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Read through the most famous quotes by topic #fiction
You know, one of the interesting things you find about writing fiction is that any fiction you write has to be political. Otherwise, it goes into the realm of fantasy. So like, if you write about a woman in America in 1910, if you don’t write that she can’t really control her property, that she can’t—doesn’t have any say over her children, that she can’t vote—if you don’t put that in it, then it’s a fantasy. Like, well, how is her life informed? That’s true about everybody. If you write about black people, you write about white men, I mean, it has to be political. A lot of people don’t realize that, it seems. ↗
Listen to me you piece of shit, if you ever give the press information about me, my parents or even breathe a word about me to anyone ever again, I swear to god I will make it my mission to make your life a living hell. And, believe me I’ll do it with a smile on my face the whole time. You’re a worthless excuse for a Detective and everyone here knows it. You’ve screwed your way to the top and backstabbed Gena to get into your Captain’s good books. Well look around you honey, you’re a real star. No one stopped Gena or me taking you on. I’ve currently got you in a hold, where I could snap your neck if I wanted to, and not one person is stepping forward to help you. Yeah, you’ve really made it.” - Stephanie Carovella to Sandra Barton ↗
Sometime we don't always get what we want!" shouted Evie, not knowing herself. "That's life!"... The Captain, still looking at her, raised his eyebrows in surprise. He was proud of her for being brave enough to shout at (the villain), but he said softly to her, "Usually men with knives at your friend's neck get what they want, Evelyn. ↗
#bravery #science-fiction #space-travel #time-travel #villains
In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction") ↗
People think blood red, but blood don't got no colour. Not when blood wash the floor she lying on as she scream for that son of a bitch to come, the lone baby of 1785. Not when the baby wash in crimson and squealing like it just depart heaven to come to hell, another place of red. Not when the midwife know that the mother shed too much blood, and she who don't reach fourteen birthday yet speak curse 'pon the chile and the papa, and then she drop down dead like old horse. Not when blood spurt from the skin, on spring from the axe, the cat-o'-nine, the whip, the cane and the blackjack and every day in slave life is a day that colour red. It soon come to pass when red no different from white or blue or black or nothing. Two black legs spread wide and mother mouth screaming. A black baby wiggling in blood on the floor with skin darker than midnight but the greenest eyes anybody ever done seen. I goin' call her Lilith. You an call her what they call her. ↗
Then, slowly, my feet settled to the ground. Before I had taken six steps I sagged like a sail when the wind fades. As I walked back through the town, past sleeping houses and dark inns, my mood swung from elation to doubt in the space of three brief breaths. I had ruined everything. All the things I had said, things that seemed so clever at the time, were in fact the worst things a fool could say. Even now she was inside, breathing a sigh of relief to finally be rid of me. But she had smiled. Had laughed. She hadn't remembered our first meeting on the road from Tarbean. I couldn't have made that much of an impression on her. 'Steal me,' she had said. I should have been bolder and kissed her at the end. I should have been more cautious. I had talked too much. I had said too little. ↗
Reaching out, I grab his hand and intertwine my fingers with his. And I move into his space until we're not even an inch from each other. Laying my forehead on his chest, I take a deep breath and feel his whole body relax, as if tension is rolling off his body in waves. I was always the kid who loved the smell of gasoline. His free hand comes up, and his fingers slip through my hair before his hand settles between my shoulder blades. "Ben," I say into his shirt. "Janelle," he whispers back, and I can feel his mouth against my hair. I can feel him smile. ↗
#romance #science-fiction #science-fiction-romance #unraveling #ya
Maybe I’m stupid. Maybe I’m just as evil as he is by keeping my mouth shut. But he told me once that I was different. And I can’t help but hope that me being different is the one thing in this world that can save him from what he fears the most…Himself. ↗
#teenage-love #young-adult-fiction #young-adult-series #love
