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Quote by Suzanne Collins

“Are you, are you Coming to the tree Where they strung up a man they say murdered three Where the dead man called out for his love to flee Where I told you to run, so we'd both be free Wear a necklace of rope, side by side with me Strange things did happen here No stranger would it be If we met up at midnight in the hanging tree”

Quote by Suzanne Collins

Book:Mockingjay
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Mockingjay

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Author

Suzanne Collins
Suzanne Collins

Suzanne Collins is an acclaimed American author, born on August 10, 1962. She is known for her unique literary style and profound thematic explorations, with her most famous work being the 'Hunger Games' series. more

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“Are you, are you Coming to the tree? They strung up a man They say who murdered three. Strange things did happen here No stranger would it be If we met at midnight In the hanging tree. Are you, are you Coming to the tree? Where dead man called out For his love to flee. Strange things did happen here No stranger would it be If we met at midnight In the hanging tree. Are you, are you Coming to the tree? Where I told you to run, So we'd both be free. Strange things did happen here No stranger would it be If we met at midnight In the hanging tree. Are you, are you Coming to the tree? Wear a necklace of rope, Side by side with me. Strange things did happen here No stranger would it be If we met at midnight In the hanging tree.”

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Book:Mockingjay
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“All of the creatures were staring fixedly at Boots. She was standing on the back of her loyal cockroach friend, Temp, smack in the middle of the octagon, singing "The Itsy-Bisty Spider" at the top of her lungs. The green spider, to whom the song principially was directed, seemed to be cringing. Boots was somewhat off-key, but Gregor was pretty sure it was the loudness that was making the arachnid hunch down and contract. "She has been going on like this for hours," whispered Nerissa. "Days more like it," said Ripred in disgust. "Next I will sing one for you!" announced Boots, pointing at the bat, who actually flinched.”

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Book:The Architects of The Universe द आर्किटेक्ट्स ऑफ द यूनिवर्स
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“Everybody says: the Kremlin, the Kremlin. They all go on about it, but I've never seen it. The number of times (thousands) I've been drunk or hung over, traipsing round Moscow, north-south, east-west, end to end, straight through or any old way - and I've never once seen the Kremlin. For instance, yesterday - yesterday I didn't see it again, though I was buzzing round that area the whole evening and it's not as if I was particularly drunk. I mean, as soon as I came out onto Savyelov Station, I had a glass of Zubrovka for starters, since I know from experience that as an early-morning tipple, nobody's so far dreamed up anything better. Anyway, a glass of Zubrovka. Then after that - on Kalyaev Street - another glass, only not Zubrovka this time, but coriander vodka. A friend of mine used to say coriander had a dehumanizing effect on a person, i.e, it refreshes your parts but it weakens your spirit. For some reason or other it had the opposite effect on me, i.e., my spirit was refreshed, while my parts all went to hell. But I do agree it's dehumanizing, so that's why I topped it up with two glasses of Zhiguli beer, plus some egg-nog straight from the bottle, in the middle of Kalyaev Street. Of course, you're saying: come on, Venya, get on with it — what did you have next? And I couldn't say for sure. I remember - I remember quite distinctly in fact - I had two glasses of Hunter's vodka, on Chekhov Street. But I couldn't have made it across the Sadovy ring road with nothing to drink, I really couldn't. So I must've had something else.”

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Author:Venedikt Erofeev
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“A society with a great number of prisons is a totally failed society because it has terribly failed to create a marvellous society where crime is not something widespread but an exception!”

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“We have a bad habit of seeing books as sort of cheaply made movies where the words do nothing but create visual narratives in our heads. So too often what passes for literary criticism is "I couldn't picture that guy", or "I liked that part", or "this part shouldn't have happened." That is, we've left language so far behind that sometimes we judge quality solely based on a story's actions. So we can appreciate a novel that constructs its conflicts primarily through plot - the layered ambiguity of a fatal car accident caused by a vehicle owned by Gatsby but driven by someone else, for instance. But in this image-drenched world, sometimes we struggle to appreciate and celebrate books where the quality arises not exclusively from plot but also from the language itself.”

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Author:John Green
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