Orphan Black Quotes

We've searched our database for all the quotes and captions related to Orphan Black. Here they are! All 103 of them:

Oh, nameless girl. When will you learn to trust me?
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
Reasons we should get married: Because I love you. We both look good in black boots. I spent some time without you, and I didn’t like it. You make me happy. I make you laugh. I like the way you fight. You see through my masks. I really love you. You love me, too. (Though you’ve mostly said this while yelling, so perhaps I should have double-checked.) Army of tiny vigilantes. (I have name ideas.) Various political reasons that make sense but don’t fit with the theme of this list. I’m holding your handwriting hostage. You can have it back when you say yes.
Jodi Meadows (The Mirror King (The Orphan Queen, #2))
Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonders. Knows remembers believes a corridor in a big long garbled cold echoing building of dark red brick sootbleakened by more chimneys than its own, set in a grassless cinderstrewnpacked compound surrounded by smoking factory purlieus and enclosed by ten food steel-and-wire fence like a penitentiary or a zoo, where in random erratic surges, with sparrowlike childtrebling, orphans in identical and uniform blue denim in and out of remembering but in knowing constant in the bleak walls, the bleak windows where in rain soot from the yearly adjacenting chimneys streaked like black tears.
William Faulkner (Light in August)
If I were going to fight and steal, It'd be because I had no choice. It would be for survival.
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
I narrowed my eyes. I don't trust you. I don't trust you,either. So we don't move. Ever? He met my eyes again,and searched me.
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
You're so optimistic. It's not what I expected from a vigilante who calls himself Black Knife." "Well, I considered Optimistic Knife, but I didn't think anyone would take it seriously.
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
There is always a moment when stories end, a moment when everything is blue and black and silent, and the teller does not want to believe it is over, and the listener does not, and so they both hold their breath and hope fervently as pilgrims that it is not over, that there are more tales to come, more and more, fitted together like a long chain coiled in the hand. They hold their breath; the trees hold theirs, the air and the ice and the wood and the Gate. But no breath can be held forever, and all tales end.
Catherynne M. Valente (In the Cities of Coin and Spice (The Orphan's Tales, #2))
Fairies, black, grey, green, and white, You moonshine revellers, and shades of night, You orphan heirs of fixed destiny, Attend your office and your quality. William Shakespeare
William Shakespeare
-You know how to call me although such a noise now would only confuse the air Neither of us can forget the steps we danced the words you stretched to call me out of dust Yes I long for you not just as a leaf for weather or vase for hands but with a narrow human longing that makes a man refuse any fields but his own I wait for you at an unexpected place in your journey like the rusted key or the feather you do not pick up.- -I WILL NEVER FIND THE FACES FOR ALL GOODBYES I'VE MADE.- For Anyone Dressed in Marble The miracle we all are waiting for is waiting till the Parthenon falls down and House of Birthdays is a house no more and fathers are unpoisoned by renown. The medals and the records of abuse can't help us on our pilgrimage to lust, but like whips certain perverts never use, compel our flesh in paralysing trust. I see an orphan, lawless and serene, standing in a corner of the sky, body something like bodies that have been, but not the scar of naming in his eye. Bred close to the ovens, he's burnt inside. Light, wind, cold, dark -- they use him like a bride. I Had It for a Moment I had it for a moment I knew why I must thank you I saw powerful governing men in black suits I saw them undressed in the arms of young mistresses the men more naked than the naked women the men crying quietly No that is not it I'm losing why I must thank you which means I'm left with pure longing How old are you Do you like your thighs I had it for a moment I had a reason for letting the picture of your mouth destroy my conversation Something on the radio the end of a Mexican song I saw the musicians getting paid they are not even surprised they knew it was only a job Now I've lost it completely A lot of people think you are beautiful How do I feel about that I have no feeling about that I had a wonderful reason for not merely courting you It was tied up with the newspapers I saw secret arrangements in high offices I saw men who loved their worldliness even though they had looked through big electric telescopes they still thought their worldliness was serious not just a hobby a taste a harmless affectation they thought the cosmos listened I was suddenly fearful one of their obscure regulations could separate us I was ready to beg for mercy Now I'm getting into humiliation I've lost why I began this I wanted to talk about your eyes I know nothing about your eyes and you've noticed how little I know I want you somewhere safe far from high offices I'll study you later So many people want to cry quietly beside you
Leonard Cohen (Flowers for Hitler)
You wanted Death? This is it. Dirt and decay, nothing more. Death translates us all into earth.” He frowned at me, his cheeks puffing slightly. “Are you disappointed? Did you want a man in black robes? I’m sure I’ve a set somewhere. A dour, thin face with bony hands? I’ve more bones in this house than you could ever count. You’ve been moping over half the world looking for Death as though that word meant anything but cold bodies and mushrooms growing out of young girls’ eye-sockets. What an exceptionally stupid child!” Suddenly he moved very fast, like a turtle after a spider—such unexpected movement from a thing so languid and round. He clapped my throat in his hand, squeezing until I could not breathe…I whistled and wheezed, beating at his chest, and my vision blurred, thick as blood. “You want Death?” he hissed. “I am Death. I will break your neck and cover you with my jar of dirt. When you kill, you become Death, and so Death wears a thousand faces, a thousand robes, a thousand gazes.” He loosened his grip. “But you can be Death, too. You can wear that face and that gaze. Would you like to be Death? Would you like to live in this house and learn his trade?
Catherynne M. Valente (In the Night Garden (The Orphan's Tales, #1))
I'm afraid it's not nonsense," Genghis said, shaking his turbaned head and continuing his story. "As I was saying before the little girl interrupted me, the baby didn't dash off with the other orphans. She just sat there like a sack of flour. So I walked over to her and gave her a kick to get her moving." "Excellent idea!" Nero said. "What a wonderful story this is! And then what happened?" "Well, at first it seemed like I'd kicked a big hole in the baby," Genghis said, his eyes shining, "which seemed lucky, because Sunny was a terrible athlete and it would have been a blessing to put her out of her misery." Nero clapped his hands. "I know just what you mean, Genghis," he said. "She's a terrible secretary as well." "But she did all that stapling," Mr. Remora protested. "Shut up and let the coach finish his story," Nero said. "But when I looked down," Genghis continued, "I saw that I hadn't kicked a hole in a baby. I'd kicked a hole in a bag of flour! I'd been tricked!" "That's terrible!" Nero cried.
Lemony Snicket (The Austere Academy (A Series of Unfortunate Events, #5))
The Baudelaire orphans hung on to one another, and wept and wept while the adults argued endlessly behind them. Finally-as, I'm sorry to say, Count Olaf forced the Quagmires into puppy costumes so he could sneak them onto the airplane without anyone noticing-the Baudelaires cried themselves out and just sat on the lawn together in weary silence.
Lemony Snicket (The Austere Academy (A Series of Unfortunate Events, #5))
James said you called yourself a nameless girl... Oh, nameless girl... When will you learn to trust me?" I turned my hand over to find the Black Knife mask. My heart tumbled and twisted. "You?" Tobiah was Black Knife?
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
If it had been a heart attack, the newspaper might have used the word massive, as if a mountain range had opened inside her, but instead it used the word suddenly, a light coming on in an empty room. The telephone fell from my shoulder, a black parrot repeating something happened, something awful a sunday, dusky. If it had been terminal, we could have cradled her as she grew smaller, wiped her mouth, said good-bye. But it was sudden, how overnight we could be orphaned & the world became a bell we'd crawl inside & the ringing all we'd eat.
Nick Flynn
Liadia broke the Wraith Alliance.” Black Knife stilled. “How do you know that?” “A refugee told me.” “Who?” “I didn’t ask for a name. I didn’t want you to go after anyone, if you found out.” He tilted his head a fraction. “You don’t trust me?” “Of course not. You’re a vigilante.
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
at some level you remain an orphan for life; looking after children is one way of looking after yourself.
Ian McEwan (Black Dogs)
Tobiah was Black Knife.
Jodi Meadows (The Orphan Queen (The Orphan Queen #1))
After every battle, he ritually dips his hood into the blood of his enemies. I’ve seen the hood, kept under glass in the armory. The fabric is stiff and stained a brown so deep it’s almost black, except for a few smears of green. Sometimes I go down and stare at it, trying to see my parents in the tide lines of dried blood. I want to feel something, something besides a vague queasiness. I want to feel more, but every time I look at it, I feel less.
Holly Black (The Cruel Prince (The Folk of the Air, #1))
Why are drugs so profitable? Essentially, many argue, it’s because they are illegal. By making drugs a criminal enterprise, it creates an enormous black market economy where drugs fetch far greater prices than they would if legal.
James Morcan (The Orphan Conspiracies: 29 Conspiracy Theories from The Orphan Trilogy)
Don't go to the wraithland," he said. "It's too dangerous." I smirked. "Why, Black Knife. You almost sound worried." ... "It's not your responsibility... It should be a worldwide effort, not just the effort of one girl pretending to be a boy.
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
To my Black brothers and sisters, choose faith. As difficult as it is, choose faith—the kind of faith that we know without works is dead. The faith that raises awareness, educates the community, advocates, cares for the widows and feeds the orphans. Choose the faith that is compelled to action, but not controlled my anger.
Andrena Sawyer
A lot of his songs, when they started out, sounded like old music. They arrived on his doorstep, wandering orphans, the lost children of large and venerable musical families. They came to him in the form of Tin Pan Alley sing-alongs, honky-tonk blues, Dust Bowl plaints, lost Chuck Berry riffs. Jude dressed them in black and taught them to scream.
Joe Hill (Heart-Shaped Box)
Don't be silly. You're not Black Knife. Everyone knows Princess Wilhelmina is that awful vigilante.
Jodi Meadows (The Mirror King (The Orphan Queen, #2))
Come with me. Help me tonight. Help me save others. - Black Knife
Jodi Meadows (The Orphan Queen (The Orphan Queen, #1))
In an age when most black women belonged to the ‘servant class’ – sweeping the yard, making the beds, cooking etc. – Bessie, orphaned at five, asked the Irish lady who took her into her home in Boston when she lost both her parents if she’d buy her a motorcycle. And with the simple advice, “Just don’t get hurt” and even though “nice girls didn’t go around riding motorcycles” her adoptive mother bought her a 1927 Indian.
Karl Wiggins (Wrong Planet - Searching for your Tribe)
It's like being dropped into a black hole. A vacuum of existence. When I turn around, I will be instantly orphaned because I'll know no one can hack it. And no one is in charge. But it's worse than being orphaned because at the same time I am tethered to his failure. His problems are tied around my heart. I will never get away. I am afraid. But I turn around.
Wendy Wunder (The Museum of Intangible Things)
For a moment, I tried to see myself through the eyes of the girl with the black hair, or even the boy in the cowboy hat, studying my features for a vibration under the skin. The effort was visible in my face, and I felt ashamed. No wonder the boy had seemed disgusted: He must have seen the longing in me. Seen how my face was blatant with need, like an orphan's empty dish. And that was the difference between me and the black-haired girl- her face answered all it's own questions.
Emma Cline (The Girls)
I have been all things, black and white ,short and tall, rich and poor, orphaned, homeless, ostracized, Gay, Asian, Jewish , Moslem, ridiculed and ridiculous ,laughed at, admired, worshipped, burnt at the stake, murdered and a murderer, sick and healthy, right and wrong and the list goes on and on...Accessing all that in our cellular memory how can one feel anything but love for all, since we are one and all!
Lenita Vangellis
Amelia envisaged that between York and the royal-infested Scottish Highlands there was a grimy wasteland of derelict cranes and abandoned mills and betrayed, yet still staunch, people. Oh and moorland, of course, vast tracts of brooding landscape under lowering skies, and across this heath strode brooding, lowering men intent on reaching their ancestral houses, where they were going to fling open doors and castigate orphaned yet resolute governesses. Or — preferably — the brooding, lowering men were on horseback, black horses with huge muscled haunches, glistening with sweat —
Kate Atkinson (Case Histories (Jackson Brodie, #1))
So, he explained, yellow was love, green was a peaceful, calm feeling, and brown was sad, like when his little dog died. He said gray was anxious, so before an exam at school everything seemed blanketed in a dreary fog. Black and white meant nothing special to him, but blue—he said blue was full of hope,
Kim van Alkemade (Orphan Number Eight)
I will read you their names directly; here they are in my pocket-book. Castle of Wolfenbach, Clermont, Mysterious Warnings, Necromancer of the Black Forest, Midnight Bell, Orphan of the Rhine, and Horrid Mysteries. Those will last us some time. ' '...but are they all horrid? Are you sure they are all horrid?' 'Yes, quite sure; for a particular friend of mine, a Miss Andrews, a sweet girl, one of the sweetest creatures in the world, has read every one of them.
Jane Austen (Northanger Abbey)
The Empire would love to rip Ukraine from Moscow’s bosom, evict the Russian Black Sea Fleet, and establish a US military and/or NATO presence on Russia’s border. Kiev’s membership of the European Union would then not be far off; after which the country could embrace the joys of neoconservatism, receiving the benefits of the standard privatization-deregulation-austerity package and join Portugal, Ireland, Greece, and Spain as an impoverished orphan of the family; but perhaps no price is too great to pay to for being part of glorious Europe and the West!
William Blum (America's Deadliest Export)
It is a stubble field, where a black rain is falling. It is a brown tree, that stands alone. It is a hissing wind, that encircles empty houses. How melancholy the evening is. A while later, The soft orphan garners the sparse ears of corn. Her eyes graze, round and golden, in the twilight And her womb awaits the heavenly bridegroom. On the way home The shepherd found the sweet body Decayed in a bush of thorns. I am a shadow far from darkening villages. I drank the silence of God Out of the stream in the trees. Cold metal walks on my forehead. Spiders search for my heart. It is a light that goes out in my mouth. At night, I found myself on a pasture, Covered with rubbish and the dust of stars. In a hazel thicket Angels of crystal rang out once more.
Georg Trakl
On a quiet day, when the wind was still, the creek could be heard all the way up to where the old beech stood. Under its branches, cats would come to dream and be dreamed. Black cats and calicos, white cats and marmalade ones, too. But they hadn't yet gathered on the day the orphan girl fell asleep among its roots, nestling in the weeds and long grass like the gangly, tousle-haired girl she was. Her name was Lillian.
Charles de Lint (A Circle of Cats (Newford))
When Gabriel was about Ivo's age," the duchess remarked almost dreamily, staring out at the plum-colored sky, "he found a pair of orphaned fox cubs in the woods, at a country manor we'd leased in Hampshire. Has he told you about that?" Pandora shook her head, her eyes wide. A reminiscent smile curved the duchess's full lips. "It was a pair of females, with big ears, and eyes like shiny black buttons. They made chirping sounds, like small birds. Their mother had been killed in a poacher's trap, so Gabriel wrapped the poor th-things in his coat and brought them home. They were too young to survive on their own. Naturally, he begged to be allowed to keep them. His father agreed to let him raise them under the gamekeeper's supervision, until they were old enough to return the f-forest. Gabriel spent weeks spoon-feeding them with a mixture of meat paste and milk. Later on, he taught them to stalk and catch prey in an outside pen." "How?" Pandora asked, fascinated. The older woman glanced at her with an unexpectedly mischievous grin. "He dragged dead mice through their pen on a string." "That's horrid," Pandora exclaimed, laughing. "It was," the duchess agreed with a chuckle. "Gabriel pretended not to mind, of course, but it was qu-quite disgusting. Still, the cubs had to learn." The duchess paused before continuing more thoughtfully. "I think for Gabriel, the most difficult part of raising them was having to keep his distance, no matter how he loved them. No p-petting or cuddling, or even giving them names. They couldn't lose their fear of humans, or they wouldn't survive. As the gamekeeper told him, he might as well murder them if he made them tame. It tortured Gabriel, he wanted to hold them so badly." "Poor boy." "Yes. But when Gabriel finally let them go, they scampered away and were able to live freely and hunt for themselves. It was a good lesson for him to learn." "What was the lesson?" Pandora asked soberly. "Not to love something he knew he would lose?" The duchess shook her head, her gaze warm and encouraging. "No, Pandora. He learned how to love them without changing them. To let them be what they were meant to be.
Lisa Kleypas (Devil in Spring (The Ravenels, #3))
The Empire would love to rip Ukraine from Moscow’s bosom, evict the Russian Black Sea Fleet, and establish a US military and/or NATO presence on Russia’s border. Kiev’s membership of the European Union would then not be far off; after which the country could embrace the joys of neoconservatism, receiving the benefits of the standard privatization-deregulation-austerity package and join Portugal, Ireland, Greece, and Spain as an impoverished orphan of the family;
William Blum (America's Deadliest Export)
Once upon a time, when the evil spirit of darkness reigned over the Land of Azerbaijan, hiding the sun inside his underground caves, When the orphan sky peered at the Caucasus Mountains from the black dome of sorrow, When the rain shed its tears of ice upon the barren earth…
Ella Leya (The Orphan Sky)
I took care of that evil man. I sewed a curse into his pocket. Sewed it tight. First five stitches take away his health, happiness, love, money an family. Six be the number of Evil. Sixth black stitch make it final. Satan his self gonna steal his breath and escort him to hell.
T.K. Lukas (Orphan Moon)
Oh, dear," Sophia said, looking through the binos. "What happens in the compartment, stays in the compartment. What happens in the...Oh, screw that!" "It's not his fault!" Lee Ann McGregor was just turned twelve and an orphan. Also extremely pregnant. She was shivering under a blanket in the relative cool of the saloon, drinking tomato soup as if it was nectar and arguing to spare the life of the young man sitting next to her. The hangdog young man in question, Kevin White, was seventeen. And currently surrounded by women who were looking at him like a zombie that was in their targeting reticle. Wisely, he was keeping his mouth shut.
John Ringo (Islands of Rage & Hope (Black Tide Rising, #3))
MEMORY believes before knowing remembers. Believes longer than recollects, longer than knowing even wonders. Knows remembers believes a corridor in a big long garbled cold echoing building of dark red brick sootbleakened by more chimneys than its own, set in a grassless cinderstrewnpacked compound surrounded by smoking factory purlieus and enclosed by a ten foot steel-and-wire fence like a penitentiary or a zoo, where in random erratic surges, with sparrowlike childtrebling, orphans in identical and uniform blue denim in and out of remembering but in knowing constant as the bleak walls, the bleak windows where in rain soot from the yearly adjacenting chimneys streaked like black tears.
William Faulkner (Light in August)
Scholars discern motions in history & formulate these motions into rules that govern the rises & falls of civilizations. My belief runs contrary, however. To wit: history admits no rules, only outcomes. What precipitates outcomes? Vicious acts & virtuous acts. What precipitates acts? Belief. Belief is both prize & battlefield, within the mind & in the mind's mirror, the world. If we believe humanity is a ladder of tribes, a colosseum of confrontation, exploitation & bestiality, such a humanity is surely brought into being, & history's Horroxes, Boerhaaves & Gooses shall prevail. You & I, the moneyed, the privileged, the fortunate, shall not fare so badly in this world, provided our luck holds. What of it if our consciences itch? Why undermine the dominance of our race, our gunships, our heritage & our legacy? Why fight the 'natural' (oh, weaselly word!) order of things? Why? Because of this: -- one fine day, a purely predatory world shall consume itself. Yes, the devil shall take the hindmost until the foremost is the hindmost. In an individual, selfishness uglifies the soul; for the human species, selfishness is extinction. Is this the entropy written in our nature? If we believe that humanity may transcend tooth & claw, if we believe divers [sic] races & creeds can share this world as peaceably as the orphans share their candlenut tree, if we believe leaders must be just, violence muzzled, power accountable & the riches of the Earth & its Oceans shared equitably, such a world will come to pass. I am not deceived. It is the hardest of worlds to make real. Tortuous advances won over generations can be lost by a single stroke of a myopic president's pen or a vainglorious general's sword. A life spent shaping a world I want Jackson to inherit, not one I fear Jackson shall inherit, this strikes me as a life worth the living. Upon my return to San Francisco, I shall pledge myself to the Abolitionist cause, because I owe my life to a self-freed slave & because I must begin somewhere. I hear my father-in-law's response. 'Oho, fine, Whiggish sentiments, Adam. But don't tell me about justice! Ride to Tennessee on an ass & convince the red-necks that they are merely white-washed negroes & their negroes are black-washed Whites! Sail to the Old World, tell 'em their imperial slaves' rights are as inalienable as the Queen of Belgium's! Oh, you'll grow hoarse, poor & grey in caucuses! You'll be spat on, shot at, lynched, pacified with medals, spurned by backwoodsmen! Crucified! Naïve, dreaming Adam. He who would do battle with the many-headed hydra of human nature must pay a world of pain & his family must pay along with him! & only as you gasp your dying breath shall you understand, your life amounted to no more than one drop in a limitless ocean!' Yet what is any ocean but a multitude of drops?
David Mitchell (Cloud Atlas)
Rabbi Heskel Shpilman is a deformed mountain, a giant ruined desert, a cartoon house with the windows shut and the sink left running. A little kid lumped him together, a mob of kids, blind orphans who never laid eyes on a man. They clumped the dough of his arms and legs to the dough of his body, then jammed his head down on top. A millionaire could cover a Rolls-Royce with the fine black silk-and-velvet expanse of the rebbe’s frock coat and trousers. It would require the brain strength of the eighteen greatest sages in history to reason through the arguments against and in favor of classifying the rebbe’s massive bottom as either a creature of the deep, a man-made structure, or an unavoidable act of God.
Michael Chabon (The Yiddish Policemen's Union)
Alabama legislature swiftly passed a measure under which the orphans of freed slaves, or the children of blacks deemed inadequate parents, were to be "apprenticed" to their former masters. The South Carolina planter Henry William Ravenel wrote in September 1865: "There must… be stringent laws to control the negroes, & require them to fulfill their contracts of labour on the farms."44
Douglas A. Blackmon (Slavery by Another Name: The Re-Enslavement of Black Americans from the Civil War to World War II)
I lay in bed, feeling the champagne tide retreating and leaving me beached, like some unfortunate sea creature. In its absence the Thing--heavy, black, suffocating--returned, as if it had been waiting all evening for the two of us to be alone. It slid oil-slick over my skin, filled my nostrils, pooled at the back of my throat. It whispered in my ear, stories about loss and loneliness and little orphan girls.
Alix E. Harrow (The Ten Thousand Doors of January)
wasn’t a minor statement: the victorious Union general of the Civil War was saying that terror tactics perpetrated by southern whites had nullified the outcome of the rebellion. All those hundreds of thousands dead, the millions maimed and wounded, the mourning of widows and orphans—all that suffering, all that tumult, on some level, had been for naught. Slavery had been abolished, but it had been replaced by a caste-ridden form of second-class citizenship for southern blacks, and that counted as a national shame.
Ron Chernow (Grant)
She did not look like an orphan," said the wife of the Oriel don, subsequently, on the way home. The criticism was a just one. ... Tall and lissom, she was sheathed from the bosom downwards in flamingo silk, and she was liberally festooned with emeralds. Her dark hair was not even strained back from her forehead and behind her ears, as an orphan's should be. Parted somewhere at the side, it fell in an avalanche of curls upon one eyebrow. From her right ear drooped heavily a black pearl, from her left a pink; and their difference gave an odd, bewildering witchery to the little face between.
Max Beerbohm (Zuleika Dobson)
Marjory Gengler (white American) to Mark Mathabane (black South African) in the late 1970s-- Marjory: Why don't blacks fight to change the system [apartheid] that so dehumanizes them? Mark's Response, from his memoirs: I told her [Marjory] about the sophistication of apartheid machinery, the battery of Draconian laws used to buttress it, the abject poverty in which a majority of blacks were sunk, leaving them with little energy and will to agitate for their rights. I told her about the indoctrination that took place in black schools under the guise of Bantu Education, the self-hatred that resulted from being constantly told that you are less than human and being treated that way. I told her of the anger and hatred pent-up inside millions of blacks, destroying their minds. I would have gone on to tell Marjory about the suffering of wives without husbands and children without fathers in impoverished tribal reserves, about the high infant mortality rate among blacks in a country that exported food, and which in 1987 gave the world its first heart transplant. I would have told them about the ragged black boys and girls of seven, eight and nine years who constantly left their homes because of hunger and a disintegrating family life and were making it on their own; by begging along the thoroughfares of Johannesburg; by sleeping in scrapped cars, gutters and in abandoned buildings; by bathing in the diseased Jukskei River; and by eating out of trash cans, sucking festering sores and stealing rotting produce from the Indian traders on First Avenue. I would have told her about how these orphans of the streets, some of them my friends--their physical, intellectual and emotional growth dwarfed and stunted--had grown up to become prostitutes, unwed mothers and tsotsis, littering the ghetto streets with illegitimate children and corpses. I would have told her all this, but I didn't; I feared she would not believe me; I feared upsetting her.
Mark Mathabane
CHORUS OF NIGHT VOICES Come out, come out, wherever you are, you dreamers and drowners, you loafers and losers, you shadow-seekers and orphans of the sun. Come out, come out, you flops and fizzler, you good-for-nothings and down-and-outers, a day's outcasts, dark's little darlin's. Come on, all you who are misbegotten and woebegone, all you with black thoughts and red-fever-visions, come on, you small-town Ishmaels with your sad blue eyes, you plain Janes and hard-luck guys, come, you gripers and groaners, you goners and loners, you sad sack and shlemiels, come on, come on, you pale romantics and pie-eye Palookas, you has-beens and never-will-bes, you sun-mocked and day-doomed denizens of the dar: come out into the night.
Steven Millhauser (Enchanted Night)
My dad gave me these charms, and each one represents something different. The raven protects against black magic. The bear inspires courage. The fish signifies a refusal to recognize other people’s magic.” “I never knew those charms had meaning.” Absently, Vivian reaches up and touches her own necklace. Looking closely at the pewter pendant for the first time, Molly asks, “Is your necklace—significant?” “Well, it is to me. But it doesn’t have any magical qualities.” She smiles. “Maybe it does,” Molly says. “I think of these qualities as metaphorical, you know? So black magic is whatever leads people to the dark side—their own greed or insecurity that makes them do destructive things. And the warrior spirit of the bear protects us not only from others who might hurt us but our own internal demons. And I think other people’s magic is what we’re vulnerable to—how we’re led astray. So . . . my first question for you is kind of a weird one. I guess you could think of it as metaphorical, too.” She glances at the tape recorder once more and takes a deep breath. “Okay, here goes. Do you believe in spirits? Or ghosts?” “My, that is quite a question.” Clasping her frail, veined hands in her lap, Vivian gazes out the window. For a moment Molly thinks she isn’t going to answer. And then, so quietly that she has to lean forward in her chair to hear, Vivian says, “Yes, I do. I believe in ghosts.” “Do you think they’re . . . present in our lives?” Vivian fixes her hazel eyes on Molly and nods. “They’re the ones who haunt us,” she says. “The ones who have left us behind.
Christina Baker Kline (Orphan Train)
On a quiet day, when the wind was still, the creek could be heard all the way up to where the old beech stood. Under its branches, cats would come to dream and be dreamed. Black cats and calicos, white cats and marmalade ones, too. Sometimes they exchanged gossip or told stories about L'il Pater, the trickster cat. More often they lay in a drowsy circle around the fat trunk of the ancient beech that spread its boughs above them. Then one of them might tell a story of the old and powerful Father of Cats, and though the sun might still be high and the day warm, they would shiver and groom themselves with nervous tongues. But they hadn't yet gathered on the day the orphan girl fell asleep among the beech's roots, nestling in the weeds and long grass like the gangly, tousle-haired girl she was. Her name was Lillian Kindred.
Charles de Lint (The Cats of Tanglewood Forest (Newford, #18))
By the logic used to approve BiDil, drugs tested on Americans should never be marketed overseas, or drugs tested only on whites should not be made available to anyone else. That logic had never resulted in a racial indication before. In the past, the FDA has generalized clinical trials involving white patients to approve drugs for everyone because it is assumed that white bodies function like all human bodies. By approving BiDil only for use in black patients, the FDA emphasized the supposedly distinctive—and, it is implied, substandard—quality of black bodies.30 The FDA treated white heart failure patients as the norm and blacks as a special case that had to be given a specialized therapy that Nissen compared to an orphan drug and that could not be assumed to work for other people. The message is: black people cannot represent all of humanity as well as white people can.
Dorothy Roberts (Fatal Invention: How Science, Politics, and Big Business Re-create Race in the Twenty-First Century)
As I became older, I was given many masks to wear. I could be a laborer laying railroad tracks across the continent, with long hair in a queue to be pulled by pranksters; a gardener trimming the shrubs while secretly planting a bomb; a saboteur before the day of infamy at Pearl Harbor, signaling the Imperial Fleet; a kamikaze pilot donning his headband somberly, screaming 'Banzai' on my way to my death; a peasant with a broad-brimmed straw hat in a rice paddy on the other side of the world, stooped over to toil in the water; an obedient servant in the parlor, a houseboy too dignified for my own good; a washerman in the basement laundry, removing stains using an ancient secret; a tyrant intent on imposing my despotism on the democratic world, opposed by the free and the brave; a party cadre alongside many others, all of us clad in coordinated Mao jackets; a sniper camouflaged in the trees of the jungle, training my gunsights on G.I. Joe; a child running with a body burning from napalm, captured in an unforgettable photo; an enemy shot in the head or slaughtered by the villageful; one of the grooms in a mass wedding of couples, having met my mate the day before through our cult leader; an orphan in the last airlift out of a collapsed capital, ready to be adopted into the good life; a black belt martial artist breaking cinderblocks with his head, in an advertisement for Ginsu brand knives with the slogan 'but wait--there's more' as the commercial segued to show another free gift; a chef serving up dog stew, a trick on the unsuspecting diner; a bad driver swerving into the next lane, exactly as could be expected; a horny exchange student here for a year, eager to date the blonde cheerleader; a tourist visiting, clicking away with his camera, posing my family in front of the monuments and statues; a ping pong champion, wearing white tube socks pulled up too high and batting the ball with a wicked spin; a violin prodigy impressing the audience at Carnegie Hall, before taking a polite bow; a teen computer scientist, ready to make millions on an initial public offering before the company stock crashes; a gangster in sunglasses and a tight suit, embroiled in a turf war with the Sicilian mob; an urban greengrocer selling lunch by the pound, rudely returning change over the counter to the black patrons; a businessman with a briefcase of cash bribing a congressman, a corrupting influence on the electoral process; a salaryman on my way to work, crammed into the commuter train and loyal to the company; a shady doctor, trained in a foreign tradition with anatomical diagrams of the human body mapping the flow of life energy through a multitude of colored points; a calculus graduate student with thick glasses and a bad haircut, serving as a teaching assistant with an incomprehensible accent, scribbling on the chalkboard; an automobile enthusiast who customizes an imported car with a supercharged engine and Japanese decals in the rear window, cruising the boulevard looking for a drag race; a illegal alien crowded into the cargo hold of a smuggler's ship, defying death only to crowd into a New York City tenement and work as a slave in a sweatshop. My mother and my girl cousins were Madame Butterfly from the mail order bride catalog, dying in their service to the masculinity of the West, and the dragon lady in a kimono, taking vengeance for her sisters. They became the television newscaster, look-alikes with their flawlessly permed hair. Through these indelible images, I grew up. But when I looked in the mirror, I could not believe my own reflection because it was not like what I saw around me. Over the years, the world opened up. It has become a dizzying kaleidoscope of cultural fragments, arranged and rearranged without plan or order.
Frank H. Wu (Yellow: Race in America Beyond Black and White)
Grant’s personal tragedy was simultaneously an American tragedy. Tormented by his decision, steeped in a meditative mood, Grant reflected on the deep changes wrought in northern Republican circles. He predicted to John Roy Lynch that the northern retreat from Reconstruction would lead to Democrats recapturing power in the South as well as “future mischief of a very serious nature . . . It requires no prophet to foresee that the national government will soon be at a great disadvantage and that the results of the war of the rebellion will have been in a large measure lost . . . What you have just passed through in the state of Mississippi is only the beginning of what is sure to follow. I do not wish to create unnecessary alarm, nor to be looked upon as a prophet of evil, but it is impossible for me to close my eyes in the face of things that are as plain to me as the noonday sun.”105 This wasn’t a minor statement: the victorious Union general of the Civil War was saying that terror tactics perpetrated by southern whites had nullified the outcome of the rebellion. All those hundreds of thousands dead, the millions maimed and wounded, the mourning of widows and orphans—all that suffering, all that tumult, on some level, had been for naught. Slavery had been abolished, but it had been replaced by a caste-ridden form of second-class citizenship for southern blacks, and that counted as a national shame.
Ron Chernow (Grant)
She drifted down the walk carelessly for a moment, stunned by the night. The moon had come out, and though not dramatically full or a perfect crescent, its three quarters were bright enough to turn the fog and dew and all that had the power to shimmer a bright silver, and everything else- the metal of the streetlamps, the gates, the cracks in the cobbles- a velvety black. After a moment Wendy recovered from the strange beauty and remembered why she was there. She padded into the street before she could rethink anything and pulled up her hood. "Why didn't I do this earlier?" she marveled. Sneaking out when she wasn't supposed to was its own kind of adventure, its own kind of magic. London was beautiful. It felt like she had the whole city to herself except for a stray cat or two. Despite never venturing beyond the neighborhood much by herself, she had plenty of time with maps, studying them for someday adventures. And as all roads lead to Rome, so too do all the major thoroughfares wind up at the Thames. Names like Vauxhall and Victoria (and Horseferry) sprang from her brain as clearly as if there had been signs in the sky pointing the way. Besides Lost Boys and pirates, Wendy had occasionally terrified her brothers with stories about Springheel Jack and the half-animal orphan children with catlike eyes who roamed the streets at night. As the minutes wore on she felt her initial bravery dissipate and terror slowly creep down her neck- along with the fog, which was also somehow finding its way under her coat, chilling her to her core. "If I'm not careful I'm liable to catch a terrible head cold! Perhaps that's really why people don't adventure out in London at night," she told herself sternly, chasing away thoughts of crazed, dagger-wielding murderers with a vision of ugly red runny noses and cod-liver oil. But was it safer to walk down the middle of the street, far from shadowed corners where villains might lurk? Being exposed out in the open meant she would be more easily seen by police or other do-gooders who would try to escort her home. "My mother is sick and requires this one particular tonic that can only be obtained from the chemist across town," she practiced. "A nasty decoction of elderberries and slippery elm, but it does such wonders for your throat. No one else has it. And do you know how hard it is to call for a cab this time of night? In this part of town? That's the crime, really." In less time than she imagined it would take, Wendy arrived at a promenade that overlooked the mighty Thames. She had never seen it from that particular angle before or at that time of night. On either bank, windows of all the more important buildings glowed with candles or gas lamps or even electric lights behind their icy panes, little tiny yellow auras that lifted her heart. "I do wish I had done this before," she breathed. Maybe if she had, then things wouldn't have come to this...
Liz Braswell (Straight On Till Morning (Twisted Tales))
Religious people, the “people of God,” the people of the impossible, impassioned by a love that leaves them restless and unhinged, panting like the deer for running streams, as the psalmist says (Ps. 42:1), are impossible people. In every sense of the word. If, on any given day, you go into the worst neighborhoods of the inner cities of most large urban centers, the people you will find there serving the poor and needy, expending their lives and considerable talents attending to the least among us, will almost certainly be religious people — evangelicals and Pentecostalists, social workers with deeply held religious convictions, Christian, Jewish, and Islamic, men and women, priests and nuns, black and white. They are the better angels of our nature. They are down in the trenches, out on the streets, serving the widow, the orphan, and the stranger, while the critics of religion are sleeping in on Sunday mornings. That is because religious people are lovers; they love God, with whom all things are possible. They are hyper-realists, in love with the impossible, and they will not rest until the impossible happens, which is impossible, so they get very little rest. The philosophers, on the other hand, happen to be away that weekend, staying in a nice hotel, reading unreadable papers on “the other” at each other, which they pass off as their way of serving the wretched of the earth. Then, after proclaiming the death of God, they jet back to their tenured jobs, unless they happen to be on sabbatical leave and are spending the year in Paris.
John D. Caputo (On Religion (Thinking in Action))
build it had to be carried by wagon many miles. There were four walls, a floor and a roof, which made one room; and this room contained a rusty looking cookstove, a cupboard for the dishes, a table, three or four chairs, and the beds. Uncle Henry and Aunt Em had a big bed in one corner, and Dorothy a little bed in another corner. There was no garret at all, and no cellar--except a small hole dug in the ground, called a cyclone cellar, where the family could go in case one of those great whirlwinds arose, mighty enough to crush any building in its path. It was reached by a trap door in the middle of the floor, from which a ladder led down into the small, dark hole. When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side. Not a tree nor a house broke the broad sweep of flat country that reached to the edge of the sky in all directions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the house was as dull and gray as everything else. When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had taken the sparkle from her eyes and left them a sober gray; they had taken the red from her cheeks and lips, and they were gray also. She was thin and gaunt, and never smiled now. When Dorothy, who was an orphan, first came to her, Aunt Em had been so startled by the child's laughter that she would scream and press her hand upon her heart whenever Dorothy's merry voice reached her ears; and she still looked at the little girl with wonder that she could find anything to laugh at. Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also, from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke. It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto was not gray; he was a little black dog, with long silky hair and small black eyes that twinkled merrily on either side of his funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly. Today, however, they were not playing. Uncle Henry sat upon the doorstep and looked anxiously at the sky, which was even grayer than usual. Dorothy stood in the door with Toto in her arms, and looked at the sky too. Aunt Em was washing the
L. Frank Baum (The Wonderful Wizard of Oz (Oz, #1))
During the decades since Dr. Fauci took over NIAID, he has sanctioned drug companies to experiment on at least fourteen thousand children, many of them Black and Hispanic orphans living in foster homes. He permitted these companies to operate without oversight or accountability. Under Dr. Fauci’s laissez faire rubric, these companies systematically abused and, occasionally, killed children.
Robert F. Kennedy Jr. (The Real Anthony Fauci: Bill Gates, Big Pharma, and the Global War on Democracy and Public Health)
A baby takes everything from you. Everything you were before.” She waved a hand, a ghostly flicker in the blackness. “Your time. Your figure. Your looks. They take your sleep until you don’t know how to function. But all that is just a disguise for the most important thing they take from you: your selfishness. And that’s the true gift of parenthood.
Gregg Andrew Hurwitz (Dark Horse (Orphan X, #7))
Ancient Code of Knighthood Fear the gods Maintain the temples Serve the liege lord in valor and faith Protect the immortal roses Honor the immortal courts Defend the weak from those who seek to harm Grant succor to widows and orphans Refrain from the wanton giving of offense Live by honor and for glory Despise pecuniary reward Fight for the welfare of all Obey those placed in authority Guard the honor of fellow knights Eschew unfairness and deceit Speak only truth Persevere to the end in any enterprise begun Respect the honor of women Safeguard the virtue of the maiden fair Accept all challenges from equals Never turn your back upon a foe
K.L. Bone (Black Rose (Black Rose #1))
Black birds of prey don’t sing; They wait...
A.A. Saloen (The Orphan and the Dragon of Ice (The Black Chamber))
Varya gave him her broadest summer smile. “Don’t you know me?” It had happened a long time ago. She had only just moved from the municipal school to a middle form in the high school, changing her own black apron (with shoulder straps) for a green smock. But the two older school friends from out of town with whom, as an orphan, she shared lodgings already had dealings with a certain Yemmanuil Yenchman (he was always introduced
Aleksandr Solzhenitsyn (August 1914: A Novel (The Red Wheel I))
she stepped back into a fighting posture, hands raised, jaw set. The man in the middle reached inside his loose-fitting jacket. They swept forward. Ten yards away. Behind them a form swung down from the metal overhang and crouched on the landing to break his fall, one hand pressed to the concrete. Soundless. * * * Evan couldn’t fire his ARES. Not with Joey in the background. But that was okay. He was eager to use his hands. Joey spotted him through the gap between the advancing men. They read her eyes, the change in her stance. They turned. Three men. One pistol drawn, two on the way. Evan moved on the gun first. A jujitsu double-hand parry to a figure-four arm bar, the pleasing snap-snap of wrist and elbow breaking, and— —Jack sways in the Black Hawk, hands cuffed behind him, wind blasting his hair when— —the pistol skittered free across the tracks, the guy on his knees, his
Gregg Andrew Hurwitz (Hellbent (Orphan X, #3))
Readers of these pages will learn how in exalting patented medicine Dr. Fauci has, throughout his long career, routinely falsified science, deceived the public and physicians, and lied about safety and efficacy. Dr. Fauci’s malefactions detailed in this volume include his crimes against the hundreds of Black and Hispanic orphan and foster children whom he subjected to cruel and deadly medical experiments and his role, with Bill Gates, in transforming hundreds of thousands of Africans into lab rats for low-cost clinical trials of dangerous experimental drugs that, once approved, remain financially out of reach for most Africans. You will learn how Dr. Fauci and Mr. Gates have turned the African continent into a dumping ground for expired, dangerous, and ineffective drugs, many of them discontinued for safety reasons in the US and Europe.
Robert F. Kennedy Jr. (The Real Anthony Fauci: Bill Gates, Big Pharma, and the Global War on Democracy and Public Health)
 I expected him to leave, but Ryan stayed put, staring at both of us as if he didn’t like what he saw. And every moment that passed made me more and more uncomfortable. Like he could see into my black, orphaned soul or something.   That and the physical awareness of him made me feel panicky. As did how good he smelled. He hadn’t showered yet, and I should have been turned off by that. I learned once in a biology class that when women are ovulating, they are more attracted to sweaty men. Like their ovaries have magnificent-male-specimen radar.   I had to be ovulating because I kind of wanted to do nothing else but smell him for the rest of my life.   It freaked me out. 
Sariah Wilson (#Moonstruck (#Lovestruck, #2))
I’ve had motherland-born African family tell me I don’t have a right to my Africanness because my ancestors were sold. I have had multi-generation African American family tell me I don’t have a right to my Americanness although I was born and raised on Black soil in the U.S. of A. I have had Guyanese family tell me I don’t have a right to the culture that birthed my parents, grandparents, and their great-grandparents because I am a “Yankee.” For all these folks, I am an orphan. But that’s their problem, because only I get to define me, and I own all of my spiritual, cultural, geographical, and genetic DNA.
Abiola Abrams (African Goddess Initiation: Sacred Rituals for Self-Love, Prosperity, and Joy)
She’d spent three centuries waiting and hoping for a male to notice her. Three centuries trying to fit in with the glymera. Three centuries working desperately to be someone’s sister, someone’s daughter, someone’s mate. All those external expectations had been the laws of physics that had governed her life, more pervasive and grounding than gravity. Except where had trying to meet them gotten her? Orphaned, unmated, and shunned. All right, then, her first rule for the rest of her days: no more looking outside for definitions. She might not have any clue who she was, but better to be lost and searching than shoved into a social box by someone else.
J.R. Ward (Lover Revealed (Black Dagger Brotherhood, #4))
Eventually, he brought me a translation of the Islamic Holy Book, the Quran, and one night, as I read, I came across a sura that touched me so deeply, moved me so profoundly, it was as though God had whispered in my ear. My life didn't change, the circumstances that plagued me -- poverty, exile from the real world, continuous fears about what lay ahead -- didn't change. I wasn't instantly, miraculously cured of the blackness that was rooted in my soul, but I was comforted. I, who felt and believed that I was beyond even the capability of God to love and forgive, who feared daily retribution of the meanest, vilest kind, cried to the first time since I'd come to this house, not bitterly, not grudging the tears. 'By the morning hours, And by the night when it is stillest The Lord hath not forsaken thee nor doth He hate thee And verily the latter portion will be better for thee than the former And verily thy Lord will give unto thee so that thou will be content Did He not find thee an Orphan and protect thee? Did He not find thee wandering and direct thee? Did He not find thee destitute and enrich thee? Therefore the orphan oppress not, Therefore the beggar drive not away, Therefore the bounty of thy Lord be thy discourse. (Sura 93)' That verse freed me. I was not an outcast, not hated by a God who could love and forgive everyone but me. In time, I could see my being in this house as an act of man, not an act of God. I also began to believe that there might be another reason for my being directed here; I was not here to die, but perhaps to do something about the place and the people. I began to feel I'd been given back purpose.
Pat Capponi (Upstairs In The Crazy House: The Life Of A Psychiatric Survivor)
Michigan is still home to one of the most extreme human containment systems in the United States. Its prison population has increased by 450 percent since 1973, and the state maintains a higher rate of imprisonment than most countries. African Americans are the largest incarcerated group by far in Michigan, with a total population of 14 percent and a penal population of 49 percent. Latinos and Native Americans are incarcerated in Michigan at rates equal to their population percentage. However, white Michiganders, who make up 77 percent of the general population, are underrepresented in the prison population at 46 percent. Racialized sentencing policies have much to do with these statistics. Historians Heather Ann Thompson and Matthew Lassiter, the founding codirectors of the Carceral State Project at the University of Michigan, point to "draconian" state legislation that by the 1990s included the infamous "lifer laws," which exacted life terms for narcotics possessions of over 650 grams and extinguished the opportunity for parole. As men and women were thrown behind bars for nonviolent offenses in the 1980s through the early 2000s, Detroit neighborhoods were gutted, children were orphaned, and voter rolls were depleted.
Tiya Miles (Four Hundred Souls: A Community History of African America, 1619-2019)
J. Edgerton/ The Spirit of Christmas Page 17 Continued JONAS AND JAMES (SINGING) “O come all ye faithful. Joyful and triumphant. O come ye, o come ye to Bethlehem. Come and behold him. Born the king of angels. O come let us adore him. O come let us adore him. O come let us adore him. Christ the lord.” “Sing, choirs of angels, Sing in exultations. Sing, all ye citizens of heavn above; Glory to god, Glory in the highest. O come let us adore him. O come let us adore him. O come let us adore him, Christ the lord!” An occasional passer-by dropped a coin into the cup held by the littlest Nicholas. Thorn tipped his hat to them, trying to keep his greedy looks to a minimum. “Sing loudly my little scalawags. We’ve only a few blocks to go of skullduggery. Then you’ll have hot potato soup before a warm fire.” The Nicholas boys sang louder as they shivered from the falling snow and the wind that seemed to cut right through their shabby clothes, to their very souls. A wicked smile spread over the face of the villainous Mr. Thorn, as he heard the clink of a coin topple into the cup. “That’s it little alley muffins, shiver more it’s good for business.” His evil chuckle automatically followed and he had to stifle it. They trudged on, a few coins added to the coffer from smiling patrons. J. Edgerton/ The Spirit of Christmas Page 18 Mr. Angel continued to follow them unobserved, darting into a doorway as Mr. Thorn glanced slyly behind him, like a common criminal but there was nothing common about him. They paused before the Gotham Orphanage that rose up with its cold stone presence and its’ weathered sign. Thorn’s deep voice echoed as ominous as the sight before them, “Gotham Orphanage, home sweet home! A shelter for wayward boys and girls and a nest to us all!” He slyly drew a coin from his pocket, and twirled it through his fingers. Weather faced Thorn then bit down on the rusty coin, to make sure that it was real. He then deposited all of the coin into the inner pocket of his coat, with an evil chuckle. IV. “GOTHAM ORPHANAGE” “Now never you mind about the goings on of my business. You just mind your own. Now off with ya. Get into the hall to prepare for dinner, such as it is,” Thorn’s words echoed behind them. “And not a word to anyone of my business or you’ll see the back of me hand.” He pushed the boy toward the dingy stone building that was their torment and their shelter. The tall Toymaker glanced after them and then trod cautiously towards Gotham Orphanage. Jonas and James paced along the cracked stone pathway and up the front steps of the main entryway, that towered in cold stone before them. Thorn ushered the boys through the weathered front door to Gotham’s Orphanage. Mr. Angel paced after them and paused, unobserved, near the entrance. As they trudged across the worn hard wood floors of Gotham Orphanage, gala Irish music was heard coming from the main hall of building. Thorn herded the boys into the main hall of the orphanage that was filled with every size and make of both orphan boys and girls seated quietly at tables, eating their dinner. Then he turned with an evil look and hurriedly headed down the long hallway with the money they’ve earned. Jonas and James paced hungrily through the main hall, before a long table with a large, black kettle on top of it and loaves of different types of bread. They both glanced back at a small makeshift stage where orphans in shabby clothes sat stone faced with instruments, playing an Irish Christmas Ballad. Occasionally a sour note was heard. At a far table sat Men and Women of the Community who had come to have dinner and support the orphanage. In front of them was a small, black kettle with a sign that said “Donations”.
John Edgerton (The Spirit of Christmas)
But she was barely listening. “There’s this newish thing from Amazon? Called an AMI—an Amazon Machine Image. Basically it runs a snapshot of an operating system. There are hundreds of them, loaded up and ready to run.” Evan said, “Um.” “Virtual machines,” she explained, with a not-insubstantial trace of irritation. “Okay.” “But the good thing with virtual machines? You hit a button and you have two of them. Or ten thousand. In data centers all over the world. Here—look—I’m replicating them now, requesting that they’re geographically dispersed with guaranteed availability.” He looked but could not keep up with the speed at which things were happening on the screen. Despite his well-above-average hacking skills, he felt like a beginning skier atop a black-diamond run. She was still talking. “We upload all the encrypted data from the laptop to the cloud first, right? Like you were explaining poorly and condescendingly to me back at the motel.” “In hindsight—” “And we spread the job out among all of them. Get Hashkiller whaling away, throwing all these password combinations at it. Then who cares if we get locked out after three wrong password attempts? We just go to the next virtual machine. And the one after that.” “How do you have the hardware to handle all that?” She finally paused, blowing a glossy curl out of her eyes. “That’s what I’m telling you, X. You don’t buy hardware anymore. You rent cycles in the cloud. And the second we’re done, we kill the virtual machines and there’s not a single trace of what we did.” She lifted her hands like a low-rent spiritual guru. “It’s all around and nowhere at the same time.” A sly grin. “Like you.
Gregg Andrew Hurwitz (Hellbent (Orphan X, #3))
Well,” she says, “I’m a Penobscot Indian on my father’s side. When I was young, we lived on a reservation near Old Town.” “Ah. Hence the black hair and tribal makeup.” Molly is startled. She’s never thought to make that connection—is it true?
Christina Baker Kline (Orphan Train)
Like last week, she was wearing all black. And like last week, he couldn’t keep from noticing the way the dark color highlighted her pale skin and grayish-blue eyes. She was petite and put together in every detail from her severe coif to her immaculate garments. Though she wasn’t remarkable in her appearance, there was something in her delicate porcelain face that he liked. Perhaps her determination? Or compassion? Or honesty? Truthfully, he hadn’t noticed her at all before last Sunday, but now he was chagrined to admit he’d thought about her all week. He’d told himself that his thoughts had only to do with the way God had spoken through her to answer his prayer. He’d been battling such doubts recently regarding his ministry among the immigrants, and when she’d spoken to him after the service, it was almost as if she’d been delivering a message directly from God. He loved when God worked that way. Regardless, his mind had wandered too many times from the answered prayer to the bearer of the answer. He hadn’t met a woman in years who had arrested him quite the way Miss Pendleton had. And he was quite taken aback by his strange reaction. After Bettina had passed away ten years ago, he’d had little desire to think about courting other women. At first he’d been too filled with grief and had focused all his energy on raising Thomas. When Thomas had left home to pursue his studies at Union Theological Seminary, Guy had taken the challenge given by the New York Methodist Episcopal Conference. He’d accepted their position as an itinerant pastor to start a mission and chapel among the lions’ den. He’d left his comfortable pastoral position and embraced God’s calling to raise the outcast and homeless, to be among those who had no friend or helper, and do something for them of what Christ had done for him. He’d focused all his time and attention on reaching the lost. Nothing and no one had shaken that attention. Until last week.
Jody Hedlund (An Awakened Heart (Orphan Train, #0.5))
He was Chester the Molester. A rich businessman looking to adopt. A dealer in human organs on the black market.
Gregg Andrew Hurwitz (Orphan X (Orphan X, #1))
other, better, memories: making fried eggs with her dad, turning them over with a large black plastic spatula. “Not so fast, Molly Molasses,” he’d say. “Easy. Otherwise the eggs’ll go splat.
Christina Baker Kline (Orphan Train)
Hang on.” Molly shrugs off her army jacket and hangs it on the black iron coatrack in the corner. “What about that cup of tea?” “No time,” Vivian calls over her shoulder. “I’m old, you know. Could drop dead any minute. We’ve got to get going!” “Really? No tea?” Molly grumbles, following behind her. A curious thing is happening. The stories that Vivian began to tell only with prodding, in dutiful answer to specific questions, are spilling forth unprompted, one after another, so many that even Vivian seems surprised. “‘Who would have thought the old man to have had so much blood in him?
Christina Baker Kline (Orphan Train)
she takes a deep breath and runs a finger under the chain around her neck. “My dad gave me these charms, and each one represents something different. The raven protects against black magic. The bear inspires courage. The fish signifies a refusal to recognize other people’s magic.” “I never knew those charms had meaning.” Absently, Vivian reaches up and touches her own necklace. Looking closely at the silver pendant for the first time, Molly asks, “Is your necklace—significant?” “Well, it is to me. But it doesn’t have any magical qualities.” She smiles. “Maybe it does,” Molly says. “I think of these qualities as metaphorical, you know?
Christina Baker Kline (Orphan Train)
Afghanistan is a land of widows and widowers, orphans and the missings. Missing a right leg, a left hand, a child,or a mother. Everyone was missing something, as if a black hole had openend in the centre of the country, sucking in bits and pieces of everyone into its harden belly.
Nadia Hashimi (When the Moon is Low)
At the back of the yard, tufted with grass like sparse hair on a balding head, is a weathered gray shed with a slit cut out of the door. Fanny nods toward it. “I’ll wait.” “You don’t have to.” “The longer you’re in there, the longer my fingers get a break.” The shed is drafty, and I can see a sliver of daylight through the slit. A black toilet seat, worn through to wood in some places, is set in the middle of a rough-hewn bench. Strips of newspaper hang on a roll on the wall. I remember the privy behind our cottage in Kinvara, so the smell doesn’t shock me, though the seat is cold. What will it be like out here in a snowstorm? Like this, I suppose, only worse. When I’m finished, I open the door, pulling down my dress. “You’re pitiful thin,” Fanny says. “I’ll bet you’re hungry.” Hongry. She’s right. My stomach feels like a cavern. “A little,” I admit. Fanny’s face is creased and puckered, but her eyes are bright. I can’t tell if she’s seventy or a hundred. She’s wearing a pretty purple flowered dress with a gathered bodice, and I wonder if she made it herself. “Mrs. Byrne don’t give us much for lunch, but it’s prolly more’n you had.” She reaches into the side pocket of her dress and pulls out a small shiny apple. “I always save something for later, case I need it. She locks up the refrigerator between meals.” “No,” I say. “Oh yes she does. Says she don’t want us rooting around in there without her permission. But I usually manage to save something.” She hands me the apple. “I can’t—
Christina Baker Kline (Orphan Train)
She yanked open the door, and her smile faded. The same Indian who had wanted to trade two horses for her was standing on the apple crate that served as a front step, his black hair dripping with water, his calico shirt so wet that his copper skin showed through in places. “No house!” he said. Lily was paralyzed for a moment. Here it was, she thought, the moment she’d been warned about. She was going to be scalped, or ravaged, or carried off to an Indian village. Maybe all three. She cast a desperate glance toward the shutgun, at the same time smiling broadly at the Indian. “I’m terribly sorry,” she said, “but of course you can see that there is a house.” “Woman go away!” the Indian insisted. Lily’s heart was flailing in her throat like a bird trapped in a chimney, but she squared her shoulders and put out her chin. “I’m not going anywhere, you rude man,” she replied. “This is my land, and I have the papers to prove it!” The Indian spouted a flock of curses; Lily knew the words for what they were only because of their tone. She started to close the door. “If you’re going to be nasty,” she said, “you’ll just have to leave.” Undaunted, the red man pushed past Lily and strode right over to the stove. He got a cup from the shelf, filled it with coffee, and took a sip. He grimaced. “You got firewater?” he demanded. “Better with firewater.” Lily had never been so frightened or so angry in her life. With one hand to her bosom she edged toward the shotgun. “No firewater,” she said apologetically, “but there is a little sugar. There”—she pointed—“in the blue bowl.” When her unwanted guest turned around to look for the sugar, Lily lunged for the shotgun and cocked it. There was no shell in the chamber; she could only hope the Indian wouldn’t guess. “All right, you,” she said, narrowing her eyes and pointing the shotgun. “Get out of here right now. Just ride away and there won’t be any trouble.” The Indian stared at her for a moment, then had the audacity to burst out laughing. “The major’s right about you,” he said in perfectly clear English. “You are a hellcat.” Now it was Lily who stared, slowly lowering the shotgun. “So that’s why Caleb wasn’t alarmed that day when you and your friends rode up and made all that fuss about the land. He knows you.” “The name’s Charlie Fast Horse,” the man said, offering his hand. Lily’s blood was rushing to her head like lava flowing to the top of an erupting volcano. “Why, that polecat—that rounder—that son-of-a—” Charlie Fast Horse set his coffee aside and held out both hands in a plea for peace. “Calm down, now, Miss Lily,” he pleaded. “It was just a harmless little joke, after all.” “When I see that scoundrel again I’m going to peel off his hide!” Charlie was edging toward the door. “Lord knows I’d like to warm myself by your fire, Miss Lily, but I’ve got to be going. No, no—don’t plead with me to stay.” “Get out of here!” Lily screamed, and Charlie Fast Horse ran for his life. Obviously he didn’t know the shotgun wasn’t loaded. The
Linda Lael Miller (Lily and the Major (Orphan Train, #1))
George Washington so liked Edward Savage’s painting of “The President and His Family, the full size of life,” that he ordered “four stipple engravings” in “handsome, but not costly, gilt frames, with glasses,” and hung one of his purchases over the fireplace mantel in the small dining room at Mount Vernon. As the Washington family—George and Martha, and two of Martha’s orphaned grandchildren, George Washington (“Washy”) and Eleanor (“Nelly”) Custis—took their daily repast, Edward Savage’s tableau of “The President and His Family” looked down upon them. It is likely that Washington favored the portrait above many others because of its intimacy and its affirmation of the future. The family gathers about a table at Mount Vernon, George seated at the left, opposite his wife, Martha. Washy, the younger of the two grandchildren, stands in the left foreground, while Nelly stands at the right in the middle ground. Washington rests his right hand upon the boy’s shoulder; Washy, in turn, holds a compass in his right hand, which he rests upon a globe, in a stance suggesting that succeeding generations of the family were destined to spread the ideals of liberty and democracy around the world. In the background, framed by large pillars and a swagged curtain, Savage presents a glimpse, as he said in a note, of “a view of thirty miles down the Potomac River.” On the table at the portrait’s center rests Andrew Ellicott’s map of the new federal seat of government. The family appears to be unrolling the document; Washington holds it flat with his left arm and sword, while Nelly and Martha steady it on the right. With her folded fan, Martha gestures to “the grand avenue,” as Savage called it, that connects the Capitol with the White House. In the right middle ground stands one of the chief contradictions of the new democracy, a nameless black male servant, part of the retinue of more than three hundred slaves the Washingtons depended upon for their comfort, security, and prosperity. Dressed in the colors of Mount Vernon livery, a gray coat over a salmon red waistcoat, he possesses an almost princely quality. His black, combed-back hair frames his dark face with its prominent nose. His unknowable eye impassively takes in the scene. He keeps his left hand enigmatically concealed in his waistcoat; his collar flamboyantly mirrors Washington’s across from him. The slave must remain a shadow, unobtrusive, unassuming, unremarkable, almost a part of the frame for the Potomac. Only the slave’s destiny seems apart from those gathered about the table examining the plans, yet from the beginning the fates of both slavery and the new city were inextricably intertwined. The nameless man’s story, along with the stories of tens of thousands of others, was very much a part of the plot unfolding on the Potomac in the 1790s. The consequences of involuntary servitude would affect and effect Washington’s development to the present day.
Tom Lewis (Washington: A History of Our National City)
THE FIRST DEMOCRAT The real founder of the modern Democratic Party was Andrew Jackson. Jackson, an orphan from Appalachia, rose from obscurity to become America’s most celebrated general and military hero after George Washington. He won the presidency by a landslide in 1828 and an even bigger one in 1832. His proteges dominated the Democratic Party for half a century, until the Civil War. During his lifetime Jackson was immensely popular with ordinary people, earning him the reputation of being the common man’s president. One might expect the Democrats—who even today purport to be the party of the common man—to embrace Jackson and acknowledge his paternity of their party. This, however, is not the case. So why do they distance themselves from Jackson? Why do progressives consider him such an embarrassment? Not only do many on the Left refuse to acknowledge Jackson’s founding role in the Democratic Party, they also want to kick him off the $20 bill where his face currently appears. Progressives want to see him replaced on the currency with the woman who ran the Underground Railroad, Harriet Tubman. To some degree, the progressive objective seems clear. Jackson, after all, owned some three hundred slaves during his lifetime. At one time he ran a plantation that had 150 slaves. So Jackson’s expulsion seems consistent with the general progressive antipathy toward slavery. The same antipathy explains the choice of Tubman, who was a female abolitionist. Moreover, Tubman was a woman. If the Democrats are going to place a woman, Hillary, on the presidential ticket, why not also have a woman, Tubman, on the currency? Even so, the proposal is interesting because Jackson was a Democrat—the founding father of the Democratic Party—while Tubman was a Republican. Admittedly progressives have no intention of highlighting that fact about Tubman; indeed it goes virtually unmentioned in the news reports. The progressive media is not comfortable with a female black abolitionist representing the Republican Party while a white male slave owner represents the Democratic Party.
Dinesh D'Souza (Hillary's America: The Secret History of the Democratic Party)
If you’re courting me, Major Halliday,” she said, “it is only fair to tell you that I have no intention of marrying. Ever.” He unsettled Lily completely with a chuckle. “I’m not courting you,” he answered, with such assurance that Lily was stung. “But you’ll never make a spinster,” he added. “I will,” Lily insisted through her teeth. Caleb stopped the buggy and, with the black leather bonnet hiding them from the prying eyes of Tylerville, cupped Lily’s chin in his hand and lifted it. His grasp was not painful, but it wasn’t gentle, either. “You’ll marry,” he replied, “and here’s the reason why.” Before Lily could make a move to twist away he kissed her. Those lips she’d found so appealing shaped hers effortlessly to suit them. Her breasts were pressed to his chest, and she could feel her nipples budding against him like spring flowers. She gave a soft whimper as his tongue touched hers in a caressing flick, and the kiss went on. Endlessly. When Caleb finally broke away Lily found her hands clutching his shoulders. Shamed, she let go of him and made to smooth her hair. He took up the reins without a word and set the horse and rig in motion again. They’d gone some distance before Lily could bring herself to speak. “You really should take me back to Mrs. McAllister’s.” Caleb’s eyes glowed like amber coals. “Not a chance, Miss Chalmers. We haven’t finished our argument.” They had finished, as far as Lily was concerned, and he’d won. Never in her wildest dreams had she guessed that being kissed would feel like that. She could hardly wait to do it again. “What argument was that, Major?” she retorted. “You said you’d never marry.” Lily sighed in spite of herself. “You were very forward just now.” “Yes.” “Would you care to be forward again, please?” Caleb laughed. “That’s one thing you won’t have to worry about,” he answered. Lily
Linda Lael Miller (Lily and the Major (Orphan Train, #1))
I think of these qualities as metaphorical, you know? So black magic is whatever leads people to the dark side—their own greed or insecurity that makes them do destructive things.
Christina Baker Kline (Orphan Train)
to scare them away. Wisely her thoughts around Ryder she kept to herself. When she’d finished speaking, Davy said, ‘Well, firstly I have no doubt, from what you’ve told me, that someone did follow you home.’ Lily sighed with relief that her husband believed her and didn’t consider her to be foolish. ‘Also, I wouldn’t put it past Aunt Maud to do something like that. However, without being certain it was her, there’s not much we can do. Even if we were to up and move, Lily, Maud wouldn’t be able to move into the house, as it would be up for sale and she couldn’t afford to buy it.’ Lily saw the sense of his words and nodded. ‘Having said all that, I’m taking no chances. Tomorrow morning I will hire a cabbie to take you to Webb’s and bring you home in the evenings.’ ‘Thank you,’ Lily said as she smiled. Feeling relieved, she went to the kitchen to prepare their dinner. As she set the kettle to boil, Lily’s mind transported her back. She’d
Lindsey Hutchinson (The Orphan Girl (Black Country #4))
The sexton studied me; again he clicked his tongue twice. “The boy, yes,” he said in his soft voice. “I do not much care for childhood. It is a state of terrible vulnerability, and is therefore unnatural and incompatible with human life. Everyone will cut you, strike you, cheat you, everyone will offer you suffering when goodness should reign. And because children can do nothing for themselves, they need good advocates, good parents. But a good parent is as rare as snow in summer, I am afraid. Well.” He smiled sadly. “It is possible I have some prejudices in this respect.” “You are an orphan yourself, are you
Esi Edugyan (Washington Black)
Just one, I'm a few, no family too, who am I?
Orphan Black
Reading Group Guide  1.   The river town of Hobnob, Mississippi, is in danger of flooding. To offset the risk, the townspeople were offered the chance to relocate in exchange for money. Some people jumped at the opportunity (the Flooders); others (the Stickers) refused to leave, so the deal fell through. If you lived in Hobnob, which choice would you make and why? If you’d lived in New Orleans at the time of Hurricane Katrina, would you have fled the storm or stayed to protect your house? Did the two floods remind you of each other in terms of official government response or media coverage?  2.   How are the circumstances during the Prohibition era (laws against consuming or selling alcohol, underground businesses that make and sell booze on the black market, corruption in the government and in law enforcement) similar to what’s happening today (the fight to legalize and tax marijuana, the fallout of the drug war in countries like Mexico and Colombia, jails filled with drug abusers)? How are the circumstances different? Do you identify with the bootleggers or the prohibitionists in the novel? What is your stance on the issue today?  3.   The novel is written in third person from two different perspectives—Ingersoll’s and Dixie Clay’s—in alternating chapters. How do you think this approach adds to or detracts from the story? Are you a fan of books written from multiple perspectives, or do you prefer one character to tell his/her side of the story?  4.   The Tilted World is written by two authors. Do you think it reads differently than a book written by only one? Do you think you could coauthor a novel with a loved one? Did you try to guess which author wrote different passages?  5.   Language and dialect play an important role in the book. Do you think the southern dialect is rendered successfully? How about the authors’ use of similes (“wet towels hanging out of the upstairs windows like tongues”; “Her nylon stockings sagged around her ankles like shedding snakeskin.”). Do they provide necessary context or flavor?  6.   At the end of Chapter 5, when Jesse, Ham, and Ingersoll first meet, Ingersoll realizes that Jesse has been drinking water the entire time they’ve been at dinner. Of course, Ham and Ingersoll are both drunk from all the moonshine. How does this discovery set the stage for what happens in the latter half of the book?  7.   Ingersoll grew up an orphan. In what ways do you think that independence informed his character? His choices throughout the novel? Dixie Clay also became independent, after marrying Jesse and becoming ostracized from friends and family. Later, after Ingersoll rescues her, she reflects, “For so long she’d relied only on herself. She’d needed to. . . . But now she’d let someone in. It should have felt like weakness, but it didn’t.” Are love and independence mutually exclusive? How did the arrival of Willy prepare these characters for the changes they’d have to undergo to be ready for each other?  8.   Dixie Clay becomes a bootlegger not because she loves booze or money but because she needs something to occupy her time. It’s true, however, that she’s not only breaking the law but participating in a system that perpetrates violence. Do you think there were better choices she could have made? Consider the scene at the beginning of the novel, when there’s a showdown between Jesse and two revenuers interested in making an arrest. Dixie Clay intercepts the arrest, pretending to be a posse of gunslingers protecting Jesse and the still. Given what you find out about Jesse—his dishonesty, his drunkenness, his womanizing—do you think she made the right choice? If you were in Dixie Clay’s shoes, what would you have done?  9.   When Ham learns that Ingersoll abandoned his post at the levee to help Dixie Clay, he feels not only that Ingersoll acted
Tom Franklin (The Tilted World)
I never saw the King—I did not expect to, yet a tiny part of me, the part which imagined him leading his troops with raven plumes blown back from a silver helmet, was disappointed. The King cloistered himself in his castle, it was said, surrounded on all sides by rivers, one white, and one black. It sounded like a child’s story, and in the days to come I wondered if there had ever been a King, if we were not simply marching and fighting and digging and eating horrors of worm and centipede and mud to keep starvation at our backs because someone, somewhere, had once simply dreamed of a King with a golden crown.
Catherynne M. Valente (In the Cities of Coin and Spice (The Orphan's Tales, #2))
Those who subscribe to this theory have suggested HIV was spread by some pro-eugenics splinter group to decimate the black race, both in the US and in Africa.
James Morcan (The Orphan Conspiracies: 29 Conspiracy Theories from The Orphan Trilogy)
In other words, plague left in its wake vast numbers of orphans, widows, and destitute families. Furthermore, unlike most epidemic diseases, the plague did not show a predilection for the poor. It attacked universally, again conveying a sense that its arrival marked the final day of reckoning—the day of divine wrath and judgment.
Frank M. Snowden III (Epidemics and Society: From the Black Death to the Present)
The celestial orphan Pluto roams unloved and helpless. Unable to contemplate its fate, it searches for a black hole to put an end to the misery.
Humans out there are grotesque: Scrooges and Jellybys and filthy orphans in the caverns of blacking factories, in lonely depopulated homes, a blight called television like tiny Plato's caves in every room. It is grimmer in the Outside. There is a war in the Falkland Islands, there are Sandinistas and Contras, there are muggings and rapes, terrible things he has heard the adults talking about, has read about himself when he can find an old wrinkled paper in the Free Store. The president is an actor, placed in power to smoothly deliver the corporations' lies. There are bombs among the stars and murders in the inner cities, red rain over London, there are kidnappers and slaves even now, even in America.
Lauren Groff (Arcadia)
I'm the Black Death. And what I do is, I get rid of scum.
C.R.R. Hillin (The Sword and the Rose (The Orphan's Code Book 2))
Why was it I sometimes felt as weary of America as if I too had landed in what was now South Carolina in 1526 or in Jamestown in 1619? Was it the tug of all the lost mothers and orphaned children? Or was it that each generation felt anew the yoke of a damaged life and the distress of being a native stranger, an eternal alien?
Saidiya Hartman (Lose Your Mother: A Journey Along the Atlantic Slave Route)
Reverend Bedell?” she said. He halted and glanced at her. She expected irritation or at least weariness to cross his features and was completely unprepared for his warm smile and the genuine kindness in his eyes. “Yes? Mrs. . . . ? Forgive me. I seem to have forgotten your name.” “Please don’t concern yourself. You have so many names to remember.” His eyes had pleasant crinkles at the corners, belying his age in a way the rest of his appearance didn’t. She’d overheard the other ladies at the Society meeting whispering that he had a grown son who was in seminary and studying to be a pastor. Yet he certainly didn’t look old enough for that to be true. “I always try to learn the names of volunteers. It just takes me time, Mrs. . . .” “Miss Pendleton,” she supplied, shifting uncomfortably as he perused her black dress with its sloping shoulders, wide pagoda sleeves, and full skirt. Mother had passed away in March, and she hadn’t yet finished the six months of mourning that was socially expected at the loss of a parent. “Mrs. Pendleton,” he replied. “I’m sorry for your loss. Your husband?” “Oh, no. I’m not married. It’s Miss Pendleton.” She enunciated her title more clearly and loudly, but then realized she’d just announced her spinsterhood for all the world to hear and flushed at the mistake. “I beg your pardon,” the reverend said. “My mother recently passed,” she added and hurried to cover her embarrassment. “She was ill for many years and was finally released from her burdens.” “Again, I’m sorry for your loss.” From the compassion that filled his eyes, she had the distinct impression he was being sincere and not merely placating her. “Thank you.
Jody Hedlund (An Awakened Heart (Orphan Train, #0.5))
Molly holds the coat up, inspecting it. It’s interesting, actually, sort of a military style with bold black buttons. The gray silk lining is disintegrating. Going through the pockets, she fishes out a folded piece of lined paper, almost worn away at the creases. She unfolds it to reveal a child’s careful cursive in faint pencil, practicing the same sentence over and over again: Upright and do right make all right. Upright and do right make all right. Upright and do right . . . Vivian takes it from her and spreads the paper open on her knee. “I remember this. Miss Larsen had the most beautiful penmanship.” “Your teacher?” Vivian nods. “Try as I might, I could never form my letters like hers.
Christina Baker Kline (Orphan Train)
Gertrude Chandler Warner (Houseboat Mystery (The Boxcar Children Mysteries))
The TV series Orphan Black , starring Tatiana Maslaney as grifter Sarah Manning and her various “genetic identicals” (some of them are touchy about the c-word), returns to BBC America for a third season April 18.
Macon grinned as a white-haired man with pale, bushy eyebrows approached. He was wearing a light-colored suit, like most of the men around him, and there was a black string tie at his throat. His blue eyes were gentle as they moved from Steven’s face to Emma’s, and he extended a hand to her. “Hello, Emma,” he said simply. Emma’s gaze shifted to Steven as he was led away roughly, and tears gathered on her lashes, blinding her. She wanted to scream that he was innocent, but she knew that would only make bad matters worse. While a smug Macon watched Steven disappear, the old man smiled at Emma and offered her his handkerchief. “Since my grandson hasn’t troubled himself to introduce us,” he said, with a sour glance at Macon, “I’ll do the honors. I’m Cyrus Fairfax, and now that you’ve joined the family I consider myself your granddaddy.” Emma dried her eyes and squared her shoulders. She would be no use to Steven if she crumpled into a heap of self-pity and despair. “I’m Emma,” she said, even though she realized he already knew that. “And my husband didn’t kill anyone.” “I tend to agree with you,” Cyrus replied, laying his hand lightly on the small of Emma’s back and steering her toward the steps of the platform. “While we’re waiting for the rest of the world to come around to our way of thinking, we’ll get to know each other.” Emma’s gratitude was almost as overwhelming as her despondency. If it hadn’t been for Cyrus’s appearance at the station, she would have been left alone with Macon. And that was a prospect she certainly didn’t relish. Linking
Linda Lael Miller (Emma And The Outlaw (Orphan Train, #2))
She knelt and began gathering up the dirty cups, plates, and silverware she’d dropped with the tray. The movements of her hands were quick and jerky, but she went still when she saw a pair of scuffed black boots come to a stop directly in front of her, and her temper swelled anew. These rascals had been harassing her with their exuberant mischief all morning, and she was through turning the other cheek. She rose slowly to her feet and sighed as she felt the pins in her once-tidy hair give way, sending the silver-gold tresses tumbling down over her shoulders. Crows of amusement rose all around her as she set her hands on her hips and raised her chin. The eyes that gazed down at her were just the color of maple sugar and shadowed by the brim of a dusty blue field hat banded in gold braid. A gloved hand reached up to remove the hat, revealing a thatch of golden-brown hair. “On behalf of the United States Army, ma’am,” a deep voice said with barely contained amusement, “I’d like to apologize for these men.” Lily reminded herself that the soldiers from nearby Fort Deveraux kept the hotel dining room in business, and that without them she wouldn’t have a job. Nevertheless, she was near the end of her patience. “They would seem to be boys,” she answered pointedly, “rather than men.” The barb brought a chorus of howls, whistles, and cries of mock despair. The man looking down at Lily—a major, judging by his insignia—grinned rather insolently, showing teeth as white as the keys on a new piano. “They’ve been on patrol for two weeks, ma’am,” he explained with elaborate cordiality, apparently choosing to ignore her comment on their collective bad manners. Something about the curve of his lips made Lily feel as though the room had done a half spin. She reached out to steady herself by gripping the back of a chair. “I fail to see how that gives them the right to behave like circus gorillas.” The major’s grin intensified, half blinding Lily. “Of course, you’re right,” he said. Every word that came out of his mouth was congenial. So why did she feel that he was making fun of her? Lily found herself looking at the button-down panel on the front of his shirt and wondering about the chest beneath it. Was it as broad and muscled as it appeared, covered in a downy mass of maple hair? With a toss of her head she shook off the unwelcome thought and knelt to finish gathering the crockery.
Linda Lael Miller (Lily and the Major (Orphan Train, #1))
Reasons we should get married: Because I love you. We both look good in black boots. I spent some time without you, and I didn’t like it. You make me happy. I make you laugh. I like the way you fight. You see through my masks. I really love you. You love me, too. (Though you’ve mostly said this while yelling, so perhaps I should have double-checked.) Army of tiny vigilantes. (I have name ideas.) Various political reasons that make sense but don’t fit with the theme of this list. I’m holding your handwriting
Jodi Meadows (The Mirror King (The Orphan Queen #2))
The kid in the newspaper was named Stevie, and he was eight. I was thirty-nine and lived by myself in a house that I owned. For a short time our local newspaper featured an orphan every week. Later they would transition to adoptable pets, but for a while it was orphans, children your could foster and possibly adopt of everything worked out, the profiles were short, maybe two or three hundred words. This was what I knew: Stevie liked going to school. He made friends easily. He promised he would make his bed every morning. He hoped that if he were very good we could have his own dog, and if he were very, very good, his younger brother could be adopted with him. Stevie was Black. I knew nothing else. The picture of him was a little bigger than a postage stamp. He smiled. I studied his face at my breakfast table until something in me snapped. I paced around my house, carrying the folded newspaper. I had two bedrooms. I had a dog. I had so much more than plenty. In return he would make his bed, try his best in school. That was all he had to bargain with: himself. By the time Karl came for dinner after work I was nearly out of my mind. “I want to adopt him,” I said. Karl read the profile. He looked at the picture. “You want to be his mother?” “It’s not about being his mother. I mean, sure, if I’m his mother that’s fine, but it’s like seeing a kid waving from the window of a burning house, saying he’ll make his bed if someone will come and get him out. I can’t leave him there.” “We can do this,” Karl said. We can do this. I started to calm myself because Karl was calm. He was good at making things happen. I didn’t have to want children in order to want Stevie. In the morning I called the number in the newspaper. They took down my name and address. They told me they would send the preliminary paperwork. After the paperwork was reviewed, there would be a series of interviews and home visits. “When do I meet Stevie?” I asked. “Stevie?” “The boy in the newspaper.” I had already told her the reason I was calling. “Oh, it’s not like that,” the woman said. “It’s a very long process. We put you together with the child who will be your best match.” “So where’s Stevie?” She said she wasn’t sure. She thought that maybe someone had adopted him. It was a bait and switch, a well-written story: the bed, the dog, the brother. They knew how to bang on the floor to bring people like me out of the woodwork, people who said they would never come. I wrapped up the conversation. I didn’t want a child, I wanted Stevie. It all came down to a single flooding moment of clarity: he wouldn’t live with me, but I could now imagine that he was in a solid house with people who loved him. I put him in the safest chamber of my heart, he and his twin brother in twin beds, the dog asleep in Stevie’s arms. And there they stayed, going with me everywhere until I finally wrote a novel about them called Run. Not because I thought it would find them, but because they had become too much for me to carry. I had to write about them so that I could put them down.
Ann Patchett (These Precious Days: Essays)
Racial tensions had long been simmering when, in 1863, Irish immigrants in Manhattan mounted one of the most violent anti-Black insurrections in American history. Angered by a law drafting them to fight in the Civil War—ostensibly to free slaves who might then take their jobs—rioters filled the streets, lynching Black people and burning down the Colored Orphan Asylum on Fifth Avenue as 233 children escaped out the back.
Andrea Elliott (Invisible Child: Poverty, Survival, and Hope in an American City)