Mah Life Quotes

We've searched our database for all the quotes and captions related to Mah Life. Here they are! All 25 of them:

Though life has to be lived forward, it can only be understood backwards
Adeline Yen Mah (Chinese Cinderella: The True Story of an Unwanted Daughter)
You have your whole life ahead of you. Be smart. Study hard and be independent. I'm afraid the chances of your getting a dowry are slim. You must rely on yourself. No matter what else people may steal from you, they will never be able to take away your knowledge. The world is changing. You must make your own life outside this home.
Adeline Yen Mah (Falling Leaves)
I often think of life as a deposit of time. We are each allocated so many years, just like a fixed sum in a bank. When twenty-four hours have passed I have spent one more day. I read in the People's Daily that the average life expectancy for a Chinese woman is seventy-two. I am already seventy-four years old. I spent all my deposits two years ago and am on bonus time. Every day is already a gift. What is there to complain of?
Adeline Yen Mah (Falling Leaves)
She was bedridden falling a fall which broke her hip. X-rays showed that she had cancer of the colon which had already spreed. To my surprise I found her cheerful and free of pain, perhaps because of the small doses of morphine she was being given. She was surrounded by neighbours and friends who congregated at her bedside day and night. In this cosy, noisy, gregarious world of the "all-chinese" sickbed, so different from the stark, sterile solitude of the American hospital room, her life had assumed the astounding quality of a continuous farewell party.
Adeline Yen Mah (Falling Leaves)
Naw, Ah ain’t no young gal no mo’ but den Ah ain’t no old woman neither. Ah reckon Ah looks mah age too. But Ah’m uh woman every inch of me, and Ah know it. Dat’s uh whole lot more’n you kin say. You big-bellies round here and put out a lot of brag, but ’tain’t nothin’ to it but yo’ big voice. Humph! Talkin’ ’bout me lookin’ old! When you pull down yo’ britches, you look lak de change uh life.
Zora Neale Hurston (Their Eyes Were Watching God)
...I wondered if I would ever stop missing Paris, if I could ever stop aching for its smells, and states, and splendors. Perhaps this was the great first love of my life...
Ann Mah (Jacqueline in Paris)
Tibet has not yet been infested by the worst disease of modern life, the everlasting rush. No one overworks here. Officials have an easy life. They turn up at the office late in the morning and leave for their homes early in the afternoon. If an official has guests or any other reason for not coming, he just sends a servant to a colleague and asks him to officiate for him. Women know nothing about equal rights and are quite happy as they are. They spend hours making up their faces, restringing their pearl necklaces, choosing new material for dresses, and thinking how to outshine Mrs. So-and-so at the next party. They do not have to bother about housekeeping, which is all done by the servants. But to show that she is mistress the lady of the house always carries a large bunch of keys around with her. In Lhasa every trifling object is locked up and double-locked. Then there is mah-jongg. At one time this game was a universal passion. People were simply fascinated by it and played it day and night, forgetting everything else—official duties, housekeeping, the family. The stakes were often very high and everyone played—even the servants, who sometimes contrived to lose in a few hours what they had taken years to save. Finally the government found it too much of a good thing. They forbade the game, bought up all the mah-jongg sets, and condemned secret offenders to heavy fines and hard labor. And they brought it off! I would never have believed it, but though everyone moaned and hankered to play again, they respected the prohibition. After mah-jongg had been stopped, it became gradually evident how everything else had been neglected during the epidemic. On Saturdays—the day of rest—people now played chess or halma, or occupied themselves harmlessly with word games and puzzles.
Heinrich Harrer (Seven Years in Tibet)
Alcenith Crawford (a divorced ophthalmologist): "We women doctors have un-happy marriages because in our minds we are the superstars of our families. Having survived the hardship of medical school we expect to reap our rewards at home. We had to assert ourselves against all odds and when we finally graduate there are few shrinking violets amongst us. It takes a special man to be able to cope. Men like to feel important and be the undisputed head of the family. A man does not enjoy waiting for his wife while she performs life-saving operations. He expects her and their children to revolve around his needs, not the other way. But we have become accustomed to giving orders in hospitals and having them obeyed. Once home, it's difficult to adjust. Moreover, we often earn more than our husbands. It takes a generous and exceptional man to forgive all that.
Adeline Yen Mah (Falling Leaves)
It was from Granny's conversations, year after year, that the meager details of Grandpa's life came to me. When the Civil War broke out, he ran off from his master and groped his way through the Confederate lines to the North. He darkly boasted of having killed "mo'n mah fair share of those damn rebels" while en route to enlist in the Union Army. Militantly resentful of slavery, he joined the Union Army... Mustered out, he returned to the South and, during elections, guarded ballot boxes with his army rifle so that Negroes could vote. But when the Negro had been driven from political power, his spirit had been crushed. He was convinced that the war had not really ended, that it would start again.
Richard Wright (Black Boy)
...I wondered if I would very stop missing Paris, if I could ever stop aching for its smells, its states, its splendors...Perhaps this was the great love of my life...I've never stopped dreaming of it, never stopped reading French history and novels, watching French films, or devouring French culture--art and fashion and food--never stopped turning to it for inspiration and refuge. In so many ways, it has sustained me.
Ann Mah (Jacqueline in Paris)
As he turned her face to study her, he said, “You have more courage than you have strength, Yellow Hair. It is not wise to fight when you cannot win.” Looking up at his carved features and the arrogant set of his mouth, she longed for the strength to jerk him off his horse. He wasn’t just taunting her, he was challenging her, mocking her. “You will yield. Look at me and know the face of your master. Remember it well.” Riding high on humiliation, Loretta forgot Amy, Aunt Rachel, everything. An image of her mother’s face flashed before her. Never, as long as she had life in her body, would she yield to him. She worked her parched mouth and spat. Nothing came out, but the message rang clear. “Nei mah-heepicut!” Releasing her, he struck her lightly on the arm. Wheeling his horse, he glanced toward the windows of the house and thumped his chest with a broad fist. “I claim her!” Loretta staggered, watching in numb disbelief as Hunter pranced his stallion in a circle around her. I claim her? Warily she turned, keeping him in sight, unsure of what he might do. He rode erect, his eyes touching on her dress, her face, her hair, as if everything about her were a curiosity. A taunting smile curved his mouth. His attention centered on her full skirt, and she could almost see the questions churning in his head. He repositioned his hand on the lance. The determination in his expression filled her with foreboding. He rode directly toward her, and she sidestepped. He turned his mount to come at her again. As he swept by he leaned forward, catching the hem of her skirt with his lance. Loretta whirled, striking out with her forearms, but the Indian moved expertly, his aim swift and sure, his horse precision-trained to the pressure of his legs. He was as bent on seeing her undergarments as she was on keeping them hidden. The outcome of their battle was a foregone conclusion, and Loretta knew it. His friends encouraged him, whooping with ribald laughter each time her ruffles flashed. She snatched the dirty peace flag from the wooden shaft and threw it to the earth, grinding it beneath the heel of her shoe. After fending off several more passes, exhaustion claimed its victory, and Loretta realized the folly in fighting. She stood motionless, breasts heaving, her eyes staring fixedly at nothing, head lifted. The warrior circled her, guiding his stallion’s flashing hooves so close to her feet that her toes tingled. When she didn’t move, he reined the horse to a halt and studied her for several seconds before he leaned forward to finger the bodice of her dress. Her breath snagged when he slid a palm over her bosom to the indentation of her waist. “Ai-ee,” he whispered. “You learn quick.” Raising tear-filled eyes to his, she again spat in his face. This time he felt the spray and wiped his cheek, his lips quivering with something that looked suspiciously like suppressed laughter, friendly laughter this time. “Maybe not so quick. But I am a good teacher. You will learn not to fight me, Yellow Hair. It is a promise I make for you.
Catherine Anderson (Comanche Moon (Comanche, #1))
Sensing reprieve, grasping for it with eager disbelief, she lifted her lashes in confusion to see the same emotion reflected in his cobalt eyes. He began to tremble, as if the lance weighed a thousand pounds. And suddenly she knew that as much as he longed to murder her, a part of him couldn’t, wouldn’t throw the lance. It made no sense. She could see nothing but hatred written on his chiseled face. He had surely killed hundreds of times and would kill again. Slowly he lowered his arm and stared at her as if she had bested him in some way. Then, so quickly she couldn’t be sure she saw it, pain flashed across his face. “So you’re sweet?” His smile dripped ice. “We shall see, woman, we shall see.” He said “woman” as if he were spitting bile and slid his lance arrow to her chin. She had heard of women being disfigured by Indians and expected him to slash her as he outlined her mouth and the slope of her nose. Breathless fear brought moisture to her brow. Black spots danced, blurring her vision. She blinked and forced herself to focus on him. Laughter twinkled in his eyes. She realized that since he had decided not to kill her, he was, for some reason she couldn’t imagine, playing a hideous game, terrifying her to test her mettle. She caught hold of his lance and shoved it aside, lifting her head in defiance. Chuckling low in his chest, he leaned over his thigh, making a fist in her hair. His grip brought tears to her eyes. As he turned her face to study her, he said, “You have more courage than you have strength, Yellow Hair. It is not wise to fight when you cannot win.” Looking up at his carved features and the arrogant set of his mouth, she longed for the strength to jerk him off his horse. He wasn’t just taunting her, he was challenging her, mocking her. “You will yield. Look at me and know the face of your master. Remember it well.” Riding high on humiliation, Loretta forgot Amy, Aunt Rachel, everything. An image of her mother’s face flashed before her. Never, as long as she had life in her body, would she yield to him. She worked her parched mouth and spat. Nothing came out, but the message rang clear. “Nei mah-heepicut!” Releasing her, he struck her lightly on the arm. Wheeling his horse, he glanced toward the windows of the house and thumped his chest with a broad fist. “I claim her!
Catherine Anderson (Comanche Moon (Comanche, #1))
You will eat”--unmistakable laughter played upon his face--“so you will stay strong. We cannot fight the big fight if you tremble from hunger.” Loretta lowered her gaze. A rush of conflicting emotions assailed her. She detested this man. She shouldn’t care if he didn’t get enough to eat or feel in the least guilty for having wasted his stupid meat. Yet she did. And for the life of her, she couldn’t accept part of his meager portion only to toss it away. She hated herself for that and hated him for eliciting such traitorous feelings within her. When she didn’t take the meat, he hunkered next to her. Why wouldn’t he leave her be? She was so tired, so awfully, horribly tired. Tired of being afraid. Tired of fighting him. Tired of fighting herself. “Hein ein mah-su-ite, what do you want?” he asked in a low voice. “The little rabbit is good. The tosi tivo, white men, eat rabbit, do they not?” Loretta kept her face averted. He sighed. “Blue Eyes, you will see into me, eh?” Because he was still holding the two pieces of meat, he didn’t have a free hand and nudged her shoulder with his forearm. “Nabone, look.” For the first time, she detected a note of entreaty in his voice, scarcely recognizable under his martial arrogance, but there. When she looked up, his eyes caught and held hers. After a long moment he said, “You are to-ho-ba-ka, the enemy. That is so, eh? Tosi mah-ocu-ah, a white woman? And I am the enemy to your people, a Te-j-as, a Comanche.” He held his arm out in front of him, his forearm waist high and horizontal, and made a writhing motion around to his side. “Snakes Who Come Back, eh?” His mouth tipped into a grin that transformed his face. For a moment he not only looked human, but handsome. “You like that, eh? Comanche and snakes, all the same?” The grin set her off balance, and again she averted her face. He shoved a piece of the meat under her nose. “The rabbit, he is not to-ho-ba-ka, the enemy. He is tao-yo-cha, a child of Mother Earth, eh? You can eat him. It is not surrender when we eat the gifts of Mother Earth.
Catherine Anderson (Comanche Moon (Comanche, #1))
Gone the glitter and glamour; gone the pompous wealth beside naked starvation; gone the strange excitement of a polyglot and many-sided city; gone the island of Western civilization flourishing in the vast slum that was Shanghai. Good-by to all that: the well-dressed Chinese in their chauffeured cars behind bullet-proof glass; the gangsters, the shakedowns, the kid­napers; the exclusive foreign clubs, the men in white dinner jackets, their women beautifully gowned; the white-coated Chinese “boys” ob­sequiously waiting to be tipped; Jimmy’s Kitchen with its good Amer­ican coffee, hamburgers, chili and sirloin steaks. Good-by to all the night life: the gilded singing girl in her enameled hair-do, her stage make-up, her tight-fitting gown with its slit skirt breaking at the silk­ clad hip, and her polished ebony and silver-trimmed rickshaw with its crown of lights; the hundred dance halls and the thousands of taxi dolls; the opium dens and gambling halls; the flashing lights of the great restaurants, the clatter of mah-jongg pieces, the yells of Chinese feasting and playing the finger game for bottoms-up drinking; the sailors in their smelly bars and friendly brothels on Szechuan Road; the myriad short-time whores and pimps busily darting in and out of the alleyways; the display signs of foreign business, the innumerable shops spilling with silks, jades, embroideries, porcelains and all the wares of the East; the generations of foreign families who called Shanghai home and lived quiet conservative lives in their tiny vacuum untouched by China; the beggars on every downtown block and the scabby infants urinating or defecating on the curb while mendicant mothers absently scratched for lice; the “honey carts” hauling the night soil through the streets; the blocks-long funerals, the white-clad professional mourners weeping false tears, the tiers of paper palaces and paper money burned on the rich man’s tomb; the jungle free-for- all struggle for gold or survival and the day’s toll of unwanted infants and suicides floating in the canals; the knotted rickshaws with their owners fighting each other for customers and arguing fares; the peddlers and their plaintive cries; the armored white ships on the Whangpoo, “protecting foreign lives and property”; the Japanese conquerors and their American and Kuomintang successors; gone the wickedest and most colorful city of the old Orient: good-by to all that.
Edgar Snow (Red China Today: The Other Side of the River)
She blinked and forced herself to focus on him. Laughter twinkled in his eyes. She realized that since he had decided not to kill her, he was, for some reason she couldn’t imagine, playing a hideous game, terrifying her to test her mettle. She caught hold of his lance and shoved it aside, lifting her head in defiance. Chuckling low in his chest, he leaned over his thigh, making a fist in her hair. His grip brought tears to her eyes. As he turned her face to study her, he said, “You have more courage than you have strength, Yellow Hair. It is not wise to fight when you cannot win.” Looking up at his carved features and the arrogant set of his mouth, she longed for the strength to jerk him off his horse. He wasn’t just taunting her, he was challenging her, mocking her. “You will yield. Look at me and know the face of your master. Remember it well.” Riding high on humiliation, Loretta forgot Amy, Aunt Rachel, everything. An image of her mother’s face flashed before her. Never, as long as she had life in her body, would she yield to him. She worked her parched mouth and spat. Nothing came out, but the message rang clear. “Nei mah-heepicut!” Releasing her, he struck her lightly on the arm. Wheeling his horse, he glanced toward the windows of the house and thumped his chest with a broad fist. “I claim her!
Catherine Anderson (Comanche Moon (Comanche, #1))
İnsanlık öldü mü?" dedim. "Yok," dedi, "ölmedi, ölmedi ama, bir şeyler oldu, başka bir yer­lerde sıkıştı kaldı herhalde?" "Nerede kaldı acaba?" Mahmudun yüzü bir sevinç ışığında şakıdı. İnsanlık belki Mah­mudun bu ağız dolusu gülüşünde, bu yürek dolusu sevincindedir, kim bilir, belki... "Kuşlar da gitti," dedi Mahmut. Sonra hiç konuşmadık. Kuşlar da gitti, kuşlarla birlikte de... Ne olacak, kuşlar da gitti.
Yaşar Kemal (Kuşlar da Gitti)
I was made weak by the years and life I faced, but made strong in my will. To strive, to dream, to be, my true self. The fighter, never quitting. My weakness becoming my strength, as I rise above and continue on.
EJ Barnes (Mah Dead "I'm Dead": The Evil Unleashed)
Khwaja e Khwajgaan Moinuddin - Ashraf e Aulia e Roohe Zameen Aaftabe Si pahre Kono o Makaan - Baadshahe Sareere Mulke Yakeen Dar jamaal o Kamale Unche Sukhan - Een Mubaiyan Boo ad Ba Hisne Haseen Matlae Dar Sifate Ou Guftam - Dar Eebaarat Boo ad Cho Durr e Sameen Ai Darat Qibla Gahe Ahle Yakeen - Bar dart Mehro Mah Hasuda jabeen Roohe Bar Dar gahat hami Sayand - Sad Hazaraan Malik Cho Khushra Ve Cheen Khaadimane Darat Hamah Rizwan - Dar Safa Roz at Cho Khulde Bareen Zare Khaake Oo Abeer-O- Sarisht - Qatra e Aabe O Chu Maae Maeen llahi Taboo ad Khursheed - 0 - Maahin -
Syed Ali Hamza Chishty (Gharib Nawaz: Life and Teachings of Gharib Nawaz also known as Khwaja Moinuddin Chishty)
The older you get, the more that you realize expiration date is not only restricted to materials, but to people too
M.A.H
Though life has to be lived forward, it can only be understood backward.
Adeline Yen Mah (Chinese Cinderella: The True Story of an Unwanted Daughter)
Of course, it still sailed next to me, that parallel life—it would always sail next to me—as full of joy and challenge as the one I was living. I thought of it sometimes, pale and chilled—lit by a satellite moon, not the sun of reality—a ghostly ship charting a route to what might have been, while I remained on the course of what was. *
Ann Mah (Mastering the Art of French Eating: Lessons in Food and Love from a Year in Paris)
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adanelahi
She would rather live her own life of mah-jongg games, while pretending all those starving in the streets are invisible.
Gail Tsukiyama (The Samurai's Garden)
Ah done lived all mah life on mah knees, a-beggin n a-pleadin wid the white folks. N all they gimme wuz crumbs! All they did wuz kick me! N then they come wida gun n ast me t give mah own soul! N ef Ah so much as talk lika man they try t kill me . .
Richard Wright (Uncle Tom's Children)