“As for the myths, take anyone's life and deny that most of it is deliberate self-delusion - an aggrandizement - a mixture of lies and truth, of what was wanted and what was had, producing the necessary justification for having been granted life in the first place. I was struck like a match, Lily wrote. I had no option but to burn.
You can put a period after that. Lily did. It was the story of her life.”
― Timothy Findley, quote from The Piano Man's Daughter
“Ede had been pregnant not quite the full term: eight months, two weeks, four days. She had lapsed into an extended silence - partly because she was still in mourning - still enraged and afraid of speech. And partly, too, because the child itself had taken up dreaming in her belly - dreaming and, Ede was certain, singing. Not singing songs a person knew, of course. Nothing Ede could recognize. But songs for certain. Music - with a tune to it. Evocative. A song about self. A song about place. As if a bird had sung it, sitting in a tree at the edge of a field. Or high in the air above a field. A hovering song. Of recognition.”
― Timothy Findley, quote from The Piano Man's Daughter
“I can't work in a house where there's saints. The minute there's saints, the devil sends messengers”
― Timothy Findley, quote from The Piano Man's Daughter
“I tell you Charlie, I was there waiting in that field. waiting for Ede and Tom to find me. You don't think two people come together for nothing, do you? They were together because I was waiting to be found..."
Then she looked straight into my face and said to me: "You know it, too, Charlie. All that time you waited for me to find you. What if I hadn't? What if I'd said: I won't?"
She turned, and clinging to my arm, she surveyed the fields of snow the stretched away to the confining wall.”
― Timothy Findley, quote from The Piano Man's Daughter
“Frederick?
Had she really spoken? Certainly she'd tried, but her voice had failed to materialize and all she heard was the sound of her nightgown ripping as Frederick pulled it over her head and threw it aside.
He was kneeling now between her ankles, pushing at her, forcing her knees apart and then her arms until she was entirely splayed on the bed beneath him.
Nothing was said. Not a word.
Ede felt his hand between her legs, forcing the way for the rest of him. Stop, she wanted to tell him. Stop. I don't understand what you're doing. But nothing - still nothing was said.
He seemed to be raging inside her, moving his hips in a circular fashion, all the weight of his upper body help above her, resting on his arms, his hands pushing down into the mattress.
Stop! But he didn't.
Don't! But he did.
Nothing. Not one word.
The only sound he made was a choking noise in his throat at the end, as tough he might be going to strangle. But when he rolled away from her onto his back, she felt the shudder of his first free breath and she heard him sigh. It was over. Tonight. It was done.
Ede could not bare the thought of seeing him, or of being seen. Still without speaking, she rose from the bed and through the dark, found her way to the bathroom. She had brought the torn nightgown wit her, but when she turned on the light and saw it, she threw it down in the corner. Ruined. Spoiled. Everything.
When at last, she returned to the bed, Fredrick was sound asleep beneath the covers - and nothing - nothing - nothing was said.”
― Timothy Findley, quote from The Piano Man's Daughter
“With Tom, there had never been a door to close, only the grass to lie on, never a bed; no walls, no ceiling to shut them in - or others out. Only the moon to see them, only the moon, some stars and whatever it was that had flown up out of the field when Ede had cried 'don't' in the final seconds of their embrace. Don't - meaning don't withdraw.”
― Timothy Findley, quote from The Piano Man's Daughter
Timothy Findley
Born place: in Toronto, Ontario, Canada
Born date October 30, 1930
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“Truly effective negotiators are conscious of the verbal, paraverbal (how it’s said), and nonverbal communications that pervade negotiations and group dynamics. And they know how to employ those subtleties to their benefit. Even changing a single word when you present options—like using “not lose” instead of “keep”—can unconsciously influence the conscious choices your counterpart makes.”
― Chris Voss, quote from Never Split the Difference: Negotiating As If Your Life Depended On It
“Why do some people—so many—need to control others, tell them what to do, use them if they can, destroy those who won’t be used?” She sensed that the question wasn’t rhetorical, that he cared what she would say. “Why Hitler, why Stalin, why Emory Wayne Udell? I don’t know. Demonic influence or just miswired brains? In the end, does it matter which? Maybe what matters is that some of us aren’t broken by it all, that we can take it to the Emory Udells and the William Overtons and the Bertold Shennecks, take it to them and stop them before they can do everything they dream about.” North”
― Dean Koontz, quote from The Silent Corner
“Happy. It's the stupidest word in the English language. It's a sprinkles-on-your-ice-cream, My-Little-Pony kind of a word, and yet we are all expected to be happy about everything, including that which makes us miserable, like school.”
― Laura Creedle, quote from The Love Letters of Abelard and Lily
“innovation is a very difficult thing in the real world”
― Richard Feynman, quote from Surely You're Joking, Mr. Feynman!
“Oh! money! All the troubles in the world can be put down to money—or the lack of it.”
― Agatha Christie, quote from El asesinato de Roger Ackroyd
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