Greenwood Book Quotes

The moment in The Bell Jar when Esther Greenwood realizes after thirty days in the same black turtleneck that she never wants to wash her hair again, that the repeated necessity of the act is too much trouble, that she wants to do it once and be done with it, seems like the book's true epiphany. You know you've completely descended into madness when the matter of shampoo has ascended into philosophical heights.

If I ever saw my muse she would be an old woman with a tight bun and spectacles poking me in the middle of the back and growling, "Wake up and write the book!

What I didn't say was that each time I picked up a German dictionary or a German book, the very sight of those dense, black, barbed-wire letters made my mind shut like a clam.

But a real vision, a real change, isn’t safe,” Maya said. “You don’t pay a workshop fee for it, you pay with your life.

How intimately a book is related to the tree and it’s rings, she thinks. The layers of time, preserved, for all to examine.

Still, Temple has no illusions concerning her library's impact. Her books won't lift anyone from their low station. They won't right wrongs or save wandering souls from perdition or fill grumbling stomachs. But they might let a few scraps of sunlight fall into some lean, desolate lives. And that's something. 'The Greatest Library of Estevan, Saskatchewan

The real core of this book is about the open secrets that can fester in a community until an outsider raises questions.

I gave chase, and he took a shot at me, so I did the only thing I could in the circumstances…. I stabbed him in the shoulder.

The Green Man has also become synonymous with Cernunnos, the Celtic horned God, often portrayed in Celtic art as part man, part stag, who roams the greenwood wild and free. He is a character of strength and power, but often sadly mistaken for the devil by the Christian fraternity due to his horned appearance.

I really enjoyed hearing the likesand dislikesof my readers at book clubs as well as meeting new fans at the book signing at The Bookworm in Omaha " he said. "The book clubs have overwhelmingly asked me to hurry up on writing the sequel.

One of the most popular legends was the tale of Lady Alexandra Greenwood, who was said to appear whenever something grave was about to happen. Her apparition was supposedly last witnessed weeping in the darkness of the cellar on the night before the death of Mrs Humphrey Devereux.

Whenever she tells the story of the cyclone...she will puzzle over how to properly describe the sound it made as it ate through her library. She'll grapple with how one could possibly capture precisely the sound of ten thousand books drawn up into the air and scattered for hundreds of miles. And it won't be until years later--long after the Depression ends and poor people stop riding the rails...and long after she's able to again venture into that section of her field where they planted the windbreak of maples together, trees that have only thrived ever since. And long after the void he left in her life entirely heals over--only then will she arrive at a suitable answer: they sounded like birds.

Phryne opened her book and sipped her lemonade. Agatha Christie. What a plotter. Phryne wished briefly that the real world was so amenable to being solved. ***

the folly of men makes me seriously angry.

And as for me—feel no sorrow. When you see the wind stir the greenwood, or when you turn the pages of a book made from a tree’s still-blameless flesh, lean close and listen. You hear my voice.

And one woman wrote, in 1850, in the book Greenwood Leaves: “True feminine genius is ever timid, doubtful, and clingingly dependent; a perpetual childhood.” Another book, Recollections of a Southern Matron: “If any habit of his annoyed me, I spoke of it once or twice, calmly, then bore it quietly.” Giving women “Rules for Conjugal and Domestic Happiness,” one book ended with: “Do not expect too much.

The white man will come to destroy us again. His own history proves this. Just as he destroyed the so-called American Indian, just as he enslaved us, just as he exploited the Chinese, just as he drove the Mexicans out of Texas, surely he will come to this place. We must prepare ourselves or we will die. If you doubt what I say, just remember the riots in Tulsa. Just as the police didn’t save the people of Greenwood, the police won’t save us. We must save ourselves.

Thank you to Steve Iwanski and Turnrow Books for this fantastic review of THE RESURRECTION OF JOAN ASHBY!! Cherise Wolas' debut novel is a narrative tour-de-force. Never mind the admirable boldness of kicking it off with excerpts from (fictional) Joan Ashby's Pulitzer and National Book Award-winning story collections -- Wolas proceeds to delicately peel back the onion layers on Ashby's decades of retreat from the public eye. Like Lauren Groff in FATES AND FURIES, Wolas triumphs in depicting the mounting humiliations of domestic life like a psychological thriller. You know we're headed for the inevitable rug pull - and yet when it comes it still leaves you reeling. Forget about Joan Ashby; it's Cherise Wolas who will leave us waiting breathlessly for the next masterpiece. —Steve Iwanski from Turnrow Books, Greenwood, MS

The rose is a symbol of the inner mysteries of Witchcraft. A red rose symbolizes the mysteries as they reside in Nature, within the living things. The white rose symbolizes the Otherworld and the mysteries hidden in secret places. When a single rose appears with white petals in the center of red petals, this represents the mysteries joined together within one reality. Thorns appearing with the rose represent challenges and the dedication required to fully grasp the enlightenment of the rose. One of the symbolisms associated with the rose reveals the covenant between the Witch and the Faery. In this, we find that both are stewards of the portal that opens to the inner mysteries. The Faery holds the celestial key, and the Witch bears the terrestrial key. When the two are joined together, they form an X—the sign of the crossroads. In this formation, where the keys cross we find a third point, the in-between place at the center. This is where the portal exists, and this is where it opens between the worlds. Look at the shape of the X and you can see four pointed tip markers (the V shapes). The upper half of the X points down, and the lower half points up. On the sides of the X, you can see that the left and right halves point to the center. This shows us that when the celestial and terrestrial realms join, they pull together the left ways and the right ways. These are occult terms for esoteric and exoteric modes of consciousness. In the fusion, everything briefly loses its distinction, its ability to mask the opposite reality, and in doing so, the secret third reality emerges in the center of it all. If this sounds confusing or nonsensical, then the guardian of that portal is doing its job well. The material in this book will connect you with an entity connected to the rose and its mystery. This is the previously mentioned She of the Thorn-Blooded Rose. With her guidance, you can be directed to the portal, and through it you can meet a variety of beings and entities. However, her primary task is to connect you with the Greenwood Realm and the plant spirits within it. In your journey to encounter these spirits, you will pass through the organic memory of the earth. You'll walk upon roads of mystical concepts and be accompanied by the Old Ones of

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

She hears a zipper, and when she closes her eyes, she can almost see Ruby’s hand reaching into her backpack, finding whatever book she is reading. She wonders what world she will slip into tonight and knows this ability is something she has given her: a genetic inheritance like her dark hair and Robert’s green eyes. Because the only time Sylvie leaves the house anymore is through the paper portals of her novels.

Old England to adorn, Greater is none beneath the sun, Than Oak, and Ash, and Thorn. Sing Oak, and Ash, and Thorn, good sirs, (All of a Midsummer morn!) Surely we sing of no little thing, In Oak, and Ash, and Thorn! Rudyard Kipling, ‘Oak, Ash, and Thorn’ (1906) In Rudyard Kipling’s classic Edwardian children’s book Puck of Pook’s Hill, a faery apparition casts a spell over two children by brushing a clump of oak, ash and thorn leaves across their faces. They enter a time-travelling trance in which historical figures – Romans, Domesday-era knights, feudal barons – manifest themselves and spin rambling yarns of their exploits, battles, treachery and derring-do, all of which have taken place across the very land that now forms the kids’ adventure playground. This vertical exploded view of England’s pastures is Edwardian psychogeography, designed to instil a sense of the heroic history that has cut its furrows deep in the soil, sowing the seeds of a national psyche. Ushered there by Puck’s cunning wood magic, the greenwood becomes the gateway to an idealised England where the imagination runs naked and free, until the time comes to swish the oak, ash and thorn twigs once more, awaken from the English dreaming and return to … well, in Kipling’s children’s case, no doubt a piping hot tea of crumpets and scones, lavished upon them by a servile nanny.

Mr. Butler’s Refreshing Cocktail one measure of cherry brandy one measure of gin squeeze of lemon juice splash of Cointreau sugar syrup to taste Shake all the ingredients together. To make a long drink, add soda water or bar quality lemonade. Garnish with a cherry.

At that moment there came a fast, unrepeatable grass-green flash before the gold and rose of sunrise coloured the sky. Phryne blew the sun a kiss, and returned to her cabin.

Get involved with humanity and you find yourself morally compromised,’ he said, unencouragingly.

Some ignorance is invincible.

In 1969 the Swedish folklorist Bengt Olsson and his partner, Peter Mahlin, spent a summer loitering around Beale Street in Memphis, interviewing and recording blues musicians. I'm certain it was hot, thankless work. In 1970, Olsson compiled some of those interviews into a short, now long-out-of-print book called Memphis Blues. In it, Olsson recounts a conversation with the guitarist Furry Lewis, who was born in Greenwood, Mississippi, in 1893 and come up playing blues with the Memphis legend W.C. Handy. Olsson never did much editorializing on the page - he just presented the material he'd collected - but there's a quote toward the end of the Lewis chapter that's become lodged permanently in my cortex, repeating endlessly like a koan: 'The people I used to play around with, they all done died out,' Lewis tells Olsson. 'And sometimes I get scared myself, 'cause it look like to me it gonna be mine next. You know, it's a funny thing, but you can do a thing for a-many years, and all of them die out and you still here,' he continued. 'And you know, that's more than a notion if you come up and just think about it.' I had thought about it. And I knew they were all still here, together, etched into shellac, tucked into sleeves. I could hear them.

If their life together were a recipe, it would be this: tablespoons of late nights talking, a dash of fervent fingers across skin, and too many I love you's to count. Date nights and nights in and days spent in the sunshine or getting caught in the rain or sneaking cigarettes at family functions, and their wedding day. His homemade spaghetti sauce followed by her coffee cake. Their cat, Velcro. Their Greenwood home. Trust, laughter, tears, and pure joy, kneaded into one by years of togetherness.

Who sweeps a room as for thy sake”,

We’re all locked up in a self-deceiving game

I told them about my father, Ezell Shepard, who had gone into a Jim Crow army and fought, and had been wounded in France. He had suffered all kinds of humiliations just because he was a fourth-class citizen at home. When I finished, I told those tired, hungry children who needed to go to the restroom that in the final analysis, this whole operation at Bishop's depended upon each one of us. "Do you feel that we should go or stay? I want to have you think about it and make up your own minds as to what you individually want to do. This must be your decision." The waitresses, managers, policemen, and firemen had stopped and were watching the youth. My heart was pounding, and my eyes were heavy since we had been working on Operation Bishop's all night. "Let's vote," I said. "All in favor of leaving, say aye." Not one voice was heard. "All in favor of staying, say aye." Ayes range out all over the place. "Why are you staying?" They answered in song. Because: We shall overcome, we shall overcome, We shall overcome someday. Oh, deep in my heart, I do believe That we shall overcome someday. God is on our side, God is on our side, God is on our side today. Oh, deep in my heart, I do believe That we shall overcome someday.

Miss Jones was the sort of person who is concealed, like the nun in the foundation, in every organisation which does Good Works. Patient, dogged, meticulous, vastly overworked, unpaid and completely unappreciated, she finds, files, calls, arranges, soothes and ameliorates papers, contracts, tradesmen, repairs, hurt feelings and Very Important People. No one notices her until God finally calls her home or she quits to look after her aged parents, when the whole edifice instantly falls astonished to the ground.

Mr. Butler poured the wine, a straw-coloured hock from South Australia, where the vines had been tended in German, which made them pay attention and get on with growing and producing Rhine quality wine, alsbalt!

of course, and then the princes and the royal dukes. Then ordinary dukes. Then we have marquess and marchioness, earl and countess, viscount and viscountess, baron and baroness, all of whom are addressed as my lord and my lady, then baronets and knights, called Sir, whose ladies are just called Lady. That is why my friend is called Lady Alice and Phryne

Jane bit her lip. ‘You’re thinking about Mrs. Behan, aren’t you?’ she asked. ‘I did apologise.’ ‘I know, and that the question of the real colour of her hair was only to be expected if one insists on dyeing grey-brown hair that very metallic shade of red. But it’s a known middle-class fact that ladies do not dye their hair. Only actresses and prostitutes dye their hair.

The moment in The Bell Jar when Esther Greenwood realizes after thirty days in the same black turtleneck that she never wants to wash her hair again, that the repeated necessity of the act is too much trouble, that she wants to do it once and be done with it, seems like the book’s true epiphany. You know you’ve completely descended into madness when the matter of shampoo has ascended to philosophical heights. So as far as I’m concerned, the last shower I took is the last shower I will ever take.

Boyer, Paul S., and Stephen Nissenbaum. Salem Possessed: The Social Origins of Witchcraft. Cambridge, MA: Harvard University Press, 1974. Breslaw, Elaine G. Tituba, Reluctant Witch of Salem: Devilish Indians and Puritan Fantasies. New York: New York University Press, 1996. Clark, Stuart. Thinking with Demons: The Idea of Witchcraft in Early Modern Europe. Oxford: Clarendon Press; New York: Oxford University Press, 1997. Cross, Tom Peete. Witchcraft in North Carolina. Chapel Hill: University of North Carolina, 1919. Davies, Owen. Popular Magic: Cunning-Folk in English History. New York: Bloomsbury, 2007. Demos, John Putnam. Entertaining Satan: Witchcraft and the Culture of Early New England. New York: Oxford University Press, 1982. Gibson, Marion. Witchcraft Myths in American Culture. New York: Routledge, 2007. Godbeer, Richard. The Devil’s Dominion: Magic and Religion in Early New England. Cambridge; New York: Cambridge University Press, 1992. Goss, K. David. Daily Life During the Salem Witch Trials. Santa Barbara, CA: Greenwood, 2012. Hall, David D. Worlds of Wonder, Days of Judgment: Popular Religious Belief in Early New England. New York: Knopf, 1989. Hansen, Chadwick. Witchcraft at Salem. New York: G. Braziller, 1969. Hutton, Ronald. The Triumph of the Moon: A History of Modern Pagan Witchcraft. Oxford, New York: Oxford University Press, 1999. Karlsen, Carol F. The Devil in the Shape of a Woman: Witchcraft in Colonial New England. New York: Norton, 1987. Levack, Brian P. The Witch-Hunt in Early Modern Europe. 3rd ed. Harlow, England, New York: Pearson Longman, 2006. Macfarlane, Alan. Witchcraft in Tudor and Stuart England: A Regional and Comparative Study. Prospect Heights, IL: Waveland, 1991. Matossian, Mary K. “Ergot and the Salem Witchcraft Affair.” American Scientist 70 (1970): 355–57. Mixon Jr., Franklin G. “Weather and the Salem Witch Trials.” The Journal of Economic Perspectives 19, no. 1 (2005): 241–42. Norton, Mary Beth. In the Devil’s Snare: The Salem Witchcraft Crisis of 1692. New York: Alfred A. Knopf, 2002. Parke, Francis Neal. Witchcraft in Maryland. Baltimore: 1937.

Those cigarettes were beckoning. Come to us, they said. You remember us. I did remember them. My love affair with tobacco had been long and passionate.

No one gets lied to as much as mothers. Necessity is the mother of deduction.

Green-Wood Cemetery was an expanse of nearly five-hundred acres, and Jesse wandered under portentous clouds for nearly an hour before heading to the office for proper directions. Trudging through Lot 106 with a visitors’ map in his trembling hands, Jesse wondered whether things might have been easier had graveyards been organized in a similar way to comic book collections. He imagined that if the dead could be slid into coffins of polypropylene storage bags with acid free backing boards, and then filed alphabetically first and numerically second into corrugated cardboard or plastic boxes, finding the appropriate marker would be a much easier task.

As if it was nothing that I had single-handedly brought unspeakable disaster upon my people.

Kill the girl and spill her blood over the stone. Then perhaps the magic she has stolen will be revived in the rock.

Through the dirty cloud, I saw that most of my escort and all the nearest guards had been crushed beneath the fallen stone. Even Sandros was lost beneath the rubble. I had escaped only because the space where I had crouched happened to be beneath a doorway. Others had not been so lucky.

We went out to investigate and found the maid collapsed on the path, gasping that Miss Lavender was dead. I looked inside the cottage. I did not touch anything. I saw Miss Lavender on the floor, dead as a doornail. I sent my niece inside and informed Mrs. Needham that she had a vacancy. I know nothing else about the matter.

Securing publication of Saints, Slaves, and Blacks proved most challenging. Five different presses rejected the manuscript. Ultimately, Greenwood Press—a small academic press based in Westport Connecticut—accepted it. Once in print, the volume garnered minimal exposure due in part to limited promotion. Outrageously overpriced, the book’s primary market was university and public libraries. When its limited print run sold out, the volume went out of print—this occurring a mere five years following publication. Reissue of Saints, Slaves, and Blacks in a relatively inexpensive paperback edition is intended to make it available to a wider audience. Such a reprint is also timely in that 2018 marks the fortieth anniversary of the lifting of the priesthood and temple ban. The volume deserves republication for an even more important reason. When first published, Saints, Slaves, and Blacks provided a unique, albeit controversial, perspective relative to the origins of black priesthood denial. Its central thesis that the ban emerged largely as the byproduct of Mormon ethnic whiteness initially articulated in the Book of Mormon and Pearl of Great Price was provocative. Building on these scriptural proof-texts, nineteenth century Latter-day Saints viewed themselves as a divinely “chosen” lineage—the literal descendants of the House of Israel. They considered their “whiteness” emblematic, indeed proof, of their status as the Lord’s “favored people.” Conversely, Mormons utilized these same scriptures, along with the Old Testament, to prove that black people were members of a divinely cursed race, given their alleged descent from two accursed Biblical counter-figures—Ham, the misbehaving son of Noah, and Cain, humankind’s alleged first murderer. Physical proof of African-American accursed status was

Li Pen

perhaps

But what horror lacked in size, it made up for in substance, and Chrissy came to understand that someone who loved horror worked there. Had to. No library would order fantastic books like BETA by Sammy Scott, Anathema by Nick Roberts, and Experimental Film by Gemma Files without having an employee who knew, understood, and loved the genre. These weren’t books that the mass public fed on, but the types that nurture a genuine sense of horror, feeding the diehards of literary trauma.

Other writers have a young and beautiful muse who descends in fire to inspire them. If I ever saw my muse she would be an old woman with a tight bun and spectacles poking me in the middle of the back and growling, ‘Wake up and write the book!’, and I always do.

To those readers who have told me they still prefer the books, I have agreed. So do I. Yet the TV series and the movie are a delight. Phryne remains Phryne. Essie Davis IS Phryne: magnificent in her sublime self-assurance. But my novels and these stories are firmly set in the world of Book Phryne, and this will continue to be the case.