Rue's Death Quotes

Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim's cheek. My father's laugh. Peeta's father with the cookies. The colour of Finnick's eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their death count.

Even for those to whom life and death are equal jests. There are some things that are still held in respect.

With Rue My Heart Is Laden With rue my heart is laden For golden friends I had, For many a rose-lipt maiden And many a lightfoot lad. By brooks too broad for leaping The lightfoot boys are laid; The rose-lipt girls are sleeping In fields where roses fade.

Did you see her again in France?" I asked him.” “No. When I got to France, she was already dead. She committed suicide ...” “Why?” “She often told me she was frightened of getting old...

Eyes of blue and hair of fire Are the keys to your desire. Angel's voice and will of steel Shall force the dark witch to kneel. Death to bind and bind to break Sun and moon for all our sake. Prince of night, daughter of day, Bound as one the witch they'll slay. Same hour they their first breath drew, On her last, the witch will rue. Join the two named in this verse And see the end of the curse.

Trust you? Rue--trust you? You counterfeited your own death rather than wed me. You told me you'd rather die than stay in Darkfrith. I can't--I don't know how to fix that. I don't know how to mend it. Tell me." He took a step toward her. "Tell me, and I'll do it.

The only thing you must do, flesh-child, is die. The rest is but a trick of light in the foam on the waves.

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolutions and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question she has lived. 'Nothing is all good or all bad,' she says. 'Life is os much messier than that.' And there in the dark, he asks if it was really worth it. Were the instants of joy worth the stretches of sorrow? Were the moments of beauty worth the years of pain? And she turns her head, and looks at him, and says, 'Always.

Rue not my death. Rejoice at my repose, It was no death to me but to my woes. The bud was opened to let out the rose. The chain was loosed to let the captive go.” —ROBERT SOUTHWELL ON MARY, QUEEN OF SCOTS

I got the idea from our family’s plant book. The place where we recorded things you cannot trust to memory. The page begin’s with the person’s picture. A photo if we can find it. If not, a sketch or a painting by Peeta. Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim’s cheek. My father’s laugh. Peeta’s father with the cookies. The colour of Finnick’s eyes. What Cinna would do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their deaths count. Haymitch finally joins us, contributing twenty-three years of tributes he was forced to mentor. Additions become smaller. An old memory that surfaces. A late promise preserved between the pages. Strange bits of happiness, like the photo of Finnick and Annie’s newborn son.

Listen, the heart-shackles are not, as you think, death, illness, pain, unrequited hope, not loneliness, but lassitude, rue, vainglory, fear, anxiety, selfishness

Nay, could their numbers countervail the stars, Or ever-drizzling drops of April showers, Or wither'd leaves that autumn shaketh down, Yet would the Soldan by his conquering power So scatter and consume them in his rage, That not a man should live to rue their fall.

Now I see what the audience saw, how he misled the Careers about me, stayed awake the entire night under the traker jacker tree, fought Cato to let me escape and even while he lay in that mud bank, whispered my name in his sleep. I seem heartless in comparison- dodging fireballs, dropping nests, and blowing up supplies- until I go hunting for Rue. They play her death in full, the spearing, my failed rescue attempt, my arrow through the boy from District 1's throat, Rue drawing her last breath in my arms. And the song. I get to sing every note of the song. Something inside me shuts down and I'm too numb to feel anything. It's like watching complete strangers in another Hunger Games. But I do notice they omit the part where I covered her in flowers. Right. Because even that smacks of rebellion.

Death doesn't bother me but murder makes me edgy, and my lack of weaponry suddenly felt like a potentially fatal mistake. If we got back to the hotel alive, I wasn't coming back here again without my knife and the baseball bat. And maybe a tank, if I could find one fast enough.

The death agony of the barricade was about to begin. For, since the preceding evening, the two rows of houses in the Rue de la Chanvrerie had become two walls; ferocious walls, doors closed, windows closed, shutters closed. A house is an escarpment, a door is a refusal, a facade is a wall. This wall hears, sees and will not. It might open and save you. No. This wall is a judge. It gazes at you and condemns you. What dismal things are closed houses.

Only you would arrive early to your own death.

The darkness has granted her freedom from death, perhaps, but not from this. Not from suffering.

And then it hits me. They already have. They have kiled her father in those wretched mines. They have sat by as she almost starved to death. They have chosen her as a tribute, then made her watch her sister fight to the death in the Games. She has been hurt far worse than I had at the age of twelve. And even that pales in comparison with Rue's life.

Ah, are you digging on my grave, My loved one? -- planting rue?" -- "No: yesterday he went to wed One of the brightest wealth has bred. 'It cannot hurt her now,' he said, 'That I should not be true.'" "Then who is digging on my grave, My nearest dearest kin?" -- "Ah, no: they sit and think, 'What use! What good will planting flowers produce? No tendance of her mound can loose Her spirit from Death's gin.'" "But someone digs upon my grave? My enemy? -- prodding sly?" -- "Nay: when she heard you had passed the Gate That shuts on all flesh soon or late, She thought you no more worth her hate, And cares not where you lie. "Then, who is digging on my grave? Say -- since I have not guessed!" -- "O it is I, my mistress dear, Your little dog, who still lives near, And much I hope my movements here Have not disturbed your rest?" "Ah yes! You dig upon my grave... Why flashed it not to me That one true heart was left behind! What feeling do we ever find To equal among human kind A dog's fidelity!" "Mistress, I dug upon your grave To bury a bone, in case I should be hungry near this spot When passing on my daily trot. I am sorry, but I quite forgot It was your resting place.

If you could do it again,” he says, “would you still make the deal?” And Addie says yes. It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once.

I don’t want to talk about dying songbirds. They bring up thoughts of my father’s death and Rue’s death and Maysilee Donner’s death and my mother inheriting her songbird. Oh, great, and now I’m thinking of Gale, deep down in that horrible mine, with President Snow’s threat hanging over his head. So easy to make it look like an accident down there. A silent canary, a spark, and nothing more.

It is not as still as death, not as empty, or calm. There is a violence to this blind black void. It is birds’ wings beating against her skin. It is the rush of the wind in her hair. It is a thousand whispering voices. It is fear, and falling, and it is a feral, wild feeling, and by the time she thinks to scream, the darkness has peeled away again, the night has re-formed, and Luc is once again beside her.

A grounding force against a rising storm. There is still a little time, the hand on the watch a fraction of a fraction of a fraction from midnight, and he can hear Bea’s voice in his head. Only you would arrive early to your own death.

Exile from society allows person to disengage from meaningless activities and develop conscious awareness. A person’s courageous struggle to eliminate the trepidation of social exile produces insights into what it means to be human. We can displace emotional disquiet by living a heightened state of existence. How a person’s resolves the tremendous anxiety and dizziness that impetus comes from contemplating the inevitability of death, human freedom of choice, the moral responsibilities attendant to living in a selected manner, existential isolation, and the possibility of nothingness establishes a governing philosophical framework. A person must not rue ouster from society because release from moral and societal constraints spurs learning and advanced consciousness.

Let death surprise rue when it will, and where it will, I may be a happy man, nevertheless. For he is a happy man, who in his lifetime dealeth unto himself a happy lot and portion. A happy lot and portion is, good inclinations of the soul, good desires, good actions.

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question she has lived. “Nothing is all good or all bad,” she says. “Life is so much messier than that.

What would become of me?" Those shoulders - the ones she drew so many times, the ones she conjured into being - give only a dismissive shrug. "You will be nothing, my dear," he says simply. "But it is a kinder nothing than this. Surrender, and I will set you free." If some part of her wavered, if some small part wanted to give in, it did not last beyond a moment. There is a defiance in being a dreamer. "I decline," she growls. The shadow scowls, those green eyes darkening like cloth soaked wet. HIs hands fall away. "You will give in," he says. "Soon enough." He does not step back, does not turn to go. He is simply gone. Swallowed by the dark.

Anna's story is a pale shadow of Adeline's. A girl running away from a woman's life. She leaves behind everything she has ever known, and escapes to the city, disowned, alone, but free. "Unbelievable." He says. "You simply left?" "I had to," she says, and it is not a lie. "Admit it, you think me mad." "Indeed," says Remy with a playful grin. "The maddest. And the most incredible. What courage!" "It did not feel like courage," Addie says, plucking at the rind of bread. "It felt as if I had no choice. As if. . ." The words lodge in her throat, but she isn't sure if it's the curse or simply the memory. "It felt as if I'd die there." Remy nods thoughtfully. "Small places make for small lives. And some people are fine with that. they like knowing where to put their feet. But if you only walk in other people's steps, you cannot make your own way. You cannot leave a mark.

It was when we had come back from Canada and were living in the rue Notre-Dame-des-Champs and Miss Stein and I were still good friends that Miss Stein made the remark about the lost generation. She had some ignition trouble with the old Model T Ford she then drove and the young man who worked in the garage and had served in the last year of the war had not been adept, or perhaps had not broken the priority of other vehicles, in repairing Miss Stein's Ford. Perhaps he had not realized the importance of Miss Stein's vehicle having the right of immediate repair. Anyway he had not been sérieux and had been corrected severely by the patron of the garage after Miss Stein's protest. The patron had said to him, 'You are all a génération perdue.' 'That's what you are. That's what you all are,' Miss Stein said. 'All of you young people who served in the war. You are a lost generation.' 'Really?' I said. 'You are,' she insisted. 'You have no respect for anything. You drink yourselves to death ...

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many tunes, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question that she has lived.

Despite a seemingly pervasive belief that only people of colour ‘play the race card’, it does not take anything as dramatic as a slave revolution or Japanese imperialism to evoke white racial anxieties, something as trivial as the casting of non-white people in films or plays in which a character was ‘supposed’ to be white will do the trick. For example, the casting of Olivier award-winning actress Noma Dumezweni to play the role of Hermione in the debut West End production of Harry Potter and the Cursed Child got bigots so riled up that J. K. Rowling felt the need to respond and give her blessing for a black actress to play the role. A similar but much larger controversy occurred when the character Rue in the film The Hunger Games was played by a black girl, Amandla Stenberg. Even though Rue is described as having brown skin in the original novel, ‘fans’ of the book were shocked and dismayed that the movie version cast a brown girl to play the role, and a Twitter storm of abuse about the ethnic casting of the role ensued. You have to read the responses to truly appreciate how angry and abusive they are.- As blogger Dodai Stewart pointed out at the time: All these . . . people . . . read The Hunger Games. Clearly, they all fell in love with and cared about Rue. Though what they really fell in love with was an image of Rue that they’d created in their minds. A girl that they knew they could love and adore and mourn at the thought of knowing that she’s been brutally killed. And then the casting is revealed (or they go see the movie) and they’re shocked to see that Rue is black. Now . . . this is so much more than, 'Oh, she’s bigger than I thought.’ The reactions are all based on feelings of disgust. These people are MAD that the girl that they cried over while reading the book was ‘some black girl’ all along. So now they’re angry. Wasted tears, wasted emotions. It’s sad to think that had they known that she was black all along, there would have been [no] sorrow or sadness over her death.

The world is dark, the cold unable to hold back the reek of rot, and she cannot move. But then, she remembers, she cannot die. There is her stubborn pulse, fighting to beat, and her stubborn lungs, fighting to fill, and Addie realizes her limbs aren't lifeless at all, but weighted down on every side. Heavy sacks above, below, and panic flutters through her, but her mind is still sluggish with sleep. She twists, and the sacks shift a little on top of her. The dark splits, and a liver of grey light shines through.

Another gust whips through, and Addie folds herself against it, eyes blurring. She shuffles sideways, onto a narrow street, just to escape the violent wind, and the sudden quiet, the breezeless peace, of the alley is like down, soft and warm. Her knees fold. She slumps into a corner against a set of steps, and watches her fingers turn blue, thinks she can see frost spreading over her skin, and marvels quietly, sleepily, at her own transformation. Her breath fogs the air in front of her, each exhale briefly blotting out the world beyond until the gray city fades to white, to white, to white. Strange, how it seems to linger now, a little more with every breath, as if she's fogging up a pane of glass. She wonders how many breaths until the world is hidden. Erased, like her. Perhaps it is her vision blurring. She does not care. She is tired. She is so tired. Addie cannot stay awake, and why should she try? Sleep is such a mercy. Perhaps she will wake again in the spring, like the princess in one of her father's stories, and find herself lying in the grassy bank along the Sarthe, Estele nudging her with a worn shoe and teasing her for dreaming again.

Sweet Rose of Virtue Sweet rose of virtue and of gentleness, delightful lily of youthful wantonness, richest in bounty and in beauty clear and in every virtue that is held most dear― except only that you are merciless. Into your garden, today, I followed you; there I saw flowers of freshest hue, both white and red, delightful to see, and wholesome herbs, waving resplendently― yet everywhere, no odor but bitter rue. I fear that March with his last arctic blast has slain my fair rose of pallid and gentle cast, whose piteous death does my heart such pain that, if I could, I would compose her roots again― so comforting her bowering leaves have been.

I got the idea from our family's plant book. The place where we recorded those things you cannot trust to memory. The page begins with the person's picture. A photo if we can find it. If not, a sketch or painting by Peeta. Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim's cheek. My father's laugh. Peeta's father with the cookies. The color of Finnick's eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their deaths count.

So rich a client having suffered such a messy death was an unsettling embarrassment to Captain Harald Biscay. It was bad for business. He had the murder hushed up immediately, his security staff investigating the matter covertly but thoroughly. Five and a half thousand souls onboard. Five and a half thousand suspects. Three days. So far, nothing. Now it would be taken further by the planetary authorities on the colony world below. A forensic team (cunningly disguised as a cleaning crew) was now rummaging through Smiffs apartment, examining every single particle. He had a feeling -- a strong feeling, about what they were going to find. Somehow, Biscay was of the opinion that this was going to be another contender for the Unsolved Murders show.

Seul, il ne saurait où fuir. Que de fois déjà, las de lui-même est-il descendu, non pour demander secours à quelque autre, mais pour se perdre dans la rue, parc anonyme, mais le plus beau, se forçait-il à croire, de toutes les promesses. Il marchait, ne trouvait point ce rêve sans nom et sans visage en quoi il avait décidé de se perdre. Il marchait. Aucun regard ne retenait le sien. Sur le sol mouillé la plus faible lueur multipliait toute tristesse. Il marchait et le froid se faisait maillot sous les vêtements, le linge. Ses dents claquaient. Son squelette souffrait seul et tout entier, car déjà ce squelette avait dévoré sa chair. Ce qui, de son corps, demeurait apte au bonheur se fanait. Dans ses poches, ses mains étaient des fleurs, sans sève, sans couleur. Alors il entrait n'importe où, non pour trouver quelque secours précis, humain, car s'il cherchait à retarder la débâcle c'était par d'étranges aides et il n'eût su que faire d'une peau habitée par un esprit semblable au sien.

The page begins with the person’s picture. A photo if we can find it. If not, a sketch or painting by Peeta. Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim’s cheek. My father’s laugh. Peeta’s father with the cookies. The color of Finnick’s eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their deaths count. Haymitch finally joins us, contributing twenty-three years of tributes he was forced to mentor. Additions become smaller. An old memory that surfaces. A late primrose preserved between the pages. Strange bits of happiness, like the photo of Finnick and Annie’s newborn son. We learn to keep busy again. Peeta bakes. I hunt. Haymitch drinks until the liquor runs out, and then raises geese until the next train arrives. Fortunately, the geese can take pretty good care of themselves. We’re not alone. A few hundred others return because, whatever has happened, this is our home. With the mines closed, they plow the ashes into the earth and plant food. Machines from the Capitol break ground for a new factory where we will make medicines. Although no one seeds it, the Meadow turns green again. Peeta and I grow back together. There are still moments when he clutches the back of a chair and hangs on until the flashbacks are over. I wake screaming from nightmares of mutts and lost children. But his arms are there to comfort me. And eventually his lips. On the night I feel that thing again, the hunger that overtook me on the beach, I know this would have happened anyway. That what I need to survive is not Gale’s fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that. So after, when he whispers, “You love me. Real or not real?” I tell him, “Real.

Tragedy springs from its own peculiar sorcery, with treachery, born of envy or ambition, a usual instigator. Treachery is apparent only after the events staged are well over, as we know, its victims dead, or living and smarting under its tricks, realizing too late how they have been misused: if indeed they are ever cognizant of its role, if still players, to this wonder and rue. Most unacceptable is its subtlety, the double-face which double-deals, the Iago perpetrators hidden for decades, smiling the smiles of polite and not so polite society. They nod and wave, heroes to many; sly politicians these Claudiuses. Time favours the Macbeths and forgets the maligned. The former enjoy live, some even oblivious to their lies as being lies, for they prefer to bask in blessings, aping the certainties of creed, cheating death and duty while in pavilions of ease. They succeed on their success, trite or vast; wealth for some, and enviably, fame for the few. The unaware, their victims, float off to obscurity on ruptured vessels of injustice to theater lands unknown, never really knowing why, if the job's done property. Normality is, truthfully, life's whore, readily embraced and conveniently embracing; secretly, it has the clap. Thinking of plot should then give pause. The treacherous cheat fate and re-write, their 'intended history'. Call it fate. They become authors of an illicit story, penmen of their own gods, living their own fresh creation through a new, egregious, utilitarian drama that is untouched by either truth or beauty.

Not long after eight o' clock, the gang's luxury limousine was parked in rue Ordener. "We were fearflully armed", recalled Ganier, "I had no less than six revolvers on me, of which one was butt-mounted witha range of eight hundred meters; my companions each had three, and we had about four hundred rounds in our pockets; we were quite determined to defend ourselves to the death".

After Giles Palot was burned to death, Sylvie’s mother went into a depression. For Sylvie this was the most shocking of the traumas she suffered, more seismic than Pierre’s betrayal, even sadder than her father’s execution. In Sylvie’s mind, her mother was a rock that could never crumble, the foundation of her life. Isabelle had put salve on her childish injuries, fed her when she was hungry, and calmed her father’s volcanic temper. But now Isabelle was helpless. She sat in a chair all day. If Sylvie lit a fire, Isabelle would look at it; if Sylvie prepared food, Isabelle would eat it mechanically; if Sylvie did not help her get dressed, Isabelle would spend all day in her underclothes. Giles’s fate had been sealed when a stack of newly printed sheets for Bibles in French had been found in the shop. The sheets were ready to be cut into pages and bound into volumes, after which they would have been taken to the secret warehouse in the rue du Mur. But there had not been time to finish them. So Giles was guilty, not just of heresy but of promoting heresy. There had been no mercy for him. In the eyes of the church, the Bible was the most dangerous of all banned books—especially translated into French or English, with marginal notes explaining how certain passages proved the correctness of Protestant teaching. Priests said that ordinary people were unable to rightly interpret God’s word, and needed guidance. Protestants said the Bible opened men’s eyes to the errors of the priesthood. Both sides saw reading the Bible as the central issue of the religious conflict that had swept Europe.

At last, she seemed to have heard me. Comprehension lit her eyes for the first time in forever. “Dear God . . . you . . . you . . . love that monster.”... You will rue it!” ... “I-I spent eight years in an institution, caged, trapped—for you! But you refuse to hear me. To see.”.... My grandmother might be a murderer for the Arcana cause. And now her player was refusing to conform. .... “You want Death so badly, he’ll end your life. He will take your head; I swear it. And if you’ve truly fallen in love with him, then you deserve it!

And they went on. “Listen, the heart-shackles are not, as you think, death, illness, pain, unrequited hope, not loneliness, but lassitude, rue, vainglory, fear, anxiety, selfishness.

Gwindor son of Guilin was wounded to the death. But Turin came to his aid, and all fled before him; and he bore Gwindor out of the rout, and escaping into a wood there laid him on the grass. The Gwindor said to Turin: 'Let bearing pay for bearing! But ill-fated was mine, and vain is thine; for my body is marred beyond healing, and I must leave Middle-earth. And thoughI love thee, son of Hurin, yet I rue the day that I took thee from the Orcs. But for they prowess and thy pride, still I should have love life and Nargothrond should yet stand a while. Now if thou love me, leave me! Haste thee to Nargothrond, and save Finduilas. And this last I say to thee: she alone stands between thee and thy doom. If thou fail her, it shall not fail to find thee. Farewell!

Creation and death are two sides of the same coin.

I will turn this swan into a raven; my goddess of darkness, my queen of death. Because only when she becomes as unprincipled as me, would she willingly stay with me in my castle of dead bones and blood

They, at least can be made to pay for Rue's death.

You nearly froze to death out there, you haven’t been fed since the fall of Rome, and I’m evil.

Do I need a wand or something?” Honey smirked. “No, no wand, no robes, no Hogwarts sorting hat.

My rules with ghosts were, funnily enough, the same as my rules with spiders: you can share my space with me as long as I never have to see you.

Without going too deeply into the details we can list the following repeating themes: They took on a different shape at night, while their bodies were as dead in their bed - They went out to fight for the fertility of the land The fight was against malevolent witches or the malevolent dead The benandanti was intimately linked with the Mysteries of death, even the night flight they describe as a state of lesser death. The presence of herbs, such as the tripartite conjunction of asphodel, which is reputed for its connection with the Underworld, fennel for exorcisms and rue for protection. The presence of a mark, either invisible or visible, in the case of the latter this was usually a birth-mark or an eerie mole. The reference to ‘devils’ as their lovers and deities of power.

How long have you lived here?” I asked. “Six years. Came for Christmas one year, fell in love. I’m basically a Hallmark heroine, except my true love is the town instead of a Christmas tree farmer or a cute handyman. Though,

I should be upset about not getting my letter to Hogwarts as a child, I

Over and over again, growing increasingly hostile as he went, he blackened the earth, drawing with the magnet of his rage the storm of the bloody century to my demesne. Worms screamed in anguish as they burned. Moles, disturbed from slumber, whimpered once then crumbled to ash. I suffered the soft implosion of larvae not yet formed enough to rue the beauty they were losing; subterranean life in all its dark, earthy grandeur. The occasional burrowing snake hissed defiance as it was seared to death. Sean O’Bannion walks—the earth turns black, barren, and everything in it dies, a dozen feet down. Hell of a princely power. Again, what the fuck was the Unseelie king thinking? Was he? Incensed by failure, Sean insisted hotly, as we stood in the bloody deluge—it wasn’t raining, that scarce-restrained ocean that parked itself above Ireland at the dawn of time and proceeded to leak incessantly, lured by the siren-song of Sean’s broodiness decamped to Scotland and split wide open—that I was either lying or it didn’t work the same for each prince. Patiently (okay, downright pissily, but, for fuck’s sake, I could be having sex again and gave that up to help him), I explained it did work the same for each of us but, because he wasn’t druid-trained, it might take time for him to understand how to tap into it. Like learning to meditate. Such focus doesn’t come easy, nor does it come all at once. Practice is key. He refused to believe me. He stormed thunderously and soddenly off, great ebon wings dripping rivers of water, lightning bolts biting into the earth at his heels, Kat trailing sadly at a safe distance behind. I was raised from birth to be in harmony with the natural world. Humans are the unnatural part of it. Animals lack the passel of idiotic emotions we suffer. I’ve never seen an animal feel sorry for itself. While other children played indoors with games or toys, my da led me deep into the forest and taught me to become part of the infinite web of beating hearts that fill the universe, from the birds in the trees to the insects buzzing about my head, to the fox chasing her cubs up a hillside and into a cool, splashing stream, to the earthworms tunneling blissfully through the vibrant soil. By the age of five, it was hard for me to understand anyone who didn’t feel such things as a part of everyday life. As I matured, when a great horned owl perched nightly in a tree beyond my window, Uncle Dageus taught me to cast myself within it (gently, never usurping) to peer out from its eyes. Life was everywhere, and it was beautiful. Animals, unlike humans, can’t lie. We humans are pros at it, especially when it comes to lying to ourselves.

What she seems to fear most is not that Rue will be killed by some other tribute, but rather that she and Rue will face each other as the last two survivors in the Games, forcing Katniss to sacrifice her erstwhile ally for the sake of a promise to her sister. As horrible as it sounds, Rue’s death at the hands of Marvel was good moral luck for Katniss.

By the early fourteenth century so much filth had collected inside urban Europe that French and Italian cities were naming streets after human waste. In medieval Paris, several street names were inspired by merde, the French word for “shit.” There were rue Merdeux, rue Merdelet, rue Merdusson, rue des Merdons, and rue Merdiere—as well as a rue du Pipi.

window. Great. A week of death, iron, and demons, and now my house was being guarded by a mobile rosebush.

But it took Inigo a while to get to the murder. He could not stop talking about the Rue and its successes. In a way, I thought, that was rather like a magician doing a trick, making you watch the bright thing in his right hand so you will not see the truly important thing in his left.

Swinburne also straightened. “To monotheism, perhaps. A yearning for the advent of a new paganism. How I rue the One who casts his veil of grey over us, Richard; who bids us contemplate death when all around us are the bright colours and vibrancies of glorious life. We have allowed ourselves to be crushed by a despotic deity who demands of us a lifetime of toil and service and promises in return a harsh judgement for most, and ambiguous rewards only for those who enforce His rule. I place all my hopes in Darwin. His wonderful insight can teach a far greater satisfaction and reassurance than blind faith can offer—a simple pleasure gained from the sheer exuberance and tenacity of existence. The human species should revel in a permanent state of delighted astonishment at this world, but instead we allow ourselves to be yoked to a tiresome and unyielding fear of it.