Moses Mostad

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K.  Ritz
“I walked past Malison, up Lower Main to Main and across the road. I didn’t need to look to know he was behind me. I entered Royal Wood, went a short way along a path and waited. It was cool and dim beneath the trees. When Malison entered the Wood, I continued eastward. 
I wanted to place his body in hallowed ground. He was born a Mearan. The least I could do was send him to Loric. The distance between us closed until he was on my heels. He chose to come, I told myself, as if that lessened the crime I planned. He chose what I have to offer.
We were almost to the cemetery before he asked where we were going. I answered with another question. “Do you like living in the High Lord’s kitchens?”
He, of course, replied, “No.”
“Well, we’re going to a better place.”
When we reached the edge of the Wood, I pushed aside a branch to see the Temple of Loric and Calec’s cottage. No smoke was coming from the chimney, and I assumed the old man was yet abed. His pony was grazing in the field of graves. The sun hid behind a bank of clouds.
Malison moved beside me. “It’s a graveyard.”
“Are you afraid of ghosts?” I asked.
“My father’s a ghost,” he whispered.
I asked if he wanted to learn how to throw a knife. He said, “Yes,” as I knew he would.  He untucked his shirt, withdrew the knife he had stolen and gave it to me. It was a thick-bladed, single-edged knife, better suited for dicing celery than slitting a young throat. But it would serve my purpose. That I also knew. I’d spent all night projecting how the morning would unfold and, except for indulging in the tea, it had happened as I had imagined. 
Damut kissed her son farewell. Malison followed me of his own free will. Without fear, he placed the instrument of his death into my hand. We were at the appointed place, at the appointed time. The stolen knife was warm from the heat of his body. I had only to use it. Yet I hesitated, and again prayed for Sythene to show me a different path.
“Aren’t you going to show me?” Malison prompted, as if to echo my prayer.”
K. Ritz, Sheever's Journal, Diary of a Poison Master

Todor Bombov
“In a popular state the inhabitants are divided into certain classes,” Montesquieu affirmed in a Marxian manner a century before Marx! So, the popular state is a fiction; it is transient, fleeting, and for this reason — imaginable only. In its rigorous scientific sense of a class instrument, it is practically an empty matter sophism, a complete commonplaceness, an offspring of mental weakness. There is no such state! If it is a state, it is not popular! If it is popular, it is not a state yet! The State is a violent institution for social injustice generated by two main classes, which are main ones because they are at enmity… Any people closed in a state, are divided into classes. “For indeed any city, however small, is in fact divided into two, one the city of the poor, the other of the rich.”(Plato, The Republic).  Not Marx, still Plato said the truth!”
Todor Bombov, Socialism Is Dead! Long Live Socialism!: The Marx Code-Socialism with a Human Face

Garth Stein
“Man's closest relative is not the chimpanzee, as the TV people believe, but is, in fact, the dog. "Enzo"

I admire the female sex. The life makers. It must be amazing to have a body that can carry an entire creature inside. "Enzo”
Garth Stein, The Art of Racing in the Rain

Anne Frank
“The best remedy for those who are frightened, lovely or unhappy is to go outside, somewhere they can be alone, alone with the sky, nature and God. For then and only then can you feel that everything is as it should be and that God wants people to be happy amid nature's beauty and simplicity.”
Anne Frank, The Diary of a Young Girl

Harold Bloom
“I recall writing, long ago, that any new poem is rather like a little child who has been stationed with a large group of other small children in a playroom, where there are a limited number of toys and no adult supervision whatsoever. Those toys are the tricks, turns, and tropes of poetic language, Oscar Wilde’s “beautiful untrue things” that save the imagination from falling into “careless habits of accuracy.” Oscar, who worshipped and twice visited Walt during an American tour, charmingly termed criticism “the only civilized form of autobiography.” I have aged not, alas, into Wilde’s wit but into a firm conviction that true criticism recognizes itself as a mode of memoir.”
Harold Bloom, The Daemon Knows: Literary Greatness and the American Sublime

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