Us Capitol Quotes

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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.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I'm not their slave," the man mutters. "I am," I say. "That's why I killed Cato... and he killed Thresh... and he killed Clove... and she tried to kill me. It just goes around and around, and who wins? Not us. Not the districts. Always the capitol. But I'm tired of being a piece in their games.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Why not? It's true. My best hope is to not disgrace myself and..." He hesitates. And what?" I say. I don't know how to say it exactly. Only... I want to die as myself. Does that make any sense?" he asks. I shake my head. How could he die as anyone but himself? "I don't want them to change me in there. Turn me into some kind of monster that I'm not." I bite my lip feeling inferior. While I've been ruminating on the availability of trees, Peeta has been struggling with how to maintain his identity. His purity of self. "Do you mean you won't kill anyone?" I ask. No, when the time comes, I'm sure I'll kill just like everybody else. I can't go down without a fight. Only I keep wishing I could think of a way to... to show the Capitol they don't own me. That I'm more than just a piece in their Games," says Peeta. But you're not," I say. "None of us are. That's how the Games work." Okay, but within that frame work, there's still you, there's still me," he insists. "Don't you see?" A little, Only... no offense, but who cares, Peeta?" I say. I do. I mean what else am I allowed to care about at this point?" he asks angrily. He's locked those blue eyes on mine now, demanding an answer.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Yes,” I whisper. The red blinking light on one of the cameras catches my eye. I know I’m being recorded. “Yes,” I say more forcefully. Everyone is drawing away from me—Gale, Cressida, the insects—giving me the stage. But I stay focused on the red light. “I want to tell the rebels that I am alive. That I’m right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women, and children. There will be no survivors.” The shock I’ve been feeling begins to give way to fury. “I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.” My hands go out automatically, as if to indicate the whole horror around me. “This is what they do! And we must fight back!” I’m moving in toward the camera now, carried forward by my rage. “President Snow says he’s sending us a message? Well, I have one for him. You can torture us and bomb us and burn our districts to the ground, but do you see that?” One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. “Fire is catching!” I am shouting now, determined that he will not miss a word. “And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
If it's true, why do they leave us to live like this? With the hunger and the killings and the Games?" And suddenly I hate this imaginary underground city of District 13 and those who sit by, watching us die. They're no better than the Capitol.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
I know my own reasons for keeping Peeta alive. He's my friend, and this is my way to defy the Capitol, to subvert its terrible Games. But if I had no real ties to him, what would make me want to save him, to choose him over myself? Certainly he is brave, but we have all been brave enough to survive a Games. There is that quality of goodness that's hard to overlook, but stil... and then I think of it, what Peeta can do so much better than the rest of us. He can use words. He obliterated the rest of the field at both interviews. And maybe it's because of that underlying goodness that he can move a crowd--no, a country--to his side with the turn of a simple sentence. I remember thinking that was the gift the leader of our revolution should have. Has Haymitch convinced the others of this? That Peeta's tongue would have far greater power against the Capitol than any physical strength the rest of us could claim? I don't know. It still seems like a really long leap for some of the tributes. I mean, we're talking about Johanna Mason here. But what other explanation can there be for their decided efforts to keep him alive?
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Taking the kids from our districts, forcing them to kill one another while we watch – this is the Capitol’s way of reminding us how totally we are at their mercy.
Suzanne Collins
Taking the kids from our districts, forcing them to kill one another while we watch – this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Hey, look at this!" He holds up a glistening, perfect pearl about the size of a pea. "You know, if you put enough pressure on coal it turns to pearls," he says earnestly to Finnick. "No, it doesn't," says Finnick dismissively. But I crack up, remembering that's how a clueless Effie Trinket presented us to the people of the Capitol last year, before anyone knew us. As coal pressured into pearls by our weighty existence. Beauty that arose out of pain.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
I want to tell the rebels that I am alive. That I'm right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women and children. There will be no survivors." The shock I've been feeling begins to give way to fury. "I want to tell people that if you think for one second the Capitol will treat us fairly if there's a cease-fire, you're deluding yourself. Because you know who they are and what they do." My hands go out automatically, as if to indicate the whole horror around me. "This is what they do and we must fight back!" "President Snow says he's sending a message. Well I have one for him. You can torture us and bomb and burn our districts to the ground, but do you see that?" One of the cameras follows where I point to the planes burning on the roof of a warehouse across from us. "Fire is catching!" I am shouting now, determined he will not miss a word of it, "And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It's to the Capitol's advantage to have us divided among ourselves. Another tool to cause misery in our district. A way to plant hatred between the starving workers [of the Seam] and those who can generally count on supper and thereby ensure we will never trust one another.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
There's no district 12 to escape from now, no Peacekeepers to trick, no hungry mouths to feed. The Capitol took away all of that, and I'm on the verge of losing Gale as well. The glue of mutual needs that bonded us so tightly together for all those years is melting away.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
...I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. 'Fire is catching!' I am shouting now, determined that he will not miss a word. 'And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
In school, they tell us the Capitol was built in a place once called the Rockies. District 12 was in a region known as Appalachia. Even hundreds of years ago, they mined coal here. Which is why our miners have to dig so deep.
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))
Who was I kidding? I'm a farmer, and farmers are natural segregationists. We separate the wheat from the chaff. I'm not Rudolf Hess, P. W. Botha, Capitol Records, or present-day U.S. of A. Those motherfuckers segregate because they want to hold on to power. I'm a farmer: we segregate in an effort to give every tree, every plant, every poor Mexican, every poor nigger, a chance for equal access to sunlight and water; we make sure every living organism has room to breathe.
Paul Beatty (The Sellout)
It's to the Capitol's advantage to have us divided among ourselves.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
It's the Capitol I hate, for doing this to all of us
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
My dear fellow " Said Albert, turning to Franz " here is an admirable adventure; we will fill our carriage with pistols, blunderbusses, and double-barreled shotguns. Luigi Vampa comes to take us, and we take him - we bring him back to Rome , and present him to him holiness the Pope, who asks how he can repay so great a service; Then we merely ask for a cariage and a pair of horses, and we will see the Carnival in the carriage , and doubtless the Roman people will crown us at the capitol , and proclaim us, like Curtius and the veiled Horatius, the preservers of there country." Whilst Albert proposed this scheme, signor Pastrini's face assumed an expression impossible to describe.
Alexandre Dumas (The Count of Monte Cristo)
Radiation is all around us. It emanates from the sun and cosmic rays, bathing cities at high altitude in greater levels of background radiation than those at sea level. Underground deposits of thorium and uranium emit radiation, but so does masonry: stone, brick, and adobe all contain radioisotopes. The granite used to build the US Capitol is so radioactive that the building would fail federal safety codes regulating nuclear power plants. All living tissue is radioactive to some degree: human beings, like bananas, emit radiation because both contain small amounts of the radioisotope potassium 40; muscle contains more potassium 40 than other tissue, so men are generally more radioactive than women. Brazil nuts, with a thousand times the average concentration of radium of any organic product, are the world’s most radioactive food.
Adam Higginbotham (Midnight in Chernobyl: The Untold Story of the World's Greatest Nuclear Disaster)
Haymitch isn't thinking of arenas, but something else. "Johanna's back in the hospital." I assumed Johanna was fine, had passed her exam, but simply wasn't assigned to a sharp shooters' unit. She's wicked with a throwing axe but about average with a gun. "Is she hurt? What happened?" "It was while she was on the Block. They try to ferret out a soldier's potential weakness. So they flooded the street, " says Haymitch. This doesn't help. Johanna can swim. At least, I seem to remember her swimming around some in the Quarter Quell. Not like Finnick, of course, but none of us are like Finnick. "So?" "That's how they tortured her in the Capitol. Soaked her then used electric shocks," says Haymitch. "In the Block, she had some kind of flashback. Panicked, didn't know where she was. She's back under sedation." Finnick and I just stand there as if we've lost the ability to respond. I think of the way Johanna never showers. How she forced herself into the rain like it was acid that day. I had attributed her misery to morphling withdrawal. "You two should go see her. You're as close to friends as she's got," says Haymitch. That makes the whole thing worse. I don't really know what's between Johanna and Finnick, but I hardly know her. No family. No friends.Not so much as a token from District 7 to set beside her regulation clothes in her anonymous drawer. Nothing.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
But even if all of us meet terrible ends, something happened on that stage tonight that can’t be undone. We victors staged our own uprising, and maybe, just maybe, the Capitol won’t be able to contain this one.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
It’s the Capitol I hate, for doing this to all of us.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
It’s to the Capitol’s advantage to have us divided among ourselves,
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
The granite used to build the US Capitol is so radioactive that the building would fail federal safety codes regulating nuclear power plants.
Adam Higginbotham (Midnight in Chernobyl: The Untold Story of the World's Greatest Nuclear Disaster)
The House of Progress looked just like a miniature version of the US Capitol, except it had been painted red and the dome had been replaced with the world’s largest square basket.
Chris Colfer (A Grimm Warning (The Land of Stories, #3))
The attacks on the US capitol on January 6th, 2021 will have ripple effects for years to come. We’re no longer in the September 11th era. We’re now in the January 6th era.
Oliver Markus Malloy (American Fascism: A German Writer's Urgent Warning To America)
Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.
Angela Korra'ti (Faerie Blood (The Free Court of Seattle #1))
few years after Ball was herded south, a slave trader marched a coffle past the US Capitol just as a gaggle of congressmen took a cigar break on the front steps. One of the captive men raised his manacles and mockingly sang “Hail Columbia,” a popular patriotic song.
Edward E. Baptist (The Half Has Never Been Told: Slavery and the Making of American Capitalism)
The Hunger Games were an opportunity for wealth and a kind of glory not seen elsewhere. Of course, the people of 2 swallowed the Capitol’s propaganda more easily than the rest of us. Embraced their ways. But for all that, at the end of the day, they were still slaves.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It’s essential, as they say, to know your enemy. So what better way to get to know each other than to join forces in the Hunger Games? The Capitol won the war only after a long, hard fight, and recently our arena was bombed. To imagine that on either side we lack intelligence, strength, or courage would be a mistake.” “But surely, you’re not comparing our children to theirs?” asked Lucky. “One look tells you ours are a superior breed.” “One look tells you ours have had more food, nicer clothing, and better dental care,” said Dean Highbottom. “Assuming anything more, a physical, mental, or especially a moral superiority, would be a mistake. That sort of hubris almost finished us off in the war.
Suzanne Collins (The Ballad of Songbirds and Snakes (The Hunger Games, #0))
As we grow in grace, we become a blessing to the world around us, and the world, in terms of its relations to us, is blessed or cursed. This means that the politics of the world capitols, however important, is not as determinative of the future as the faithfulness of the covenant people to their God and to His covenant law-word. When history wallows needlessly in the seas of politics, it is simply because the rudder of the ship, the Christian, is giving no direction and is neither a curse nor a blessing, only salt which has lost its savor and is good for nothing except to be thrown out on the road of history, “to be trodden under foot of men” (Matt. 5:13).
Rousas John Rushdoony
Yesterday's assault on the Capitol was an attack on multiracial American democracy, a fragile experiment younger than most US senators. (1/7/2021)
Adam Serwer
In school, they tell us the Capitol was built in a place once called the Rockies. District 12 was in a region known as Appalachia.
Suzanne Collins (The Hunger Games Trilogy)
Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I hate this imaginary underground city of District 13 and those who sit by, watching us die. They’re no better than the Capitol.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Capitol Reed is filled with geology that takes shape, color, and dimension to a level beyond comprehension.
Stefanie Payne (A Year in the National Parks: The Greatest American Road Trip)
Daddy, why are we going to the Capitol?” she asked her father. “Luci Baines, we have to go to the Capitol,” Johnson said to his daughter. “It’s the only place to go. As a result of this great legislation becoming the law of the land, there will be many men and women who will not be returning to these hallowed halls because of the decision they have made to support it. And because of this great legislation that I will be signing into law, there will be many men and women who will have an opportunity to come to the halls of Congress who could have never have come otherwise.
Ari Berman (Give Us the Ballot: The Modern Struggle for Voting Rights in America)
even if all of us meet terrible ends, something happened on that stage tonight that can’t be undone. We victors staged our own uprising, and maybe, just maybe, the Capitol won’t be able to contain this one.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Where you can starve to death in safety,” I mutter. Then I glance quickly over my shoulder. Even here, even in the middle of nowhere, you worry someone might overhear you. When I was younger, I scared my mother to death, the things I would blurt out about District 12, about the people who rule our country, Panem, from the far-off city called the Capitol. Eventually I understood this would only lead us to more trouble. So I learned to hold my tongue and to turn my features into an indifferent mask so that no one could ever read my thoughts. Do my work quietly in school. Make only polite small talk in the public market. Discuss little more than trades in the Hob, which is the black market where I make most of my money. Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
The Hunger Games are a reminder of our past, a reminder of the Dark Days when the Capitol waged war on its own people. The Games remind us of the importance of maintaining peace and of the necessity of sacrifice.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
President Snow says he’s sending us a message? Well, I have one for him. You can torture us and bomb us and burn our districts to the ground, but do you see that?” One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. “Fire is catching!” I am shouting now, determined that he will not miss a word. “And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
school, they tell us the Capitol was built in a place once called the Rockies. District 12 was in a region known as Appalachia. Even hundreds of years ago, they mined coal here. Which is why our miners have to dig so deep.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
It’s something to see Finnick’s transformation since his marriage. His earlier incarnations – the decadent Capitol heartthrob I met before the Quell, the enigmatic ally in the arena, the broken young man who tried to help me hold it together – these have been replaced by someone who radiates life. Finnick’s real charms of self-effacing humour and an easy-going nature are on display for the first time. He never lets go of Annie’s hand. Not when they walk, not when they eat. I doubt he ever plans to. She’s lost in some daze of happiness. There are still moments when you can tell something slips in her brain and another world blinds her to us. But a few words from Finnick call her back.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
In school, they tell us the Capitol was built in a place once called the Rockies. District 12 was in a region known as Appalachia. Even hundreds of years ago, they mined coal here. Which is why our miners have to dig so deep. Somehow
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I want to do something, right here, right now, to shame them, tomake them accountable, to show the Capitol that whatever they do orforce us to do there is a part of every tribute they can’t own. That Ruewas more than a piece in their Games. And so am I.
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
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
And when attacked by a Capitol-aligned soldier in District 2, she tells him that fighting in the Capitol's wars makes them all slaves: "It just goes around and around and who wins? Not us. Not the districts. Always the Capitol. But I'm tired of being a piece in their Games." Game theory is not about games. It's about politics and psychology, war and strategy. For Katniss Everdeen, it is life and death, and in the end, everyone in Panem comes to learn that the only way to truly win the game is not to play at all.
Leah Wilson (The Girl Who Was on Fire: Your Favorite Authors on Suzanne Collins' Hunger Games Trilogy)
As I slowly, I want to do something, right here, right now, to shame them, tomake them accountable, to show the Capitol that whatever they do orforce us to do there is a part of every tribute they can’t own. That Ruewas more than a piece in their Games. And so am I.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
The granite used to build the US Capitol is so radioactive that the building would fail federal safety codes regulating nuclear power plants. All living tissue is radioactive to some degree: human beings, like bananas, emit radiation because both contain small amounts of the radioisotope potassium 40; muscle contains more potassium 40 than other tissue, so men are generally more radioactive than women. Brazil nuts, with a thousand times the average concentration of radium of any organic product, are the world’s most radioactive food.
Adam Higginbotham (Midnight in Chernobyl: The Untold Story of the World's Greatest Nuclear Disaster)
I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.” Back to me now, my hands lifting up to indicate the outrage around me. “This is what they do!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Caesar Flickerman, the man who has hosted the interviews for more than forty years, bounces onto the stage. It’s a little scary because his appearance has been virtually unchanged during all that time. Same face under a coating of pure white makeup. Same hairstyle that he dyes a different color for each Hunger Games. Same ceremonial suit, midnight blue dotted with a thousand tiny electric bulbs that twinkle like stars. They do surgery in the Capitol, to make people appear younger and thinner. In District 12, looking old is something of an achievement since so many people die early. You see an elderly person, you want to congratulate them on their longevity, ask the secret of survival. A plump person is envied because they aren’t scraping by like the majority of us. But here it is different. Wrinkles aren’t desirable. A round belly isn’t a sign of success.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I'm not their slave," the man mutters. "I am," I say. "That's why I killed Cato...and he killed Thresh...and he killed Clove...and she tried to kill me. It just goes around and around, and who wins? Not us. Not the districts. Always the Capitol. But I'm tired of being a piece in their Games.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
It’s mostly a lot of blather about what we owe the Capitol. I know there must be more than they’re telling us, an actual account of what happened during the rebellion. But I don’t spend much time thinking about it. Whatever the truth is, I don’t see how it will help me get food on the table.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
I’m not their slave,” the man mutters. “I am,” I say. “That’s why I killed Cato . . . and he killed Thresh . . . and he killed Clove . . . and she tried to kill me. It just goes around and around, and who wins? Not us. Not the districts. Always the Capitol. But I’m tired of being a piece in their Games.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
. "I want to tell people that if you think for one second the Capitol will treat us fairly if there's a cease-fire, you're deluding yourself. Because you know who they are and what they do." My hands go out automatically, as if to indicate the whole horror around me. "This is what they do! And we must fight back!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
At the time, I didn’t know what he meant. It was hard to see clearly because I was so afraid. Now I’m not. The Capitol’s fragile because it depends on the districts for everything. Food, energy, even the Peacekeepers that police us. If we declare our freedom, the Capitol collapses. President Snow, thanks to you, I’m officially declaring mine today.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
The failure of Hellenism has been, largely, a matter of organization. Rome never tried to impose any sort of worship upon the countries it conquered and civilized; in fact, quite the contrary, Rome was eclectic. All religions were given an equal opportunity and even Isis—after some resistance—was worshipped at Rome. As a result we have a hundred important gods and a dozen mysteries. Certain rites are—or were—supported by the state because they involved the genius of Rome. But no attempt was ever made to coordinate the worship of Zeus on the Capitol with, let us say, the Vestals who kept the sacred fire in the old forum. As time passed our rites became, and one must admit it bluntly, merely form, a reassuring reminder of the great age of the city, a token gesture to the old gods who were thought to have founded and guided Rome from a village by the Tiber to world empire. Yet from the beginning, there were always those who mocked. A senator of the old Republic once asked an auger how he was able to get through a ceremony of divination without laughing. I am not so light-minded, though I concede that many of our rites have lost their meaning over the centuries; witness those temples at Rome where certain verses learned by rote are chanted year in and year out, yet no one, including the priests, knows what they mean, for they are in the early language of the Etruscans, long since forgotten. As the religious forms of the state became more and more rigid and perfunctory, the people were drawn to the mystery cults, many of them Asiatic in origin. At Eleusis or in the various caves of Mithras, they were able to get a vision of what this life can be, as well as a foretaste of the one that follows. There are, then, three sorts of religious experiences. The ancient rites, which are essentially propitiatory. The mysteries, which purge the soul and allow us to glimpse eternity. And philosophy, which attempts to define not only the material world but to suggest practical ways to the good life, as well as attempting to synthesize (as Iamblichos does so beautifully) all true religion in a single comprehensive system.
Gore Vidal (Julian)
Yes,” I say more forcefully. Everyone is drawing away from me — Gale, Cressida, the insects — giving me the stage. But I stay focused on the red light. “I want to tell the rebels that I am alive. That I’m right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women, and children. There will be no survivors.” The shock I’ve been feeling begins to give way to fury. “I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.” My hands go out automatically, as if to indicate the whole horror around me. “This is what they do! And we must fight back!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
You can torture us and bomb us and burn our districts to the ground, but do you see that?” One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. “Fire is catching!” I am shouting now, determined that he will not miss a word. “And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
In my time in Washington, no battle has consumed more energy than stopping Obamacare. On the evening of September 24, 2013, it began with a prayer. In my tiny “hideaway” office wedged into a dome in the Capitol Building, Senator Mike Lee and I bowed our heads, read from the Book of Psalms, and asked for the Lord’s guidance. I then walked to the floor of the U.S. Senate and announced, “I intend to speak in support of defunding Obamacare until I am no longer able to stand.”* I opened by noting that “all across this country, Americans are suffering because of Obamacare.” And yet politicians in Washington were not listening to the concerns of their constituents. They weren’t hearing the people with jobs lost or the people forced into part-time work. They had no answers for the people losing their health insurance, or the people who are struggling. With good reason, men and women across America believe that politicians get elected, go to Washington, and stop listening to them. This is the most common thing you hear from the man on the street, from Republicans, Democrats, Independents, and Libertarians: You’re not listening to me.
Ted Cruz (A Time for Truth: Reigniting the Promise of America)
President Snow once admitted to me that the Capitol was fragile. At the time, I didn’t know what he meant. It was hard to see clearly because I was so afraid. Now I’m not. The Capitol’s fragile because it depends on the districts for everything. Food, energy, even the Peacekeepers that police us. If we declare our freedom, the Capitol collapses. President Snow, thanks to you, I’m officially declaring mine today.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Look to society, and look to the crapshoot of the way any given set of parents’ genes line up. How was Raskolnikov created? How about the “patriots” who assaulted the Capitol Building? We live in our own private realities, and sometimes—too often—those private realities have nothing to do with the larger world around us. I speak from the point of view of a novelist, a profession to which only the delusional are called.
T.C. Boyle
I’m not their slave,” the man mutters. “I am,” I say. “That’s why I killed Cato . . . and he killed Thresh . . . and he killed Clove . . . and she tried to kill me. It just goes around and around, and who wins? Not us. Not the districts. Always the Capitol. But I’m tired of being a piece in their Games.” Peeta. On the rooftop the night before our first Hunger Games. He understood it all before we’d even set foot in the arena.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
I want to tell the rebels that I am alive. That I’m right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women, and children. There will be no survivors.” The shock I’ve been feeling begins to give way to fury. “I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
They do surgery in the Capitol, to make people appear younger and thinner. In District 12, looking old is something of an achievement since so many people die early. You see an elderly person you want to congratulate them on their longevity, ask the secret of survival. A plump person is envied because they aren't scraping by like the majority of us. But here it is different. Wrinkles aren't desirable. A round belly isn't a sign of success
Suzanne Collins (The Hunger Games (Hunger Games Trilogy) by Suzanne Collins (2015-10-01))
President Snow says he's sending us a message? Well, I have one for him. You can torture us and bomb us and burn our districts to the ground, but do you see that?" One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. "Fire is catching!" I am shouting now, determined that he will not miss a word. "And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
They do surgery in the Capitol, to make people appear younger and thinner. In District 12, looking old is something of an achievement since so many people die early. You see an elderly person, you want to congratulate them on their longevity, ask the secret of survival. A plump person is envied because they aren’t scraping by like the majority of us. But here it is different. Wrinkles aren’t desirable. A round belly isn’t a sign of success.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
When I say that God is not a Christian, I am saying that God is not limited as Christians have made Him (It) to be. I need to say right from the outset that I no longer view God as a god or THE God, but just God. Not a He or a She, but more of an "It" -- an infinite or Ultimate Creative Intelligence, Reality, or Existence. I use capitol letters to emphasize a superiority I tend to presume upon God. Guess it's a habit with which I am comfortable.
Carlton D. Pearson (God Is Not a Christian, Nor a Jew, Muslim, Hindu...: God Dwells with Us, in Us, Around Us, as Us)
The point is that two of us are coming home from the Capitol. One mentor and one victor,” says Peeta. “Effie’s sending me recordings of all the living victors. We’re going to watch their Games and learn everything we can about how they fight. We’re going to put on weight and get strong. We’re going to start acting like Careers. And one of us is going to be victor again whether you two like it or not!” He sweeps out of the room, slamming the front door.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen.
Suzanne Collins (The Hunger Games Trilogy)
Two all-important lessons of history stand clearly expressed in this our national Capitol. The first is that little of consequence is ever accomplished alone. High achievement is nearly always a joint effort, as has been shown again and again in these halls when the leaders of different parties, representatives from differing constituencies and differing points of view, have been able, for the good of the country, to put those differences aside and work together.
David McCullough (The American Spirit: Who We Are and What We Stand For)
In 1835, Americans in Texas rebelled against Mexican rule, waging a war under the command of a political daredevil named Sam Houston. In 1836, Texas declared its independence, founding the Republic of Texas, with Houston its president. Mexico’s president, General Antonio López de Santa Anna, warned that, if he were to discover that the U.S. government had been behind the Texas rebellion, he would march “his army to Washington and place upon its Capitol the Mexican flag.
Jill Lepore (These Truths: A History of the United States)
House Speaker Tip O’Neill, one of the few briefed on the evacuation procedures, recalled, “I kind of lost interest in it when they told me my wife would not be going with me. I said, ‘Jesus, you don’t think I’m going to run away and leave my wife? That’s the craziest thing I ever heard of.’ ” Thus, an expansion during George White’s tenure as the Capitol Architect created space for another 500 bunk beds and ensured room for at least 1,400 dependents in a pressurized area adjacent to the main bunker.
Garrett M. Graff (Raven Rock: The Story of the U.S. Government's Secret Plan to Save Itself--While the Rest of Us Die)
Talking of appearances, I would like my future readers to know that the picture of Jim and me that Thomas Hart Benton painted on the wall of the Missouri state capitol bears not the slightest resemblance to either one of us. ... I've never been satisfied with any representation of myself and have seen only one picture of Jim that did him justice. I don't know why this should be, unless it is evidence of a nearly universal prejudice against us, instigated by Sunday school superintendents, Republicans, and bigots.
Norman Lock (The Boy in His Winter: An American Novel (The American Novels))
Hey, look at this!” He holds up a glistening, perfect pearl about the size of a pea. “You know, if you put enough pressure on coal it turns to pearls,” he says earnestly to Finnick. “No, it doesn’t,” says Finnick dismissively. But I crack up, remembering that’s how a clueless Effie Trinket presented us to the people of the Capitol last year, before anyone knew us. As coal pressured into pearls by our weighty existence. Beauty that arose out of pain. Peeta rinses the pearl off in the water and hands it to me. “For you.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
I want to tell the rebels that I am alive. That I’m right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women, and children. There will be no survivors.” The shock I’ve been feeling begins to give way to fury. “I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.” My hands go out automatically, as if to indicate the whole horror around me. “This is what they do! And we must fight back!” I’m moving in toward the camera now, carried forward by my rage. “President Snow says he’s sending us a message? Well, I have one for him. You can torture us and bomb us and burn our districts to the ground, but do you see that?” One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. “Fire is catching!” I am shouting now, determined that he will not miss a word. “And if we burn, you burn with us!
Suzanne Collins (Mockingjay (The Hunger Games, #3))
the Capitol. You can hear the roar of the crowd. They are always favorites. District 2 gets into position to follow them. In no time at all, we are approaching the door and I can see that between the overcast sky and evening hour the light is turning gray. The tributes from District 11 are just rolling out when Cinna appears with a lighted torch. “Here we go then,” he says, and before we can react he sets our capes on fire. I gasp, waiting for the heat, but there is only a faint tickling sensation. Cinna climbs up before us and ignites our headdresses. He lets out a sigh of relief
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
This combination of rumination and nostalgia emerged from our research as destructive and disconnecting. If you're wondering how dangerous the combination can be, think back to the insurrection at the U.S. Capitol on January 6, 2021, or examine the strategy used by every authoritarian leader in history: Exploit fears by photoshopping a picture of yesteryear to be everything people wanted it to be (but never was), seduce people into believing that a make-believe past could exist again, and give them someone to blame for ruining the picture and/or not being able to restore the mythical utopia.
Brené Brown (Atlas of the Heart: Mapping Meaningful Connection and the Language of Human Experience)
Immediately upon entering Washington, we made a wrong turn in the heavy traffic, and while my mother was trying to read the road map and direct my father to our hotel, there appeared before us the biggest white thing I had ever seen. Atop an incline at the end of the street stood the U.S. Capitol, the broad stairs sweeping upward to the colonnade and capped by the elaborate three-tiered dome. Inadvertently, we had driven right to the very heart of American history, and whether we knew it in so many words, it was American history, delineated in its most inspirational form, that we were counting on to protect us against Lindbergh.
Philip Roth (The Plot Against America)
Each day it’s the same. Wake up. Get dressed. Ride through cheering crowds. Listen to a speech in our honour. Give a thank-you speech in return, but only the one the Capitol gave us, never any personal additions now. Sometimes a brief tour: a glimpse of the sea in one district, towering forests in another, ugly factories, fields of wheat, stinking refineries. Dress in evening clothes. Attend dinner. Train. During ceremonies, we are solemn and respectful but always linked together, by our hands, our arms. At dinners, we are borderline delirious in our love for each other. We kiss, we dance, we get caught trying to sneak away to be alone.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Almost, but not quite,” says Haymitch from behind us. I whip around, afraid he’s going to be angry over us watching his tape, but he just smirks and takes a swig from a bottle of wine. So much for sobriety. I guess I should be upset he’s drinking again, but I’m preoccupied with another feeling. I’ve spent all these weeks getting to know who my competitors are, without even thinking about who my teammates are. Now a new kind of confidence is lighting up inside of me, because I think I finally know who Haymitch is. And I’m beginning to know who I am. And surely, two people who have caused the Capitol so much trouble can think of a way to get Peeta home alive.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
While no known record exists of the first entreaty to the Greenbrier, resort historian Robert Conte believes it came during the property’s 1956 North American summit, which brought Eisenhower together with the leaders of Canada and Mexico. While historic details are sketchy, Eisenhower appears to have met privately with railway president Walter Tuohy during the three-day summit to discuss the bunker. Then, the day after Eisenhower departed, the congressional leadership wrote him an opaque letter on March 28, 1956: “This is to introduce Mr. J. George Stewart, Architect of the Capitol, who is calling upon you on matters of vital importance to the Congress of the United States.
Garrett M. Graff (Raven Rock: The Story of the U.S. Government's Secret Plan to Save Itself--While the Rest of Us Die)
At the “Capitol Crawl,” people using wheelchairs, leg braces, and canes made their way to the hundred steps in front of the U.S. Capitol building in Washington, D.C. Then they began to climb those stairs, leaving behind whatever gear couldn’t come with them, using their arms or whatever body parts they had available for mobility. Children as young as ten participated in what became a very public, strategic spectacle. That protest is considered by historians to have been the tipping point; the Americans with Disabilities Act was passed in 1990, guaranteeing curb cut changes at every city sidewalk corner and ramped entrances at all newly constructed buildings, among other new provisions.
Sara Hendren (What Can a Body Do?)
He tells of the history of Panem, the country that rose up out of the ashes of a place that was once called North America. He lists the disasters, the droughts, the storms, the fires, the encroaching seas that swallowed up so much of the land, the brutal war for what little sustenance remained. The result was Panem, a shining Capitol ringed by thirteen districts, which brought peace and prosperity to its citizens. Then came the Dark Days, the uprising of the districts against the Capitol. Twelve were defeated, the thirteenth obliterated. The Treaty of Treason gave us the new laws to guarantee peace and, as our yearly reminder that the Dark Days must never be repeated, it gave us the Hunger Games.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
He tells of the history of Panem, the country that rose up out of the ashes of a place that was once called North America. He lists the disasters, the droughts, the storms, the fires, the encroaching seas that swallowed up so much of the land, the brutal war for what little sustenance remained. The result was Panem, a shining Capitol ringed by thirteen districts, which brought peace and prosperity to its citizens. Then came the Dark Days, the uprising of the districts against the Capitol. Twelve were defeated, the thirteenth obliterated. The Treaty of Treason gave us the new laws to guarantee peace and, as our yearly reminder that the Dark Days must never be repeated, it gave us the Hunger Games. The
Suzanne Collins (The Hunger Games (Hunger Games, #1))
Cashmere starts the ball rolling with a speech about how she just can’t stop crying when she thinks of how much the people in the Capitol must be suffering because they will lose us. Gloss recalls the kindness shown here to him and his sister. Beetee questions the legality of the Quell in his nervous, twitchy way, wondering if it’s been fully examined by experts of late. Finnick recites a poem he wrote to his one true love in the Capitol, and about a hundred people faint because they’re sure he means them. By the time Johanna Mason gets up, she’s asking if something can’t be done about the situation. Surely the creators of the Quarter Quell never anticipated such love forming between the victors and the Capitol. No one could be so cruel as to sever such a deep bond.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Since I’ve been home I’ve been trying hard to mend my relationship with my mother. Asking her to do things for me instead of brushing aside any offer of help, as I did for years out of anger. Letting her handle all the money I won. Returning her hugs instead of tolerating them. My time in the arena made me realize how I needed to stop punishing her for something she couldn’t help, specifically the crushing depression she fell into after my father’s death. Because sometimes things happen to people and they’re not equipped to deal with them. Like me, for instance. Right now. Besides, there’s one wonderful thing she did when I arrived back in the district. After our families and friends had greeted Peeta and me at the train station, there were a few questions allowed from reporters. Someone asked my mother what she thought of my new boyfriend, and she replied that, while Peeta was the very model of what a young man should be, I wasn’t old enough to have any boyfriend at all. She followed this with a pointed look at Peeta. There was a lot of laughter and comments like “Somebody’s in trouble” from the press, and Peeta dropped my hand and sidestepped away from me. That didn’t last long — there was too much pressure to act otherwise — but it gave us an excuse to be a little more reserved than we’d been in the Capitol. And maybe it can help account for how little I’ve been seen in Peeta’s company since the cameras left. I go upstairs to the bathroom, where a steaming tub awaits. My mother has added a small bag of dried flowers that perfumes
Suzanne Collins (Catching Fire (The Hunger Games, #2))
districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena that could hold anything from a burning desert to a frozen wasteland. Over a period of several weeks, the competitors must fight to the death. The last tribute standing wins. Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
rules of the Hunger Games are simple. In punishment for the uprising, each of the twelve districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena that could hold anything from a burning desert to a frozen wasteland. Over a period of several weeks, the competitors must fight to the death. The last tribute standing wins. Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
The rules of the Hunger Games are simple. In punishment for the uprising, each of the twelve districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena that could hold anything from a burning desert to a frozen wasteland. Over a period of several weeks, the competitors must fight to the death. The last tribute standing wins. Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
9:12 P.M.—GROUND ZERO, WASHINGTON, D.C. Without warning, the capital of the United States was obliterated. At precisely 9:12 p.m. Eastern, in a millisecond of time, in a blinding flash of light, the White House simply ceased to exist, as did everything and everyone else for miles in every direction. No sooner had the first missile detonated in Lafayette Park than temperatures soared into the millions of degrees. The firestorm and blast wave that followed consumed everything in its path. Gone was the Treasury building, and with it the headquarters of the United States Secret Service. Gone was the FBI building, and the National Archives, and the Supreme Court, and the U.S. Capitol and all of its surrounding buildings. Wiped away was every monument, every museum, every restaurant, every hotel, every hospital, every library and landmark of any kind, every sign of civilization.
Joel C. Rosenberg (Dead Heat: A Jon Bennett Series Political and Military Action Thriller (Book 5) (The Last Jihad series))
The New York Times tells us change is necessary and protest desirable, but within limits. Poverty should be protested, but the laws should not be broken. Hence, the Poor People’s Campaign, occupying tents in Washington in the spring of 1968, is praiseworthy; but its leader, Ralph Abernathy, is deservedly jailed for violating an ordinance against demonstrating near the Capitol. The Vietnam war is wrong, but if Dr. Spock is found by a jury and judge to have violated the draft law, he must accept his punishment as right because that is the rule of the game. Thus, exactly at that moment when we have begun to suspect that law is congealed injustice, that the existing order hides an everyday violence against body and spirit, that our political structure is fossilized, and that the noise of change—however scary—may be necessary, a cry rises for “law and order.” Such a moment becomes a crucial test of whether the society will sink back to a spurious safety or leap forward to its own freshening. We
Howard Zinn (Disobedience and Democracy: Nine Fallacies on Law and Order)
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))
romantic between us, but when he opens his arms I don’t hesitate to go into them. His body is familiar to me — the way it moves, the smell of wood smoke, even the sound of his heart beating I know from quiet moments on a hunt — but this is the first time I really feel it, lean and hard-muscled against my own. “Listen,” he says. “Getting a knife should be pretty easy, but you’ve got to get your hands on a bow. That’s your best chance.” “They don’t always have bows,” I say, thinking of the year there were only horrible spiked maces that the tributes had to bludgeon one another to death with. “Then make one,” says Gale. “Even a weak bow is better than no bow at all.” I have tried copying my father’s bows with poor results. It’s not that easy. Even he had to scrap his own work sometimes. “I don’t even know if there’ll be wood,” I say. Another year, they tossed everybody into a landscape of nothing but boulders and sand and scruffy bushes. I particularly hated that year. Many contestants were bitten by venomous snakes or went insane from thirst. “There’s almost always some wood,” Gale says. “Since that year half of them died of cold. Not much entertainment in that.” It’s true. We spent one Hunger Games watching the players freeze to death at night. You could hardly see them because they were just huddled in balls and had no wood for fires or torches or anything. It was considered very anticlimactic in the Capitol, all those quiet, bloodless deaths. Since then, there’s usually been wood
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
Monday, January 26 Be Strong and Courageous “So be strong and courageous! Do not be afraid and do not panic before them! For the LORD your God will personally go ahead of you. He will neither fail you nor abandon you.” DEUTERONOMY 31:6 NLT In The Horse and His Boy, one of the books in the Narnia series by C. S. Lewis, we see a beautiful picture of how the Lord gives us strength and courage to do His will. The boy, Shasta, runs away from home. Along the way he meets up with a talking horse from Narnia and a nobly born girl, Aravis, with her talking horse. They decide to take their horses to Narnia, but their plans fall apart when they have to go through the Calormene capitol city, Tashbaan. Several times as they travel, they are chased by lions, harassed by cats, and generally persecuted by various members of the cat family. Finally, on one particularly dark night, Shasta crosses over a mountain pass alone. In the dark and fog Shasta senses rather than sees a creature walking along beside him. And he’s terrified. Later, when he meets Aslan, Shasta learns that all the cats were Aslan, guiding them, pushing them, and yes, terrifying them into doing what they needed to do. Aslan was also his protector as he crossed the steep and dangerous mountain pass in the dark. Shasta is angry until he realizes that Aslan did everything out of love, even hurting Aravis when her pride was keeping them from the mission they’d been given. Father, thank You for the beautiful picture of Your protection and courage to those who are Yours.
Various (Daily Wisdom for Women 2015 Devotional Collection - January (None))
I have seen elsewhere houses in ruins, and statues both of gods and men: these are men still. 'Tis all true; and yet, for all that, I cannot so often revisit the tomb of that so great and so puissant city,—[Rome]— that I do not admire and reverence it. The care of the dead is recommended to us; now, I have been bred up from my infancy with these dead; I had knowledge of the affairs of Rome long before I had any of those of my own house; I knew the Capitol and its plan before I knew the Louvre, and the Tiber before I knew the Seine..... .... Finding myself of no use to this age, I throw myself back upon that other, and am so enamoured of it, that the free, just, and flourishing state of that ancient Rome (for I neither love it in its birth nor its old age) interests and impassionates me; and therefore I cannot so often revisit the sites of their streets and houses, and those ruins profound even to the Antipodes, that I am not interested in them. Is it by nature, or through error of fancy, that the sight of places which we know to have been frequented and inhabited by persons whose memories are recommended in story, moves us in some sort more than to hear a recital of their—acts or to read their writings? It pleases me to consider their face, bearing, and vestments: I pronounce those great names betwixt my teeth, and make them ring in my ears: Of things that are in some part great and admirable, I admire even the common parts: I could wish to see them in familiar relations, walk, and sup. It were ingratitude to contemn the relics and images of so many worthy and valiant men as I have seen live and die, and who, by their example, give us so many good instructions, knew we how to follow them. And, moreover, this very Rome that we now see, deserves to be beloved.
Michel de Montaigne (The Complete Essays)
As he helped Sejanus unpack and make his bed, Coriolanus got caught up on the Capitol news. His suspicions about the Hunger Games were right. “By the next morning, there was no mention of it,” said Sejanus. “When I went into the Academy for my review, I heard some of the faculty talking about what a mistake it’d been to involve the students, so I think that was a one-off. But I wouldn’t be surprised if we see Lucky Flickerman back again next year, or the post office open for gifts and betting.” “Our legacy,” said Coriolanus. “So it seems,” said Sejanus. “Satyria told Professor Sickle that Dr. Gaul is determined to keep it going somehow. A part of her eternal war, I guess. Instead of battles, we have the Hunger Games.” “Yes, to punish the districts and remind us what beasts we are,” said Coriolanus, focused on lining up Sejanus’s folded socks in the locker. “What?” asked Sejanus, giving him a funny look. “I don’t know,” said Coriolanus. “It’s like . . . you know how she’s always torturing that rabbit or melting the flesh off something?” “Like she enjoys it?” asked Sejanus. “Exactly. I think that’s how she thinks we all are. Natural-born killers. Inherently violent,” Coriolanus said. “The Hunger Games are a reminder of what monsters we are and how we need the Capitol to keep us from chaos.” “So, not only is the world a brutal place, but people enjoy its brutality? Like the essay on everything we loved about the war,” said Sejanus. “As if it had been some big show.” He shook his head. “So much for not thinking.” “Forget it,” said Coriolanus. “Let’s just be happy that she’s out of our lives.” A downcast Beanpole appeared, reeking of urinals and bleach. Coriolanus introduced him to Sejanus, who, upon learning of his predicament, cheered him up by promising to help him with the drills. “It took me awhile to get it, too, back at school. But if I can master it, so can you.
Suzanne Collins (The Ballad of Songbirds and Snakes (The Hunger Games, #0))
Having been through prep with Flavius, Venia, and Octavia numerous times, it should just be an old routine to survive. But I haven’t anticipated the emotional ordeal that awaits me. At some point during the prep, each of them bursts into tears at least twice, and Octavia pretty much keeps up a running whimper throughout the morning. It turns out they really have become attached to me, and the idea of my returning to the arena has undone them. Combine that with the fact that by losing me they’ll be losing their ticket to all kinds of big social events, particularly my wedding, and the whole thing becomes unbearable. The idea of being strong for someone else having never entered their heads, I find myself in the position of having to console them. Since I’m the person going in to be slaughtered, this is somewhat annoying. It’s interesting, though, when I think of what Peeta said about the attendant on the train being unhappy about the victors having to fight again. About people in the Capitol not liking it. I still think all of that will be forgotten once the gong sounds, but it’s something of a revelation that those in the Capitol feel anything at all about us. They certainly don’t have a problem watching children murdered every year. But maybe they know too much about the victors, especially the ones who’ve been celebrities for ages, to forget we’re human beings. It’s more like watching your own friends die. More like the Games are for those of us in the districts. By the time Cinna shows up, I am irritable and exhausted from comforting the prep team, especially because their constant tears are reminding me of the ones undoubtedly being shed at home. Standing there in my thin robe with my stinging skin and heart, I know I can’t bear even one more look of regret. So the moment he walks in the door I snap, “I swear if you cry, I’ll kill you here and now.” Cinna just smiles. “Had a damp morning?” “You could wring me out,” I reply.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Events in the African American town of Hamburg, in the Edgefield District of South Carolina, were typical of many others across the former Confederacy where white paramilitary groups mobilized to regain control of state governments. Their aim was simple: prevent African Americans from voting. In July 1876, a few months before the election that gave the presidency to Hayes, a violent rampage in Hamburg abolished the civil rights of freed slaves. Calling itself the Red Shirts, a collection of white supremacists killed six African American men and then murdered four others whom the gang had captured. Benjamin Tillman led the Red shirts; the massacre propelled him to a twenty-four-year career as the most vitriolic racist in the U.S. Senate. Following the massacre, the terror did not abate. In September, a 'rifle club' of more than 500 whites crossed the Savannah River from Georgia and camped outside Hamburg. A local judge begged the governor to protect the African American population, but to no avail. The rifle club then moved on to the nearby hamlet of Ellenton, killing as many as fifty African Americans. President Ulysses S. Grant then sent in federal troops, who temporarily calmed things down but did not eliminate the ongoing threats. Employers in the Edgefield District told African Americans they would be fired, and landowners threatened black sharecroppers with eviction if they voted to maintain a biracial state government. When the 1876 election took place, fraudulent white ballots were cast; the total vote in Edgefield substantially exceeded the entire voting age population. Results like these across the state gave segregationist Democrats the margin of victory they needed to seize control of South Carolina's government from the black-white coalition that had held office during Reconstruction. Senator Tillman later bragged that 'the leading white men of Edgefield' had decided to 'seize the first opportunity that the Negroes might offer them to provoke a riot and teach the Negroes a lesson.' Although a coroner's jury indicted Tillman and ninety-three other Red Shirts for the murders, they were never prosecuted and continued to menace African Americans. Federal troops never came to offer protection. The campaign in Edgefield was of a pattern followed not only in South Carolina but throughout the South. With African Americans disenfranchised and white supremacists in control, South Carolina instituted a system of segregation and exploitation that persisted for the next century. In 1940, the state legislature erected a statute honoring Tillman on the capitol grounds, and in 1946 Clemson, one of the state's public universities, renamed its main hall in Tillman's honor. It was in this environment that hundreds of thousands of African Americans fled the former Confederacy in the first half of the twentieth century.
Richard Rothstein (The Color of Law: A Forgotten History of How Our Government Segregated America)