Dalek: I will talk to the Doctor.The Doctor: Oh will you? That's nice. Hello!Dalek: The Dalek strategem nears completion. The fleet is almost ready. You will not intervene.The Doctor: Oh really? Why's that, then?Dalek: We have your associate. You will obey or she will be exterminated. The Doctor: No.Dalek: Explain yourself.The Doctor: I said, "No."Dalek: What is the meaning of this negative?The Doctor: It means, "No."Dalek: But she will be destroyed!The Doctor: No! 'Cause this is what I'm gonna do. I'm gonna rescue her. I'm gonna save Rose Tyler from the middle of the Dalek fleet, and then I'm gonna save the Earth. And then—just to finish off—I'm gonna wipe every last stinking Dalek out of the sky!Dalek: But you have no weapons, no defenses, no plan.The Doctor: Yeah! And doesn't that scare you to death? Rose?Rose: Yes, Doctor?The Doctor: I'm coming to get you.

There’s no happy ending ... Nevertheless, we might well say that is exactly Harriet Beecher Stowe’s point. In 1852 slavery had not been abolished. Slaves were still on the plantations and many of them were in the hands of people like Legree. Her book was written to shame the collective conscience of America into action against an atrocity which was still continuing. So a happy ending would have been, frankly, a lie and a betrayal. ...Most of the charges are basically true. Stowe did stereotype. She did sentimentalize. She offered a role model which later offended African American pride. On the other hand, what she did worked. She wasn’t trying to provide a role model for African Americans. She was trying to make white Americans ashamed of themselves. ...Perhaps the short answer to her critics is to ask, “Do you want glory, approval, all those good things? Or do you want to achieve your goal?

On the second floor was the office in which Houston pounded an ancient typewriter with two fingers, always setting an example of unceasing hard work for his admiring students. They had no hint of the fact that their hard-driving dean had contracted tuberculosis while serving as a GI in France in Word War I. Houstan always seemed vibrant and impassioned in the chase for justice as he tried to expose his students to everything relating to the law that might give them an advantage.. . ."I never worked hard until I got to the Howard Law School and met Charlie Houston," Marshal told me. "I saw this man's dedication, his vision, his willingness to sacrifice, and I told myself, 'You either shape up or ship out.' When you are being challenged by a great human being, you know that you can't ship out."So Houston rescued Marshall and launched him into a career as one of the greatest lawyers in American history.

Zorro also is part of the bandido tradition, most closely associated with the possibly mythical Joaquin Murrieta and the historical Tiburcio Vasquez. As well as these local California legendary figures, Zorro is an American version of Robin Hood and similar heroes whose stories blend fiction and history, thus moving Zorro into the timeless realm of legend. The original story takes place in the Romantic era, but, more important, Zorro as Diego adds an element of poetry and sensuality, and as Zorro the element of sexuality, to the traditional Western hero. Not all Western heroes are, as D. H. Lawrence said of Cooper's Deerslayer, "hard, isolate, stoic, and a killer," but in the Western genre the hero and villain more often than not share these characteristics. What distinguishes Zorro is a gallantry, a code of ethics, a romantic sensibility, and most significant, a command of language and a keen intelligence and wit.

Of course not. No one is chosen. Not ever. Not in the real world. You chose to climb out of your window and ride on a leopard. You chose to get a witch’s Spoon back, and to make friends with a wyvern. You chose to trade your shadow for a child’s life. You chose not to let the Marquess hurt your friend--you chose to smash her cages! You chose to face your own Death, not to balk at a great sea to cross and no ship to cross it in. And twice now you have chosen not to go home when you might have, if only you abandoned your friends. You are not the chosen one, September. Fairyland did not choose you--you chose yourself. You could have had a lovely holiday in Fairyland and never met the Marquess, never worried yourself with local politics, had a romp with a few brownies and gone home with enough memories for a lifetime’s worth of novels. But you didn’t. You chose. You chose it all. Just like you chose your path on the beach: to lose your heart is not a path for the faint and fainting.

I took in a deep breath, and smoke twisted around my head as I let it slip through my teeth. “Do you know what my favorite show was when I was a little kid?”The look again. “I would have no idea.”“Doctor Who. British sci-fi show.”“I am familiar with it. Christopher Eccleston, David Tennant, and Matt—““No,” I said. “The new show’s great, but I grew up on the old one. The low-budget, rubber monster show with Tom Baker and Peter Davison. I watched it on PBS all the time as a kid.”I looked out at the dark ruins of Hollywood, at the stumbling shadows dotting the streets as far as you could see. The only other living person within half a mile was standing behind me, her eyes boring into my head.“The Doctor didn’t have super-powers or weapons or anything like that. He was just a really smart guy who always tried to do the right thing. To help people, no matter what. That struck me when I was a kid. The idea that no matter how cold and callous and heartless the world seemed, there was somebody out there who just wanted to make life better. Not better for worlds or countries in some vague way. Just better for people trying to live their lives, even if they didn’t know about him.”I turned back to her and tapped my chest. “That’s what this suit’s always been about. Not scaring people like you or Gorgon do. Not some sort of pseudo-sexual roleplay or repressed emotions. I wear this thing, all these bright colors, because I want people to know someone’s trying to make their lives better. I want to give them hope.

As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.