“She should have remembered that people have given everything they own, everything they are, to be taken care of, and to have their pain gone. It's the lure of cults: the promise of a good family; it's what people think love is, but love isn't absence of pain, it's a hand to hold while you're going through it. ”
― Laurell K. Hamilton, quote from The Harlequin
“You take insult where none is intended, but if you will find insult where none is meant, then perhaps I should try harder to insult on purpose.”
― Laurell K. Hamilton, quote from The Harlequin
“In chains and darkness, wherefore should I stay, And mourn in prison, while I keep the key.”
― Laurell K. Hamilton, quote from The Harlequin
“Oui , but if all the men in your life are happy, you are happier, and it makes my life easier."
- Jean-Claude”
― Laurell K. Hamilton, quote from The Harlequin
“Revenge was always the easy part; the hard part was living with it afterward.”
― Laurell K. Hamilton, quote from The Harlequin
“It may be a crush, or hero worship (...), it may not be love, but if you've never felt anything stronger, how do you tell the difference?”
― Laurell K. Hamilton, quote from The Harlequin
“Where both deliberate, the love is slight: Who ever loved, that loved not at first sight?”
― Laurell K. Hamilton, quote from The Harlequin
“want that glib and oily art, To speak and purpose not.”
― Laurell K. Hamilton, quote from The Harlequin
“It is vampire trickery, but as Richard said things he truly believed, so I think Anita and I have come to an understanding. We are tired of this, Ulfric. We are tired of you making us the villains. If we are the villains, then let go. If we are not the villains, then hold on, but either way, you know what I must do now. If you do not wish to be part of it, then you must separate from us.’ ‘Let”
― Laurell K. Hamilton, quote from The Harlequin
“Jean-Claude’s voice whispered through my head, ‘I am sorry, ma petite, there is no time.’ I thought he was apologizing for the fact that they were going to shoot Richard, until I felt his power. It didn’t wash over me, it didn’t press against me like Richard’s had; his power simply was there and did what it wanted. I felt it almost like a series of tumblers in a lock: click, and he took Richard’s blood lust, like a cup in his hand; click, and he turned that blood lust into another kind of lust; click, and he spilled it into me. There”
― Laurell K. Hamilton, quote from The Harlequin
“I’d had Jean-Claude drive the metaphysical bus before, but I’d never felt it like this, never been so aware of how terribly aware he was of his power, of my power, of the power we all offered him. He was vampire, which meant he was a cold power, a thing of logic, because emotions do not trouble the dead. He shifted through our talents, like Edward would have looked through his gun safe. Which gun will do the job? Which will make this shot?”
― Laurell K. Hamilton, quote from The Harlequin
“«Benissimo. Il tuo peccato è la lussuria, Anita, cioè lo stesso del tuo master e di tutti i suoi vampiri.» Scossi la testa, sentendo un sorriso sgradevole incurvarmi le labbra. Lo stesso sorriso che lascia freddi i miei occhi e di solito significa che sono davvero incazzata. «No, non è questo il mio peccato. Non è quello più vicino e più caro al mio cuore.» «E qual è allora il tuo peccato?» «L'ira, Malcom. L'ira.»”
― Laurell K. Hamilton, quote from The Harlequin
“«L'hai uccisa tu, Peter, e più di così non puoi vendicarti. Una volta che li hai ammazzati non puoi fare altro». La vendetta è sempre la parte più facile. La parte più difficile arriva in seguito, cioè convivere con la consapevolezza di ciò che si è fatto, e di ciò che si è dovuto sopportare, o che è stato inflitto ai propri cari.”
― Laurell K. Hamilton, quote from The Harlequin
“«Allora perché sei qui?» chiese Micah.
«Sono stanco di scappare da me stesso.» Non mi parve una risposta, benché Richard sembrasse pensarla diversamente. Comunque sentii Micah annuire dietro di me. «Smettila di scappare», disse il mio Nimir-Raj.
«Non sono sicuro di sapere come fare.»”
― Laurell K. Hamilton, quote from The Harlequin
“Sorrisi nel riconoscere la prima persona che entrava, e subito ebbi la sensazione che tutto sarebbe andato bene. Saremmo stati protetti. Era arrivato Edward.”
― Laurell K. Hamilton, quote from The Harlequin
“Edward annuì e, nello scrutarmi, i suoi occhi s'intenerirono un poco. «So che secondo te dovrei lasciare Donna e i ragazzi. Hai sempre pensato che fosse una pessima idea.» «Può anche darsi... Eppure tu li ami, e loro amano te. L'amore è difficile da trovare, Edward, e non bisogna mai gettarlo via soltanto perché è una pessima idea.»”
― Laurell K. Hamilton, quote from The Harlequin
“«Secondo alcuni testimoni, quel tipo...» Dolph sfogliò il taccuino, poi lesse un appunto. «Quel tipo ha detto: 'Mi lasciate andare alla mia macchina, vero?' E gli agenti hanno risposto: 'Sì, certo'.» «Merda! Gli ha tirato un Obi-Wan!» «Cosa?!» chiesero Edward e Dolph, in coro. «Be', come in Guerre Stellari... 'Questi non sono i droidi che state cercando'!» Edward sorrise. «Certo! Mentre io e Otto facevamo a pezzi l'altra vampira, il tipo ha tirato un Obi-Wan!»”
― Laurell K. Hamilton, quote from The Harlequin
“It was one of those hugs when it feels almost like you’re trying to meld yourself into the other person. Sometimes it’s sexual, but sometimes it’s because the world has gone too wrong and you need something to cling to.”
― Laurell K. Hamilton, quote from The Harlequin
Laurell K. Hamilton
Born place: in Heber Springs, Arkansas, The United States
Born date February 19, 2018
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“External explanations of black-white differences — discrimination or poverty, for example—seem to many to be more amenable to public policy than internal explanations such as culture. Those with this point of view tend to resist cultural explanations but there is yet another reason why some resist understanding the counterproductive effects of an anachronistic culture: Alternative explanations of economic and social lags provide a more satisfying ability to blame all such lags on the sins of others, such as racism or discrimination. Equally important, such external explanations require no painful internal changes in the black population but leave all changes to whites, who are seen as needing to be harangued, threatened, or otherwise forced to change.
In short, prevailing explanations provide an alibi for those who lag—and an alibi is for many an enormously valuable asset that they are unlikely to give up easily.”
― Thomas Sowell, quote from Black Rednecks and White Liberals
“Eventually, something or someone will come along in your life to show you that what other people think don’t matter. You’ll find the strength to not let what people say affect you in quite the same way.”
― Tillie Cole, quote from Sweet Soul
“Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him.
“It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.”
John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile.
He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?”
“Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.”
John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly.
Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes.
Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs.
John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.”
He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve.
That led to John Stainton’s call to Oregon on the eve of our honeymoon.
“I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.”
Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?”
“Let’s go,” I replied.”
― Terri Irwin, quote from Steve & Me
“People can't seem to get it through their heads that there is never any healing or closure. Ever. There is only a short pause before the next "horrifying" event. People forget there is such a thing as memory, and that when a wound "heals" it leaves a permanent scar that never goes away, but merely fades a little. What really ought to be said after one of these so-called tragedies is, "Let the scarring begin.”
― George Carlin, quote from When Will Jesus Bring the Pork Chops?
“Her eyes were enlarged and faded with discovering what, by common human agreement, is better undivulged.”
― Shirley Hazzard, quote from The Transit of Venus
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