Melinda May Quotes

We've searched our database for all the quotes and captions related to Melinda May. Here they are! All 15 of them:

It may be a lifetime before I see you again on the far side of time. Wait for me. Look for me. Please don't forget me, Melinda Skye because one day I will come to you. I will come.
Lurlene McDaniel (A Rose for Melinda)
May your wedding night be like a kitchen table, all legs and no drawers.
Melinda Heald (The Promise of Sunrise)
That would be Suzanne, who had started speaking complicated sentences at ten months and may have been about eight years old when she was born." - Ben Logan.
Melinda Rathjen (Home for Christmas)
Isn’t it strange to see that, even as one’s own story unfolds, others are traveling through their own, which may be just as interesting?
Melinda Taub (The Scandalous Confessions of Lydia Bennet, Witch)
Don’t be late or I may end up marrying the judge.
Melinda Heald (The Promise of Sunrise)
Trauma may happen to you, but it can never define you.
Melinda Longtin
…calculated that if you hired workers at the market rate to do all the unpaid work women do, unpaid work would be the biggest sector of the global economy. … As Waring wrote, “Men won’t easily give up a system in which half the world’s population works for next to nothing,” especially as men recognize that “precisely because that half works for so little, it may have no energy left to fight for anything else.
Melinda French Gates (The Moment of Lift: How Empowering Women Changes the World)
He pauses, swipes a matchstick on a column. It bursts into flame. “I tell you, you must take risks in my studio.” He finds a cigarette behind his ear and lights it. “I tell you not to be timid. I tell you to make the choices, make the mistakes, big, terrible, reckless mistakes, really screw it all up. I tell you it is the only way.” An affirmative murmur. “I say this, yes, but I still see so many of you afraid to cut in.” He begins to pace, slowly like a wolf, which is definitely his mirror animal. “I see what you are doing. When you leave yesterday, I go from work to work. You feel like Rambo maybe with the drills, the saws. You make lots of noise, lots of dust, but very few of you have found even this much”—he pinches two fingers together—“of your sculptures. Today this changes.” He walks over to a short blond-haired girl. “May I, Melinda?” “Please,
Jandy Nelson (I'll Give You the Sun)
I head for my closet after school. I want to take the poster of Maya Angelou home, and I’d like to keep some of my tree pictures and my turkey-bone sculpture. The rest of the stuff can stay, so long as it doesn’t have my name on it. Who knows, some other kids may need a safe place to run to next year.
Laurie Halse Anderson (Speak)
Today in the US, we're sending our daughters into a workplace that was designed for our dads, set up on the assumption that employees had partners who would stay home to do the unpaid work of caring for family and tending to the house. Even back then, it wasn't true for everyone. Today, it is true for almost no one, except for one significant group: the most powerful positions in society are often occupied by men who do wives who do not work outside the home, and those men may not fully understand the lives of the people who work for them.
Melinda French Gates (The Moment of Lift: How Empowering Women Changes the World)
Nobody ever talked about what a struggle this all was. I could see why women used to die in childbirth. They didn't catch some kind of microbe, or even hemorrhage. They just gave up. They knew that if they didn't die, they'd be going through it again the next year, and the next. I couldn't understand how a woman might just stop trying, like a tired swimmer, let her head go under, the water fill her lungs. I slowly massaged Yvonne's neck, her shoulders, I wouldn't let her go under. She sucked ice through threadbare white terry. If my mother were here, she'd have made Melinda meek cough up the drugs, sure enough. "Mamacita, ay," Yvonne wailed. I didn't know why she would call her mother. She hated her mother. She hadn't seen her in six years, since the day she locked Yvonne and her brother and sisters in their apartment in Burbank to go out and party, and never came back. Yvonne said she let her boyfriends run a train on her when she was eleven. I didn't even know what that meant. Gang bang, she said. And still she called out, Mama. It wasn't just Yvonne. All down the ward, they called for their mothers. ... I held onto Yvonne's hands, and I imagined my mother, seventeen years ago, giving birth to me. Did she call for her mother?...I thought of her mother, the one picture I had, the little I knew. Karin Thorvald, who may or may not have been a distant relation of King Olaf of Norway, classical actress and drunk, who could recite Shakespeare by heart while feeding the chickens and who drowned in the cow pond when my mother was thirteen. I couldn't imagine her calling out for anyone. But then I realized, they didn't mean their own mothers. Not those weak women, those victims. Drug addicts, shopaholics, cookie bakers. They didn't mean the women who let them down, who failed to help them into womanhood, women who let their boyfriends run a train on them. Bingers and purgers, women smiling into mirrors, women in girdles, women in barstools. Not those women with their complaints and their magazines, controlling women, women who asked, what's in it for me? Not the women who watched TV while they made dinner, women who dyed their hair blond behind closed doors trying to look twenty-three. They didn't mean the mothers washing dishes wishing they'd never married, the ones in the ER, saying they fell down the stairs, not the ones in prison saying loneliness is the human condition, get used to it. They wanted the real mother, the blood mother, the great womb, mother of a fierce compassion, a woman large enough to hold all the pain, to carry it away. What we needed was someone who bled, someone deep and rich as a field, a wide-hipped mother, awesome, immense, women like huge soft couches, mothers coursing with blood, mothers big enough, wide enough, for us to hide in, to sink down to the bottom of, mothers who would breathe for is when we could not breathe anymore, who would fight for us, who would kill for us, die for us. Yvonne was sitting up, holding her breath, eyes bulging out. It was the thing she should not do. "Breathe," I said in her ear. "Please, Yvonne, try." She tried to breathe, a couple of shallow inhalations, but it hurt too much. She flopped back on the narrow bed, too tired to go on. All she could do was grip my hand and cry. And I thought of the way the baby was linked to her, as she was linked to her mother, and her mother, all the way back, insider and inside, knit into a chain of disaster that brought her to this bed, this day. And not only her. I wondered what my own inheritance was going to be. "I wish I was dead," Yvonne said into the pillowcase with the flowers I'd brought from home. The baby came four hours later. A girl, born 5:32 PM.
Janet Fitch (White Oleander)
Well, Melinda, you little devil,” John said, grinning. She rested the back of her hand over her eyes while John and Jack studied the ultrasound, examining that little heartbeat in a barely moving mass. John pointed out small buds where arms and legs would be growing. “When was your last period?” John asked her. She took the hand off her eyes and glared at her husband. “Um, she hasn’t exactly ever had one.” “Huh?” John said. “That I know of,” Jack said with a shrug. “A year and a half ago, all right?” she said crisply. “Approximately. I’ve been nursing. I’ve been pregnant. I’ve been cast into hell and will live out my days with sore boobs and fat ankles.” “Whew. Going right for the mood swings, huh? Okay, looks like about eight weeks to me. That’s an educated guess. I’m thinking mid to late May. How does that sound?” “Oh, duckie,” she answered. “You’ll have to excuse my wife,” Jack said. “She was counting on still being infertile. This might cause her to finally give up that illusion.” “I told you if you made one joke—” “Melinda,” Jack said, his expression stern, “I was not joking.” “I would just like to know how this is possible!” she ranted. “David is like a miracle pregnancy, and before I even get him off the breast, I’ve got another one cooking.” “Ever hear the saying, pregnancy cures infertility?” John asked her. “Yes!” she said, disgusted. “You know what I’m talking about—probably better than me. I guess you didn’t think it would apply to you, huh?” “What are you talking about?” Jack asked John. “A lot of conditions that cause infertility are made better by pregnancy—endometriosis being one. Often when you finally score that first miraculous conception, the rest follow more easily. And when you change partners, you change chemistry. You’re going to want to keep these things in mind,” he said. And he grinned.
Robyn Carr (Whispering Rock (Virgin River, #3))
Economics and P&L What are the per-unit economics of the device? That is, what is the expected gross profit and contribution profit per unit? What is the rationale for the price point you have chosen for the product? How much will we have to invest up front to build this product in terms of people, technology, inventory, warehouse space, and so on? For this section of the PR/FAQ, ideally one or more members of your finance team will work with you to understand and capture these costs so you can include a simplified table of the per-unit economics and a mini P&L in the document. A resourceful entrepreneur or product manager can do this work themselves if they do not have a finance manager or team. For new products, the up-front investment is a major consideration. In the case of Melinda, there is a requirement for 77 people to work on the hardware and software, for an annualized cost of roughly $15 million. This means that the product idea needs to have the potential to earn well in excess of $15 million per year in gross profit to be worth building. The consumer questions and economic analysis both have an effect on the product price point, and that price point, in turn, has an effect on the size of the total addressable market. Price is a key variable in the authoring of your PR/FAQ. There may be special assumptions or considerations that have informed your calculation of the price point—perhaps making it relatively low or unexpectedly high—that need to be called out and explained. Some of the best new product proposals set a not-to-exceed price point because it forces the team to innovate within that constraint and face the tough trade-offs early on. The problem(s) associated with achieving that price point should be fully explained and explored in the FAQ.
Colin Bryar (Working Backwards: Insights, Stories, and Secrets from Inside Amazon)
You may go home,” I said, “but I shan’t. Aunt is teaching me tea-reading today. Fancy being able to tell the future whenever someone comes to tea! You’re just jealous, Kitty, that she won’t teach you.” Kitty put her hands on her hips. “We cats know things of magic that your aunt can never teach you.
Melinda Taub (The Scandalous Confessions of Lydia Bennet, Witch)
At the public ball in Meryton in May, I stood in a corner complaining to a few friends. They had heard it all before, but what are friends for, if not to listen to the same complaints over and over?
Melinda Taub (The Scandalous Confessions of Lydia Bennet, Witch)