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Read through the most famous quotes by topic #rings
Rowena Clark and I had met on the first day of our mixed media class. I’d sat down at her table and said, “Mind if I join you? Figure the best way to learn about art is to sit with a masterpiece.” Maybe I was in love, but I was still Adrian Ivashkov. Rowena had fixed me with a flat look. “Let’s get one thing straight. I can see through crap a mile away, and I like girls, not guys, so if you can’t handle me telling you what’s what, then you’d better take your one-liners and hair gel somewhere else. I don’t go to this school to put up with pretty boys like you. I’m here to face dubious employment options with a painting degree and then go get a Guinness after class.” I’d scooted my chair closer to the table. “You and I are going to get along just fine. ↗
#carlton-college #flirting #palm-springs #richelle-mead #the-fiery-heart
I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators. ↗
You love Robert, not me. You don’t love Lord Stuffy, so I tried to be like Robert.” The sweet idiot! She felt like weeping again. She began to protest, but he cut her off. “I don’t drink and I don’t gamble and I don’t have a mistress. I’m dull. You told me so, the first time we met. So I tried to change.” He frowned. “Not the mistress. I’ll never do that.” “Good,” she whispered. “I’m trying to be like Robert, but I’m no good at it. I drank wine. And brandy, lots of it. I didn’t like it and it made me sick. I played hazard and I lost.” He looked momentarily cheerful and her heart sank. “But I didn’t like that either. If I was a real man like Mr. Fox, or Robert, I’d have lost thousands.” The sadder he looked, the more her heart ached, a happy ache. “I failed you, Caro. I’m sorry, but I’m afraid I’ll always be Lord Stuffy,” he said, and closed his tortured, bloodshot eyes. ↗
For the rest, they shall represent the other Free Peoples of the World: Elves, Dwarves, and Men, Legolas shall be for the Elves; and Gimli son of Gloin for the Dwarves. They are willing to go at least to the passes of the Mountains, and maybe beyond. For Men you shall have Aragorn son of Arathorn, for the Ring of Isildur concerns him closely ↗
