82
" We think about mortality so little, these days, except to flail hysterically at it with trendy forms of exercise and high-fiber cereals and nicotine patches. I thought of the stern Victorian determination to keep death in mind, the uncompromising tombstones: Remember, pilgrim, as you pass by, As you are now so once was I; As I am now so will you be.…Now death is un-cool, old-fashioned. To my mind the defining characteristic of our era is spin, everything tailored to vanishing point by market research, brands and bands manufactured to precise specifications; we are so used to things transmuting into whatever we would like them to be that it comes as a profound outrage to encounter death, stubbornly unspinnable, only and immutably itself. "
― Tana French , In the Woods (Dublin Murder Squad, #1)
84
" It was sort of like, you know Sean Callaghan, Sean from the dig? He used to be in this band only they broke up, and he’s always talking about ‘Oh, when we get the band back together, when we make it big…’ And, I mean, he knows they’re never gonna do it, but talking about it makes him feel better.” “We’ve all been in that band,” Cassie said, smiling. "
― Tana French , In the Woods (Dublin Murder Squad, #1)
88
" This is not an easy thing to admit, but until that moment I had held out some craven speck of hope that this had all been a hideous misunderstanding. A boy who would say anything he thought you wanted to hear, a girl made vicious by trauma and grief and my rejection on top of it all; we could have misinterpreted in any one of a hundred ways. It was only in that moment, in the ease of that gratuitous lie, that I understood that Rosalind—the Rosalind I had known, the bruised, captivating, unpredictable girl with whom I had laughed in the Central and held hands on a bench—had never existed. Everything she had ever shown me had been constructed for effect, with the absorbed, calculating care that goes into an actor's costume. Underneath the myriad shimmering veils, this was something as simple and deadly as razor wire. "
― Tana French , In the Woods (Dublin Murder Squad, #1)
95
" We lay very still. I could feel the air around us changing, blooming and shimmering like the air over a scorching road. My heart was speeding, or hers was banging against my chest, I'm not sure. I turned Cassie in my arms and kissed her, and after a moment she kissed me back.
I know I said that I always choose the anticlimactic over the irrevocable, and yes of course what I meant was that I have always been a coward, but I lied: not always, there was that night, there was that one time. "
― Tana French , In the Woods (Dublin Murder Squad, #1)
99
" Picture a summer stolen whole from some coming-of-age film set in the small-town 1950s. This is none of Ireland's subtle seasons mixed for a connoisseur's palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and football-bounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend's knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory. "
― Tana French , In the Woods (Dublin Murder Squad, #1)