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But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful. ("Introduction") ↗
Adam has always had . . . heroic tendencies.” I touched Adam’s arm. “He’s my hero.” There was another pause. . . “That is the most romantic thing I’ve ever heard you say,” Bran said. “Be careful, Adam, or you’ll turn her into a real girl.” Adam looked at me. “I like her just the way she is, Bran.” And he meant it, greasy overalls, broken fingernails, and all. ↗
If she kept wondering about how much of her life Bran engineered, she’d end up on a funny farm knitting caps for ducks. ↗
Yeah, but the lost diadem," said Michael Corner, rolling his eyes, "is lost, Luna. That's sort of the point. ↗
New rules. If you are smart enough to live, you won’t hit Charles’s mate in front of his father. ↗
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