Céline

“She wondered where Oida was, and what he was doing. Somehow, things would be different if he was there; he’d have books, and nice things to eat, and a comfortable coach to ride in and take them somewhere with a roof and clean sheets and a warm fire. Suddenly she saw him as a man in armour, impervious to spears and arrows inside his cap-a-pie of money, charm, success and taste. The whole world could come crashing down, but he’d still have brought her something to read, and figs preserved in honey. It was then that she understood. It was just a matter of semantics, that was all. Like someone who’s learning a foreign language, she’d failed to grasp the true meaning of love. All this time, she’d thought it meant something else, to do with fire in the blood and skin tingling at a certain touch, when really it was all about completely different things—food, shelter, comfort, money, a defensible space, something that would still be there in the morning. Stupid, she thought. It takes a valley full of dead bodies and a burned-out inn and her mother’s grave and a night with Axio and Senza Belot trashing and torching everything in his path to reveal the true definition of an everyday word. Simpler to have bought a dictionary.”
― K.J. Parker, The Two of Swords, Volume Three

“Since when did you care about the enemy? You know what that word means, don’t you? Or would it help if you looked it up?”

“I know what it means,” she said. “It means what you want it to mean. It means you can do what you damn well like. Do you like having people killed, Notker? Does it make you feel big and strong?”

“Enemy means someone who wants to hurt you,” I said. “Them or us, simple as that.”

“Simple.” She gave me a look I won’t forget in a hurry. “I don’t think there’s any point talking to you. Remember Andronica in The Golden Mask? That’s you, just the wrong way round.”
― K.J. Parker, How to Rule an Empire and Get Away with It

“Hope, though; now there’s a real pest. Hope doesn’t just nibble your cheese and chew holes in your skirting boards. Hope keeps you plodding on when it really is time to call it quits. Hope drags you to sixteen auditions in a single day, when there’s a nice job in your brother-in-law’s tannery just waiting for you. Hope keeps you going in Old Stairs or Paradise, even though there’s no money and nothing to eat and the landlord just took your chair and your chamber pot. Personally, I can see no great merit in simply being alive if you’re miserable and in pain, but Hope won’t let you go. She’s a tease, like bad children teasing a dumb animal, and I’ve made a point of avoiding her whenever I can. Still, sometimes she runs you down and there’s nowhere left for you to go. You can turn and fight her and lose, or let her scoop you up and turn your brain to mush.

Hope against hope. We had human chains shifting those blocks with levers and rollers, through the narrow alleys where carts couldn’t go. We had shifts digging the ditch by lamplight, in the rain. And in every working party there was at least one man who cheerfully announced that it wasn’t going to work, the whole idea was stupid, the enemy’ll find a way round this in two shakes, just you see; and even he didn’t really believe it, because of Hope. Hope turns a hundred men and women ripping the skin off their hands on a coarse hemp rope into a street party. Someone tells a joke, or clowns around, or starts singing a favourite song from one of the shows, and Hope bursts through, like sappers, and next thing you know she’s everywhere, like smoke, or floodwater, or rats. We’re going to beat Ogus, she whispers in every ear, and this time it’ll be different.”
― K.J. Parker, How to Rule an Empire and Get Away with It

“Everything changes, see above. Nothing changes more often, more rapidly or more radically than the past. Yesterday’s heroes are today’s villains. Yesterday’s eternal truths are today’s exploded myths. Yesterday’s right is today’s wrong, yesterday’s good is today’s evil. And tomorrow it’ll all be one hundred and eighty degrees different, on that you can rely.

Which is odd, since the past has already happened; it’s done, complete, finished, signed off, sealed, delivered; dead. But, then, dead things change a hell of a lot, as the smell testifies. I tend to think of the past as compost; drifts of dead yesterdays rotting down into a fine mulch, in which all sorts of weeds germinate, sprout and flourish. Of course, the past changes, it can’t not change, and what was true yesterday—

See above, passim. Change and decay in all around I see; everything changes, except for me.”
― K.J. Parker, How to Rule an Empire and Get Away with It