Lilac Girls Quotes

We've searched our database for all the quotes and captions related to Lilac Girls. Here they are! All 100 of them:

Somewhere in a corner of our hearts, we are always twenty,” I said. How
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
After that, we were like flies stuck in honey, alive but not really living.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
retrouvailles, another one of those words that do not translate into English, which means “the happiness of meeting someone you love again after a long time.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
He smiled. “I guess somewhere in a corner of our hearts, we are always twenty.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Father loved the fact that a lilac only blossoms after a harsh winter.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
If I’d known I was about to meet the man who’d shatter me like bone china on terra-cotta, I would have slept in. Instead,
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
douleur, one of the many French words that do not translate into English well, which means “the pain of wanting someone you cannot have.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
It only hurts you to hold on to the hate.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
How easy it is to get tangled up in your own fishing net.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Funny thing about grief: It gets easier with practice.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Turning oneself to the misfortunes of others is the best way to dispense with personal troubles. Hadn’t Lord Byron himself said, “The busy have no time for tears”?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
It’s just a thing, Kasia. Don’t waste your energy on the hate. That will kill you sure as anything. Focus on keeping your strength. You’re resourceful. Find a way to outsmart them.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
But it’s fitting in a way—Father loved the fact that a lilac only blossoms after a harsh winter.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
You have a choice. To wallow in the unfairness of it all or rise above it. Fix it. Let other people in.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Cinderella The prince leans to the girl in scarlet heels, Her green eyes slant, hair flaring in a fan Of silver as the rondo slows; now reels Begin on tilted violins to span The whole revolving tall glass palace hall Where guests slide gliding into light like wine; Rose candles flicker on the lilac wall Reflecting in a million flagons' shine, And glided couples all in whirling trance Follow holiday revel begun long since, Until near twelve the strange girl all at once Guilt-stricken halts, pales, clings to the prince As amid the hectic music and cocktail talk She hears the caustic ticking of the clock.
Sylvia Plath
guess somewhere in a corner of our hearts, we are always twenty.” Paul
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Once upon a time there was a king who had three beautiful daughters. No, no, wait. Once upon a time there were three bears who lived in a wee house in the woods. Once upon a time there were three soldiers, tramping together down the road after the war. Once upon a time there were three little pigs. Once upon a time there were three brothers. No, this is it. This is the variation I want. Once upon a time there were three Beautiful children, two boys and a girl. When each baby was born, the parents rejoiced, the heavens rejoiced, even the fairies rejoiced. The fairies came to christening parties and gave the babies magical gifts. Bounce, effort, and snark. Contemplation and enthusiasm. Ambition and strong coffee. Sugar, curiosity, and rain. And yet, there was a witch. There's always a witch. This which was the same age as the beautiful children, and as she and they grew, she was jealous of the girl, and jealous of the boys, too. They were blessed with all these fairy gifts, gifts the witch had been denied at her own christening. The eldest boy was strong and fast, capable and handsome. Though it's true, he was exceptionally short. The next boy was studious and open hearted. Though it's true, he was an outsider. And the girl was witty, Generous, and ethical. Though it's true, she felt powerless. The witch, she was none of these things, for her parents had angered the fairies. No gifts were ever bestowed upon her. She was lonely. Her only strength was her dark and ugly magic. She confuse being spartan with being charitable, and gave away her possessions without truly doing good with them. She confuse being sick with being brave, and suffered agonies while imagining she merited praise for it. She confused wit with intelligence, and made people laugh rather than lightening their hearts are making them think. Hey magic was all she had, and she used it to destroy what she most admired. She visited each young person in turn in their tenth birthday, but did not harm them out right. The protection of some kind fairy - the lilac fairy, perhaps - prevented her from doing so. What she did instead was cursed them. "When you are sixteen," proclaimed the witch in a rage of jealousy, "you shall prick your finger on a spindle - no, you shall strike a match - yes, you will strike a match and did in its flame." The parents of the beautiful children were frightened of the curse, and tried, as people will do, to avoid it. They moved themselves and the children far away, to a castle on a windswept Island. A castle where there were no matches. There, surely, they would be safe. There, Surely, the witch would never find them. But find them she did. And when they were fifteen, these beautiful children, just before their sixteenth birthdays and when they're nervous parents not yet expecting it, the jealous which toxic, hateful self into their lives in the shape of a blonde meeting. The maiden befriended the beautiful children. She kissed him and took them on the boat rides and brought them fudge and told them stories. Then she gave them a box of matches. The children were entranced, for nearly sixteen they have never seen fire. Go on, strike, said the witch, smiling. Fire is beautiful. Nothing bad will happen. Go on, she said, the flames will cleanse your souls. Go on, she said, for you are independent thinkers. Go on, she said. What is this life we lead, if you did not take action? And they listened. They took the matches from her and they struck them. The witch watched their beauty burn, Their bounce, Their intelligence, Their wit, Their open hearts, Their charm, Their dreams for the future. She watched it all disappear in smoke.
E. Lockhart (We Were Liars)
Oh, please—may we keep the coffee? It’s all we have.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
You’re you,” he repeats, his eyes full of grief. “You’re the same girl who crashed on this planet with me, who I dragged through forests and over mountains, who climbed through a shipwreck full of bodies to save my life. You’re the same girl I loved, and I love you now.” Stop. Stop. No more. Please. My throat seizes. “I love you, Lilac.” His voice is soft, intent. “I love you, and I should’ve told you before you—
Amie Kaufman (These Broken Stars (Starbound, #1))
Somewhere in a corner of our hearts, we are always twenty,” I said.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Five minutes later, the girls stood at the open kitchen door, blinking in the brilliant overcast light. The smell of lilacs, roses, sweet peas, and honeysuckle mixed with the scent of crisp late summer leaves. None of them had been in the gradens for nine months, and the bright saturated greens, reds, and violets overwhelmed them. It reminded Azalea of Mother, beautiful and bright, thick with scents and excitement. And the King-he was like the palace behind them, all straights and grays, stiff and symmetrical and orderly. "It's really allowed?" said Flora, her eyes alight at the colors. "Allowed allowed?" said Goldenrod. "For the last time," said the King, pushing them gently out the kitchen door and onto the path. "It is Royal Business! Go On. Get some color in your cheeks.
Heather Dixon Wallwork (Entwined)
L.A. kills people.' Jacaranda said. 'You're lucky you're leaving. You'll be able to write.' She looked paler, going through another depression, smoking in bed in her lilac room. The walls were the color of her veins. She was getting too thin, even for the modeling. . .Jacaranda died last winter when the flowering trees were bare. You couldn't even tell which ones once cried the purple blossoms she named herself after.
Francesca Lia Block (Girl Goddess #9: Nine Stories)
A doctor without love is like a mechanic.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I’d known I was about to meet the man who’d shatter me like bone china on terra-cotta, I would have slept in. Instead,
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Somehow the Germans lose every war but win every peace.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Somewhere in a corner of our hearts, we are always twenty,
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Can we dispense with the ‘Monsieur’? Makes me feel ancient.” “First names? We’ve only just met.” “It’s 1939.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
It’s a miracle all this beauty emerges after such hardship, don’t you think?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
As the cab drove off, I caught a glimpse of Paul in the crowd and felt a rush of retrouvailles, another one of those words that do not translate into English, which means “the happiness of meeting someone you love again after a long time.” I
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Caroline wiped her cheek with the back of her gardening glove, leaving a dark smudge below one eye, then pulled off her gloves. 'But it's fitting in a way - Father loved the fact that a lilac only blossoms after a harsh winter.' Caroline reached over and smoothed the hair back from my brow with a light touch. How many times had my mother done that? 'It's a miracle all of this beauty emerges after such hardship, don't you think?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
You're suddenly quiet." He watched her swallow. "I don't understand how you do this to me." He leaned in slightly. His hair smelled like something flowery, like the fading scent of lilacs. "Do what?" "Your touch." "I'm not touching you, Emily." She turned around. "That's just it. It feels like you are. How do you do that? It's like you have something I can't see, that reaches out. It doesn't make sense." That startled him. She felt it. No one had ever felt it before.
Sarah Addison Allen (The Girl Who Chased the Moon)
Holding up an oil-paper umbrella, I loiter aimlessly in the long, long And lonely rainy alley, I hope to encounter A lilac-like girl Nursing her resentment A lilac-like color she has A lilac-like fragrance, A lilac-like sadness, Melancholy in the rain, Sorrowful and uncertain; She loiters aimlessly in this lonely rainy alley Holding up an oil-paper umbrella Just like me And just like me Walks silently, Apathetic, sad and disconsolate Silently she moves closer Moves closer and casts A sigh-like glance She glides by Like a dream Hazy and confused like a dream As in a dream she glides past Like a lilac spray, This girl glides past beside me; She silently moves away, moves away Up to the broken-down bamboo fence, To the end of the rainy alley. In the rains sad song, Her color vanishes Her fragrance diffuses, Even her Sigh-like glance, Lilac-like discontent Vanish. Holding up an oil-paper umbrella, alone Aimlessly walking in the long, long And lonely rainy alley, I wish for A lilac-like girl Nursing her resentment glide by.
Dai Wangshu
This country was founded on principles of equality and fairness, and you would do well to remember that. I don’t think it would help your business to have people think you harbor negative feelings toward any one group.” “I certainly will remember
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
That's my kind of girl!
Amie Kaufman
tidy. The walls
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Turning oneself to the misfortunes of others is the best way to dispense with personal troubles.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Parisians stared when Mother wore that poncho, as if picturing it where it belonged, flung over a café table under a plate of good cheese. The
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I spent most of the match eating more shrimp than was socially acceptable
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
a lilac only blossoms after a harsh winter.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
She wasn't always the prettiest girl in the room, but it was hard to take your eyes off her, like a train accident or a dancing bear.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I’d survived Ravensbrück. How could ordinary life be harder than that?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Foreigners? Half this country just got here a generation ago. How can you just let people die, David?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Something wet drifted down to my face. Was that rain? I hoped no one would mistake it for tears.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
She came upon a bankside of lavender crocuses. The sun was on them for the moment, and they were opened flat, great five-pointed, seven-pointed lilac stars, with burning centres, burning with a strange lavender flame, as she had seen some metal burn lilac-flamed in the laboratory of the hospital at Islington. All down and oak-dry bankside they burned their great exposed stars. And she felt like going down on her knees and bending her forehead to the earth in an oriental submission, they were so royal, so lovely, so supreme. She came again to them in the morning, when the sky was grey, and they were closed, sharp clubs, wonderfully fragile on their stems of sap, among leaves and old grass and wild periwinkle. They had wonderful dark stripes running up their cheeks, the crocuses, like the clear proud stripes on a badger’s face, or on some proud cat. She took a handful of the sappy, shut, striped flames. In her room they opened into a grand bowl of lilac fire.
D.H. Lawrence (The Lost Girl)
She died." I had to prompt him. "Soon after?" "In the early hours of February the nineteenth, 1916." I tried to see the expression on his face, but it was too dark. "There was a typhoid epidemic. She was working in a hospital." "Poor girl." "All past. All under the sea." "You make it seem present." "I do not wish to make you sad." "The scent of lilac." "Old man's sentiment. Forgive me." There was a silence between us. He was staring into the night. The bat flitted so low that I saw its silhouette for a brief moment against the Milky Way. "Is this why you never married?" "The dead live." The blackness of the trees. I listened for footsteps, but none came. A suspension. "How do they live?" And yet again he let the silence come, as if the silence would answer my questions better than he could himself; but just when I had decided he would not answer, he spoke. "By love.
John Fowles (The Magus)
But the three hundred and sixty-five authors who try to write new fairy tales are very tiresome. They always begin with a little boy or girl who goes out and meets the fairies of polyanthuses and gardenias and apple blossoms: 'Flowers and fruits, and other winged things.' These fairies try to be funny, and fail; or they try to preach, and succeed.
Andrew Lang (The Lilac Fairy Book)
Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.
Roman Payne (Rooftop Soliloquy)
If we can’t make the results of this experiment go
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Somewhere in a corner of our hearts, we are always twenty,” I
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I had to keep my wits about me, since Frenchmen were my Achilles’ heel. In fact, if Achilles had been French, I probably would have carried him around until his tendon healed.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I guess somewhere in a corner of our hearts, we are always twenty.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The quiz said you would feel a click like the sound of a compact if you were in love, and I felt that click every time I saw Pietrik.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Don’t waste your energy on the hate. That will kill you sure as anything. Focus on keeping your strength. You’re resourceful. Find a way to outsmart them.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Southern girls know the sweet smell of summer… Confederate jasmine Sweet wisteria Purple lilac Suntan lotion
Deborah Ford (Grits (Girls Raised in the South) Guide to Life)
Many parents had grown wary of confronting their children for fear of being denounced by them, but not my father.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Focus on keeping your strength. You're resourceful. Find a way to outsmart them.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Why does a woman's voice so often not command the respect it deserves?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
You should have seen the stars that night, thrown across the sky in great bunches. It was as if they were watching, looking down on all that, sad they could do nothing.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Funny thing about grief: It gets easier with practice
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
It only hurts you to hold on to the hate
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The busy have no time for tears”?
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Women in the Resistance and in the Holocaust, edited and with an introduction by Vera Laska;
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The best of life is but intoxication,” Paul said, as he poured cognac into my glass.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The Jewish Women of Ravensbrück Concentration Camp, by Rochelle G. Saidel; and Ravensbrück, by Sarah Helm.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
You’ll be rewarded. I’m sure of it.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
fact that a lilac only blossoms after a harsh winter.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Paul’s handwriting and held a few to the light. But why read them? It would only prolong the agony.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I’m afraid so, dear. You know how important this is. She’s a brave girl. She’ll be fine.” Zuzanna held Julien close. “You don’t know what they’re like.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Somewhere in the corner of our hearts we are always twenty.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Reports of gas vans at Chelmno, Poland, and mass exterminations had surfaced. Hitler even stated his plan openly in his ranting speeches, yet Roosevelt was slow to react and kept immigration at a bare minimum. Saint
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The suburban evening was grey and yellow on Sunday; the gardens of the small houses to left and right were rank with ivy and tall grass and lilac bushes; the tropical South London verdure was dusty above and mouldy below; the tepid air swarmed with flies. Eeldrop, at the window, welcomed the smoky smell of lilac, the gramaphones, the choir of the Baptist chapel, and the sight of three small girls playing cards on the steps of the police station.
T.S. Eliot (T. S. Eliot: Collection of Poetry, Poems, and other Works (42 in total) with analysis and historical background (Annotated and Illustrated) (Annotated Classics))
Prince Aenys was the first to marry. In 22 AC, he wed the Lady Alyssa, the maiden daughter of the Lord of the Tides, Aethan Velaryon, King Aegon’s lord admiral and master of ships. She was fifteen, the same age as the prince, and shared his silvery hair and purple eyes as well, for the Velaryons were an ancient family descended from Valyrian stock. King Aegon’s own mother had been a Velaryon, so the marriage was reckoned one of cousin to cousin. fruitful. The following year, Alyssa gave birth to a daughter. Prince Aenys named her Rhaena, in honor of his mother. Like her father, the girl was small at birth, but unlike him she proved to be a happy, healthy child, with lively lilac eyes and hair that shone like beaten silver.
George R.R. Martin (Fire & Blood (A Targaryen History, #1))
Why is my mother texting me about how hot you are?" "Weird. Think it has anything to do with the fact I just went to the bookstore in nothing but a patent leather trench coat?" Charlie replies with a screenshot of some texts between him and his mom. "Cottage guest is very pretty", Sally writes, then separately, "No ring." Charlie replied: "Oh? Thinking of leaving Dad?" She ignored his comment and instead said, "Tall. You always liked tall girls." "What are you talking about" Charlie wrote back, no question mark. "Remember your homecoming date? Lilac Walter-Hixton? She was practically a giant" "That was the eighth-grade formal" he said "it was before my growth spurt." "Well this girl's very pretty and tall but not too tall." "Tall but not TOO tall," I tell Charlie, "can also be added to my headstone. He says "I'll make a note." I say, "She told me you would bring wood over to the cottage for me." He says "Please swear to me you didn't make a 'too late for that' joke.
Emily Henry (Book Lovers)
We had spent two months in Malmo, Sweden, the place for which God saved all the most beautiful things in nature. The greenest grass. Sky the colour of cornflowers. Children who seemed born of that landscape, their hair spun from white clouds, eyes of cobalt sea.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
He walked by instinct along one white road, on which early birds hopped and sang, and found himself outside a fenced garden. There he saw the sister of Gregory, the girl with the gold-red hair, cutting lilac before breakfast, with the great unconscious gravity of a girl.
G.K. Chesterton
He called it Serge! and it was an immaculate hole-in-the-wall that had a line out the door on Saturday nights. This was not surprising, since everyone knows New Yorkers, when deprived of good French food for more than twenty-four hours, become impossible and seek it out like truffle pigs. Or
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
I'm downright queer in love with this wreck of a world, queer in love with love itself—love's always queer, always arriving in our hearts from queer nowheres, queering everything—and there we are; wide awake all night, queer as queer can be; queer orphans queer widows, queer boys, and queer girls; sorrel girls queer for ivory boys, daffodil boys queer for lilac girls; carmine girls queer for sable girls, cinnamon boys so very queer for boys of bluest milk. Wicked shepherds! Burn me at the stake and hang me from a tree. Clap me in the stocks; send me down the mine; set me in the burning fields. But I am queer.
Paul Harding (This Other Eden)
The first thing she noticed when the light popped on was that the wallpaper had rows and rows of tiny lilacs on it, like scratch-and-sniff paper, and the room actually smelled a little like lilacs. There was a four-poster bed against the wall, the torn, gauzy remnants of what had once been a canopy now hanging off the posts like maypoles.
Sarah Addison Allen (The Girl Who Chased the Moon)
You asked what the wallpaper was in Mom's old room. It's lilacs." "Ah. It was always flowers, usually roses, when she was a little girl. It changed a lot as she got older. I remember once it was lightning bolts on a tar-black background. And then another time it was this scaly blue color, like a dragon's belly. She hated that one, but couldn't seem to change it.
Sarah Addison Allen (The Girl Who Chased the Moon)
You get them to the main gate, don't stop until you're outside," Bell tells her, then turns, directing his words at the others. "You understand? All of you, follow Lilac. Follow Lilac. Don't stop. Run." "Lily runs," the girl says softly. "Lilac dances." "Not today," Lilac says. "Today, we run so fast that Lily won't believe it when we tell her. Right?" The girl nods, wide-eyed.
Greg Rucka (Alpha (Jad Bell, #1))
The girls stepped back into the canoe and paddled off. As they rounded the next bend, Helen cried, “There’s the Lilac Inn dock!” When the canoe came abreast of the dock, Nancy secured it to a post. The girls hopped out and started up the path that led to the inn. On both sides of the path were groves of lilac trees which displayed a profusion of blooms, from creamy white to deep purple.
Carolyn Keene (The Mystery at Lilac Inn (Nancy Drew, #4))
Bell holsters his pistol as Chain drops to one knee, begins searching bodies and bags. Lilac is watching him warily, the boy and girl clinging to her. "You with me? Lilac? Are you with me?" Lilac nods, hesitantly at first, then again, with resolve, and maybe it's calling her by her character name that does it, but she takes a breath, stands a little straighter. She is Lilac the meerkat, the heart of the Flower Sisters. Fierce and loyal, yet kind at heart, and she will do what must be done.
Greg Rucka (Alpha (Jad Bell, #1))
At Zuzanna’s urging, I approached him for advice about my being overwhelmed as a mother. With trying to juggle work, caring for a young daughter, and being a wife, I was often worn to a frazzle and lost my temper more and more. Father Skala suggested that, in addition to prayer, I might also wear a rubber band on my wrist and snap it every time I felt my temper getting the better of me. I wore the dull red band on my wrist and did a good deal of band-snapping each day. By week’s end, my wrist was raw from snaps.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
But I love you - " "Love your daughter. If you don't, I'll have given you up for nothing. So act if you have to, and soon you'll find you mean it." I touched his sleeve. "It's not that hard. Just be there. When she wakes in the night afraid. If she stumbles at school." "Rena doesn't want me there - " "Your daughter does. She wants you to teach her to sail a boat, show her off at the park. You don't know how powerful your love is, Paul. Without it she'll fall for the first boy who says he loves her, and he'll shatter her for good.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
The girl sitting on my chest appeared to be a few years older than me, maybe fourteen or fifteen, with thick dark hair and incredibly blue eyes. Her skin was flawless, her cheekbones were sculpted, and her lips were full. She was slight of build—almost delicate—and yet she’d been powerful enough to flatten me in half a second. She even smelled incredible, an intoxicating combination of lilacs and gunpowder. But perhaps the most attractive thing about her was how calm and confident she was in the midst of a life-or-death situation.
Stuart Gibbs (Spy School)
and a heart that throbs most queerly. I’m queer for other queers, queer for their shapes and colors and sizes, queer for their tastes. I’m queer for the ruthless sea. I’m queer for all the little queer creatures in the tide pools. I’m queer for the light when it breaks the horizon and queer for it when it sinks behind the trees. I’m plain queer for these people and queer for this world. I’m downright queer in love with this wreck of a world, queer in love with love itself—love’s always queer, always arriving in our hearts from queer nowheres, queering everything—and there we are; wide awake all night, queer as queer can be; queer orphans, queer widows, queer boys, and queer girls; sorrel girls queer for ivory boys, daffodil boys queer for lilac girls; carmine girls queer for sable girls, cinnamon boys so very queer for boys of bluest milk. Wicked shepherds! Burn me at the stake and hang me from a tree. Clap me in the stocks; send me down the mine; set me in the burning fields. But I am queer. And I say, Here is water, bread, a dull penny. Here’re my old shirt, my plane and hammer, a roof I’ll help you raise above your head. Here is my queer old body, in a barn, behind a hedge, beneath a shadow, on a bare pallet—
Paul Harding (This Other Eden)
A Letter To Say, "I'll See You Later" I remember just like it was yesterday the grapevine, clothesline, lilacs and peonies. I remember the secret hiding place for 50-cent pieces. I remember just like it was yesterday the color wheel Christmas Tree, The Honeymooner’s, The Dukes of Hazzard and Jeopardy! I remember just like it was yesterday the house was full of children, but I was your only and your favorite. You always made time for me, even when I deserved the fly swatter. I remember just like it was yesterday falling asleep to the scent of Dove soap on your pillow, you lying for me so I wouldn’t be abused again. I remember just like it was yesterday your big “Black Cat” and the late, dark nights driving to IFP and knowing there was “No Place Like Home.” I remember just like it was yesterday the “horns” in your ‘do and the smell of Raffinee wafting through the house and Listerine in the bathroom. I remember your bows and polka dots and “just a few fries.” I remember the green blanket. I remember just like it was yesterday the way it felt to sit on your lap and have you sing “She’s Grandma’s Little Baby.” I remember just like it was yesterday the day you told me I could “Shit in the sugar bowl.” I remember just like it was yesterday telling you that you were going to be a great-grandma…for the first time. I remember just like it was yesterday the 1st time you held him in your arms; you helped me raise him. Your house was always our home. I remember just like it was yesterday having my heart broken but you helped me mend it. I remember just like it was yesterday asking for your help when I couldn’t do it on my own; you’ve always been my rock. I remember just like it was yesterday confiding my secrets to you – you were the first to know another baby was on the way, this time a girl. I remember just like it was yesterday the joy they brought to your life; they were the reason you didn’t give up. I remember just like it was yesterday saying words I never meant, not spending more time with you because my life got in the way. I remember just like it was yesterday you loving on me, your strength and vitality, your faith, hope and kindness. I remember just like it was yesterday wishing for more tomorrows so I could tell you that I love you another time. I remember just like it was yesterday having you tell me you love me, “more than anyone will ever know.” I remember just like it was yesterday you taught me to never say good-bye, just say “I’ll see you later.
Amanda Strong
I walked home with a lighter step, for that night had knocked something loose in me, something long overdue to be knocked. At long last, I saw that group for what they were, with a few exceptions - a queer assortment of layabouts and late risers, most overdrawn at the bank or at least cutting into principal, only interested in who's going in the drawer at the Maidstone Club or their wedge on the fifteenth hole at Pebble Beach or dressing down the staff about a bit of shell in the lobster while shoveling canapés in. Jinx had done me a favor, freed me of any lingering allegiances to New York Society, snipped my fear of being on their bad side.
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Nancy and Helen changed into pastel cotton dresses, put away the few belongings they had brought, then headed for the inn. As they walked across the lawn, they passed gardeners who were pruning trees and cultivating flower beds edged with pansies. “It’s perfectly beautiful here,” Helen remarked. The girls went to the front of the inn, a two-story clapboard building with a one-level wing on either side. All around it were lilac trees and other flowering bushes. Nancy and Helen mounted the wide steps and entered the center hall. Its paneled walls, old staircase, and beautiful cut-glass chandelier made them feel as though they had stepped back into an earlier century.
Carolyn Keene (The Mystery at Lilac Inn (Nancy Drew, #4))
emotion. It was all absurd—she had been a silly, romantic, inexperienced goose. Well, she would be wiser in the future—very wise—and very discreet—and very contemptuous of men and their ways. "I suppose I'd better go with Una and take up Household Science too," she thought, as she stood by her window and looked down through a delicate emerald tangle of young vines on Rainbow Valley, lying in a wonderful lilac light of sunset. There did not seem anything very attractive just then about Household Science, but, with a whole new world waiting to be built, a girl must do something. The door bell rang, Rilla turned reluctantly stairwards. She must answer it—there was no one else in the house; but she hated the idea of callers just then. She went downstairs slowly, and opened the front door. A man in khaki was standing on the steps—a tall fellow, with dark eyes and hair, and a narrow white scar running across his brown cheek. Rilla stared at him foolishly for a moment. Who was it? She ought to know him—there was certainly something very familiar about him—"Rilla-my-Rilla," he said. "Ken," gasped Rilla. Of course, it was Ken—but he looked so much older—he was so much changed—that scar—the lines about his eyes and lips—her thoughts went whirling helplessly. Ken took the uncertain hand she held out, and looked at her. The slim Rilla of four years ago had rounded out into symmetry. He had left a school girl, and he found a woman—a
L.M. Montgomery (Rilla of Ingleside (Anne of Green Gables, #8))
Ant then, opening her eyes, how fresh like frilled linen clean from a laundry, laid in wicker trays the roses looked; and dark and prim the red carnations, holding their heads up; and all the sweet peas spreading in their bowls, tinged violet, snow white, pale - as if it were the evening and girls in muslin frocks came out to pick sweet peas and roses after the superb summer's day, with its almost blue-black sky, its delphiniums, its carnations, its arum lilies was over; and it was the moment between six and seven when every flower - roses, carnations, irises, lilac - glows; white, violet, red, deep orange; every flower seems to burn by itself, softly, purely in the misty beds; and how she loved the grey-white moths spinning in and out, over the cherry pie, over the evening primroses!
Virginia Woolf (Mrs. Dalloway)
Paul surely didn’t know. Paul. How would he react to Rena’s death? It was all too horrible. I picked up a magnifying glass and searched the photo. If Paul was alive, I would find him. I would be there for him if I had to swim the Atlantic. — IN THE DAYS THAT FOLLOWED, I made more trips to Snyder and Goodrich. The little money Mr. Snyder provided helped keep my French Families Fund afloat, and Roger didn’t seem to notice. But the specter of shutting down the consulate for lack of funds loomed large. With no official contact in Paris and the rest of France in chaos, the shutdown made sense. But closing down just when people needed us most seemed so unfair. Plus, it was my only link left to Paul. “You’re going to tear a retina with all this research,” said Roger one night as he headed home, attaché case in one hand, hat in
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
crimes at Ravensbrück and her early release, complete with German postage. Three maps, a list of approved gas stations at which to purchase fuel, and detailed travel instructions. A note apologizing for only being able to obtain one set of travel papers, and a whole package of Fig Newton cookies. I tossed the box in my suitcase and clicked the locks. Pietrik stirred in the next room. I froze for a second. Should I leave a note? I scribbled a quick goodbye on the paper from Caroline’s package and made my way down the stairs to the old turquoise car Papa loaned me now and then, the one Pietrik had kept alive for years. As Papa said, that car had more rust on it than paint, but it got us wherever we needed to go. At first, I fretted as I drove. What if it really was Herta? Would she hurt me? Would I hurt her? My head cleared a bit once I was under way, one of the few drivers on the road that early. I spread a map and the
Martha Hall Kelly (Lilac Girls (Lilac Girls, #1))
Colette"s "My Mother's House" and "Sido" After seeing the movie "Colette" I felt so sad that it didn't even touch the living spirit of her that exists in her writing. 'What are you doing with that bucket, mother? Couldn't you wait until Josephine (the househelp) arrives?' "And out I hurried. But the fire was already blazing, fed with dry wood. The milk was boiling on the blue-tiled charcoal stove. Nearby, a bar of chocolate was melting in a little water for my breakfast, and, seated squarely in her cane armchair, my mother was grinding the fragrant coffee which she roasted herself. The morning hours were always kind to her. She wore their rosy colours in her cheeks. Flushed with a brief return to health, she would gaze at the rising sun, while the church bell rang for early Mass, and rejoice at having tasted, while we still slept, so many forbidden fruits. "The forbidden fruits were the over-heavy bucket drawn up from the well, the firewood split with a billhook on an oaken block, the spade, the mattock, and above all the double steps propped against the gable-windows of the attic, the flowery spikes of the too-tall lilacs, the dizzy cat that had to be rescued from the ridge of the roof. All the accomplices of her old existence as a plump and sturdy little woman, all the minor rustic divinities who once obeyed her and made her so proud of doing without servants, now assumed the appearance and position of adversaries. But they reckoned without that love of combat which my mother was to keep till the end of her life. At seventy-one dawn still found her undaunted, if not always undamaged. Burnt by fire, cut with the pruning knife, soaked by melting snow or spilt water, she had always managed to enjoy her best moments of independence before the earliest risers had opened their shutters. She was able to tell us of the cats' awakening, of what was going on in the nests, of news gleaned, together with the morning's milk and the warm loaf, from the milkmaid and the baker's girl, the record in fact of the birth of a new day.
Colette (My Mother's House & Sido)
And the ladies dressed in red for my pain and with my pain latched onto my breath, clinging like the fetuses of scorpions in the deepest crook of my neck, the mothers in red who sucked out the last bit of heat that my barely beating heart could give me — I always had to learn on my own the steps you take to drink and eat and breathe, I was never taught to cry and now will never learn to do this, least of all from the great ladies latched onto the lining of my breath with reddish spit and floating veils of blood, my blood, mine alone, which I drew myself and which they drink from now after murdering the king whose body is listing in the river and who moves his eyes and smiles, though he’s dead and when you’re dead, you’re dead, for all the smiling you do, and the great ladies, the tragic ladies in red have murdered the one who is floating down the river and I stay behind like a hostage in their eternal custody. I want to die to the letter of the law of the commonplace, where we are assured that dying is the same as dreaming. The light, the forbidden wine, the vertigo. Who is it you write for? The ruins of an abandoned temple. If only celebration were possible. A mournful vision, splintered, of a garden of broken statues. Numb time, time like a glove upon a drum. The three who compete in me remain on a shifting point and we neither are nor is. My eyes used to find rest in humiliated, forsaken things. Nowadays I see with them; I’ve seen and approved of nothing. Seated at the bottom of a lake. She has lost her shadow, but not the desire to be, to lose. She is alone with her images. Dressed in red, and unseeing. Who has reached this place that no one ever reaches? The lord of those dead who are dressed in red. The man who is masked in a faceless face. The one who came for her takes her without him. Dressed in black, and seeing. The one who didn’t know how to die of love and so couldn’t learn a thing. She is sad because she is not there. There are words with hands; barely written, they search my heart. There are words condemned like the lilac in a tempest. There are words resembling some among the dead, and from these I prefer the ones that evoke the doll of some unhappy girl. Ward 18 when I think of occupational therapy I think of poking out my eyes in a house in ruin then eating them while thinking of all my years of continuous writing, 15 or 20 hours writing without a break, whetted by the demon of analogies, trying to configure my terrible wandering verbal matter, because — oh dear old Sigmund Freud — psychoanalytic science forgot its key somewhere: to open it opens but how to close the wound? for other imponderables lovelier than the smile of the Virgin of the Rocks the shadows strike blows the black shadows of the dead nothing but blows and there were cries nothing but blows
Alejandra Pizarnik
HE DO THE POLICE IN DIFFERENT VOICES: Part I THE BURIAL OF THE DEAD First we had a couple of feelers down at Tom's place, There was old Tom, boiled to the eyes, blind, (Don't you remember that time after a dance, Top hats and all, we and Silk Hat Harry, And old Tom took us behind, brought out a bottle of fizz, With old Jane, Tom's wife; and we got Joe to sing 'I'm proud of all the Irish blood that's in me, 'There's not a man can say a word agin me'). Then we had dinner in good form, and a couple of Bengal lights. When we got into the show, up in Row A, I tried to put my foot in the drum, and didn't the girl squeal, She never did take to me, a nice guy - but rough; The next thing we were out in the street, Oh it was cold! When will you be good? Blew in to the Opera Exchange, Sopped up some gin, sat in to the cork game, Mr. Fay was there, singing 'The Maid of the Mill'; Then we thought we'd breeze along and take a walk. Then we lost Steve. ('I turned up an hour later down at Myrtle's place. What d'y' mean, she says, at two o'clock in the morning, I'm not in business here for guys like you; We've only had a raid last week, I've been warned twice. Sergeant, I said, I've kept a decent house for twenty years, she says, There's three gents from the Buckingham Club upstairs now, I'm going to retire and live on a farm, she says, There's no money in it now, what with the damage don, And the reputation the place gets, on account off of a few bar-flies, I've kept a clean house for twenty years, she says, And the gents from the Buckingham Club know they're safe here; You was well introduced, but this is the last of you. Get me a woman, I said; you're too drunk, she said, But she gave me a bed, and a bath, and ham and eggs, And now you go get a shave, she said; I had a good laugh, couple of laughs (?) Myrtle was always a good sport'). treated me white. We'd just gone up the alley, a fly cop came along, Looking for trouble; committing a nuisance, he said, You come on to the station. I'm sorry, I said, It's no use being sorry, he said; let me get my hat, I said. Well by a stroke of luck who came by but Mr. Donovan. What's this, officer. You're new on this beat, aint you? I thought so. You know who I am? Yes, I do, Said the fresh cop, very peevish. Then let it alone, These gents are particular friends of mine. - Wasn't it luck? Then we went to the German Club, Us We and Mr. Donovan and his friend Joe Leahy, Heinie Gus Krutzsch Found it shut. I want to get home, said the cabman, We all go the same way home, said Mr. Donovan, Cheer up, Trixie and Stella; and put his foot through the window. The next I know the old cab was hauled up on the avenue, And the cabman and little Ben Levin the tailor, The one who read George Meredith, Were running a hundred yards on a bet, And Mr. Donovan holding the watch. So I got out to see the sunrise, and walked home. * * * * April is the cruellest month, breeding lilacs out of the dead land....
T.S. Eliot (The Waste Land Facsimile)
Claire… It is not what you think. Won’t you please allow me to explain? Please. Allow me to speak with you.” It was more tempting than she liked. “There is nothing to say. We both know what I saw.” She paused. “Now go away.” Her tone was as aloof as she could manage between tears that would not stop. She saw the handle turn. “Don’t you dare!” She took a pre-emptive step back. But he did dare. The door opened slowly. “Are you…dressed?” “Of course, I am dressed!” she said furiously. “I am packing. Kindly have a carriage ordered.” It was a lie but he would not know that. Her case was still open on the window seat. He pushed the door open wider. He did not look like a man who had come from the arms of another woman. His face was not flushed with desire. It looked rather drawn in fact. But what did she know of such things? Perhaps that woman had merely exhausted him. “I did not invite her here, Claire. I did not even know she was coming.” He pushed locks of dark hair from his eyes. Claire bit her lip, thinking of how she had looked forward to touching those waves, brushing it possessively off his face herself. “Serafina does what she pleases. As you can see, she has no sense of propriety or discretion. She believes she owns Isabel and I even still. Even though, after her unforgiveable actions, she quite thoroughly relinquished rights to us both some time ago. I do not believe Isabel has pardoned her yet. I certainly will not.” He looked at her, eyes wide and beseeching. Not a hint of pride or arrogance. “She does not want me to be happy without her, Claire,” he said softly. “She must have found out I was to be married and she came with all haste. This is exactly what she was hoping for—or nearly so. When you walked in…” “Oh? Nearly so?” Fury twisted inside her. “I apologize for intruding so unexpectedly, for interrupting your passionate liaison. I suppose if Isabel and I had not walked in, you would still be there even now. On the floor together perhaps.” Thomas looked taken aback, then angry. “Of course not! Do you really think me so…? Is that what you believe, Claire? You did exactly what Serafina hoped you would do. Reacted with anger and jealousy, blamed me, and stormed out.” “Jealousy!” Claire exclaimed, drawing herself up. “I assure you—I am not jealous in the least. If she wants you, she is welcome to have you. I did not want you in the first place, as you will recall.” He flinched. If she did not know better, she might almost have believed him to be hurt. She swallowed hard. “What have I to be jealous of? The fact that you prefer your mistress to…” Oh, no. Her voice was catching in her throat. “…to… me…” She hiccupped embarrassingly, tears flowing over. All of a sudden Thomas’s arms were around her, holding her firmly to his chest. “Claire… No, no…” he whispered. Her cheek was pressed up rather roughly against his tailcoat. He smelled so good. She closed her eyes, her body relaxing against him. There was another smell there. An overpoweringly sweet scent of lilacs. She pushed herself away, hands against his chest. “You smell of her.” He looked horrified. Horrified that he did? Or horrified that she had noticed? Did he smell of her from head to toe? Claire felt nauseous.
Fenna Edgewood (Mistakes Not to Make When Avoiding a Rake (The Gardner Girls, #1))
Lilac curled her upper lip in a dead-eyed sneer, and it made my skin crawl. The girl looked like she might fillet me and have me for a snack later. She made the Dale R. Fielding High School Cheer Squad look like Barney and Friends, and I vowed to give her a wide berth.
Veronica Wolff (Isle of Night (The Watchers, #1))
...My niece Peggy is at camp in the Adirondacks so I am staying in her room. It's essence of teenage girl: soft lilac walls, colored photographs of rock stars, nosegays of artificial flowers, signs on the door: THIS ROOM IS A DISASTER AREA, and GARBAGEDUMP. 'Some ashcan at the world's end...' But this is not my family's story, nor is it Molly's: the coon hound pleading silently for table scraps. The temperature last night dipped into the forties: a record for August 14th. There is a German down pouff on the bed and I was glad to wriggle under it and sleep the sleep of the just. Today is a perfection of blue: the leaves go lisp in the breeze. I wish I were a better traveler; I love new places, the arrival in station after the ennui of a trip. On the train across the aisle from me there was a young couple. He read while she stroked the flank of his chest in a circular motion, motherly, covetous. They kissed. What is lovelier than young love? Will it only lead to barren years of a sour marriage? They were perfect together. I wish them well. This coffee is cold. The eighteen-cup pot like most inventions doesn't work so well. A few days: how to celebrate them? It's today I want to memorialize but how can I? What is there to it? Cold coffee and a ham-salad sandwich? A skinny peach tree holds no peaches. Molly howls at the children who come to the door. What did they want? It's the wrong time of year for Girl Scout cookies. My mother can't find her hair net. She nurses a cup of coffee substitute, since her religion (Christian Science) forbids the use of stimulants. On this desk, a vase of dried blue flowers, a vase of artificial roses, a bottle with a dog for a stopper, a lamp, two plush lions that hug affectionately, a bright red travel clock, a Remington Rand, my Olivetti, the ashtray and the coffee cup....
James Schuyler (A Few Days)
It's 2000, and I'm forty, and I have a real home at last. I've dropped my bags at SL's door. The house itself is composed of his skin and thought. Nearby, lilacs bloom in the garden door. Or are they hyacinths? "My mind forgets / The persons I have been along the way," Borges said. And yet it's those persons - in addition to my I - SL wants to hear about; he says they're a part of who I was. Oh, Lord, don't ever let this end: he smells like no one else on earth, and he sounds like no one else on earth. (SL's voice is so deep that people often ask him to speak up, but he is always speaking up.)
Hilton Als (White Girls)