Noel Kelly

“But really, why would one bother to imitate anything so vulnerable and unreliable, or with such built-in obsolescence: a central processing unit that could be utterly destroyed because some ancillary mechanical part – the heart, say, or the liver – suffered a temporary interruption? It was like losing a Cray supercomputer and all of its memory files because a plug needed changing.”
― Robert Harris, The Fear Index

“The fisherman-painter has the best of the bargain as far as the weather goes, for the weather that is too bright for the trout deluges his hills and his sea with floods of radiant colour; the rain that interrupts picture-making puts water into the rivers and the lochs and sends him hopefully forth with rod and creel; while on cold dull days, when there is neither purple on the hills nor fly on the river, he can join a friendly party in a cosy bar and exchange information about Cardinals and March Browns, and practise making intricate knots in gut.”
― Dorothy L. Sayers, Five Red Herrings

“There are large and stately studios, panelled and high, in strong stone houses filled with gleaming brass and polished oak. There are workaday studios – summer perching-places rather than settled homes – where a good north light and a litter of brushes and canvas form the whole of the artistic stock-in-trade. There are little homely studios, gay with blue and red and yellow curtains and odd scraps of pottery, tucked away down narrow closes and adorned with gardens, where old-fashioned flowers riot in the rich and friendly soil. There are studios that are simply and solely barns, made beautiful by ample proportions and high-pitched rafters, and habitable by the addition of a tortoise stove and a gas-ring. There are artists who have large families and keep domestics in cap and apron; artists who engage rooms, and are taken care of by landladies; artists who live in couples or alone, with a woman who comes in to clean; artists who live hermit-like and do their own charing. There are painters in oils, painters in water-colours, painters in pastel, etchers and illustrators, workers in metal; artists of every variety, having this one thing in common – that they take their work seriously and have no time for amateurs.”
― Dorothy L. Sayers, Five Red Herrings

“Wetheridge said he had been chased all over the Club that morning by an infernal photographer fellow, and that one got no peace these days with all this confounded publicity. Wimsey said it was all done for advertisement, and that advertisement was the curse of the age. Look at the papers – nothing but advertisements from cover to cover. Wetheridge said that in his time, by gad, a respectable Club would have scorned advertisements, and that he could remember the time when newspapers were run by gentlemen for gentlemen. Wimsey said that nothing was what it had been; he thought it must be due to the War.”
― Dorothy L. Sayers, Unpleasantness at the Bellona Club