How we cite our quotes: (Chapter.Paragraph)
Quote #1
"Josef and I are starting up a new tour. Old Town vampire tour. The tourists will eat it up." (1.16)
Performance art is a big part of both Kazimir and Zuzana's lives. Why isn't Karou as into it as they are?
Quote #2
Monday, Wednesday, and Friday, Karou's first class was life drawing. (2.1)
Karou doesn't just draw as a hobby; she's going to school for it. It was either that or a degree in Black Market Economics, and those classes were filled up. Just kidding.
Quote #3
Karou's sketchbooks had a cult following around school and were handed around and marveled at on a daily basis. (2.15)
As we see here, Karou's specialty in art is drawing. Do you think it's possible that the subjects of some real-life fantastical art pieces are also real—just like in Daughter of Smoke and Bone?
Quote #4
[Issa] and Twiga and Yasri were as hooked on Karou's sketchbooks as her human friends were, but for the opposite reason. They like to see the normal things: tourists huddled under umbrellas, chickens on balconies, children playing the park. (5.14)
This goes to show that, depending on your perspective, absolutely anything can be art.
Quote #5
[Karou] could put it in her sketchbook, and that was something, but it wasn't enough. She wanted to talk. (10.34)
Art is a way to express feelings that you can't necessarily put into words. But Karou's been creating art so long that she thinks it's time to start talking to other people. She wants to know the truth.
Quote #6
"Do you have any new drawing of [Issa]?" (13.31)
Karou's friends like her drawings because they show them a world that they don't even know exists, a world of magic and fantasy. Izîl likes the drawings because they show him a world he can never go back to—his world of magic and fantasy. Sad.
Quote #7
Over her the puppeteer loomed sinister, and as Zuzana twirled, its arms and fingers jittered and jumped as if it were controlling her, and not the other way around. (26.66)
Zuzana's puppet show is amazing. The crowd loves it and showers her with coins. However, the performance makes Karou feel empty inside. Why do you think this is? What is it about the show that awakens feelings like this inside of Karou?
Quote #8
Karou, her back to [Akiva], dropped a theatrical curtsy. (29.27)
Here's an important lesson: if you end up performing real magic in public--like fighting an angel in midair--just pretend it was all an act. People on the street will believe anything. Heck, they might even give you money for it.
Quote #9
It was beautiful, what [Brimstone] did, but terrible, too, and the terrible bountifully outweighed the beautiful. (49.32)
Brimstone's "dark art" of making necklaces and bodies is exactly that: an art. He has to craft them patiently, with skill, and they are beautiful. Like a lot of artists, Brimstone also has to tap into a lot of pain to do create his works.
Quote #10
Loramendi's main thoroughfare, the Serpentine, became a processional route on the Warlord's birthday. The custom was to dance its length, moving from partner to masked partner all the way to the agora, the city's gathering place. (51.1)
Even in times of war, the chimaera turn to dance to express themselves, socialize, and relieve stress. It's a peaceful, fun part of their otherwise violent culture. We figure dancing is a good hobby for them. Some of 'em might not have opposable thumbs, so drawing and playing instruments might be challenging…