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Fire and Hemlock QUOTES

Fire and Hemlock QUOTES

21 " One afternoon they were in the garden, where Seb was telling her about the agonies of withdrawal he had suffered when he gave up cigarettes, when he suddenly broke off talking and grabbed Polly and kissed her. It was the first time anyone had done that to Polly. She should have asked Nina about it, she thought wryly, as Seb’s face met hers and their noses seemed to get tangled up. It was not much fun. She wondered whether to wriggle loose, but See was breathing heavily and passionately and seemed to be enjoying it so much that it brought Polly’s annoying soft-heartedness out. She stood there and let him lay his mouth against hers, and tried to decide if you kept your eyes open or shut them, and in the end she settled for one of each. What a funny thing to invent to do! she thought. What do people see in it? (p. 271) "

― Diana Wynne Jones , Fire and Hemlock

22 " Beside her, the strings were tuned. The quartet started to play. When Tom began it, gently rolling sullen, swelling notes out of the cello, she assumed it would be designed to show him as the superb cellist he was. But when Ann’s viola came mourning in, she wondered if it might be intended as a dirge. Beyond Ann, Sam’s violin sang, and Ed’s sang and soared, and the music became something else again, nearly light-hearted. Showing how much the quartet needed Tom? Polly wondered. There was no question they were a good quartet these days. They had improved almost out of mind from the afternoon Polly had spent hearing them practice in the green basement. … The music broadened and depend, put on majesty and passion, and moved onward in some way, fuller and fuller. All four of the players were putting their entire selves into it. Polly knew they were not trying to prove anything—not really. She let the music take her, with relief, because while it lasted she would not have to make a decision or come to a dead end. She found her mind dwelling on Nowhere, as she and Tom used to imagine it. You slipped between Here ad Now to the hidden Now and Here—as Laurel had once told another Tom, there was that bonny path in the middle—but you did not necessarily leave the world. Here was a place where the quartet was grinding out dissonances. There was a lovely tune beginning to emerge from it. Two sides of Nowhere, Polly thought. One really was a dead end. The other was the voice that lay before you when you were making up something new out of ideas no one else had quite had before. That’s a discovery I must do something about, Polly thought, as the lovely tune sang out fully once and then fell away to the end, as the piece had begun, in a long, sullen cello note. And her mind was made up. (p. 399-400) "

― Diana Wynne Jones , Fire and Hemlock