Korey Arevalo

“This evening I spied her in the back orchard. I decided to sacrifice one of my better old shirts and carried it out to her. The weather’s been warm of late. Buds on the apple trees are ready to burst. Usually by this time of the year, at that time of day, the back orchard is full of screaming children. Damut’s boys were the only two. They were on the terrace below her, running through the slanted sunlight, chasing each other around tree trunks. She stood above them, like a merlin watching rabbits play.”
― K. Ritz, Sheever's Journal, Diary of a Poison Master

“If, having endured much, we have at last asserted out "right to know," and if by knowing, we have concluded that we are being asked to take senseless and frightening risks, then we should no longer accept the counsel of those who tell us that we must fill our world with poisonous chemicals; we should look about and see what other course is open to us.”
― Rachel Carson, Silent Spring

“You shall address me as ‘My Dearest’,’ he repeated in a mocking voice, trying to copy her tone. ‘You will forget all about this conversation when you leave this room.’ It was interesting that tone; it had a sort of hypnotising ring to it.”
― Max Nowaz, The Three Witches and the Master

“She'd first seen Covent Garden after a heavy snow, walking with her hand in Win's, and she remembers the secret silence of London then, the amazing hush of it, slush crunching beneath her feet and the sound made by trapezoidal sections of melting snow falling from wires overhead. Win had told her that she was seeing London as it had looked long ago, the cars mostly put away and the modern bits shrouded in white, allowing the outlines of something older to emerge. And what she had seen, that childhood day, was that it was not a place that consisted of buildings, side by side, as she thought of cities in America, but a literal and continuous maze, a single living structure (because still it grew) of brick and stone.”
― William Gibson, Pattern Recognition