Christy Catherine Marshall Quotes

We've searched our database for all the quotes and captions related to Christy Catherine Marshall. Here they are! All 39 of them:

A Christian has no business being satisfied with mediocrity. He's supposed to reach for the stars. Why not? He's not on his own anymore. He has God's help now.
Catherine Marshall (Christy)
The only time I ever find my dealings with God less than clear-cut is when I'm not being honest with Him. The fuzziness is always on my side, not His.
Catherine Marshall (Christy)
My father always told us that if we will let God, He can use even our disappointments, even our annoyances to bring us a blessing. There's a practical way to start the process too: by thanking Him for whatever happens, no matter how disagreeable it seems.
Catherine Marshall (Christy)
Clean up a pigsty," she commented one evening, "and if the creatures in it still have pig-minds and pig-desires, soon it will be the same old pigsty again.
Catherine Marshall (Christy)
I still don't understand anything- exept that somehow I know that You are love. And that in my heart has been so great a love for Christy as I did not know could exist on this earth. You, God, must be responsible. You must have put it there. So what do I do with it now?
Catherine Marshall (Christy)
When you heart is ablaze with the love of God, when you love other people - especially the ripsnorting sinners - so much that you dare to tell them about Jesus with no apologies, then never fear, there will be results.
Catherine Marshall (Christy)
The house, it's already been a-settin' here for a hundred years. It'll be right here tomorrow. It's today I must be livin'.
Catherine Marshall (Christy)
Evil is real - and powerful. It has to be fought, not explained away, not fled. And God is against evil all the way. So each of us has to decide where WE stand, how we're going to live OUR lives. We can try to persuade ourselves that evil doesn't exist; live for ourselves and wink at evil. We can say that it isn't so bad after all, maybe even try to call it fun by clothing it in silks and velvets. We can compromise with it, keep quiet about it and say it's none of our business. Or we can work on God's side, listen for His orders on strategy against the evil, no matter how horrible it is, and know that He can transform it.
Catherine Marshall (Christy)
Have you ever thought that the only ugly things in this Cove are man's fault, while the beautiful things are God's work? Look at those mountains.
Catherine Marshall (Christy)
Some of what I wrote bordered on blasphemy....If there was a God, He would have to be truth. And in that case, candor--however impertinent--would be more pleasing to Him than posturing.
Catherine Marshall (Christy)
dont wish upon a star reach for one
Catherine Marshall (Stage Fright (Christy, #10))
Truth could never be wholly contained in words.
Catherine Marshall (Christy)
So many people never pause long enough to make up their minds about basic issues of life and death. It's quite possible to go through your whole life, making the mechanical motions of living, adopting as your own sets of ideas you've come to any conclusion for yourself as to what life is all about.
Catherine Marshall (Christy)
Have you ever watched a baby learning to walk? He totters, arms stretched out to balance himself. He wobbles - and falls, perhaps bumps his nose. Then he puts the palms of his little hands flat on the floor, hikes his rear end up, looks around to see if anybody is watching him. If nobody is, usually he doesn't bother to cry, just precariously balances himself - and tries again. Well, the baby can teach us. What you've undertaken...isn't a state of perfection to be arrived at all of the sudden. It's a WALK, and a walk isn't static but ever-changing. We Friends say that all discouragement is from an evil source and can only end in more evil. Wallowing in self-condemnation or feeling sorry for yourself is worse than falling on your face in the first place. . . So thee is human.
Catherine Marshall (Christy)
I was too old for my father to (be protective), too young to be flattered.
Catherine Marshall (Christy)
Did people always have to wait for pestilence or war or tragedy to be shocked into forgetting about themselves?
Catherine Marshall (Christy)
Living in the middle of beauty like this, we've no call to have puny ideas about God. Why do you suppose His world is so fancy-fine, so full of wonderment if He doesn't want everything to be good and perfect and right and healthy? But we can spoil His good work. When we mess things up, then we shouldn't blame Him and try to make ourselves feel better by contending that it's what He wanted.
Catherine Marshall (Christy)
Fixin’ onything is man’s work,” came Opal’s firm answer. Tearin’ down or killin’, that thar’s easy. Any addle-pated fool kin pull the trigger of a rifle-gun or fling a rock. It’s fixin’ that’s hard, takes a heap more doin’.
Catherine Marshall (Christy)
I'd long since learned that no difference in viewpoint should ever be allowed to cause the least break in love. Indeed, it cannot, if it's real love. ...But relationships can be kept intact without compromising one's own beliefs. And if we do not keep them intact, but give up and allow the chasm, we're breaking the second greatest commandment.
Catherine Marshall (Christy)
I might have felt unimportant pitted against the awesome might of the mountains. I did not. Rather, on that mountain top I found something important that I had never known before: an awareness of a vital connection between me and the Authority behind all this beauty.
Catherine Marshall (Christy)
Don’t need no more of this world’s goods. Some folks gits plumb mesmerized when paper money is shook afore their eyes.
Catherine Marshall (Christy)
What do you do when strength is called for and you have no strength? You evoke a power beyond your own and use stamina you did not know you had. You open your eyes in the morning grateful that you can see the sunlight of yet another day. You draw yourself to the edge of the bed and then put one foot in front of the other and keep going. You weep with those who gently close the eyes of the dead, and somehow, from the salt of your tears, comes endurance for them and for you. You pour out that resurgence to minister to the living.
Catherine Marshall (Christy)
The secret of her calm seemed to be that she was not trying to prove anything. She was—that was all. And her stance toward life seemed to say: God is—and that is enough.
Catherine Marshall (Christy)
How could I run away like that, before I've even seen Cutter Gap? Christy wondered as she pushed back her chair and stood.
Catherine Marshall (The Bridge to Cutter Gap (Christy, #1))
Dear God,' I said inside myself, 'when I came here, maybe I was partly running off from home for fun and freedom and adventure. But I have a notion that You had something else in mind in letting me come. Anyway if You can use me here in this Cove, well, here I am.
Catherine Marshall (Christy)
Quietly, Miss Alice was demonstrating this God of love and beauty too — in small ways and in large. For a few, the concept that life did not have to be all starkness and misery was slowly taking root. Tentatively, timidly – -constantly encouraged by Miss Alice — some of the women were at last reaching out for light and beauty and joy.
Catherine Marshall (Christy)
Always their men would be fighters, quick to take offense, slow to forgive. To their children and to their children’s children they would hand down their love of race, their personal loyalties, their stubbornnesses, their distrust of governments, their servility to no man. These are their strengths and their weaknesses, their glory—and sometimes, Christy, their damnation.
Catherine Marshall (Christy)
Quietly, Miss Alice was demonstrating this God of love and beauty too—in small ways and in large. For a few, the concept that life did not have to be all starkness and misery was slowly taking root. Tentatively, timidly—constantly encouraged by Miss Alice—some of the women were at last reaching out for light and beauty and joy.
Catherine Marshall (Christy)
I often marveled that the interior peace of the woman was reflected so faithfully in her surroundings. Even the selection and arrangements of her possessions gave an aura of uncluttered calm. In addition, there was a directness in her approach to all of life--including housekeeping--that never failed to fascinate me. Miss Alice was a person to whom color, symmetry of line and contrast of texture were important.
Catherine Marshall (Christy)
I might never have realized who I really was or have gotten answers to the relentless questions that had driven me to the Cove without those quiet hours spent with Fairlight in the mountains. I do not know why it is that an intimate contact with wildlife and a personal observation of nature helps so much in this self-discovery. But that it is so, I have seen in other people's lives as well as my own....even a few bricks and macadam are a shield between us and the wisdom that nature has to give.
Catherine Marshall (Christy)
I understood that the reason we have to accept other people is simply because God receives us just the way we are. Yes, all of us to the last person... I had never thought it should be that way. Had I been doing it, I would have arranged gradations of acceptability according to how bad or how good we were--or how hard we have tried. But... the Power who broods over our aching world has quite a different idea: He persists in receiving us and loving us all even when we reject Him and refuse to have anything to do with Him, even when we strut our little intellects and insist that He does not exist.
Catherine Marshall (Christy)
I sat there thinking about how all real music has to be born in the human spirit. Well, these ballads surely had been. There was something childlike and basic about them, an absence of sham or pretense.
Catherine Marshall (Christy)
David, it’s just that when I volunteered to come to the mountains, I thought it was from really lofty motives—because I loved people and wanted to help them. But now I know that wasn’t the reason at all. I came for me. So—well, I can’t turn around and leave now for the same reason.” A long silence fell between us. Finally, David said carefully, “There’s another reason why I had to bring this up.” I waited. “Your parents are frantic with worry about you. I had a letter from them.” “So that’s it! What did the letter say, for you
Catherine Marshall (Christy)
I could also see just by looking around me how we tend to over-romanticize history. Life in those other centuries had not been all knights-and-ladies stuff. There was nothing romantic about cottages where eight or ten people slept in one room with no privacy; where there were no bathrooms, not even outside privies—even if the cottage did happen to have picturesque thatch on the roof. There was nothing glamorous in any century about no running water in which to bathe or about fleas on human beings; or about the blackgum twigs with which some of the women right now, in 1912, dipped snuff and then rubbed their teeth and gums. So many of the people had terrible-looking teeth or no teeth at all. And the eye trouble that was so prevalent. I had learned that it was trachoma and that it was a dangerous infection which, if unchecked, resulted in blindness.
Catherine Marshall (Christy)
Christy could scarcely take her eyes off Fairlight Spencer. She was beautiful, in a plain, simple way. She had on a worn calico dress, and her feet were bare, despite the cold.
Catherine Marshall (The Bridge to Cutter Gap (Christy, #1))
I might have felt unimportant pitted against the awesome might of the mountains. I did not. Rather, on that mountain top I found something important that I had never known before: an awareness of a vital connection between me and the Authority behind all this beauty. I remembered my conversation with Dr. MacNeill that afternoon in my schoolroom. He had said that he believed in some “starter-force” but that he could not credit a loving God with concern for individuals. But the “starter-force” behind the magnificence displayed before my wondering eyes had an authority behind it that could be no abstraction, for it had immediacy—known and felt. Now I knew how to answer the doctor’s question. Call this what you might—“starter-force,” “God,” “Father”—it was personal all right. It thrust deep into me. It pulled. And it insisted that life was precious—all of life—Fairlight and I, and every bird and every squirrel and every tree reaching through its forest cover for the light. It cried that all effort was worthwhile; that doubt and fear and discouragement were a desecration of beauty, that hope was always right. It insisted that small achievement was not enough; that hopes and dreams must be large enough to stand up beside those soaring summits and not once bow their heads in shame.
Catherine Marshall (Christy)
This love disclosing itself was no cosmic Creator of a mechanistic universe, for the revelation was intimate, personal. Perhaps the assurance always has to be personal, revealed to the inner person alone, since only man sees other men en masse, whereas God insists on seeing us one by one, each a special case, each inestimably beloved for himself.
Catherine Marshall (Christy)
Well, the baby can teach us. What you’ve undertaken here in Cutter Gap in your schoolroom isn’t a state of perfection to be arrived at all of a sudden. It’s a walk, and a walk isn’t static but ever-changing. We Friends say that all discouragement is from an evil source and can only end in more evil. Wallowing in self-condemnation or feeling sorry for yourself is worse than falling on your face in the first place. So—thee fell into a temper! So Thee is human. Thank God for thy humanness.
Catherine Marshall (Christy)
I soon saw, however, that Creed's obsession with death was typical of most of the children. This came out in their play. "Let's play funeral" was a favorite game at recess. To me, it seemed bizarre and mawkish play. All that saved it was the spontaneous creativity of the children and the fact that, unerringly, they caught the incongruities and absurdities of their elders. One child would be elected to be "dead" and would lay himself out on the ground, eyes closed, hands dutifully crossed across his chest. Another would be chosen to be the "preacher," all the rest, "mourners." I remember one day when Sam Houston Holcomb was the "corpse" and Creed Allen, always the class clown of the group, was elected "preacher." Creed, already at ten an accomplished mimic, was turning in an outstanding performance. I stood watching, half-hidden in the shado of the doorway. Creed (bellowing in stentorian tones): "You-all had better stop your meanness and I'll tell you for why. Praise the Lord! If you'uns don't stop being so defend ornery, you ain't never goin' gift to see Brother Holcomb on them streets paved with rubies and such-like, to give him the time of day, 'cause you'uns are goin' to be laid out on the coolin' board and then roasted in hellfire." The "congregation" shivered with delight, as if they were hearing a deliciously scary ghost story. The corpse opened one eye to see how his mourners were taking this blast; he sighed contentedly at their palpitations; wriggled right leg where a fly was tickling; adjusted grubby hands more comfortably across chest. Creed then grasped his right ear with his right hand and spat. Only there wasn't enough to make the stream impressive. So preacher paused, working his mouth vigorously, trying to collect more spit. Another pucker and heave. Ah! Better! Sermon now resumed: "Friends and neighbors, we air lookin' on Brother Holcombe's face for the last time." (Impressive pause.). "Praise the Lord! We ain't never goin' see him again in this life." (Impressive pause.). "Praise the Lord!" Small preacher was now really getting warmed up. He remembered something he must have heard at the last real funeral. Hearty spit first, more pulling of ear: "You air enjoyin' life now, folks. Me, I used to git pleasured and enjoy life too. But now that I've got religion, I don't enjoy life no more." At this point I retreated behind the door lest I betray my presence by laughing aloud.
Catherine Marshall (Christy)