Old Fashioned Woman Quotes

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The emerging woman ... will be strong-minded, strong-hearted, strong-souled, and strong-bodied...strength and beauty must go together.
Louisa May Alcott (An Old-Fashioned Girl)
A real gentleman is as polite to a little girl as to a woman.
Louisa May Alcott (An Old-Fashioned Girl)
I have always held the old-fashioned opinion that the primary object of work of fiction should be to tell a story.
Wilkie Collins (The Woman in White)
Young men often laugh at the sensible girls whom they secretly respect, and affect to admire the silly ones whom they secretly despise, because earnestness, intelligence, and womanly dignity are not the fashion.
Louisa May Alcott (An Old-Fashioned Girl)
Some old-fashioned things like fresh air and sunshine are hard to beat. In our mad rush for progress and modern improvements let's be sure we take along with us all the old-fashioned things worth while.
Laura Ingalls Wilder (A Family Collection: Life on the Farm and in the Country, Making a Home; the Ways of the World, a Woman's Role)
I hold an old-fashioned notion that a happy marriage is the crown of a woman’s life.
Beatrix Potter
The "feminine" woman is forever static and childlike. She is like the ballerina in an old-fashioned music box, her unchanging features tiny and girlish, her voice tinkly, her body stuck on a pin, rotating in a spiral that will never grow.
Susan Faludi (Backlash: The Undeclared War Against Women)
Now I am old-fashioned. A woman, I consider, should be womanly. I have no patience with the modern neurotic girl who jazzes from morning to night, smokes like a chimney, and uses language which would make a billingsgate fishwoman blush!
Agatha Christie (The Murder on the Links (Hercule Poirot, #2))
Sylvia had given him a scalding lecture, the gist of it being that whatever a woman enjoyed wearing was feminine and anything she didn't enjoy wearing wasn't, and if he was too stubborn and old fashioned to understand that, he could go and soak his head in a bucket of cold water. He hadn't quite forgiven her yet for saying they would have to look hard to find a bucket big enough to fit his head in to, but he admired the sass behind the remark.
Anne Bishop (Heir to the Shadows (The Black Jewels, #2))
My dear child, you can give it a long name if you like, but I'm an old-fashioned woman and I call it mother-wit, and it's so rare for a man to have it that if he does you write a book about him and call him Sherlock Holmes.
Dorothy L. Sayers (Clouds of Witness (Lord Peter Wimsey, #2))
Our society does reward beauty on the outside over health on the inside. Women must not be blamed for choosing short-term beauty "fixes" that harm our long-term health, since our life spans are inverted under the beauty myth, and there is no great social or economic incentive for women to live a long time. A thin young woman with precancerous lungs [who smokes to stay thin] is more highly rewarded socially that a hearty old crone. Spokespeople sell women the Iron Maiden [an intrinsically unattainable standard of beauty used to punish women for their failure to achieve and conform to it]and name her "Health": if public discourse were really concerned with women's health, it would turn angrily upon this aspect of the beauty myth.
Naomi Wolf (The Beauty Myth)
What I really love about them... is the fact that they contain someone's personal history...I find myself wondering about their lives. I can never look at a garment... without thinking about the woman who owned it. How old was she? Did she work? Was she married? Was she happy?... I look at these exquisite shoes, and I imagine the woman who owned them rising out of them or kissing someone...I look at a little hat like this, I lift up the veil, and I try to imagine the face beneath it... When you buy a piece of vintage clothing you're not just buying the fabric and thread - you're buying a piece of someone's past.
Isabel Wolff (A Vintage Affair)
As they approached the next stall, the old woman tending to it looked up at Matthias with suspicious eyes. Nina nodded encouragingly at him. Matthias smiled broadly and boomed in a singsong voice, “Hello, little friend!” The woman went from wary to baffled. Nina decided to call it an improvement. “And how are you today?” Matthias asked. “Pardon?” the woman said. “Nothing,” Nina said in Ravkan. “He was saying how beautifully the Ravkan women age.” The woman gave a gap-toothed grin and ran her eyes up and down Matthias in an appraising fashion. “Always had a taste for Fjerdans. Ask him if he wants to play Princess and Barbarian,” she said with a cackle.
Leigh Bardugo (Crooked Kingdom (Six of Crows, #2))
Godly womanhood ... the very phrase sounds strange in our ears. We never hear it now. We hear about every other type of women: beautiful women, smart women, sophisticated women, career women, talented women, divorced women. But so seldom do we hear of a godly woman - or of a godly man either, for that matter.We believe women come nearer to fulfilling their God-given function in the home than anywhere else. It is a much nobler thing to be a good wife, than to be Miss America. It is a greater achievement to establish a Christian home than it is to produce a second-rate novel filled with filth. It is a far, far better thing in the realms of morals to be old-fashioned, than to be ultra-modern. The world has enough women who know how to be smart. It needs women who are willing to be simple. The world has enough women who know how to be brilliant. It needs some who will be brave. The world has enough women who are popular. It needs more who are pure. We need women, and men, too, who would rather be morally right than socially correct.
Peter Marshall
A young man and woman walked past - a handsome young man and pretty young woman, the man in a seersucker suit and the woman in an old-fashioned summer dress - and they were walking a bit apart from one another with a space between them, and the man was looking straight ahead and the woman had her arms crossed against her chest, hugging herself, looking down at her feet, at her toes that peeked out the open fronts of her shoes, and they both had the same gleefully suppressed smile on their faces, and I knew that they were freshly in love, perhaps they had fallen in love having dinner in some restaurant with a garden or tables on the sidewalk, perhaps they had not even kissed yet, and they walked apart because they thought they had their whole lives to walk close together, touching, and wanted to anticipate the moment they touched for as long as possible, and they passed my without noticing me and Miro. Something about watching them made me sad. I think it was too lovely: the summer night, the open-toed shoes, their faces rapt with momentarily ramped-down joy. I felt I had witnessed their happiest moment, the pinnacle, and they were already walking away from it, but they did not know it.
Peter Cameron (Someday This Pain Will Be Useful to You)
Also, somehow, there doesn't seem to be any old-fashioned gender roles in place, or any gender roles at all. The priest who condemned me to the mob was a woman. I'll cheer for equality later.
Claudia Gray (Ten Thousand Skies Above You (Firebird, #2))
Well, now there is a very excellent, necessary, and womanly accomplishment that my girl should not be without, for it is a help to rich and poor, and the comfort of families depends upon it. This fine talent is neglected nowadays and considered old-fashioned, which is a sad mistake and one that I don't mean to make in bringing up my girl. It should be part of every girl's eductation, and I know of a most accomplished lady who will teach you in the best and pleasantest manner." "Oh, what is it?" cried Rose eagerly, charmed to be met in this helpful and cordial way. "Housekeeping!" "Is that an accomplsihment?" asked Rose, while her face fell, for she had indulged in all sorts of vague, delightful daydreams.
Louisa May Alcott (Eight Cousins (Eight Cousins, #1))
I think my mother's talents deserve a little acknowledgement. I said so to her, as a matter of fact, and she replied in these memorable words: "My dear child, you can give it a long name if you like, but I'm an old-fashioned woman and I call it mother-wit, and it's so rare for a man to have it that if he does you write a book about him and call him Sherlock Holmes.
Dorothy L. Sayers (Clouds of Witness (Lord Peter Wimsey, #2))
...I think that woman can do a great deal for each other if they will only stop fearing what ‘people will think’ and take a hearty interest in whatever is going to fit their sisters and themselves to deserve and enjoy the rights God gave them. There are so many ways in which this can be done that I wonder they don’t see and improve them.
Louisa May Alcott (An Old Fashioned Girl)
For seventy-five years I've made ladies dresses. That means that for seventy-five years I have made women happy. For seventy-five years I have made mature women spin around in front of the mirror like young girls. For seventy-five years I have made young girls look in the mirror and for the first time see a woman staring back at them. I have made young men's eyes pop out. I've made old men's eyes pop out. Because the right dress does that. It makes ordinary women feel extraordinary.
Jane L. Rosen (Nine Women, One Dress)
Unfortunately, the term “identity politics” has been weaponized. It is most often used by speakers to describe politics as practiced by members of historically marginalized groups. If you’re black and you're worried about police brutality, that’s identity politics. If you’re a woman and you’re worried about the male-female pay gap, that’s identity politics. But if you’re a rural gun owner decrying universal background checks as tyranny, or a billionaire CEO complaining that high tax rates demonize success, or a Christian insisting on Nativity scenes in public squares — well, that just good, old fashioned politics. With a quick sleight of hand, identity becomes something that only marginalized groups have. The term “identity politics,” in this usage, obscures rather than illuminates; it’s used to diminish and discredit the concerns of the weaker groups by making them look self-interested, special pleading in order to clear the agenda for the concerns of stronger groups, which are framed as more rational, proper topics for political debate. But in wielding identity as a blade, we have lost it as a lens, blinding ourselves in a bid for political advantage. WE are left searching in vaid for what we refuse to allow ourselves to see.
Ezra Klein (Why We're Polarized)
In his Petersburg world people were divided into two quite opposite sorts. One--the inferior sort: the paltry, stupid, and, above all, ridiculous people who believe that a husband should live with the one wife to whom he is married, that a girl should be pure, a woman modest, and a man, manly, self controlled and firm; that one should bring up one's children to earn their living, should pay one's debts, and other nonsense of the kind. These were the old-fashioned and ridiculous people. But there was another sort of people: the real people to which all his set belonged, who had above all to be well-bred, generous, bold, gay, and to abandon themselves unblushingly to all their passions and laugh at everything else.
Leo Tolstoy (Anna Karenina)
I have to admit that I'm up to my neck in frivolity, buried in dresses to the point of ruin! Fifteen different garments! My wardrobe jam-packed! My girl, this is not the way for an old woman to behave - particularly since you never wear anything but black and white, or a little grey, so that you always look as though you were in the same dress. Why fritter away your money so absurdly? (22 August 1919)
Liane de Pougy
Song" Observe the cautious toadstools still on the lawn today though they grow over-evening; sun shrinks them away. Pale and proper and rootless, they righteously extort their living from the living. I have been their sort. See by our blocked foundation the cold, archaic clay, stiff and clinging and sterile as children mold at play or as the Lord God fashioned before He breathed it breath. The earth we dig and carry for flowers, is strong in death. Woman, we are the rich soil, friable and humble, where all our murders rot, where our old deaths crumble and fortify my reach far from you, wide and free, though I have set my root in you and am your tree.
W.D. Snodgrass
People sometimes say that it is “old-fashioned” to define morality based on the Bible, but nothing is more “old- fashioned” than wanting to define right and wrong for ourselves.
Dannah Gresh (Pulling Back the Shades: Erotica, Intimacy, and the Longings of a Woman's Heart)
Some women wear a miniskirt to reveal their thighs; some wear one to conceal their age.
Mokokoma Mokhonoana
Being a good woman is old fashioned. This era is about being a sensual feminine woman.
Lebo Grand
The 46-year-old recipient of the Jarvik IX Exterior Artificial Heart was actively window shopping in Cambridge, Massachusetts’ fashionable Har­vard Square when a transvestite purse snatcher, a drug addict with a crimi­nal record all too well known to public officials, bizarrely outfitted in a strapless cocktail dress, spike heels, tattered feather boa, and auburn wig, brutally tore the life sustaining purse from the woman’s unwitting grasp. The active, alert woman gave chase to the purse snatching ‘woman’ for as long as she could, plaintively shouting to passers by the words ‘Stop her! She stole my heart!’ on the fashionable sidewalk crowded with shop­pers, reportedly shouting repeatedly, ‘She stole my heart, stop her!’ In response to her plaintive calls, tragically, misunderstanding shoppers and passers by merely shook their heads at one another, smiling knowingly at what they ignorantly presumed to be yet another alternative lifestyle’s re­lationship gone sour. A duo of Cambridge, Massachusetts, patrolmen, whose names are being withheld from Moment’s dogged queries, were publicly heard to passively quip, ‘Happens all the time,’ as the victimized woman staggered frantically past in the wake of the fleet transvestite, shouting for help for her stolen heart.
David Foster Wallace (Infinite Jest)
That woman is a volcano on the point of eruption, with a libido of igneous magma yet the heart of an angel,' he said licking his lips. 'If I had to establish a true parallel, she reminds me of my succulent mulatto girl in Havana, who was very devout and always worshiped her saints. But since, deep down, I'm an old-fashioned gent who doesn't like to take advantage of women, I contend myself with a chaste kiss on the cheek. I'm not in a hurry, you see? All good things must wait. There are yokels out there who think that if they touch a woman's behind and she doesn't complain, they've hooked her. Amateurs. The female heart is a labyrinth of subtleties, too challenging for the uncouth mind of the male racketeer. If you really want to possess a woman, you must think like her, and the first thing to do is win over her soul. The rest, that sweet, soft wrapping that steals away your senses and your virtue, is a bonus
Carlos Ruiz Zafón (The Shadow of the Wind (The Cemetery of Forgotten Books, #1))
However we resolve the issue in our individual homes, the moral challenge is, put simply, to make work visible again: not only the scrubbing and vacuuming, but all the hoeing, stacking, hammering, drilling, bending, and lifting that goes into creating and maintaining a livable habitat. In an ever more economically unequal world, where so many of the affluent devote their lives to ghostly pursuits like stock trading, image making, and opinion polling, real work, in the old-fashioned sense of labor that engages hand as well as eye, that tires the body and directly alters the physical world tends to vanish from sight. The feminists of my generation tried to bring some of it into the light of day, but, like busy professional women fleeing the house in the morning, they left the project unfinished, the debate broken off in mid-sentence, the noble intentions unfulfilled. Sooner or later, someone else will have to finish the job.
Barbara Ehrenreich (Global Woman: Nannies, Maids, and Sex Workers in the New Economy)
If you are unsure about love, then look for a man who understands gentleness; who it passionate about honorable things; who will act swiftly to protect you, whether it be from the sword or even from little things—like cruel words and things that frighten you; who is patient and certain in his own strengths and abilities, and does not need to prove to any man or woman that he is better than they are.
Elizabeth D. Marie (Seeking Giants (Crown of Stars, #4))
Sometimes I long for a good old-fashioned Walton Christmas. You know, the kind where you give someone an apple or wooden whistle and they go into cardiac arrest from sheer ecstasy.
Karen Scalf Linamen (Welcome to the Funny Farm: The All-True Misadventures of a Woman on the Edge)
In his Petersburg world all people were divided into utterly opposed classes. One, the lower class, vulgar, stupid, and, above all, ridiculous people, who believe that one husband ought to live with the one wife whom he has lawfully married; that a girl should be innocent, a woman modest, and a man manly, self-controlled, and strong; that one ought to bring up one's children, earn one's bread, and pay one's debts; and various similar absurdities. This was the class of old-fashioned and ridiculous people. But there was another class of people, the real people. To this class they all belonged, and in it the great thing was to be elegant, generous, plucky, gay, to abandon oneself without a blush to every passion, and to laugh at everything else.
Leo Tolstoy (Anna Karenina)
She was an old-fashioned woman. She had the calm of frequentation; she belonged to this house and it to her. Though she was a prisoner in it, she possessed it. She and it were her marriage. She was indwelling in every board and stone of it: every fold in the curtains had a meaning (perhaps they were so folded to hide a darn or stain); every room was a phial of revelation to be poured out some feverish night in the secret laboratories of her decisions, full of living cancers of insult, leprosies of disillusion, abscesses of grudge, gangrene of nevermore, quintan fevers of divorce, and all the proliferating miseries, the running sores and thick scabs, for which (and not for its heavenly joys) the flesh of marriage is so heavily veiled and conventually interned.
Christina Stead (The Man Who Loved Children)
You've got it wrong." His voice was harsh. "Jackson—" He cut her off. "No, it's my turn to talk. You've given your speech. And I get it, Mollie, I do. Madison is your sister, and she made you PB&J as a kid when your parents checked out, and that's fine. But open your eyes. You don't owe her anything anymore. You are your own woman, and you are a woman, Mollie. You're not a kid. You're not a girl. And if I've been a complete asshole lately, it's because I'm having a hell of a time coming to grips with the fact that I want you. And fuck, Mollie, I want you. I want you so bad, I'm dying." Mollie had never made the first move on a man in her life. She was old-fashioned like that. But she made the first move now. She took a step forward, placed a hand at the back of his head, and pulled his mouth to hers.
Lauren Layne (I Wish You Were Mine (Oxford, #2))
He was a good guy, my old man: simple, old-fashioned. Physically, he was built like a feather-weight, and he wore these thick, black Ronnie Barker glasses. He would say to me,‘You might not have a good education, but good manners don’t cost you anything.’ And he practised what he preached: he’d always give up his seat on the bus for a woman or help an old lady across the road. A good man. I really miss him.
Ozzy Osbourne (I Am Ozzy)
This generation has lost the true meaning of romance. There are so many songs that disrespect women. You can’t treat the woman you love as a piece of meat. You should treat your love like a princess. Give her love songs, something with real meaning. Maybe I’m old fashioned but to respect the woman you love should be a priority. " Wait a minute! I'm actually a Tom Hiddleston fan just putting it out there that this quote and others that you find around the internet are completely fake. Only believe quotes that are written in professional interviews, because I'm here right now to show you that anything can be made up easily by anyone, I could write anything I want here and you could think it's a real quote. So go to interviews or the verified twitter to see the real words someone has said - anything else can be made up! :)
Tom Hiddleston
There is a danger in the repudiation of the feminine when the daughter who rejects the aspects of the negative feminine embodied by her mother also denies positive aspects of her own feminine nature, which are playful, sensuous, passionate, nurturing, intuitive, and creative. Many women who have had angry or emotional mothers seek to control their own anger and feelings lest they be seen as destructive and castrating. This repression of anger often prevents them from seeing the inequities in a male-defined system. Women who have seen their mothers as superstitious, religious, or old-fashioned discard the murky, mysterious, magical aspects of the feminine for cool logic and analysis. A chasm is created between the heroine and the maternal qualities within her; this chasm will have to be healed later in the journey for her to achieve wholeness.
Maureen Murdock (The Heroine's Journey: Woman's Quest for Wholeness)
She had never set store enough by the gift she had got when God granted her so many children. And the worst was that understood it she had in a fashion. But she had thought more on the troubles, the pangs, the fears and struggles – though she had learned over and over again, through what she missed each time a fresh one lay upon her bosom – that the joy was unspeakably greater than the labour and the pain… A woman must be held young, she deemed, so long as she had little children sleeping in her arms at night, playing about their mother in the day-time, and needing her care day and night. When her little ones have grown too great for this, a mother is an old woman.” - p. 288
Sigrid Undset
Now I am old-fashioned. A woman, I consider, should be womanly. I have no patience with the modern neurotic girl who jazzes from morning to night, smokes like a chimney, and uses language which would make a Billingsgate fishwoman blush! I
Agatha Christie (The Murder on the Links (Hercule Poirot, #2))
He had envisioned each contour and line of her face, the spellbinding individuality of personal detail. Here was a woman who had lived, and that life had been kind and good. And within that goodness lay true glamour, which was far more than the sum of ephemeral, physical parts. That was why, even attired in an unpretentious house dress, her forty-eight-year-old face scarcely made up, Molly was glamorous in a way that put in the shade women half her age and on the cover of fashion magazines.
Ray Smith (The Magnolia That Bloomed Unseen)
Now, tell me again why I’m freezing my ass off in the middle of the woods?” Legna chuckled. “Because it is tradition. Your mate must find you and then carry you to the altar. Seeking you out is symbolic of his desire to let nothing come between you. Bringing you to the altar is a reflection of how it is his duty to help you over obstacles so that you may reach moments of joy together.” “It’s very romantic,” Isabella said, “if a little chauvinistic.” “Not in the least. The sharing of responsibility within a joining is symbolized just as strongly. The bride must tie the handfasting ribbon around her mate’s wrist. The white ribbon symbolizes honesty and love and fidelity, and by allowing himself to be so tied means the groom must provide for her at all times, as she will provide for him. The black is a promise that they will forever do all in their power to protect their union, their children, and the perpetuation of the essentials of our culture.” “But you’ve tied a red ribbon to the end of the black, Legna. What does thatmean?” “Actually”—the Demon woman smiled—“there is no precedent for the red ribbon. However, I felt it only fair to have a physical reminder that you have a culture of your own and will have just as much right to perpetuate that within your children as Jacob does.” “Legna,” Isabella giggled, giving her an admonishing look, “that is positively rebellious and feminist of you.” “I never claimed to be an old-fashioned girl,” Legna confided with a wink.
Jacquelyn Frank (Jacob (Nightwalkers, #1))
Høibro kunde ikke forstå at denne tørre fremskridtskvinde med kort hår blandet sig i slike spørsmål som ægteskapet, hun stod i hans forestilling som en art hanmenneske i skjørter, et væsen av det tredje kjøn; stak man hul på hende vilde hun blø sand.
Knut Hamsun (Redaktør Lynge)
Liar,' he said in disgust. 'You're still playing doctors and nurses with the guy you screwed Charlie over with.' Her mouth fell open. 'Don't worry, I won't tell my brother. He's got enough to deal with.' 'I would never have an affair.' 'See here's where you and I part ways on our definition of fidelity,' he said. 'I think tonsil hockey with another man is off the agenda for a married woman. Call me old-fashioned.' Her fury was unexpected. 'Who started that rumor...who!' 'What are you talking about? You admitted it.
Karina Bliss (Stand-In Wife (Special Forces, #2))
In The Garret Four little chests all in a row, Dim with dust, and worn by time, All fashioned and filled, long ago, By children now in their prime. Four little keys hung side by side, With faded ribbons, brave and gay When fastened there, with childish pride, Long ago, on a rainy day. Four little names, one on each lid, Carved out by a boyish hand, And underneath there lieth hid Histories of the happy band Once playing here, and pausing oft To hear the sweet refrain, That came and went on the roof aloft, In the falling summer rain. 'Meg' on the first lid, smooth and fair. I look in with loving eyes, For folded here, with well-known care, A goodly gathering lies, The record of a peaceful life-- Gifts to gentle child and girl, A bridal gown, lines to a wife, A tiny shoe, a baby curl. No toys in this first chest remain, For all are carried away, In their old age, to join again In another small Meg's play. Ah, happy mother! Well I know You hear, like a sweet refrain, Lullabies ever soft and low In the falling summer rain. 'Jo' on the next lid, scratched and worn, And within a motley store Of headless dolls, of schoolbooks torn, Birds and beasts that speak no more, Spoils brought home from the fairy ground Only trod by youthful feet, Dreams of a future never found, Memories of a past still sweet, Half-writ poems, stories wild, April letters, warm and cold, Diaries of a wilful child, Hints of a woman early old, A woman in a lonely home, Hearing, like a sad refrain-- 'Be worthy, love, and love will come,' In the falling summer rain. My Beth! the dust is always swept From the lid that bears your name, As if by loving eyes that wept, By careful hands that often came. Death canonized for us one saint, Ever less human than divine, And still we lay, with tender plaint, Relics in this household shrine-- The silver bell, so seldom rung, The little cap which last she wore, The fair, dead Catherine that hung By angels borne above her door. The songs she sang, without lament, In her prison-house of pain, Forever are they sweetly blent With the falling summer rain. Upon the last lid's polished field-- Legend now both fair and true A gallant knight bears on his shield, 'Amy' in letters gold and blue. Within lie snoods that bound her hair, Slippers that have danced their last, Faded flowers laid by with care, Fans whose airy toils are past, Gay valentines, all ardent flames, Trifles that have borne their part In girlish hopes and fears and shames, The record of a maiden heart Now learning fairer, truer spells, Hearing, like a blithe refrain, The silver sound of bridal bells In the falling summer rain. Four little chests all in a row, Dim with dust, and worn by time, Four women, taught by weal and woe To love and labor in their prime. Four sisters, parted for an hour, None lost, one only gone before, Made by love's immortal power, Nearest and dearest evermore. Oh, when these hidden stores of ours Lie open to the Father's sight, May they be rich in golden hours, Deeds that show fairer for the light, Lives whose brave music long shall ring, Like a spirit-stirring strain, Souls that shall gladly soar and sing In the long sunshine after rain
Louisa May Alcott (Little Women)
In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk... I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up. Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief. It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers. To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret! And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!... Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long? The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!
Jean Lorrain (Monsieur De Phocas)
Then the thought had come to Polly that the velvet cloak didn't cover a right motherly heart, that the fretful face under the nodding purple plumes was not a tender motherly face, and that the hands in the delicate primrose gloves had put away something very sweet and precious. She thought of another woman whose dress never was too fine for little wet cheeks to lie against, or loving little arms to press; whose face, in spite of many lines and the grey hairs above it, was never sour or unsympathetic when children's eyes turned towards it; and whose hands never were too busy, too full or too nice to welcome and serve the little sons and daughters who freely brought their small hopes and fears, sins and sorrows, to her, who dealt out justice and mercy with such wise love. Ah that's a mother thought Polly, as the memory came warm into her heart, making her feel very rich, and pity Maud for being so poor.
Louisa May Alcott (An Old-Fashioned Girl)
Amma wanted her daughter to be free, feminist and powerful Later she took her on personal development courses for children to give her the confidence and articulacy to flourish in any setting Big mistake Mum, Yazz said at fourteen when she was pitching to go to Reading Music Festival with her friends, it would be to the detriment of my juvenile development if you curtailed my activities at this critical stage in my journey towards becoming the independent-minded and fully self-expressed adult you expect me to be, I mean, do you really want me rebelling against your old-fashioned rules by running away from the safety of my home to live on the streets and having to resort to prostitution to survive and thereafter drug addiction, crime, anorexia and abusive relationships with exploitative bastards twice my age before my early demise in a crack house? Amma fretted the whole weekend her little girl way away
Bernardine Evaristo (Girl, Woman, Other)
But he liked it because it was so different from the coquettish clatter of most of the girls with whom he talked. Young men often laugh at the sensible girls whom they secretly respect, and affect to admire the silly ones whom they secretly despise because earnestness, intelligence, and womanly dignity are not the fashion.
Louisa May Alcott (An Old-Fashioned Girl)
Even though the woman was not human—the land—or was less than human—a cow—farming had the symbolic overtones of old-fashioned agrarian romance: plowing the land was loving it, feeding the cow was tending it. In the farming model, the woman was owned privately; she was the homestead, not a public thoroughfare. One farmer worked her. The land was valued because it produced a valuable crop; and in keeping with the mystique of the model itself, sometimes the land was real pretty, special, richly endowed; a man could love it. The cow was valued because of what she produced: calves, milk; sometimes she took a prize. There was nothing actually idyllic in this. As many as one quarter of all acts of battery may be against pregnant women; and women die from pregnancy even without the intervention of a male fist. But farming implied a relationship of some substance between the farmer and what was his: and it is grander being the earth, being nature, even being a cow, than being a cunt with no redeeming mythology. Motherhood ensconced a woman in the continuing life of a man: how he used her was going to have consequences for him. Since she was his, her state of being reflected on him; and therefore he had a social and psychological stake in her welfare as well as an economic one. Because the man farmed the woman over a period of years, they developed a personal relationship, at least from her point of view: one limited by his notions of her sex and her kind; one strained because she could never rise to the human if it meant abandoning the female; but it was her best chance to be known, to be regarded with some tenderness or compassion meant for her, one particular woman.
Andrea Dworkin (Right-Wing Women)
As a young woman, Beatriz had always reflected on how it would feel to grow old. She observed her mother—old fashioned, elderly, diminished, prudish—and wondered if a person woke up one day saying, This is the moment my old age begins. Starting today, my brain will stop tolerating new ideas, my taste in clothing will stop evolving, my hairstyle will remain the same forevermore, I will read and reread the novels that brought me pleasure in my youth with nostalgia, and I will let the next generation—whom I no longer understand because I only speak “Old”—make my decisions for me, because I have nothing to teach them anymore. I’ll be company for everyone, but little more than that for anyone.
Sofía Segovia (The Murmur of Bees)
Edwina knew things with Greg had just about run their course. She'd bedded him, and bought him clothes, and now it was time for the polite push out the door. Of course she wished her latest conquest all the best. If he was lucky, Greg would just fall right into some other powerful woman's bed. If not . . . well, if not he'd just have to do the old-fashioned thing and look for work. Though darling Greggy-poo didn't really seem the type. Edwina studied him while he slept by the pool, drinking in that tight behind and those bulging muscles for the last time. The trouble with younger men, she thought, was that they were so damned good at sex that they really didn't have to be good at anything else.
Barbara Taylor Bradford (Her Own Rules)
The "Old-Fashioned Girl" is not intended as a perfect model, but as a possible improvement upon [Page] the Girl of the Period, who seems sorrowfully ignorant or ashamed of the good old fashions which make woman truly beautiful and honored, and, through her, render home what it should be,-a happy place, where parents and children, brothers and sisters, learn to love and know and help one another.
Louisa May Alcott (An Old-Fashioned Girl)
Her grey hair was arranged with precision, and her clothes looked excessively new and yet slightly old-fashioned. They were always black and tightly fitting, with an expensive glitter: she was the kind of woman who wore jet at breakfast. Lily had never seen her when she was not cuirassed in shining black, with small tight boots, and an air of being packed and ready to start; yet she never started.
Edith Wharton (The House of Mirth)
The Winding Stair My Soul. I summon to the winding ancient stair; Set all your mind upon the steep ascent, Upon the broken, crumbling battlement, Upon the breathless starlit air, 'Upon the star that marks the hidden pole; Fix every wandering thought upon That quarter where all thought is done: Who can distinguish darkness from the soul My Self. The consecretes blade upon my knees Is Sato's ancient blade, still as it was, Still razor-keen, still like a looking-glass Unspotted by the centuries; That flowering, silken, old embroidery, torn From some court-lady's dress and round The wodden scabbard bound and wound Can, tattered, still protect, faded adorn My Soul. Why should the imagination of a man Long past his prime remember things that are Emblematical of love and war? Think of ancestral night that can, If but imagination scorn the earth And intellect is wandering To this and that and t'other thing, Deliver from the crime of death and birth. My Self. Montashigi, third of his family, fashioned it Five hundred years ago, about it lie Flowers from I know not what embroidery - Heart's purple - and all these I set For emblems of the day against the tower Emblematical of the night, And claim as by a soldier's right A charter to commit the crime once more. My Soul. Such fullness in that quarter overflows And falls into the basin of the mind That man is stricken deaf and dumb and blind, For intellect no longer knows Is from the Ought, or knower from the Known - That is to say, ascends to Heaven; Only the dead can be forgiven; But when I think of that my tongue's a stone. II My Self. A living man is blind and drinks his drop. What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies? - How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest
W.B. Yeats
doorway. In Palestine, at least, no one would burst into tears at the sight of her. Sitting cross-legged on the ground, Tedi traced her name into the dirt and remembered Mr. Loederman’s wife, Lena, an old-fashioned woman who wore crocheted collars. They had had a grown son, a daughter-in-law, and a grandson. All dead, she realized. She should have hugged him back. The accordion raced up a scale. Young voices
Anita Diamant (Day After Night)
The murder was debated in the media, and different theories were espoused in print and on the radio and on morning chat shows. Experts were brought in to explain, condemn, justify Alicia’s actions. She must have been a victim of domestic abuse, surely, pushed too far, before finally exploding? Another theory proposed a sex game gone wrong—the husband was found tied up, wasn’t he? Some suspected it was old-fashioned jealousy that drove Alicia to murder—another woman, probably? But at the trial Gabriel was described by his brother as a devoted husband, deeply in love with his wife. Well, what about money? Alicia didn’t stand to gain much by his death; she was the one who had money, inherited from her father. And so it went on, endless speculation—no answers, only more questions—about Alicia’s motives and her subsequent silence.
Alex Michaelides (The Silent Patient)
there are two aspects to feminism. The first is individualism, which is that I get to shape my own life. That I don’t have to fit into a stereotype, doing what my mother tells me, conforming to someone else’s idea of what a woman is. But there’s a second aspect too, and here I want to use the old-fashioned word ‘sisterhood,’ which may make you groan a little and head for the exits in a stampede, but I’ll just have to take that chance.
Meg Wolitzer (The Female Persuasion)
La Dicha He who embraces a woman is Adam. The woman is Eve. Everything happens for the first time. I have seen a white thing in the sky. They tell me it's the moon, but what can I do with a word and a mythology. The trees frighten me a bit. They are so beautiful. The calm animals come near for me to tell them their names. The books in the library have no letters. When I open them, they come up. When I peruse the atlas I project the shape of Sumatra. He who lights a match in the dark is inventing fire. In the mirror there's someone else lurking. He who looks at the sea sees England. He who utters a verse by Liliencron has entered the battle. I have dreamed Carthage and the legions that devastated Carthage. I have dreamed the sword and the scales. Praised be the love in which there is no possessor or possessed, but the two surrender themselves. Praised be the nightmare, which reveals to us that we can create hell. He who comes down to a river comes down to the Ganges. He who watches a sand clock sees the dissolution of an empire. He who plays with a knife foretells the death of Caesar. He who sleeps is all men. In the desert I saw the young Sphinx, that they just finished carving. There's nothing old under the sun. Everything happens for the first time, but in an eternal fashion. He who reads my words is inventing them.
Jorge Luis Borges
She turned her head and rubbed her cheek against the surprisingly velvety feel of his inner arm, the muscle tensing even more against her face when she pressed a kiss to his skin. In response, she felt him flex inside her. “Caroline.” She’d always hated her name. It was too old-fashioned, too hokey and very grandma-ish. But when Liam said it like that, she actually liked it. He made her name, he made her, feel like the sexiest, most beautiful woman on earth.
Kay Stockham (The Sheriff's Daughter (North Star, Montana #3))
To set the record straight, love has everything to do with it. Love for ourselves. Love that demands to be reciprocated because we know we are willing to give everything and we want everything in return. Love that is willing to speak up and say, “I need more attention. I deserve respect and deep affection. I’m not going to settle for anything less.” The sweet old fashioned notion demands to be rewritten as one that doesn’t set itself up as a repeatedly broken heart that stems from an insecure woman with a fancy notion of what love is supposed to look and feel like.
Mishi McCoy
No one wants to learn an instrument, Rachel. It's grueling repetition. And besides, you're too old to start. Concert violinists who learn the traditional way begin when they're six or seven." Risa can't help but listen to the irritating conversation taking place between the well-dressed woman and her fashionably disheveled teenage daughter. "It's bad enough they'd be messing in my brain and giving me a NeuroWeave," the girl whines. "But why do I have to have the hands, too? I like my hands!" The mother laughs. "Honey, you've got your father's stubby, chubby little fingers. Trading up will only do you good in life, and it's common knowledge that a musical NeuroWeave requires muscle memory to complete the brain-body connection." "There are no muscles in the fingers!" the girl announces triumphantly. "I learned that in school." The mother gives her a long-suffering sigh. "Think of them like a pair of gloves, Rachel. Fancy silk gloves, like a princess wears." Risa can't stand it anymore. Making sure she's low enough so that her face can't be seen, she gets up, and as she walks past them, she says, "You'll have someone else's fingerprints.
Neal Shusterman (UnSouled (Unwind, #3))
By this time she had reached the Blenheim estate on the outskirts of River Heights. The broad tree-shadowed lawn was filled with women setting up displays for the annual charity flower show. Nancy had been assigned a spot in the greenhouse behind the mansion. As she set her larkspur arrangement in place, the chairman came up to her. “My, Nancy, your delphinium are gorgeous,” Mrs. Winsor said. “Thank you,” Nancy replied. “I just adore larkspur,” the woman said. “Such a lovely old-fashioned flower. My grandmother had them in her garden. She always had hollyhocks and bluebells, too.
Carolyn Keene (Password to Larkspur Lane (Nancy Drew, #10))
some eight or ten dowagers were drawn up in state in a quavering line; some with palsied heads, others dark and shriveled like mummies; some erect and stiff, others bowed and bent, but all of them tricked out in more or less fantastic costumes as far as possible removed from the fashion of the day, with be-ribboned caps above their curled and powdered ‘heads,’ and old discolored lace. No painter however earnest, no caricature however wild, ever caught the haunting fascination of those aged women; they come back to me in dreams; their puckered faces shape themselves in my memory whenever I meet an old woman who puts me in mind of them by some faint resemblance of dress or feature.
Honoré de Balzac (Works of Honore de Balzac)
She pottered round now, a tall vague woman in her early fifties, with a long pale face and brown eyes which her daughter Deirdre had inherited. As she pottered she murmured to herself, ‘large knives, small knives, pudding spoons, will they need forks too? Oh, large forks, serving spoons, mats, glasses, well two glasses in case Deirdre and Malcolm want to drink beer, Rhoda probably won’t … and now, wash the lettuce …’ It was nice when the warm weather came and they could have salads for supper, she thought, though why it was nice she didn’t really know. Washing a lettuce and cutting up the things to go with it was really almost as much trouble as cooking a hot meal, and she herself had never got over an old-fashioned dislike of eating raw green leaves. When her husband had been alive they had always had a hot meal in the evenings, winter and summer alike. He needed it after a day in the City. But now he was gone and Rhoda had been living with them for nearly ten years now and everyone said how nice it was for them both, to have each other, though of course she had the children too. Malcolm was a good solid young man, very much like his father, reliable and, although of course she never admitted it, a little dull. He did not seem to mind about the hot meal in the evenings. But Deirdre was different, clever and moody, rather like she herself had been at the same age, before marriage to a good dull man and life in a suburb had steadied her.
Barbara Pym (Less Than Angels)
Through the windshield, I watched an old woman clad in an old-fashioned, buttoned up dress push a buggy across the street. The long, grey material barely swayed in the wind as she trudged forward, stopping right before us. The lights changed to green. Harry accelerated. He was going to kill them. Gasping, I grabbed hold of his arm, tugging as hard as I could. “No! Stop!” Harry didn’t even flinch as he drove right through them. He signaled and stopped on the bus lane. “What’s wrong? Did you forget something?” For a moment I just stared at him, open-mouthed, then turned in my seat to peer at the crossing. The woman with the buggy wasn’t there. “Where did she disappear?” “Who?” I turned to face him again. “You didn’t see them?
Jayde Scott (A Job From Hell (Ancient Legends, #1))
The question I'm most commonly asked is "Why?" A more pertinent question might be, why is it that more people don't attempt to escape the limitations imposed upon them? If Tracks has a message at all, it is that one can be awake to the demand for obedience that seems natural simply because it is familiar. Wherever there is pressure to conform (one person's conformity is often in the interests of another person's power), there is a requirement to resist. Of course I did not mean that people should drop what they were doing and head for the wilder places, certainly not that they should copy what I did. I meant that one can choose adventure in the most ordinary of circumstances. Adventure of the mind, or to use an old-fashioned word, the spirit.
Robyn Davidson (Tracks: A Woman's Solo Trek Across 1700 Miles of Australian Outback)
In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.
C.S. Lewis (The Screwtape Letters)
Soon after World War II, a tired-looking woman entered a store and asked the owner for enough food to make a Christmas dinner for her children. When he inquired how much she could afford, she answered, “My husband was killed in the war. Truthfully, I have nothing to offer but a little prayer.” The man was not very sentimental, for a grocery store cannot be run like a breadline. So he said, “Write your prayer on a paper.” To his surprise she plucked a little folded note out of her pocket and handed it to him, saying, “I already did that.” As the grocer took the paper, an idea struck him. Without even reading the prayer, he put it on the weight side of his old-fashioned scales, saying, “We shall see how much food this is worth.” To his surprise, the scale would not go down when he put a loaf of bread on the other side. To his even greater astonishment, it would not balance when he added many more items. Finally he blurted out, “Well, that’s all the scales will hold anyway. Here’s a bag. You’ll have to put them in yourself. I’m busy.” With a tearful “thank you,” the lady went happily on her way. The grocer later found that the mechanism of the scales was out of order, but as the years passed, he often wondered if that really was the answer to what had occurred. Why did the woman have the prayer already written to satisfy his unpremeditated demands? Why did she come at exactly the time the mechanism was broken? Frequently he looked at that slip of paper upon which the woman’s prayer was written, for amazingly enough, it read, “Please, dear Lord, give us this day our daily bread!” —Henry Bosch
Our Daily Bread Ministries (Prayer (Strength for the Soul))
We hear about every other kind of women- beautiful women, smart women, sophisticated women, career women, talented women, divorced women. But so seldom do we hear of a godly woman - or of a godly man for that matter.....It is a much nobler thing to be a good wife than to be Miss America......it is a far, far better thing in the realms of morals to be old-fashioned than to be ultra modern. The world has enough women who know how to hold their cocktails, who have lost all their illusions and their faith..... the world has enough woman who know how to be brilliant. It needs some who will be brave. The World had enough woman who are popular. It needs more who are pure. We need women, and men, too, who would rather be morally right than socially correct. " Quote from Peter Marshall in the book Un Compromising
Hannah Farver (Uncompromising: A Heart Claimed By a Radical Love)
I once knew a weak woman of fashion, who was more than commonly proud of her delicacy and sensibility. She thought a distinguishing taste and puny appetite the height of all human perfection, and acted accordingly. I have seen this weak sophisticated being neglect all the duties of life, yet recline with self-complacency on a sofa, and boast of her want of appetite as a proof of delicacy that extended to, or, perhaps, arose from, her exquisite sensibility: for it is difficult to render intelligible such ridiculous jargon. Yet, at the moment, I have seen her insult a worthy old gentlewoman, whom unexpected misfortunes had made dependent on her ostentatious bounty, and who, in better days, had claims on her gratitude. Is it possible that a human creature should have become such a weak and depraved being, if, like the Sybarites, dissolved in luxury, every thing like virtue had not been worn away, or never impressed by precept, a poor substitute it is true, for cultivation of mind, though it serves as a fence against vice?
Mary Wollstonecraft (A Vindication of the Rights of Woman)
But it’s a pretense, it’s artificial,” Adelia protested. “Love, honor, respect. When are they ever extended to everyday women? I doubt if that boy actually practices what he’s singing. It’s… it’s a pleasant hypocrisy.” “Oh, I have a high regard for hypocrisy,” the little nun said. “It pays lip service to an ideal which must, therefore, exist. It recognizes that there is a Good. In its own way, it is a token of civilization. You don’t find hypocrisy among the beasts of the field.” “What good does the Good do if it is not adhered to?” “That is what I have been wondering,” Mother Edyve said calmly. “And I have come to the conclusion that perhaps the early Christians wondered it, too, and perhaps that Eleanor, in her fashion, has made a start by setting a brick in a foundation on which, with God’s help, our daughters’ daughters can begin to build a new and better Jerusalem.” “Not in time for Emma,” Adelia said. “No.” Perhaps, Adelia thought drearily, it was only a very old woman who could look hopefully on a single brick laid in a wasteland.
Ariana Franklin (The Serpent's Tale (Mistress of the Art of Death, #2))
Then I pushed my way through and saw a young woman climb down, no more than my age, only she was as pale as a flour bag, with rosebud lips pressed tight together, and two spots of rouge high on her cheeks. She stared at the rabble, her eyes narrowing. She weren't afeard of us, no not one whit. She lifted her chin and said in a throaty London drawl, 'Mr Pars. Fetch him at once.' Like magic the scene changed: three or four fellows legged it indoors and those staying behind hung back a bit, fidgeting before this girl that might have dropped from the moon for all we'd ever seen such a being in our yard. What drew my eye was her apricot-colored gown that shone like a diamond. I drank in all her marks of fashion: the peachy ribbon holding the little dog she clutched to her bosom, her powdered curls, but most of all it was her shoes I fixed on. They were made of shiny silver stuff, and in spite of the prettiest heels you ever saw, were already squelched in Mawton mud. It were a crime to ruin those shoes, but there were no denying it, she'd landed in a right old pigsty.
Martine Bailey (An Appetite for Violets)
The notion of finding “a body in the library” of a country house was another trope of the genre. Christie had fun with it in The Body in the Library, where the corpse is found in Gossington Hall, owned by Miss Marple’s cronies, Colonel Arthur Bantry and his wife Dolly. But profound changes were taking place in British society as war was followed by peace-time austerity, and high taxes made it impossible for many families to cling on to old houses that were cripplingly expensive to run. Country house parties fell out of fashion, and although traditional whodunits continued to be written and enjoyed, detective novelists could not altogether ignore the reality. The scale of upheaval is apparent in another Marple story, The Mirror Crack’d from Side to Side, published twenty years after The Body in the Library. Gossington Hall has been sold off, and been run as a guest house, divided into flats, bought by a government body, and finally snapped up for use as a rich woman’s playground by a much-married film star. Her entourage provides a “closed circle” of suspects suited to the Sixties.
Martin Edwards (Murder at the Manor: Country House Mysteries)
which had drawn a world of rank and fashion still in stocks and beavers, 39 Sallet Square had been The Gallery and so it was still, with a history of wealth and prestige behind it unequalled in Europe. “Well?” The old woman was persistent. “How is he behaving?” Frances hesitated. “He and Phillida are staying with me at 38, you know,” she began cautiously. “It was Meyrick’s idea. He wanted Robert to be near.” Mrs. Ivory’s narrow lips curled. The mention of the house next door to The Gallery, where she had reigned throughout her career from its heyday in the seventies right up to the fin de siecle, always stirred her. “So Phillida’s at 38, is she?” she said. “Meyrick didn’t tell me that. You’re finding it difficult to live with her, I suppose? I don’t blame you. I could never abide a fool in the house even when it was a man. A silly woman is quite insufferable. What has she done now?” “No, it’s not Phillida,” said Frances slowly. “No, darling, I only wish it were.” She turned away and glanced out across the room to the barren trees far over the heath. There was a great deal more to worry
Margery Allingham (Black Plumes)
Genesis According to George Segal,” The Spirit brooded on the water and made The earth, and molded us out of earth. And then The Spirit breathed Itself into our nostrils— And rested. What was the Spirit waiting for? An image of Its nature, a looking glass? Glass also made of dust, of sand and fire. Ordinary, enigmatic, we people waiting In the terminal. A survivor at a wire fence, Also waiting. Behind him, a tangle of bodies Made out of plaster, which plasterers call mud. The apprentice hurries with a hod of mud. Particulate sand for glass. Milled flour for bread. What are we waiting for? The hour glass That measures all our time in trickling dust Is also of dust and will return to dust— So an old poem says. Men in a bread line Out in the dusty street are silent, waiting At the apportioning-place of daily bread. At an old-fashioned radio’s wooden case A man sits listening in a wooden chair. A woman at a butcher block waits to cut. What are we waiting for, in clouds of dust? Or waiting for the past, particles of being Settled and moist with life, then brittle again.
Robert Pinsky (Poems About Sculpture (Everyman's Library Pocket Poets Series))
A silver hairbrush, old and surely precious, with a little leopard's head for London stamped near the bristles. A white dress, small and pretty, the sort of old-fashioned dress Cassandra had never seen, let alone owned- the girls at school would laugh if she wore such a thing. A bundle of papers tied together with a pale blue ribbon. Cassandra let the bow slip loose between her fingertips and brushed the ends aside to see what lay beneath. A picture, a black-and-white sketch. The most beautiful woman Cassandra had ever seen, standing beneath a garden arch. No, not an arch, a leafy doorway, the entrance to a tunnel of trees. A maze, she thought suddenly. The strange word came into her mind fully formed. Scores of little black lines combined like magic to form the picture, and Cassandra wondered what it would feel like to create such a thing. The image was oddly familiar and at first she couldn't think how that could be. Then she realized- the woman looked like someone from a children's book. Like an illustration from an olden-days fairy tale, the maiden who turns into a princess when the handsome prince sees beyond her ratty clothing.
Kate Morton (The Forgotten Garden)
Isn't it surprising what an array of things a woman can drag forth, burrowing into attics, rooms and nooks! Things long out of mind; an old thing; a worn-out thing; but it has lain in that room, nook or bag until just such a riot of soap and scrubbing brush brings it out. And, as I think of it, a human mind could, and should go through just such a ransacking, occasionally; for you don’t know half of what an accumulation of rubbish is kicking about, in its dark, musty corridors. Old fashions in thoughts; bigotry; vanity; all lying stagnant. So why not drag out and sort all that stuff, discarding all which is of no valuation? About half of us will find, in our minds, a room, having on its door a card, saying: “It Was Not So In My Day.” Go at that room, right off. That “My Day” is long past. “Today” is boss, now. If that “My Day” could crawl up on “Today,” what a mix-up in World affairs would occur! Ox cart against aircraft; oil lamps against arc lights! Slow, mail information against radio! But, as all this stuff is laid out, what will you do with it? Nobody wants it. So I say, burn it, and tomorrow morning, how happy you will find that musty old mind!
Ernest Vincent Wright (Gadsby)
The street sprinkler went past and, as its rasping rotary broom spread water over the tarmac, half the pavement looked as if it had been painted with a dark stain. A big yellow dog had mounted a tiny white bitch who stood quite still. In the fashion of colonials the old gentleman wore a light jacket, almost white, and a straw hat. Everything held its position in space as if prepared for an apotheosis. In the sky the towers of Notre-Dame gathered about themselves a nimbus of heat, and the sparrows – minor actors almost invisible from the street – made themselves at home high up among the gargoyles. A string of barges drawn by a tug with a white and red pennant had crossed the breadth of Paris and the tug lowered its funnel, either in salute or to pass under the Pont Saint-Louis. Sunlight poured down rich and luxuriant, fluid and gilded as oil, picking out highlights on the Seine, on the pavement dampened by the sprinkler, on a dormer window, and on a tile roof on the Île Saint-Louis. A mute, overbrimming life flowed from each inanimate thing, shadows were violet as in impressionist canvases, taxis redder on the white bridge, buses greener. A faint breeze set the leaves of a chestnut tree trembling, and all down the length of the quai there rose a palpitation which drew voluptuously nearer and nearer to become a refreshing breath fluttering the engravings pinned to the booksellers’ stalls. People had come from far away, from the four corners of the earth, to live that one moment. Sightseeing cars were lined up on the parvis of Notre-Dame, and an agitated little man was talking through a megaphone. Nearer to the old gentleman, to the bookseller dressed in black, an American student contemplated the universe through the view-finder of his Leica. Paris was immense and calm, almost silent, with her sheaves of light, her expanses of shadow in just the right places, her sounds which penetrated the silence at just the right moment. The old gentleman with the light-coloured jacket had opened a portfolio filled with coloured prints and, the better to look at them, propped up the portfolio on the stone parapet. The American student wore a red checked shirt and was coatless. The bookseller on her folding chair moved her lips without looking at her customer, to whom she was speaking in a tireless stream. That was all doubtless part of the symphony. She was knitting. Red wool slipped through her fingers. The white bitch’s spine sagged beneath the weight of the big male, whose tongue was hanging out. And then when everything was in its place, when the perfection of that particular morning reached an almost frightening point, the old gentleman died without saying a word, without a cry, without a contortion while he was looking at his coloured prints, listening to the voice of the bookseller as it ran on and on, to the cheeping of the sparrows, the occasional horns of taxis. He must have died standing up, one elbow on the stone ledge, a total lack of astonishment in his blue eyes. He swayed and fell to the pavement, dragging along with him the portfolio with all its prints scattered about him. The male dog wasn’t at all frightened, never stopped. The woman let her ball of wool fall from her lap and stood up suddenly, crying out: ‘Monsieur Bouvet!
Georges Simenon
than the clerk. But after all, my dear, it was but seeking for a new service. She had seen you and Ada a little while before, and it was natural that you should come into her head. She merely proposed herself for your maid, you know. She did nothing more.” “Her manner was strange,” said I. “Yes, and her manner was strange when she took her shoes off and showed that cool relish for a walk that might have ended in her death-bed,” said my guardian. “It would be useless self-distress and torment to reckon up such chances and possibilities. There are very few harmless circumstances that would not seem full of perilous meaning, so considered. Be hopeful, little woman. You can be nothing better than yourself; be that, through this knowledge, as you were before you had it. It is the best you can do for everybody’s sake. I, sharing the secret with you—“ “And lightening it, guardian, so much,” said I. “—will be attentive to what passes in that family, so far as I can observe it from my distance. And if the time should come when I can stretch out a hand to render the least service to one whom it is better not to name even here, I will not fail to do it for her dear daughter’s sake.” I thanked him with my whole heart. What could I ever do but thank him! I was going out at the door when he asked me to stay a moment. Quickly turning round, I saw that same expression on his face again; and all at once, I don’t know how, it flashed upon me as a new and far-off possibility that I understood it. “My dear Esther,” said my guardian, “I have long had something in my thoughts that I have wished to say to you.” “Indeed?” “I have had some difficulty in approaching it, and I still have. I should wish it to be so deliberately said, and so deliberately considered. Would you object to my writing it?” “Dear guardian, how could I object to your writing anything for me to read?” “Then see, my love,” said he with his cheery smile, “am I at this moment quite as plain and easy—do I seem as open, as honest and old-fashioned—as I am at any time?” I answered in all earnestness, “Quite.” With the strictest truth, for his momentary hesitation was gone (it had not lasted a minute), and his
Charles Dickens (Bleak House)
A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard. The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol. ...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.
Roland Barthes (Mythologies)
She knew the effort it took to keep one’s exterior self together, upright, when everything inside was in pieces, broken beyond repair. One touch, one warm, compassionate hand, could shatter that hard-won perfect exterior. And then it would take years and years to restore it. This tiny, effeminate creature dressed in velvet suits, red socks, an absurdly long scarf usually wrapped around his throat, trailing after him like a coronation robe. He who pronounced, after dinner, “I’m going to go sit over here with the rest of the girls and gossip!” This pixie who might suddenly leap into the air, kicking one foot out behind him, exclaiming, “Oh, what fun, fun, fun it is to be me! I’m beside myself!” “Truman, you could charm the rattle off a snake,” Diana Vreeland pronounced. Hemingway - He was so muskily, powerfully masculine. More than any other man she’d met, and that was saying something when Clark Gable was a notch in your belt. So it was that, and his brain, his heart—poetic, sad, boyish, angry—that drew her. And he wanted her. Slim could see it in his hungry eyes, voraciously taking her in, no matter how many times a day he saw her; each time was like the first time after a wrenching separation. How to soothe and flatter and caress and purr and then ignore, just when the flattering and caressing got to be a bit too much. Modesty bores me. I hate people who act coy. Just come right out and say it, if you believe it—I’m the greatest. I’m the cat’s pajamas. I’m it! He couldn’t humiliate her vulnerability, her despair. Old habits die hard. Particularly among the wealthy. And the storytellers, gossips, and snakes. Is it truly a scandal? A divine, delicious literary scandal, just like in the good old days of Hemingway and Fitzgerald? The loss of trust, the loss of joy; the loss of herself. The loss of her true heart. An amusing, brief little time. A time before it was fashionable to tell the truth, and the world grew sordid from too much honesty. In the end as in the beginning, all they had were the stories. The stories they told about one another, and the stories they told to themselves. Beauty. Beauty in all its glory, in all its iterations; the exquisite moment of perfect understanding between two lonely, damaged souls, sitting silently by a pool, or in the twilight, or lying in bed, vulnerable and naked in every way that mattered. The haunting glance of a woman who knew she was beautiful because of how she saw herself reflected in her friend’s eyes. The splendor of belonging, being included, prized, coveted. What happened to Truman Capote. What happened to his swans. What happened to elegance. What truly was the price they paid, for the lives they lived. For there is always a price. Especially in fairy tales.
Melanie Benjamin (The Swans of Fifth Avenue)
NOTE: The character of Aoleon is deaf. This conversation takes place in the book via sign language... “Feeling a certain kind of way Aoleon?” She snapped-to and quickly became defensive. “What in the name of the Goddess are you on about?” Shades of anger and annoyance. The old Aoleon coming out. “I’m sorry. I shouldn’t poke at you like that. It’s okay you know. There’s nothing wrong about the way you feel.” As if suddenly caught up in a lie, Aoleon cleared her throat and ran her fingers absentmindedly over her ear and started to fidget with one of the brass accents in her snowy hair. A very common nervous reaction. “No…I mean…well I was…uh...” “Aoleon, I know about you and Arjana.” he admitted outrightly as he pointed at the drawing. She coughed, stuttered, smiled, but could bring herself to fully say nothing. Words escaped her as she looked about the room for answers. “My sight is Dįvįnë, lest we forget. I knew you were growing close.” “Yes. Well…she’s…something else.” “Indeed?” he responded. Images flashed briefly in Aoleon’s head of her father’s old friend. Verging on her fiftieth decade of life. She was a fierce woman by all accounts. One who’d just as soon cut you with words as she would a blade. Yet, she was darling and caring towards those she held close to her. Lovely to a fault; in a wild sort of way. Dark skin, the colour of walnut stained wood. Thick, kinky hair fashioned into black locs that faded into reddish-brown tips that were dyed with Assamian henna; the sides of her head shaved bare in an undercut fashion. Tattoos and gauged ears. Very comfortable with her sexuality. Dwalli by blood, but a native of the Link by birth although she wasn’t a Magi. Magick was her mother’s gift. “I heard her say something very much the same about you once Aoleon.” “Really?” Aoleon perked up right away. “Did she?” “Yes. After she first met you in fact. Nearly exactly.” Aoleon’s smile widened and she beamed happiness. She sat up assertively and gave a curt nod. “Well, of course she did.” “She’s held such a torch for you for so long that I was starting to wonder if anything would actually come of it.” “Yeah. Both you and Prince Asshole.” Aoleon exclaimed with a certainty that was absolute as she once again tightened up with defensiveness. Samahdemn walked his statement back. “Peace daughter. I didn't know your brother had been giving you a row about her. Then again, he is your brother. So anything is possible.” Aoleon sighed and nodded. “Not so much problems as he’s been giving me the silent treatment over it. Na’Kwanza. It’s always Na’ Kwanza.” Samahdemn nodded knowingly and waived a dismissive hand. “He’s just jealous. He always has been.” “So I’ve noticed.” “Why would you hide it? Why not tell me?” “I don’t know.” she said; shrugging her shoulders. “I didn’t know how you’d take it I suppose.” “Seriously? You were afraid of rejection? From me? Love, have I ever held your individuality against you? Have I ever not supported you or your siblings?” She shook her head; a bit embarrassed that she hadn't trusted him. "No, I suppose not." -Reflections on the Dįvonësë War: The Dįvįnë Will Bear Witness to Fate
S.H. Robinson
He was but three-and-twenty, and had only just learned what it is to love—­to love with that adoration which a young man gives to a woman whom he feels to be greater and better than himself. Love of this sort is hardly distinguishable from religious feeling. What deep and worthy love is so, whether of woman or child, or art or music. Our caresses, our tender words, our still rapture under the influence of autumn sunsets, or pillared vistas, or calm majestic statues, or Beethoven symphonies all bring with them the consciousness that they are mere waves and ripples in an unfathomable ocean of love and beauty; our emotion in its keenest moment passes from expression into silence, our love at its highest flood rushes beyond its object and loses itself in the sense of divine mystery. And this blessed gift of venerating love has been given to too many humble craftsmen since the world began for us to feel any surprise that it should have existed in the soul of a Methodist carpenter half a century ago, while there was yet a lingering after-glow from the time when Wesley and his fellow-labourer fed on the hips and haws of the Cornwall hedges, after exhausting limbs and lungs in carrying a divine message to the poor. That afterglow has long faded away; and the picture we are apt to make of Methodism in our imagination is not an amphitheatre of green hills, or the deep shade of broad-leaved sycamores, where a crowd of rough men and weary-hearted women drank in a faith which was a rudimentary culture, which linked their thoughts with the past, lifted their imagination above the sordid details of their own narrow lives, and suffused their souls with the sense of a pitying, loving, infinite Presence, sweet as summer to the houseless needy. It is too possible that to some of my readers Methodism may mean nothing more than low-pitched gables up dingy streets, sleek grocers, sponging preachers, and hypocritical jargon—­elements which are regarded as an exhaustive analysis of Methodism in many fashionable quarters. That would be a pity; for I cannot pretend that Seth and Dinah were anything else than Methodists—­not indeed of that modern type which reads quarterly reviews and attends in chapels with pillared porticoes, but of a very old-fashioned kind. They believed in present miracles, in instantaneous conversions, in revelations by dreams and visions; they drew lots, and sought for Divine guidance by opening the Bible at hazard; having a literal way of interpreting the Scriptures, which is not at all sanctioned by approved commentators; and it is impossible for me to represent their diction as correct, or their instruction as liberal. Still—­if I have read religious history aright—­faith, hope, and charity have not always been found in a direct ratio with a sensibility to the three concords, and it is possible—­thank Heaven!—­to have very erroneous theories and very sublime feelings. The raw bacon which clumsy Molly spares from her own scanty store that she may carry it to her neighbour’s child to “stop the fits,” may be a piteously inefficacious remedy; but the generous stirring of neighbourly kindness that prompted the deed has a beneficent radiation that is not lost. Considering these things, we can hardly think Dinah and Seth beneath our sympathy, accustomed as we may be to weep over the loftier sorrows of heroines in satin boots and crinoline, and of heroes riding fiery horses, themselves ridden by still more fiery passions.
George Eliot
Under these circumstances the most anodyne book was a source of danger from the simple fact that love was alluded to, and woman depicted as an attractive creature; and this was enough to account for all—for the inherent ignorance of Catholics, since it was proclaimed as the preventive cure for temptations—for the instinctive horror of art, since to these craven souls every written and studied work was in its nature a vehicle of sin and an incitement to fall. Would it not really be far more sensible and judicious to open the windows, to air the rooms, to treat these souls as manly beings, to teach them not to be so much afraid of their own flesh, to inculcate the firmness and courage needed for resistance? For really it is rather like a dog which barks at your heels and snaps at your legs if you are afraid of him, but who beats a retreat if you turn on him boldly and drive him off. The fact remains that these schemes of education have resulted, on the one hand, in the triumph of the flesh in the greater number of men who have been thus brought up and then thrown into a worldly life, and on the other, in a wide diffusion of folly and fear, an abandonment of the possessions of the intellect and the capitulation of the Catholic army surrendering without a blow to the inroads of profane literature, which takes possession of territory that it has not even had the trouble of conquering. This really was madness! The Church had created art, had cherished it for centuries; and now by the effeteness of her sons she was cast into a corner. All the great movements of our day, one after the other—romanticism, naturalism—had been effected independently of her, or even against her will. If a book were not restricted to the simplest tales, or pleasing fiction ending in virtue rewarded and vice punished, that was enough; the propriety of beadledom was at once ready to bray. As soon as the most modern form of art, the most malleable and the broadest—the Novel—touched on scenes of real life, depicted passion, became a psychological study, an effort of analysis, the army of bigots fell back all along the line. The Catholic force, which might have been thought better prepared than any others to contest the ground which theology had long since explored, retired in good order, satisfied to cover its retreat by firing from a safe distance, with its old-fashioned match-lock blunderbusses, on works it had neither inspired nor written. The Church party, centuries behind the time, and having made no attempt to follow the evolution of style in the course of ages, now turned to the rustic who can scarcely read; it did not understand more than half of the words used by modern writers, and had become, it must be said, a camp of the illiterate. Incapable of distinguishing the good from the bad, it included in one condemnation the filth of pornography and real works of art; in short, it ended by emitting such folly and talking such preposterous nonsense, that it fell into utter discredit and ceased to count at all. And it would have been so easy for it to work on a little way, to try to keep up with the times, and to understand, to convince itself whether in any given work the author was writing up the Flesh, glorifying it, praising it, and nothing more, or whether, on the contrary, he depicted it merely to buffet it—hating it. And, again, it would have done well to convince itself that there is a chaste as well as a prurient nude, and that it should not cry shame on every picture in which the nude is shown. Above all, it ought to have recognized that vices may well be depicted and studied with a view to exciting disgust of them and showing their horrors.
Joris-Karl Huysmans (The Cathedral)
For a society that will tinker with any “natural” process—birth, death, aging, noses, or chicken pox—this clinging to the old-fashioned “man and woman make a baby” mode as the truest path to motherhood is, when you think about it, rather odd. Witnessing my daughter’s birth as, essentially, a bystander, I promise I’m not less of a mother to her. I’m not like her mother; I am her mother.
Avital Norman Nathman (The Good Mother Myth: Redefining Motherhood to Fit Reality)
INTRODUCTION The Things Mother Used To Make consist of old fashioned recipes, which have been for the most part handed down by word of mouth from one generation to another, extending over a period of nearly one hundred years. The author, a New England woman, has during her life tested out in her own kitchen the greater part of these recipes,
Lydia Maria Gurney (Things Mother Used to Make A Collection of Old Time Recipes, Some Nearly One Hundred Years Old and Never Published Before)
I should say that it was only for me that Marxism seemed over. Surely, I would tell G. at least once a week, it had to count for something that every single self-described Marxist state had turned into an economically backward dictatorship. Irrelevant, he would reply. The real Marxists weren’t the Leninists and Stalinists and Maoists—or the Trotskyists either, those bloodthirsty romantics—but libertarian anarchist-socialists, people like Anton Pannekoek, Herman Gorter, Karl Korsch, scholarly believers in true workers’ control who had labored in obscurity for most of the twentieth century, enjoyed a late-afternoon moment in the sun after 1968 when they were discovered by the New Left, and had now once again fallen back into the shadows of history, existing mostly as tiny stars in the vast night sky of the Internet, archived on blogs with names like Diary of a Council Communist and Break Their Haughty Power. They were all men. The group itself was mostly men. This was, as Marxists used to say, no accident. There was something about Marxist theory that just did not appeal to women. G. and I spent a lot of time discussing the possible reasons for this. Was it that women don’t allow themselves to engage in abstract speculation, as he thought? That Marxism is incompatible with feminism, as I sometimes suspected? Or perhaps the problem was not Marxism but Marxists: in its heyday men had kept a lock on it as they did on everything they considered important; now, in its decline, Marxism had become one of those obsessive lonely-guy hobbies, like collecting stamps or 78s. Maybe, like collecting, it was related, through subterranean psychological pathways, to sexual perversions, most of which seemed to be male as well. You never hear about a female foot fetishist, or a woman like the high-school history teacher of a friend of mine who kept dated bottles of his own urine on a closet shelf. Perhaps women’s need for speculation is satisfied by the intense curiosity they bring to daily life, the way their collecting masquerades as fashion and domesticity—instead of old records, shoes and ceramic mixing bowls—and their perversity can be satisfied simply by enacting the highly artificial role of Woman, by becoming, as it were, fetishizers of their own feet.
Katha Pollitt (Learning to Drive (Movie Tie-in Edition): And Other Life Stories)
his…demands?” And then she had held her breath as if seriously expecting Isabel to answer. And last night as Isabel passed a half-open bedroom door, she had overheard a fellow guest speaking to her maid. “I do so admire Lady Isabel for not feeling the need to bow to the demands of fashion,” the woman had said. “She dresses instead in what is comfortable even if it is not in the first stare. Though I find it no wonder her husband has strayed.” Isabel had gritted her teeth and gone on down to dinner, where she smiled and flirted and silently dared anyone to comment to her face that her dress was at least two years old. If only her early departure wouldn’t cause so much comment, she would call for her carriage and go home right now. But that was impossible. For one thing, she didn’t have a carriage, for she had come up from London with a fellow guest. Too short of funds to afford a post-chaise, she was equally dependent on her friend for transport back to the city when the hunting party broke up. And secondly, of course, there were only two places she could go—Maxton Abbey, or the London house—and her husband might be at either one. Unless, with her safely stashed at the Beckhams’, he had accepted yet another of the many invitations he received. But she couldn’t take the chance. After little more than a year of marriage, the pattern was ingrained—wherever one of the Maxwells went, the other took pains not to go. She could not burst in on her husband; what if he were entertaining his mistress? Better not to know. She might go to the village of Barton Bristow, descending on her sister. But Emily’s tiny cottage was scarcely large enough for her and her companion, with no room for a guest—and Mrs. Dalrymple’s constant chatter and menial deference was enough to set Isabel’s teeth on edge. In fact, the only nice thing Isabel could say about being married was that at least she wasn’t required to drag a spinster companion around the countryside with her to preserve her reputation, as Emily had to do. Isabel turned her borrowed mount over to the stable boys and strode across to the house, where the butler intercepted her in the front hall. “A letter has just been delivered for you, Lady Isabel, by a special messenger. He said a post-chaise will call for you tomorrow.” She took the folded sheet with trepidation. Who could be summoning her? Not her husband, that was certain. Her father, possibly, for yet another lecture on the duties of a young wife? She broke the seal and unfolded the page. My dearest Isabel, You will remember from happier days that I will soon celebrate my seventieth birthday… Uncle Josiah. But her moment of relief soon
Leigh Michaels (The Birthday Scandal)
ay cheese!" If you're like most women I know, you have at least one family and friends photo area in your home. My entire home is practically a photo gallery! Walls, tabletops, and my refrigerator door are all crowded with the faces of people I love. My husband, Bob, my children, grandchildren, new friends, old friends you name 'em and I've displayed 'em. How precious are these gatherings of faces to us. And it's so fitting, isn't it? Because our family and friends' pictures tell the story of their lives.. .and ours! Cherish your family and friends and those priceless moments. Hold them close. Seek out your friends and enjoy their company more often. Treasure their faces, their characteristics, their uniqueness. But also make room for new people.. .and add them to the gallery in your heart. ant to hold a spring garden party? It can be a birthday, a graduation, or just a celebration. For invitations, glue inexpensive packets of seeds to index cards and write in your party information. Pass them out or stick them in envelopes and mail them. Decorate a picnic table with an umbrella and bright floral sheets or vinyl cloths. Why not decorate the awnings and porch posts to make it even more festive? Flowers, flowers, and flowers everywhere create a bright, aromatic space. If you're limber and energetic or you're inviting kids, spread sheets on the ground for an authentic, old-fashioned picnic. A little red wagon or painted tub with a potted plant makes a fun off-to-the-side "centerpiece." Use a clean watering can for your lemonade pitcher. Engage your imagination and have fun entertaining.
Emilie Barnes (365 Things Every Woman Should Know)
Without conversion of heart we cannot serve God on earth. We have naturally neither faith, nor fear, nor love, toward God and His Son Jesus Christ. We have no delight in His Word. We take no pleasure in prayer or communion with Him. We have no enjoyment in His ordinances, His house, His people, or His day. We may have a form of Christianity, and keep up a round of ceremonies and religious performances. But without conversion we have no more heart in our religion than a brick or a stone. Can a dead corpse serve God? We know it cannot. Well, without conversion we are dead toward God. Look round the congregation with which you worship every Sunday. Mark how little interest the great majority of them take in what is going on. Observe how listless, and apathetic, and indifferent, they evidently are about the whole affair. It is clear their hearts are not there! They are thinking of something else, and not of religion. They are thinking of business, or money, or pleasure, or worldly plans, or bonnets, or gowns, or new dresses, or amusements. Their bodies are there, but not their hearts. And what is the reason? What is it they all need? They need conversion. Without it they only come to church for fashion and form’s sake, and go away from church to serve the world or their sins. But this is not all. Without conversion of heart we could not enjoy heaven, if we got there. Heaven is a place where holiness reigns supreme, and sin and the world have no place at all. The company will all be holy; the employments will all be holy; it will be an eternal Sunday. Surely if we go to heaven, we must have a heart in tune and able to enjoy it, or else we shall not be happy. We must have a nature in harmony with the element we live in, and the place where we dwell. Can a fish be happy out of water? We know it cannot. Well, without conversion of heart we could not be happy in heaven. Look round the neighborhood in which you live and the persons with whom you are acquainted. Think what many of them would do if they were cut off for ever from money, and business, and newspapers, and cards, and balls, and races, and hunting, and shopping, and worldly amusements! Would they like it? Think what they would feel if they were shut up forever with Jesus Christ, and saints, and angels! Would they be happy? Would the eternal company of Moses, and David, and St. Paul be pleasant to those who never take the trouble to read what those holy men wrote? Would heaven’s everlasting praise suit the taste of those who can hardly spare a few minutes in a week for private religion, even for prayer? There is but one answer to be given to all these questions. We must be converted before we can enjoy heaven. Heaven would be no heaven to any child of Adam without conversion. Let no man deceive us. There are two things which are of absolute necessity to the salvation of every man and woman on earth. One of them is the mediatorial work of Christ for us, His atonement, satisfaction, and intercession. The other is the converting work of the Spirit in us, His guiding, renewing, and sanctifying grace. We must have both a title and a heart for heaven. Sacraments are only generally necessary to salvation: a man may be saved without them, like the penitent thief. An interest in Christ and conversion are absolutely necessary: without them no one can possibly be saved. All, all alike, high or low, rich or poor, old or young, gentle or simple, churchmen or dissenters, baptized or unbaptized, all must be converted or perish.
J.C. Ryle
The young woman at the table typed away while the older executive paced and dictated. The whole scene felt very old-fashioned. Not very Yahoo.
Nicholas Carlson (Marissa Mayer and the Fight to Save Yahoo!)
Cam wiped all expression from his face as he discovered he had been seated next to the vicar’s wife, whom he had met on previous visits to Stony Cross Park. The woman was terrified of him. Whenever he looked at her, tried to talk to her, she cleared her throat incessantly. Her sputtery noises brought to mind a tea kettle with an ill-fitting lid. No doubt the vicar’s wife had heard one too many stories of Gypsies stealing children, placing curses on people, and attacking helpless females in a frenzy of uncontrolled lust. Cam was tempted to inform the woman that, as a rule, he never kidnapped or pillaged before the second course. But he kept silent and tried to look as unthreatening as possible, while she shrank in her chair and made desperate conversation with the man at her left. Turning to his right, Cam found himself staring into Amelia Hathaway’s blue eyes. They had been seated next to each other. Pleasure unfolded inside him. Her hair shone like satin, and her eyes were bright, and her skin looked like it would taste of some dessert made with milk and sugar. The sight of her reminded him of an old-fashioned gadjo word that had amused him when he had first heard it. Toothsome. The word was used for something appetizing, conveying the pleasure of taste, but also sexual allure. He found Amelia’s naturalness a thousand times more appealing than the powdered and bejeweled sophistication of other women present. “If you’re trying to look meek and civilized,” Amelia said, “it’s not working.
Lisa Kleypas (Mine Till Midnight (The Hathaways, #1))
Iris released a sigh. 'Honestly, Ruby. we've been over this a hundred times in the past day. Bram and Miss Plum will not be getting married. Your brother was simply being chivalrous, something he tends to do on a far too frequent basis.' 'You say that as if chivalry is not a welcome trait for a gentleman to have,' Ruby said slowly 'Why, having been involved with a gentleman who turned out to have not a single chivalrous bone in his body, I can well attest to the allure that an old-fashioned gentleman with old-fashioned values has to a woman in these trying times.' 'Hear, hear.
Jen Turano (Playing the Part (A Class of Their Own, #3))
Yes, an old-fashioned feminist “consciousness-raising” still has enormous value. When the subject turns to abortion, cosmetic intervention, birth, motherhood, sex, love, work, misogyny, fear, or just how you feel in your own skin, women still won’t often tell the truth to each other unless they are very, very drunk.
Caitlin Moran (How To Be A Woman)
Be charming.
Lailah Gifty Akita
The old-fashioned southern woman was my favorite client. When I saw her name on my log this morning, I’d cleared the rest of my appointments. It had more to do with how she treated me than the extra money I always earned doing the odd tasks she conveniently thought up while I was doing my normal job.
Niki Embers (Love Like Crazy: Jesse's Story (Crazy Love Series Book 1))
You know the old adage: give a woman a bag and she'll fill it for a day. Teach a woman to pack and she'll fill every damn bag she owns (or something of that ilk).
Annmarie O'Connor (Brigitte Bailey Women's Printed Romper with Tie Belt Yellow Jumpsuit LG)
She said it was sweet that I came to her rescue, or something like that.” Layla pressed her hand to her heart, smiling. “Awww. She felt protected.” “From her innocent date.” “Still. I’m sure she didn’t approve of you, you know, beating up her date and all, but a woman does love a protective man.” “Sounds old-fashioned.” “Not old-fashioned, timeless. Trust me. So pray about it, okay? ’Cause I think she’d make a great sister-in-law.” “You’re jumping the gun, little girl.” But he couldn’t deny the tiny thrill that coursed through him at the thought.
Denise Hunter (Barefoot Summer (Chapel Springs #1))
Mom was very warm and loving. My favorite moments with her were spent in the kitchen, helping her make biscuits or chicken and dumplings. She would use our time together to share life lessons or talk about the Bible. She always had time for me. She used to take me with her to deliver food to some of the hungry people around our part of the river. “We’re all just people,” Mom would say. “Every race, every color, we all have the same blood.” We used to take garden vegetables to a woman who lived nearby. She’d had eighteen children but was older now and very poor. Mom knew I was still young, and she was worried about what I might say, so she tried to prepare me in advance. “Look, her stuff’s going to be different, so don’t make a big to-do about it.” When I walked into the older woman’s rickety house for the first time, I noticed she had a bed sheet hanging in the kitchen doorway instead of a door. “That’s pretty,” I said, pointing to the sheet-curtain. Mom looked at me, raising her eyebrows. I ran through it a couple of times, pretending I was a superhero busting through a wall. Next, I noticed her old-fashioned rotary dial phone. “I never saw a phone that color before,” I said. Mom held her breath, nervous. “That’s pretty,” I added. Mom gave the woman the food we had brought, and as we left, I didn’t want her to think we were going to forget her. “My mom’s going to bring more stuff. She’s got lots of it,” I volunteered. I think I made my mama proud and didn’t embarrass her too much. She always says I have a tender heart and that my oldest brother, Alan, and I are most like her.
Jep Robertson (The Good, the Bad, and the Grace of God: What Honesty and Pain Taught Us About Faith, Family, and Forgiveness)