ayushi ౨ৎ˚⟡˖ ࣪

“What are you doing?” One hand on his hip, he holds the drill up to me like I’ve just asked the most obvious question in the world. “Building a shelter.” My brow wrinkles as I hear him confirm what Billie and Mira guessed. “I thought you hated horses?” “I don’t hate horses.” Pippy snorts and bats her eyelashes at him. Another one down, apparently. “Okay. You said you don’t like horses.” “Yup.” He grunts as he turns his back on me and crouches down to line up two boards. “But I like you.”
― Elsie Silver, A Photo Finish

“I’m not sure of much in this world, Isla, but I am sure of this. My love for you doesn’t know reason. It doesn’t know limit. It doesn’t know death. In every universe, every timeline, I am yours . . . and you are mine.”
― Alex Aster, Skyshade

“Good. Because I want to make myself abundantly clear.” We’re so close. I can feel the entire length of his body covering mine. He teases me with the lightest brush of his lips against my ear as he drops his voice and holds me captive. “You are not the pawn, Mira. You are the prize.”
― Elsie Silver, The Front Runner

“We also soften some of the white characters. No, it’s not as bad as you think. Athena’s original text is almost embarrassingly biased; the French and British soldiers are cartoonishly racist. I get she’s trying to make a point about discrimination within the Allied front, but these scenes are so hackneyed that they defy belief. It throws the reader out of the story. Instead we switch one of the white bullies to a Chinese character, and one of the more vocal Chinese laborers to a sympathetic white farmer. This adds the complexity, the humanistic nuance that perhaps Athena was too close to the project to see.”
― R.F. Kuang, Yellowface