Backgrounds For Girls Quotes

I'm the girl who is lost in space, the girl who is disappearing always, forever fading away and receding farther and farther into the background. Just like the Cheshire cat, someday I will suddenly leave, but the artificial warmth of my smile, that phony, clownish curve, the kind you see on miserably sad people and villains in Disney movies, will remain behind as an ironic remnant. I am the girl you see in the photograph from some party someplace or some picnic in the park, the one who is in fact soon to be gone. When you look at the picture again, I want to assure you, I will no longer be there. I will be erased from history, like a traitor in the Soviet Union. Because with every day that goes by, I feel myself becoming more and more invisible...

Most insensible, corrupt, cheap, disrespectful young girls run after bad, rude, cocky, nonsensical boys, but a mature, educated, thoughtful, virtuos lady opts for a wise, well breed, experienced, humble, modest gentleman.

He barely knew I existed. I knew some of the same people he knew, but I was a girl in the background, several degrees of seperation removed.

I look at people holdings hands in the hallways, and I try to think how it all works. At the school dances, I sit in the background, and I tap my toe, and I wonder how many couples will dance to ‘their song.’ In the hallways, I see the girls wearing the guys’ jackets, and I think about the idea of property. And I wonder if anyone is really happy.

In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the centre of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.

Love yourself! You don’t need a man or a boy or a self-proclaimed love expert to tell you what you’re worth. Your power comes from who you are and what you do! You don't need all that noise, that constant hum in the background telling you whether or not you're good enough. All you need is you, your friends, and your family. And you will find the right person for you, if that's what you want - the one who respects your strength and beauty.

I see how it is,” I snapped. “You were all in favor of me breaking the tattoo and thinking on my own—but that’s only okay if it’s convenient for you, huh? Just like your ‘loving from afar’ only works if you don’t have an opportunity to get your hands all over me. And your lips. And . . . stuff.” Adrian rarely got mad, and I wouldn’t quite say he was now. But he was definitely exasperated. “Are you seriously in this much self-denial, Sydney? Like do you actually believe yourself when you say you don’t feel anything? Especially after what’s been happening between us?” “Nothing’s happening between us,” I said automatically. “Physical attraction isn’t the same as love. You of all people should know that.” “Ouch,” he said. His expression hadn’t changed, but I saw hurt in his eyes. I’d wounded him. “Is that what bothers you? My past? That maybe I’m an expert in an area you aren’t?” “One I’m sure you’d just love to educate me in. One more girl to add to your list of conquests.” He was speechless for a few moments and then held up one finger. “First, I don’t have a list.” Another finger, “Second, if I did have a list, I could find someone a hell of lot less frustrating to add to it.” For the third finger, he leaned toward me. “And finally, I know that you know you’re no conquest, so don’t act like you seriously think that. You and I have been through too much together. We’re too close, too connected. I wasn’t that crazy on spirit when I said you’re my flame in the dark. We chase away the shadows around each other. Our backgrounds don’t matter. What we have is bigger than that. I love you, and beneath all that logic, calculation, and superstition, I know you love me too. Running away and fleeing all your problems isn’t going to change that. You’re just going to end up scared and confused.” “I already feel that way,” I said quietly. Adrian moved back and leaned into his seat, looking tired. “Well, that’s the most accurate thing you’ve said so far.” I grabbed the basket and jerked open the car door. Without another word, I stormed off, refusing to look back in case he saw the tears that had inexplicably appeared in my eyes. Only, I wasn’t sure exactly which part of our conversation I was most upset about.

The goddess smiled. "You are a good hero, Percy Jackson. Not too proud. I like that. But you have much to learn. When Dionysus was made a god, I gave up my throne for him. It was the only way to avoid a civil war among the gods." "It unbalanced the Council," I remembered. "Suddenly there were seven guys and five girls." Hestia shrugged. "It was the best solution, not a perfect one. Now I tend the fire. I fade slowly into the background. No one will ever write epic poems about the deeds of Hestia. Most demigods don't even stop to talk to me. But that is no matter. I keep the peace. I yield when necessary. Can you do this?

Sasha: Men don't understand a lot of things. Every young girl is going to be drawn more to a failure than to a successful man, because they're all attracted by the notion of active love... Do you understand? Active. Men are busy with their work, and therefore for them love is something right in the background. A conversation with the wife, a stroll with her in the garden, a nice time, a cry on her grave - that's all. But for us love is life. I love you, that means that I dream of how I'll cure you of your depression, of how I'll go with you to the ends of the earth... When you're up, so am I; when you're down, so am I. ... The more work there is, the better love is ...

The country girls were considered a menace to the social order. Their beauty shone out too boldly against a conventional background.

She said, “Do you see how I’m wearing this apron? It means I’m working. For a living.” The unconcerned expression didn’t flag. He said, “I’ll take care of it.” She echoed, “Take care of it?” “Yeah. How much do you make in an hour? I’ll take care of it. And I’ll talk to your manager.” For a moment, Blue was actually lost for words. She had never believed people who claimed to be speechless, but she was. She opened her mouth, and at first, all that came out was air. Then something like the beginning of a laugh. Then finally, she managed to sputter, “I am not a prostitute.” The Aglionby boy appeared puzzled for a long moment, and then realization dawned. “Oh, that was not how I meant it. That is not what I said.” “That is what you said! You think you can just pay me to talk to your friend? Clearly you pay most of your female companions by the hour and don’t know how it works with the real world, but . . . but . . .” Blue remembered that she was working to a point, but now what that point was. Indignation had eliminated all higher functions and all that remained was the desire to slap him. The boy opened his mouth to protest, and her thought came back to her all in a rush. “Most girls, when they’re interested in a guy, will sit with them for free.” To his credit, the Aglionby boy didn’t speak right away. Instead, he thought for a moment and then he said, without heat, “You said you were working for living. I thought it’d be rude to not take that into account. I’m sorry you’re insulted. I see where you’re coming from, but I feel it’s a little unair that you’re not doing the same for me.” “I feel you’re being condescending,” Blue said. In the background, she caught a glimpse of Soldier Boy making a plane of his hand. It was crashing and weaving toward the table surface while Smudgy Boy gulped laughter down. The elegant boy held his palm over his face in exaggerated horror, fingers spread just enough that she could see him wince. “Dear God,” remarked Cell Phone boy. “I don’t know what else to say.” “Sorry,” she recommended. “I said that already.” Blue considered. “Then ‘bye.’” He made a little gesture at his chest that she thought was supposed to mean he was curtsying or bowing or something sarcastically gentleman-like.

Are you sure that’s a real spell?’ said the girl. ‘Well, it’s not very good, is it? I’ve tried a few simple spells just for practice and its all worked for me. Nobody in my family’s magic at all. It was ever such a surprise when I got my letter, but I was ever so pleased, of course, I mean, it’s the very best school of witchcraft there is, I’ve heard – I’ve learnt all our set books off by heart, of course, I just hope it will be enough – I’m Hermione Granger, by the way, who are you?’ She said all this very fast. Harry looked at Ron, and was relieved to see by his stunned face that he hadn’t learned all the course books by heart either. ‘I’m Ron Weasley,’ Ron muttered. ‘Harry Potter,’ said Harry. ‘Are you really?’ said Hermione. ‘I know all about you, of course – I got a few extra books for background reading, and you’re in Modern Magical History and The Rise and Fall of the Dark Arts and Great Wizarding Events of the Twentieth Century.’ ‘Am I?’ said Harry, feeling dazed. ‘Goodness, didn’t you know, I’d have found out everything I could if it was me,’ said Hermione.

... you've experienced the single scene out there - it's blood test and background checks and references and 'Please pee in this cup before we can go on a date' screenings, all clinical and stripped bare of any romance.

I brought a picture with me that I had at home, of a girl in a swing with a castle and pretty blue bubbles in the background, to hang in my room, but that nurse here said the girl was naked from the waist up and not appropriate. You know, I've had that picture for fifty years and I never knew she was naked. If you ask me, I don't think the old men they've got here can see well enough to notice that she's bare-breasted. But, this is a Methodist home, so she's in the closet with my gallstones.

Her hair, drawn back off her ears, brushed her shoulders in such a way that the face seemed to have just emerged from it, as if this were the exact moment when she was coming from a wood into clear moonlight. The unknown yielded her up; Dick wished she had no background, that she was just a girl lost with no address save the night from which she had come.

Ma was heavy, but not fat; thick with child-bearing and work. She wore a loose Mother Hubbard of gray cloth in which there had once been colored flowers, but the color was washed out now, so that the small flowered pattern was only a little lighter gray than the background. The dress came down to her ankles, and he strong, broad, bare feet moved quickly and deftly over the floor. Her thin, steel-gray hair was gathered in a sparse wispy knot at the back of her head. Strong, freckled arms were bare to the elbow, and her hands were chubby and delicate, like those of a plump little girl. She looked out into the sunshine. Her full face was not soft; it was controlled, kindly. Her hazel eyes seemed to have experienced all possible tragedy and to have mounted pain and suffering like steps into a high calm and a superhuman understanding. She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt and fear, she had practiced denying them in herself. And since, when a joyful thing happened, they looked to see whether joy was on her, it was her habit to build up laughter out of inadequate materials. But better than joy was calm. Imperturbability could be depended upon. And from her great and humble position in the family she had taken dignity and a clean calm beauty. From her position as healer, her hands had grown sure and cool and quiet; from her position as arbiter she had become as remote and faultless in judgment as a goddess. She seemed to know that if she swayed the family shook, and if she ever really deeply wavered or despaired the family would fall, the family will to function would be gone.

Either way, there was the clear sense that we were no longer just background characters in each other’s lives, passing through the periphery with mutual disdain. Our roots had suddenly and irrevocably knotted together.

In China, people from such humble backgrounds rarely spoke in public. But here they were, each person unapologetic and full of faith that her personal story was interesting.

You are more than the sum total of your bullshit background and your scheming. You’re everything I could possibly want.

Once, these thoughts must have had a meaning. They must have meant what they said. But repetition has blunted them. They have become background music, a Muzak medley of self-hatred themes.

But hey, I had the best times during each sprint,” I added. His laugh was soft and possibly a little disappointed. “That’s my girl. Running every morning?” “Every morning and I’ve been swimming more.” I stopped talking when I heard a voice in the background. All I heard was my dad mumbling, “It’s Sal… you wanna talk to her?... Okay… Sal, your mom says hi.” “Tell her I said hi back.” “My daughter says hi… no, she’s mine. The other one is yours… Ha! No!... Sal are you mine or your mom’s?” he asked me. “I’m the milkman’s.” “I knew it!” He finally laughed with a deep pleased sigh. I was smiling like a total fool. “I love you too, old man.

People listen to music for different reasons. Some people, -its background music— but other people need it to survive. Other people need music to get things out and maybe that’s just where I’m coming from, you know, when things weren’t easy for me, growing up. You know, music, I felt, saved my life. Pete Townshend, wherever you are, Pete, you saved my life. You know, whether he knows it or not. I wouldn’t be here. And I had absolutely nothing else besides music. And so that’s still, you know, that’s in me, and so if we’re gonna play, if we’re gonna get up and play, or write a song, you know, write about something that means something. You know, why write about, you know, 'Oh, pretty day', or, 'Pretty girl' or 'Pretty people', there’s nothing… people have different reasons for listening and playing. I need to —for me-, it’s much more.. religious!

most women, regardless of where they grew up or what their cultural background is, have been taught essentially that to be a good woman is to be good for other people. The problem with this is that it means you’re letting other people determine your worth. Is it any wonder that half the women I know suffer from anxiety and depression, drowning underneath the wave of what other people think? We’ve been taught that we don’t have any value without the good opinions of others. But I digress. I went to this conference and

That's my big problem. That's it! Before the Arrival,guys like Evan Walker never looked twice at me, much less shot wild game for me and washed my hair. They never grabbed me by the back of the neck like the airbrushed model on his mother's paperback,abs a-clenching, pecs a-popping. My eyes have never been looked into, or my chin raised to bring my lips within an inch of theirs. I was the girl in the background, the just-friend,or -worse- the friend of a just-friend, the you-sit-next-to-her-in-geometry-but-can't-remember-her-name girl.

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

The Girl She Was She doesn't feel like herself. Not anymore. she was different once. Now she is like a watered-down version, pale and thin. She slips through the cracks unnoticed. She fades into the background, afraid of saying the wrong thing. She grows sharp edges and wont let anyone get close to her. She doesn't know how she came to be like this, how she ended up here. she only remembers the way she used to be—wild and reckless. Bold and unapologetic.

When you're traumatized, your sense of self, your individuality, is beaten up. Your skin color, your background, your pain, your hope, your gender, your faith, it's all defiled. Those essential pieces of yourself are stolen. You, as a person, are emptied and flattened, and that violence, that theft, keeps you from embodying a life that feels like your own. To continue to exist, as a whole person, you need to re-create, for yourself, an identity untouched by everything that's been used against you. You need to imagine and build a self out of elements that are not tainted. You need to remake yourself on your own terms.

And the way I loved her was like nothing else. This, I decided, was the love all other loves were measured against. They say girls look to marry their fathers, but I decided after having Maxie that we all, every one of us, were looking to marry our mothers. Sitting on the sofa with her wrapped in a soft blanket in my arms, I’d think, ‘This baby has it so good.’ It just seemed that the love I’d been searching and hoping for all my life was what Maxie already had right now: two big arms and a lap, a warm blanket, the background music of a heartbeat and a pair of lungs, food at a moment’s notice, sleep at every urge, and a person totally obsessed with her, whose every moment—waking or otherwise—was totally devoted to her comfort and care. Was that so much to ask for?

When they reached her she stood on the path holding a pair of moths. Her eyes were wide with excitement , her cheeks pink, her red lips parted, and on the hand she held out to them clung a pair of delicate blue-green moths, with white bodies, and touches of lavender and straw colour. All about her lay flower-brocaded grasses, behind a deep green background of the forest, while the sun slowly sifted gold from heaven to burnish her hair. Mrs. Comstock heard a sharp breath behind her. Oh, what a picture!" Exulted Ammon over sher shoulder. "She is absolutely and altogether lovely! Id give a small fortune for that faithfully set on canvas!

Peter never wore underwear, Connie had complained, and the fact grew in my mind, making me nauseous in a not unpleasant way. The sleepy crease of his eyes from his permanent high. Connie paled in comparison: I didn't really believe that friendship could be an end in itself, not just the background fuzz to the dramatics of boys loving you or not loving you.

Ben,” Max said, leaning back in his chair with a giant grin. “It’s finally happened.” I groaned, resting my head on my hand. “You got your period?” Bennett asked. “Congratulations.” “No, you twat,” Max said, laughing. “I’m talking about Will. He’s gone arse over tits for a girl.” A loud slap sounded in the background and I imagined Bennett’s desk had just received a very enthusiastic high-five. “Fantastic! Does he look miserable?

If a man loves a girl who is in the first place young and inexperienced; who in the second place is educated with a background of caveman tradition, a middle-ground of poetry and romance, and a foreground of unspoken hope and interest all centering upon the one Event; and who has, furthermore, absolutely no other hope or interest worthy of the name - why, it is a comparatively easy manner to sweep her off her feet with a dashing attack.

I’m riding a tram and, as is my habit, slowly absorbing every detail of the people around me. By ‘detail’ I mean things, voices, words. In the dress of the girl directly in front of me, for example, I see the material it’s made of, the work involved in making it – since it’s a dress and not just material – and I see in the delicate embroidery around the neck the silk thread with which it was embroidered and all the work that went into that. And immediately, as if in a primer on political economy, I see before me the factories and all the different jobs: the factory where the material was made; the factory that made the darker coloured thread that ornaments with curlicues the neck of the dress’ and I see the different workshops in the factories, the machines, the workmen, the seamstresses. My eyes’ inward gaze even penetrates into the offices, where I see the managers trying to keep calm and the figures set out in the account books, but that’s not all: beyond that I see into the domestic lives of all those who spend their working hours in these factories and offices...A whole world unfolds before my eyes all because the regularly irregular dark green edging to a pale green dress worn by the girl in front of me of whom I see only her brown neck. ‘A whole way of life lies before me. I sense the loves, the secrets, the souls of all those who worked just so that this woman in front of me on the tram should wear around her mortal neck the sinuous banality of a thread of dark green silk on a background of light green cloth. I grow dizzy. The seats on the tram, of fine, strong cane, carry me to distant regions, divide into industries, workmen, houses, lives, realities, everything. I leave the tram exhausted, like a sleepwalker, having lived a whole life.

These thoughts have no meaning. They are idiot mantras that exist in a prearranged cycle: I'm no good, I'm the Angel of Death, I'm stupid, I can't do anything. Thinking the first thought triggers the whole circuit. It's like the flu: first a sore throat, then, inevitably, a stuffy nose and a cough. Once, these thoughts must have had a meaning. They must have meant what they said. But repetition has blunted them. They have become background music, a Muzak medley of self-hatred themes.

There was a girl, and her uncle sold her, wrote Mr. Ibis in his perfect copperplate handwriting. That is the tale; the rest is detail. There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.

I look at people holding hands in the hallways, and I try to think how it all works. At the school dances, I sit in the background, and I tap my toe, and I wonder how many couples will dance to ‘their song.’ In the hallways, I see the girls wearing the guys’ jackets, and I think about the idea of property. And I wonder if anyone is really happy. I hope they are. I really hope they are. Bill looked at me looking at people, and after class, he asked me what I was thinking about, and I told him. He listened, and he nodded and made "affirmation" sounds. When I finished, his face changed into a "serious talk" face. "Do you always think this much, Charlie?" "Is that bad?" I just wanted someone to tell me the truth. "Not necessarily. It's just that sometimes people use thought to not participate in life." "Is that bad?" "Yes." "I think I participate, though. Don't you think I am?" "Well, are you dancing at these dances?" "I'm not a very good dancer.

Elnora lifted the violin and began to play. She wore a school dress of green gingham, with the sleeves rolled to the elbows. She seemed a part of the setting all around her. Her head shone like a small dark sun, her face never had seemed so rose-flushed and fair. From the instant she drew the bow, her lips parted and her eyes fastened on something far away in the swamp, and never did she give more of that immpression of feeling for her notes and repeating something audible only to her. Ammon was to near to get the best effect. he arose and stepped back several yards, leaning against a large tree, looking and listening with all his soul. As he changed position he saw that Mrs. Comstock had followed them, and was standing on the trail, where she could not have helped hearing everything Elnora had said. So to Ammon before her and the mother watching on the trail, Elnora played the Song of the Limberlost. It seemed as if the swamp hushed all its other voices and spoke only through her dancing bow. The mother out on the trail had heard it all once before from the girl, many times from her father. To the man it was a revelation. He stood so stunned he forgot Mrs. Comstock. He tried to realize what a great city audience would say to that music, from such a player, with a like background, he could not imagine.

At Padovani Beach the dance hall is open every day. And in that huge rectangular box with its entire side open to the sea, the poor young people of the neighborhood dance until evening. Often I used to await there a a moment of exceptional beauty. During the day the hall is protected by sloping wooden awnings. When the sun goes down they are raised. Then the hall is filled with an odd green light born of the double shell of the sky and the sea. When one is seated far from the windows, one sees only the sky and, silhouetted against it, the faces of the dancers passing in succession. Sometimes a waltz is being played, and against the green background the black profiles whirl obstinately like those cut-out silhouettes that are attached to a phonograph's turntable. Night comes rapidly after this, and with it the lights. But I am unable to relate the thrill and secrecy that subtle instant holds for me. I recall at least a magnificent tall girl who had danced all afternoon. She was wearing a jasmine garland on her right blue dress, wet with perspiration from the small of her back to her legs. She was laughing as she danced and throwing back her head. As she passed the tables, she left behind her a mingled scent of flowers and flesh. When evening came, I could no longer see her body pressed tight to her partner, but against her body alternating spots of white jasmine and black hair, and when she would throw back her swelling breast I would hear her laugh and see her partner's profile suddenly plunge forward. I owe to such evenings the idea I have of innocence. In any case, I learn not to separate these creatures bursting with violent energy from the sky where their desires whirl.

During any prolonged activity one tends to forget original intentions. But I believe that, when making a start on A Month in the Country, my idea was to write an easy-going story, a rural idyll along the lines of Thomas Hardy's Under the Greenwood Tree. And, to establish the right tone of voice to tell such a story, I wanted its narrator to look back regretfully across forty or fifty years but, recalling a time irrecoverably lost, still feel a tug at the heart. And I wanted it to ring true. So I set its background up in the North Riding, on the Vale of Mowbray, where my folks had lived for many generations and where, in the plow-horse and candle-to-bed age, I grew up in a household like that of the Ellerbeck family. Novel-writing can be a cold-blooded business. One uses whatever happens to be lying around in memory and employs it to suit one's ends. The visit to the dying girl, a first sermon, the Sunday-school treat, a day in a harvest field and much more happened between the Pennine Moors and the Yorkshire Wolds. But the church in the fields is in Northamptonshire, its churchyard in Norfolk, its vicarage London. All's grist that comes to the mill. Then, again, during the months whilst one is writing about the past, a story is colored by what presently is happening to its writer. So, imperceptibly, the tone of voice changes, original intentions slip away. And I found myself looking through another window at a darker landscape inhabited by neither the present nor the past.

I Pray For This Girl Oh yes! For the young girl Who just landed on Mother Earth! The one about to turn five with a smile Or the other one who just turned nine She is not only mine My Mother’s, Grandmother’s Neighbour’s or friend’s daughter She is like a flower Very fragile, yet so gorgeous An Angel whose wings are invisible I speak life to this young or older girl She might not have a say But expects the world to be a better place Whether affluent or impoverished No matter her state of mind Her background must not determine How she is treated She needs to live, she has to thrive! Lord God Almighty Sanctify her unique journey Save her from the claws of the enemy Shield her against any brutality Restore her if pain becomes a reality Embrace her should joy pass swiftly When emptiness fills her heart severely May you be her sanctuary! Dear Father, please give her The honour to grow without being frightened Hope whenever she feels forsaken Contentment even after her heart was broken Comfort when she is shaken Courage when malice creeps in Calm when she needs peace Strength when she is weak Freedom to climb on a mountain peak And wisdom to tackle any season Guide her steps, keep her from tumbling My Lord, if she does sometimes stumble Lift her up, so she can rise and ramble Grant her power to wisely triumph On my knees, I plead meekly for this girl I may have never met her I may not know her name I may not be in her shoes I may not see her cries Yet, I grasp her plight Wherever she is King of Kings Be with her Each and every day I pray for this girl