Niece Birthday Quotes

My niece just turned one. I gave her a birthday card that read, "If you can read this, Happy Birthday!

Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold.

That Sunday night of Elena's third birthday, I wept beside her in bed. For her, but more, I believe, for myself: for a resilience I never knew I had, and that I believe all mothers possess, however they choose to express it. We are not soft, docile icons, mute and passive virgins: we are fucking fierce. Motherhood requires a tremendous bravery that I never recognized or celebrated before I was forced to come into it, shaking and stunned. It leads women to march, to protest, to fight, to enact change, to persevere at great risk to themselves, to challenge the very foundation of society. After the placenta had been buried, we set the rock atop it, and we all walked back to the house. Elena jumped on a mini trampoline, my niece went to recover from all the overqrought midlife emotion on the couch, my parents made lunch. I washed the blood from my hands, thinking about the oak, the rock, the placenta. Buried there is the truth of what it feels like to be so susceptible and broken-open, and also to say: I can do this. I will do this. I contain this, thirty-two miles of capillaries, a new tree of life. Mutter, madre, mater, material, moeder, modder: the mud, the material, the making at the heart of everything.

My baby is four years old. I know that calling her a baby is really only a matter of semantics now. It’s true, she still sucks her thumb; I have a hard time discouraging this habit. John and I are finally confident that we already enjoy our full complement of children, so the crib is in the crawlspace, awaiting nieces, nephews, or future grandchildren. I cried when I took it down, removing the screws so slowly and feeling the maple pieces come apart in my hands. Before I dismantled it, I spent long vigils lingering in Annie’s darkened room, just watching her sleep, the length of her curled up small. What seems like permanence, the tide of daily life coming in and going out, over and over, is actually quite finite. It is hard to grasp this thought even as I ride the wave of this moment, but I will try. This time of tucking into bed and wiping up spilled milk is a brief interlude. Quick math proves it. Let me take eleven years - my oldest girl’s age - as an arbitrary endpoint to mothering as I know it now. Mary, for instance, reads her own stories. To her already I am becoming somewhat obsolete. That leaves me roughly 2.373 days, the six and half years until Annie’s eleventh birthday, to do this job. Now that is a big number, but not nearly as big as forever, which is how the current moment often seems. So I tuck Annie in every night. I check on Peter and Tommy, touch their crew-cut heads as they dream in their Star Wars pajamas, my twin boys who still need me. I steal into Mary’s room, awash with pink roses, and turn out the light she has left on, her fingers still curled around the pages of her book. She sleeps in the bed that was mine when I was a child. Who will she grow up to be? Who will I grow up to be? I think to myself, Be careful what you wish for. The solitude I have lost, the time and space I wish for myself, will come soon enough. I don’t want to be surprised by its return. Old English may be a dead language, but scholars still manage to find meaning and poetry in its fragments. And it is no small consolation that my lost letters still manage, after a thousand years, to find their way to an essay like this one. They have become part of my story, one I have only begun to write. - Essay 'Mother Tongue' from Brain, Child Magazine, Winter 2009

You said something I have always thought,” Bill said to me when I arrived on the set of Pocket Rockets, somewhere in the endless suburb that is greater Atlanta. “Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold. The worst anyone—especially we who take Fountainfn1—should ever say about someone else’s movie is Well, it was not for me, but, actually, I found it quite good. Damn a film with faint praise, but never, ever say you hate a movie. Anyone who uses the h-word around me is done. Gone. Of course, I wrote and directed Albatross. I may be a bit sensitive.

That lady bought one too, declaring it was just the thing for a birthday present for her niece. Mary Jane thought it rather a poor sort of present but perhaps she didn’t like the niece very much.

Trish had to tell her they were mine or her mother would probably have killed her.” Then she’s up again. “Do you know what I really wanted to show you? It’s here somewhere.” She’s pulling open drawers, humming to herself. Then she swings around. “Do you remember this?” A gold-and-lapis pendant, the size of a silver dollar. I’d forgotten how ’90s it looks, which I suppose is back in fashion. My niece has threaded it onto a gold chain, which she fastens around her neck. “I wish I had a picture of her wearing it.” Something to match the color of your eyes, our mom had said when she gave it to Emily for her sixteenth birthday. I found it just before Hannah left. Somehow it had made its way back into Mom’s jewelry box. They were always sharing things. Your mother wore it all the time when she was your age, I had told Hannah. And I remember there hadn’t been time to find a box, I had wrapped it in old tissue paper. “Isn’t this chain perfect?” my niece says, fingering it. “It’s eighteen karat.” The pendant glints in the light, and I’m reminded of all the times it flashed on my sister’s jean jacket or smock dresses. I feel a little light-headed. Something about seeing this young version of my sister—with her confidence, her mannerisms.

The girl—Kiki was her name—had just turned six and would grow up to be a whore like the rest of them. But she was almost a niece to him, and he’d sent her a birthday card with the picture of a puppy on it.

Niece’s birthday party. I know you think you’re wild, Colby, but you haven’t been to a real rager until you see a bunch of sugar-crazed four year-olds fighting over a unicorn cake.