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William T. Prince
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The Legend of Sasquatch (The Clint Buchanan Series #1)
  4.88 avg rating — 8 ratings
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published
2008
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4 editions
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My rating:
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The Education of Clint Buchanan (The Clint Buchanan Series #2)
 4.00 avg rating — 1 rating
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published
2012
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3 editions
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My rating:
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“Using the door for cover had been a good idea, but the bullet missed the door by about half an inch and struck Clint near the center of his chest. In the next instant, Clint aimed at center body mass and squeezed off a round, but his aim was errant. This, after all, was not a friendly contest at a shooting range. This was a real-life gun battle, and it can be tough to shoot with a bullet in one’s chest. When the forty-four roared, the bad guy’s body splayed backward and landed half in the street and half on the sidewalk. The bullet had freed his brain from his skull.”
― William T. Prince, The Legend of Sasquatch
― William T. Prince, The Legend of Sasquatch
“Hulk sat there silently for a moment, playing with the empty shot glass in his hand. “Well, I love you, too,” Hulk mumbled quietly as he quickly stood and walked toward the kitchen, put the shot glass in the sink, and went to his bedroom. Clint watched in amazement as the big cop left the room. Even though he knew it to be true, Clint was shocked that Hulk had actually said it. As he sat there letting it sink in, he felt a single tear roll down each cheek. Little did Clint know that in Hulk’s bedroom, the tears were flooding the big man’s eyes as he buried his face in his pillow and bawled as he hadn’t done since he was a boy.”
― William T. Prince, The Education of Clint Buchanan
― William T. Prince, The Education of Clint Buchanan
“As the young husband and wife lay in each other’s arms, each contemplating past, present, and future, Clint recognized the music as the adagietto from Gustav Mahler’s fifth symphony. It was one of the most famous movements in the entire symphonic repertoire, but it was also one of the most debated. Mahler ostensibly composed the adagietto as a love song to his wife, Alma, but when played at the much slower tempo preferred by many conductors, the music instead evokes a feeling of profound melancholy. After almost eighty years, musicologists and aficionados still couldn’t agree whether the music was supposed to be happy or sad, whether it was an expression of intense love and devotion or of unmitigated despair. Clint was struck by the irony that this music would be playing at this moment in his life, and his mouth curled into an ambivalent smile. Was he happy? Was he sad? Would he ever again be certain?”
― William T. Prince, The Education of Clint Buchanan
― William T. Prince, The Education of Clint Buchanan
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