Ryan Hirai

“From here, we can see the line of time stretching in opposite directions for eternity. You see, Edward, there is no beginning and no end of time. The past, present, and future are all happening at once.”
― Steven Decker, One More Life to Live

“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

“The formalities necessary to obtain a work were quite complicated; the borrower's form had to contain the book's title, format, publication date, edition number, and the author's name- in other words, unless one was already informed, one could not become so. At the bottom, spaces were left to indicate the borrower's age, address, profession, and purpose of research. Michel obeyed these regulations and handed his properly filled-out form to the librarian sleeping at his desk; following his example, the pages were snoring loudly on chairs set around the wall; their functions had become a sinecure as complete as those of the ushers at the Comedie-Francaise. The librarian, waking with a start, stared at the bold young man; he read the form and appeared to be stupefied at the request; after much deliberation, to Michel's alarm, he sent the latter to a subordinate official working near his own window, but at a separate little desk...”
― Jules Verne

“Unbelievable and true. Anna Solokov is neither a frightened girl nor a criminal spider in the center of a huge web of drugs and god knows. No, that dangerous young woman could easily do both at different times, and to different people. No doubt that is part of George’s attraction to her. She is victim. Yet when necessary, or when it suits her, she is victimizer. Does he imagine he is battling for her soul?”
― Susan Rowland, Murder on Family Grounds