A Quote by Suzanne Collins
Several sets of arms would embrace me. But in the end, the only person I truly want to comfort me is Haymitch, because he loves Peeta, too. I reach out for him and say something like his name and he's there, holding me and patting my back. "It's okay. It'll be okay, sweetheart." He sits me on a length of broken marble pillar and keeps an arm around me while I sob.
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In the end, the only person I truly want to comfort me is Haymitch, because he loves Peeta, too.
TODD!" I yell again and I reach him and his Noise opens even farther and wraps around me like a blanket and I'm grabbing him to me, grabbing him to me like I'll never let him go and he calls out in pain but his other arm is grabbing me back - "I thought you were dead," he's saying, his breath on my neck. "I thought you were dead." "Todd," I say and I'm crying and the only thing I can say is his name. "Todd.
I felt the electricity of his body behind me as he reached around me and took the card from my hand. He didn't move away, and I battled the urge to lean back into him, seeking the comfort of his strength. Would he wrap his arms around me? Make me feel safe, if only for a moment, and if only a delusion?
You okay now ?" he asked. "Okay." He tightened his arms and lifted me off my feet. "Mercy?" he growled into my ear. I wrapped my legs around his waist. " Yeah" , I said. "Me too.
I had a teacher in college who drastically changed the course of my life by telling me that he believed in me as an actor. I never received that support before, and it inspired to me to such a degree that I never looked back. He taught me that it's okay to be crappy; it's okay to fight; it's okay to go to any length.
You're punishing him over and over for things that are out of his control. Now, I'm not saying you shouldn't have a fully loaded weapon next to you round the clock. But I think it's time you flipped this little scenario in your head. If you'd been taken by the Capitol, and hijacked, and then tried to kill Peeta, is this the way he would be treating you?" demands Haymitch. I fall silent. It isn't. It isn't how he would be treating me at all. He would be trying to get me back at any cost. Not shutting me out, abandoning me, greeting me with hostility at every turn.
I wanted to walk over there. I wanted to curl up beside him, lean against him, talk to him. I wanted to know what he was thinking. I wanted to tell him everything would be okay. And I wanted him to tell me the same thing. I didn't care if it was true or not- I just wanted to say it. To hear it, to feel his arms around me, hear the rumble of his words, that deep chuckle that made me pulse race
God, I got lucky. If I'd hurt it, it would have put me out of practice for a while.” Smiling, he returned to his chair. "I know. You kept telling me that while I was carrying you. You were very upset.” "You...you carried me here?” "After we broke the bench apart and freed your foot.” Man. I'd missed out on a lot. The only thing better than imagining Dimitri carrying me in his arms was imagining him shirtless while carrying me in his arms.
My death could, in fact, save him. If it can't, no matter. It's enough to die of spite. To punish Haymitch, who, of all the people in this rotting world, has turned Peeta and me into pieces in his Games. I trusted him. I put what was precious in Haymitch's hands. And he has betrayed me.
A furious Peeta hammers Haymitch with the atrocity he could become party to, but I can feel Haymitch watching me. This is the moment, then. When we find out exactly just how alike we are, and how much he truly understands me. "I'm with the Mockingjay," he says.
No one really needs me," he says, and there is no self-pity in his voice. It's true his family doesn't need him. They will mourn him, as will a handful of friends. But they will get on. Even Haymitch, with the help of a lot of white liquor, will get on. I realize only one person will be damaged beyond repair if Peeta dies. Me. "I do," I say. "I need you.
Peeta smiles at me, sad and mocking. "Okay. Thanks for the tip, sweetheart.
Derek lunged. He hit me in the shoulder and knocked me to the floor, landing on top of me. His body jerked, like he'd been hit with the spell, and I let out a yelp, struggling to get up, but he held me down, whispering "I'm okay, it's okay" until the words penetrated.
When I’m running, there’s always this split second when the pain is ripping through me and I can hardly breathe and all I see is color and blur—and in that split second, right as the pain crests, and becomes too much, and there’s a whiteness going through me, I see something to my left, a flicker of color […]—and I know then, too, that if I only turn my head he’ll be there, laughing, watching me, and holding out his arms. I don’t ever turn my head to look, of course. But one day I will. One day I will, and he’ll be back, and everything will be okay. And until then: I run.
What's holding me up is I'm confused about the nature of the music. Because the modern music doesn't reach me. I mean to say the sound of the modern electric production. A lot of sequencers... synths. That's what people are buying. Because that doesn't reach me, it throws me back to like 1948, but I don't want to be there. Back there, I'm talking about blues records... The roots of rock'n'roll is rhythm and blues and that's like really where I'm at, where I was always at.
I love you present tense,” I whispered, and then put my hand on the middle of his chest and said, “It’s okay, Gus. It’s okay. It is. It’s okay, you hear me?” I had—and have—absolutely no confidence that he could hear me. I leaned forward and kissed his cheek. “Okay,” I said. “Okay.
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