Arthur Lopez

“Koh demonstrating how to make a toga of a bed-sheet and sending Blue and Gansey into a cluttered bedroom to change. It was Gansey politely turning his back as she undressed and then Blue turning hers – maybe turning hers. It was Blue’s shoulder and her collarbone and her legs and her throat and her laugh her laugh her laugh. He couldn’t stop looking at her, and here, it didn’t matter, because no one here cared that they were together. Here, he could play his fingers over her fingers as they stood close, she could lean her cheek on his bare shoulder, he could hook his ankle playfully in hers, she could catch herself with an arm around his waist. Here he was unbelievably greedy for that laugh.”
― Maggie Stiefvater, The Raven King

“Gansey had always felt as if there were two of him: the Gansey who was in control, able to handle any situation, able to talk to anyone, and then, the other, more fragile Gansey, strung out and unsure, embarrassingly earnest, driven by naive longing.”
― Maggie Stiefvater, The Raven Boys

“Wait. I will say something. This is too important. And if you don’t listen to anything else I tell you, I hope you’ll listen now. No matter what you might hear about all these tragic figures, and the whole romantic image of the suffering artist, suicide is not cool. It’s not heroic. It’s not romantic. It’s like running away. Abandoning your family. And leaving someone else to clean up your mess. Only, it’s even worse, because once you go there, you can’t come back. And that would really suck.”
― David Lubar, Sleeping Freshmen Never Lie

“What a strange constellation they all were.”
― Maggie Stiefvater, The Raven King