Thin Wood Walls Quotes

Feelings sometimes grow too big to be kept within walls. ~ David Patneaude

No two people see things the same. ~ David Patneaude

It's going to be like an ... aura, I guess."
He looked down at me and raised an eyebrow. "Explain?"
"Like even though there are outside forces pushing through the walls, in here it's like a bubble of goodness. Like coming home."
I could feel him smiling and it encouraged me to elaborate. "When I think of how others would see it, I imagine them seeing a force of goodness overshadowing a force of evil, protecting it. ~ Jessica Shirvington

We came to the house, and it is an old house, full of great chimneys where wood is burnt on ancient dogs upon the hearth, and grim portraits (some of them with grim legends, too) lower distrustfully from the oaken panels of the walls. ~ Charles Dickens

Mr. Grayson was just…explaining the workings of the ship." She attempted to tug her hand from Gray's grasp, shooting him a pained look when he refused to relinquish his prize.
Gray said smoothly, "Actually, we were discussing debts. Miss Turner still owes me her fare, and I-"
"And I told you, you'll have it today." Beneath that abomination of a skirt wrapped about his leg, she planted her heel atop his booted toe and transferred all her weight onto it. Firmly. Once again, Gray regretted trading his old, sturdy boots for these foppish monstrosities. Her little pointed heel bit straight through the thin leather.
With a tight grimace, Gray released her hand. He'd been about to say, and I have her handkerchief to return. But just for that, he wouldn't.
"Good afternoon, then." A sweet smile graced her face as she stomped down on his foot again, harder. Then she turned and flounced away.
He made an amused face at Jonas. "I think she likes me."
"In my cabin, Gray."
Gray gritted his teeth and followed Joss down the hatch. Whether he liked being Gray's half brother or not, Joss was damn lucky right now that he was. Gray wouldn't have suffered that supercilious command for any bond weaker than blood.
"You gave me your word, Gray."
"Did I? And what word was that?"
Joss tossed his hat on the wood-framed bed and stripped off his greatcoat with agitated movements. "You know damn well what I mean. You said you wouldn't pursue Miss Turner. No ~ Tessa Dare

That image of Joan of Arc burning up in a fire burned inside me like a new religion. Her face skyward. Her faith muscled up like a holy war. And always the voice of a father in her head. Like me. Jesus. What is a thin man pinned to wood next to the image of a burning woman warrior ablaze? I took the image of a burning woman into my heart and left belief to the house of father forever. ~ Lidia Yuknavitch

The rat stops gnawing in the wood, the dungeon walls withdraw, the weight is lifted your pulse steadies and the sun has found your heart, the day was not bad, the season has not been bad, there is sense and even promise in going on. ~ Bernard DeVoto

The keeping of lists was for November an exercise kin to repeating of a rosary. She considered it neither obsessive nor compulsive, but a ritual, an essential ordering of the world into tall, thin jars containing perfect nouns. Enough nouns connected one to the other create a verb, and verbs had created everything, had skittered across the face of the void like pebbles across a frozen pond. She had not created a verb herself, but the cherry-wood cabinet in the hall contained book after book, jar after jar, vessel upon vessel, all brown as branches, and she had faith. ~ Catherynne M Valente

Just as our ancient ancestors drew animals on cave walls and carved animals from wood and bone, we decorate our homes with animal prints and motifs, give our children stuffed animals to clutch, cartoon animals to watch, animal stories to read. ~ Diane Ackerman

The oth­ers went up­stairs, a slow unwilling pro­ces­sion. If this had been an old house, with creak­ing wood, and dark shad­ows, and heav­ily pan­elled walls, there might have been an eerie feel­ing. But this house was the essence of moder­ni­ty. There were no dark corners - ​no pos­si­ble slid­ing pan­els - it was flood­ed with elec­tric light - every­thing was new and bright and shining. There was noth­ing hid­den in this house, noth­ing con­cealed. It had no at­mo­sphere about it. Some­how, that was the most fright­en­ing thing of all. They ex­changed good-​nights on the up­per land­ing. Each of them went in­to his or her own room, and each of them automatical­ly, al­most with­out con­scious thought, locked the door.... ~ Agatha Christie

She had come to analysis because she was, as she put it, "ruining her children." ... "But you are so frustrating," she said. "I want you to take something away from me, and you keep giving it back." And what, I asked, was that "something" she wanted to give away? "The pain. The crazy," she said. She said there was a little shrine, somewhere in the north of Brazil. The land was dry, the town impossibly poor, but people would travel for hundreds of miles to get there, to leave candles, gifts, and ex- voto offerings thanking the saint for answered prayers, for healing, for having rescued them from distress. "I bring you my worries. I bring you my tears. I bring you the dreams I have. I want to leave them here. I want to hang them on your wall and return home healed. But everything I give to you, you give back. You say, like you just said, 'What is this "something" you want to give away?' " Years later I looked it up, the shrine. There were many like the one my Brazilian patient had described. One of them was a kind of cave or grotto, where pilgrims would leave little body parts carved from wood or wax: a foot, a breast, a head. From time to time the priest collected the wax objects and melted them down, making candles to be sold to other pilgrims. The walls and ceiling of the shrine were black with candle smoke and crowded with these suspended offerings. I think now that my Brazilian patient managed at least to give that away, the conjured image of a blackened shrine, hung with ~ DeSales Harrison

When you think about it, we're strapping strange planks of wood to our feet and launching off of giant snow walls. It's pretty intense. ~ Shaun White

Edgerton/Assassins of Dreamsongs 169

The thick, frosty rain had long since subsided. A thin, fur clad figure peered through the thick, rain soaked foliage, just outside the army's encampment. The old Wizard's raspy whisper suddenly broke the silence. He shivered against the cold and swore to himself, as no eyes peered back at him from the forest. "Damnable rabbits!" He shook both stiff, old legs from the bitter cold of the forest night and from the puddle he had been standing in.

The half-asleep guard paid no attention or tribute to the thin, fur clad bearer of wood, as he trudged through the camp's outer perimeter with a load of firewood in his arms. Slumber played a barbaric tune to the rhythms of the wind through the trees, while the army slept.

Arkin readjusted the stack of wood held precariously in his arms, as he walked through the center of camp. His steady, silent pace took him around large mud puddles and before a roaring fire built beneath a rocky shelf. The large bonfire spit colorful sparks into the blackness and the cold of the night. His thin arms let fall the wood he had gathered, while he surveyed the camp. A long, walking stick suddenly appeared in his hand, as if by magic, while his senses took in all around him.

The small, white haired Wizard leaned lazily on his heavy staff for a thoughtful moment, while his calculating eye took in the figures huddled on the ground around the small campfires.

Edger ~ John Edgerton

The house smelled like fireplace kindling, and hot water in old brass pipes - like metal melting into wood and becoming something all its own. It smelled like his childhood. Like chaos and terror and oatmeal cookies and lamb stew, and nighttime in front of that drafty front window. And the smell of it brought back thoughts, long past, about escaping from inside the walls and evoked the helplessness of every board that kept the place upright. ~ Melodie Ramone

A crease of disquiet snakes across his brow. 'Your father plays with fire to gather them together like that. They are too clever. They form alliances. They develop - ambitions.'
He looks so solemn I wish to soothe his fears. 'You worry too much, I am sure,' I say lightly. 'After all, they are still rooted in the ground, are they not? They cannot pull themselves up and march around wrecking havoc, like an invading army.'
'Maybe,' he says, though he sounds unsure. 'I have never met their like before; that is all. It disturbs me.' He gestures around. 'And not only me. The forests, the fields, the moss that grows on the rocks - none of them are happy about that garden. Nature would have kept those plants safely apart, scattered over the continents, separated by oceans. But your father has summoned them from the corners of the earth and locked them together, side by side, hidden behind walls, where they can grow in secret. It is wrong, Jessamine - I fear it is dangerous - ~ Maryrose Wood

Lord Peter's library was one of the most delightful bachelor rooms in London. Its scheme was black and primrose; its walls were lined with rare editions, and its chairs and Chesterfield sofa suggested the embraces of the houris. In one corner stood a black baby grand, a wood fire leaped on a wide old-fashioned hearth, and the Sèvres vases on the chimneypiece were filled with ruddy and gold chrysanthemums. To the eyes of the young man who was ushered in from the raw November fog it seemed not only rare and unattainable, but friendly and familiar, like a colourful and gilded paradise in a mediaeval painting ~ Dorothy L. Sayers

... a living, breathing entity not dissimilar to the interior of a cathedral – one of wood, living wood. Where the cathedral had carved stone, here were trees, ivy, flowers, all working together to form the walls... ~ Trevor Alan Foris

It was a mistake to think of houses, old houses, as being empty. They were filled with memories, with the faded echoes of voices. Drops of tears, drops of blood, the ring of laughter, the edge of tempers that had ebbed and flowed between the walls, into the walls, over the years.
Wasn't it, after all, a kind of life?
And there were houses, he knew it, that breathed. They carried in their wood and stone, their brick and mortar a kind of ego that was nearly, very nearly, human. ~ Nora Roberts

The entrance hall was designed to impress. The floor was a buttery cream-colored marble and the walls were paneled in dark wood. I'm not a lumberjack, so I had no idea what kind of wood it was, but it looked expensive. ~ Eileen Cook

Although leaves remained on the beeches and the sunshine was warm, there was a sense of growing emptiness over the wide space of the down. The flowers were sparser. Here and there a yellow tormentil showed in the grass, a late harebell or a few shreds of purple bloom on a brown, crisping tuft of self-heal. But most of the plants still to be seen were in seed. Along the edge of the wood a sheet of wild clematis showed like a patch of smoke, all its sweet-smelling flowers turned to old man's beard. The songs of the insects were fewer and intermittent. Great stretches of the long grass, once the teeming jungle of summer, were almost deserted, with only a hurrying beetle or a torpid spider left out of all the myriads of August. The gnats still danced in the bright air, but the swifts that had swooped for them were gone and instead of their screaming cries in the sky, the twittering of a robin sounded from the top of a spindle tree. The fields below the hill were all cleared. One had already been plowed and the polished edges of the furrows caught the light with a dull glint, conspicuous from the ridge above. The sky, too, was void, with a thin clarity like that of water. In July the still blue, thick as cream, had seemed close above the green trees, but now the blue was high and rare, the sun slipped sooner to the west and, once there, foretold a touch of frost, sinking slow and big and drowsy, crimson as the rose hips that covered the briar. As the wind freshened from the south, ~ Richard Adams

You call me but I can't hear. I speak a language you don't know. The body falling by the side of the bed. Eyes closed contemplating the night. I conjugate language that doesn't exist. The imaginary and its child the failurative. I speak stiff, the language she didn't teach me before she left. I speakstiff with all my stiffened body. I want to come back to you but I can't. Because of the red liqueur which is spreading in my blood. Because of the red liqueur which paralyses my brain. I can't come back to you. I'm slipping out to sea as I look back at the harbour. You're holding my hand but you're only holding on to wood. You're speaking to me but I hear only the walls. You're smiling but I'm on the other side of the mirror. The woman in mauve is carrying me off to her castle. And the silent coachman accompanies her. ~ Jeanne Hyvrard

Jobs described Mike Markkula's maxim that a good company must "impute"- it must convey its values and importance in everything it does, from packaging to marketing. Johnson loved it. It definitely applied to a company's stores. " The store will become the most powerful physical expression of the brand," he predicted. He said that when he was young he had gone to the wood-paneled, art-filled mansion-like store that Ralph Lauren had created at Seventy-second and Madison in Manhattan. " Whenever I buy a polo shirt, I think of that mansion, which was a physical expression of Ralph's ideals," Johnson said. " Mickey Drexler did that with the Gap. You couldn't think of a Gap product without thinking of the Great Gap store with the clean space and wood floors and white walls and folded merchandise. ~ Walter Isaacson

The evening was a string of miserable minutes strung together in tiny clusters. Three minutes for a man shot through the shoulder; Ellis put first a finger in the entry wound and then another in the exit and when his fingers touched, he decided the man was only lightly injured and didn't need a surgeon. Three minutes to set a broken wrist and splint it with a strip of cowhide and a piece of wood from a sycamore tree. Two minutes to tourniquet a leg, then extract a piece of wire deep in the meat of it. A minute to peek under a pink, saturated bandage several inches below a slender belly button; he saw thin, red water leaking from a hole and smelled urine, knew the ball had breached the bladder. It would either heal or it wouldn't, but nothing to do about it so he set the soul aside, a case not to be operated upon. He turned a man's head looking for the source of a trickle of blood and had ten terrible minutes trying to stop torrential bleeding from under his clavicle; frantic moments during which he could get neither a finger nor a clamp around the pulsating source. All bleeding stops eventually though, and the case did not violate the rule. He took two minutes to settle his own breathing, then four minutes sewing a torn scalp, and half a minute saying a prayer over a fat, cigar-shaped dead man. After awhile, he had the impression he wasn't seeing men, but parts - an exploded chest, a blood swolled thigh, a busted jaw with its teeth spat to the wind or swallowed.

I ~ Edison McDaniels

The interior looked like I expected. Two rooms--a main one and a tiny bedroom. Dusty stuffed fish and moth-eaten elk heads on bare walls. A wood plank floor that seemed as if it hadn't been swept in years. Cobwebs decorating the ceiling. Furniture that would have been rejected by Goodwill. Mouse droppings everywhere. A few dark furry bat forms hung from the upper eaves. In the city, the place would have been condemned as a public health hazard. Here, it was just a typical hunting shack. ~ Kelley Armstrong

What would people in their old lives be saying about these girls? Would they be called missing? Would some documentary program on the ABC that nobody watched, or one of those thin newspapers nobody read, somehow connect their cases, find the thread to make them a story? The Lost Girls, they could be called. Would it be said, they 'disappeared', 'were lost'? Would it be said that they were abandoned or taken, the way people said a girl was attacked, a woman was raped, this femaleness always at the centre, as if womanhood itself were the cause of these things? As if the girls somehow, through the natural way of things, did it to themselves. They lured abduction and abandonment to themselves, they marshalled themselves into this prison where they had made their beds, and now, once more, were lying in them. ~ Charlotte Wood

Crossing my arms over my chest, I said, a little too heartily, "So this is the library." There certainly couldn't be any doubt on that score; never had a room so resembled popular preconception. The walls were paneled in rich, dark wood, although the finish had worn off the edges in spots, where books had scraped against the wood in passing one too many times. A whimsical iron staircase curved to the balcony, the steps narrowing into pie-shaped wedges that promised a broken neck to the unwary. I tilted my head back, dizzied by the sheer number of books, row upon row, more than the most devoted bibliophile could hope to consume in a lifetime of reading.

In one corner, a pile of crumbling paperbacks - James Bond, I noticed, squinting sideways, in splashy seventies covers - struck a slightly incongruous note. I spotted a moldering pile of Country Life cheek by jowl with a complete set of Trevelyan's History of England in the original Victorian bindings. The air was rich with the smell of decaying paper and old leather bindings. Downstairs, where I stood with Colin, the shelves made way for four tall windows, two to the east and two to the north, all hung with rich red draperies checked with blue, in the obverse of the red-flecked blue carpet. On the west wall, the bookshelves surrendered pride of place to a massive fireplace, topped with a carved hood to make Ivanhoe proud, and large enough to roast a serf. In short, the library was a Gothic fantasy. ~ Lauren Willig

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, 'a physiological delight' he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. ~ Junichiro Tanizaki

I want porridge!" she said, exasperated. "That's all. I wanted a bunny before and 'it' appeared, and now I want porridge. The way my aunts used to make it on cold mornings. Warm and buttery, with rich toasted acorns in it."
"Acorns? Really? That sounds... um... I mean, it's an interesting gastronomic choice."
She rolled her eyes. "We lived in the middle of a 'forest,' Royal Prince. It was what we had. And a real treat in the middle of winter."
Then she proceeded to ignore him.
She closed her eyes and cupped her hands. She prayed and wished and imagined and begged.
Phillip stayed politely silent- though he did look around, sigh a little, and do all sorts of other things to obviously fret over the passage of time.
She tried to call up the feel of the wooden bowl in her hands: it warmed almost like flesh where the wood was thin and the heat of her fingers and the hot porridge mingled. She summoned the smell, a mix of dairy and things of the earth and the tall green grass and the woods. Sometimes there was even a dollop of honey on top.
She thought so hard she felt like she had to go to the privy.
Her concentration faltered for a moment when she distractedly wondered if that ever happened to Maleficent when she was performing an incantation. But after a few seconds she was back in her dream of porridge.
Time passed...
"GOOD LORD!"
The smell in her head was giving to a real scent in her nose now, with even that faint, almost ' ~ Liz Braswell

Loving someone is like moving into a house. At first you fall in love with all the new things, amazed every morning that all this belongs to you, as if fearing that someone would suddenly come rushing in through the door to explain that a terrible mistake had been made, you weren't actually supposed to live in a wonderful place like this. Then over the years the walls become weathered, the wood splinters here and there, and you start to love that house not so much because of all its perfection, but rather its imperfections. You get to know all the nooks and crannies. How to avoid getting the key caught in the lock when it's cold outside. Which of the floorboards flex slightly when one steps on them or exactly how to open the wardrobe doors without their creaking. These are the little secrets that make it your home. ~ Fredrik Backman

Love Poem with Peanut Shells"

Now I am in the warm oil of your mouth,
comfortably sleeping in your throat. We build
with flagstone, shop for sconces and radiance.
Your large hands bundle and stack wood into walls.
You digest my shape, unlit layer, lung. Light
begins here, where we are one decimal point, where
I stand with a cool blue hat that covers my eyes,
red shoes that drop anchor. Where we sit in bars
with peanut shells with Mikes and Leroys and Toms.
Where you counsel me on lips and throat. Where
you love the hiss of my atom. Where the ocean is zero
miles from everywhere. Here, madness has no map.
Here, God is abridged. 0 to be loved this way.
To have lips that bear fruit. To be cancelled. ~ Victoria Chang

Not stones, nor wood, nor the art of artisans make a state; but where men are who know how to take care of themselves, these are cities and walls. ~ John Quincy Adams

The river - with the sunlight flashing from its dancing wavelets, gilding gold the grey-green beech-trunks, glinting through the dark, cool wood paths, chasing shadows o'er the shallows, flinging diamonds from the mill-wheels, throwing kisses to the lilies, wantoning with the weirs' white waters, silvering moss-grown walls and bridges, brightening every tiny townlet, making sweet each lane and meadow, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a far sail, making soft the air with glory - is a golden fairy stream. ~ Jerome K. Jerome

Tommy looked blank. "What's a flashlight?"
"You don't have flashlights?" Jessup said. "Jeeze! A cylinder, like, with batteries inside it, and a light bulb behind glass at one end
"
Tommy's blue eyes glinted dangerously. "We have a thing in Scotland that's a cylinder too. Very thin, made of wood, with graphite in the center. We call it a pencil."
Jessup hooted. "You think we don't have pencils?"
"You think we don't have flashlights?" Tommy snapped. "That's just American dialect. In the English language they're called torches."
Emily said mildly, "Actually we're Canadians. ~ Susan Cooper

M. At this moment, when each of us must fit an arrow to his bow and enter the lists anew, to
reconquer, within history and in spite of it, that which he owns already, the thin yield of his fields, the
brief love of this earth, at this moment when at last a man is born, it is time to forsake our age and its
adolescent furies. The bow bends; the wood complains. At the moment of supreme tension, there will leap
into flight an unswerving arrow, a shaft that is inflexible and free. ~ Albert Camus

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done. ~ Steve Martin

This fusion of wood and water is an entrancing thing. Without the wood the stream would be nothing: a mere thin watercourse winding through its flat meadows. Without the water the wood, on its slope and with its air of quietness and mystery and of being a world within itself, could not help being a constantly delightful thing. But water and wood, together, shading and watering and bounding each other, each give to the other something which the other does not possess, the wood giving to the stream something solid and shadowy and immemorial, the stream giving to the wood all the incomparable movement and twinkling transcience of moving water, the tree shadows standing deep in the stream, the reflection of sunlight flickering a kind of waterlight up into the shadowy branches of pine and alder. The wood and the water are here, in fact, one, for each other and with each other. It is a fusion that is almost perfect. ~ H.E. Bates

He was a very tall, very thin creature that could only be described as a wood elf. His long, ponytailed hair was every color of autumn leaves; his skin was the hue of fresh-cut pine boards; and his eyes were the vibrant color of fresh spring foliage. He also wore blue jeans and brown loafers and a ragged t-shirt that read, "Choose your Weapon!" under which sat a line of Dungeons and Dragons dice of various shapes and denominations.
Kay could barely believe it. For one, where did he get that shirt? These Otherworld people LIVED Dungeons and Dragons--they played it too? For a second Kay thought she might be looking at the most ironic t-shirt and t-shirt wearer combination ever. ~ Nils Johnson-Shelton

Magic," he said. Black magic. Strong magic. Dead magic. "Bad magic." Finally, Lila slipped. For the briefest moment, her eyes flicked to a chest along the wall. Kell didn't hesitate. He lunged for the top drawer, but before his fingers met the wood, a knife found his throat. It had come out of nowhere. A pocket. A sleeve. A thin blade resting just below his chin. Lila's smile was as sharp as its metal edge. "Sit down before you fall down, magic boy." Lila ~ V.E Schwab

...but you are too much for them: the weak in courage are strong in cunning; and one by one, you have absorbed and have captured and dishonored, and have distilled of your deliverers the most ruinous of all poisons; people hear Beethoven in concert halls, or over a bridge game, or to relax; Cézannes are hung on walls, reproduced, in natural wood frames; van Gogh is the man who cut off his ear and whose yellows became recently popular in window decoration. ~ James Agee

Before Summer Rain


Suddenly, from all the green around you,
something-you don't know what-has disappeared;
you feel it creeping closer to the window,
in total silence. From the nearby wood

you hear the urgent whistling of a plover,
reminding you of someone's Saint Jerome:
so much solitude and passion come
from that one voice, whose fierce request the downpour

will grant. The walls, with their ancient portraits, glide
away from us, cautiously, as though
they weren't supposed to hear what we are saying.

And reflected on the faded tapestries now;
the chill, uncertain sunlight of those long
childhood hours when you were so afraid ~ Rainer Maria Rilke

Where is it, Rudolf?" she whispers, pressing herself against me. "Tell me where it is! Has a piece of me
been left behind everywhere? In all the mirrors I have looked into? I have seen lots of them, countless ones!
Am I scattered everywhere in them? Has each of them taken some part of me? A thin impression, a thin slice
of me? Have I been shaved down by mirrors like a piece of wood by a carpenter's plane? What is still left of
me?"
I take her by the shoulders. "All of you is still here," I say. "On-the contrary, mirrors add something. They
make it visible and give it to you - a bit of space, a lighted bit of our-self."
"Myself?" She continues to cling to my hand. "But suppose it is not that way? Suppose myself is buried all
over in thousands and thousands of mirrors? How can I get it back? Oh, I can never get it back! It is lost!
Lost! It has been rubbed away like a statue that no longer has a face. Where is my face? Where is my first
face? The one before all the mirrors? The one before they began to steal me!"
"No one has stolen you," I say in desperation. "Mirrors don't steal. They only reflect. ~ Erich Maria Remarque

Cyrus walked straight to the tallest crack of light, a seam between two doors. They were locked, but they were also thin and old, and they bent a little with pressure from his shoulder.

He backed up.

"Try one of Skelton's keys," said Antigone. "Is there a keyhole?"

"Nope." Cyrus threw himself against the doors. Wood popped, but he bounced back. "I can break it."

"You mean a rib? Maybe your shoulder?" Antigone adjusted her grip, propping Horace in front of her.

"There's just one little bolt," said Cyrus. "And it's set in old wood." He paused. What was he hearing? Voices. Shouting. "You hear that?" he asked.

Antigone nodded. "They don't sound happy."

This time, Cyrus used his foot. The wood splintered, and the two doors wobbled open onto a world of emerald and sunlight. ~ N.D. Wilson

Creosote made Mandy think of the thrill of rushing through a garden sprinkler as a kid, of playing washer toss in the backyard, of spending nights in the neighbors' huge in-ground swimming pool when she was twelve, throwing glow sticks in the turquoise water during Canada Day block parties. She thought of Jud for a moment, how he'd loved doing all those things when he was a kid, but how, as he got older, it was all about popularity, sports, a life of illusion… and without warning, a totally different kind of memory filled her mind – the dull feeling of her head hitting the concrete walls near the wood shop at her old high school, the sounds of kids laughing, the sharp smell of sawdust, the buzzing of electric sanders nearby, the sound of Jud laughing while he beat her up… without realizing it, she'd started crying noiselessly. ~ Rebecca McNutt