Hail and Farewell, 1953
But of course he was going away, there was nothing else to do, the time was up, the clock had run out, and he was going very far away indeed. His suitcase was packed, his shoes were shined, his hair was brushed, he had expressly washed behind his ears, and it remained only for him to go down the stairs, out the front door, and up the street to the small-town station where the train would make a stop for him alone. Then Fox Hill, Illinois, would be left far off in his past. And he would go on, perhaps to Iowa, perhaps to Kansas, perhaps even to California; a small boy twelve years old with a birth certificate in his valise to show he had been born forty-three years ago.
Hail to the Chief, 2003
Half-Pint Homicide, 1984
The Handler, 1947
The Happiness Machine (из "Вина из одуванчиков"), ?
The Haunting of the New, 1969
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Have I Got a Chocolate Bar For You!, 1973
The Headpiece, 1958
Heart Transplant, 1981
"Would I what?" he asked, in the dark, lying there easily, looking at the ceiling.
"You heard me," she said, lying there beside him with similar ease, holding his hand, but staring rather than looking at that ceiling, as if there were something there that she was trying to see. "Well. . . ?"
"Say it again," he said.
"If," she said, after a long pause, "if you could fall in love with your wife again . . . would you?"
"What a strange question."
"Not so strange. This is the best of all possible worlds, if the world ran the way worlds should run. Wouldn't it make sense, finally, for people to fall in love again and live happily ever after? After all, you were once wildly in love with Anne."
Hell's Half-Hour, 1945
Hello, I Must Be Going, 1997
Henry the Ninth, 1969
"There he is!"
The two men leaned. The helicopter tilted with their lean. The coastline whipped by below.
"No. Just a bit of rock and some moss -" The pilot lifted his head, which signaled the lift of the helicopter to swivel and rush away. The white cliffs of Dover vanished. They broke over green meadows and so wove back and forth, a giant dragonfly excursioning the stuffs of winter that sleeted their blades.
"Wait! There! Drop!"
The machine fell down, the grass came up. The second man, grunting, pushed the bubble-eye aside and, as if he needed oiling, carefully let himself to the earth. He ran. Losing his breath instantly he slowed to cry bleakly against the wind:
Here There Be Tygers, 1951
"You have to beat a planet at its own game," said Chatterton. "Get in, rip it up, poison its animals, dam its rivers, sow its fields, depollinate its air, mine it, nail it down, hack away at it, and get the hell out from under when you have what you want. Otherwise, a planet will fix you good. You can't trust planets. They're bound to be different, bound to be bad, bound to be out to get you, especially this far off, a billion miles from nowhere, so you get them first. Tear their skin off, I say. Drag out the minerals and run away before the damn world explodes in your face. That's the way to treat them."
The Highest Branch on the Tree, 1997
The Highway, 1950
The Homecoming, 1946
"Here they come," said Cecy, lying there flat in her bed.
"Where are they?" cried Timothy from the doorway.
"Some of them are over Europe, some over Asia, some of them over the Islands, some over South America!" said Cecy, her eyes closed, the lashes long, brown, and quivering.
Timothy came forward upon the bare plankings of the upstairs room. "Who are they?"
"Uncle Einar and Uncle Fry, and there's Cousin William, and I see Frulda and Helgar and Aunt Morgiana and Cousin Vivian, and I see Uncle Johann! They're all coming fast!"
Vinia woke to the sound of a rabbit running down and across an endless moonlit field; but it was only the soft, quick beating of her heart. She lay on the bed for a moment, getting her breath. Now the sound of the running faded and was gone at a great distance. At last she sat up and looked down from her second-story bedroom window and there below, on the long sidewalk, in the faint moonlight before dawn, was the hopscotch.
Late yesterday, some child had chalked it out, immense and endlessly augmented, square upon square, line after line, numeral following numeral. You could not see the end of it. Down the street it built its crazy pattern, 3, 4, 5, on up to 10, then 30, 50, 90, on away to turn far corners. Never in all the children's world a hopscotch like this! You could Jump forever toward the horizon.
The Hour of Ghosts, 1969
The House, 1947
House Divided, 1997