Suzanne Arms Quotes

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Sometimes when I'm alone, I take the pearl from where it lives in my pocket and try to remember the boy with the bread, the strong arms that warded off nightmares on the train, the kisses in the arena.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I raise my left arm and twist my neck down to rip off the pill on my sleeve. Instead my teeth sink into flesh. I yank my head back in confusion to find myself looking into Peeta’s eyes, only now they hold my gaze. Blood runs from the teeth marks on the hand he clamped over my nightlock. “Let me go!” I snarl at him, trying to wrest my arm from his grasp. “I can’t,” he says.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
They can pump whatever they want into my arm but it takes more than that to keep a person going once she's lost the will to live.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Let me go!” I snarl at him, trying to wrest my arm from his grasp. “I can’t,” he says.
Suzanne Collins
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It's impossible to be the Mockingjay. Impossible to complete even this one sentence. Because now I know that everything I say will be directly taken out on Peeta. Result in his torture. But not his death, no, nothing so merciful as that. Snow will ensure that his life is much more worse than death. "Cut," I hear Cressida say quietly. "What's wrong with her?" Plutarch says under his breath. "She's figured out how Snow's using Peeta," says Finnick. There's something like a collective sigh of regret from that semicircle of people spread out before me. Because I know this now. Because there will never be a way for me to not know this again. Because, beyond the military disadvantage losing a entails, I am broken. Several sets of arms would embrace me. But in the end, the only person I truly want to comfort me is Haymitch, because he loves Peeta, too. I reach out for him and say something like his name and he's there, holding me and patting my back. "It's okay. It'll be okay, sweetheart." He sits me on a length of broken marble pillar and keeps an arm around me while I sob. "I can't do this anymore," I say. "I know," he says.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
In stark contrast to two nights ago, when I felt Peeta was a million miles away, I'm struck by his immediacy now. As we settle in, he pulls my head down to use his arm as a pillow; the other rests protectively over me even when he goes to sleep. No one has held me like this in such a long time. Since my father died and I stopped trusting my mother, no one else's arms have made me feel this safe.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Peeta's awake already, sitting on the side of the bed, looking bewildered as the trio of doctors reassure him, flash lights in his eyes, checks his pules. I'm disappointed that mine was not the first face he saw when he woke up, but he sees it now. His features registrer disbelief and something more intense that I can't quite place. Desire? Desperation? Surely both, for he sweeps the doctors aside, leaps to his feets and moves towards me. I run to meet him, my arms extended to embrace him. His hands are reaching for mine too, to caress my face, I think. My lips are forming his name when his fingers lock around my throat.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
The question is, what are you going to do?" It turns out the question that's been eating away at me has only ever had one possible answer. But it took Peeta's ploy for me to recognize it. What am I going to do? I take a deep breath. My arms rise slightly - as if recalling the black-and-white wings Cinna gave me - then come to rest at my sides. "I'm going to be the Mockingjay.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I wrap my arms around his neck, feel his arms hesitate before they embrace me. Not as steady as they once were, but still warm and strong. A thousand moments surge through me. All the times these arms were my only refuge from the world. Perhaps not fully appreciated then, but so sweet in my memory, and now gone for ever.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It's only now that he's been corrupted that I can fully appreciate the real Peeta. Even more than I would've if he'd died. The kindness, the steadiness, the warmth that had an unexpected heat behind it. Outside of Prim, my mother and Gale, how many people in the world love me unconditionally? I think in my case, the answer may be none. Sometimes, when I'm alone, I take the pearl from where it lives in my pocket and try to remember the boy with the bread, the strong arms that warded off nightmares on the train, the kisses in the arena. To make myself put a name to the thing I've lost. But what's the use? It's gone. He's gone. Whatever existed between us is gone. All that's left is my promise to kill Snow. I tell myself this ten times a day.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Several sets of arms would embrace me. But in the end, the only person I truly want to comfort me is Haymitch, because he loves Peeta, too. I reach out for him and say something like his name and he's there, holding me and patting my back. "It's okay. It'll be okay, sweetheart." He sits me on a length of broken marble pillar and keeps an arm around me while I sob.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
His face and arms are so artfully disguised as to be invisible. I kneel beside him. “I guess all those hours decorating cakes paid off.” Peeta smiles. “Yes, frosting. The final defense of the dying.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
The pain over my heart returns, and from it I imagine tiny fissures spreading out into my body. Through my torso, down my arms and legs, over my face, leaving it crisscrossed with cracks. One good jolt...and I could shatter into strange razor-sharp shards.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
When Peeta holds out his arms, I walk straight into them. It's the first time since they announced the Quarter Quell that he's offered me any sort of affection. He's been more like a very demanding trainer, always pushing, always insisting Haymitch and I run faster, eat more, know our enemy better. Lovers? Forget about that. He abandoned any pretense of even being my friend. I wrap my arms tightly around his neck before he can order me to do push-ups or something. Instead he pulls me in close and buries his face in my hair. Warmth radiates from the spot where his lips just touch my neck, slowly spreading through the rest of me. It feels so good, so impossibly good, that I know I will not be the first to let go. And why should I?
Suzanne Collins (Catching Fire (The Hunger Games, #2))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I cover my face with my arms because this isn't happening. It isn't possible. For someone to make Peeta forget he loves me . . . no one can do that.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It´s like watching someone do a triple backflip dismount and land on two feet, solid, arms splayed in the air. I know I could never do it, don´t even know where I would begin to learn, but some people are built for it. He was handcrafted to leave, had practiced on other women since adolescence. I was one of an unnumbered series.
Suzanne Finnamore (Split: A Memoir of Divorce)
They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stirring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
A disturbing thought hits me,"but then our only neighbor would be Haymich!" "Ah, that'll be nice,"says Peeta, tightening his arms around me."You and me and Haymich. Very cozy. Picnics, birthdays. long winters around the campfire retelling old Hunger Games tales." "I told you he hates me!" I say, but I can't help laughing at the image of Haymich becoming my new pal. "Only sometimes. When he's sober, I've never heard him say one negative thing about you," says Peeta. He's never sober!" I protest. That's right. Who am I thinking of? Oh, I know. It's Cinna who likes you. But that's mainly because you didn't try to run when he set you in fire," says Peeta. "On the other hand, Haymich ... well, if I were you, I'd avoid Haymich completely. He Hates you." " I thought that you said I was his favorite," I say. "He hates me more," says Peeta, "I don't think people in general are his sort of thing.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Caesar Flickerman asks if the president has a date in mind. "Oh, before we set a date, we better clear it with Katniss's mother," says the president. The audience gives a big laugh and the president puts his arm around me. "Maybe if the whole country puts its mind to it, we can get you married before you're thirty." "You'll probably have to pass a new law," I say with a giggle. "If that's what it takes," says the president with conspiratorial good humor. Oh, the fun we two have together.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Trey cocked one brow at her. “Do I not get a say in this?” “She patted his arm. “Of course you do. Just note that if your opinion is different from mine, it will be disregarded.
Suzanne Wright (Savage Urges (The Phoenix Pack, #5))
The sensation inside me grows warmer and spreads out from my chest down through my body out along my arms and legs to the tips of my being. Instead of satisfying me the kisses have the opposite effect of making my need greater.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Peeta and I sit on the damp sand, facing away from each other, my right shoulder and hip pressed against his. ... After a while I rest my head against his shoulder. Feel his hand caress my hair. "Katniss... If you die, and I live, there's no life for me at all back in District Twelve. You're my whole life", he says. "I would never be happy again." I start to object but he puts a finger to my lips. "It's different for you. I'm not sayin it wouldn't be hard. But there are other people who'd make your life worth living." ... "Your family needs you, Katniss", Peeta says. My family. My mother. My sister. And my pretend cousin Gale. But Peeta's intension is clear. That Gale really is my family, or will be one day, if I live. That I'll marry him. So Peeta's giving me his life and Gale at the same time. To let me know I shouldn't ever have doubts about it. Everithing. That's what Peeta wants me to take from him. ... "No one really needs me", he says, and there's no self-pity in his voice. It's true his family doesen't need him. They will mourn him, as will a handful of friends. But they will get on. Even Haymitch, with the help of a lot of white liquor, will get on. I realize only one person will be damaged beyond repair if Peeta dies. Me. "I do", I say. "I need you." He looks upset, takes a deep breath as if to begin a long argument, and that's no good, no good at all, because he'll start going on about Prim and my mother and everything and I'll just get confused. So before he can talk, I stop his lips with a kiss. I feel that thing again. The thing I only felt once before. In the cave last year, when I was trying to get Haymitch to send us food. I kissed Peeta about a thousand times during those Games and after. But there was only one kiss that made me feel something stir deep inside. Only one that made me want more. But my head wound started bleeding and he made me lie down. This time, there is nothing but us to interrupt us. And after a few attempts, Peeta gives up on talking. The sensation inside me grows warmer and spreads out from my chest, down through my body, out along my arms and legs, to the tips of my being. Instead of satisfying me, the kisses have the opposite effect, of making my need greater. I thought I was something of an expert on hunger, but this is an entirely new kind.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Since my father died and I stopped trusting my mother, no one else's arms have made me feel this safe.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Cinna just smiles. 'Had a damp morning?' 'You could wring me out,' I reply. Cinna puts his arm around my shoulder and leads me into lunch. ' Don't worry, I always channel my emotions into my work. That way I don't hurt anyone but myself.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
My face breaks into a huge smile and i start walking in Peeta's direction. Then, as if i can't stand it another second, I start running.He catches me and spins me around and then he slips-he still isn't entirely in command of his artificial leg-and we fall into the snow, me on top of him, and that's where we have our first kiss in months.It's full of fur and snowflakes and lipstick, but underneath all that, I can feel the steadiness that Peeta brings to everything. And I know I'm not alone.As badly as I've hurt him, he won't expose me in front of the cameras. Won't condemn me with a halfhearted kiss. He's still looking out for me. Just as he did in the arena. Somehow the thought makes me want to cry. Instead I pull him to his feet, tuck my glove through the crook of his arm, and merrily pull him on our way.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Peeta and I had adjoining cells in the Capitol. We're very familiar with each other's screams.” Annie, who's on Johanna's other side, does that thing where she covers her ears and exits reality. Finnick shoots Johanna an angry look as his arm encircles Annie. “What? My head doctor says I'm not supposed to censor my thoughts. It's part of my therapy,” replies Johanna.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Wanna go to bed and play doctors?” Chuckling, she punched his arm. “No, I don’t.” “Sorry, that was immature. How about playing gynecologists?” Again, she chuckled. “I would, but lunch is calling my name loud and clear.” “Baby, I’ll call your name as loud and clear as you want.
Suzanne Wrightt (Wicked Cravings (The Phoenix Pack, #2))
I reach for Prim in the twilight, clamp my hand on her leg and pull myself over to her. Her voice remains steady as she croons to Buttercup. "It's all right, baby, it's all right. We'll be OK down there." My mother wraps her arms around us. I allow myself to feel young for a moment and rest my head on her shoulder.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
You're my girl, Tessa Crimson. You'll always be my girl." He brought me close to him and wrapped me up in his arms, staring down into my face. "And even if we aren't together, that won't change.
Suzanne Young (The Naughty List (The Naughty List, #1))
I waited at least two hours. I'd begun to think that he'd given up on me in the weeks that had passed. Or that he no longer cared about me. Hated me even. And the idea of losing him for ever, my best friend, the only person I'd ever trusted with my secrets, was so painful I couldn't stand it. Not on top of everything else that had happened. I could feel my eyes tearing up and my throat starting to close the way it does when I get upset. Then I look up and there he was, three metres away, just watching me. Without even thinking, I jumped up and threw my arms around him, making some weird sound that combined laughing, choking and crying.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Tick, tock,” whispers Wiress. I guide her in front of me and get her to lie down, stroking her arm to soothe her. She drifts off, stirring restlessly, occasionally sighing out her phrase. “Tick, tock.” “Tick, tock,” I agree softly. “It’s time for bed. Tick, tock. Go to sleep.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
All the times these arms were my only refuge from the world. Perhaps not fully appreciated then, but so sweet in my memory, and now gone forever.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I swing my arms to loosen myself up. Place my fists on my hips. then drop them to my sides. Saliva's filling my mouth at a ridiculous rate and i feel vomit at the back of my throat. I swallow hard and open my lips so I can get the stupid line out and go hide in the woods and-that's when i start crying.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
my muscles are rigid with the tension of holding myself together. the pain over my heart returns, and from it i imagine tiny fissures spreading out into my body. through my torso, down my arms and legs, over my face, leaving it crisscrossed with cracks.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Dante: Want me to get your name inked on me? How about on my arm? Jamie: No. That's boring. Dante: How about over my heart then? Jamie: No. That's corny. Dante: Is not. Jamie: Is too. Dante: We'll discuss it later.
Suzanne Wrightt (Wicked Cravings (The Phoenix Pack, #2))
My legs, arms, torso, underarms, and parts of my eyebrows have been stripped of the stuff, leaving me like a plucked bird, ready for roasting.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Oh thank God, please you have to help me!” begged the human. “She tied me up, she wants to kill me!” I arched a brow. “Is that so?” “She’s insane!” I folded my arms across my chest. “Well, the good news is, she’s totally sane. The bad news is my fiancée here is a crazy, homicidal bitch and she wants to kill you.
Suzanne Wright (Here Be Sexist Vampires (Deep In Your Veins, #1))
I take a few breaths to calm myself, step back, and lift Buttercup by the scruff of the neck. 'I should have drowned you when I had the chance.' His ears flatten and he raises a paw. I hiss before he gets a chance, which seems to annoy him a little, since he considers hissing his own personal sound of contempt. In retaliation, he gives a helpless kitten mew that brings my sister immediately to his defense. 'Oh, Katniss, don't tease him,' she says, folding him back in her arms. 'He's already so upset.' The idea that I've wounded the brute's tiny cat feelings just invites further taunting. But Prim's genuinely distressed for him. So instead, I visualize Buttercup's fur lining a pair of gloves, an image that has helped me deal with him over the years.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Nonetheless, after we've dropped off the birds and volunteered to go back to the woods to gather kindling for the evening fire, I find myself wrapped in his arms. His lips brushing the faded bruises on my neck, working their way to my mouth. Despite what I feel for Peeta, this is when I accept deep down that he'll never come back to me. Or I'll never go back to him. I'll stay in 2 until it falls, go to the Capitol and kill Snow, and then die for my trouble. And he'll die insane and hating me. So in the fading light I shut my eyes and kiss Gale to make up for all the kisses I've withheld, and because it doesn't matter any more, and because I'm so desperately lonely I can't stand it. Gale's touch and taste and heat remind me that at least my body's still alive, and for the moment it's a welcome feeling. I empty my mind and let the sensations run through my flesh, happy to lose myself.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stiring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it. Carrying him was easier, but not much. The questions are just beginning. The arenas have been completely destroyed, the memorials have been built, there are no more Hunger Games. But they still teach about them at school, and the girl knows we played a role in them. The boy will know in a few years. how can I tell them about that world without frightning them to death? My children, who take the words of the song for granted: Deep in the meadow, under the willow A bed of grass, a soft green pillow Lay down your head, and close your eyes And when again they open, the sun will rise Here it's safe, here it's warm Here the daisies guard you from every harm Here your dreams are sweet snd tomorrow brings them true Here is the place where I love you.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
What am I going to do? I take a deep breath. My arms rise slightly—as if recalling the black-and-white wings Cinna gave me—then come to rest at my sides. “I’m going to be the Mockingjay.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
He manages to wake me and calm me down. Then he climbs into bed to hold me until I fall back to sleep. After that, I refuse the pills. But every night I let him into my bed. We manage the darkness as we did in the arena, wrapped in each other’s arms, guarding against dangers that can descend at any moment
Suzanne Collins (Catching Fire (The Hunger Games, #2))
You can’t miss your schedule. Every morning, you’re supposed to stick your right arm in this contraption in the wall. It tattoos the smooth inside of your forearm with your schedule for the day in a sickly purple ink. 7:00—Breakfast. 7:30—Kitchen Duties. 8:30—Education Center, Room 17. And so on. The ink is indelible until 22:00—Bathing
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Vikus looked at Luxa and opened his arms. She stood, still frozen, staring at him as if he were a complete stranger. "Luxa, it's your grandpa," said Gregor. It seemed like the best and most important thing to say at the moment. "It's your grandpa." Luxa blinked. A tiny tear formed at the corner of her eye. A battle took place on her face as she tried to stop the feelings rising up inside her. The feelings won, and to Gregor's great relief, she ran into Vikus's arms.
Suzanne Collins (Gregor the Overlander (Underland Chronicles, #1))
I cross to Peeta and wrap my arms around him, and for a while we all stay silent.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
If she cries, he will nose his way into her arms and curl up there until she calms down and falls asleep. I'm so glad I didn't drown him.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I want to do something, right here, right now, to shame them, to make them accountable, to show the Capitol that whatever they do or force us to do there is a part of every tribute they can't own. That Rue was more than a piece in their Games. And so am I. "A few steps into the woods grows a bank of wildflowers. Perhaps they are really weeds of some sort, but they have blossoms in beautiful shades of violet and yellow and white. I gather an armful and come back to Rues's side. Slowly, one stem at a time, I decorate her body in the flowers. Covering the ugly wound. Wreathing her face. Weaving her hair with bright colors. "They'll have to show it. Or, even if they choose to turn the cameras elsewhere at this moment, they'll have to bring them back when they collect the bodies and everyone will see her then and know I did it. I step back and take a last look at Rue. She really could be asleep in that meadow after all. ""Bye, Rue," I whisper. I press the three middle fingers of my left hand against my lips and hold them out in her direction. Then I walk away without looking back.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
He didn't say anything. Then he leaned closer, so that his arm touched my shoulder. A jolt ran down my body. Everyone in our little group watched, waiting for a response. "I would be honored to escort you, Katrina." "Oh. Okay." I pulled the bathrobe collar as high as it would go to hide my flaming cheeks. Malcolm slapped his hand on his knee, then turned to the man sitting next to us and said,way too loudly, "I'm taking Katrina to the Solstice Festival." "Good for you kid.
Suzanne Selfors (Coffeehouse Angel)
We manage the darkness as we did in the arena, wrapped in each other's arms, guarding against dangers that can descend at any moment.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
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.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I give up. Stop speaking, responding, refuse food and water. They can pump whatever they want into my arm, but it takes more than that to keep a person going once she's lost the will to live.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Samuel walked out to Lindsey then, and there she was in his arms, my sweet butterball babe, born ten years after my fourteen years on Earth: Abigail Suzanne. Little Susie to me. Samuel placed Susie on a blanket near the flowers. And my sister, my Lindsey, left me in her memories, where I was meant to be.
Alice Sebold (The Lovely Bones)
Once you start spending time together, you'll learn things about her that no one else could have told you. Things that you never would have suspected. Like the fact that she snores and has cold feet." He folded his arms and I caught his smile in my peripheral vision. Why was he smiling at me? Hey, was he referring to our nap on the cot? "Maybe you'll learn that she'd make a great doctor or that she has the capacity to care about people she barely knows." He took a dramatic pause, leaning against the wall. "Maybe you'll learn that she's not the spoiled princess you thought she was." Maybe you'll learn that she'd rather have someone speak directly to her than about her," I said, folding my arms and leaning against the wall.
Suzanne Selfors (Saving Juliet)
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.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Tiny, searing stabs. Wherever the droplets of mist touch my skin. "Run!" I scream at the others. "Run!" Finnick snaps awake instantly, rising to counter an enemy. But when he sees the wall of fog, he tosses a still-sleeping Mags onto his back and takes off. Peeta is on his feet but not as alert. I grab his arm and begin to propel him through the jungle after Finnick.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
I wrap my arms tightly around his neck before he can order me to do push-ups or something. Instead he pulls me in close and buries his face in my hair. Warmth radiates from the spot where his lips just touch my neck, slowly spreading through the rest of me. It feels so good, so impossibly good, that I know I will not be the first to let go.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
And he would put his arms around her and hold her, but he had no idea what to tell her. In his mind, Gregor knew how to kill things, not bring them back ti life.
Suzanne Collins (Gregor and the Code of Claw (Underland Chronicles, #5))
Brutal, bloody Cato who can snap a neck with a twist of his arm,
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Finnick has reached Peeta now and is towing him back, one arm across his chest while the other propels them through the water with easy strokes.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Roni stabbed her claws through one long, muscled arm, past bone, and all the way into the rear seat, pinning the arm in place. He howled in pain, hurling obscenities at her. Well, she had warned him; he’d chosen to ignore her, so there was really no need for that kind of language.
Suzanne Wright (Dark Instincts (The Phoenix Pack, #4))
I take the pearl from where it lives in my pocket and try to remember the boy with the bread, the strong arms that warded off nightmares on the train, the kisses in the arena. To make myself put a name to the thing I’ve lost. But what’s the use? It’s gone. He’s gone. Whatever existed between us is gone.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I didn’t tell anyone because I wanted to keep her safe. Because who else had loved her? Who had ever held Suzanne in their arms and told her that her heart, beating away in her chest, was there on purpose?
Emma Cline (The Girls)
Harlin smiles softly and steps up, wrapping his arms around me as he brings his lips to my ear. I close my eyes. "I hate every second I'm away from you," he says. "Don't ever doubt that." And then he kisses me.
Suzanne Young (A Want So Wicked (A Need So Beautiful, #2))
With a vicious curse, John wrenched the steering wheel and brought the SUV to a sudden halt by the side of the road. He stared ahead, breathing hard, and then lowered his head to the steering wheel. "Fuck." His voice was the merest whisper. He turned his head, eyes bleak. "I can't do this, Suzanne. I can't give you up to them." "You have to." Her heart was cracking open. There was no question of holding back the tears now. "You have no choice." They moved at the same time. She launched herself into his arms at the same moment he opened them to haul her onto his lap. They kissed, violently, hungrily, a meeting of lips and tongue and tears. Her tears. He wasn't crying, but she could feel his muscles tense as rocks beneath her hands. He was holding the back of her head tightly, while eating at her mouth, as if he could fuse them at the lips. His tongue was deep in her mouth. She'd take the taste of him to her grave. "Don't go, goddammit. Stay with me." His voice was thick and gravelly. The words came out between biting kisses. "I. Can't. Stand. To. Let. You. Go.
Lisa Marie Rice
Luxa stood up, her face paler than usual. She went to her cousin, sat beside him, and put her arms around him. Pressing her forehead into his shoulder, she said, “She will fly with you always. You know this. She will fly with you always.
Suzanne Collins (Gregor and the Prophecy of Bane (Underland Chronicles, #2))
The thought of that scruffy old Buttercup posting himself on the bed to watch over Prim comforts me. If she cries, he will nose his way into her arms and curl up there until she calms down and falls asleep. I’m so glad I didn’t drown him.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
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.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Moving his hands down to cup her ass, he said, “Wanna go to bed and play doctors?” Chuckling, she punched his arm. “No, I don’t.” “Sorry, that was immature. How about playing gynecologists?” Again, she chuckled. “I would, but lunch is calling my name loud and clear.” “Baby, I’ll call your name as loud and clear as you want.” She kissed him lightly. “Save it for later, big guy.” “Dick-tease.
Suzanne Wright (Wicked Cravings (The Phoenix Pack, #2))
He wrote you a poem?" Evelyn looped her hand around Georgiana's arm and led the way to the chairs lining one side of the room. "He did." Grateful to see Luxley select one of the debutantes as his next victim, Georgiana accepted a glass of Madeira from one of the footman. After three hours of quadrilles, waltzes, and country dances, her feet ached. "And you know what rhymes with Georgiana, don't you?" Evelyn wrinkled her brow, her gray eyes twinkling. "No, what?" "Nothing. He just put 'iana' after every ending word. In iambic trimeter, yet. 'Oh, Georgiana, your beauty is my sunlightiana, your hair is finer than goldiana, your—' " Lucinda made a choking sound.
Suzanne Enoch (The Rake (Lessons in Love, #1))
They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stirring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it. Carrying him was a little easier, but not much.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
wrap my arms tightly around his neck before he can order me to do push-ups or something. Instead he pulls me in close and buries his face in my hair. Warmth radiates from the spot where his lips just touch my neck, slowly spreading through the rest of me. It feels so good, so impossibly good, that I know I will not be the first to let go.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
I’m not flailing now, as my muscles are rigid with the tension of holding myself together. The pain over my heart returns, and from it I imagine tiny fissures spreading out into my body. Through my torso, down my arms and legs, over my face, leaving it crisscrossed with cracks. One good jolt … and I could shatter into strange, razor-sharp shards.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Close your eyes again,” I order. He does, and his mouth, too, and completely disappears. Most of what I judge to be his body is actually under a layer of mud and plants. His face and arms are so artfully disguised as to be invisible. I kneel beside him. “I guess all those hours decorating cakes paid off.” Peeta smiles. “Yes, frosting. The final defense of the dying.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Katniss, it's just hunting. You're the best hunter I know." Gale "It's not just hunting. They're armed, they think." --Katniss "So do you. And you've had more practice. Real practice. You know how to kill." --Gale "Not people." --Katniss "How different can it be, really?" --Gale The awful thing is that if I can forget they're people, it will be no different at all. --Katniss
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
While other tributes that year were hard-pressed to get a handful of grain or some matches for a gift, Finnick never wanted for anything, not food or medicine or weapons. It took about a week for his competitors to realize that he was the one to kill, but it was too late. He was already a good fighter with the spears and knives he had found in the Cornucopia. When he received a silver parachute with a trident – which may be the most expensive gift I’ve ever seen given in the arena – it was all over. District 4’s industry is fishing. He’d been on boats his whole life. The trident was a natural, deadly extension of his arm. He wove a net out of some kind of vine he found, used it to entangle his opponents so he could spear them with the trident, and within a matter of days the crown was his.
Suzanne Collins (Catching Fire)
Later, a woman she loved said this was the first thing she did when she met a strong woman, an intense powerful woman, a woman who seemed unable to handle her own power: 'I look at their arms for scars.
Suzanne Scanlon (Promising Young Women)
You might at least acknowledge that I put my self in harm's way on your behalf, Evie' the deeper voice of Viscount Dare came from her other side. Georgina stiffened. ' No you didn't. Go away now.' 'No, I didn't,' he repeated amiably, and nodded. ' Goodbye.' 'Wait!' Evelyn caught his arm. ' What do you mean, on my behalf?' 'I...ah...' He glanced over her head at his wife. 'I don't mean anything. I have a mental disability.
Suzanne Enoch (London's Perfect Scoundrel (Lessons in Love, #2))
I have an IQ that could gain me admission to the damn Mensa Society, but that’s not what people see when they look at me. They can’t see any of that. They can only see the color of my skin. They see a six-foot-five black man. They see someone they think might be armed and dangerous.
Suzanne Brockmann (Harvard's Education (Tall, Dark & Dangerous, #5))
Good night,” I whisper to the bow in my hand and feel it go still. I raise my left arm and twist my neck down to rip off the pill on my sleeve. Instead my teeth sink into flesh. I yank my head back in confusion to find myself looking into Peeta’s eyes, only now they hold my gaze. Blood runs from the teeth marks on the hand he clamped over my nightlock. “Let me go!” I snarl at him, trying to wrest my arm from his grasp. “I can’t,” he says. As they pull me away from him, I feel the pocket ripped from my sleeve, see the deep violet pill fall to the ground, watch Cinna’s last gift get crunched under a guard’s boot.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I move like I'm gravity, like it's not a decision. Standing on my toes, on the edge of the high dive, the water looks as clear and blue as the sky. In my head there's the possibility that this moment isn't here yet, that maybe I'm not born. I could be an idea. Or I could be realized, and life is standing still. For this moment, the world has stopped. I have a perfect balance. The wind moves around me. My heart is as light and bright as the sun. I am as light as a sparrow bone, and for one moment I am everything that can't be caught and held. Then I'm passing through the air, turning, arms drawn in, toes pointed. My chin rests on my chest. I believe I have a chance at anything: one full revolution. I spread my wings. I arch my back. I remember why swans are graceful, why someone would name this for something beautiful. I think I'm touching the clouds. For a long time they keep me from breaking the blue. I don't hear the shattering surface. I belong behind this sky, all-silent and calm, and part of the world where butterflies live after they give up their feet and dream of flight. I can stay, if I pretend the fire in my chest doesn't burn, if I pretend the world is upside down, if I pretend water is the air I breathe.
Suzanne Marie Phillips (Chloe Doe)
Something was in her mouth. Sami's tongue slid along the edges of something plastic. Flat, low ridges, holes-an adjustable strap. A baseball cap? Another taste. Hair spray. Gross. Someone had stuffed her baseball cap in her mouth, and from the feel of it they had taped it in place. Her arms were tied behind her and she lay face down on the floor-of what? Her car. The carpeting scraped her cheek every time they hit a bump. Panic flooded Sami's senses. She came instantly awake. Inhaling deeply through her nose, she willed herself to calm down. Her working motto flashed through her brain, panic never accomplished anything. Of course she had never been kidnapped and tied up before. In the dim light of passing cars, she glimpsed things-paper gum wrappers, an old straw, one whopper wrapper, a CD cover. That's where Sting went. Been looking for that for days. Man did she need to vacuum this car out. A metallic scent hit her nose. She'd recognize that smell until the day she died. Blood. And by the odor, someone had lost a great deal of it.
Suzanne Ferrell (Kidnapped (Edgers Family, #1))
He spent two years running a hospital for Chai.” Molly put her arm around the younger woman. “Which was the equivalent of working the ER in a city like New York or Chicago. He saved a lot of lives.” She made sure Max was paying attention, too. “And before you say, ‘Yeah, of drug runners, killers, and thieves,’ you should also know that his patients were just regular people who worked for Chai because he was the only steady employer in the area. Or because they knew they’d end up in some mass grave if they refused his offer of employment. Before Grady came in, if they were injured in some battle with a rival gang, they were just left for dead.” Jones looked up to find Max watching him as he sterilized a particularly sharp knife. “Me and Jesus,” he said. “So much alike, people often get us confused.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Jeremy takes the money and heads toward the back bedroom to get dressed. “Chinese? I’ll come with,” Henry calls, but then pauses to look at us, one eyebrow raised. Harlin laughs and puts his arm around me. “Don’t even say it,” he warns. “You’ll embarrass her.” But he always says it. “Charlotte,” Henry begins in a mock parental tone, “when two people love each other, they may have certain urges. Protection is an important—” “Oh my God!” I cover my ears and laugh. I wait until his lips have stopped moving before I drop my arms.
Suzanne Young (A Need So Beautiful (A Need So Beautiful, #1))
His consolation prize was a hat. A battered fedora that looked as if it had blown off of Humphrey Bogart during the filming of Key Largo. Sucked up into the atmosphere during the movie’s hurricane, it had ended up here, on the other side of the world, sixty years later. On his head. Even though it had been enshrined in a closet inside the house, it kind of smelled as if it had spent about three of those decades at the bottom of a birdcage. Yesiree. It was almost as fun to wear as the brown leather flight jacket. Which really wasn’t fair to the flight jacket. It was a gorgeously cared-for antique that didn’t smell at all. And it definitely worked for him, in terms of some of his flyboy fantasies. But the day had turned into a scorcher. It was just shy of a bazillion degrees in the shade. He needed mittens or perhaps a wool scarf to properly accessorize his impending heat stroke. “Today, playing the role of Indiana Jones, aka Grady Morant, is Jules Cassidy,” he said, as he slipped his arms into the sleeves. Was anyone really going to be fooled by this? Jones was so much taller than he was.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Jules had listened in on nearly every word exchanged while they’d been back there together, and it was more than obvious that Max had yet to pull Gina into his arms and do his imitation of the Han Solo and Princess Leia big-moment kiss from The Empire Strikes Back. Maybe when Jules and the E-man walked out of the garage and climbed into that ancient Escort—which turned out to be part of the Testa fleet-Max would take the opportunity to plant a big, wet one on this woman that he still so obviously adored. Or maybe not. “Sweetie, I love the haircut,” Jules told Gina as he gave Max back his cell phone. “You look fabulous for a woman who’s been dead for five days.” “What?” she said, but it was time to go. “Max’ll fill you in,” he said. There. There was no way Max was going to be table to tell Gina about receiving the report of her death without getting a little misty-eyed. At which point Gina would, at the very least, throw her arms around him. If Max couldn’t manage to turn that into a truth-revealing kiss, he didn’t deserve the woman. “Ow,” he added as Emilio pressed his weapon into Jules’s kidney. “Sorry,” Emilio managed to put the right amount of apology into his voice, but he was obviously so stressed that he didn’t quite get the right facial expression to match. It was pretty odd. Particularly when he jabbed Jules again. “Let’s go.” Wow, wasn’t this going to be fun? Max, meanwhile, had stepped protectively in front of Gina. He caught and held Jules’s gaze. “We’ll wait for your call.” Silently, he sent another message entirely. If Emilio gave Jules any trouble, he should shoot him. Never mind the fact that Emilio was the one with the drawn weapon. Never mind that Jules’s hands were out and empty, and that he’d have a major bullet hole in his body if he so much as put said hands near his pockets.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Jean shifted his commentary from his guard to me. “Drusilla, a grievance must be made against these ruffians and thieves. They have stolen my clothing and given me only this…this….” He ran out of words. “Ugly-ass orange jumpsuit?” I offered, always ready to help Jean with his command of modern English. “Oui, exactement. I demand that you obtain my release, tout de suite. And you must know, a woman who allows her husband to remain in such conditions for an entire evening must face reprimand.” I leaned back in the chair and crossed my arms. “And you must know that, in this day and age, should a man reprimand his wife too much, said wife might leave her husband to enjoy a longer time in his prison cell wearing his ugly-ass orange jumpsuit.
Suzanne Johnson (Pirateship Down (Sentinels of New Orleans #4.5))
She sorted through the clothes. “Do you mind wearing Emilio’s underwear?” She turned back to him with the two different styles that she’d found. “You’re about the same size. And they’re clean. They were wrapped in a paper package, like from a laundry service.” Max gave her a look, because along with the very nice, very expensive pair of black silk boxers she’d pilfered from Emilio, she’d also borrowed one of his thongs. “What?” Gina said. It was definitely a man-thong. It had all that extra room for various non-female body parts. “Don’t be ridiculous.” “I’m not,” she said, trying to play it as serious. “One, it’s been a while, maybe your tastes have changed. And two, these might actually be more comfortable, considering the placement of your bandage and—” He took the boxers from her. “Apparently I was wrong.” She turned away and started sorting through the pairs of pants and Bermuda shorts she’d grabbed, trying not to be too obvious about the fact that she was watching him out of the corner of her eye. To make sure he didn’t fall over. Right. After he got the boxers on, he took off the bathrobe and . . . Okay, he definitely wasn’t as skinny as he’d been after his lengthy stint in the hospital. Emilio’s pants probably weren’t going to fit him, after all. Although, there was one pair that looked like they’d be nice and loose . . . There they were. The Kelly green Bermuda shorts. Max gave her another one of those you’ve-got-to-be-kidding glances as he put the bathrobe over the back of another chair. “Do I really look as if I’ve ever worn shorts that color in my entire life?” She tried not to smile. “I honestly don’t think you have much choice.” She let herself look at him. “You know, you could just go with the boxers. At least until your pants dry. You know what would really work with that, though? A bowtie.” She turned, as if to go back to the closet. “I’m sure Emilio has a tux. Judging from his other clothes, it’s probably polyester and chartreuse, but maybe the bowtie is—” “Gina.” Max stopped her before she reached the door. He motioned for her to come back. She held out the green shorts, but instead of taking them, he took her arm, pulled her close. “I love you,” Max said, as if he were dispatching some terrible, dire news that somehow still managed to amuse him at least a little. Gina had been hoping that he’d say it, praying even, but the fact that he’d managed to smile, even just a bit while he did, was a miracle. And then, before her heart even had a chance to start beating again, he kissed her. And oh, she was also beyond ready for that particular marvel, for the sweet softness of his mouth, for the solidness of his arms around her. There was more of him to hold her since he’d regained his fighting weight—and that was amazing, too. She skimmed her hands across the muscular smoothness of his back, his shoulders, as his kiss changed from tender to heated. And, God. That was a miracle, too. Except she couldn’t help but wonder about those words, wrenched from him, as if it cost him his soul to speak them aloud. Why tell her this right now? Yes, she’d been waiting for years for him to say that he loved her, but . . . Max laughed his surprise. “No. Why do you . . .?” He figured it out himself. “No, no, Gina, just . . . I should’ve said it before. I should have said it years ago, but I really should have said it, you know, instead of hi.” He laughed again, clearly disgusted with himself. “God, I’m an idiot. I mean, hi? I should have walked in and said, ‘Gina, I need you. I love you, don’t ever leave me again.’” She stared at him. It was probably a good thing that he hadn’t said that at the time, because she might’ve fainted. It was obvious that he wanted her to say something, but she was completely speechless.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
He spent two years running a hospital for Chai.” Molly put her arm around the younger woman. “Which was the equivalent of working the ER in a city like New York or Chicago. He saved a lot of lives.” She made sure Max was paying attention, too. “And before you say, ‘Yeah, of drug runners, killers, and thieves,’ you should also know that his patients were just regular people who worked for Chai because he was the only steady employer in the area. Or because they knew they’d end up in some mass grave if they refused his offer of employment. Before Grady came in, if they were injured in some battle with a rival gang, they were just left for dead.” Jones looked up to find Max watching him as he sterilized a particularly sharp knife. “Me and Jesus,” he said. “So much alike, people often get us confused.” “Mock me all you want—I’m just saying.” Molly had on her Hurt Feelings Face. It may have fooled Max, but Jones knew it was only there to mask her Relentless Crusader. She was lobbying hard for Max to be on Jones’s side if they made it out of here alive. And she wasn’t done. “Yes, Grady Morant worked for Chair for a few years—after the U.S. left him to die in some torture chamber. He’s so evil, except what was he doing during those two years? Oh, he was saving lives . . .?” “I was practicing medicine without a license,” Jones pointed out. “You just gave Max something else to charge me with when we get home.” When, not if. Even though he wasn’t convinced that they weren’t in if territory, he’d used the word on purpose. The look Molly shot him was filled with gratitude. He gave her a smoldering blast of his best “Yeah, you can thank me later in private, baby” look, and, as he’d hoped she would, she laughed.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Sorry,” I say to my father. “Hope we didn’t wake you. After last night, I wanted to check on Harlin’s arm.” He tilts his head like he is absolutely sure I’m lying. “And how is his arm, Elise?” he asks. “Uh . . . better?” My father stands motionless for a second, and then he shakes his head and walks into the kitchen. I hear the clink of cups, and then the running of water for the coffeepot. “That was a nice save,” Harlin says, sounding amused. “So detailed. Like a nurse.” “Shut up, Harlin,” I say, trying not to smile. “I didn’t hear you offer anything better.” “You sure you didn’t want to tell him we were playing doctor? That might have sounded more believable.” I turn quickly and swat at him. He laughs, dodging my swing, and catches my hand. “I would tackle you right here,” he says, leaning close. “Pin you and kiss you. But with the luck we have in your house, someone will walk in. And then what will you tell them?” he whispers. “That you were giving me CPR?” “Stop!” I slap his shoulder again.
Suzanne Young (A Want So Wicked (A Need So Beautiful, #2))
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.
Suzanne Collins (The Hunger Games: Four Book Collection (The Hunger Games, Catching Fire, Mockingjay, The Ballad of Songbirds and Snakes))
Max’s unflinching gaze never left that house. “What do you think’s going to happen?” Jules asked him quietly, “if you let yourself peel that giant S off your shirt and take a nap? If you let yourself spend an hour, an evening, screw it, a whole weekend doing nothing more than breaking and taking enjoyment from living in the moment? What’s going to happen, Max, if—after this is over—you give yourself permission to actually enjoy Gina’s company? To sit with her arms around you and let yourself be happy. You don’t have to be happy forever—just for that short amount of time.” Max didn’t say anything. So Jules went on. “And then maybe you could let yourself be happy again the next weekend. Not too happy,” he added quickly. “We wouldn’t want that. But just happy in a small way, because this amazing woman is part of your life, because she makes you smile and probably fucks like a dream and yeah—see? You are listening. Don’t kill me, I was just making sure you hadn’t checked out.” Max was giving him that look. “Are you done?” “Oh, sweetie, we have nowhere to go and hours til dawn. I’m just getting started.” Shit, Max said with his body language. But he didn’t stand up and walk away. He just sat there. Across the street, nothing moved. And then it still didn’t move. But once again, Max was back to watching it not move. Jules let the silence go for an entire minute and a half. “Just in case I didn’t make myself clear,” he said, “I believe with all my heart that you deserve—completely—whatever happiness you can grab. I don’t know what damage your father did to you but—” “I don’t know if I can do that,” Max interrupted. “You know, what you said. Just go home from work and . . .” Holy shit, Max was actually talking. About this. Or at least he had been talking. Jules waited for more, but Max just shook his head. “You know what happens when you work your ass off?” Jules finally asked, and then answered the question for him. “There’s no ass there the next time. So then you have to work off some other vital body part. You have to give yourself time to regrow, recharge. When was the last time you took a vacation? Was it nineteen ninety-one or ninety-two?” “You know damn well that I took a really long vacation just—” “No, sir, you did not. Hospitalization and recovery from a near-fatal gunshot wound is not a vacation,” Jules blasted him. “Didn’t you spend any of that time in ICU considering exactly why you made that stupid mistake that resulted in a bullet in your chest? Might it have been severe fatigue caused by asslessness, caused by working said ass off too many 24-7’s in a row?” Max sighed. Then nodded. “I know I fucked up. No doubt about that.” He was silent for a moment. “I’ve been doing that a lot lately.” He glanced over to where Jones was pretending to sleep, arm up and over his eyes. “I’ve been playing God too often, too. I don’t know, maybe I’m starting to believe my own spin, and it’s coming back to bite me.” “Not in the ass,” Jules said.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Gina flopped back on her cot, arm up over her eyes. “Oh, my God, Molly, what am I going to do? The fact that he came here tonight at all is . . . He’s clearly interested, but that’s probably just because he thinks I’m a total perv.” “Whoa,” Molly said. “Wait. You lost me there.” Gina sat up, a mix of earnestness, horror, and amusement on her pretty face. “I didn’t tell you this, but after I first spoke to Lucy’s sister—we were in the shower tent so no one would see us—I let her leave first and then I waited, like, a minute, thinking we shouldn’t be seen leaving the tent together. And before I go, he came in.” He. “Leslie Pollard?” Molly clarified. Gina nodded. “I freaked out when I saw him coming, and it’s stupid, I know, but I hid. And I should have just waited until I heard the shower go on, but God, maybe he wouldn’t have pulled the curtain, because he obviously thought he was in there alone . . .” Molly started to laugh. “Oh my.” “Yeah,” Gina said. “Oh my. So I decide to run for it, only he’s not in one of the changing booths, he’s over by the bench, you know?” Molly nodded. The bench in the main part of the room. “In only his underwear,” Gina finished, with a roll of her eyes. “Oh, my God.” “Really? Molly asked. Apparently Jones was taking his change of identity very seriously. He hated wearing underwear of any kind, but obviously he thought it wouldn’t be in character for Leslie Pollard to go commando. “Boxers or briefs?” Gina gave her a look, but she was starting to laugh now, too, thank goodness. “Briefs. Very brief briefs.” She covered her mouth with her hands. “Oh, my God, Molly, he was . . . I think he showers at noon because he knows no one else will be in there, so he can, you know, have an intimate visit with Mr. Hand.” Oh, dear. “And now I know, and he knows I know, and he also probably thinks I lurk in the men’s shower,” Gina continued. “And the fact that he actually came to tea tonight, instead of hiding from me, in his tent, forever, means . . . something awful, don’t you think? Did I mention he has, like, an incredible body?” Molly shook her head. Oh dear. “No.” “Yes,” Gina said just a little too grimly, considering the topic. “Who would’ve guessed that underneath those awful shirts he’s a total god? And maybe that’s what’s freaking out the most.” “You mean because . . . you’re attracted to him?” Molly asked. “No!” Gina said. “God! Because I’m not. I felt nothing. I’m standing there and he’s . . . You know how I said he reminds me of Hugh Grant?” Molly nodded, too relieved to speak. “Well, I got the wrong Hugh. This guy is built like Hugh Jackman. And beneath the hats and sunblock and glasses, he’s actually got cheekbones and a jaw line, too. I’m talking total hottie. And, yes, I can definitely appreciate that on one level, but . . .” She glanced over at the desk, at her digital camera. She’d gotten it out of her trunk earlier today. Which, Molly had learned, meant that she’d spent more time this afternoon looking at her saved pictures. Which included at least a few of Max. Molly’s relief over not having to deal with the complications of Gina having a crush on Leslie felt a whole lot less good. She wished someone would just go ahead and steal Gina’s camera already. Maybe that would help her move on.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Thanks again, sir.” Jules shook his hand again. “You’re welcome again,” the captain said, his smile warm. “I’ll be back aboard the ship myself at around nineteen hundred. If it’s okay with you, I’ll, uh, stop in, see how you’re doing.” Son of a bitch. Was Jules getting hit on? Max looked at Webster again. He looked like a Marine. Muscles, meticulous uniform, well-groomed hair. That didn’t make him gay. And he’d smiled warmly at Max, too. The man was friendly, personable. And yet . . . Jules was flustered. “Thanks,” he said. “That would be . . . That’d be nice. Would you excuse me, though, for a sec? I’ve got to speak to Max, before I, uh . . . But I’ll head over to the ship right away.” Webster shook Max’s hand. “It was an honor meeting you, sir.” He smiled again at Jules. Okay, he hadn’t smiled at Max like that. Max waited until the captain and the medic both were out of earshot. “Is he—” “Don’t ask, don’t tell.” Jules said. “But, oh my God.” “He seems nice,” Max said. “Yes,” Jules said. “Yes, he does.” “So. The White House?” “Yeah. About that . . .” Jules took a deep breath. “I need to let you know that you might be getting a call from President Bryant.” “Might be,” Max repeated. “Yes,” Jules said. “In a very definite way.” He spoke quickly, trying to run his words together: “I had a very interesting conversation with him in which I kind of let slip that you’d resigned again and he was unhappy about that so I told him I might be able to persuade you to come back to work if he’d order three choppers filled with Marines to Meda Island as soon as possible.” “You called the President of the United States,” Max said. “During a time of international crisis, and basically blackmailed him into sending Marines.” Jules thought about that. “Yeah. Yup. Although it was a pretty weird phone call, because I was talking via radio to some grunt in the CIA office. I had him put the call to the President for me, and we did this kind of relay thing.” “You called the President,” Max repeated. “And you got through . . .?” “Yeah, see, I had your cell phone. I’d accidently switched them, and . . . The President’s direct line was in your address book, so . . .” Max nodded. “Okay,” he said. “That’s it?” Jules said. “Just, okay, you’ll come back? Can I call Alan to tell him? We’re on a first-name basis now, me and the Pres.” “No,” Max said. “There’s more. When you call your pal Alan, tell him I’m interested, but I’m looking to make a deal for a former Special Forces NCO.” “Grady Morant,” Jules said. “He’s got info on Heru Nusantra that the president will find interesting. In return, we want a full pardon and a new identity.” Jules nodded. “I think I could set that up.” He started for the helicopter, but then turned back. “What’s Webster’s first name? Do you know?” “Ben,” Max told him. “Have a nice vacation.” “Recovering from a gunshot wound is not a vacation. You need to write that, like, on your hand or something. Jeez.” Max laughed. “Hey, Jules?” He turned back again. “Yes, sir?” “Thanks for being such a good friend.” Jules’s smile was beautiful. “You’re welcome, Max.” But that smile faded far too quickly. “Uh-oh, heads up—crying girlfriend on your six.” Ah, God, no . . . Max turned to see Gina, running toward him. Please God, let those be tears of joy. “What’s the verdict?” he asked her. Gina said the word he’d been praying for. “Benign.” Max took her in his arms, this woman who was the love of his life, and kissed her. Right in front of the Marines.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Blood pressure check!” The doorknob rattled, as if the nurse were intending just to walk in, but the lock held, thank God. The nurse knocked again. “Oh, shit,” Gina breathed, laughing as she scrambled off of him. She reached to remove the condom they’d just used, encountered . . . him, and met his eyes. But then she scooped her clothes off the floor and ran into the bathroom. “Mr. Bhagat?” The nurse knocked on the door again. Even louder this time. “Are you all right?” Oh, shit, indeed. “Come in,” Max called as he pulled up the blanket and leaned on the button that put his bed back up into a sitting position. The same control device had a “call nurse” button as well as the clearly marked one that would unlock the door. “It’s locked,” the nurse called back, as well he knew. “Oh, I’m sorry,” he said, as he wiped off his face with the edge of the sheet. Sweat much in bed, all alone, Mr. Bhagat? “I must’ve . . . Here, let me figure out how to . . .” He took an extra second to smooth his hair, his pajama top, and then, praying that the nurse had a cold and couldn’t smell the scent of sex that lingered in the air, he hit the release. “Please don’t lock your door during the day,” the woman scolded him as she came into the room, around to the side of his bed. It was Debra Forsythe, a woman around his age, whom Max had met briefly at his check-in. She had been on her way home to deal with some crisis with her kids, and hadn’t been happy then, either. “And not at night either,” she added, “until you’ve been here a few days.” “Sorry.” He gave her an apologetic smile, hanging on to it as the woman gazed at him through narrowed eyes. She didn’t say anything, she just wrapped the blood pressure cuff around his arm, and pumped it a little too full of air—ow—as Gina opened the bathroom door. “Did I hear someone at the door?” she asked brightly. “Oh, hi. Debbie, right?” “Debra.” She glanced at Gina, and then back, her disgust for Max apparent in the tightness of her lips. But then she focused on the gauge, stethoscope to his arm. Gina came out into the room, crossing around behind the nurse, making a face at him that meant . . .? Max sent her a questioning look, and she flashed him. She just lifted her skirt and gave him a quick but total eyeful. Which meant . . . Ah, Christ. The nurse turned to glare at Gina, who quickly straightened up from searching the floor. What was it with him and missing underwear? Gina smiled sweetly. “His blood pressure should be nice and low. He’s very relaxed—he just had a massage.” “You know, I didn’t peg you for a troublemaker when you checked in yesterday,” Debra said to Max, as she wrote his numbers on the chart. Gina was back to scanning the floor, but again, she straightened up innocently when the nurse turned toward her. “I think you’re probably looking for this.” Debra leaned over and . . . Gina’s panties dangled off the edge of her pen. They’d been on the floor, right at the woman’s sensibly clad feet. “Oops,” Gina said. Max could tell that she was mortified, but only because he knew her so well. She forced an even sunnier smile, and attempted to explain. “It was just . . . he was in the hospital for so long and . . .” “And men have needs,” Debra droned, clearly unmoved. “Believe me, I’ve heard it all before.” “No, actually,” Gina said, still trying to turn this into something they could all laugh about, “I have needs.” But it was obvious that this nurse hadn’t laughed since 1985. “Then maybe you should find someone your own age to play with. A professional hockey player just arrived. He’s in the east wing. Second floor.” She lowered her voice conspiratorially. “Lots of money. Just your type, I’m sure.” “Excuse me?” Gina wasn’t going to let one go past. She may not have been wearing any panties, but her Long Island attitude now waved around her like a superhero’s cape. She even assumed the battle position, hands on her hips.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))