Quotes about floor
page 5

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

“A jump from the sixth floor is definitely more harmful than taking heroin, yet we don't forbid building sixth floors.”

Janusz Korwin-Mikke (1942) polish politician

Polish: Skok z szóstego piętra jest z całą pewnością bardziej szkodliwy niż zażywanie heroiny, aczkolwiek nie zakazujemy budowy szóstych pięter.
Source: drug legalization debate, 13 November 2007.

“I opened the door, and there he stood, a telegraph boy. I signed for the telegram, sat on the bed, and wondered if the wine had finally got the Old Man's heart. The telegram said: your book accepted mailing contract today. Hackmuth. That was all. I let the paper float to the carpet. I just sat there. Then I got down on the floor and began kissing the telegram. I crawled under the bed and just lay there. I did not need the sunshine anymore. Nor the earth, nor heaven. I just lay there, happy to die. Nothing else could happen to me. My life was over.”

John Fante book Ask the Dust

Ask the Dust (1939)

Life, Happiness, Books, Boy

“Tonight there was music in the saloon, a piano and a violin; two fat women with hard masculine faces and short haircuts. Their song was Over the Waves. Ta de da da, and I watched Camilla dancing with her beer tray. Her hair was so black, so deep and clustered, like grapes hiding her neck. This was a sacred place, this saloon. Everything here was holy, the chairs, the tables, that rag in her hand, that sawdust under her feet. She was a Mayan princess and this was her castle. I watched the tattered huaraches glide across the floor, and I wanted those huaraches. I would like them to hold in my hands against my chest when I fell asleep. I would like to hold them and breathe the odor of them.”

John Fante book Ask the Dust

Ask the Dust (1939)

Women, Music, Beer, Dance

“Somehow it doesn't seem long since I trudged in a picket-line; in the street here, and in the rain. A fairly muted demonstration against the Museum, which wasn't always in a mood for showing abstract paintings by Americans. It was fun I suppose-needless to say, the picketing produced no results. Yet a majority of the picketers are visible through their works at the moment, upstairs on the third floor, where it's warm and out of the rain. However, this is no time to celebrate in fact it's better if artists never celebrate. New abstract picket-lines are doubtless assembling, to protest the former picketers.”

George L.K. Morris (1905–1975) American painter and sculptor

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Mood, Time, Painting

“June 1, 2009 was the day that we were meant to go to the stadium and try and get the president's attention. It's a national holiday, it's broadcast across the country, and I showed up at the stadium. My friends did not show up. I found myself alone, and I didn't know what to do. I was scared, but I knew very well that that particular day, I had to make a decision. Was I able to live as a coward, like everyone else, or was I going to make a stand? And when the president stood up to speak, I found myself on my feet shouting at the president, telling him to remember the post-election violence victims, to stop the corruption. And suddenly, out of nowhere, the police pounced on me like hungry lions. They held my mouth and dragged me out of the stadium, where they thoroughly beat me up and locked me up in jail. I spent that night in a cold cement floor in the jail, and that got me thinking. What was making me feel this way? My friends and family thought I was crazy because of what I did, and the images that I took were disturbing my life. The images that I took were just a number to many Kenyans. Most Kenyans did not see the violence. It was a story to them. … That day in the stadium, I stood up as a smart coward. By that one action, I said goodbye to the 24 years living as a coward.”

Boniface Mwangi (1983) Kenyan photojournalist

The day I stood up alone

Life, Family, Way, Feeling

“Manuel Mercado Acosta is an indio from the mountains of Durango. His father operated a mescal distillery before the revolutionaries drove him out. He met my mother while riding a motorcycle in El Paso. Juana Fierro Acosta is my mother. She could have been a singer in a Juarez cantina but instead decided to be Manuel’s wife because he had a slick mustache, a fast bike and promised to take her out of the slums across from the Rio Grande. She had only one demand in return for the two sons and three daughters she would bear him: “No handouts. No relief. I never want to be on welfare.” I doubt he really promised her anything in a very loud, clear voice. My father was a horsetrader even though he got rid of both the mustache and the bike when FDR drafted him, a wetback, into the U. S. Navy on June 22, 1943. He tried to get into the Marines, but when they found out he was a good swimmer and a non-citizen they put him in a sailor suit and made him drive a barge in Okinawa. We lived in a two-room shack without a floor. We had to pump our water and use kerosene if we wanted to read at night. But we never went hungry. My old man always bought the pinto beans and the white flour for the tortillas in 100-pound sacks which my mother used to make dresses, sheets and curtains. We had two acres of land which we planted every year with corn, tomatoes and yellow chiles for the hot sauce. Even before my father woke us, my old ma was busy at work making the tortillas at 5:00 A. M. while he chopped the logs we’d hauled up from the river on the weekends.”

Oscar Zeta Acosta book Autobiography of a Brown Buffalo

Source: Autobiography of a Brown Buffalo (1972), p. 72.

Mountain, Business, Water, Reading

“Returning home on leave following my second year at West Point, I called on a great-uncle who had joined the Confederate Army at the age of sixteen and had fought in a number of major Civil War battles, including Gettysburg, and had been with Robert E. Lee at Appamatox. My Uncle White was the younger brother of my grandfather. He hated Yankees and Republicans, not necessarily in that order, and talked derisively about both. When I visited, he was seated in a wheel chair, in grudging acquiescence to the infirmities of age. Tobacco juice decorated his shirt and stains around a spittoon on the floor testified to the inaccuracy of his aim. Flies buzzed through screenless windows. "What are you doing with yourself, son?" Uncle White asked. I answered the old veteran with trepidation. "I'm going to that same school that Grant and Sherman went to, the Military Academy at West Point, New York."”

William Westmoreland book A Soldier Reports

Uncle White was silent for what seemed like a long time. "That's all right, son," he said at last. "Robert E. Lee and Stonewall Jackson went there too."
Source: A Soldier Reports (1976), p. 12.

Hate, War, Age, School

“The character and conquest of the invincible champion are ever the same. A Lacedaemonian died while writing with his own blood on a rock — " Sparta has conquered!" But, O, there is an illustration higher and better than any derived from mere earthly annals. Jesus veiled His glory in the skies; shrouded divinity in mortality, and with godhead and humanity coalesced in His person, entered the lists with more than mortal strife against the powers of hell. He drank the bitter cup with sublimer resignation than the sages of earth ever knew; contended victoriously where finite champions must inevitably have been destroyed; fell, like the strong man, destroying His foes by His death; persevered on our behalf in all the fearful descent from the august throne of the Eternal to the stony floor of the cold and gloomy sepulchre; that Hope's sweet fountain might gush up for mankind in Golgotha, and Salvation plant her banner with immortal triumph at the portal of the conquered tomb.”

Elias Lyman Magoon (1810–1886) American minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 451.

Death, Fear, Hope, Hell

“When I wrote about Hank Williams 'A hundred floors above me in the tower of song', it's not some kind of inverse modesty. I know where Hank Williams stands in the history of popular song. Your Cheatin' Heart, songs like that, are sublime, in his own tradition, and I feel myself a very minor writer.”

Hank Williams (1923–1953) American country music singer

Leonard Cohen, Who held a gun to Leonard Cohen's head? http://www.guardian.co.uk/arts/fridayreview/story/0,12102,1305765,00.html The Guardian (2006-06-20) About

Feeling, History, Heart

“I had no idea what I was doing when I wrote Search. There was no carefully designed work plan. There was no theory that I was out to prove. I went out and talked to genuinely smart, remarkably interesting, first-rate people. I had an infinite travel budget that allowed me to fly first class and stay at top-notch hotels and a license from McKinsey to talk to as many cool people as I could all around the United States and the world.
I went to see Karl Weick, who had totally influenced my life. I had read his work a thousand times, and I'd never met him. I went to Oslo to talk with Einar Thorsrud, who had studied empowerment on oil tankers. I went to the Tavistock Institute in London, where the leading thinkers on organizational development were looking at why people work together effectively in team configurations under certain circumstances.
Word of the meeting got back to McKinsey USA, and I was invited to give a presentation to the top management of PepsiCo… The time was drawing near for the Pepsi presentation to take place. One morning at about 6, I sat down at my desk overlooking the San Francisco Bay from the 48th floor of the Bank of America Tower, and I closed my eyes. Then I leaned forward, and I wrote down eight things on a pad of paper. Those eight things haven't changed since that moment. They were the eight basic principles of Search.”

Tom Peters (1942) American writer on business management practices

Tom Peters (2001) "Tom Peters's True Confessions" in Fast Company, December 2001 ( online http://www.fastcompany.com/44077/tom-peterss-true-confessions, Nov 31, 2001).

Life, People, World, Travel

“… the only difference between Al Gore and George W. Bush is the velocity with which their knees hit the floor when corporations knock on their door.”

Ralph Nader (1934) American consumer rights activist and corporate critic

quoted in American Character: A History of the Epic Struggle Between Individual Liberty and the Common Good (2015)

Source: [Woodard, Colin, American Character: A History of the Epic Struggle Between Individual Liberty and the Common Good, 1980, Simon and Schuster, 0698181719]

“Starting with the Minnesota twin study thirty-five years ago, and now with a mountain of data from twin, sibling, and adoption studies, we know that pretty much anything you can quantify about human personality, behavior, and intelligence is to some degree heritable, average-average at around the fifty percent level but sometimes much higher. We now in fact have a busy and exciting field of study called “behavioral genetics.” Given that all these traits are heritable, it follows from the ordinary laws of biology that different races will exhibit different statistical profiles on them. That’s not astonishing, mysterious, or horrible: It’s just first-floor-level science.”

John Derbyshire (1945) writer

John Derbyshire On Why Race Realism Makes More Sense Than “Magic Dirt” Theory http://www.vdare.com/articles/john-derbyshire-on-why-race-realism-makes-more-sense-than-magic-dirt-theory, VDARE, November 1, 2015.

Law, Behavior, Mountain, Intelligence

“I've seen most of Nathan's work, but it was seeing both 'Lisbon Traviata' and 'Laughter on the 23rd Floor' that I realized just what a superb physical comic he was.”

Nathan Lane (1956) American actor

Mike Nichols — reported in Kenneth M. Chanko, Entertainment News Wire (March 11, 1996) "Dragged Into The Limelight", Press-Telegram, p. D1.
About

Laughter

“In early 1981 one of the most important moments in my life occurred. I entered a vivisection lab … In one of the cages, I saw a young Alaskan malamute … The dog tried to lick my face through the bars. Maybe he thought I had come to save him. I saw the infected stitches in the belly, oozing pus and blood. I saw the filthy, encrusted tube that was draining fluid out of his stomach. And as I held him, I saw the rotted stitches start to come apart and his guts start to spill out. As gently as I could, I let him down onto the floor of the cage and placed my hand on him, trying to comfort him in those last few moments of his life. I was still holding him when at last he took his final struggling breaths and died. It seemed to take a lifetime. I was close to tears as I looked at the body, and I thought, this isn’t science — this is madness. Standing there, looking at that gentle animal lying dead in a bloody cage, I made a promise to him and to myself, that I would never forget him, that I would keep on fighting vivisection until it was ended.”

Chris DeRose (1948) American actor and activist

"Chris DeRose: Vegan Easy Challenge Ambassador", interview with VeganEasy.org (2011) https://web.archive.org/web/20111012130026/http://veganeasy.org/Chris-DeRose.

Life, Dogs, Lying, Tear

“I have been asked what I mean by 'word of honor.' I will tell you. Place me behind prison walls--walls of stone ever so high, ever so thick, reaching ever so far into the ground--there is a possibility that in some way or another I may escape; but stand me on the floor and draw a chalk line around me and have me give my word of honor never to cross it. Can I get out of the circle? No. Never! I'd die first!”

Karl G. Maeser (1828–1901) prominent Utah educator and a member of The Church of Jesus Christ of Latter-day Saints

BYU Honor Code http://honorcode.byu.edu/index.php?option=com_ezine&Itemid=4613

Way, Drawing

““You are settling in?” he said. “Your rooms are sufficient; the fire is lit, the floors swept; all ets are ceteraed?””

Tina Connolly American writer

Source: Ironskin (2012), Chapter 3, “Sequins and Bluepacks” (p. 43)

“We are Fragile, everyone. We all long for something more. Things are said and things are done and the pieces hit the floor. See how fragile.”

Ralston Bowles (1952) American musician

From the song "Fragile" on the album Carwreck Conversations (2004)

“Another Visitor: How did you manage, Monsieur Degas, when you painted that plein air called 'Le Plage', the one Monsieur Rouart has?
Degas: It was quite simple. I spread my flannel vest on the floor of the studio, and had the model sit on it. You see, the air you breathe in a picture is not necessarily the same as the air out of doors.”

Edgar Degas (1834–1917) French artist

"The Crime and the Punishment" (p. 47)
posthumous quotes, Degas: An Intimate Portrait' (1927)

Painting

“.. that my drawings which offer - also by variety of genre - a greater variety [compared to his paintings], especially after 1863, when my late friend jr. CCA Ridder van Rappard urged me to reserve especially for him all the new works I would make and such including the freedom not to limit myself exclusively to my main genre [churches]. In the environment around his estate in the Sticht where he stayed, it became therefore the treshing-floors of the farms and the house-interiors which immediately attracted and inspired me to achieve a new personal interpretation of these subjects.”

Johannes Bosboom (1817–1891) Dutch painter

citaat van Johannes Bosboom, in origineel Nederlands: ..dat mijner teekeningen, die ook door verscheidenheid van genre een grooter afwisseling aanbieden [dan zijn schilderijen] vooral na 1863, toen wijlen mijn vriend jhr. C. C. A. Ridder van Rappard er bij mij op aandrong om wat ik verder zou leveren voor hem te bestemmen en zulks met de vrijheid mij niet uitsluitend te houden bij mijn hoofdgenre [de kerken]. In den omtrek van het door hem betrokken landgoed in het Sticht waren het dan ook de boerendeelen en binnenhuizen, die mij dadelijk aantrokken en inspireerden tot een nieuwe eigen opvatting daarvan.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 13-14

Freedom, Drawing, Painting, Housing

“He thought back on his family with deep emotion and love. His conviction that he would have to disappear was, if possible, even firmer than his sister's. He remained in this state of empty and peaceful reflection until the tower clock struck three in the morning. He still saw that outside the window everything was beginning to grow light. Then, without his consent, his head sank down to the floor, and from his nostrils streamed his last weak breath.”

Franz Kafka book The Metamorphosis

The Metamorphosis (1915)

Love, Family, Peace, Sister

“My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.”

Jackson Pollock (1912–1956) American artist

Quote from 'Possibilities' Vol. 1, no 1, winter 1947-48, p. 79; as cited in 'Jackson Pollock: is he the greatest living painter in the United States?', in 'Life' (8 August 1949), pp. 42-45
1940's

Way, Feeling, Parting, Painting

“You don't paint the way someone, by observing his life, thinks you have to paint, you paint the way you have to in order to give. That's life itself, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving. The question about knowing will naturally be wrong. When you've finished giving, the look surprises you as anyone else. Some painters talking about painting are like a lot of kids dancing at a prom. An hour later you are too shy to get out on the floor.”

Franz Kline (1910–1962) American painter

1950's, Evergreen Review, 1958

Life, Way, Question, Nature

“It has been asserted on this floor that the Republican Party is answerable for the existing state of affairs in the south. I am here to deny this, and to illustrate, I will say that in the State of South Carolina there is no disturbance of an alarming character in any one of the counties in which the Republicans have a majority. The troubles are usually in those sections in which the Democrats have a predominance in power, and, not content with this, desire to be supreme.”

Joseph Hayne Rainey (1832–1887) politician

1871, Speech on the the Ku Klux Klan Bill of 1871 (1 April 1871)

“One rainy day in Cologne on the Rhine, the catalogue of a teaching aids company caught my attention. It was illustrated with models of all kind – mathematical, geometrical, anthropological, zoological, botanical, anatomical, mineralogical, paleontological, and so forth- elements of of such a diverse nature that the absurdity of the collection confused the eye and mind, producing hallucinations and lending the objects depicted new and rapidly changing meanings. I suddenly felt my 'visionary faculties' so intensified that I began seeing the newly emerged objects against a new background. To capture it, a little paint or a few lines were enough, a horizon, a sky, a wooden floor, that sort of things. My hallucination had been fixed. Now it was a matter of interpreting the hallucination in a few words or sentences Such as: 'Above the clouds midnight passes. Above midnight glides the invisible bird of day..”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, p. 290
1910 - 1935

Mathematics, Nature, Bird, Change

“Working class communities in this country are rough communities. It was never gonna be doctors and nurses to stand up to militant Islam in the streets of this country. When we first formed, we faced a very violent response by members of the Muslim community who would come out. And images were sent across this country of our supporters on the floor getting their heads kicked in. Now, when we went to our next demonstration, how many 30-year-old school teachers are going to come out and oppose militant Islam?”

Tommy Robinson (1982) English right-wing activist

CBN News interview

School, Communication, Support, Teachers

“This [Journalism] is not a profession of my choice. Nor is it family traditional occupation. God must have created this profession as a fit theater for all my struggles…Whatever I have written so far is about politics or philosophy, literature, music, poetry or even speeches I made either in the floor of assembly or from public-platforms-all these in a way touch one aspect of journalism or the other”

D. V. Gundappa (1887–1975) Indian writer

In page=18
D.V. Gundappa,Sahitya Akademi

God, Family, Music, Way

“A totally new concept of building design evolves from the application of basic aerodynamic phenomenon. Vetillation by installation of windows becomes obsolete… Air can be brought into the building from the roof or from under the floor. Wind scoops can be designed to assist the flow of air from practically any angle.”

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

“I knew more things in the first ten years of my life than I believe I have known at any time since. I knew everything there was to know about our house for a start. I knew what was written on the undersides of tables and what the view was like from the tops of bookcases and wardrobes. I knew what was to be found at the back of every closet, which beds had the most dust balls beneath them, which ceilings the most interesting stains, where exactly the patterns in wallpaper repeated. I knew how to cross every room in the house without touching the floor, where my father kept his spare change and how much you could safely take without his noticing (one-seventh of the quarters, one-fifth of the nickels and dimes, as many of the pennies as you could carry). I knew how to relax in an armchair in more than one hundred positions and on the floor in approximately seventy- five more. I knew what the world looked like when viewed through a Jell-O lens. I knew how things tasted—damp washcloths, pencil ferrules, coins and buttons, almost anything made of plastic that was smaller than, say, a clock radio, mucus of every variety of course—in a way that I have more or less forgotten now. I knew and could take you at once to any illustration of naked women anywhere in our house, from a Rubens painting of fleshy chubbos in Masterpieces of World Painting to a cartoon by Peter Arno in the latest issue of The New Yorker to my father’s small private library of girlie magazines in a secret place known only to him, me, and 111 of my closest friends in his bedroom.”

Bill Bryson (1951) American author

Source: The Life And Times of the Thunderbolt Kid (2006), p. 36

Life, Women, Secret, World

“Overhead the hollow stretch of whitish cloud shutting out the sky was as a tent which had the whole heath for its floor.”

Thomas Hardy book The Return of the Native

Bk. I, ch. 1
The Return of the Native (1878)

“Elphin of noble generosity,
Do not sorrow at your catch.
Though I am weak on the floor of my basket,
There are wonders on my tongue.”

Taliesin (534–599) Welsh bard

The Tale of Taleisin

“I’d like to start by telling you about my wife Melinda’s Aunt Myra. We see her a few times a year. Aunt Myra worked for many years taking reservations for Delta Airlines. She lived in New Orleans until Hurricane Katrina, and then she moved to Dallas, Melinda’s hometown. She loves to see our kids. When we all get together, she’ll sit down on the floor and play games with them. Aunt Myra also has polio. She’s in braces, and she has been ever since she was a little girl.”

Bill Gates (1955) American business magnate and philanthropist

Regarding Bill And Melinda Gates' Polio Efforts (2009)

Love, Girl, Game, Time

“I am not interested in making a picture. Then what the hell I am interested in? I must be interested in that process that I am talking about.. I don't keep the studio very tidy. You have on the floor like cow dung in the field.... and I look down at this stuff on the floor and it's just a lot of inert matter, inert paint. Then what is it? I look back on the canvas, and it's not inert, it's active, moving and living.... Why I need this kind of miracle, I don't know it, but I need it. my conviction is that this is the act of creation to me. That's how I have it.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Hell, Painting

“I would not be the player I am today without him, I would not have improved without my dad. In the early years, he would have me over the park training when everyone else was at home or playing with their mates, I was jumping on the floor, getting up and running again, sprinting - I will never forget that. I thank him for everything he has done in my football life and for being a dad.”

Frank Lampard (1978) English association football player

Sincerely yours, Frank (May 22, 2005)

Life, Home, Football, Training

“Rita: Will they sack you.
Frank: [lying flat on the floor] The sack? God no; that would involve making a decision. Pissed is all right. To get the sack, it'd have to be rape on a grand scale; and not just with students either. [Rita gets up and moves across to look at him] That would only amount to a slight misdemeanour. For dismissal it'd have to be nothing less than buggering the bursar.”

Willy Russell book Educating Rita

Pages 42-43.
Educating Rita (1980)

God, Lying, Decision

“The gutters in the lane overflowed with an odd, languid grace. Water filled the lane; rose from ankle-deep to knee-deep. Insects swam in circles. Urchins splashed about haphazardly, while Saraswati returned from market with a shopping-bag in her hands; insects swam away to avoid this clumsy giant. Her wet footprints printing the floor of the house were as rich with possibility as the first footprint Crusoe found on his island.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

A Strange and Sublime Address (1991)

Water, Housing

“I believe that at some stage some citizen across Europe will drop a match on the floor and the whole bloody thing will go up, and it cannot come soon enough as far as I am concerned.”

David Norris (1944) Irish scholar, independent Senator, and gay and civil rights activist

24 April 2013 http://www.kildarestreet.com/sendebates/?id=2013-04-24a.7&s=speaker%3A210#g25

“The story of widows and orphans now wandering amid the ravines of the rural counties of my native state seeking protection and maintenance from others who are yet unable, on account of their own poverty, to grant them aid. I could dwell upon the sorrows of poor women, with their helpless infants, cast upon the world, homeless and destitute, deprived of their natural protectors by the red hand of the midnight assassin. I could appeal to you, members upon this floor, as husbands and fathers, to picture to yourselves the desolation of your own happy firesides should you be suddenly snatched away from your loved ones. Think of gray-haired men, whose fourscore years are almost numbered, the venerated heads of peaceful households, without warning murdered for political opinion's sake.”

Joseph Hayne Rainey (1832–1887) politician

1871, Speech on the the Ku Klux Klan Bill of 1871 (1 April 1871)

Love, Women, Men, Happiness

“In the morning when we began straggling out in small parties on our way to the trial, several of us went down in the elevator with three entirely correct old gentlemen looking much alike in their sleekness, pinkness, baldness, glossiness of grooming, such stereotypes as no proletarian novelist of the time would have dared to use as the example of a capitalist monster in his novel. We were pale and tightfaced; our eyelids were swollen; no doubt in spite of hot coffee and cold baths, we looked rumpled, unkempt, disreputable, discredited, vaguely guilty, pretty well frayed out by then. The gentlemen regarded us glossily, then turned to each other. As we descended the many floors in silence, one of them said to the others in a cream-cheese voice, "It is very pleasant to know we may expect things to settle down properly again," and the others nodded with wise, smug, complacent faces.
To this day, I can feel again my violent desire just to slap his whole slick face all over at once, hard, with the flat of my hand, or better, some kind of washing bat or any useful domestic appliance being applied where it would really make an impression — a butter paddle — something he would feel through that smug layer of too-well-fed fat.”

Katherine Anne Porter (1890–1980) American journalist, essayist, short story writer, novelist, and political activist

The Never-Ending Wrong (1977)

Way, Feeling, Coffee, Silence

“Notices for Vigil meetings were always posted on the main bulletin board in the first-floor corridor, directly across from the Headmaster's office. Archie was entertained by the location of the notice right under Leon's nose. The notice was simple, involving the words TRINTY HIGH SCHOOL at the top of the board. On the day of the meeting, the Y of Trinity was inverted. Which made it look, as Archie said, like an upright finger. Thus, the Vigils giving the finger to the world while calling a meeting. That's what the upside-down Y was called: the Finger.”

Robert Cormier book Beyond the Chocolate War

Source: Beyond the Chocolate War (1985), p. 96

World, School

“On the floor, and hanging on to the bar, squatted an old man, immobile as an object. His years had reduced and polished him as water does a stone or the generations of men do a sentence. He was dark, dried up, diminutive, and seemed outside time, situated in eternity.”

Jorge Luis Borges book Ficciones

"The South". Cf. "The Man on the Threshold", in The Aleph (1949)
tr. Andrew Hurley, Collected Fictions (1998)
Ficciones (1944)
Variant: On the floor, curled against the bar, lay an old man, as motionless as an object. The many years had worn him away and polished him, as a stone is worn smooth by running water or a saying is polished by generations of mankind.

Men, Water, Time

“[Describes visiting a factory farm shed where she saw a large male boar, ] his huge head hanging low towards the barren floor. As I came level with him he raised his head and dragged himself slowly towards me on lame legs. With deliberation he looked straight at me, staring directly into my eyes. It seemed to me that I saw in those sad, intelligent, penetrating eyes a plea, a question to which I had no answer: "Why are you doing this to me?"”

Juliet Gellatley British activist

The Silent Ark, cited in Jeffrey Moussaieff Masson, The Pig Who Sang to the Moon: The Emotional World of Farm Animals (New York: Ballantine Books, 2004), ch. 1, p. 23 https://books.google.it/books?id=RbxeFLpNnxUC&pg=PA23.

Sadness, Intelligence, Question

“By March, 1908, we were ready to announce Model T, but not to produce it, On October 1 of that year the first car was introduced to the public. From Joe Galamb's little room on the third floor had come a revolutionary vehicle. In the next eighteen years, out of Piquette Avenue, Highland Park, River Rouge, and from assembly plants all over the United States came 15,000,000 more.”

Charles E. Sorensen (1881–1968) American businessman

Source: My Forty Years with Ford, 1956, p. 110 ; As cited in: EyeWitness to History (2005)

Cars

“I covered the walls of both basement rooms with Milino, a cheap substitute for canvas, stretched string backwards and forwards across the rooms and attached widths of packing-paper to them, so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time, as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition.””

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 114 (1985)

Idea, Time, Help, Painting

“I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..”

Helen Frankenthaler (1928–2011) American artist

quote about influence of Pollock
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Idea, Thinking, Sense, Painting

“I heard it clearly, and so did everyone else, I’ll be bound. Your name, dear, not mine. I am very popular. You, it seems, are not.”
“What a surprise.” He dropped petals on the floor. “And what a good thing I don’t care.”
“How nice for you that you don’t have to.”
“Meaning,” he drawled, “that you do.”

Ellen Kushner book The Privilege of the Sword

“Just so.”
Part IV, Chapter V (p. 392)
The Privilege of the Sword (2006)

“Blessed in sleep and satisfied to languish, to embrace shadows, and to pursue the summer breeze, I swim through a sea that has no floor or shore, I plow the waves and found my house on sand and write on the wind.”

Francesco Petrarca Il Canzoniere

Beato in sogno et di languir contento,
d'abbracciar l'ombre et seguir l'aura estiva,
nuoto per mar che non à fondo o riva,
solco onde, e 'n rena fondo, et scrivo in vento.
Canzone 212, st. 1
Il Canzoniere (c. 1351–1353), To Laura in Life

Sleep, Summer, Housing, Sea

“"Is anybody there?" said the Traveler,
Knocking on the moonlit door;
And his horse in the silence champed the grasses
Of the forest's ferny floor.”

Walter de la Mare (1873–1956) English poet and fiction writer

The Listeners (1912)

Travel, Silence, Grass, Horse

“Mother held no influence over [my father]; though he bestowed much reverence and attention upon Adela. When she swept his chamber, it was to him a great and momentous ceremony, one that he never omitted to witness, following Adela’s every movement with a mixture of fear and a shudder of delight. He ascribed to her every action some deeper, symbolic meaning, and when the girl pushed a long-handled brush across the floor, with youthful and bold thrusts, it was almost beyond his endurance.”

Bruno Schulz (1892–1942) Polish novelist and painter

“The Birds” http://www.schulzian.net/translation/shops/birds.htm His father, Adela (the domestic servant)

Youth, Fear, Girl

“In the middle of the floor lay a skeleton, every vestige of flesh gone from the bones to which still clung the mildewed and moldered remnants of what had once been clothing. Upon the bed lay a similar gruesome thing, but smaller, while in a tiny cradle near-by was a third, a wee mite of a skeleton.
To none of these evidences of a fearful tragedy of a long dead day did little Tarzan give but passing heed. His wild jungle life had inured him to the sight of dead and dying animals, and had he known that he was looking upon the remains of his own father and mother he would have been no more greatly moved.”

Edgar Rice Burroughs book Tarzan of the Apes

Source: Tarzan of the Apes (1912), Ch. 6 : Jungle Battles

Life, Fear, Animals, Clothes

“As we are so wonderfully done with each other
We can walk into our separate sleep
on floors of music where the milkwhite cloak of childhood
lies”

Kenneth Patchen (1911–1972) American writer and poet

" As We Are So Wonderfully Done With Each Other http://www.poemhunter.com/poem/as-we-are-so-wonderfully-done-with-each-other/"

Music, Sleep, Childhood

“But I do think we need to explore the commitment problem, which has caused many women to mistakenly conclude that men, as a group, have the emotional maturity of hamsters. This is not the case. A hamster is MUCH more capable of making a lasting commitment to a woman, especially if she gives it those little food pellets. Whereas a guy, in a relationship, will consume the pellets of companionship, and he will run on the exercise wheel of lust; but as soon as he senses that the door of commitment is about to close and trap him in the wire cage of true intimacy, he'll squirm out, scamper across the kitchen floor of uncertainty and hide under the refrigerator of Non-Readiness.”

Dave Barry (1947) American writer

Column, August 18, 1991
Columns and articles

Women, Men, Food, Guy

“Early one morning in the winter of 1906-7, Henry Ford dropped in at the pattern department of the Piquette Avenue plant to see me. 'Come with me, Charlie,' he said, 'I want to show you something.'
I followed him to the third floor and its north end, which was not fully occupied for assembly work. He looked about and said, 'Charlie, I'd like to have a room finished off right here in this space. Put up a wall with a door in big enough to run a car in and out. Get a good lock for the door, and when you're ready, we'll have Joe Galamb come up in here. We're going to start a completely new job.”

Charles E. Sorensen (1881–1968) American businessman

The room he had in mind became the maternity ward for Model T. Source: My Forty Years with Ford, 1956, p. 96 ; As cited in: EyeWitness to History, " Henry Ford Changes the World, 1908 http://www.eyewitnesstohistory.com/ford.htm," www.eyewitnesstohistory.com (2005).

Cars, Winter, Maternity

“So if I come to your door,
let me sleep on your floor.
I'll give you all I have and a little more.”

Tom Petty (1950–2017) American musician

Down South
Lyrics, Highway Companion (2006)

Sleep

“Francis’s office did not come with a videophone; at times he was surprised that his office came with a floor.”

James K. Morrow (1947) (1947-) science fiction author

Source: The Wine of Violence (1981), Chapter 2 (p. 25)

Time

“I was thinking too damn much to be careful. When I stabbed my key in the lock and turned it there was a momentary catch in the tumblers before it went all the way around and I swore out loud as I rammed the door with my shoulder and hit the floor. Something swished through the air over my head and I caught an arm and pulled a squirming, fighting bundle of muscle down on top of me.
If I could have reached my rod I would have blown his guts out. His breath was in my face and I brought my knee up, but he jerked out of the way bringing his hand down again and my shoulder went numb after a split second of blinding pain. He tried again with one hand going for my throat, but I got one foot loose and kicked out and up and felt my toe smash onto his groin. The cramp of the pain doubled him over on top of me, his breath sucking in like a leaky tire.
Then I got cocky. I thought I had him. I went to get up and he moved. Just once. That thing in his hand smashed against the side of my head and I started to crumple up piece by piece until there wasn't anything left except the sense to see and hear enough to know that he had crawled out of the room and was falling down the stairs outside. Then I thought about the lock on my door and how I had a guy fix it so that I could tell if it had been jimmied open so I wouldn't step into any blind alleys without a gun in my hand, but because of a dame who lay naked and smiling on a bed I wouldn't share, I had forgotten all about it.”

Mickey Spillane book The Big Kill

The Big Kill (1951)

Pain, Smile, Jerk, Way

“[Talking about "The First Singles Apartment"] They're all furnished pretty much the same way. In your bedroom, you have the mattress on the floor, protected by a mountain of dirty clothes, milk crates for night stands, lava lamp with a permanent glob in the bottom, stolen road sign on the wall, a blanket for a curtain. Out in the hall it was the mystery stain on the carpet, Budwiser mirror on the wall. Out on the balcony it was the rusted-out Hibachi grill, plant with no leaves on it, bike with no chain on it. In the den you had the spool. If you get one of those, you'll be like "it's coffee table time!" Next to that, the $9,000.00 stereo. We're going hungry, but we've got tunes! That was the stereo, you could turn it on after midnight and make the people down the street wet the bed. And the beanbag chair with duct tape on it to keep the stuff from fallin' out of it.”

Jeff Foxworthy (1958) American stand-up comedian

You Might Be a Redneck If… (1993)

People, Way, Mountain, Coffee

“Nudes -- stark and glistening,
Yelling in lurid glee. Grinning faces
And raging limbs
Whirl over the floor one fire.
For a shirt verminously busy
Yon soldier tore from his throat, with oaths
Godhead might shrink at, but not the lice.
And soon the shirt was aflare
Over the candle he'd lit while we lay.Then we all sprang up and stript
To hunt the verminous brood.
Soon like a demons' pantomine
The place was raging.
See the silhouettes agape,
See the glibbering shadows
Mixed with the battled arms on the wall.
See gargantuan hooked fingers
Pluck in supreme flesh
To smutch supreme littleness.
See the merry limbs in hot Highland fling
Because some wizard vermin
Charmed from the quiet this revel
When our ears were half lulled
By the dark music
Blown from Sleep's trumpet.”

Isaac Rosenberg (1890–1918) English poet

On Receiving News of the War (1914), Louse Hunting

Music, Business, Sleep, Rage

“We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition... What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct.”

Robert Motherwell (1915–1991) American artist

as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html Undated

Money, Dreams, Art, Guy

“Aim for the sky and you’ll reach the ceiling. Aim for the ceiling and you’ll stay on the floor.”

Bill Shankly (1913–1981) Scottish footballer and manager

Attributed to Shankly in 2013, thirty years after Shankly's death. However, very similar sayings are found anonymously from the late twentieth-century. Disputed Source: http://www.empireofthekop.com/2013/07/26/liverpool-should-aim-for-epl-title-and-possibly-finish-in-the-top-four-by-liverpool_red1/ Source: Harrington and Kavanagh, Prayer for Parish Groups: Preparing and Leading Prayer for Group Meetings https://books.google.com/books?id=tnpYzxOSsDoC&pg=PT120&dq=%22Aim+for+the+sky%22+ceiling&hl=en&sa=X&ved=0CCUQ6AEwAGoVChMIoszvpuGkyAIVyD6ICh0pVwwm#v=onepage&q=%22Aim%20for%20the%20sky%22%20ceiling&f=false, p. 32, 1998

“My life is square and bourgeois. I like calm and continuity. I think as a person I'm very controlling, and I'm afraid of big risks. I'm not a skier or a mountain climber or a motorcyclist. And I'm not a safari girl - I never want to go on a safari. My safaris are all on the studio floor. That's where I take my danger.”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Life, Girl, Mountain, Thinking

“Inlaid on walls, on roof-tops and on floors,
Are rarest pearls and other precious gems.”

Ludovico Ariosto book Orlando Furioso

In mura, in tetti, in pavimenti sparte
Eran le perle, eran le ricche gemme.
Canto XXXIII, stanza 105 (tr. B. Reynolds)
Orlando Furioso (1532)

“The great pontiff took the floor to argue the case against me. I don't remember his harangue, because I was too horrified to understand such a discordant voice, and because he made his speech with a musical instrument so loud it deafened me. He had deliberately chosen a trumpet. The violence of its martial tone was supposed to make the people call for my death and to keep them from thinking rationally, as happens in our armies, where the din of trumpets and drums prevents the soldier from thinking about the importance of his life.”

Cyrano de Bergerac (1619–1655) French novelist, dramatist, scientist and duelist

The Other World (1657)

Life, Death, People, Music

“I always preferred those movies I would have a large role in. If I had to choose between a small movie with a big role and a big movie with a small role, I'd take the one with more screen time. It's not very satisfying for an actor to get work and then ending up on the cutting room floor.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Time

“I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson.”

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), p. 21

Rage, Time, Animals, Painting

“The best-laid plans of mice and comedians usually wind up on the cutting-room floor.”

Jon Stewart (1962) American political satirist, writer, television host, actor, media critic and stand-up comedian

Charleston Gazette interview http://jon.happyjoyfun.net/tran/1999/99_0109charl.html, January 9, 1999

“Judy lived in my hotel. She was just seventeen, and what she was doing in Paris was supposedly chaperoning her younger brother, a fully fledged concert pianist of fifteen, who was studying there with one of the leading teachers. In view of their combined and startling innocence, however, this was a rather useless arrangement. Their last name was Galache, and they were the issue with which the highly unlikely union of a Quaker woman from Philadelphia and a dreadfully dashing Spaniard (now, alas, dead) had been blessed. Naturally their upbringing, up to this point, had been strict and very sheltered. … Judy was so different from me that it was really ludicrous. Whereas I was hell-bent for living, she was content, at least for the time being, to leave all that to others. Just as long as she could hear all about it. She really was funny about this. Folded every which way on the floor, looking like Bambi — all eyes and legs and no chin — she would listen for ages and ages with rapt attention to absolutely any drivel that you happened to be talking. It was unbelievable.”

Elaine Dundy (1921–2008) American journalist, actress

Part One, Two
The Dud Avocado (1958)

Age, Way, Hell, Nature

“There's no record industry, and so musicians I know, because I get mail from young musicians, I mean, they're really just struggling to survive, because they're not gonna get a record contract! So what are they doing? To survive? Like I did? I mean, okay I drove trucks, and sold caviar and repaired instruments just to survive. But in the end, you know, I'm in the studio, you know, recording rock music, pop music, whatever! Whatever gives me money to put in my, you know, food in my mouth. And so there's a lot of great musicians today, they're just looking for a gig! And what are the gigs that are going around? The gigs with pop bands or with smooth jazz, funky jazz, you know, a lot of this kind of cliched music. I'm sorry to criticize it like that, but I grew up with Tony (Williams) and you know Miles (Davis), (John) Coltrane, and real things, where there's blood all over the floor, blood all over the stage, that's what the passion's all about.”

John McLaughlin (1942) guitarist, founder of the Mahavishnu Orchestra

On record industry, as quoted in "John McLaughlin: State of the Musical Arts", by The Snapshots Foundation; directed by Jonathan Bewley, YouTube, Jul 11, 2014 https://www.youtube.com/watch?v=utqp7ECKUl0

Money, Food, Music, Passion

“[singing the song her therapist told her to improvise in order to "let her anxieties out"] If I keep the kitchen floor clean, no one will die!”

Maria Bamford (1970) American actress and comedian

The Now Show (2006)

Singing

“Newspapers blew on dirty floors. Littering is an ancillary function of the free press.”

Roger Kahn (1927–2020) American baseball writer

Afterwords on the Life of Kings, p. 436
The Boys Of Summer

“She would sweep the floor – unending expanses, acres and acres of floor – with a short broom called the jhadu, swiping away the dust in an arc with its long tail, which reminded one of the drooping tail of some nameless, exotic bird.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

A Strange and Sublime Address (1991)

Bird

“Some… resistance also came from the belief that preserved historical writings could provide all anyone needed to know about the habits of past civilizations. …According to the archeologists, this site was supposed to have had an uninterrupted sequence of Israelite occupation… These archeologists "knew" that there had been a continual occupation of people practicing full-blown Jewish orthodoxy based on their interpretation of the preserved written records. …But, to the extreme surprise of the dig's staff… one-third of the bones from the floor of the synagogue were pig. Anathema! …directly beneath the floor of this synagogue… the first piece of bone I picked up was from the skull of a young human. Again, anathema! How could orthodox Jews build anything, much less a synagogue, over a human burial area? …no reports on the site including my analyses have ever seen the light of day.”

Jeffrey H. Schwartz (1948) American anthropologist

What the Bones Tell Us (1997)

People, Light, Past

“The little guy's face was a bloody mess. Between the puffballs of blue-black flesh that used to be eyelids, the dull gleam of shock-deadened pupils watched Dilwick uncomprehendingly. His lips were swollen things of lacerated skin, with slow trickles of blood making crooked paths from the corners of his mouth through the stubble of a beard to his chin, dripping onto a stained shirt.
Dilwick stood just outside the glare of the lamp, dangling like the Sword of Damocles over the guy's head. He was sweating too. His shirt clung to the meaty expanse of his huge neck. He pushed his beefy hand further into the leather glove and swung. The solid smack of his open hand on the little guy's jaw was nasty. His chair went over backward and his head cracked against the concrete floor of the room like a ripe melon. Dilwick put his hands on his hips and glared down at the caricature that once was human.”

Mickey Spillane book The Twisted Thing

The Twisted Thing (1966)

Guy

“I have never seen the Old Testament prophets, but at the sight of that man floored by divine anger, widely straddling his enormous porcelain urinal and shielded by the tornado of his arms, a cloud of desperate contortions, above which his voice rose still higher, alien and hard—I came to understand the divine anger of holy men.”

Bruno Schulz (1892–1942) Polish novelist and painter

“A Visitation” http://www.schulzian.net/translation/shops/visitation1.htm His father

Men, Understanding, Anger

“In a clap-board shack with a roof of tin,
Where the rain came down and leaked within,
A young mother frozen on a concrete floor,
With a bottle and a box and a cradle of straw.”

Nick Cave (1957) Australian musician

Song lyrics, The Firstborn Is Dead (1985), Tupelo

Box

““Do you know what this is?
“The floor, Miss?”
“Dust! I read about it—tiny particles of matter.””

Adam Roberts book Jack Glass: The Story of a Murderer

Part 2, Chapter 7, “The Investigation Begins” (p. 163).
Jack Glass (2012)

Reading

“Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 14
Conversation with Karen Wilkin' (1986-1988)

Painting

“You can see the walls roar
See your brains on the floor
Become God
Become cripple
Become funky”

Laura Nyro (1947–1997) American musician and songwriter

"Poverty Train"
Lyrics

God

“If a studio offered to pay me as much to sweep the floor as it did to act, I'd sweep the floor. There isn't anything that pays you as well as acting while you decide what the hell you're going to do with yourself. Who cares about the applause? Do I need applause to feel good about myself?”

Marlon Brando (1924–2004) American screen and stage actor

New York Times (July 2, 2004)

Feeling, Hell

“I believe that every employee, from the CEO suite to the factory floor, contributes to a business’ success, so everybody should share in the rewards – especially those putting in long hours for little pay.”

Hillary Clinton (1947) American politician, senator, Secretary of State, First Lady

Presidential campaign (April 12, 2015 – 2016), Speech in Warren, Michigan (August 11, 2016)

Business, Success

“They say in your father's house there's many mansions; each one of 'em got a fireproof floor.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Infidels (1983), Sweetheart Like You

Housing

“If you killed Ted Cruz on the floor of the Senate, and the trial was in the Senate, nobody could convict you.”

Lindsey Graham (1955) United States Senator from South Carolina

Graham commenting on unpopularity of Cruz in the Senate. As quoted in http://edition.cnn.com/2016/02/26/politics/lindsey-graham-ted-cruz-dinner/ February 26, 2016 2010s

“I was checking this girl next door
When her parents went out
She phoned said hey boy, come on right around
So I knock at the door
You was standing with a bottle of red wine
Ready to pour
Dressed in long black Satin and Lace to the floor”

Craig David (1981) English singer

Song Fill me in

Girl, Boy, Parent, Wine

“Julia Hayden, the colored school teacher, one of the latest victims of the White man's League, was only seventeen years of age. She was the daughter of respectable parents in Maury County, Tennessee, and had been carefully educated at the Central College, Nashville, a favorite place for the instruction of youth of both sexes of her race. She is said to have possessed unusual personal attractions as well as intelligence. Under the reign of slavery as it is defined and upheld by Davis and Toombs, Julia Hayden would probably have been taken from her parents and sent in a slave coffle to New Orleans to be sold on its auction block. But emancipation had prepared for her a different and less dreadful fate. With that strong desire for mental cultivation which marked the colored race since their freedom, in all circumstances where there is an opportunity left them for its exhibition, the young girl had so improved herself as to become capable of teaching others. She went to Western Tennessee and took charge of a school. Three days after her arrival at Hartsville, at night, two white men, armed with their guns, appeared at the house where she was staying, and demanded the school teacher. She fled, alarmed, to the room of the mistress of the house. The White Leaguers pursued. They fired their guns I through the floor of the room and the young girl fell dead within. Her murderers escaped.”

Jefferson Davis (1808–1889) President of the Confederate States of America

"Louisiana and the Rule of Terror" http://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=EL18741010.2.9#, The Elevator (10 October 1874), Volume 10, Number 26.

Men, Fate, Youth, Age

“He told me he was having the time of his life and then fell to the floor unconscious. I didn't take this too personally, although he was not the first person to collapse while talking to me; to tell the truth it has happened quite often.”

Tom Baker (1934) English actor

Life, Truth, Time, Personality

“The main difference between decapitations in Syria and Mexico is that Mexicans also behead women, children, and innocent bystanders. In addition to pioneering videotaped beheadings, Mexicans specialize in corpse desecration, burning people alive, rolling human heads onto packed nightclub dance floors, dissolving bodies in acid, and hanging mutilated bodies from bridges. Why are the media obsessed with ISIS’s beheadings but not the more frequent head-chopping right next door?”

Ann Coulter (1961) author, political commentator

2015, Adios, America: The Left's Plan to Turn Our Country into a Third World Hellhole (2015)

Women, Children, People, Dance

“Normally, your wife can hear things that no one else on earth can hear. She can hear a dab of jam fall onto a carpet two rooms away. She can hear spilled coffee being furtively mopped up with a good bathtowel. She can hear dirt being tracked across a clean floor. She can hear you just thinking about doing something you shouldn't do. But get yourself stuck in a loft hatch and suddenly it is as if she has been placed in a soundproof chamber.”

Bill Bryson (1951) American author

I'm a Stranger Here Myself (US), Notes From a Big Country (UK) (1998)

Coffee, Thinking

“When we had been in Ashenstovo [1873, located near the Prussian border]] a few days my mother took us children to see a famous Polish church, Kostjol, famous for its miraculous Madonna icon. This icon had three precious coats, one of gold, one of coral and one with pearls and diamonds... Many peasant men and women were were lying prostrate on the floor as if crucified, with their arms outstretched. It was very quiet. Suddenly a great blare of trumpets shattered the silence. Terribly frightened I saw the gold curtain open and the Madonna appear wearing a gold robe.”

Alexej von Jawlensky (1864–1941) Russian painter

from his 'Memories', in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993
Source: 1936 - 1941, Life Memories' (1938), p.274

Women, Men, Children, Lying