141
" Psychologically, the difference it makes is almost inexpressible. Once you own your home, free and clear, what is there left for anyone--landlords, employers, banks--to threaten you with? What hold does anyone have over you? One can do without practically anything else, if necessary. We would
always be able to scrape together enough money for food, between us, and there is no other material fear as primal or as paralyzing as the thought of losing one's home. With that fear eliminated, we would be free. I'm not saying that owning a house makes life into some kind of blissful paradise; simply that it makes the difference between freedom and enslavement."
He must have read the look on my face. "We're in Ireland, for heaven's sake," he said, with a touch of impatience. "If you know any history at all, what could possibly be clearer? The one crucial thing the British did was to claim the land as their own, to turn the Irish from owners into tenants. Once that was done, then everything else followed naturally: confiscation of crops, abuse of tenants, eviction, emigration, famine, the whole litany of wretchedness and serfdom, all inflicted casually and unstoppably because the dispossessed had no solid ground on which to stand and fight. I'm sure my own family was as guilty as any. There may well be an element of poetic justice in the fact that I
found myself looking at the other side of the coin. But I didn't feel the need simply to accept it as my just deserts. "
― Tana French , The Likeness (Dublin Murder Squad, #2)
142
" Possibly you're braver than I am," he said. "Or possibly--forgive me--you simply haven't decided what you want from life yet; you haven't found anything that you truly want to hold onto. That changes everything, you know. Students and very young people can rent with no damage to their intellectual
freedom, because it puts them under no threat: they have nothing, yet, to lose. Have you noticed how easily the very young die? They make the best martyrs for any cause, the best soldiers, the best suicides. It's because they're held here so lightly: they haven't yet accumulated loves and responsibilities and commitments and all the things that tie us securely to this world. They can let go of it as easily and simply as lifting a finger. But as you get older, you begin to find things that are worth holding onto, forever. All of a sudden you're playing for keeps, as children say, and it changes the very fabric of you. "
― Tana French , The Likeness (Dublin Murder Squad, #2)
155
" Glenskehy is outside Dublin, tucked away in the Wicklow mountains near nothing very much. I'd lived half my life in Wicklow without getting any closer to it than the odd signpost. It turned out to be that kind of place: a scatter of houses getting old around a once-a-month church and a pub and a sell-everything shop, small and isolated enough to have been overlooked even by the desperate generation trawling the countryside for homes they can afford. Eight o'clock on a Thursday morning, and the main street - to use both words loosely - was postcard-perfect and empty, just one old woman pulling a shopping trolley past a worn granite monument to something or other, little sugared-almond houses lined up crookedly behind her, and the hills rising green and brown and indifferent over it all. I could imagine someone getting killed there, but a farmer in a generations-old fight over a boundary fence, a woman whose man had turned savage with drink and cabin fever, a man sharing a house with his brother forty years too long: deep-rooted, familiar crimes old as Ireland, nothing to make a detective as experienced as Sam sound like that. "
― Tana French , The Likeness (Dublin Murder Squad, #2)
156
" I was starting to wonder if I’d been underestimating, not the killer, but the victim. I didn’t want to think this, I’d been flinching off it, but I knew: there had been something wrong with Lexie, way deep down. The flint of her, the way she had left Chad behind without a word and laughed while she got ready to leave Whitethorn House, like an animal biting off its own trapped paw with one snap and no whimper; that could have been just desperation. I understood that, all the way. But this, the seamlessness of that switch from sweet shy May-Ruth to bubbly clown Lexie: that had been something else, something wrong. No kind of fear or desperation could have demanded that. She had done it because she wanted to. A girl with that much hidden and that much dark could have sparked a very high caliber of anger in someone. It’s not easy, Frank had said. But that was the thing: for me, it always had been. Both times, being Lexie Madison had come as natural to me as breathing. I had slid into her like sliding into comfy old jeans, and this was what had scared me, all along. "
― Tana French , The Likeness (Dublin Murder Squad, #2)
