“Most girls take one look at you and swoon. You've never had to really work for someone's affection or put effort into maintaining it. In many ways, your natural gifts have done you a disservice-- they've stunted your sensitivity and charm! You've never had to develop insight into what will make a girl laugh and come to love you for reasons that aren't handsome or heroic. That's why smees are experts on the subtle arts of courtship and seduction; nothing comes easy to us, but we do understand and live by the Lover's Maxim."
"And what on earth is the Lover's Maxim?" asked Maz, feeling very uninformed.
The smee cleared his throat. "If you can't be handsome, be rich. If you can't be rich, be strong. If you cant be strong, be witty."
"But what if you can't be witty?" Max wondered.
"Learn the guitar.”
― Henry H. Neff, quote from The Maelstrom
“The Lover's Maxim
'If you can'r be handsome, be rich. If you can't be roich, be strong. If you can't be strong, be witty'
'What if you can'r be witty?'
'Learn the guitar.”
― Henry H. Neff, quote from The Maelstrom
“You have the courage and will to overcome your fear and do what's required.”
― Henry H. Neff, quote from The Maelstrom
“In the common room, they found Emer dozing in her chair, Lila scratching at the door, and Mine stirring a large pot and peering at its contents with an anxious, irritated expression. With a groan, the Archmage strode across the room and flung open the windows.
"It just needs more basil," Mine assured him. "No, it does not," Bram declared. "It needs less garlic. Didn't I tell you to follow a recipe?"
"I did follow a recipe!" Shouted Mine, defiantly flinging the rest of the basil into the pot.
"Show it to me, then."
"I threw it in the fire!"
"What have I told you about lying, child?"
"To get better at it!”
― Henry H. Neff, quote from The Maelstrom
“Sorry, Toby," said Max, plucking up the smee by one end. "This will have to do." He unceremoniously dunked the creature into a nearby pitcher of water. "Better?"
"Invigorated," groused the smee. "And now I will ask you to kindly put me down and never to grab me by that particular part of my anatomy again."
Horrified, Max promptly dropped the smee onto its pillow.”
― Henry H. Neff, quote from The Maelstrom
Henry H. Neff
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“He slid his hand onto Riley's bare abdomen. "I got to thinkin' that a few years down the line, when yer older, what if that was our baby and I could feel it right here under my hand. Feel the life we'd created."
Riley's eyes moistened. "Girl or boy?"
"Doesn't matter. If it's a girl, we can name her after my gran. Her name was Emily Rose."
"Hmm...I like that. Maybe the boy could be Paul Arthur, like my dad."
"Yeah, that works. But that's all the way down the line, isn't it?" It might never come to pass.”
― Jana Oliver, quote from Foretold
“A man should know when it is time to step aside.”
― Darren Shan, quote from The Thin Executioner
“Kjell is right. You are a dangerous little bird. But I think I will keep you.”
― Amy Harmon, quote from The Bird and the Sword
“Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp.
There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum.
One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust.
Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated.
The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.”
― Greg Egan, quote from Diaspora
“Surprisingly, fainting sounded like a really good idea. If I fainted, I'd be unconscious, so I wouldn't have to see the impossible anymore, nor would I have to feel so dizzy and sick. Than maybe when I woke up, all of this would go away and I'd find it was all just a bad dream. The mist started to turn dark around the edges.....For the record: fainting sucks.”
― Jenna Black, quote from Glimmerglass
Before I Go to Sleep
The Princess Diaries
The Angel's Game
Magic Bleeds
The Opportunist
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