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“To love someone enough to let them go, you had to let them go forever or you did not love them that much.”
― Diana Wynne Jones, Fire and Hemlock

“Only thin, weak thinkers despise fairy stories. Each one has a true, strange fact hidden in it, you know, which you can find if you look.”
― Diana Wynne Jones, Fire and Hemlock

“Being a hero means ignoring how silly you feel.”
― Diana Wynne Jones, Fire and Hemlock

“I've often noticed" Fiona said, "that when people say, 'This can't happen in this day and age', they say it because it is happening.”
― Diana Wynne Jones, Fire and Hemlock

“The truth between two people always cuts two ways.”
― Diana Wynne Jones, Fire and Hemlock

“Happiness isn't a thing. You can't go out and get it like a cup of tea. It's the way you feel about things.”
― Diana Wynne Jones, Fire and Hemlock

“But most dragons seem to have interesting personalities--besides probably having quite good reasons for what they do, if only one could understand them”
― Diana Wynne Jones, Fire and Hemlock

“I don’t think I will get married,â€� Polly said as she stood up. “I’m going to train to be a hero instead.”
― Diana Wynne Jones, Fire and Hemlock

“Mr. Lynn gave her one of his considering looks. "People are strange," he said. "Usually they're much stranger than you think. Start from there and you'll never be unpleasantly surprised. Do you fancy doughnuts?”
― Diana Wynne Jones, Fire and Hemlock

“Polly finished her huge narrative during the summer term. The day after she had finished it, she went round with the oddest mixture of feelings, pride at having got it done, sick of the sight of it and glad it was over, and completely lost without it.”
― Diana Wynne Jones, Fire and Hemlock

“If you were able to hear lime juice, it would sound like violins.”
― Diana Wynne Jones, Fire and Hemlock

“People kept coming up to her all day, saying, “Is it true what Nina says—you come from a broken home?â€�
“Broken right in half,â€� Polly replied to each one. “There’s a hole in the middle where the garden is. You get rained on trying togo upstairs.â€� (p. 154)”
― Diana Wynne Jones, Fire and Hemlock

“Only thin, weak thinkers despise fairy stories.”
― Diana Wynne Jones, Fire and Hemlock

“That is the path of Wickedness, though some call it the Road to Heaven.”
― Diana Wynne Jones, Fire and Hemlock

“people do lose sight of their ideals quite often in adolescence and young adulthood; they tend to see life as far too complex and then come up with the idea that things are only real and valid if they are unpleasant or boring.”
― Diana Wynne Jones, Fire and Hemlock

“She was so happy that she had gone quiet all over. She felt like someone listening to great chords of music that were not to be interrupted by speaking. (p. 152)”
― Diana Wynne Jones, Fire and Hemlock

“You've rotted your mind with reading books.”
― Diana Wynne Jones, Fire and Hemlock

“Mintchoc had the best of everything and was very strict about the time she had it.”
― Diana Wynne Jones, Fire and Hemlock

“Seeing Seb's jeering face, it came to her that Seb had always loved her the way most people bear a grudge.”
― Diana Wynne Jones, Fire and Hemlock

“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. â€� 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

“It took only a few bars to assure her that Thomas Lynn was a very good cellist indeed. His playing had that drive to it which gave you the sense of the shape of the music opening out before him as he played. And he kept that drive and shape, whether the cello was grumbling against the piano, crisply duetting, or out on its own, coaxed into hollow golden song. That feeling of pattern being made, Polly thought, that I had in the pano. Except that this was so expert and so tried that it was hard to believe that it was being done with a musical instrument in somebody’s hands. (p. 360)”
― Diana Wynne Jones, Fire and Hemlock

“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

“I’m getting a figure now, by the way. If I breathe in, I almost have a waist. How about you?â€�
“Sort of,â€� said Polly. As Granny remarked when Polly introduced her to Fiona, both their figures were a pinch of faith, a spoonful of charity, and the rest entirely hope. But she admired Fiona’s red hair and told them both not to wish their lives away. (p. 259-260)”
― Diana Wynne Jones, Fire and Hemlock

“Granny always made Polly think of biscuits. She had a dry, shortbread sort of way to her, with a hidden taste that came out afterwards. Her kitchen had a biscuit smell to it, a nutty, butter smell like no other kitchen. (p. 9)”
― Diana Wynne Jones, Fire and Hemlock