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Quote by Diana Norman

“A small brazier glowed near the monk's left hand. On a lecturn before him lay pots of paints, brushes, a quill, a pen, a knife, a sizeable handbell, the tooth of some animal--and a piece of parchment. It was the parchment that commanded the room. Until he saw it Len didn't realize how starved he had been of colour. Villagers dressed in various shades of brown and beige, like their furniture and fields and now, here, was an irruption of the rainbow, as if a charm of goldfinches had landed on the manuscript and been transfixed.”

Quote by Diana Norman

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Fitzempress' Law

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Diana Norman

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“It is commonly said that a good horse should have fifteen properties and conditions, namely: three of a man, three of a woman, three of a fox, three of a hare and three of an ass: like a man, he should be bold, proud and hardy; like a woman, he should be fair breasted, fair of hair and easy to lie upon; like a fox, he should have a fair tail, short ears and go with a good trot; like a hare, he should have a great eye, a dry head and run well; and like an ass, he should have a big chin, a flat leg and a good hoof.”

“This is a smashing place, isn't it? But I must say it scares me a bit. Do you suppose one dares to ask for some tea?' 'I expect so, though heavens knows how. Perhaps you blow a peal on a slughorn, or beat on your shield with your sword -- or, I'll tell you what, if you look around you'll find a long embroidered tassel, and if you pull it you'll hear a bell clanging hollowly in some dark corridor a million miles away, and then some bent old servitor will come shuffling in--' 'There's a telephone by the bed,' said Timothy. 'Good heavens, so there is. How disappointing.' - Airs Above the Ground”

“Even with the onset of contemporary animal advocacy, and the unavoidability of at least some knowledge of what goes on in slaughterhouses and on factory farms, most of us choose to look away—even feminists. Collectively, feminists remain largely unaware of the well-documented links between the exploitation of women and girls, and the exploitation of cows, sows, and hens.”

“The first sorrow of autumn is the slow good-bye of the garden that stands so long in the evening—a brown poppy head, the stalk of a lily, and still cannot go. The second sorrow is the empty feet of a pheasant who hangs from a hook with his brothers. The woodland of gold is folded in feathers with its head in a bag. And the third sorrow is the slow good-bye of the sun who has gathered the birds and who gathers the minutes of evening, the golden and holy ground of the picture. The fourth sorrow is the pond gone black, ruined, and sunken the city of water—the beetle's palace, the catacombs of the dragonfly. And the fifth sorrow is the slow good-bye of the woodland that quietly breaks up its camp. One day it's gone. It has only left litter—firewood, tent poles. And the sixth sorrow is the fox's sorrow, the joy of the huntsman, the joy of the hounds, the hooves that pound; till earth closes her ear to the fox's prayer. And the seventh sorrow is the slow good-bye of the face with its wrinkles that looks through the window as the year packs up like a tatty fairground that came for the children.”