β
You make a life out of what you have, not what you're missing.
β
β
Kate Morton (The Forgotten Garden)
β
Memory is a cruel mistress with whom we all must learn to dance.
β
β
Kate Morton (The Forgotten Garden)
β
It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down....
β
β
Kate Morton (The House at Riverton)
β
A girl expecting rescue never learns to save herself. Even with the means, she will find her courage wanting.
β
β
Kate Morton (The Forgotten Garden)
β
That, my dear, is what makes a character interesting, their secrets.
β
β
Kate Morton (The Forgotten Garden)
β
We're all unique, just never in the ways we imagine.
β
β
Kate Morton (The Forgotten Garden)
β
...She's understood the power of stories. Their magical ability to refill the wounded part of people.
β
β
Kate Morton (The Forgotten Garden)
β
You must learn to know the difference between tales and the truth, my Liza, she would say. Fairy tales have a habit of ending too soon. They never show what happens afterwards when the prince and princess ride off the page.
β
β
Kate Morton (The Forgotten Garden)
β
Mother didn't understand that children aren't frightened by stories; that their lives are full of far more frightening things than those contained in fairy tales.
β
β
Kate Morton (The Forgotten Garden)
β
Always remember, with a strong enough will, even the weak can wield great power.
β
β
Kate Morton (The Forgotten Garden)
β
She did as she felt, and she felt a great deal.
β
β
Kate Morton (The Forgotten Garden)
β
After all, it's the librarian's sworn purpose to bring books together with their one true reader.
β
β
Kate Morton (The Distant Hours)
β
His words had tossed the book that was her life into the air and the pages had been blown into disarray, could never be put back together to tell the same story.
β
β
Kate Morton (The Forgotten Garden)
β
It's a terrible thing, isn't it, the way we throw people away?
β
β
Kate Morton (The Secret Keeper)
β
Happiness in life is not a given, it must be seized.
β
β
Kate Morton (The Distant Hours)
β
It was such a pleasure to sink one's hands into the warm earth, to feel at one's fingertips the possibilities of the new season.
β
β
Kate Morton (The Forgotten Garden)
β
I sound contemptuous, but I am not. I am interested--intrigued even--by the way time erases real lives, leaving only vague imprints. Blood and spirit fade away so that only names and dates remain.
β
β
Kate Morton (The House at Riverton)
β
...when you love someone youβll do just about anything to keep them.
β
β
Kate Morton (The Distant Hours)
β
... for home is a magnet that lures back even its most abstracted children.
β
β
Kate Morton (The House at Riverton)
β
The girl in the mirror caught my eye briefly...It is an uncanny feeling, that rare occasion when one catches a glimpse of oneself in repose. An unguarded moment, stripped of artifice, when one forgets to fool even oneself.
β
β
Kate Morton (The House at Riverton)
β
Photographs force us to see people before their future weighed them down, before they knew their endings.
β
β
Kate Morton (The House at Riverton)
β
Thinking of nothing. Trying to think of nothing. Thinking of everything.
β
β
Kate Morton (The Forgotten Garden)
β
Those who live in memories are never really dead.
β
β
Kate Morton (The House at Riverton)
β
The happiest folk are those that are busy, for their minds are starved of time to seek out woe.
β
β
Kate Morton (The Forgotten Garden)
β
All true readers have a book, a moment when real life is never going to be able to compete with fiction again.
β
β
Kate Morton (The Distant Hours)
β
It didn't occur to him that she might have chosen to remain this way. That where he saw reserve and loneliness, Cassandra saw self-preservation and the knowledge that it was safer when one had less to lose.
β
β
Kate Morton (The Forgotten Garden)
β
A true friend is a light in the dark. Viven
β
β
Kate Morton (The Secret Keeper)
β
Only people unhappy in the present seek to know the future.
β
β
Kate Morton (The House at Riverton)
β
Rejection is a cancer, Edie. It eats away at a person.
β
β
Kate Morton (The Distant Hours)
β
My fingers positively itched to drift at length along their spines, to arrive at one whose lure I could not pass, to pluck it down, to inch it open, then to close my eyes and inhale the soul-sparking scent of old and literate dust.
β
β
Kate Morton (The Distant Hours)
β
For it is said, you know, that a letter will always seek a reader; that sooner or later, like it or not, words have a way of finding the light, of making their secrets known.
β
β
Kate Morton (The Distant Hours)
β
She hadn't wanted to be loved carefully, only well.
β
β
Kate Morton (The Distant Hours)
β
Parents and children. The simplest relationship in the world and yet the most complex. One generation passes to the next a suitcase filled with jumbled jigsaw pieces from countless puzzles collected over time and says, βSee what you can make out of these.
β
β
Kate Morton (The Clockmakerβs Daughter)
β
... time had a way of moulding people into shapes they themselves no longer recognised ...
β
β
Kate Morton (The Forgotten Garden)
β
People value shiny stones and lucky charms, but they forget that the most powerful talismans of all are the stories that we tell to ourselves and to others.
β
β
Kate Morton (The Clockmaker's Daughter)
β
I donβt have many friends, not the living, breathing sort at any rate. And I donβt mean that in a sad and lonely way; Iβm just not the type of person who accumulates friends or enjoys crowds. Iβm good with words, but not spoken kind; Iβve often thought what a marvelous thing it would be if I could only conduct relationships on paper. And I suppose, in a sense, thatβs what I do, for Iβve hundreds of the other sort, the friends contained within bindings, pages after glorious pages of ink, stories that unfold the same way every time but never lose their joy, that take me by the hand and lead me through doorways into worlds of great terror and rapturous delight. Exciting, worthy, reliable companions - full of wise counsel, some of them - but sadly ill-equipped to offer the use of a spare bedroom for a month or two.
β
β
Kate Morton (The Distant Hours)
β
Cassandra always hid when she read, though she never quite knew why. It was as if she couldn't shake the guilty suspicion that she was being lazy, that surrendering herself so completely to something so enjoyable must surely be wrong. But surrender she did. Let herself drop through the rabbit hole and into a tale of magic and mystery ...
β
β
Kate Morton (The Forgotten Garden)
β
Sometimes, Edie, a person's feelings aren't rational. At least, they don't seem that way on the surface. You have to dig a little deeper to understand what lies at the base
β
β
Kate Morton (The Distant Hours)
β
You'll beat this. I know it doesn't feel like it, but you will. You're a survivor."
"I don't want to survive it."
"I know that, too," Nell had said. "And it's fair enough. But sometimes we don't have a choice...
β
β
Kate Morton (The Forgotten Garden)
β
Life could be cruel enough these days without the truth making it worse.
β
β
Kate Morton (The Secret Keeper)
β
...which fairy-tale princess ever chose her maid over her prince?
β
β
Kate Morton (The Forgotten Garden)
β
I'm good with words, but not the spoken kind; I've often thought what a marvelous thing it would be if I could only conduct relationships on paper.
β
β
Kate Morton (The Distant Hours)
β
She says there are stories everywhere and that people who wait for the right one to come along before setting pen to paper end up with very empty pages.
β
β
Kate Morton (The Distant Hours)
β
Even the most pragmatic person fell victim at times to a longing for something other.
β
β
Kate Morton (The Forgotten Garden)
β
Each clock is unique,β he used to tell me. βAnd just like a person, its face, whether plain or pretty, is but a mask for the intricate mechanism it conceals.
β
β
Kate Morton (The Clockmakerβs Daughter)
β
So much in life came down to timing.
β
β
Kate Morton (The Forgotten Garden)
β
They say everyone needs something to love.
β
β
Kate Morton (The Distant Hours)
β
Ah, well. Life's too short for moderation, wouldn't you say?
β
β
Kate Morton (The Forgotten Garden)
β
What could be more perfect than marrying the person you love.
β
β
Kate Morton (The Secret Keeper)
β
Wars make history seem deceptively simple. They provide clear turning points, easy distinctions.: before and after, winner and loser, right and wrong. True history, the past, is not like that. It isn't flat or linear. It has no outline. It is slippery, like liquid; infinite and unknowable, like space. And it is changeable: just when you think you see a pattern, perspective shifts, an alternate version is proffered, a long-forgotten memory resurfaces.
β
β
Kate Morton (The House at Riverton)
β
Children donβt require of their parents a past and they find something faintly unbelievable, almost embarrassing, in parental claims to a prior existence.
β
β
Kate Morton (The Secret Keeper)
β
She doesn't know I cry for the changing times. That just as I reread favourite books, some small part of me hoping for a different ending, I find myself hoping against hope that the war will never come. That this time, somehow, it will leave us be.
β
β
Kate Morton (The House at Riverton)
β
I have learned that one must forgive oneself the past or else the journey into the future becomes unbearable
β
β
Kate Morton (The Clockmaker's Daughter)
β
Being a parentβs a breeze,β came Alanβs cheerful voice on the wind. βNo more difficult than flying a plane with a blindfold on and holes in your wings.
β
β
Kate Morton (The Clockmaker's Daughter)
β
You mustn't wait for someone to rescue you, . . . . A girl expecting rescue never learns to rescue herself. Even with the means, she'll find her courage wanting.
β
β
Kate Morton (The Forgotten Garden)
β
If you don't stop apologizing, you're going to convince me you've done something wrong.
β
β
Kate Morton (The House at Riverton)
β
Oh, Grey, no one really likes keeping secrets. The only thing that makes a secret fun is knowing that you weren't supposed to tell it.
β
β
Kate Morton (The Forgotten Garden)
β
She used to say that the human heartbeat was the first music that a person heard, and that every child was born knowing the rhythm of her mother's song.
β
β
Kate Morton (The Clockmaker's Daughter)
β
The world was an awfully large place and it wasn't easy to find a person who'd gone missing sixty years earlier, even if that person was oneself.
β
β
Kate Morton (The Forgotten Garden)
β
He had the vague sense of standing on a threshold, the crossing of which would change everything.
β
β
Kate Morton (The Forgotten Garden)
β
There was no going back. Time only moved in one direction. And it didn't stop. It never stopped moving, not even to let a person think. The only way back was in one's memories.
β
β
Kate Morton (The Clockmaker's Daughter)
β
Better to lose oneself in action than to wither in despair.
β
β
Kate Morton (The House at Riverton)
β
There are very few certainties in this world, Mr. Gilbert, but I will tell you something I know: the truth depends on who it is thatβs telling the story.
β
β
Kate Morton (The Clockmaker's Daughter)
β
Adults werenβt supposed to understand their children and you were doing something wrong if they did.
β
β
Kate Morton (The Secret Keeper)
β
In each man's heart there lies a hole. A dark abyss of need, the filling of which takes precedence over all else.
β
β
Kate Morton (The Forgotten Garden)
β
She was the breeze on a summer's day, the first drops of rain when the earth was parched, light from the evening star.
β
β
Kate Morton (The Distant Hours)
β
I want to know how it feels to be altered by life
β
β
Kate Morton (The House at Riverton)
β
Life was like that, doors of possibility constantly opening and closing as one blindly made oneβs way through.
β
β
Kate Morton (The Lake House)
β
It was the sibling thing, I suppose. I was fascinated by the intricate tangle of love and duty and resentment that tied them together. The glances they exchanged; the complicated balance of power established over decades; the games I would never play with rules I would never fully understand. And perhaps that was key: they were such a natural group that they made me feel remarkably singular by comparison. To watch them together was to know strongly, painfully, all that I'd been missing.
β
β
Kate Morton (The Distant Hours)
β
Quite simply the book and I were meant to be together.
β
β
Kate Morton (The Distant Hours)
β
. . . happiness grows at our own firesides, . . . . It is not to be picked in strangers' gardens.
β
β
Kate Morton (The House at Riverton)
β
Sometimes 'feelings' aren't as airy-fairy as they seem. Sometimes they're just the product of observations we haven't realized we've been making.
β
β
Kate Morton (The Lake House)
β
But it is human, is it not, to long for that from which we are barred?
β
β
Kate Morton (The Secret Keeper)
β
Human beings are curators. Each polishes his or her own favoured memories, arranging them in order to create a narrative that pleases. Some events are repaired and polished for display; others are deemed unworthy and cast aside, shelved below ground in the overflowing storeroom of the mind. There, with any luck, they are promptly forgotten. The process is not dishonest: it is the only way that people can live with themselves and the weight of their experiences.
β
β
Kate Morton (The Clockmaker's Daughter)
β
She's one of the few people able to look beyond the lines on my face to see the twenty-year-old who lives inside.
β
β
Kate Morton (The House at Riverton)
β
When reason sleeps, the monsters of repression will emerge.
β
β
Kate Morton (The Distant Hours)
β
She was the sort of person who needed to be kept happy, he realized. Not as a matter of selfish expectation, but as a simple fact of design; like a piano or a harp, she'd been made to function best at a certain tuning.
β
β
Kate Morton (The Secret Keeper)
β
Curiosity might have killed the cat, but little girls usually fared much better.
β
β
Kate Morton (The Secret Keeper)
β
It was, Jess suspected, the common preserve of all true readers. This was the magic of books, the curious alchemy that allowed a human mind to turn black ink on white pages into a whole other world.
β
β
Kate Morton (Homecoming)
β
... people who'd led dull and blameless lives did not give thanks for second chances.
β
β
Kate Morton (The Secret Keeper)
β
It's a funny thing, character, the way it brands people as they age, rising from within to leave its scar.
β
β
Kate Morton (The Distant Hours)
β
It hardly needs to be said: sooner or later secrets have a way of making themselves known.
β
β
Kate Morton (The House at Riverton)
β
Gerry?' Laurel had to strain to hear thought the noise on the other end of the line. 'Gerry? Where are you?'
'London. A phone booth on Fleet Street.'
'The city still has working phone booths?'
'It would appear so. Unless this is the Tardis, in which case I'm in serious trouble.
β
β
Kate Morton (The Secret Keeper)
β
It struck her now that maybe she needed to let go a bit more often. To try and, yes, occasionally to fail. To accept that life is messy and sometimes mistakes are made; that sometimes theyβre not even really mistakes, because life isnβt linear, and it comprises countless small and large decisions every day.
β
β
Kate Morton (The Clockmakerβs Daughter)
β
Life'd be a lot easier if it were like a fairy tale," said Cassandra, "if people belonged to stock character types."
"Oh, but people do, they only think they don't. Even the person who insists such things don't exist is a clichΓ©: the dreary pedant who insists on his own uniqueness!
β
β
Kate Morton (The Forgotten Garden)
β
Organizas tu vida con lo que tienes, no con lo que te falta
β
β
Kate Morton (The Forgotten Garden)
β
While I wasn't certain how I felt about spiritualists, I was certain enough about the type of people who were drawn to them. Only people unhappy in the present seek to know the future.
β
β
Kate Morton (The House at Riverton)
β
No two people will ever see or feel things in the same way, Merry. The challenge is to be truthful when you write. Don't approximate. Don't settle for the easiest combination of words. Go searching instead for those that explain exactly what you think. What you feel.
β
β
Kate Morton (The Distant Hours)
β
Sentimentality was mawkish and cloying, where nostalgia was acute and aching. It described yearning of the most profound kind: an awareness that timeβs passage could not be stopped and there was no going back to reclaim a moment or a person or to do things differently.
β
β
Kate Morton (The Clockmaker's Daughter)
β
One of the things I have come to know most surely in my work is that the belief system acquired in childhood is never fully escaped; it may submerge itself for a while, but it always returns in times of need to lay claim to the soul it shaped.
β
β
Kate Morton (The Secret Keeper)
β
Home, she'd realized, wasn't a place or a time or a person, though it could be any and all of those things: home was a feeling, s sense of being complete. The opposite of "home" wasn't "away," it was "lonely." When someone said, "I want to go home," what they really meant was that they didn't want to feel lonely anymore.
β
β
Kate Morton (Homecoming)
β
True love, it's like an illness. I never understood it before. In books and plays. Poems. I never understood what drove otherwise intelligent, right-thinking people to do such extravagant, irrational things. Now I do. It's an illness. You can catch it when you least expect. There's no known cure. And sometimes, in its most extreme, it's fatal.
β
β
Kate Morton (The House at Riverton)
β
In real life turning points are sneaky. They pass by unlabeled and unheeded. Opportunities are missed, catastrophes unwittingly celebrated. Turning points are only uncovered later, by historians who seek to bring order to a lifetime of tangled moments.
β
β
Kate Morton (The House at Riverton)
β
The camera is ubiquitous. They all carry one now. Even as I watch, they traipse through the rooms of the house, pointing their devices at this chair or those tiles. Experiencing the world at one remove, through the windows of their phones, making images for later so that they do not need to bother seeing or feeling things now.
β
β
Kate Morton (The Clockmaker's Daughter)
β
It is queer, but my love and longing for the world are always deepened by my absence from it; it's wondrous, don't you think, that a person can swing from despair to gleeful hunger, and that even during these dark days there is happiness to be found in the smallest things?
β
β
Kate Morton (The Secret Keeper)
β
She'd slept terribly the night before. The room, the bed, were both comfortable enough, but she'd been plagued with strange dreams, the sort that lingered upon waking but slithered away from memory as she tried to grasp them. Only the tendrils of discomfort remained.
β
β
Kate Morton (The Forgotten Garden)
β
The certainty that she would find what it was she sought just slipped away, until one night she knew there was nothing, no one waiting for her. That no matter how far she walked, how carefully she searched, how much she wanted to find the person she was looking for, she was alone" - The Forgotten Garden
β
β
Kate Morton (The Forgotten Garden)
β
It's special, grandparents and grandchldren. So much simpler. Is it always so, I wonder? I think perhaps it is. While one's child takes a part of one's heart to use and misuse as they please, a grandchild is different. Gone are the bonds of guilt and responsibility that burden the maternal relationship. The way to love is free.
β
β
Kate Morton (The House at Riverton)
β
I probably coughed self-pityingly in response, little aware that I was about to cross a tremendous threshold beyond which there would be no return, that in my hands I held an object whose simple appearance belied its profound power. All true readers have a book, a moment, like the one I describe, and when Mum offered me that much-read library copy mine was upon me.
β
β
Kate Morton (The Distant Hours)
β
There were two now where they had been three. David's death had dismantled the triangle, and an enclosed space was now open. Two points are unreliable; with nothing to anchor them, there is nothing to stop them drifting in opposite directions. If it is string that binds, it will eventually snap and the points will separate; if elastic, they will continue to part, further and further, until the strain reaches its limit and they are pulled back with such speed that they cannot help but collide with devastating force.
β
β
Kate Morton (The House at Riverton)