Orphan Child Smile Quotes

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Success is everyone’s child. Failure is an orphan.” Omas smiled ruefully.
Karen Traviss (Star Wars: Legacy of the Force V - Sacrifice)
I was an orphan in my heart. I was begging for people to love me, to approve of me, to want me. And what I learned is that when you're an orphan, even just in your heart, you can love only those who will love you back. You can love only those people who have something to offer or who can reciprocate your feelings. But as a child of God, you can be completely alone and still love people who have abandoned you. As a child of God, you can go to the people who have nothing to offer and give all of you like Jesus did for all of us. That what that smile means to me now. It means that we're all orphans until we know how much we're loved.
Brian Ivie
As the seemingly well-intentioned French journalist spoke about Africa’s scarcity and its limited resources, Nine smiled to himself almost condescendingly. He considered such statements an absolute joke. Africa did not, nor did it ever have, limited resources. Nine knew something the journalist obviously didn’t: Africa was the most abundantly resourced continent on the planet bar none. Like the despots who ruled much of the region, and the foreign governments who propped them up, he knew there was more than enough wealth in Africa’s mineral resources such as gold, diamonds and oil – not to mention the land that nurtured these resources – for every man, woman and child. He thought it unfortunate Africa had never been able to compete on a level playing field. The continent’s almost unlimited resources were the very reason foreigners had meddled in African affairs for the past century or more. Nine knew it was Omega’s plan, and that of other greedy organizations, to siphon as much wealth as they could out of vulnerable Third World countries, especially in Africa. The same organizations had the formula down pat: they indirectly started civil wars in mineral-rich regions by providing arms to opposing local factions, and sometimes even helped to create famines, in order to destabilize African countries. This made the targeted countries highly vulnerable to international control. Once the outside organizations had divided and conquered, they were then able to plunder the country’s resources.
James Morcan (The Ninth Orphan (The Orphan Trilogy, #1))
I got kicked out of my first home for poking a wire hanger into an electrical outlet. My foster mom caught me, shrieked, and called the DCFS to come cart me away, because I was clearly suicidal and no one had told her that I was a child with ‘special needs.’” “Were you? Suicidal?” “I was five.” “Still.” “No, I wasn’t trying to off myself. I was curious. Little kids spend half their waking hours being warned not to do things. Don’t run with scissors. Don’t lick a flagpole in winter. Don’t stick anything into electrical outlets. Those three little holes looked so mysterious. I had to know if they were as dangerous as everyone said.” “What happened?” A smile curled the corner of Conn’s mouth, indicating he’d already guessed the answer—which wasn’t exactly hard, given that I was standing right there in front of him, and not buried in an early grave with the tombstone Here Lies Darcy Jones, electrocuted orphan.
Marie Rutkoski (The Shadow Society (The Shadow Society #1))
Even with the way you usually carry on over children, I wouldn't have expected this. Actually bringing him to your home- what will Lord Hunter say?" "I don't know. I'm sure Hunter won't approve, but there's something about this boy that makes me want to keep him safe." "Lara, you feel that way about every child you encounter." "Yes, but this one is special." Lara felt awkward and tongue-tied as she fumbled for a rational explanation. "When I first saw him, he had a mouse in his pocket. He had brought it from prison." "A mouse," Rachel repeated, shivering suddenly. "Dead or alive?" "Alive and kicking," Lara said ruefully. "Johnny was taking care of it. Isn't that remarkable? Locked away in that prison, facing horrors you and I could never imagine... and he found a little creature to love and care for." Rachel shook her head and smiled as she stared at Lara. "So that's the attraction. The two of you share a habit of collecting strays. You're kindred spirits.
Lisa Kleypas (Stranger in My Arms)
Arms still crossed, Lindsay's clogs tapped on the sidewalk. “So Sam didn’t tell you I was a desperate orphan child with no life outside of work? This isn’t some kind of intervention, some kind of lame attempt to cheer me up?” He grinned.“Why would she do that?” “Because that’s how it sounded.” Nudging her shoulder, he grinning down at her. “You don’t look desperate, Dr. Lindsay, not by a long shot." “That’s because you don’t know me.” Lindsay bit her lower lip, arms still crossed, clogs still tap-tap-tapping. Her chest heaved. “My parent’s died in a car accident almost two years ago. It’s a difficult thing to get over. I’m still not exactly right. I guess she worries about me.” Ty sucked in his breath, thinking fast. “I’m really sorry about your parents, Linds.” As he put an arm around her shoulder, she broke into a self-conscious smile and shook her head. “Spend any time with me at all and you’ll find that Sam’s right. I’m a desperate orphan child, completely paranoid and irrepressibly horny.” “Whoa!” She looked so cute, but vulnerable, too. He closed the arm around her shoulder, squeezing her sideways to his chest. Embarrassed, she smiled as she elbowed his rib. Then she dropped her arms and stayed put, tucked close against him. It felt right, having her there.
Lilly Christine (Right Kinda Bull (McGreers, #3))
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))
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)
Chapter Eleven She did not spend long in the supermarket at Riverwalk, confining her purchases to supplies she would need for the next few days. There was beef for stew, a large pumpkin, a packet of beans, a dozen eggs, and two loaves of bread. The pumpkin looked delicious—almost perfectly round and deep yellow in colour, it sat on the passenger seat beside her so comfortably as she drove out of the car park, so pleased to be what it was, that she imagined conducting a conversation with it, telling it about the Orphan Farm and Mma Potokwane and her concerns over Mma Makutsi. And the pumpkin would remain silent, of course, but would somehow indicate that it knew what she was talking about, that there were similar issues in the world of pumpkins. She smiled. There was no harm, she thought, in allowing your imagination to run away with you, as a child’s will do, because the thoughts that came in that way could be a comfort, a relief in a world that could be both sad and serious. Why not imagine a talk with a pumpkin? Why not imagine going off for a drive with a friendly pumpkin, a companion who would not, after all, answer back; who would agree with everything you said, and would at the end of the day appear on your plate as a final gesture of friendship? Why not allow yourself a few minutes of imaginative silliness so that you could remember what it was like when you believed such things, when you were a child at the feet of your grandmother, listening to the old Setswana tales of talking trees and clever baboons and all the things that made up that world that lay just on the other side of the world we knew, the world of the real Botswana. Mma Ramotswe
Alexander McCall Smith (The Woman Who Walked in Sunshine (No. 1 Ladies' Detective Agency, #16))
Vivien (spelled the same way as Vivien Leigh, lucky thing) was quite possibly the most beautiful woman she'd ever seen. She had a heart-shaped face, deep brown hair that gleamed in its Victory roll, and full curled lips painted scarlet. Her eyes were wide set and framed by dramatic arched brows just like Rita Hayworth's or Gene Tierney's, but it was more than that which made her beautiful. It wasn't the fine skirts and blouses she wore, it was the way she wore them, easily, casually; it was the strings of pearls strung airily around her neck, the brown Bentley she used to drive before it was handed over like a pair of boots to the Ambulance Service. It was the tragic history Dolly had learned in dribs and drabs- orphaned as a child, raised by an uncle, married to a handsome, wealthy author named Henry Jenkins, who held an important position with the Ministry of Information. "Dorothy? Come and put my sheets to rights and fetch my sleep mask." Ordinarily, Dolly might've been a bit envious to have a woman of that description living at such close quarters, but with Vivien it was different. All her life, Dolly had longed for a friend like her. Someone who really understood her (not like dull old Caitlin or silly frivolous Kitty), someone with whom she could stroll arm in arm down Bond Street, elegant and buoyant, as people turned to look at them, gossiping behind their hands about the dark leggy beauties, their careless charm. And now, finally, she'd found Vivien. From the very first time they'd passed each other walking up the Grove, when their eyes had met and they'd exchanged that smile- secretive, knowing, complicit- it had been clear to both of them that they were two of a kind and destined to be the very best of friends.
Kate Morton (The Secret Keeper)
They kept in touch for years and years. Momma believed in the goodness of people and she believed in the prayer of protection, that wherever she was, God was, too. Mom had a way of taking people under her wing and making you feel special when you were talking to her. Your story mattered. And whenever she thought I was getting a little too full of myself, she’d remind me: “Robin, your story is no more important than anybody else’s story. When you strut, you stumble.” Meaning: When you think that you’re all that and a bag of chips, you’re gonna fall flat on your face. Thank you, Momma, for that invaluable lesson. We were overwhelmed with the outpouring of love for our mother. President and Michelle Obama sent a beautiful flower arrangement to our house. It was the first time I had seen Mom’s grandchildren smile in days. It was a proud moment for them. The president of the United States. They asked if they could take pictures of the flowers and Instagram them to their friends. It was painful to make the final arrangements for Mom. The owners of the Bradford-O’Keefe Funeral Home were incredibly kind and gentle. Our families have known each other for decades, and they also handled my father’s homegoing service. Mom had always said she wanted to be laid to rest in a simple pine box. We were discussing what to put on her tombstone. I had been quiet up to that point, just numb. Mom and Dad were both gone. I was left with such an empty feeling. Grandma Sally had passed when Mom was in her seventies, and I remember Mom saying she now felt like an orphan. I thought that was strange. But now I knew exactly what Mom meant. There was a lot of chatter about what words to use on Mom’s tombstone. I whispered it should simply read: A CHILD OF GOD. Everyone agreed.
Robin Roberts (Everybody's Got Something)
Arms still crossed, Lindsay's clogs tapped on the sidewalk. “So Sam didn’t tell you I was a desperate orphan child with no life outside of work? This isn’t some kind of intervention, some lame attempt to cheer me up?” He grinned.“Why would she do that?” “Because that’s how it sounded.” Nudging her shoulder, he grinning down at her. “You don’t look desperate, Dr. Lindsay, not by a long shot. “That’s because you don’t know me.” Lindsay bit her lower lip, arms still crossed, clogs still tap-tap-tapping. Her chest heaved. “My parent’s died in a car accident almost two years ago. It’s a difficult thing to get over. I’m still not exactly right. I guess she worries about me.” Ty sucked in his breath, thinking fast. “I’m really sorry about your parents, Linds.” As he put an arm around her shoulder, she broke into a self-conscious smile, and shook her head. “Spend any time with me at all and you’ll find that Sam’s right. I’m a desperate orphan child, completely paranoid and irrepressibly horny.” “Whoa!” She looked so cute, but vulnerable, too, against him. He closed the arm around her shoulder, squeezing her sideways to his chest. Embarrassed, she smiled as she elbowed his rib. Then she dropped her arms and stayed put, tucked close against him. It felt right, having her there.
Lilly Christine
An orphan is nobody’s child, For he or she sees no daddy’s smile. An orphan is always left disowned, For he or she is always bemoaned. An orphan hangs around the streets, For he or she has nothing to eat. An orphan runs around on bare feet, For no one listens to their heart beat. An orphan has no one to call his or her own, For he or she is all alone. An orphan is the result of one’s exile, For he or she has no domicile. An orphan has never seen affection, For they are the result of someone’s
Kisan Upadhaya (The Last Orange: A Lost and Found Memoir)
When I was young, I drew self-portraits by the moonlight of my bedroom window, scribbling in crayon a woman on a pedestal with a painted face and a crooked smile, all curves and mystery. Me When I Grow Up, I would title these pieces, a prophecy scrawled in Blue Cyan. When my mother found my drawings, she worried that I had become enamored with whores. Little did she know, it was her, us, our foremothers I was drawing. A troubled youth, they’ll say, daddy issues—these are the citations people will give when explaining why a girl turns into a woman like me. I am guilty of all of these and more. Yet stronger than these streams leading ever toward my fate, there is one reason that never makes the list: a portrait of a goddess, drawn by a child in the dark. A half-orphan, the town slut, unlovable by all. The one the boys liked enough to touch, but not enough to claim. Hands clasped in the dark of closets, but not in the hallway at school. Did you know you can get paid for touching boys in closets?
Lindsay Byron (Too Pretty to be Good)
Joss’s littlest child, a girl with her father’s curly hair, came bounding down the path toward them. “Papa, is Uncle Caleb really a damn Yankee?” she chirped. Joss didn’t so much as glance in Caleb’s direction. “Yes, Ellen,” he said gently. “He’s the damnedest Yankee I ever saw.” Caleb smiled. “You wouldn’t have Susannah and all these beautiful kids if I’d done what you told me to do that day,” he pointed out. “You’d be nothing but a pile of bones moldering in the brush somewhere.” Joss glowered at him. “I guess that’s so,” he conceded. “But don’t get the idea things are settled between us, little brother, because they aren’t. I’m still going to beat the living tar out of you the day your arm comes out of that sling.” This was the old Joss, the Joss whom Caleb remembered and loved. “Don’t be too confident, big brother,” he replied. “Just in case you haven’t noticed, I’m all grown up.” Lily
Linda Lael Miller (Lily and the Major (Orphan Train, #1))
After that everything was a blur for Emma. She remembered little beyond blinding pain, hazy, shifting faces, and finally, relief and the furious squall of an infant. “My baby,” she whispered, lying back. “My baby’s here.” “It’s a fine girl,” Dr. Mayfield said. When had he arrived? Emma decided she didn’t care, and smiled wearily. “Steven?” “He’s not feeling too well right now,” the doctor explained. “Crumpled to the floor when I had to cut you.” Emma laughed. Steven the outlaw, with his dreaded Colt .45. She’d never let him forget the occasion of his first child’s birth.
Linda Lael Miller (Emma And The Outlaw (Orphan Train, #2))
But which one is right? The real gods? The truth?' I asked. Balthazar smiled gently, as if speaking to a very slow child. 'That is not for us to judge. Each of us believes what seems true enough to him, and allows others the same luxury. Who can know what happened in the dim dawn of the world? We can barely decide what to have for breakfast without a theological debate - the Nurian law is polite disagreement. We do our best with how the world appears to our own eyes.
Catherynne M. Valente (In the Night Garden (The Orphan's Tales, #1))
Scribbled and scratching, Half finished pages at dawn People that live here are wondering Where all their strength's gone. Moments of splendor Wind up like ashes in rain, One look you're smiling, Another your face is in pain. I wake up at night With the sweat on my head. A look in your eyes That will haunt me til dead. I just can't seem to shake it, Something about what you said: How love's like an orphan, A motherless child gone unfed. So we laugh with the joker Hold back the tears til they're gone. Drink and be merry They'll find us all dead men at dawn. We're so far away From wherever we came That sometimes I wonder We'll see it again. It's true what they say... You can't always go home, You can't always be warm inside. That, in love, we're like orphans, Strangers in paradise.
Terry Moore (Strangers in Paradise, Volume 2: I Dream of You)
Uncle Jarrod groaned. “What are you doing here?” “I came to have a word. Good thing I did, too, I see you’re up to your usual tyranny. Do me a favor and get that blade away from her throat.” “Gerda!” the duke barked. “Go home at once! This is not your concern!” “Not my concern, eh?” Miss Gerda approached Uncle Jarrod, her arms folded. “I assure you, what I have to say concerns every one of us. Jarrod, do you not recognize this child?” “Nothing you say is going to spare her. She is arrested for treason.” Miss Gerda watched him. Being much shorter, she had to look up to meet his eyes. Her plain dress and apron looked very drab beside the king, but she regarded him without embarrassment. “You’ve been friendly with the duke a long time, Jarrod. Came an awful lot in your younger days. And you liked me then, remember? Especially that summer when you came for a long stay. You like me… quite often. And I was stupid enough to think it would last.” “Silence, woman, your words are meaningless. Nobody wants to hear this.” A trace of dread lurked behind Uncle Jarrod’s eyes. “That fall, I left the duke’s manor and returned to my home kingdom of Clerlione. I had told the duke my mother was ill, but that wasn’t it. You see, Jarrod, something came of the time you and I spent together.” She raised a hand to the duke and his prisoner. “Briette.” Briette, still pinned against the duke, suffered a jolt so hard it nearly stopped her heart. She could not have moved even if the duke had let her. Uncle Jarrod’s face was pinched with contempt. “Don’t be a fool.” “Think about it, Jarrod. That summer. It was eighteen years ago. Briette is seventeen. Look at her face, you’ll see.” Uncle Jarrod cleared his throat and stared at the floor. He raised a hand and stroked his beard. It seemed a long time before he spoke. “Let the child come here.” The duke lowered his hands. Briette started walking, though she felt separated from herself, as if watching this happen to somebody else. She made the mistake of letting her eyes drift to her sisters. They stared at her with a mixture of wide-eyed horror and pale disbelief. Arialain had covered her face and was shaking. It seemed a very long walk though in truth it was only six or seven paces. Uncle Jarrod gripped her chin and lifted her face. Briette stared into his clear blue eyes and tried not to think. He looked deeply troubled. Shaken. He released her chin. “It is hard to say. There are little things…. But I’m not sure.” “Then you must take my word,” said Miss Gerda. “If she is what you say, then why didn’t you raise her? She came here as an orphan.” Miss Gerda grew somber. “I wasn’t ready to have a child. Without a husband to support me, how could I care for it? I had to work. I left the baby with my sister in Clerlione. She was married but had no children, and was happy to take Briette. I returned to work for the duke and for two years, all was well. And then came the Red Fever plague.” Briette hugged her sides, her eyes shut. This was too much to bear. She wanted Miss Gerda to stop talking. “By the time I reached Clerlione, my sister and her husband were dead. I was frantic, thinking Briette had died too. But I found a neighbor who told me that my sister had given the baby to the king of Runa Realm. I was shocked. And for a while, quite miserable. But in time, I came to be glad of it. As a princess, she would never know poverty or hardship. So I stayed at the duke’s and kept my silence. But occasionally, at a festival or in the market square, I’d see her. And I was proud.” She smiled at Briette. A short silence followed. Then Heidel spoke up. “Let me be quite clear on this. Briette is Uncle Jarrod’s daughter?” “And
Anita Valle (Briette (The Nine Princesses Book 4))