Autumn In New York Quotes

Don't you love New York in the fall? It makes me want to buy school supplies. I would send you a bouquet of newly sharpened pencils if I knew your name and address.

It was one of those perfect New York October afternoons, when the explosion of oranges and yellows against the bright blue sky makes you feel like your life is passing through your fingers, that you've felt this autumn-feeling before and you'll probably get to feel it again, but one day you won't anymore, because you'll be dead.

She’d always adored autumn storms, from the quiet that came before the rain, when the birds and bugs went silent, to the raucous cracks and grumbles that echoed between the clouds, rife with the possibility of goblins and ghosts.

Each city has its own romantic season. Once a year, a city's architectural, cultural and horticultural variables come into alignment with the solar course in such a way that men and women passing eachother in the thoroughfares few and unusual sense of romantic promise. Like Christmas time in Vienna, April in Paris and autumn in New York.

The technologies which have had the most profound effects on human life are usually simple. A good example of a simple technology with profound historical consequences is hay. Nobody knows who invented hay, the idea of cutting grass in the autumn and storing it in large enough quantities to keep horses and cows alive through the winter. All we know is that the technology of hay was unknown to the Roman Empire but was known to every village of medieval Europe. Like many other crucially important technologies, hay emerged anonymously during the so-called Dark Ages. According to the Hay Theory of History, the invention of hay was the decisive event which moved the center of gravity of urban civilization from the Mediterranean basin to Northern and Western Europe. The Roman Empire did not need hay because in a Mediterranean climate the grass grows well enough in winter for animals to graze. North of the Alps, great cities dependent on horses and oxen for motive power could not exist without hay. So it was hay that allowed populations to grow and civilizations to flourish among the forests of Northern Europe. Hay moved the greatness of Rome to Paris and London, and later to Berlin and Moscow and New York.

On the day of the race, as I run those very streets, will I be able to fully enjoy this autumn in New York? Or will I be too preoccupied? I won't know until I actually start running. If there's one hard and fast rule about marathons, it's that.

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore.

Small unhurt sorrows approach the hospitals and every day the dead take off a suit of blood. The architectures of frost, the lyres and moans that escape the tiny leaves in autumn, soaking the final slopes, died out in the blackness of felt hats.

New York bakes in a cess of gritty fug all summer, and congeals into gray slush all winter. There are a couple of days in the spring and autumn when the sky is madonna blue, the air crisp, and the light bright and sparkling, and that’s when they take the pictures and make the romantic comedies.

That autumn, I kept coming back to Hopper’s images, drawn to them as if they were blueprints and I was a prisoner; as if they contained some vital clue about my state. Though I went with my eyes over dozens of rooms, I always returned to the same place: to the New York diner of Nighthawks, a painting that Joyce Carol Oates once described as “our most poignant, ceaselessly replicated romantic image of American loneliness”... Green shadows were falling in spikes and diamonds on the sidewalk. There is no colour in existence that so powerfully communicates urban alienation, the atomisation of human beings inside the edifices they create, as this noxious pallid green, which only came into being with the advent of electricity, and which is inextricably associated with the nocturnal city, the city of glass towers, of empty illuminated offices and neon signs.

Savor the season, for this too shall pass, Brooklyn’s autumnal leaves confirmed. One of many things that make fall in New York so poignantly beautiful is the knowledge that winter is coming. And it’ll get you every time.

For me, autumn has never been a sad season. The dying leaves and the days that grow shorter and shorter have never evoked the end of something for me but instead brought with them anticipation for the future. In Paris, during these October evenings, there is an electricity in the air at dusk. Even when it rains. I don’t feel down at that time of night, nor does it seem that time is passing too swiftly. I have the feeling that anything is possible.

As the trees turned red, then white, then naked as pitchforks, Margot and Xiao Chen immersed themselves in several forests' worth of pages, and I watched, tortured, as brick after brick of a new development was laid on the wasteland of Midtown West like slabs of gold bullion.

The Depression, by the time it came, ratified what'd been under way. Slothrop grew up in a hilltop desolation of businesses going under, hedges around the estates of the vastly rich, half-mythical cottagers from New York lapsing back now to green wilderness or straw death, all the crystal windows every single one smashed, Harrimans and Whitneys gone, lawns growing to hay, and the autumns no longer a time for foxtrots in the distances, limousines and lamps, but only the accustomed crickets again, apples again, early frosts to send the hummingbirds away, east wind, October rain: only winter certainties.

In autumn 1937, the New York Times delivered its analysis of the economy’s downturn: “The cause is attributed by some to taxation and alleged federal curbs on industry; by others, to the demoralization of production caused by strikes.” Both the taxes and the strikes were the result of Roosevelt policy; the strikes had been made possible by the Wagner Act the year before. As scholars have long noted, the high wages generated by New Deal legislation helped those workers who earned them. But the inflexibility of those wages also prevented companies from hiring additional workers. Hence the persistent shortage of jobs in the latter part of the 1930s.

The Mercy The ship that took my mother to Ellis Island eighty-three years ago was named "The Mercy." She remembers trying to eat a banana without first peeling it and seeing her first orange in the hands of a young Scot, a seaman who gave her a bite and wiped her mouth for her with a red bandana and taught her the word, "orange," saying it patiently over and over. A long autumn voyage, the days darkening with the black waters calming as night came on, then nothing as far as her eyes could see and space without limit rushing off to the corners of creation. She prayed in Russian and Yiddish to find her family in New York, prayers unheard or misunderstood or perhaps ignored by all the powers that swept the waves of darkness before she woke, that kept "The Mercy" afloat while smallpox raged among the passengers and crew until the dead were buried at sea with strange prayers in a tongue she could not fathom. "The Mercy," I read on the yellowing pages of a book I located in a windowless room of the library on 42nd Street, sat thirty-one days offshore in quarantine before the passengers disembarked. There a story ends. Other ships arrived, "Tancred" out of Glasgow, "The Neptune" registered as Danish, "Umberto IV," the list goes on for pages, November gives way to winter, the sea pounds this alien shore. Italian miners from Piemonte dig under towns in western Pennsylvania only to rediscover the same nightmare they left at home. A nine-year-old girl travels all night by train with one suitcase and an orange. She learns that mercy is something you can eat again and again while the juice spills over your chin, you can wipe it away with the back of your hands and you can never get enough.

I do have a phone in New York. One night—at one in the morning!—I was awakened by Miss Bette Davis, the actress, calling from California to tell me how much she admired something of mine. She had no idea that it was anything later than ten o’clock at night where I was. “I don’t mind that, but in March, just before I left, the phone rang and a voice said: ‘We are going to castrate you and then kill you.’ All I could say to that was: ‘I think you have the wrong number.’ I’m quite sure he did.…

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant.

But why shouldn't I thank someone for doing me a service?" he heard Lillian ask with genuine perplexity. "It's polite to say thank you, isn't it?" "You should no more thank a servant than you would think a horse for allowing you to ride it, or a table for bearing the dishes you place upon it." "Well, we're not discussing animals or inanimate objects, are we? A footman is a person." "No," the countess said coldly. "A footman is a servant." "And a servant is a person," Lillian said stubbornly. The elderly woman sighed in exasperation. "Whatever your view of a footman is, you must not thank him at dinner. Servants neither expect nor desire such condescension, and if you insist on putting them in the awkward position of having to respond to your remarks, they will think badly of you... as will everyone else. Do not insult me with that vapid stare, Miss Bowman! You come from a family of means- surely you employed servants at your New York residence!" "Yes," Lillian acknowledged pertly, "but we talked to ours.

Autumn was a harvest of big-box stores and their back-to-school sales: fruit leather, instant mac 'n' cheese, and bread that we unhusked, crinkling, from its plastic sleeve. My mouth watered for the sweetness of processed wheat sown thick through gas stations from California to New York. Honey Buns and Wonder Breads, in perfect squares and machined circles, and the ripe weight of a Danish, mass-produced, that attempts no fidelity to the country after which it is named--- no country but this one ambered by waves of industrial grain.

Drawing near the family parlor, Marcus paused beside the half-open door as he heard his mother lecturing the Bowman sisters. Her complaint appeared to hinge upon the sisters’ habit of speaking to the footmen who served them at the dinner table. “But why shouldn’t I thank someone for doing me a service?” he heard Lillian ask with genuine perplexity. “It’s polite to say thank you, isn’t it?” “You should no more thank a servant than you would thank a horse for allowing you to ride it, or a table for bearing the dishes you place upon it.” “Well, we’re not discussing animals or inanimate objects, are we? A footman is a person.” “No,” the countess said coldly. “A footman is a servant.” “And a servant is a person,” Lillian said stubbornly. The elderly woman replied in exasperation. “Whatever your view of a footman is, you must not thank him at dinner. Servants neither expect nor desire such condescension, and if you insist on putting them in the awkward position of having to respond to your remarks, they will think badly of you…as will everyone else. Do not insult me with that vapid stare, Miss Bowman! You come from a family of means—surely you employed servants at your New York residence!” “Yes,” Lillian acknowledged pertly, “but we talked to ours.

Coming Home. There is a time of year in New York, in the fall, which comes suddenly, and doesn't last long, but is enough to make you love it for the rest of the year. If you go away then, you will always think of New York in golden hues, but if you stay you see the filth, the soot, the slush, and later, live in the stench and torrid heat of a New York summer. But in the fall it becomes beautiful, it is red and gold and brown, it's lear and windy and crisp, the streets look cleaner, people step as though walking to a march, the smell of hot chestnuts is everywhere...It's the time of year I love best, and if there is a warm spot in my heart for New York it is for the city at precisely that time of year. And that spell it weaves for two, or three, or four weeks in the late autumn.

It is an autumn New York morning, and therefore glorious; it is his first day of his long journey, the day before the interview, and his clothes are still clean and neat, socks still paired, blue suit unwrinkled, toothpaste still American and not some strange foreign flavor. Bright-lemon New York light flashing off the skyscrapers, onto the quilted aluminum sides of food carts, and from there onto Arthur Less himself. Even the mean delighted look from the lady who would not hold the elevator, the humor-free girl at the coffee shop, the tourists standing stock-still on busy Fifth Avenue, the revved-up accosting hawkers (“Mister, you like comedy? Everybody likes comedy!”), the toothache sensation of jackhammers in concrete—none of it can dull the day. Here is a shop that sells only zippers. Here are twenty of them. The Zipper District. What a glorious city.

On game day, until five o’clock or so, the white desert light held off the essential Sunday gloom—autumn sinking into winter, loneliness of October dusk with school the next day—but there was always a long still moment toward the end of those football afternoons where the mood of the crowd turned and everything grew desolate and uncertain, onscreen and off, the sheet-metal glare off the patio glass fading to gold and then gray, long shadows and night falling into desert stillness, a sadness I couldn’t shake off, a sense of silent people filing toward the stadium exits and cold rain falling in college towns back east. The panic that overtook me then was hard to explain. Those game days broke up with a swiftness, a sense of losing blood almost, that reminded me of watching the apartment in New York being boxed up and carted away: groundlessness and flux, nothing to hang on

Here is New York. This is why I stay. I stay to hear the jazz musicians playing in the parks, and to browse the tables of books for sale on the street. I stay for a drink in a quiet bar, lit by golden autumn light, and for Film Forum double features in black and white. I stay for egg creams, for the amateur opera singers practicing with their windows open so we all can listen. For the Chinese grandmothers dancing by the East River, snapping red fans in their hands. For the music of shopkeepers throwing open their gates. I stay for the unexpected spectacle, and the chance encounter, and for those tough seagulls gliding inland on rainy days to remind us that Manhattan is an island, a potential space both separate and connected. Most of all, I stay because I need New York. I can't live anywhere else, so I hold on to what remains. We've lost a lot, but there's so much left worth fighting for. And while I stay, I fight.

Something staticky and paranormally ventilated about the air, which drifted through a half-open window, late one afternoon, caused a delicately waking Paul, clutching a pillow and drooling a little, to believe he was a small child in Florida, in a medium-size house, on or near winter break. He felt dimly excited, anticipating a hyperactive movement of his body into a standing position, then was mostly unconscious for a vague amount of time until becoming aware of what seemed to be a baffling non sequitur—and, briefly, in its mysterious approach from some eerie distance, like someone else’s consciousness—before resolving plainly as a memory, of having already left Florida, at some point, to attend New York University. After a deadpan pause, during which the new information was accepted by default as recent, he casually believed it was autumn and he was in college, and as he felt that period’s particular gloominess he sensed a concurrent assembling, at a specific distance inside himself, of dozens of once-intimate images, people, places, situations. With a sensation of easily and entirely abandoning a prior context, of having no memory, he focused, as an intrigued observer, on this assembling and was surprised by an urge, which he immediately knew he hadn’t felt in months, or maybe years, to physically involve himself—by going outside and living each day patiently—in the ongoing, concrete occurrence of what he was passively, slowly remembering. But the emotion dispersed to a kind of nothingness—and its associated memories, like organs in a lifeless body, became rapidly indiscernible, dissembling by the metaphysical equivalent, if there was one, of entropy—as he realized, with some confusion and an oddly instinctual reluctance, blinking and discerning his new room, which after two months could still seem unfamiliar, that he was somewhere else, as a different person, in a much later year.

The day was sunny, fine for walking, brisk, and getting brisker—and in fact, as I cut a diagonal through a little plaza somewhere above Fortieth Street, the last autumn leaves leapt up from the pavement and swirled around our heads, and a sudden misty quality in the atmosphere above seemed to solidify into a ceiling both dark and luminous, and the passersby hunched into their collars, and two minutes later the gusts had settled into a wind, not hard, but steady and cold, and my hands dove into my coat pockets. A bit of rain speckled the pavement. Random snowflakes spiraled in the air. All around me, people seemed to be evacuating the scene, while across the square a vendor shouted that he was closing his cart and you could have his wares for practically nothing, and for no reason I could have named I bought two of his rat-dogs with everything and a cup of doubtful coffee and then learned the reason—they were wonderful. I nearly ate the napkin. New York!

Leaving off her rock kicking, Daisy regarded Lillian with a frown. “I’ve been wondering…why are we so determined to marry into the peerage, and live in a huge crumbly old house and eat slimy English food, and try to give instructions to a bunch of servants who have absolutely no respect for us?” “Because it’s what Mother wants,” Lillian replied dryly. “And because no one in New York will have either of us.” It was an unfortunate fact that in the highly striated New York society, men with newly earned fortunes found it quite easy to marry well. But heiresses with common bloodlines were desired neither by the established blue bloods nor by the nouveau riche men who wanted to better themselves socially. Therefore, husband hunting in Europe, where upper-class men needed rich wives, was the only solution. Daisy’s frown twisted into an ironic grin. “What if no one will have us here either?” “Then we’ll become a pair of wicked old spinsters, romping back and forth across Europe.

Arnold had never given much thought to whether or not he loved America—but now it seemed pretty obvious to him that he didn’t. Not in the way Nathan Hale had loved America. Or even in the way his late father, a Dutch-Jewish refugee, had loved America. In fact, he found the idea of sacrificing his life for his country somewhat abhorrent. Moreover, it wasn’t that he disliked abstract loyalties in general. He loved New York, for instance: Senegalese takeout at three a.m., and strolling through the Botanical Gardens on the first crisp day of autumn, and feeding the peacocks at the Cathedral of St. John the Divine. If Manhattan were invaded—if New Jersey were to send an expeditionary force of militiamen across the Hudson River—he’d willingly take up arms to defend his city. He also loved Sandpiper Key in Florida, where they owned a time-share, and maybe Brown University, where he’d spent five years of graduate school. But the United States? No one could mistake his qualified praise for love.

She threw Lillian a laughing glance. “I’m sure he has found it refreshing to encounter a woman who actually dares to disagree with him.” “I’m not certain that ‘refreshing’ would be his first choice of words,” Lillian replied wryly. “However, when I don’t like something that he’s done, I do not hesitate to tell him so.” “Good,” Lady Olivia returned. “That is precisely what my brother needs. There are few women— or men, for that matter— who ever contradict him. He is a strong man who requires an equally strong wife to balance his nature.” Lillian found herself needlessly smoothing the skirts of her pale green gown as she remarked carefully, “If Lord Westcliff and I did marry… he would face many objections from relatives and friends, wouldn’t he? Especially from the countess.” “His friends would never dare,” Lady Olivia replied at once. “As for my mother…” She hesitated and then said frankly, “She has already made it clear that she does not approve of you. I doubt she ever will. However, that leaves you in very large company, as she disapproves of nearly everyone. Does it worry you that she opposes the match?” “It tempts me beyond reason,” Lillian said, causing Lady Olivia to erupt with laughter. “Oh, I do like you,” she gasped. “You must marry Marcus, as I would love above all else to have you as a sister-in-law.” Sobering, she stared at Lillian with a warm smile. “And I have a selfish reason for hoping that you will accept him. Although Mr. Shaw and I have no immediate plans to move to New York, I know that day will not be long in coming. When that happens, I should be relieved to know that Marcus is married and has someone to care for him, with both his sisters living so far away.” She stood from the bench, straightening her skirts. “The reason I’ve told you all of this is because I wanted you to understand why it is so difficult for Marcus to abandon himself to love. Difficult, but not impossible. My sister and I have finally managed to break free of the past, with the help of our husbands. But Marcus’s chains are the heaviest of all. I know that he is not the easiest man to love. However, if you could bring yourself to meet him halfway… perhaps even a bit more than halfway… I believe you would never have cause to regret it.

At the end of that week, Navin arrived to marry me. I was repulsed by the sight of him, not because I had betrayed him but because he still breathed, because he was there for me and had countless more days to live. And yet without his even realizing it, firmly but without force, Navin pulled me away from you, as the final gust of autumn wind pulls the last leaves from the trees. We were married, we were blessed, my hand was placed on top of his, and the ends of our clothing were knotted together. ... I returned to my existence, the existence I had chosen instead of you. It was another winter in Massachusetts, thirty years after you and your parents had first gone away. In February, Giovanna got in touch to say she had heard the news from Paola. A small obituary ran in The New York Times. By then I needed no proof of you absence from the world; I felt it as plainly and implacably as the cells that were gathering and shaping themselves in my body. Those cold, dark days I spent in bed, unable to speak, burning with new life but mourning your death, went unquestioned by Navin, who had already begun to take a quiet pride in my condition. ... It might have been your child but this was not the case. We had been careful, and you had left nothing behind.

It was clear just how much Tommy loved the city. New York City. The CKY Grocery on Amsterdam had giant, bright red Spartan apples every day of the year, even if it wasn’t the right season. He loved that grocery, and the old, shaky Persian man who owned it. Tommy emphatically, yet erroneously believed that the CKY Grocery was the genuine heart of the great city. All five boroughs embodied distinct feelings for him, but there was only one that he’d ever truly romanticized. To him, Manhattan was the entire world. He loved everything between the East River and the Hudson; from the Financial District up to Harlem; from Avenue A to Zabar’s. He loved the four seasons, although autumn was easily the most anticipated. To Tommy, Central Park’s bright, almost copper hues in the fall were the epitome of orange. He loved the unique perfume of deli meats and subway steam. He loved the rain with such verve that every time it so much as drizzled, he would turn to the sky so he could feel the drops sprinkle onto his teeth. Because every raindrop that hit him had already experienced that much envied journey from the tips of the skyscrapers all the way down to the cracked and foot-stamped sidewalks. He believed every inch of the city had its own predetermined genre of music that suited it to a tee. The modal jazz of Miles Davis and Wayne Shorter was absolutely meant for the Upper East Side, north of 61st Street. Precisely between Gershwin and gospel. He loved the view from his apartment, even if it was just the leaves of the tree outside in July or the thin shadows of its bare branches crawling along the plain brick wall in January. Tommy loved his career. He loved his friends. And he loved that first big bite of apple I watched him take each and every morning. Everything was perfect in the city, and as long as things remained the way he wanted them to, Tommy would continue to love the city forever. Which is exactly why his jaw dropped when he opened the letter he found in his mailbox that morning. The first bite of still un-chewed apple fell out of his mouth and firmly planted itself within the crack of that 113th Street sidewalk.

I’d like to know if you’re also responsible for Santa Claus, New York in the autumn, and the production and timely distribution of rainbows.

A few minutes passed wherein the truck hummed, country music twanged on the radio, and I read the same paragraph in my history book four times. Then Tommy asked, “So, did you two hook up yet?” “Tommy!” I squealed. “What a question!” “What?” He half-turned toward me. “I’m just asking.” “If we hadn’t hooked up,” I said, “that question would be awkward and embarrassing. And if we had hooked up, it would be-“ “-awkward and embarrassing,” Hunter said. Tommy watched Hunter driving for a moment. Tommy’s expression was inscrutable, and I could see in the rearview mirror that Hunter’s was, too. “So you have hooked up,” Tommy concluded. “Of course not,” I said. “Hunter met his girlfriend in the bathroom. He has a fortune-teller and a bar waitress on the side.” “Never say I didn’t raise class.” Tommy turned all the way around to face me. “And how do you know this?” “We live in the same dorm.” Tommy grinned. “Uh-huh. You’re from the same town, the same farm even, you live in the same dorm, you know all about each other’s business, but you haven’t hooked up.” When he put it that way, why hadn’t we? He made it sound as if the prerequisites or hooking up were familiarity, proximity…and he must sense the desire, at least on my end. He didn’t understand the complications, the humiliations, the hundred reasons why not that hummed underneath us like the never-ending sound of New York traffic, or the drone of the Kentucky interstate behind the autumn trees. “It’s none of your business, Dad.” Maybe it was because I could hardly hear Hunter over the motor and the radio, but I was surprised by how embarrassed he sounded, and wistful.

Twelve years ago I left Boston and New York, and moved east and west at the same time. East, to a little village in Devon, England, a town I’ve been familiar with for years, since my friends Brian and Wendy Froud and Alan Lee all live there. It had long been my dream to live in England, so I finally bought a little old cottage over there. But I decided, both for visa and health reasons, living there half the year would be better than trying to cope with cold, wet Dartmoor winters. At that point, Beth Meacham had moved out to Arizona, and I discovered how wonderful the Southwest is, particularly in the wintertime. Now I spend every winter-spring in Tucson and every summer-autumn in England. Both places strongly affect my writing and my painting. They’re very opposite landscapes, and each has a very different mythic history. In Tucson, the population is a mix of Native Americans, Mexican Americans, and Euro-Americans of various immigrant backgrounds — so the folklore of the place is a mix of all those things, as well as the music and the architecture. The desert has its own colors, light, and rhythms. In Devon, by contrast, it’s all Celtic and green and leafy, and the color palette of the place comes straight out of old English paintings — which is more familiar to me, growing up loving the Pre-Raphaelites and England’s ‘Golden Age’ illustrators. I’ve learned to love an entirely different palette in Arizona, where the starkness of the desert is offset by the brilliance of the light, the cactus in bloom, and the wild colors of Mexican decor.

Когато я виждам такава прекрасна и нежна,изпитвам желание да продам всичко,което имам и да си купя време.Време да я познавам , време да я усещам време да я обичам...Когато се смее не ми трябва причина да съм весел, просто тя се смее и аз съм весел от това ,че усмивката й се съединява с блясъка в очите ми , отново горещо кафяви Ето за това си мечтая - за време да ме познава,време да ме усеща и време да ме обича. И още нещо... Някога да ме почувства именно така, сякаш съм единственото нещо, от което има нужда.

It's autumn in new York It's good to live it again

Wallau, covered with blood, was sitting propped against the wall. Zillich looked calmly at him from the doorway. A bit of light above Zillich’s shoulder, a tiny blue corner of autumn, told Wallau for the last time that the structure of the world was intact and would remain so through whatever struggles might come. Zillich stood there rigid for one moment. Never before had anyone looked at him with so much composure, so much dignity. This is death, Wallau thought. Slowly Zillich pulled the door closed behind him.

Sitting in the jazz bars or the supper clubs, the worn and the well-to-do would be nodding their heads in smiling acknowledgement that the Belarusian immigrant had it right: that somehow, despite the coming of winter, autumn in New York promises an effervescent romance which makes one look to the Manhattan skyline with fresh eyes and feel: It's good to live it again.

The streets were damp, and droplets of rain fell from the lampposts into Maude’s hair as she joyfully glided through the leaves that had started their seasonal journey, changing shades and covering the town in a new, light brown, autumn mantle.

Horseman is the haunting sequel to the 1820 novel The Legend of Sleepy Hollow by Washington Irving and takes place two decades after the events that unfolded in the original. We are introduced to 14-year-old trans boy Bente “Ben” Van Brunt, who has been raised by his idiosyncratic grandparents - lively Brom “Bones” Van Brunt and prim Kristina Van Tassel - in the small town of Sleepy Hollow, New York, where gossip and rumour run rife and people are exceedingly closed-minded. He has lived with them on their farm ever since he was orphaned when his parents, Bendix and Fenna, died in suspicious and enigmatic circumstances. Ben and his only friend, Sander, head into the woodland one Autumn day to play a game known as Sleepy Hollow Boys, but they are both a little startled when they witness a group of men they recognise from the village discussing the headless, handless body of a local boy that has just been found. But this isn't the end; it is only the beginning. From that moment on, Ben feels an otherworldly presence following him wherever he ventures, and one day while scanning his grandfather’s fields he catches a fleeting glimpse of a weird creature seemingly sucking blood from a victim. An evil of an altogether different nature. But Ben knows this is not the elusive Horseman who has been the primary focus of folkloric tales in the area for many years because he can both feel and hear his presence. However, unlike others who fear the Headless Horseman, Ben can hear whispers in the woods at the end of a forbidden path, and he has visions of the Horseman who says he is there to protect him. Ben soon discovers connections between the recent murders and the death of his parents and realises he has been shaded from the truth about them his whole life. Thus begins a journey to unravel the mystery and establish his identity in the process. This is an enthralling and compulsively readable piece of horror fiction building on Irvings’ solid ground. Evoking such feelings as horror, terror, dread and claustrophobic oppressiveness, this tale invites you to immerse yourself in its sinister, creepy and disturbing narrative. The staggering beauty of the remote village location is juxtaposed with the darkness of the demons and devilish spirits that lurk there, and the village residents aren't exactly welcoming to outsiders or accepting of anyone different from their norm. What I love the most is that it is subtle and full of nuance, instead of the usual cheap thrills with which the genre is often pervaded, meaning the feeling of sheer panic creeps up on you when you least expect, and you come to the sudden realisation that the story has managed to get under your skin, into your psyche and even into your dreams (or should that be nightmares?) Published at a time when the nights are closing in and the light diminishes ever more rapidly, not to mention with Halloween around the corner, this is the perfect autumnal read for the spooky season full of both supernatural and real-world horrors. It begins innocuously enough to lull you into a false sense of security but soon becomes bleak and hauntingly atmospheric as well as frightening before descending into true nightmare-inducing territory. A chilling and eerie romp, and a story full of superstition, secrets, folklore and old wives’ tales and with messages about love, loss, belonging, family, grief, being unapologetically you and becoming more accepting and tolerant of those who are different. Highly recommended.

Diana braced herself for the glare of the sun, the crowds and the cacophony of taxi horns, but New York delivered one of those rare, perfect autumn twilights. The air was cool and faintly fall-scented; the sky was a rich, lustrous blue, and everyone seemed to have slowed down enough to appreciate the night's beauty. "Oh, wow." Daisy gave a dreamy sigh, then looked sideways at Diana and smiled. "You probably think I'm a total country bumpkin." "No," said Diana, because she could see what Daisy was seeing. "Magic hour. That's what photographers call it. That light at the very end of the day.

This slave to the clock needs no further introduction on the station platform, for the world recognizes him as the bard who named our times “The Age of Anxiety” and won the 1948 Pulitzer Prize for his long poem of the same name set in a New York bar. This is the poet who pleaded—in a poem called “September 1, 1939,” which he later withdrew from circulation—that “we must love one another or die.” This is the heir wearing, somewhat reticently, the mantle of Yeats and Eliot.

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.

What the band played has always been more a matter of controversy than whether it played at all. This is sometimes presented as an issue raised by modern historians, but it was there from the very beginning in the divergence of the accounts given by Harold Bride to the New York Times and by the survivors on the Carpathia to Carlos Hurd for the Pultizer newspapers. Had the musicians gone down playing a tune known as “Autumn” or the music of “Nearer, My God, to Thee”? The public inquiries in America and England raised the additional issue of whether they had played any religious music at all. Some witnesses claimed that they’d stuck to popular tunes and that hymns would have been inappropriate at such a time of despair.

But why shouldn't I thank someone for doing me a service?" he heard Lillian ask with genuine perplexity. "It's polite to say thank you, isn't it?" "You should no more thank a servant than you would thank a horse for allowing you to ride it, or a table for bearing the dishes you place upon it." "Well, we're not discussing animals or inanimate objects, are we? A footman is a person." "No," the countess said coldly. "A footman is a servant." "And a servant is a person," Lillian said stubbornly. The elderly woman sighed in exasperation. "Whatever your view of a footman is, you must not thank him at dinner. Servants neither expect nor desire such condescension, and if you insist on putting them in the awkward position of having to respond to your remarks, they will think badly of you... as will everyone else. Do not insult me with that vapid stare, Miss Bowman! You come from a family of means- surely you employed servants at your New York residence!" "Yes," Lillian acknowledged pertly, "but we talked to ours.

Before World War II, Warsaw was the epicenter of Jewish life and culture in Poland; 350,000 Jews made up its prewar population. This vibrant Jewish community was the largest in both Poland and Europe, and was the second largest in the world, second only to New York City.[24] Autumn,

By the time Lillian had turned twelve ears old, cooking had become her family. It had taught her lessons usually imparted by parents- economy from a limp head of celery left too long in the hydrator, perseverance from the whipping of heavy cream, the power of memories from oregano, whose flavor only grew stronger as it dried. Her love of new ingredients had brought her to Abuelita, the owner of the local Mexican grocery store, who introduced her to avocados and cilantro, and taught her the magic of matching ingredients with personalities to change a person's mood or a life. But the day when twelve-year-old Lillian had handed her mother an apple- fresh-picked from the orchard down the road on an afternoon when Indian summer gave over to autumn- and Lillian's mother had finally looked up from the book she was reading, food achieved a status for Lillian that was almost mystical. "Look how you've grown," Lillian's mother had said, and life had started all over again. There was conversation at dinner, someone else's hand on the brush as it ran through her hair at night. A trip to New York, where they had discovered a secret fondue restaurant, hidden behind wooden shutters during the day, open by candlelight at night. Excursions to farmers' markets and bakeries and a shop that made its own cheese, stretching and pulling the mozzarella like taffy. Finally, Lillian felt like she was cooking for a mother who was paying attention, and she played in an open field of pearl couscous and Thai basil, paella and spanakopita and eggplant Parmesan.

By the time Lillian had turned twelve years old, cooking had become her family. It had taught her lessons usually imparted by parents- economy from a limp head of celery left too long in the hydrator, perseverance from the whipping of heavy cream, the power of memories from oregano, whose flavor only grew stronger as it dried. Her love of new ingredients had brought her to Abuelita, the owner of the local Mexican grocery store, who introduced her to avocados and cilantro, and taught her the magic of matching ingredients with personalities to change a person's mood or a life. But the day when twelve-year-old Lillian had handed her mother an apple- fresh-picked from the orchard down the road on an afternoon when Indian summer gave over to autumn- and Lillian's mother had finally looked up from the book she was reading, food achieved a status for Lillian that was almost mystical. "Look how you've grown," Lillian's mother had said, and life had started all over again. There was conversation at dinner, someone else's hand on the brush as it ran through her hair at night. A trip to New York, where they had discovered a secret fondue restaurant, hidden behind wooden shutters during the day, open by candlelight at night. Excursions to farmers' markets and bakeries and a shop that made its own cheese, stretching and pulling the mozzarella like taffy. Finally, Lillian felt like she was cooking for a mother who was paying attention, and she played in an open field of pearl couscous and Thai basil, paella and spanakopita and eggplant Parmesan.

I went to the window and looked out at the September evening. Though still hot with the vanished sun, the dusk, with its suggestion of autumn and nights drawing in, sent shivers of excitement up and down my spine. I thought of sex and sin; of my body and all the men in the world who would never sleep with it. I felt a vague, melancholy sensation running through me, not at all unpleasant.

Planting the US flag at the site of the Twin Towers did presage a war. Tom Franklin said that when he took his shot he had been aware of the similarities between it and another famous image from a previous conflict –the Second World War, when US Marines planted the American flag atop Iwo Jima. Many Americans will have recognized the symmetry immediately and appreciated that both moments captured a stirring mix of powerful emotions: sadness, courage, heroism, defiance, collective perseverance and endeavour. Both images, but perhaps more so the 9/ 11 photograph, also evoke the opening stanza of the American national anthem, ‘The Star-Spangled Banner’, particularly its final lines: O say does that star-spangled banner yet wave O’er the land of the free and the home of the brave? At a moment of profound shock for the American people, the sight of their flag yet waving was, for many, reassuring. That the stars of the fifty states were held aloft by men in uniform may have spoken to the streak of militarism that tinges American culture, but to see the red, white and blue amid the awful grey devastation of Ground Zero will also have helped many ordinary citizens to cope with the other deeply disturbing images emerging from New York City that autumn day.

Then comes September and the sun tilts to the south. Yes, autumn in New York: the great song of the city and the great season. Not just for the relief from the brutal extremes of winter or summer, but for that glorious slant of the light, that feeling that in certain moments lances in on that tilt—that you had been thinking you were living in a room and suddenly with a view between buildings out to the rivers, a dappled sky overhead, you are struck by the fact that you live on the side of a planet—that the great city is also a great bay on a great world. In those golden moments even the most hard-bitten citizen, the most oblivious urban creature, perhaps only pausing for a WALK sign to turn green, will be pierced by that light and take a deep breath and see the place as if for the first time, and feel, briefly but deeply, what it means to live in a place so strange and gorgeous.

THE MORNING AFTER THE storm, the air was chilly, and the town of Carvin was filled with an unearthly atmosphere. The sun, on this new autumn day was gradually creeping through the shadows, renewing the world with its ancient light.

When Lawrence came to Taormina, Verga was living in Catania, a few miles further down the eastern Sicilian coast, and in the autumn of 1921, when his writings first attracted Lawrence’s attention, he was an octogenarian with only a few months left to live. Shortly after Verga’s death in January 1922, Lawrence wrote to a correspondent in New York that ‘Poor old Verga went and died exactly as I was going to see him in Catania. But he was 82 years old.

If people believe the government is giving them AIDS and blowing up levees, and that white-owned companies are trying to sterilize them, they would be lacking in normal human emotions if they did not—to put it bluntly—hate the people they believed responsible. Indeed, vigorous expressions of hatred go back to at least the time of W.E.B. Du Bois, who once wrote, “It takes extraordinary training, gift and opportunity to make the average white man anything but an overbearing hog, but the most ordinary Negro is an instinctive gentleman.” On another occasion he expressed himself in verse: 'I hate them, Oh! I hate them well, I hate them, Christ! As I hate hell! If I were God, I’d sound their knell This day!' Such sentiments are still common. Amiri Baraka, originally known as LeRoi Jones, is one of America’s most famous and well-regarded black poets, but his work is brimming with anti-white vitriol. These lines are from “Black Dada Nihilismus:” 'Come up, black dada nihilismus. Rape the white girls. Rape their fathers. Cut the mothers’ throats.' Here are more of his lines: 'You cant steal nothin from a white man, he’s already stole it he owes you anything you want, even his life. All the stores will open up if you will say the magic words. The magic words are: Up against the wall motherfucker this is a stick up!' In “Leroy” he wrote: “When I die, the consciousness I carry I will to black people. May they pick me apart and take the useful parts, the sweet meat of my feelings. And leave the bitter bullshit rotten white parts alone.” When he was asked by a white woman what white people could do to help the race problem, he replied, “You can help by dying. You are a cancer. You can help the world’s people with your death.” In July, 2002, Mr. Baraka was appointed poet laureate of New Jersey. The celebrated black author James Baldwin once said: “[T]here is, I should think, no Negro living in America who has not felt, briefly or for long periods, . . . simple, naked and unanswerable hatred; who has not wanted to smash any white face he may encounter in a day, to violate, out of motives of the cruelest vengeance, their women, to break the bodies of all white people and bring them low.” Toni Morrison is a highly-regarded black author who has won the Nobel Prize. “With very few exceptions,” she has written, “I feel that White people will betray me; that in the final analysis they’ll give me up.” Author Randall Robinson concluded after years of activism that “in the autumn of my life, I am left regarding white people, before knowing them individually, with irreducible mistrust and dull dislike.” He wrote that it gave him pleasure when his dying father slapped a white nurse, telling her not “to put her white hands on him.” Leonard Jeffries is the chairman of the African-American studies department of the City College of New York and is famous for his hatred of whites. Once in answer to the question, “What kind of world do you want to leave to your children?” he replied, “A world in which there aren’t any white people.