Jack Garland Quotes

Jack struggled throughout his life to maintain his male identity, yet in a final symbol of rejection by family and society, and a final assault upon his body, this little old gray-haired man was buried in a woman’s white satin dress

The next morning, when Thomasin withdrew the curtains of her bedroom window, there stood the Maypole in the middle of the greek, its top cutting into the sky. It had sprung up in the night. or rather early morning, like Jack's bean-stalk. She opened the casement to get a better view of the garlands and posies that adored it. The sweet perfume of the flowers had already spread into the surrounding air, which being free from every taint, conducted to her lips a full measure of the fragrance received from the spire of blossom in its midst. At the top of the pole were crossed hoops decked with small flowers; beneath these came a milk-white zone of Maybloom;then a zone of bluebells, then of cowslips, then of lilacs, then of ragged-rosins, daffodils and so on, till the lowest stage was reached.Thomasin noticed all these, and was delighted that the May revel was to be so near.

The mind of the transsexual cannot be changed

Quickly, quickly,’ cried Jack, and his men urged the prisoners below, herded them fast, for they understood the danger as well as their captain. ‘Mr Day, Mr Watt, get a couple of their guns – those carronades – pointing down the hatchways. Load with canister – there’s plenty in the garlands aft. Where’s Mr Dillon? Pass the word for Mr Dillon.’ The word passed, and no answer came. He was lying there near the starboard gangway, where the most desperate fighting had been, a couple of steps from little Ellis. When Jack picked him up he thought he was only hurt; but turning him he saw the great wound in his heart.

Leeds, Massachusetts lived in Gaspar Bantam’s memory as a city of perpetual gloaming, of eternal October. In every memory, in every dream, the faces of jack-o’-lanterns flickered from cornhusk-garlanded porches, treetops glowed orange and red under a sky of charcoal clouds, leaves crunched under your shoes like the snaps and cracks of radio static. The baskets at the farmer’s market spilled over with red and yellow peppers curled like beckoning fingers, and bulbs of garlic hung from knotted strings like clustered nests of pupae. You’d pull the comforter around you for warmth in the mornings but throw your jacket over the bike rack in the sun-seared afternoons before playing Pirates of the Woods. The whole village thrummed and hummed to the constant soundtrack of the peepers and the crickets and the whoosh of trucks on the rush and rumble Interstate. Autumn is said to solemnly herald a kind of dying, but in Leeds, in that shadowy little city tucked into a curve of the mighty Connecticut River, the season is an ecstatic celebration of the fury of death’s rebirth.

Weddings usually followed a month after the betrothal. The priest called banns three times to ensure there was no reason why the couple could not marry. A bride would be dressed in her best clothes, not necessarily white and often crimson or green. White only became popular for wedding gowns during the nineteenth century. The following description of a Tudor wedding is based on a novel written by Thomas Deloney called The Pleasant Historie of Jack Newbery.15 Written during the late sixteenth century, it tells of Jack’s second wedding during Henry VIII’s reign. He says that the bride was led to the church between two young boys who had bride-laces and rosemary tied on their silken sleeves. A bride-cup of silver and gilt hung with colourful silk ribbons was carried before her holding a posy of rosemary. Musicians led the procession. Maidens followed carrying bride cakes. Other maidens carried garlands of wheat.16

It has to do with relating to someone from the groundwork of our basic physical sexuality. As long as the naked body elicits responses from men and women, there will be transsexuals.

The November Road Playlist “Don’t Think Twice, It’s All Right”—Bob Dylan “’Round Midnight”—Billy Taylor Trio “Will You Love Me Tomorrow?”—The Shirelles “Follow the Yellow Brick Road” from The Wizard of Oz—Judy Garland “How Can You Lose”—Art Pepper “Night and Day”—Ella Fitzgerald “I Saw Her Standing There”—The Beatles “Jack O’Diamonds”—Ruth Brown “Ring of Fire”—Johnny Cash “Somebody Have Mercy”—Sam Cooke “Something Cool”—June Christy “Prisoner of Love”—James Brown “It’s My Party”—Lesley Gore “Blowin’ in the Wind”—Peter, Paul and Mary “I’m Walkin’”—Fats Domino “You’re Getting to Be a Habit with Me”—Frank Sinatra “’Round Midnight”—Thelonious Monk

Fleming could not keep a tight rein on most of his actors because the queerness of their characters defied a realistic approach. He could, and did, keep a tight rein on Judy Garland. And it is Garland’s obvious belief in what is happening to her that keeps the film credible. “You believed that she really wanted to get back to Kansas,” says Jack Haley. “She carried the picture with her sincerity.” The first confrontation between Fleming and Judy Garland came late in November when she first met the Cowardly Lion on the Yellow Brick Road. John Lee Mahin was on the set that day, and the moment stuck fast in his memory. “She slapped the Lion and he broke into tears. And she was to continue bawling him out. But Lahr was so funny that she burst into screams of laughter instead. Vic was patient at first. She went behind a tree. I could hear her saying, ‘I will not laugh. I will not laugh.’ Then she’d come out and start laughing again. They must have done the scene ten times, and eventually she was giggling so much she got hysterical. She couldn’t stop laughing. And Vic finally slapped her on the face. ‘All right now,’ he said, ‘go back to your dressing room.’ She went. And when she came back, she said, ‘O.K.’ And they did the scene.