Miko

“Then other memories intruded and a different Robin peeled away from this picture of a safe and ordered past: and there in front of him stood a woman who would not have been out of place in the SIB. This was the Robin who had taken advanced driving courses, who had concussed herself in the pursuit of a killer, who had calmly wrapped her coat like a tourniquet around his bleeding arm after he was stabbed and taken him to hospital. The Robin who had improvised so successfully in interrogating suspects that she had winkled out information that the police had not managed to get, who had invented and successfully embodied Venetia Hall, who had persuaded a terrified young man who wanted his leg amputated to confide in her, who had given Strike a hundred other examples of initiative, resourcefulness and courage that might have turned her into a plain-clothes police officer by now, had she not once walked into a dark stairwell where a bastard in a mask stood waiting.”
― Robert Galbraith, Career of Evil

“The elderly occupant was bent almost double in an armchair beside the window. In the minute that had elapsed since the nurse left him, he’d fallen fast asleep. Robin let the door close quietly behind her, crept across to Ricci and sat down on the end of his single bed, facing the one-time pimp, pornographer and orchestrator of gang-rape and murder.”
― Robert Galbraith, Troubled Blood

“Tired and mildly depressed, Robin’s thoughts lingered on Morris as the Tube sped her back towards Earl’s Court. Was he so used to women responding readily to his undeniable handsomeness that he took it for granted he was eliciting a positive response? Or did the fault lie in Robin herself, who, for the sake of politeness, for the cohesion of the team, because she didn’t want to make trouble when the agency was so busy, continued to smile at his stupid jokes and chose not to say, loudly and clearly, ‘I don’t like you. We’re never going to date.”
― Robert Galbraith, Troubled Blood

“Strike paused for a full minute. He never referred to Jonny Rokeby as ‘Dad’ and he didn’t want to say ‘our father’, because that seemed to bracket himself and Prudence together in a way that felt uncomfortable, as she was a total stranger. And yet some part of him didn’t feel she was a stranger. Some part of him felt a tug towards her. What was it? Simple curiosity? An echo of the longing he’d felt as a child, for a father who never turned up? Or was it something more primitive: the calling of blood to blood, an animal sense of connection that couldn’t quite be eradicated, no matter how much you tried to sever the tie?”
― Robert Galbraith, Troubled Blood