Kirsten Raymonde Character Analysis

I stood looking over my damaged home and tried to forget the sweetness of life on Earth.

What was lost in the collapse: almost everything, almost everyone, but there is still such beauty.

All three caravans of the Traveling Symphony are labeled as such, THE TRAVELING SYMPHONY lettered in white on both sides, but the lead caravan carries an additional line of text: Because survival is insufficient.

Some towns … want to talk about what happened, about the past. Other towns, discussion of the past is discouraged. We went to a place once where the children didn't know the world had ever been different, although you'd think all the rusted-out automobiles and telephones wires would give them a clue.

"If you are the light, if your enemies are darkness, then there's nothing that you cannot justify. There's nothing you can't survive, because there's nothing that you will not do."

I can't remember the year we spent on the road, and I think that means I can't remember the worst of it. But my point is, doesn't it seem to you that the people who have the hardest time in this—this current era, whatever you want to call it, the world after the Georgia Flu—doesn't it seem like the people who struggle the most with it are the people who remember the old world clearly?

“Well, it's nice that at least the celebrity gossip survived.'"

When it came down to it, François had realized, all of the Symphony's stories were the same, in two variations. Everyone else died, I walked, I found the Symphony. Or, I was very young when it happened, I was born after it happened, I have no memories or few memories of any other way of living, and I have been walking all my life.

She had once met an old man up near Kincardine who'd sworn that the murdered follow their killers to the grave, and she was thinking of this as they walked, the idea of dragging souls across the landscape like cans on a string. The way the archer had smiled, just at the end.

She stepped back. “It isn't possible,” she said.
“But there it is. Look again.”
In the distance, pinpricks of light arranged into a grid. There, plainly visible on the side of a hill some miles distant: a town, or a village, whose streets were lit up with electricity.

I stood looking over my damaged home and tried to forget the sweetness of life on Earth.

What was lost in the collapse: almost everything, almost everyone, but there is still such beauty.

All three caravans of the Traveling Symphony are labeled as such, THE TRAVELING SYMPHONY lettered in white on both sides, but the lead caravan carries an additional line of text: Because survival is insufficient.

Some towns … want to talk about what happened, about the past. Other towns, discussion of the past is discouraged. We went to a place once where the children didn't know the world had ever been different, although you'd think all the rusted-out automobiles and telephones wires would give them a clue.

"If you are the light, if your enemies are darkness, then there's nothing that you cannot justify. There's nothing you can't survive, because there's nothing that you will not do."

I can't remember the year we spent on the road, and I think that means I can't remember the worst of it. But my point is, doesn't it seem to you that the people who have the hardest time in this—this current era, whatever you want to call it, the world after the Georgia Flu—doesn't it seem like the people who struggle the most with it are the people who remember the old world clearly?

“Well, it's nice that at least the celebrity gossip survived.'"

When it came down to it, François had realized, all of the Symphony's stories were the same, in two variations. Everyone else died, I walked, I found the Symphony. Or, I was very young when it happened, I was born after it happened, I have no memories or few memories of any other way of living, and I have been walking all my life.

She had once met an old man up near Kincardine who'd sworn that the murdered follow their killers to the grave, and she was thinking of this as they walked, the idea of dragging souls across the landscape like cans on a string. The way the archer had smiled, just at the end.

She stepped back. “It isn't possible,” she said.
“But there it is. Look again.”
In the distance, pinpricks of light arranged into a grid. There, plainly visible on the side of a hill some miles distant: a town, or a village, whose streets were lit up with electricity.