WutYee/HarryPotter_books_1to7 · Datasets at Hugging Face

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“Yes, I am,” said Mad-Eye, who seemed rather pleased that Uncle
Vernon had grasped this fact so quickly.
“And do I look like the kind of man who can be intimidated?”
barked Uncle Vernon.
“Well . . .” said Moody, pushing back his bowler hat to reveal his
CHAPTER THIRTY-EIGHT
870
sinisterly revolving magical eye. Uncle Vernon leapt backward in hor-
ror and collided painfully with a luggage trolley. “Yes, I’d have to say
you do, Dursley.”
He turned from Uncle Vernon to Harry. “So, Potter . . . give us a
shout if you need us. If we don’t hear from you for three days in a row,
we’ll send someone along. . . .”
Aunt Petunia whimpered piteously. It could not have been plainer
that she was thinking of what the neighbors would say if they caught
sight of these people marching up the garden path.
“ ’Bye, then, Potter,” said Moody, grasping Harry’s shoulder for a
moment with a gnarled hand.
“Take care, Harry,” said Lupin quietly. “Keep in touch.”
“Harry, we’ll have you away from there as soon as we can,” Mrs.
Weasley whispered, hugging him again.
“We’ll see you soon, mate,” said Ron anxiously, shaking Harry’s
hand.
“Really soon, Harry,” said Hermione earnestly. “We promise.”
Harry nodded. He somehow could not find words to tell them
what it meant to him, to see them all ranged there, on his side. Instead
he smiled, raised a hand in farewell, turned around, and led the way
out of the station toward the sunlit street, with Uncle Vernon, Aunt
Petunia, and Dudley hurrying along in his wake.



This
book was art
directed by David Saylor.
The art for both the jacket and the
interior was created using pastels on toned
printmaking paper. The text was set in 11.5-point Adobe
Garamond, a typeface based on the sixteenth-century type designs of
Claude Garamond, redrawn by Robert Slimbach in 1989. The book was typeset
by Brad Walrod and was printed and bound at Berryville Graphics in
Berryville, Virginia. No old-growth forests were used to
create the paper for this book. The Managing
Editor was Manuela Soares and the
Manufacturing Director
was Angela
Biola.

“Yes, I am,” said Mad-Eye, who seemed rather pleased that Uncle

Vernon had grasped this fact so quickly.

“And do I look like the kind of man who can be intimidated?”

barked Uncle Vernon.

“Well . . .” said Moody, pushing back his bowler hat to reveal his

CHAPTER THIRTY-EIGHT

870

sinisterly revolving magical eye. Uncle Vernon leapt backward in hor-

ror and collided painfully with a luggage trolley. “Yes, I’d have to say

you do, Dursley.”

He turned from Uncle Vernon to Harry. “So, Potter . . . give us a

shout if you need us. If we don’t hear from you for three days in a row,

we’ll send someone along. . . .”

Aunt Petunia whimpered piteously. It could not have been plainer

that she was thinking of what the neighbors would say if they caught

sight of these people marching up the garden path.

“ ’Bye, then, Potter,” said Moody, grasping Harry’s shoulder for a

moment with a gnarled hand.

“Take care, Harry,” said Lupin quietly. “Keep in touch.”

“Harry, we’ll have you away from there as soon as we can,” Mrs.

Weasley whispered, hugging him again.

“We’ll see you soon, mate,” said Ron anxiously, shaking Harry’s

hand.

“Really soon, Harry,” said Hermione earnestly. “We promise.”

Harry nodded. He somehow could not find words to tell them

what it meant to him, to see them all ranged there, on his side. Instead

he smiled, raised a hand in farewell, turned around, and led the way

out of the station toward the sunlit street, with Uncle Vernon, Aunt

Petunia, and Dudley hurrying along in his wake.

This

book was art

directed by David Saylor.

The art for both the jacket and the

interior was created using pastels on toned

printmaking paper. The text was set in 11.5-point Adobe

Garamond, a typeface based on the sixteenth-century type designs of

Claude Garamond, redrawn by Robert Slimbach in 1989. The book was typeset

by Brad Walrod and was printed and bound at Berryville Graphics in

Berryville, Virginia. No old-growth forests were used to

create the paper for this book. The Managing

Editor was Manuela Soares and the

Manufacturing Director

was Angela

Biola.