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Todd Quotes

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Todd Quotes

“His noise is getting quieter, but I can still see it there still- See how he feels the skin of my hand against his, see how he wants to take it and press it against his mouth, how he wants to breathe in the smell of me and how beautiful I look to him, how strong after all that illness, and how he wants to just lightly touch my neck, just there, and how he wants to take me in his arms and- "Oh, God," he says, looking away suddenly. "Viola, I'm sorry, I didn't mean-" But I just put my hand to the back of his neck- And he says, "Viola-?" And I pull myself towards him- And I kiss him. And it feels like, finally.”

LoveKissViolaTodd
Book:Monsters of Men
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“Alright! You sir, you sir, how about a shave? Come and visit your good friend Sweeney. You sir, too sir? Welcome to the grave. I will have vengenance. I will have salvation. Who sir, you sir? No ones in the chair, Come on! Come on! Sweeney's. waiting. I want you bleeders. You sir! Anybody! Gentlemen now don't be shy! Not one man, no, nor ten men. Nor a hundred can assuage me. I will have you! And I will get him back even as he gloats In the meantime I'll practice on less honorable throats. And my Lucy lies in ashes And I'll never see my girl again. But the work waits! I'm alive at last! And I'm full of joy!”

BloodGoreEpiphanyToddSweeny
Book:Sweeney Todd: The Demon Barber of Fleet Street
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“And I put my hand on her arm to stop her rowing. Aaron’s Noise roars up in red and black. The current takes us on. “I’m sorry!” I cry as the river takes us away, my words ragged things torn from me, my chest pulled so tight I can’t barely breathe. “I’m sorry, Manchee!” “Todd?” he barks, confused and scared and watching me leave him behind. “Todd?” “Manchee!” I scream. Aaron brings his free hand towards my dog. “MANCHEE!” “Todd?” And Aaron wrenches his arms and there’s a CRACK and a scream and a cut-off yelp that tears my heart in two forever and forever. And the pain is too much it’s too much it’s too much and my hands are on my head and I’m rearing back and my mouth is open in a never-ending wordless wail of all the blackness that’s inside of me.”

DeathSadToddManchee
Book:The Knife of Never Letting Go
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“He is sorry- For everything- For Prentisstown- For Viola- For Ben- For every failure and every wrong- For letting his pa down- And he's looking up at me- And he's begging me- He's begging me- Like I'm the only one who can forgive him- Like it's only me who's got the power- Todd?- Please- And all I can say is "Davy-" And the fright and the terror in his Noise is too much- It's too much- And then it stops. Davy slumps, eyes still open, eyes still staring back at me, eyes still asking (I swear) for me to forgive him. And he lies there, still. Davy Prentiss is dead.”

DeathDeadForgiveBeggingToddDavy
Book:The Ask and the Answer
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“He looks up and the loss in his Noise is so great it feels like I'm standing on the edge of an abyss, that I'm about to fall down into him, into blackness so empty and lonely there'd never be a way out. "Todd," I say again, a catch in my voice. "On the ledge, under the waterfall, do you remember what you said to me? Do you remember what you said to save me?" He's shaking his head slowly. "I've done terrible things, Viola. Terrible things-" "We all fall, you said." I'm gripping his hand now. "We all fall but that's not what matters. What matters is picking yourself up again.”

TerribleViolaWaterfallToddWe All Fall
Book:The Ask and the Answer
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“Simone! Are you all right? Simone!" And a voice, grunting with pain, says, "Todd?" And- And it ain't Simone's voice. The smoke starts to clear. And it ain't Simone. "You saved me, Todd," says the Mayor, lying there, bad burns all over his face and hands, his clothes smoking like a brush fire. "You saved my life." And his eyes are full of wonder of it- That in the rush of the explozhun the person I chose to save- The one I chose without even thinking- (without there even being time for him to control me-) (no time for him to make me do it-) Was the Mayor.”

MayorSimoneTodd
Book:Monsters of Men
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“Who told you that?" I say. "Davy Prentiss?" He blinks. "What?" "What do you mean what?" My voice is harder now. "Your new best friend. The man who shot me, Todd, and who you ride to work with laughing every morning." He clenches his hands into fists. "You've been spying on me?" he says. "Three months I don't see you, three months I don't hear nothing from you and you been spying? Is that what yer doing in your spare time when yer not blowing people up?" "Yeah," I yell, my voice getting louder to match his. "Three months of defending you to people who'd only be too happy to call you enemy, Todd. Three months of wondering why the hell you're working so hard for the Mayor and how he knew to go right for the ocean the day after we spoke." He winces, but I keep going, thrusting out my arm and pulling up on the sleeve. "Three months wondering why you put these on women!" His face changes in an instant. He actually calls out as if he felt the pain himself. He puts a hand to his mouth to stifle it but his Noise is suddenly washed with blackness. He moves his fingertips of his other hand within reach of the band, hovering over my skin, over the band that'll never be removed unless I lose my arm. The skin is still red, and band 1391 still trobs, despite the healing of three mistresses. "Oh, no," he says. "Oh, no." The side door opens and the man who let me in leans out. "Everything all right out there, Lieutenant?" "Lieutenant?" I say. "We're fine," Todd chokes a little. "We're fine." The man waits for a second, then goes back inside. "Lieutenant?" I say again, lowering my voice. Todd's leant down, his hands on his knees, staring at the floor. "It wasn't me, was it?" he says, his voice quiet, too. "I didn't-" He gestures again at the band without looking up. "I didn't do it without knowing it was you, did I?”

BandThree MonthsViolaRescuingTodd
Book:The Ask and the Answer
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“La monnaie est souvent mythifiée, conçue comme magique et obscure. Son ambivalence fondamentale favorise l'émergence dans les esprits du sentiment d'un mystère : le dieu monnaie est, par ses modes de création et de gestion, à la fois public et privé. Banques commerciales et banques centrales contribuent à son apparition, à son mouvement, à sa destruction. Face à cette ambivalence qui ne peut être éliminée, parce qu'elle exprime dans ce domaine technique la nécessaire dualité individu-collectivité, la théorie politique classique, libérale ou autoritaire, ne peut proposer que des représentations partielles. Le libéralisme anglo-saxon n'arrivera jamais à masquer complètement l'action de l'État, définisseur et garant des règles, acteur majeur de la gestion monétaire au jour le jour. Il ne peut que tenter d'oublier l'expérience innommable d'un dollar échappant entre 1980 et 1985 à toute pesanteur économique par la grâce de l'État. Il est frappé de cécité devant une évidence majeure : les marchés financiers, lieu d'agitation des libres individus, n'en finissent pas de spéculer sur les obligations d'État, dont la rentabilité est assurée par l'existence de l'impôt, c'est-à-dire la capacité d'un État à extraire de sa société la richesse par un mécanisme non marchand de contrainte. La théorie allemande de la monnaie ne pourra quant à elle jamais imposer la réalité d'une monnaie fixant a priori un ordre social et échappant complètement aux acteurs décentralisés de la vie économique. Les banques créent de la monnaie par le crédit. Reste qu'au-delà de cette ambivalence, indépassable, chacune des deux traditions idéologiques, libérale ou autoritaire, adore l'un des deux visages du Janus monétaire. Au moment même où les États-Unis définissaient une conception pragmatique monétaire, selon laquelle un équilibre des pouvoirs doit assurer l'émergence d'une monnaie accompagnant les évolutions et rythmes naturels de la société, l'Europe occidentale accouchait, par étapes, d'une conception radicalement opposée, dominatrice, castratrice, de plus en plus souvent désignée dans le monde anglo-saxon, par l'expression sado-monétarisme. L'euro doit réformer la société, mieux, créer un nouveau monde européen. Chacune des sociétés réellement existantes, chaque nation, doit s'adapter, transfomer ses structures et ses rythmes naturels en fonction d'impératifs monétaires décidées d'en-haut, a priori. Tel est le sens idéologique des critères rigides de Maastricht et des punitions de Dublin qui fixent des règles monétaires et budgétaires auxquelles les individus devront se soumettre dans l'éternité. Cette monnaie autoritaire est le reflet d'un autre système de culture, fondé par d'autres structures anthropologiques. La conception anglo-saxonne de la monnaie reflète les valeurs libérales de la famille nucléaire absolue ; la conception autoritaire du continent européen les valeurs autoritaires de la famille souche. Face à la monnaie, l'individu est comme face à toute institution, libre ou soumis. L'émergence de conceptions opposées de la monnaie n'est que le dernier avatar d'une opposition pluriséculaire entre libéralisme anglo-saxon et autoritarisme continental. Mais comment la France, lieu de naissance de l'une des deux grandes traditions libérales, décontractée dans sa gestion monétaire jusqu'au début des années 80, a-t-elle bien pu changer de camp, abandonner l'individualisme du monde atlantique pour suivre les disciplines de l'Europe centrale ?”

EmmanuelToddAngleterreEtats UnisGrande BretagneAllemagneBanquesBanques CentralesBanques CommercialesEmmanuel ToddFamille NucléaireFamille SoucheIllusion éConomiqueMonnaieStructure Familiale
Book:L'illusion économique. Essai sur la stagnation des sociétés développées
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