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"I suppose you don't have much time for enjoying music," Clary said, thinking of Simon, for whom music was his entire life, "in your line of work."
He shrugged. "Maybe the occasional wailing chorus of the damned."
--
Clary and Jace, pg. 172

 

Cassandra Clare

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"Where's Simon?" Clary interrupted.
Isabelle wobbled. "He's a rat," she said darkly.
"Did he do something to you?" Alec was full of brotherly concern. "Did he touch you? If he tried anything-"
"No, Alec," Isabelle said irritably. "Not like that. He's a rat"

 

Cassandra Clare

 

"Traded him for Alec," Clary said.
"Not permanently"
"No," said Jace. "Just for a few hours. Unless I don't come back. In which case, maybe he does get to keep Alec. Think of it as a lease with an option to buy."
"Mom and Dad won't be pleased if they find out."
"That you freed a possible criminal by trading away your brother to a warlock who looks like a gay Sonic the Hedgehog and dresses like the Child Catcher from Chitty Chitty Bang Bang?" Simon inquired. "No, probably not."

 

Cassandra Clare

 

"Do you remember back at the hotel when you promised that if we lived, you'd get dressed up in a nurse's outfit and give me a sponge bath?"
"Actually, I think you misheard," Clary said. "It was Simon who promised you the sponge bath."
Jace looked involuntarily over at Simon, who smiled at him widely. "As soon as I'm back on my feet, handsome."
"I knew we should have left you a rat."

 

Cassandra Clare

 

His language had a special vocabulary — not just "the SF" [God] and "epsilon" [child] but also "bosses" (women), "slaves" (men), "captured" (married), "liberated" (divorced), "recaptured" (remarried), "noise" (music), "poison" (alcohol), "preaching" (giving a mathematics lecture), "Sam" (the United States), and "Joe" (the Soviet Union). When he said someone had "died," Erdős meant that the person had stopped doing mathematics. When he said someone had "left," the person had died.

 

Paul Erdos

 

I think there are some objective [musical] qualities... how complex something is, how melodic, how diverse the tonality is, et cetera. But I could also make a piece of music that contains all of those and yet isn't "good" from a subjective viewpoint. For example, take Beethoven's "Moonlight Sonata", Beatles "Yesterday", and Underworld's "Born Slippy", and play them all on top of each other at the same time. Great music in their own right, but terrible sounding together.

 

Andrew Sega