Amy March Quotes

Because they are mean is no reason why I should be. I hate such things, and though I think I've a right to be hurt, I don't intend to show it. (Amy March)

Love Jo all your days, if you choose, but don't let it spoil you, for it's wicked to throw away so many good gifts because you can't have the one you want.

Ne marche pas devant moi, je ne suivrai peut-être pas. Ne marche pas derrière moi, je ne te guiderai peut-être pas. Marche juste à côté de moi et sois mon ami.

We'll all grow up someday, Meg, we might as well know what we want. ~Amy March~

Rome took all the vanity out of me, for after seeing the wonders there, I felt too insignificant to live, and gave up all my foolish hopes in despair." "Why should you, with so much energy and talent?" "That's just why, because talent isn't genius, and no amount of energy can make it so. I want to be great, or nothing. I won't be a common-place dauber, so I don't intend to try anymore.

Fuck You Poem #45 Fuck you in slang and conventional English. Fuck you in lost and neglected lingoes. Fuck you hungry and sated; faded, pock marked, and defaced. Fuck you with orange rind, fennel and anchovy paste. Fuck you with rosemary and thyme, and fried green olives on the side. Fuck you humidly and icily. Fuck you farsightedly and blindly. Fuck you nude and draped in stolen finery. Fuck you while cells divide wildly and birds trill. Thank you for barring me from his bedside while he was ill. Fuck you puce and chartreuse. Fuck you postmodern and prehistoric. Fuck you under the influence of opiun, codeine, laudanum, and paregoric. Fuck every real and imagined country you fancied yourself princess of. Fuck you on feast days and fast days, below and above. Fuck you sleepless and shaking for nineteen nights running. Fuck you ugly and fuck you stunning. Fuck you shipwrecked on the barren island of your bed. Fuck you marching in lockstep in the ranks of the dead. Fuck you at low and high tide. And fuck you astride anyone who has the bad luck to fuck you, in dank hallways, bathrooms, or kitchens. Fuck you in gasps and whispered benedictions. And fuck these curses, however heartfelt and true, that bind me, till I forgive you, to you.

The owner of the boom box marches over and turns the music down. He shrugs when he sees me staring. "Hey, noise pollution elicits fewer phone calls to the police than screaming and battle sounds. At least, that's the case in Berlin," he says.

You laugh at me when I say I want to be a lady, but I mean a true gentlewoman in mind and manners, and I try to do it as far as I know how. I can't explain exactly, but I want to be above the little meannesses and follies and faults that spoil so many women

When people march for something they believe in, they speak it, not with words or painted signs alone, but with their feet.

You men tell us we are angels, and say we can make you what we will, but the instant we honestly try to do you good, you laugh at us and won’t listen, which proves how much your flattery is worth.

Where are you going?” Amy asks.
 “To speak my truth,” I reply, then add quietly, “even if my voice shakes.

Aunt March is a regular samphire, is she not?' observed Amy, tasting her mixture critically. `She means vampire, not seaweed, but it doesn't matter. It's too warm to be particular about one's parts of speech, ' murmured Jo.

Venus Transiens" Tell me, Was Venus more beautiful Than you are, When she topped The crinkled waves, Drifting shoreward On her plaited shell? Was Botticelli’s vision Fairer than mine; And were the painted rosebuds He tossed his lady Of better worth Than the words I blow about you To cover your too great loveliness As with a gauze Of misted silver? For me, You stand poised In the blue and buoyant air, Cinctured by bright winds, Treading the sunlight. And the waves which precede you Ripple and stir The sands at my feet. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

In the year 3,000,002,012 the Andromeda Galaxy may collide with our Milky Way. At first this sounds miserable, like a collision of two bird flocks. But galaxy members fly farly, not tip to tip. In a galactic collision the stars do not actually collide—as with crisscrossing marching bands, only the interstices collide. (Oh to be like a galaxy, to mingle without wrecking. But then we would have to be composed of so much more sky.) The spaces between stars are so wide that thousands of galaxies have to converge before the stars will crash.

So Amy sailed away to find the old world, which is always new and beautiful to young eyes, while her father and friend watched her from the shore, fervently hoping that none but gentle fortunes would befall the happy-hearted girl, who waved her hand to them till they could see nothing but the summer sunshine dazzling on the sea.

Renonçant à se protéger, Ellana poussa un soupir sonore qui se perdit dans le vacarmes de l'averse. - Un ami amant qui trahit, bougonna-t-elle, un ami tout court qui disparaît, un ami maître qui devient muet... Restons positifs, il pourrait pleuvoir.

I'm not afraid of storms, for I'm learning to sail my ship.

...I never knew how much like heaven this world could be, when two people love and live for one another! -Amy March

Her monstrosities in the way of cattle would have taken prizes at an agricultural fair, and the perilous pitching of her vessels would have produced seasickness in the most nautical observer, if the utter disregard to all known rules of shipbuilding and rigging had not convulsed him with laughter at the first glance.

Un mur est un ami versatile. S'il surveille tes arrières, il verrouille ton espace. Seul le sot se fie au mur.

Ami, ne t’en va plus si loin. D’un peu d’aide j’ai grand besoin, Quoi qu’il m’advienne. Je ne sais où va mon chemin, Mais je marche mieux quand ma main Serre la tienne.

La felicidad de Amy había avivado su deseo de amar a alguien con toda la fuerza de su alma y su corazón, alguien de quien no se separaría nunca mientras Dios lo permitiese.

i'm not a poet, i'm just a woman

Those neurons, the brain’s soldiers, march for years, from the time we’re born, through the byways of the brain, setting actions into motion, rolling away boulders of all kinds, and then, with Alzheimer’s, they’re blocked by trees down at one end of the road, dangling wires at another. Over the years, the brain’s soldiers—this well-trained and reliable army, which has done so much, on so many different terrains, gone high and low, swum, climbed, strolled, and marched to all the different destinations of the mind—begin to falter, long before outsiders can see the troubles. Eventually (five years on for some, three for others, ten for some), the obstacles cannot be overcome. Messages cannot be received.

Mrs. March knew that experience was an excellent teacher, and when it was possible she left her children to learn alone the lessons which she would gladly have made easier, if they had not objected to taking advice as much as they did salts and senna. "Very well, Amy, if your heart is set upon it, and you see your way through without too great an outlay of money, time, and temper, I'll say no more. Talk it over with the girls, and whichever way you decide, I'll do my best to help you.

��"Che m'importa di quello che è successo con Oliver? Non sono affari miei" dissi. "Io voglio sposarmi." Clem aveva insistito per un fidanzamento di sei mesi, conoscendo la mia natura e la mia personalità. Ma questo consiglio andava bene per i bottegai della vita, non per chi aveva passato tutta la propria esistenza con un solo grande obiettivo. "Certo" disse lei, "anch'io voglio sposarmi, se tu mi ami." Glielo giurai con tutto il cuore. "Se dopo pranzo mi ami ancora" disse lei, "chiedimelo di nuovo.

I see. It’s nice to have accomplishments and be elegant, but not to show off or get perked up,” said Amy thoughtfully. “These things are always seen and felt in a person’s manner and conversations, if modestly used, but it is not necessary to display them,” said Mrs. March.

Girl Snouts.” “We are not,” contradicted Sarah. “We’re Girl Scouts.” “Hup, two, three, four. Hup, two, three, four,” counted Mrs. Collins, who was the jolly type and did not understand how parents sometimes embarrass their children. Down the hill marched the class. Mitchell felt Bernadette’s toe on his heel again and jumped in time.

my heart. So I fancied that your boy might fill the empty place if he tried now." "No, Mother, it is better as it is, and I'm glad Amy has learned to love him. But you are right in one thing. I am lonely, and perhaps if Teddy had tried again, I might have said 'Yes', not because I love him any more, but because I care more to be loved than when he went away." "I'm glad of that, Jo, for it shows that you are getting on. There are plenty to love you, so try to be satisfied with Father and Mother, sisters and brothers, friends and babies, till the best lover of all comes to give you your reward." "Mothers are the best lovers in the world, but I don't mind whispering to Marmee that I'd like to try all kinds. It's very curious, but the more I try to satisfy myself with all sorts of natural affections, the more I seem to want. I'd no idea hearts could take in so many. Mine is so elastic, it never seems full now, and I used to be quite contented with my family. I don't understand it." "I do," and Mrs. March smiled her wise smile, as Jo turned back the leaves to read what Amy said of Laurie. "It is so beautiful to be loved as Laurie loves me. He isn't sentimental, doesn't say much about it, but I see and feel it in all he says and does, and it makes me so happy and so humble that I don't seem to be the same girl I

The one thing my mother gave me was my name. She made me proud of my name. She made me proud of what I came from and who I was. Yet I have spent so many years hiding from my name.” I rubbed my chest, battling the sentiment that surged there. “It was Deborah Samson who marched and bled and starved and served. Me. But Deborah Samson is still an object of scorn and speculation when anyone thinks of me at all. And I have allowed myself to be by staying silent.

Jo is the one who writes popular fiction for money, Amy is the one who scrapes together what materials she can find to pursue her artistic ambitions and makes no money, as yet. Jo's moneymaking is seen as a necessity so that the Marches can get by. But because Amy dresses well, behaves properly, and gets along with Aunt March, and because, unlike Jo, she does not dismiss the idea of marrying for money, readers may misunderstand Amy. Amy is not more selfish than Jo, she is more canny...Amy has already demonstrated the value of reason, understanding, thoughtfulness, getting along. If we return to the spot in part one where Marmee tells Meg and Jo what she wants for her daughters, the first descriptive word out of her mouth is 'beautiful.' It is Amy who has done what her mother wanted, who has used her looks, i.e., to become beautiful in the eyes of society, to get ahead, but she has done so not out of vanity or greed but because, through her art, she has sought to understand the nature of beauty--in herself, in admiring Aunt March's jewelry, in painting, in relationships

Five sisters. That must have been hell." "Only when they forced me to dress up like a girl and play Amy whenever they reenacted Little Women" Giggling as quietly as possible, I say, "You had to play Amy? Why didn't they let you be Laurie?" "My sister Beth insisted on playing Laurie. Figure that one out. One of the March sisters had her very own name, but no sir, she had to be a boy. I had to pretend, dressed as a girl, to marry my own sister dressed as boy." His laugh is good-natured. "I believe the word thats coming to your mind is disturbing.

I never ought to, while I have you to cheer me up, Marmee, and Laurie to take more than half of every burden," replied Amy warmly. "He never lets me see his anxiety, but is so sweet and patient with me, so devoted to Beth, and such a stay and comfort to me always that I can't love him enough. So, in spite of my one cross, I can say with Meg, 'Thank God, I'm a happy woman.'" "There's no need for me to say it, for everyone can see that I'm far happier than I deserve," added Jo, glancing from her good husband to her chubby children, tumbling on the grass beside her. "Fritz is getting gray and stout. I'm growing as thin as a shadow, and am thirty. We never shall be rich, and Plumfield may burn up any night, for that incorrigible Tommy Bangs will smoke sweet-fern cigars under the bed-clothes, though he's set himself afire three times already. But in spite of these unromantic facts, I have nothing to complain of, and never was so jolly in my life. Excuse the remark, but living among boys, I can't help using their expressions now and then." "Yes, Jo, I think your harvest will be a good one," began Mrs. March, frightening away a big black cricket that was staring Teddy out of countenance. "Not half so good as yours, Mother. Here it is, and we never can thank you enough for the patient sowing and reaping you have done," cried Jo, with the loving impetuosity which she never would outgrow. "I hope there will be more wheat and fewer tares every year," said Amy softly.

No one spoke of the great trouble, not even Mrs. March, for all had learned by experience that when Jo was in that mood words were wasted, and the wisest course was to wait till some little accident, or her own generous nature, softened Jo's resentment and healed the breach. It was not a happy evening, for though they sewed as usual, while their mother read aloud from Bremer, Scott, or Edgeworth, something was wanting, and the sweet home peace was disturbed. They felt this most when singing time came, for Beth could only play, Jo stood dumb as a stone, and Amy broke down, so Meg and Mother sang alone. But in spite of their efforts to be as cheery as larks, the flutelike voices did not seem to chord as well as usual, and all felt out of tune.

Êtes-vous ce qu’on appelle un heureux ? Eh bien, vous êtes triste tous les jours. Chaque jour a son grand chagrin ou son petit souci. Hier, vous trembliez pour une santé qui vous est chère, aujourd’hui vous craignez pour la vôtre, demain ce sera une inquiétude d’argent, après-demain la diatribe d’un calomniateur, l’autre après-demain le malheur d’un ami ; puis le temps qu’il fait, puis quelque chose de cassé ou de perdu, puis un plaisir que la conscience et la colonne vertébrale vous reprochent ; une autre fois, la marche des affaires publiques. Sans compter les peines de cœur. Et ainsi de suite. Un nuage se dissipe, un autre se reforme. À peine un jour sur cent de pleine joie et de plein soleil. Et vous êtes de ce petit nombre qui a le bonheur ! Quant aux autres hommes, la nuit stagnante est sur eux.

Jase and I asked Mia what she wanted to do before her surgery. “How about a family party?” she suggested. So the invitation went out. It’s interesting when you mention to family members that they are going to be on TV--schwoom, they are there. As Willie said, “I didn’t know we had this much family.” Mia had always heard the funny stories about Jase wrestling with his brothers and cousins growing up, particularly how cousin Amy beat up Willie, so that’s what she requested for the special entertainment. As Jase said, “It’s the ultimate redneck dinner theater.” A wrestling ring was delivered, and the warmup act was the Robertson boys clowning around, performing their best wrestling moves. Willie surprised everyone with guest professional wrestlers, including Jase’s favorite, “Hacksaw” Jim Duggan. I felt kind of bad for them, wearing only their little wrestling pants, while the rest of us were bundled up in winter coats. Yes, it was January, but it was unusually cold in Louisiana--about twenty degrees. The wrestlers had to keep moving fast; otherwise, they would have frozen to death! At the end of the party, Mia took the stage between Jase and Willie, thanking everyone for coming and then sharing from her heart: “My favorite verse is Psalm 46:10: ‘Be still, and know that I am God!’ God is bigger than all of us, and He is bigger than any of your struggles, too.” I think I can say that there was hardly a dry eye in the crowd. Going into her surgery, Mia was being brave for all of us. In the end, seeing the final version of the episode, I thought the network did a great job of including enough humor to make people laugh but also providing a tender glimpse into the love our family shares with one another and the love we all have for Mia. When Duck Dynasty fans saw it on March 26, 2014, they agreed completely!

Amy was on the point of crying, but Laurie slyly pulled the parrot's tail, which caused Polly to utter an astonished croak and call out, "Bless my boots!" in such a funny way, that she laughed instead. "What do you hear from your mother?" asked the old lady gruffly. "Father is much better," replied Jo, trying to keep sober. "Oh, is he? Well, that won't last long, I fancy. March never had any stamina," was the cheerful reply. "Ha, ha! Never say die, take a pinch of snuff, goodbye, goodbye!" squalled Polly, dancing on her perch, and clawing at the old lady's cap as Laurie tweaked him in the rear. "Hold your tongue, you disrespectful old bird! And, Jo, you'd better go at once. It isn't proper to be gadding about so late with a rattlepated boy like . . ." "Hold your tongue, you disrespectful old bird!" cried Polly, tumbling off the chair with a bounce, and running to peck the `rattlepated' boy, who was shaking with laughter at the last speech.

A girl is like a young tree,” she said. “You must stand tall and listen to your mother standing next to you. That is the only way to grow strong and straight. But if you bend to listen to other people, you will grow crooked and weak. You will fall to the ground with the first strong wind. And then you will be like a weed, growing wild in any direction, running along the ground until someone pulls you out and throws you away.” But by the time she told me this, it was too late. I had already begun to bend. I had started going to school, where a teacher named Mrs. Berry lined us up and marched us in and out of rooms, up and down hallways while she called out, “Boys and girls, follow me.” And if you didn’t listen to her, she would make you bend over and whack you with a yardstick ten times. I still listened to my mother, but I also learned how to let her words blow through me. And sometimes I filled my mind with other people’s thoughts—all in English—so that when she looked at me inside out, she would be confused by what she saw.

Ma Chere Mamma, We are all well I do my lessons always and never corroberate the girls -- Meg says I mean contradick so I put in both words and you can take the properest. Meg is a great comfort to me and lets me have jelly every night at tea its so good for me Jo says because it keeps me sweet tempered. Laurie is not as respeckful as he ought to be now I am almost in my teens, he calls me Chick and hurts my feelings by talking French to me very fast when I say Merci or Bon jour as Hattie King does. The sleeves of my blue dress were all worn out, and Meg put in new ones, but the full front came wrong and they are more blue than the dress. I felt bad but did not fret I bear my troubles well but I do wish Hannah would put more starch in my aprons and have buckwheats every day. Can't she? Didn't I make that interrogation point nice? Meg says my punchtuation and spelling are disgraceful and I am mortyfied but dear me I have so many things to do, I can't stop. Adieu, I send heaps of love to Papa. Your affectionate daughter . .. AMY CURTIS MARCH

Didn’t you ever notice that whatever you wanted or whatever you set out to do, Cora wanted to do it too?” Noah asked. “She wasn’t like that.” “She was, Mer. And it’s okay to admit it. One of the hardest things about Cora dying is that everyone wants to erase her—the real Cora. They talk about her as though she were perfect. She wasn’t. ‘Don’t talk ill of the dead,’ people say. But if we aren’t truthful about who our loved ones were, then we aren’t really remembering them. We’re creating someone who didn’t exist. Cora loved you. She loved me. But what she did was not okay. And I’m pissed off about it.” Mercedes reeled back, stunned. “Geez, Noah. Tell me how you really feel. She still deserves our compassion,” she rebuked. He nodded. “Everyone deserves compassion. And I know suicide isn’t always a conscious act. Most of the time it’s sheer desperation. It’s a moment of weakness that we can’t come back from. But regardless of illness or weakness, if we don’t own our actions and don’t demand that others own theirs, then what’s the point? We might as well give up now. We have to expect better of ourselves. We have to. I expect more of my patients, and when I expect more—lovingly, patiently—they tend to rise to that expectation. Maybe not all the way up, but they rise. They improve because I believe they can, and I believe they must. My mom was sick. But she didn’t try hard enough to get better. She found a way to cope—and that’s important—but she never varied from it. Life has to be more than coping. It has to be.” Mercedes nodded slowly, her eyes clinging to his impassioned face. She’d struck a nerve, and he wasn’t finished. “I know it’s not something we’re supposed to say. We’re supposed to be all-loving and all-compassionate all the time. But sometimes the things we aren’t supposed to say are the truths that keep us sane, that tether us to reality, that help us move the hell on! I know some of my colleagues would be shocked to hear it. But pressure—whether it’s the pressure of society, or the pressure of responsibility, or the pressure that comes with being loved and being needed—isn’t always a bad thing. You’ve heard the cliché about pressure and diamonds. It’s a cliché because it’s true. Pressure sometimes begets beautiful things.” Mercedes was silent, studying his handsome face, his tight shoulders, and his clenched fists. He was weary, that much was obvious, but he wasn’t wrong. “Begets?” she asked, a twinkle in her eye. He rolled his eyes. “You know damn well what beget means.” “In the Bible, beget means to give birth to. I wouldn’t mind giving birth to a diamond,” she mused. “You ruin all my best lectures.” There was silence from the kitchen. Silence was not good. “Gia?” Noah called. “What, Daddy?” she answered sweetly. “Are you pooping in your new princess panties?” “No. Poopin’ in box.” “What box?” His voice rose in horror. “Kitty box.” Noah was on his feet, racing toward the kitchen. Mercedes followed. Gia was naked—her Cinderella panties abandoned in the middle of the floor—and perched above the new litter box. “No!” Noah roared in horror, scooping her up and marching to the toilet. “Maybe it won’t be a turd, Noah. Maybe Gia will beget a diamond,” Mercedes chirped, trying not to laugh. “I blame you, Mer!” he called from the bathroom. “She was almost potty-trained, and now she wants to be a cat!

You are in Grand Rapids, Michigan, for a Secretary Hillary Clinton Get Out the Vote rally at Grand Valley State University Fieldhouse. It is Monday, November 7, 2016. “LOADING!” a press aide yelled. Hillary had just wrapped up her second and final rally in Michigan since she lost to Bernie back in March.

What I’m trying to say is, you can’t wait for somebody else to decide whether you get another chance. What if nobody ever does?

Liberté Sur mes cahiers d'écolier Sur mon pupitre et les arbres Sur le sable de neige J'écris ton nom Sur toutes les pages lues Sur toutes les pages blanches Pierre sang papier ou cendre J'écris ton nom Sur les images dorées Sur les armes des guerriers Sur la couronne des rois J'écris ton nom Sur la jungle et le désert Sur les nids sur les genêts Sur l'écho de mon enfance J'écris ton nom Sur les merveilles des nuits Sur le pain blanc des journées Sur les saisons fiancées J'écris ton nom Sur tous mes chiffons d'azur Sur l'étang soleil moisi Sur le lac lune vivante J'écris ton nom Sur les champs sur l'horizon Sur les ailes des oiseaux Et sur le moulin des ombres J'écris ton nom Sur chaque bouffées d'aurore Sur la mer sur les bateaux Sur la montagne démente J'écris ton nom Sur la mousse des nuages Sur les sueurs de l'orage Sur la pluie épaisse et fade J'écris ton nom Sur les formes scintillantes Sur les cloches des couleurs Sur la vérité physique J'écris ton nom Sur les sentiers éveillés Sur les routes déployées Sur les places qui débordent J'écris ton nom Sur la lampe qui s'allume Sur la lampe qui s'éteint Sur mes raisons réunies J'écris ton nom Sur le fruit coupé en deux Du miroir et de ma chambre Sur mon lit coquille vide J'écris ton nom Sur mon chien gourmand et tendre Sur ses oreilles dressées Sur sa patte maladroite J'écris ton nom Sur le tremplin de ma porte Sur les objets familiers Sur le flot du feu béni J'écris ton nom Sur toute chair accordée Sur le front de mes amis Sur chaque main qui se tend J'écris ton nom Sur la vitre des surprises Sur les lèvres attendries Bien au-dessus du silence J'écris ton nom Sur mes refuges détruits Sur mes phares écroulés Sur les murs de mon ennui J'écris ton nom Sur l'absence sans désir Sur la solitude nue Sur les marches de la mort J'écris ton nom Sur la santé revenue Sur le risque disparu Sur l'espoir sans souvenir J'écris ton nom Et par le pouvoir d'un mot Je recommence ma vie Je suis né pour te connaître Pour te nommer Liberté

I've never seen a man march to his own funeral before.

Pourtant, derrière ce front uni, régnait l’ombre intangible de la désunion, une atmosphère de frigidité, de manque d’amour, nourrie de torts et encore engrossée par le silence qui leur semblait à tous trois s’être infiltré dans les murs de la maison, une sorte de présence fantôme qui criait sans bruit sur les marches de l’escalier et faisait écho aux portes claquées. Jamais ils ne parlèrent du faux visage qu’ils présentaient à leurs voisins et amis ; cela ne fit l’objet d’aucune concertation entre eux. Ce visage existait simplement, reflétant en partie l’insistance de Margaret sur les convenances et la décence et, du côté des coupables, une expiation sans fin ni espoir.

March 24: With Milton and Amy Greene, Marilyn attends the opening of a new Tennessee Williams play, Cat on a Hot Tin Roof, at the Morosco Theatre in New York City. Afterwards, they dine at the El Morocco.

Do you really believe what you do in the service of your country, for the men you fight beside, is something you need to explain to me?” My voice was just above a whisper, my face a breath from his. “You think you have to justify yourself to me? Me? Someone who’s never had to march umpteen miles with 150 pounds on her back, or been shot at, or gone days on little to no sleep? Someone who hasn’t spent the last ten years in harsh conditions, with few comforts, someone who’s never been asked to do incredibly difficult things to keep people safe?” I kissed him again, the tips of my wet fingers resting lightly on his jaw. “Where would we all be without people like you?

5.0 out of 5 starsA great story! Enjoy reading it! By JMF on March 14, 2013 Format: Paperback Verified Purchase I enjoyed very much reading this book. I could not put this interesting family saga down! Amy Kwei's imagination brilliantly makes the characters come to life. She calls it a novel, yet it is obviously the story of her family. I learned much that I did not know about Chinese culture and tradition as well as life in the 1930s to the beginning of World War II. The facts were well researched. This is a most moving account of the tragic binding of women's feet and its consequences on one woman - the grandmother. I never understood why a country so highly civilized and refined in art and poetry could afflict such cruelty on the women in its upper class. How the grandmother as a child yearned to have fun running around with her brother, but was prevented to do so by her crippled feet. The description of the war and hardshiops of the Japanese occupation is vividly narrated and the upheaval war brought upon China. Yet the humanity of some Japanese-Americans is also beautifully described. Despite all these tragic happenings, the author keeps a positive and hopeful attitude. The novel is full of suspense and I hope the author is already working on a sequel and will not disappoint her readers, who are anxious to know how her family fared in the future. This book is a treasure!

I listened to some John Phillip Sousa today and imagined you marching in your dress blues. Will you send me a picture when you graduate? I can’t wait to see you all serious in front of the flag. You do serious pretty well, so I don’t think you will look too different to me

I hear the drill instructors in my sleep yelling “pivot, align to the right, cover, don’t close up, and don’t rush it!” We drill for hours on end it seems like. I feel like I am marching in my sleep. Antwon Carlton actually did march in his sleep. Tyler was on Firewatch duty night before last and Carlton came marching by in his sleep. Tyler called out “Pivot, back to the rack recruit!” It worked, and big bad Carlton marched back to his bunk. Tyler had everyone laughing about it-you know he didn’t keep it to himself.

We resumed our steady march through the sleeping street. Boulder City was incredibly quiet. If Vegas was the city that never slept, then Boulder made up for it. It slept like a drunkard on a feather bed. We hadn't even been barked at.

Ed Amies, one of my oldest and closest friends, told my simply that: “So often, God’s callings have a birth, a death, and then a resurrection.” I had had the birth, and had got stuck into Selection; I had had the death, at that fateful dam in the Welsh mountains--now was a logical time for the resurrection. If my faith stood for anything it was this: miracles really can happen. So I made the decision to try again. This time, though, I would be doing this alone. I knew that support from my family and friends would be much less forthcoming, especially from Mum, who could see the physical toll that just four months had taken. But I felt deadly serious about passing this properly now and I somehow knew that it was my last chance to do it. And no one was going to do it for me. Some two weeks later I listened to a mumbled message on my answering machine from Trucker. He’d got lost on the final part of a march. After hours of wandering aimlessly in the dark, and out of time, he had finally been found by a DS in a Land Rover, out to look for stray recruits. Trucker was dejected and tired. He, too, had failed the course. He went through the same struggle over the next few weeks that I had, and like me, he was invited by the squadron to try again. We were the only two guys to have been asked back. With greater resolve than ever, we both threw ourselves into training with an intensity that we had never done before. This time we meant business. We both moved into an old, secluded, rented farm cottage some six miles out of Bristol. And, Rocky-style, we started to train. The next Selection course (of which two are run annually) was just about to start. And just like in Groundhog Day, we found ourselves back in that old dusty gymnasium at the squadron barracks, being run ragged by the DS.

Hester Lipp had written Where the Sidewalk Starts, an inexplicably acclaimed book of memoir, recounting — in severe language and strange, striking imagery — Lipp's childhood and adolescence on a leafy suburban street in Burlington. Her house was large and well-kept, her schooling uneventful, her family — the members of which she described in scrupulous detail — uniformly decent and supportive. Sidewalk was blurbed as a devastatingly honest account of what it meant to grow up middle class in America. Amy, who forced herself to read the whole thing, thought the book devastatingly unnecessary. The New York Times had assigned it to her for a review, and she stomped on it with both feet. Amy's review of Sidewalk was the only mean-spirited review she ever wrote. She had allowed herself to do this, not because she was tired of memoirs, baffled by their popularity, resentful that somehow, in the past twenty years, fiction had taken a backseat to them, so that in order to sell clever, thoroughly imagined novels, writers had been browbeaten by their agents into marketing them as fact. All this annoyed her, but then Amy was annoyed by just about everything. She beat up on Hester Lipp because the woman could write up a storm and yet squandered her powers on the minutiae of a beige conflict-free life. In her review, Amy had begun by praising what there was to praise about Hester's sharp sentences and word-painting talents and then slipped, in three paragraphs, into a full-scale rant about the tyranny of fact and the great advantages, to both writer and reader, of making things up. She ended by saying that reading Where the Sidewalk Starts was like "being frog-marched through your own backyard.

For once in his life, Charles didn't care what anyone thought of his behavior.  He marched straight up to Perry, tapped him on the shoulder, and jerked his thumb to indicate that Perry had better relinquish Amy to him. Now. Perry, grinning, bowed and backed off.  At the same time, Amy turned her head and saw Charles, her face breaking into such an expression of joy that he was nearly undone. "Charles!" she cried, and he knew then that if they weren't in the middle of a crowded ballroom, with everyone staring at them, she would've thrown herself straight into his arms.  As it was, she stumbled such that he had to catch her and set her on her feet, a move that he managed to carry off such that she barely missed a step.  "Oh, Charles, I've been waiting all evening for you to arrive!  Where have you been?" "Looking for you."  He stared at her.  "Amy, you look . . . ravishing," he said, and it was all he could do not to claim those smiling, carmine-rouged lips and kiss her senseless. "For once in my life, I actually feel ravishing!  Oh, Charles — will you look at all these powdered heads, the jewels and silks and satins, everyone having such a good time!  Isn't it just wonderful?  Isn't this just the most magical place on earth?" He swung her through the steps.  "Amy, I do not wish to spoil your enjoyment, but exactly what are you doing?" "I'm dancing!" she said, her cheeks flushed, her eyes sparkling as he led her through the steps.  "Oh, Charles, this is such fun!  Your brother was so kind to give me this night . . . I feel like Cinderella!" "What?" "Lucien!  He was so grateful for what I did for you back in America that he gave me this night, this gown, a new identity, and . . . and, even these diamonds at my ears!  Well, he didn't actually give them to me, I understand that they belonged to your grandmother but he said that only someone with my coloring would be able to carry them off. . . ."  She blushed.  "Charles, you don't think everyone's staring at me because I'm the only one here with unpowdered hair, do you?  Lucien said that I really should leave it natural, and —" "No, Amy," he said tightly, realizing that everyone was staring at her, and it had nothing to do with her hair. It was because she was the most strikingly beautiful woman in the room and one couldn't help but stare at her. "Charles, are you angry?" "Yes, Amy, I am angry, quietly furious, in fact, but not with you." "Then with who?  Certainly, not Perry I hope, because he's now dancing with your sister — she has a tendre for him, you know." "And where did you learn that word, Amy?" "Oh, Nerissa taught it to me.  I understand it is quite the thing to know some French.  Oh, Charles, please don't be angry with Perry, he did nothing wrong —" "It's not Perry I'm angry with, it's Lucien."  The dance ended.  "And by God, I'm going to give him a piece of my mind." His

Le feuillage des arbres ondule doucement sous le vent. Les maisons de ma petite ville, blotties au milieu de la verdure, ne m’ont jamais paru aussi jolies. Quelle belle journée de vacances d’été ! En revenant de la plage, je marche tranquillement en compagnie de mon cousin Fred et de Lisa, une amie qui habite la maison juste à côté de la nôtre. Nous sommes arrivés dans notre rue quand Lisa s’arrête brusquement et pose sa main sur mon bras.

Mon jeune ami, on ne comprend rien à la marche du monde si l’on s’imagine que les hommes agissent toujours avec sagesse. La déraison est le principe mâle de l’Histoire.

As my grandmother moved to discover other, hideous gowns that were better suited as an eighties prom dress than something I wanted to march down the aisle in,

Qui vit à l’étranger marche dans un espace vide au-dessus de la terre sans le filet de protection que tend à tout être humain le pays qui est son propre pays, où il a sa famille, ses collègues, ses amis, et où il se fait comprendre sans peine dans la langue qu’il connaît depuis l’enfance.

Grotesque" Why do the lilies goggle their tongues at me When I pluck them; And writhe, and twist, And strangle themselves against my fingers, So that I can hardly weave the garland For your hair? Why do they shriek your name And spit at me When I would cluster them? Must I kill them To make them lie still, And send you a wreath of lolling corpses To turn putrid and soft On your forehead While you dance? Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

The Letter" Little cramped words scrawling all over the paper Like draggled fly's legs, What can you tell of the flaring moon Through the oak leaves? Or of my uncurtained window and the bare floor Spattered with moonlight? Your silly quirks and twists have nothing in them Of blossoming hawthorns, And this paper is dull, crisp, smooth, virgin of loveliness Beneath my hand. I am tired, Beloved, of chafing my heart against The want of you; Of squeezing it into little inkdrops, And posting it. And I scald alone, here, under the fire Of the great moon. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

Music is a universe of sound, constantly expanding and dividing. Compositions are carved into movements and passages. A half note branches off into quarter notes, sixteenth notes—the same tone, yet held for a different duration, a different effect. A harmony of multiple notes, a counterpoint of multiple melodies, an orchestra of multiple instruments: separate spheres, playing in parallel. “A composer must make order out of this hopeless profusion of noise. To play every note at once—one big, all-encompassing dot—would produce chaos. To play none would produce silence. But to space them out artfully on a staff of time: that would produce a masterpiece. “And so the composer splits the piece into measures and meter. The notes are held tight within bar lines, told when to ring out and when to die out, when to attack and when to decay. They are given finite boundaries. *You will last for eight breaths, and no more.* To them, time is fixed; to the composer, it is fluid. She could speed it up, slow it down, change duple meter to triple meter or a march to a waltz. She knows that the beauty lies not in how long the note lasts, but in the sound that it makes while it does. “Maybe, the woman thinks, our composer has done the same with us. Lest eternity seem too long and infinity too loud, she imposes measures on our existence, divides it into years, generations, incarnations. We count beats and birthdays. We emerge from the silence, and we fade back into it. This is not a punishment or a curse, any more than it is to assign a time signature to a song. After all, if there is no beat, how can there be a dance? “She does not do this to make us suffer. She does this to make us music.

The capital P has no bearing on the PTSD of Israel. The dread of extinction is the white noise the people continuously try to ignore – continuously, because the dread of extinction is punctually refreshed. Following the Holocaust, within three years of the Holocaust, what starts to happen? Independence Day was proclaimed on May 15, 1948, and on May 16, 1948, five Arab armies launched what was avowedly a Vernichtungskrieg, a war of annihilation (its failure was the original Arab nakba – ‘catastrophe’). The same applied in June 1967 (the Six Day War) and in October 1973 (the Yom Kippur War)…In January 1991 the existential threat came from Saddam Hussein; during the first Gulf War, Tel Aviv was bombarded by Iraqi missiles, and Israeli families sat in sealed rooms with German-made gas masks covering their faces. In March 2002, with the Second Intifada, the threat came from the Palestinians. Now the threat comes from Gaza, and from the overarching prospect of nuclear weapons in Iran… To understate the obvious, this is not a formula for radiant mental health. And if there’s a scintilla of truth in the notion that countries are like people, then it is vain to expect Israel to behave normatively or even rationally. The question is not, How can you expect it, after all that? The question is, After all that, why do you expect it?

Her first marriage had been like a sunny day in March, the Northern Lights on a summer night, snow in June—rare and precious, but not impossible

I’m going to look for the compliment buried in that remark,

There was simply nothing more glorious than to see what these girls could do, if they were allowed to be a little rough-and-tumble.

Jo took me to the beach. Because, she said, the ocean makes everything better.” Beth & Amy

My favorite of all my therapies is speech therapy. It’s the only one I really look forward to. My speech therapy sessions with Amy are usually held in my room. We sit by the window, me in my wheelchair, Amy in a regular chair, with a rolling table between us. Every day, we start our session with the same set of questions. “Where are we, Charly?” Amy asks me. “We’re in a rehab hospital,” I reply. Amy smiles. “Very good. And what’s the date?” “March sixth,” I say.

En 1937, Cioran part pour Paris, envoyé comme boursier de l’Institut français. Très vite, ce cadeau inespéré commence à lui sembler empoisonné : « Dès qu’on se met au diapason de la ville, on est perdu. » Boulevard Saint-Germain, les blessures narcissiques ne guérissent jamais, car il « n’y a rien qui ressemble tant au néant que la gloire à Paris ». D’entrée de jeu, ce « provincial dans l’âme » sait qu’il s’est trompé de destination, mais il est trop tard pour faire marche arrière. Dans l’espoir d’oublier son forfait, Cioran parcourt régulièrement la France en vélo et couche dans les auberges de jeunesse. Durant l’été 1947, arrivé dans un village près de Dieppe, il s’emploie sans grande conviction à traduire Mallarmé en roumain, mais un beau matin, il décide brusquement d’en finir avec sa langue maternelle. Écrire uniquement en français lui apparaît comme un impératif majeur. Le lendemain il regagne Paris et se met à l’œuvre sur-le-champ. Il termine très vite la première version du Précis de décomposition et la montre un ami dont le jugement est loin d’être encourageant : « Ça fait métèque. Il faut tout reprendre. » Cioran est déçu et furieux, mais il décide de suivre rigoureusement le conseil. Ayant connu un Basque, « spécialiste de la langue ancienne et fanatique de l’imparfait du subjonctif », il se paye le luxe d’écouter à longueur de journée ses tournures superbes et démodées.

Very ursine. Yes, Mr. Bhaer, your old bore. But she returns home to see Beth before she dies, and leaves him in Manhattan. All seems ended, until Amy and Laurie return home...man and...wife.' Jo looked at him. 'It was about art and music. And Paris. And Rome.' 'I get it." He shook his head, aghast. 'But, Jo.

Love was madness, was foolish, was senseless. Love was a problem, and yet somehow the loss of it was a worse one. Love made normal things, sensible things, make no sense at all. It made Meg almost refuse a good man who loved her. It made their mama give all their bread to the Hummels and wait forever for a chaplain husband who was practically a ghost. It made Amy and Poppet speak in their own private language, the language of long-lost and now-reunited twins, shipwrecked together in the seas of some faraway world. It made familiar things terrifying, and terrifying things familiar. It burned the wings off moths, sending them headlong into the flame. There was no escape, no recovery, no happy ending. You loved and you lost. Your heart beat and the beating left it bruised beyond recognition. You could feel it, or try not to feel it, or long for it, but you didn't get to keep it. It didn't matter how, or even why. He loved you or he didn't. She died or she didn't. He left or he didn't. In the end, you were always the loneliest person in the world, no matter who you were. Because that was what love was, the very raggedy edge of that feeling, the coming or the going of it. There was nothing else. Only shadows.