“Hadrian leapt to his feet. Royce was already up.“Don’t bother,” Esrahaddon told them. “She’s dead, and there’s nothing you can do. The monster cannot be harmed by your weapons. It—”The two were out the door.”

“One truth doesn't refute another. Truth doesn't lie in the object, but in how we see it.”

“Slaying dragons, melting witches, and banishing demons is all fun and games until someone loses a sidekick—then it’s personal. The bad guy isn’t just the “bad guy” anymore, he’s the BAD GUY!”

“Sharks don’t eat seafood because they like it, but because chicken can’t swim.”

“I tried to find a way to go on. I could see familiar traces of the path that was my life, but there was always the wall behind me. Do you know what I mean? First you try and climb, pretending it never happened, but it's too tall. Then you try to go around, thinking you can fix it, but it is too far. Then, in frustration, you beat on it with your hands, but it does nothing, so you tire and sit down and just stare at it. You stare because you can't bring yourself to walk away. Walking away means that you're giving up, abandoning them. "There is no way back. There is only forward. It's impossible to imagine there's any reason to move ahead, but that isn't the real reason you give up. The real fear--the terror that keeps you rooted--is that you might be wrong." --Myron, Monk of Maribor”

“When you are so ashamed of your actions, thoughts, or intentions, you lie rather than accepting yourself for who you really are—or, in this case, pretend something happened when it didn’t. The idea of how others see you becomes more important than the reality of you.”

“How can so many (white, male) writers narratively justify restricting the agency of their female characters on the grounds of sexism = authenticity while simultaneously writing male characters with conveniently modern values?The habit of authors writing Sexism Without Sexists in genre novels is seemingly pathological. Women are stuffed in the fridge under cover of "authenticity" by secondary characters and villains because too many authors flinch from the "authenticity" of sexist male protagonists. Which means the yardstick for "authenticity" in such novels almost always ends up being "how much do the women suffer", instead of - as might also be the case - "how sexist are the heroes".And this bugs me; because if authors can stretch their imaginations far enough to envisage the presence of modern-minded men in the fake Middle Ages, then why can't they stretch them that little bit further to put in modern-minded women, or modern-minded social values? It strikes me as being extremely convenient that the one universally permitted exception to this species of "authenticity" is one that makes the male heroes look noble while still mandating that the women be downtrodden and in need of rescuing.-Comment at Staffer's Book Review 4/18/2012 to "Michael J. Sullivan on Character Agency ”

“Sometimes the price of dreams is achieving them.”

“Royce looked back down at the stream below. "She doesn't even know me. What if she doesn't like me? Few people do.""She might not at first. Maribor knows I didn't. But you have a way of growing on a person." He smiled. "You know, like lichen or mold.”

“When you expect nothing from the world - not the light of the sun, the wet of water, nor the air to breathe - everything is a wonder and every moment a gift.”

“That night there was more than one killer in the forest, the next day a lot more ghosts.--The Book of Brin”