Samantha

“traverse, v.

You started to cry, and I quickly said, "No -- I mean this part is over. We have to get to the next part."
And you said, "I'm not sure we can."
Without even having to think about it, I replied, "Of course we can."
"How can you be so sure?" you asked.
And I said, "I'm sure. Isn't that enough?”
― David Levithan, The Lover's Dictionary

“Marguerite indulged in the luxury, dear to every tender woman's heart, of looking at the man she loved.”
― Emma Orczy, The Scarlet Pimpernel

“It will,” Wit said, “but then it will get better. Then it will get worse again. Then better. This is life, and I will not lie by saying every day will be sunshine. But there will be sunshine again, and that is a very different thing to say. That is truth. I promise you, Kaladin: You will be warm again.”
― Brandon Sanderson, Rhythm of War

“meander, v.

"...because when it all comes down to it, there's no such thing as a two-hit wonder. So it's better just to have that one song that everyone knows, instead of diluting it with a follow-up that only half succeeds. I mean, who really cares what Soft Cell's next single was, as long as we have 'Tainted Love'?"
I stop. You're still listening.
"Wait," I say. "What was I talking about? How did we get to 'Tainted Love'?"
"Let's see," you say, "I believe we started roughly at the Democratic gains in the South, then jumped back to the election of 1948, dipping briefly into northern constructions of the South, vis-a-vis Steel Magnolias, Birth of a Nation, Johnny Cash, and Fried Green Tomatoes. Which landed you on To Kill a Mockingbird, and how it is both Southern and universal, which -- correct me if I'm wrong -- got us to Harper Lee and her lack of a follow-up novel, intersected with the theory, probably wrong, that Truman Capote wrote the novel, then hopping over to literary one-hit wonders, and using musical one-hit wonders to make a point about their special place in our culture. I think."
"Thank you," I say. "That's wonderful.”
― David Levithan, The Lover's Dictionary