Ashes, #1))
To brim with hope, to cultivate just one small kernel of faith, to sport a touch of confidence, and to have one’s innate material embedded with layers of feisty are all that makes for the plucky kind of courage that means anything in the end.
Connie Kerbs (Paths of Fear: An Anthology of Overcoming Through Courage, Inspiration, and the Miracle of Love (Pebbled Lane Books Book 1))
Fear grid-irons your broken, suffering heart with strength, encasing it with a protective, tough shell. One that soon becomes a prison that will emaciate the unused, enclosed heart inside if left to its own accord. But renewed hope gently unwraps the hard cast, and replaces it with a more resilient, pliable layer, protective, strong, but permeable so as to let love soak in and nurture the malnourished, dying heart inside.
Connie Kerbs (Paths of Fear: An Anthology of Overcoming Through Courage, Inspiration, and the Miracle of Love (Pebbled Lane Books Book 1))
Everyone has secret. Like the oyster with its grain of sand, we bury it deep within, coating it with opalescent layers, as if that could heal our mortal wound. Some of us devote our entire lives to keeping our secret hidden, safe from those who might pry it from us, hoarding it like the pearl, only to discover that it escapes us when we least expect it. revealed by a flash of fear in our eyes when caught unawares, by a sudden pain, a rage or hatred, or an all-consuming shame.
C.W. Gortner (The Tudor Secret (The Spymaster Chronicles, #1))
Maya—goddess of confusion and misdirection—is back in the chair opposite me. “So who are the priests of all religions?” she asks me. “They are your shepherds,” I respond, “keeping the sheep in the fold, away from the cliffs.” I know this. I know that the religions with their promises of an afterlife form an interior layer of containment and that the eternal rewards and punishments they speak of are as finite as the one in which they speak. Bubbles within bubbles. Turtles on top of turtles. “And who are the saints and sages of the great spiritual traditions?” she asks. “They are your final level of containment. They are the weavers of the final web, masters of subtle misdirection; convincing because they are convinced. For every million that get near the edge, perhaps only one steps over.” She smiles. “And where do I dwell?” “In the heart,” I respond. “In fear.” “Fear of what?” she asks. “Fear of being haunted by meddlesome Hindu deities?” I ask, but she’s already gone.
Jed McKenna (Spiritual Enlightenment: The Damnedest Thing (The Enlightenment Trilogy Book 1))
His breath fell in a warm, even rhythm on the curve of her cheek. “Some people think of the bee as a sacred insect,” he said. “It’s a symbol of reincarnation.” “I don’t believe in reincarnation,” she muttered. There was a smile in his voice. “What a surprise. At the very least, the bees’ presence in your home is a sign of good things to come.” Her voice was buried in the fine wool of his coat. “Wh-what does it mean if there are thousands of bees in one’s home?” He shifted her higher in his arms, his lips curving gently against the cold rim of her ear. “Probably that we’ll have plenty of honey for teatime. We’re going through the doorway now. In a moment I’m going to set you on your feet.” Amelia kept her face against him, her fingertips digging into the layers of his clothes. “Are they following?” “No. They want to stay near the hive. Their main concern is to protect the queen from predators.” “She has nothing to fear from me!” Laughter rustled in his throat. With extreme care, he lowered Amelia’s feet to the floor. Keeping one arm around her, he reached with the other to close the door. “There. We’re out of the room. You’re safe.” His hand passed over her hair. “You can open your eyes now.” Clutching the lapels of his coat, Amelia stood and waited for a feeling of relief that didn’t come. Her heart was racing too hard, too fast. Her chest ached from the strain of her breathing. Her lashes lifted, but all she could see was a shower of sparks. “Amelia … easy. You’re all right.” His hands chased the shivers that ran up and down her back. “Slow down, sweetheart.” She couldn’t. Her lungs were about to burst. No matter how hard she worked, she couldn’t get enough air. Bees … the sound of buzzing was still in her ears. She heard his voice as if from a great distance, and she felt his arms go around her again as she sank into layers of gray softness. After what could have been a minute or an hour, pleasant sensations filtered through the haze. A tender pressure moved over her forehead. The gentle brushes touched her eyelids, slid to her cheeks. Strong arms held her against a comfortingly hard surface, while a clean, salt-edged scent filled her nostrils. Her lashes fluttered, and she turned into the warmth with confused pleasure. “There you are,” came a low murmur. Opening her eyes, Amelia saw Cam Rohan’s face above her. They were on the hallway floor—he was holding her in his lap. As if the situation weren’t mortifying enough, the front of her bodice was gaping, and her corset was unhooked. Only her crumpled chemise was left to cover her chest. Amelia stiffened. Until that moment she had never known there was a feeling beyond embarrassment, that made one wish one could crumble into a pile of ashes. “My … my dress…” “You weren’t breathing well. I thought it best to loosen your corset.” “I’ve never fainted before,” she said groggily, struggling to sit up. “You were frightened.” His hand came to the center of her chest, gently pressing her back down. “Rest another minute.” His gaze moved over her wan features. “I think we can conclude you’re not fond of bees.
Lisa Kleypas (Mine Till Midnight (The Hathaways, #1))
The best antidote to the furtive poison of anger, fear, anxiety, or any of our destructive, unwieldy passions, is just gratitude. And not the grandiose, boisterous or especially obvious kind. It is not necessarily the verbose or expressive kind. It's often the full immersion, a kind of deep submersion even, into a pool of awareness. This penitent affect distills within us surreal realizations; it is a focus, tinged with layers of deep remorse and the profound beauty of newfound appreciation that washes over us about the simplest things we have slipped into, or suddenly become aware of our own complacency over. This cooling antidote instantly soothes any veins swollen with the heat of pride, or stopped up with pearls of finely polished self-pity. This all comes about with a balm of humility that is simultaneously soothing and jolting to all of our senses at the same time. It is a cocktail both sedative and stimulant in the same, finite instant. It often occurs as we are halted dead in our tracks by a thing so extraordinary and breathtakingly natural, even luscious in its simplicity and unusually ordinary existence; often something we have been blatantly negligent of noticing as we routinely trudge past it in our self-absorbed haze. These are akin to the emotions one might feel as they finally notice the well-established antique rose garden, in full bloom; the same one they have walked by for years on their way to somewhere - but never noticed before. This is the feeling we get when our aging parent suddenly, in one moment, is 87 in our mind's eye - and not the steady 57, or eternal 37 we have determinedly seen our so loved one to be, out of purely wishful thinking born of the denial that only the truest love and devotion can begin to nurture - for the better of many decades.
Connie Kerbs (Paths of Fear: An Anthology of Overcoming Through Courage, Inspiration, and the Miracle of Love (Pebbled Lane Books Book 1))
Breathing heavily, he glared down at her with glassy belligerence. “I said get out of my dreams.” His face was like the mask of some ancient god of war, beautiful and harsh, the mouth contorted, lips parted enough to reveal the edges of animal-white teeth. Win was amazed, excited, the tiniest bit frightened … but this was Merripen … and as she stared at him, the edge of fear melted and she drew his head down to hers, and he kissed her. She had always imagined there would be roughness, urgency, impassioned pressure. But his lips were soft, grazing over hers with the heat of sunshine, the sweetness of summer rain. She opened to him in wonder, the solid weight of him in her arms, his body pressing into the crumpled layers of her skirts. Forgetting everything in the passionate tumult of discovery, Win reached around his shoulders, until he winced and she felt the bulk of his bandage against her palm. “Kev,” she said breathlessly, “I’m so sorry, I … no, don’t move. Rest.” She curled her arms loosely around his head, shivering as he kissed her throat. He nuzzled against the gentle rise of her breast, pressed his cheek against her bodice, and sighed. After a long, motionless minute, while her chest rose and fell beneath his heavy head, Win spoke hesitantly. “Kev?” A slight snore was her reply. The first time she had ever kissed a man, she thought ruefully, and she had put him to sleep.
Lisa Kleypas (Mine Till Midnight (The Hathaways, #1))
To take the choice of another…to forget their concrete reality, to abstract them, to forget that you are a node in a matrix, that actions have consequences. We must not take the choice of another being. What is community but a means to…for all we individuals to have…our choices. ” Kar’uchai shrugged and indicated the world around them vaguely. “Your city institutions…Talking and talking of individuals…but crushing them in layers and hierarchies…until their choices might be between three kinds of squalor. “We have far less, in the desert. We hunger, sometimes, and thirst. But we have all the choices that we can. Except when someone forgets themselves, forgets the reality of their companions, as if they were an individual alone…And steals food, and takes the choice of others to eat it, or lies about game, and takes the choice of others to hunt it; or grows angry and attacks without reason, and takes the choice of another not to be bruised or live in fear. “A child who steals the cloak of some beloved other, to smell at night…they take away the choice to wear the cloak, but with respect, with a surfeit of respect. “Other thefts, though, do not have even respect to mitigate them. “To kill…not in war or defence, but to…murder…is to have such disrespect, such utter disrespect, that you take not only the choice of whether to live or die that moment…but every other choice for all of time that might be made. Choices beget choices…if they had been allowed their choice to live, they might have chosen to hunt for fish in a salt-swamp, or to play dice, or to tan hides, to write poesy or cook stew…and all those choices are taken from them in that one theft. “That is choice-theft in the highest degree. But all choice-thefts steal from the future as well as the present.
China Miéville (Perdido Street Station (New Crobuzon, #1))
It's funny, you know. We're free. We make choices. We weigh things in our minds, consider everything carefully, use all the tools of logic and education. And in the end, what we mostly do is what we have no choice but to do. Makes you think, why bother? But you bother because you do, that's why. Because you're a DNA-brand computer running Childhood 1.0 software. They update the software but the changes are always just around the edges. You have the brain you have, the intelligence, the talents, the strengths and weaknesses you have, from the moment they take you out of the box and throw away the Styrofoam padding. But you have the fears you picked up along the way. The terrors of age four or six or eight are never suspended, just layered over. The dread I'd felt so recently, a dread that should be so much greater because the facts had been so much more horrible, still could not diminish the impact of memories that had been laid down long years before. It's that way all through life, I guess. I have a relative who says she still gets depressed every September because in the back of her mind it's time for school to start again. She's my great-aunt. The woman is sixty-seven and still bumming over the first day of school five-plus decades ago. It's sad in a way because the pleasures of life get old and dated fast. The teenage me doesn't get the jolt the six-year-old me got from a package of Pop Rocks. The me I've become doesn't rush at the memories of the day I skated down a parking ramp however many years ago. Pleasure fades, gets old, gets thrown out with last year's fad. Fear, guilt, all that stuff stays fresh. Maybe that's why people get so enraged when someone does something to a kid. Hurt a kid and he hurts forever. Maybe an adult can shake it off. Maybe. But with a kid, you hurt them and it turns them, shapes them, becomes part of the deep, underlying software of their lives. No delete. I don't know. I don't know much. I feel like I know less all the time. Rate I'm going, by the time I'm twenty-one I won't know a damned thing. But still I was me. Had no choice, I guess. I don't know, maybe that's bull and I was just feeling sorry for myself. But, bottom line, I dried my eyes, and I pushed my dirty, greasy hair back off my face, and I started off down the road again because whatever I was, whoever I was, however messed up I might be, I wasn't leaving April behind. Maybe it was all an act programmed into me from the get-go, or maybe it grew up out of some deep-buried fear, I mean maybe at some level I was really just as pathetic as Senna thought I was. Maybe I was a fake. Whatever. Didn't matter. I was going back to the damned dragon, and then I was getting April out, and everything and everyone else could go screw themselves. One good thing: For now at least, I was done being scared.
K.A. Applegate
He brushed her hair until it was nearly dry. He had to reach forward to catch the brandy glass. Lazy delight swirled through her at the glance of his hand over hers. Each stroke of the brush leached away another layer of resistance. After all the fear and anger, she slid into a fog of languorous docility. Perhaps soon he'd take her to bed. Surely he hadn't meant it when he said she'd sleep alone. He set the brush aside and lifted her into his arms. She murmured sleepily and nestled into his chest. She was warm. He was warm. Everything was delicious warmth. She smothered a yawn and shut her eyes. Jonas... She might have spoken his name aloud. She nuzzled his chest, drawing in more rain-fresh scent. She thought he growled softly in his throat. She wasn't sure. She was so tired, she wasn't sure about much. He set her down on the bed, the mattress sagging beneath her, and pulled up the covers. His arms slipped away with what felt like reluctance and the loss pierced her drowsiness. She whimpered in protest and waited for him to slide in beside her. She kept her eyes shut. Looking at him veered too near to admitting she'd stopped fighting. She heard him sigh. His clean scent flooded her senses when he pressed his lips to her forehead then briefly kissed her mouth.
Anna Campbell (Seven Nights in a Rogue's Bed (Sons of Sin, #1))
I don’t understand her. I treat her kindly, yet she still shakes with fear at the thought of being one with me. I try to make her happy and make her angry instead.” Many Horses lifted an eyebrow. “Fear is not like a layer of dust on a tree leaf that washes away in a gentle rain. Give her time. Be her good friend, first--then become her lover. As for making a woman happy, you succeed sometimes, you fail sometimes. That is the way of it.” Hunter took a deep breath and let it out on a weary sigh. “It’s not that I have another woman in mind to take as wife. It’s just--” “That you are bullheaded?” Hunter smothered an outraged laugh. “A little bit, yes?” Many Horses shrugged. “One unto the other is not a bad thing for a man. I am sure enough glad I have only one tug rope coming into my lodge. Can you imagine how exhausting three or four wives would be?” “My mother has been enough for you, but she is a special woman.” Many Horses grinned. “She is a jealous woman. And I’m not a stupid man. I didn’t want to live in a wasp’s nest all my life.” He shrugged. “I like things as they are. Fewer sharp tongues nagging me. Fewer mouths to feed. And only one woman to try to understand. I brought her slaves to help her with the work.” “My yellow-hair does not believe in having slaves.” “Neither does she believe in many wives. Give her a choice, slaves or wives. See which she chooses.” Many Horses waved his hand before him to clear the air of ash. “You must also remember the yellow-hair may give you many more children than a Comanche woman. Take care or you could father more children than you can feed. I’ve never seen a white woman yet who wasn’t a good breeder.” A slow grin spread across Hunter’s mouth. “You will tell her this, yes? So far she isn’t showing the proper enthusiasm.
Catherine Anderson (Comanche Moon (Comanche, #1))
Brimming with exhaustion, with fear, with worry, and with sadness, the anger lifts and covers everything in a thin layer, and I find strength to stand.
K. Weikel (When Dead Men Bleed (Dead Men, #1))
Swinging to his feet, Hunter scattered the fire so the flames licked feebly at the wood and threw the lodge into gentle shadows. Then he turned to regard his wife, forcing his hands to curl loosely at his sides, his stance deliberately relaxed. “Blue Eyes, come here,” he whispered softly. She threw up her head like a startled doe, her eyes huge and wary. Hunter’s guts clenched, and with one stride he closed the distance between them. Catching her by the chin, he tipped her head back and feathered his thumb across her quivering bottom lip. “I--” Her voice shook and broke. She swallowed and tried again. “I’m sorry, Hunter. I know I promised. It’s just that--I’m a little nervous.” Hunter bent his head and lightly pressed his forehead against hers, nudging her hands aside so he could untie the pink ribbon that cinched her small waist. With deft fingers he loosened the petticoat and let it fall in a heap at their feet. “There is nothing to fear,” he whispered, “nothing.” Her breath caught when he untied the first small bow that held her chemise closed. He untied the others quickly and feathered his fingers over her shoulders, skimming the muslin aside and drawing it down her arms. Shame washed over her, hot and pulsating, as the evening air touched her bare breasts. She closed her eyes, wishing she could die on the spot. An instant later she opened her eyes again, terrified of what he might do when she wasn’t watching. Loosening the drawstring waist of her pantalets, he crouched before her, tugging the breeches down her legs, pulling off her high-topped shoes as he divested her of the garment. As he stood back up, it was his turn to catch his breath. His memories didn’t do her justice. For a moment he couldn’t drag his gaze from her, so fascinated was he by the glowing whiteness of her skin, the delicate curves, so long hidden from him by chin-high calico and multiple layers of muslin. Settling his hands on her narrow waist, he drew her toward him, his heart slamming as the pebbled tips of her small breasts came into contact with the flesh over his ribs. In the dim light he could see tears shimmering on her pale cheeks. He bent his head to catch their saltiness with the tip of his tongue. “Ah, Blue Eyes, ka taikay, ka taikay, don’t cry. Has my hand upon you ever brought pain?” “No,” she whispered brokenly.
Catherine Anderson (Comanche Moon (Comanche, #1))
It is good I came, my father. You have the gift. Already my heart is lighter.” Many Horses ran his tongue over his own jagged teeth, nodding thoughtfully. “I am proud of all my children,” he said huskily. “Of you, most of all. It is a strange thing, my son, but when a man takes a babe into his arms and claims him as son, it becomes a truth within his heart. The blood in his veins is as nothing. The color of his eyes is as nothing. When you took your first step, it was toward my outstretched hand. That was everything. White Eyes or Comanche, you were my son. I would have killed any man who said you weren’t.” Tears burned behind Hunter’s eyes. “What are you saying, my father?” “I am saying that you must walk the path of your own heart. You came here angry because your yellow-hair is angry, yes? If you love her, it will be the same when she is sad, when she is happy. Have you ever stood where a stream spills into a river? The two become one. They laugh over the stones together, twist through the sharp canyons together, plunge down the waterfalls together. It is the same when a man and woman love one another. It is not always a pleasant thing, but when it happens, a man has little to say about it. Women, like streams, can be smooth one minute and make a man feel like he’s swimming through white water the next.” Hunter leaned forward over his knees, brandishing the poker under his father’s blackened nose. “I don’t understand her. I treat her kindly, yet she still shakes with fear at the thought of being one with me. I try to make her happy and make her angry instead.” Many Horses lifted an eyebrow. “Fear is not like a layer of dust on a tree leaf that washes away in a gentle rain. Give her time. Be her good friend, first--then become her lover. As for making a woman happy, you succeed sometimes, you fail sometimes. That is the way of it.
Catherine Anderson (Comanche Moon (Comanche, #1))
Arges had never seen such a beautiful woman. He’d never known someone to meet him head on, no matter what he did. She did not fear him, and that was intoxicating. Though still glaring at him, she didn’t move as he dragged his free hand down her throat. Tiny bumps rose on her skin. Captivating, although he had a feeling it might be a fear response. Good, she should fear him. But then she tilted her head to the side, baring more of that lovely neck until he reached the prominent muscles of her shoulders. And still, his fingers caught on the blanket and he thought, “I could tear this off her.” He would then finally see what an achromo looked like underneath all those layers that they hid beneath. Even more than that, he could see what she looked like.
Emma Hamm (Whispers of the Deep (Deep Waters, #1))
Matilde's life is a thousand layers of secrets. Some live under her skin, conjured up when she needs them. A flicker in her palm, a pair of smoldering wings. Others are buried deep: her fears, her aches, her uncertainties. She hides them all behind a mask she can't take off.
Kate J. Armstrong (Nightbirds (Nightbirds, #1))
She used to love flying through the air with only her hands to keep her from falling. It was freeing in a way she needed. She remembered what Link had told her on their first day about sloughing off the fears and insecurities she had acquired by dealing with her aunt for years and realized that was exactly what she needed to do. Phina had always wanted to go her own way. She wasn’t one to fit in naturally or be a part of the norm. She wanted to walk to her own beat and not feel like it was necessary to apologize for it. However, her aunt had made her think she should be ashamed of herself, that she wasn’t good enough unless she conformed to what her aunt wanted. That ended up making her feel like she had to apologize for being who she was, even if she didn’t want to. She paused her handstand, lowered her legs, and stood. Phina stared in front of her though she didn’t focus on anything in particular. Was it really so simple? Accept who she was, don’t apologize for it, and don’t let anyone’s opinion make her feel like she was…less. It seemed easy in concept, but she didn’t think it would be quite as simple in practice. After years of feeling like she needed to be less, it wouldn’t just take one realization to make her feel like she could be herself, let alone become more. Still, the realization made her feel lighter and cleaner. Perhaps a few of those layers really had sloughed off. Phina closed her eyes and decided to just let go and relax. A song popped into her head and she started moving to that inner music, shaking off the nerves and turning stretches into dance moves. When her muscles had loosened up again, she opened her eyes and eyed the corridor as she stopped moving.
S.E. Weir (Diplomatic Recruit (The Empress' Spy, #1))
Cults exploited people, and those who got sucked in, especially on the bottom layer of the hierarchy, weren’t usually bad people. They were looking for something better, a little bit of hope, or a way to deal with overwhelming things in their life. Instead, they ended up as free labor, brainwashed and used, their vulnerabilities and fears molded into a leash that held them in place.
Ilona Andrews (Magic Tides (Kate Daniels: Wilmington Years, #1; Kate Daniels, #10.5))
smiled a real smile, then looked from Daegan back to him and nodded. Not sure why she wanted Daegan to explain—or how he even knew all the information that suddenly flashed in his mind—he nevertheless answered for her. “She is from a lost race that is from deep within the mountains. There are not many left of her kind... the Ehsmia. They have gifts beyond those of other Faeries, but I’m not sure all of what they can do. They keep to themselves, but she knew we were coming so she came out to meet us.” He frowned. Turning to Ella, he asked, “Why us? I do not understand how you know what we are looking for, let alone that we are looking at all.” “In due time, all will be revealed to you,” she said, looking deeply into his eyes, boring into his soul. It was personal and invasive, but before he could look away, she released him, leaving him with a sensation of warmth spreading throughout his body. “You are ready, Daegan of the Ferrishyn. Do not fear your destiny.” She inclined her head slightly, but Daegan could only frown, feeling a sense of foreboding, as though everything was about to change. What is she talking about? “The Ehsmia? I have heard stories... legends of your people. You are also called the Hidden People, are you not?” Hal asked in awe. When Ella only nodded, he continued. “I thought your people were no more, if they even had existed at all.” He did not mean to be rude. “That is how we prefer to be known... or not known at all. Otherwise, what purpose would our hiding be if we were known?” she said with a smirk on her face but said no more. Ella turned to face the rock wall, which looked like a crumbling ruin of what was at one time a part of a great wall. It was built into the side of the Kandrian Mountains. Hal’s look of confusion mirrored Daegan’s own. Hal finally shrugged his shoulders, figuring they would understand “in due time.” Oddly, his typical nonchalant response gave Daegan a sense of calm. Staring at the rocks that made up the wall for what seemed several minutes but in reality was probably much shorter, Ella laid her hand flat onto a rock that suddenly appeared smoother and duller than all the other old, jagged stones. There was a rumbling of the ground that stopped as suddenly as it started. She gave them a sneaky smile. Daegan still wasn’t sure he trusted her, but at this point it seemed she might be the only one with answers of any kind. “Are you ready to follow where not many have been before, a land within a land?” she asked. Without waiting for their answer, she turned around and walked straight into the rock wall, which had magically become an illusion. Daegan and Hal both knew there was magic in Alandria and that every species had their own type of magic. They had their own magic as well, but they had only heard of this kind of magic in their own legends. Halister and Daegan quickly followed Ella, not wanting to get shut out of what could be their only opportunity to see where the Hidden People were, well, hidden. CHAPTER FIVE It was dark, yet they had no trouble following Ella through the murky tunnel of rock and stone that looked worn from centuries of use and natural erosion. Other than the thin layer of water trickling over some of the stones, it was silent and peaceful. They had been following a star, literally, for the past several minutes, but it wasn’t above them. Ella’s short, jagged snow-white hair allowed them to see the back of her neck, upon which was a horizontally stretched eight-point star from which a soft blue light emanated, marking her as other. Assuming she could see in the dark, they kept following and soon the tunnel began to lighten. Green leafy vines began crawling up the sides of the
Morgan Wylie (Silent Orchids (The Age of Alandria, #1))
Raven felt a stirring in her mind. Raven? You fear for your safety. Mikhail was heavy with sleep, fighting his way up through the layers to the surface. Now she was worried. Mikhail was a question mark in her mind. She didn’t know what he would do, only that he felt protective toward her. For herself, for Mikhail, for Jacob, she needed to make Jacob understand that she wanted no part of him. I can handle this, she sent a sharp reassurance. “Jacob.” She used a firm schoolmarm tone. “I think you should leave and go back to the inn. I’m not the kind of woman to be bullied by your attitude. This is harassment, and I”ll have no compunction about registering a complaint with the local police, or whatever they’re called.” She held her breath. Deep inside her mind, she could feel Mikhail. Still like a predator. “Fine, Raven, sell yourself to the highest bidder like some whore. Try to find yourself a rich husband. He’ll use you and dump you, that’s what men like Dubrinsky do! The two of you deserve one another. And don’t come crying to me when he leaves you pregnant and alone.” Jacob shouted. He spat out a few additional ugly words and stomped away. Raven let out her breath slowly, thankfully. See--she forced laughter into her thoughts--I took care of the problem all by my little feminine self. Amazing, isn’t it?
Christine Feehan (Dark Prince (Dark, #1))
was a small lavatory. The door to the lavatory was missing and Myers screwed his face up at the sight of the mess inside. The place didn’t need cleaning. It needed burning. There were a few random, oil-stained chairs dotted about and a collection of torn car magazines. It was the poorest attempt at a customer waiting area Myers had ever seen. Along the back wall, however, was a large workbench and two tall tool chests. They were red with silver handles and covered in stickers. On the wall above the bench, which was covered in spare parts, drinks cans, and oily rags, were several calendars which fell into the category of cliché garage topless pictures. To the right of the workbench was a fire escape door with a long, silver push-handle and Myers thought that even hovels like the garage needed to have some form of emergency exit. He wondered what he’d find out there, then shuddered at the thought. He stepped into the space and felt a strange guilty pang of combined intrusion and fear. There were no cars in the garage, but the air retained a thick, oily smell borne of years of spilt oil and vapour seeping into the pores of every surface in there. He pulled his jacket in tight around him. It seemed as if every surface was coated in a thick layer of grease. But there was something else in that smell. Something that had combined with the oil to form a sickly aroma. He knew the smell, but it had been tainted by the oil and he couldn’t put his finger on it. There was something not quite right about the place. It was the first time he actually wished Fox had been there with him. Another pair of eyes would be useful, and despite her annoying traits, she was actually turning out to be a smart thinker. It was she who had seen the slight variation in the forms. It was she who had known the format of the numbers reflected a container number. And it was she who had theorised that Donald Cartwright could be in trouble. The fact that Donald Cartwright was not in the garage did not mean he wasn’t in trouble. In fact, it only gave weight to the theory. Something had happened in the garage. And Myers was sure the two were connected. Donald Cartwright’s shipment had been delivered to the garage, the only delivery for years that hadn’t been delivered to his father’s warehouse. The form was different and the adviser, Sergio, hadn’t countersigned it. The
J.D. Weston (The Silent Man (The Harvey Stone Series, #1))
According to a renowned expert on mourning etiquette, even though attending a play or a dance is out of the question, it’s permissible to go to a concert, museum exhibition, or private art gallery.” Devon proceeded to read aloud from the letter. “This learned lady writes, One fears that the prolonged seclusion of young persons may encourage a lasting melancholy in such malleable natures. While the girls must pay appropriate respect to the memory of the late earl, it would be both wise and kind to allow them a few innocent recreations. I would recommend the same for Lady Trenear, whose lively disposition, in my opinion, will not long tolerate a steady diet of monotony and solitude. Therefore you have my encouragement to--” “Who wrote that?” Kathleen demanded, snatching the letter from his hand. “Who could possibly presume to--” She gasped, her eyes widening as she saw the signature at the conclusion of the letter. “Dear God. You consulted Lady Berwick?” Devon grinned. “I knew you would accept no one’s judgment but hers.” He bounced Kathleen a little on his knee. The slim, supple weight of her was anchored amid the rustling layers of skirts and underskirts, the pretty curves of her body corseted into a narrow column. With every movement she made, little whiffs of soap and roses floated around them. She reminded him of one of those miniature sweet-smelling bundles that women tucked into dressers and wardrobes. “Come,” he said, “London isn’t such an appalling idea, is it? You’ve never stayed at Ravenel House--and it’s in far better condition than this heap of ruins.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
Later, I sat down drunk on the corner of Carondelet and Canal Streets, listening for the rumble of the streetcar that would take me back uptown to my apartment, watching the evening sun bleed from the streets, the city shifting into night, when it truly became New Orleans: the music, the constant festival, the smell of late evening dinners pouring out, layering the beer-soaked streets, prostitutes, clubs with DJs, rowdy gay bars, dirty strip clubs, the insane out for a walk, college students vomiting in trash cans, daiquiri bars lit up like supermarkets, washing-machine-sized mixers built into the wall spinning every color of daiquiri, lone trumpet players, grown women crying, clawing at men in suits, portrait painters, spangers (spare change beggars), gutter punks with dogs, kids tap-dancing with spinning bike wheels on their heads, the golden cowboy frozen on a milk crate, his golden gun pointed at a child in the crowd, fortune-tellers, psycho preachers, mumblers, fighters, rock-faced college boys out for a date rape, club chicks wearing silver miniskirts, horse-drawn carriages, plastic cups piling against the high curbs of Bourbon Street, jazz music pressing up against rock-and-roll cover bands, murderers, scam artists, hippies selling anything, magic shows and people on unicycles, flying cockroaches the size of pocket rockets, rats without fear, men in drag, business execs wandering drunk in packs, deciding not to tell their wives, sluts sucking dick on open balconies, cops on horseback looking down blouses, cars wading across the river of drunks on Bourbon Street, the people screaming at them, pouring drinks on the hood, putting their asses to the window, whole bars of people laughing, shot girls with test tubes of neon-colored booze, bouncers dragging skinny white boys out by their necks, college girls rubbing each other’s backs after vomiting tequila, T-shirts, drinks sold in a green two-foot tube with a small souvenir grenade in the bottom, people stumbling, tripping, falling, laughing on the sidewalk in the filth, laughing too hard to stand back up, thin rivers of piss leaking out from corners, brides with dirty dresses, men in G-strings, mangy dogs, balloon animals, camcorders, twenty-four-hour 3-4-1, free admission, amateur night, black-eyed strippers, drunk bicyclers, clouds of termites like brown mist surrounding streetlamps, ventriloquists, bikers, people sitting on mailboxes, coffee with chicory, soul singers, the shoeless, the drunks, the blissful, the ignorant, the beaten, the assholes, the cheaters, the douche bags, the comedians, the holy, the broken, the affluent, the beggars, the forgotten, and the soft spring air pregnant with every scent created by such a town.
Jacob Tomsky (Heads in Beds: A Reckless Memoir of Hotels, Hustles, and So-Called Hospitality)