By Rachel Vincent
I died on a Thursday—killed via a monster cause on stealing my soul.
The excellent news? He didn't get it.
The undesirable information? seems no longer even dying gets you out of excessive school…
Covering up her personal homicide was once something, yet faking lifestyles is far tougher than Kaylee Cavanaugh anticipated. After weeks spent "recovering," she's again in class, battling to stick noticeable to the human global, suffering to slot in together with her buddies and making plans time on my own together with her new reaper boyfriend.
But to earn her preserve within the human global, Kaylee needs to reclaim stolen souls, and whilst her first project brings her face-to-face with an outdated foe, she understands the sport has replaced. Her immortal prestige won't hold her secure. And this time Kaylee isn't simply playing along with her personal life….
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You must lend me these, Basil,’ he cried. ‘I want to learn them. ’ ‘Oh, I am tired of sitting, and I don’t want a life-sized portrait of myself,’ answered the lad, swinging round on the music-stool, in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. ’ ‘This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. ’ ‘You have not spoiled my pleasure in meeting you, Mr. Gray,’ said Lord Henry, stepping forward and extending his hand.
Ian Small (Oxford: Oxford University Press, ). –––– Studies in the History of Renaissance (), revised and expanded as The Renaissance (), repr. in The Renaissance: Studies in Art and Poetry––The Text, ed. Donald L. Hill (Berkeley and Los Angeles: University of California Press, ). Hill’s edition notes the textual variants in the four editions of The Renaissance that Pater published during his lifetime. Suetonius, Lives of the Caesars, ed. and trans. Catharine Edwards (Oxford: Oxford University Press, ).
Basil, this is extraordinary! ’ Hallward got up from the seat, and walked up and down the garden. After some time he came back. ‘Harry,’ he said, ‘Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I ﬁnd him in the curves of certain lines, in the loveliness and subtleties of certain colours. ’ asked Lord Henry. ‘Because, without intending it, I have put into it some expression of all this curious artistic idolatry,* of which, of course, I have never cared to speak to him.
Before I Wake by Rachel Vincent