Missouri Star Quotes

My compass and guiding star: MyDaddy, that's who you are. Discipline I learned from you, With patience in all I do. Sang-froid you gifted to me, Along with versatility. You reveal the profound beauty Found in Family Duty. You've instilled me with toughness, To overcome any roughness. Thanks to you I conquer worlds; I strive to be MyDaddy's girl.

There'll be the lightning bugs with their Morse code display, And shooting stars and constellations to befriend; The dragonflies will keep us from going astray, As we search for new adventures 'round every bend. -excerpted from the poem 'The Huge Playroom that is Nature' in the book FROM GUAM TO CROWN CITY CORONADO (THANKS TO HERMANN, MISSOURI): A JOURNEY IN POESY

raw state militias patrolling the west with seasoned troops better capable of confronting the Indians of the Great Plains. South of the Arkansas, this meant eradicating the Kiowa and the Comanche, who were blocking movement along the Santa Fe Trail into New Mexico. North of the Platte, it meant killing Red Cloud and Sitting Bull. General Ulysses S. Grant, the Army’s commander in chief, had long planned such a moment. The previous November, the day after the Sand Creek massacre, Grant summoned Major General John Pope to his Virginia headquarters to put such plans in motion. Despite his relative youth, the forty-three-year-old Pope was an old-school West Pointer and a topographical engineer-surveyor whose star had risen with several early successes on western fronts in the Civil War. It had dimmed just as rapidly when Lincoln placed him in command of the eastern forces; Pope was thoroughly outfoxed by Stonewall Jackson and James Longstreet at the Second Battle of Bull Run. Pope had been effectively exiled to St. Paul, Minnesota, until Grant recalled him to consolidate under one command a confusing array of bureaucratic Army “departments” and “districts” west of St. Louis. Grant named Pope the commanding general of a new Division of the Missouri,

He stood there on the high rampart for a long time that night, listening to the Missouri and staring at the stars. He wondered at the source of the waters, of the mighty Big Horns whose tops he had seen but never touched. He wondered at the stars and the heavens, comforted by their vastness against his own small place in the world. Finally he climbed down from the ramparts and went inside, quickly finding the sleep that had eluded him before.

Already it is twilight down in the Laredito. Bats fly forth from their roostings in courthouse and tower and circle the quarter. The air is full of the smell of burning charcoal. Children and dogs squat by the mud stoops and gamecocks flap and settle in the branches of the fruit trees. They go afoot, these comrades, down along a bare adobe wall. Band music carries dimly from the square. They pass a watercart in the street and they pass a hole in the wall where by the light of a small forgefire an old man beats out shapes of metal. They pass in a doorway a young girl whose beauty becomes the flowers about. They arrive at last before a wooden door. It is hinged into a larger door or gate and all must step over the foot-high sill where a thousand boots have scuffled away the wood, where fools in their hundreds have tripped or fallen or tottered drunkenly into the street. They pass along a ramada in a courtyard by an old grape arbor where small fowl nod in the dusk among the gnarled and barren vines and they enter a cantina where the lamps are lit and they cross stooping under a low beam to a bar and belly up one two three. There is an old disordered Mennonite in this place and he turns to study them. A thin man in a leather weskit, a black and straightbrim hat set square on his head, a thin rim of whiskers. The recruits order glasses of whiskey and drink them down and order more. There are monte games at tables by the wall and there are whores at another table who look the recruits over. The recruits stand sideways along the bar with their thumbs in their belts and watch the room. They talk among themselves of the expedition in loud voices and the old Mennonite shakes a rueful head and sips his drink and mutters. They'll stop you at the river, he says. The second corporal looks past his comrades. Are you talking to me? At the river. Be told. They'll jail you to a man. Who will? The United States Army. General Worth. They hell they will. Pray that they will. He looks at his comrades. He leans toward the Mennonite. What does that mean, old man? Do ye cross that river with yon filibuster armed ye'll not cross it back. Don't aim to cross it back. We goin to Sonora. What's it to you, old man? The Mennonite watches the enshadowed dark before them as it is reflected to him in the mirror over the bar. He turns to them. His eyes are wet, he speaks slowly. The wrath of God lies sleeping. It was hid a million years before men were and only men have power to wake it. Hell aint half full. Hear me. Ye carry war of a madman's making into a foreign land. Ye'll wake more than the dogs. But they berated the old man and swore at him until he moved off down the bar muttering, and how else could it be? How these things end. In confusion and curses and blood. They drank on and the wind blew in the streets and the stars that had been overhead lay low in the west and these young men fell afoul of others and words were said that could not be put right again and in the dawn the kid and the second corporal knelt over the boy from Missouri who had been named Earl and they spoke his name but he never spoke back. He lay on his side in the dust of the courtyard. The men were gone, the whores were gone. An old man swept the clay floor within the cantina. The boy lay with his skull broken in a pool of blood, none knew by whom. A third one came to be with them in the courtyard. It was the Mennonite. A warm wind was blowing and the east held a gray light. The fowls roosting among the grapevines had begun to stir and call. There is no such joy in the tavern as upon the road thereto, said the Mennonite. He had been holding his hat in his hands and now he set it upon his head again and turned and went out the gate.

How these things end. In confusion and curses and blood. They drank on and the wind blew in the streets and the stars that had been overhead lay low in the west and these young men fell afoul of others and words were said that could not be put right again and in the dawn the kid and the second corporal knelt over the boy from Missouri who had been named Earl and they spoke his name but he never spoke back. He lay on his side in the dust of the courtyard. The men were gone, the whores were gone. An old man swept the clay floor within the cantina. The boy lay with his skull broken in a pool of blood, none knew by whom. A third one came to be with them in the courtyard. It was the Mennonite. A warm wind was blowing and the east held a gray light. The fowls roosting among the grapevines had begun to stir and call.

5. Move toward resistance and pain A. Bill Bradley (b. 1943) fell in love with the sport of basketball somewhere around the age of ten. He had one advantage over his peers—he was tall for his age. But beyond that, he had no real natural gift for the game. He was slow and gawky, and could not jump very high. None of the aspects of the game came easily to him. He would have to compensate for all of his inadequacies through sheer practice. And so he proceeded to devise one of the most rigorous and efficient training routines in the history of sports. Managing to get his hands on the keys to the high school gym, he created for himself a schedule—three and a half hours of practice after school and on Sundays, eight hours every Saturday, and three hours a day during the summer. Over the years, he would keep rigidly to this schedule. In the gym, he would put ten-pound weights in his shoes to strengthen his legs and give him more spring to his jump. His greatest weaknesses, he decided, were his dribbling and his overall slowness. He would have to work on these and also transform himself into a superior passer to make up for his lack of speed. For this purpose, he devised various exercises. He wore eyeglass frames with pieces of cardboard taped to the bottom, so he could not see the basketball while he practiced dribbling. This would train him to always look around him rather than at the ball—a key skill in passing. He set up chairs on the court to act as opponents. He would dribble around them, back and forth, for hours, until he could glide past them, quickly changing direction. He spent hours at both of these exercises, well past any feelings of boredom or pain. Walking down the main street of his hometown in Missouri, he would keep his eyes focused straight ahead and try to notice the goods in the store windows, on either side, without turning his head. He worked on this endlessly, developing his peripheral vision so he could see more of the court. In his room at home, he practiced pivot moves and fakes well into the night—such skills that would also help him compensate for his lack of speed. Bradley put all of his creative energy into coming up with novel and effective ways of practicing. One time his family traveled to Europe via transatlantic ship. Finally, they thought, he would give his training regimen a break—there was really no place to practice on board. But below deck and running the length of the ship were two corridors, 900 feet long and quite narrow—just enough room for two passengers. This was the perfect location to practice dribbling at top speed while maintaining perfect ball control. To make it even harder, he decided to wear special eyeglasses that narrowed his vision. For hours every day he dribbled up one side and down the other, until the voyage was done. Working this way over the years, Bradley slowly transformed himself into one of the biggest stars in basketball—first as an All-American at Princeton University and then as a professional with the New York Knicks. Fans were in awe of his ability to make the most astounding passes, as if he had eyes on the back and sides of his head—not to mention his dribbling prowess, his incredible arsenal of fakes and pivots, and his complete gracefulness on the court. Little did they know that such apparent ease was the result of so many hours of intense practice over so many years.

Outsiders... projected their fear of race mixing onto the Latter-Day Saints almost from the beginning. Some Missouri residents... complained that the Saints had 'opened an asylum for rogues and vagabonds and free blacks,' while others were concerned that the Saints promoted black 'ascendancy over whites.'... Four days after Phelp's 'extra' appeared in print, a crowd of Jackson County residents stormed his printing office and destroyed all remaining copies of the extra as well as the original July issue of the Star. They scattered Phelp's type and the press itself and demolished his office and home. They seized Bishop Edward Partridge and Charles Allen and hauled them to the town square, where they tarred and feathered them... It marked the beginning of the Latter-Day Saint expulsion from Jackson County. Before the end of the year, some 1,200 Latter-Day Saints would be driven from their homes, charged, at least in part, with being too inclusive.

What miffed Brennan about working with Ford was the director’s lack of respect for fellow professionals. Unlike Howard Hawks, Ford was not much of a collaborator. He never gave Brennan the feeling that they were in a project together. Hawks, on the other hand, treated Brennan as a crucial part of a film’s success. In Red River (September 17, 1948), Brennan gets nearly as much screen time as John Wayne and co-star Montgomery Clift, in the epic story of a cattle drive from Texas to Missouri that is diverted to Abilene during the lawless days following the Civil War. In one version of the film, Brennan actually narrates the story, making it his own by trading on what was now a character that transcended individual films and seemed, in effect, the voice of the West. In another less powerful version of the film, narration is delivered through the rather clumsy device of turning pages in a book. For the Lux Radio Theatre one-hour adaptation (March 7, 1949), not only was Brennan restored as narrator, he also becomes a dominant voice mediating between Dunson and the other characters.

Bill Bradley (b. 1943) fell in love with the sport of basketball somewhere around the age of ten. He had one advantage over his peers—he was tall for his age. But beyond that, he had no real natural gift for the game. He was slow and gawky, and could not jump very high. None of the aspects of the game came easily to him. He would have to compensate for all of his inadequacies through sheer practice. And so he proceeded to devise one of the most rigorous and efficient training routines in the history of sports. Managing to get his hands on the keys to the high school gym, he created for himself a schedule—three and a half hours of practice after school and on Sundays, eight hours every Saturday, and three hours a day during the summer. Over the years, he would keep rigidly to this schedule. In the gym, he would put ten-pound weights in his shoes to strengthen his legs and give him more spring to his jump. His greatest weaknesses, he decided, were his dribbling and his overall slowness. He would have to work on these and also transform himself into a superior passer to make up for his lack of speed. For this purpose, he devised various exercises. He wore eyeglass frames with pieces of cardboard taped to the bottom, so he could not see the basketball while he practiced dribbling. This would train him to always look around him rather than at the ball—a key skill in passing. He set up chairs on the court to act as opponents. He would dribble around them, back and forth, for hours, until he could glide past them, quickly changing direction. He spent hours at both of these exercises, well past any feelings of boredom or pain. Walking down the main street of his hometown in Missouri, he would keep his eyes focused straight ahead and try to notice the goods in the store windows, on either side, without turning his head. He worked on this endlessly, developing his peripheral vision so he could see more of the court. In his room at home, he practiced pivot moves and fakes well into the night—such skills that would also help him compensate for his lack of speed. Bradley put all of his creative energy into coming up with novel and effective ways of practicing. One time his family traveled to Europe via transatlantic ship. Finally, they thought, he would give his training regimen a break—there was really no place to practice on board. But below deck and running the length of the ship were two corridors, 900 feet long and quite narrow—just enough room for two passengers. This was the perfect location to practice dribbling at top speed while maintaining perfect ball control. To make it even harder, he decided to wear special eyeglasses that narrowed his vision. For hours every day he dribbled up one side and down the other, until the voyage was done. Working this way over the years, Bradley slowly transformed himself into one of the biggest stars in basketball—first as an All-American at Princeton University and then as a professional with the New York Knicks. Fans were in awe of his ability to make the most astounding passes, as if he had eyes on the back and sides of his head—not to mention his dribbling prowess, his incredible arsenal of fakes and pivots, and his complete gracefulness on the court. Little did they know that such apparent ease was the result of so many hours of intense practice over so many years.

They drank on and the wind blew in the streets and the stars that had been overhead lay low in the west and these young men fell afoul of others and words were said that could not be put right again and in the dawn the kid and the second corporal knelt over the boy from Missouri who had been named Earl and they spoke his name but he never spoke back.

Town, as they called it, pleased me the less, the longer I saw it. But until our language stretches itself and takes in a new word of closer fit, town will have to do for the name of such a place as was Medicine Bow. I have seen and slept in many like it since. Scattered wide, they littered the frontier from the Columbia to the Rio Grande, from the Missouri to the Sierras. They lay stark, dotted over a planet of treeless dust, like soiled packs of cards. Each was similar to the next, as one old five-spot of clubs resembles another. Houses, empty bottles, and garbage, they were forever of the same shapeless pattern. More forlorn they were than stale bones. They seemed to have been strewn there by the wind and to be waiting till the wind should come again and blow them away. Yet serene above their foulness swam a pure and quiet light, such as the East never sees; they might be bathing in the air of creation's first morning. Beneath sun and stars their days and nights were immaculate and wonderful.

Although he’d taken a stand in Congress against the Missouri Compromise, an early fugitive slave law, and the Seminole War, he was not making a mark in Washington, and the fault was his own. He confided to his wife, “I am rather too indolent or unenterprising for the slight skirmishes . . . & the great questions require too much trouble and thought.” At night, instead of troubling himself over the “great questions,” he dreamed of Margaret practicing the piano—that lesson “she could never play in true time.” Timothy’s attention to his star pupil was intense, even disturbing, in a man who had once so blithely ignored the boundary between romance and pedagogy.

She realized that all her life the teachings of those early days have influenced me and the example set by father and mother has been something I have tried to follow, which failures here and there, with rebellion at times, but always coming back to it as the compass needle to the star, -Laura Ingalls Wilder, 'As A Farm Woman Thinks.' Missouri Ruralist, August 1, 1923; Farm Journalist, p. 290.