There comes a point in one's life where the people whom we grew up admiring begin to die, leaving a great chasm in the world. This is awful enough to deal with without having anything so annoying as feelings getting in the way of personal equanimity. And then, possibly even more horribly, there comes a time in one's life when the people whom we grew up with or the people who are in our same age group begin to die. I have had the disagreeable business of having to watch colleagues only a few years my senior perish without warning, though premonition would not soften the blow. I am now realizing that I am entering this time, the dreadful gateway of existence, the one that leads to watching the ebb and flow of time, the great rote and suppuration of life and death, and being able to do nothing but welter in misery and pine over the dregs of hideous mortality. Death is an unaccountable business, one that robs the living of the peace we believe to be --perhaps mistakenly-- our birthright, one which asks the living to pay for the departed in the currency of feelings, leaving us to wallow in emotional debt. There is a loneliness about behind left as is there a thrill of horror for what lies beyond. The sum total of living is to sacrifice peace in favor of finding it, which makes little sense at all. I often wonder if the dead know we grieve for them, as the penury of pity only disconcerts ourselves. It is poor comfort, the business of mourning, for what is there really to mourn about excepting our own desire for reconciliation, something which no one, not even the dead, can furnish?

— Michelle Franklin

There is a very great difference between older and old, the former being desirable and the latter being inevitable.

— Michelle Franklin

The rest of the evening passed agreeably: the crew had their games on the main deck, resigning themselves to Sirs and dice now that dancing was out, those who would go ashore to enjoy the dining halls and tea houses went after their matches were lost, and those who remained either took themselves off to an early rest or remained with the musicians, to sing out the remainder of the evening by way of a few round songs, calling out verses in melodic dissonance, singing the history of Good Married the Whore and though there were “Ten hands in her purse, there was still room for one more!”,

— Michelle Franklin

The sins of my sex... A woman who is ugly is pitiable, but a man who is ugly is forgiven.

— Michelle Franklin

The skies gave way to the full ascendance of morning and clouds skittered across the expanse, the variations on a nebulous theme woven on a celestial loom.

— Michelle Franklin

The unconscious fabric of human destiny had done with her, unraveling all her grievances and reweaving them as joyous circumstance.

— Michelle Franklin

The words ‘when I take you home’ echoed in the captain’s mind, caroming off that private place where all his suspicions and uncertainties slept.

— Michelle Franklin

This book is a work of fiction. Actually, it is a work of fiction within a fiction, as the main characters, though real persons in a fictional world, are being depicted in a book which other fictional characters in the same world are reading. Any reference to historical events-- rather, historical events non-Marridonian, and also non-Sesternese-- real people—rather, people in our realm, not the persons I was referring to in the previous line-- or real places—places that are not Harrison, Western, and any place on the Two Continents-- are used fictitiously, because this is a work of fiction, and is a fiction within a fiction, as was previously stated. All names, characters, places, and incidents are the product of the author's imagination—referring to the ultimate author, not the fictitious author who has written the book within the book-- and any resemblance to actual events, locales, persons, living, dead, or otherwise, is entirely coincidental, but any resemblance to actual persons or places in the Two Continents is intentional. Absolutely no parts of this book, text or art, may be reproduced or transmitted in any form, by any means, whether electronically or mechanically, including photocopying—“By Myrellenos, are we here in the disclaimer again? This is the third time, I believe. And there are still no cups out. Where is the teapot?”“Here, boss.”“Oh, there is tea in this story? I might be more inclined to stay and hear this one. The others were dreadful slow. I must have some tea, if I am going to be made to sit and listen to a whole book. I am not Bartleby, who can sit at his desk and flump over his tomes until he boulders.”“He’s going to hear you, boss.”“I should say not, Reining. He is too busy with doing the edits. He found a mistake in one of the other books about us and demanded he perform the editing this time around. The author was very good to let him do as he likes. He is missing tea, however.”--audio recording, data retrieval, cloud storage, torrent, or streaming service. If you do decide to ignore this disclaimer and print or share this book illegally, I will have Bartleby come to your house with a sample from the Macedonian legal extracts, and he will read them to you until you promise never to do anything illegal again.

— Michelle Franklin

We all emerge into this material soup, mix about with the meat and potatoes of life, and then slip away, back to the primordial germination whence we came. Nascence is a strange business: we forget what we were doing only to come forth and continually forget what we were doing perpetually over the course of a lifetime, until it is time to quit this plane through some unseen and ethereal auditorium, and presumably forget that we had forgotten all over again.

— Michelle Franklin

We come by aurora, with a heavy and sovereign tread, with the might of matriarchs to furnish our shoulders, with the apricot of light to crown our heads

— Michelle Franklin