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Read through the most famous quotes by topic #hors
Blackjack," Percy said, "this is Piper and Jason. They're friends." The horse nickered. "Uh, maybe later," Percy answered. Piper had heard that Percy could speak to horses, being the son of the horse lord Poseidon, but she'd never seen it in action. "What does Blackjack want?" she asked. "Donuts," Percy said. "Always donuts. ↗
#donuts #flying-horses #heroes-of-olympus #humor #jason-grace
Sure, zombies can “be a metaphor.” They can represent the oppressed, as in Land of the Dead, or humanity’s feral nature, as in 28 Days. Or racial politics or fear of contagion or even the consumer unconscious (Night of the Living Dead, Resident Evil, Dawn of the Dead). We could play this game all night. But really, zombies are not “supposed to be metaphors.” They’re supposed to be friggin’ zombies. They follow the Zombie Rules: they rise from death to eat the flesh of the living, they shuffle in slow pursuit (or should, anyway), and most important, they multiply exponentially. They bring civilization down, taking all but the most resourceful, lucky and well-armed among us, whom they save for last. They make us the hunted; all of us. That’s the stuff zombies are supposed to do. Yes, they make excellent symbols, and metaphors, and have kick-ass mythopoeic resonance to boot. But their main job is to follow genre conventions, to play with and expand the Zombie Rules, to make us begin to see the world as a place colored by our own zombie contingency plans. […] Stories are the original virtual reality device; their internal rules spread out into reality around us like a bite-transmitted virus, slowly but inexorably consuming its flesh. They don’t just stand around “being metaphors” whose sole purpose is to represent things in the real world; they eat the real world. ↗
There is a lot of folklore about equestrian statues, especially the ones with riders on them. There is said to be a code in the number and placement of the horse's hooves: If one of the horse's hooves is in the air, the rider was wounded in battle; two legs in the air means that the rider was killed in battle; three legs in the air indicates that the rider got lost on the way to the battle; and four legs in the air means that the sculptor was very, very clever. Five legs in the air means that there's probably at least one other horse standing behind the horse you're looking at; and the rider lying on the ground with his horse lying on top of him with all four legs in the air means that the rider was either a very incompetent horseman or owned a very bad-tempered horse. ↗
What are your pleasures and pursuits, Lord Moncrieffe?" Miss Eversea asked too brightly, when the silence had gone on for more than was strictly comfortable or polite. That creaky conversation lubricant. It irritated him again that she was humoring him. "Well, I'm partial to whores." Her head whipped toward him like a weather-vane in a hurricane. Her eyes, he noted, were enormous, and such a dark blue they were nearly purple. Her mouth dropped, and the lower lip was quivering with shock or... or... "Whor... whores...?" She choked out the word as if she'd just inhaled it like bad cigar smoke. He widened his own eyes with alarm, recoiling slightly. "I... I beg your pardon - Horses. Honestly, Miss Eversea," he stammered. "I do wonder what you think of me if that's what you heard. ↗
She really is a shining star. Imagine how far she's come since she was on the farm in Ohio. She's our Cinderella horse.I can't wait to start riding again.Will my leg work as well as it did before the surgery. What if it doesn't work at all? ↗
#horses #kids #riding #imagination
I have a pesky little critic in the back of my mind. He's a permanent fixture and passes judgment on everything I write. In order to placate him, especially when I'm endeavoring to write anything as ambitious as a novel, I have to constantly mutter, 'I'm not writing a masterpiece, I'm not writing a masterpiece.' This mantra lulls him into a kind of stupor so that he pays no attention to what I'm doing, because after all, I'm not claiming it's any good. Slowly, and secretly, one page at a time, I write my story. I know I've succeeded when he grudgingly admits, 'That's pretty good.' And if I'm lucky, every once in a while, I blow him away. ↗
The pen to a writer is like a cigarette to a smoker; they need it to take the edge off. ↗
#books #life #on-writing #philosophy #poetry
Tolkien, who created this marvellous vehicle, doesn't go anywhere in it. He just sits where he is. What I mean by that is that he always seems to be looking backwards, to a greater and more golden past; and what's more he doesn't allow girls or women any important part in the story at all. Life is bigger and more interesting than The Lord of the Rings thinks it is. ↗
A grim expression came over Syah’s face. “The colt you speak of lost its mother during a storm. If this stallion was that colt, it is not just wild, it is insane. That horse will break your bones.” “And that will be a worthy end, a prince struck down by such a noble steed.” Fasime pushed himself off the support of the fence, but Oman grabbed his arm. “It’s not worth it, Brother.” “I can tame him.” “What will we tell Mother and Father if he kills you?” Oman questioned. “Tell them I gave my life with pride. Do not punish him if he kills me. Release him back into the wild, and my spirit will ride him into the mist. ↗
It may take a decade or two before the extent of Shakespeare's collaboration passes from the graduate seminar to the undergraduate lecture, and finally to popular biography, by which time it will be one of those things about Shakespeare that we thought we knew all along. Right now, though, for those who teach the plays and write about his life, it hasn't been easy abandoning old habits of mind. I know that I am not alone in struggling to come to terms with how profoundly it alters one's sense of how Shakespeare wrote, especially toward the end of his career when he coauthored half of his last ten plays. For intermixed with five that he wrote alone, Antony and Cleopatra, Coriolanus, The Winter's Tale, Cymbeline, and The Tempest, are Timon of Athens (written with Thomas Middleton), Pericles (written with George Wilkins), and Henry the Eighth, the lost Cardenio, and The Two Noble Kinsmen (all written with John Fletcher). ↗
#collaboration #history-of-thought #shakespeare #teaching #life
