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Famous Hannah Richell Quotes

“The grass in the meadow is wet and the ground gives a little beneath her feet. The herd of alpacas that have taken up residence in the meadow graze in the far distance. Maggie cuts a path towards the distant stile, watching as a flock of starlings take flight, swooping up from the earth and across the bone-colored sky until they come to settle in the treetops. Stepping into the woods, Maggie senses the shift in atmosphere; here the air is a little cleaner, the light a little softer, glancing off the smooth, silver-grey trunks and dancing in the green canopy. She breathes the trees' exhalation, takes it in and makes it her own, inhales the moist-earth scent rising up beneath her boots and fills her lungs. The leaves rustle in the breeze, dripping the last of the raindrops in a steady beat.”

“She finds herself, by some miraculous feat, no longer standing in the old nursery but returned to the clearing in the woods. It is the 'green cathedral', the place she first kissed Jack all those weeks ago. The place where they laid out the stunned sparrowhawk, then watched it spring miraculously back to life. All around, the smooth, grey trunks of ancient beech trees rise up from the walls of the room to tower over her, spreading their branches across the ceiling in a fan of tangled branches and leaves, paint and gold leaf cleverly combined to create the shimmering effect of a leafy canopy at its most dense and opulent. And yet it is not the clearing, not in any real or grounded sense, because instead of leaves, the trees taper up to a canopy of extraordinary feathers shimmering and spreading out like a peacock's tail across the ceiling, a hundred green, gold and sapphire eyes gazing down upon her. Jack's startling embellishments twist an otherwise literal interpretation of their woodland glade into a fantastical, dreamlike version of itself. Their green cathedral, more spectacular and beautiful than she could have ever imagined. She moves closer to one of the trees and stretches out a hand, feeling instead of rough bark the smooth, cool surface of a wall. She can't help but smile. The trompe-l'oeil effect is dazzling and disorienting in equal measure. Even the window shutters and cornicing have been painted to maintain the illusion of the trees, while high above her head the glass dome set into the roof spills light as if it were the sun itself, pouring through the canopy of eyes. The only other light falls from the glass windowpanes above the window seat, still flanked by the old green velvet curtains, which somehow appear to blend seamlessly with the painted scene. The whole effect is eerie and unsettling. Lillian feels unbalanced, no longer sure what is real and what is not. It is like that book she read to Albie once- the one where the boy walks through the wardrobe into another world. That's what it feels like, she realizes: as if she has stepped into another realm, a place both fantastical and otherworldly. It's not just the peacock-feather eyes that are staring at her. Her gaze finds other details: a shy muntjac deer peering out from the undergrowth, a squirrel, sitting high up in a tree holding a green nut between its paws, small birds flitting here and there. The tiniest details have been captured by Jack's brush: a silver spider's web, a creeping ladybird, a puffy white toadstool. The only thing missing is the sound of the leaf canopy rustling and the soft scuttle of insects moving across the forest floor.”

“Here we are," says Jack. Lillian stops and looks around, marveling at the high, green canopy and the soft light streaming through the branches. Overhead a magpie flits through the branches of a tree, rustling leaves until it takes flight with a mournful cry, its wings beating the air. "This is beautiful," she says. "Yes," agrees Jack. "It's like standing inside nature's own cathedral, don't you think?”

“They have the place to themselves and for a while they simply sit and look out at the view, her body relaxing into his. The cloudless sky is a spectacular wash of graduated colors- navy highest above them, fading to lighter cyan closer to the earth, under-lit by the rosy blush of the sun hovering upon the horizon. There is a peace to the place, a certain stillness, nothing but the setting sun and the occasional silhouette of a soaring bird to distract from the awe-inspiring view.”

“It is quiet in the clearing, though gradually Lillian's ears attune to the soft rustling of insects and birds moving through the undergrowth, the faraway tapping of a woodpecker high in a tree. Down on the ground, a bronze-colored beetle tries to scale the side of her shoe. It slips on the smooth leather and tumbles back into the dry leaves, waggling its legs in the air. She shifts slightly on the tree trunk then watches as Jack pulls a strand of grass from a clump growing nearby and sucks on one end, looking about at the canopy overhead. "Wonderful light," he murmurs. "I wish I hadn't left my sketchbook at the house." She knows she must say something. But the moment stretches and she can't find the words so instead she looks about, trying to see the clearing as he might, trying to view the world through an artist's eyes. What details would he pull from this scene, what elements would he commit to memory to reproduce on paper? A cathedral, he'd said; and she supposes there is something rather celestial and awe-inspiring about the tall, arched trees and the light streaming in golden shafts through the soft green branches, filtered as though through stained glass.”