"Why would someone use magic to kill a jazz musician in the middle of his set? I mean, I have my problems with the New Thing and the rest of the atonal modernists but I wouldn’t kill someone for playing it–at least not if I wasn’t trapped in the same room."

““The world was different before the war,” he said. “We didn’t have this instantaneous access to information that your generation has. The world was a bigger, more mysterious place—we still dreamed of secret caves in the Mountains of the Moon, and tiger hunting in the Punjab.”

““It’s one of those paradox thingies,” I said. “What happens when the unstoppable cook meets the unfillable stomach?”

“Like young men from the dawn of time, I decided to choose the risk of death over certain humiliation.”

“It’s a bland box of a building built in the 1970s; it was considered to be so lacking in architectural merit that there was talk of listing it so that it could be preserved for posterity as an awful warning.”

“Back in the summer I’d made the mistake of telling my mum what I did for a living. Not the police bit, which of course she already knew about, having been at my graduation from Hendon, but the stuff about me working for the branch of the Met that dealt with the supernatural. My mum translated this in her head to “witchfinder,” which was good because like most West Africans, she considered witchfinding a more respectable profession than policeman.”

“Was it better to die in the illusion of sunshine and warmth or face death in a cold darkness of reality? Was it better to die in happy ignorance or terrified knowledge? The answer, if you’re a Londoner, is that it’s better not to die at all.”