Portable Mother Quotes

Oh, my friends, that your self be in your deed as the mother is in her child - let that be your word concerning virtue!

By clearly emphasizing all that was lacking in others, by mapping and raising to an art form the catalog of their flaws, Veblen’s mother had inversely punched out a template for an ideal human being, and it was the unspoken assumption that Veblen would aspire to this template with all her might.

It bothered Veblen’s mother that most people were lazy and had given up original thought a long time ago, stealing stale phrases from the media like magpies.

In living rooms all over America, I knew people of all ages were glued to their TVs and portable devices. That’s the beauty of the Olympics—the whole world comes together, united in their love for sports. I let myself have a moment to think about how momentous this was. I thought of all the different people who would see us compete: Men like my grandfather, who had taped the competition for my mom twenty years before; women like my mother, the high school gymnast; guys like my brother, who enjoyed the sheer athleticism of sports.

Who goes to a dinner party next door and leaves her baby alone in the house? What kind of mother does such a thing? She feels the familiar agony set in – she is not a good mother. So what if the sitter canceled? They should have brought Cora with them, put her in her portable playpen. But Cynthia had said no children.

That is a strange way to run a business.” They both turned slowly. Blue’s arms had been lifted for so long they felt rubbery when she lowered them. The owner of the voice stood in the doorway to the front hall, his hands in his pockets. He was not old, maybe mid-twenties, with a shock of black hair. He was handsome in a way that required a bit of work from the viewer. All of his facial features seemed just a little too large for his face. Maura glanced at Blue, an eyebrow lifted. Blue lifted one shoulder in response. He didn’t seem like he was here to murder them or steal any portable electronics. “And that,” her mother said, releasing the beleaguered light fixture, “is a very strange way to enter someone’s home.” “I’m sorry,” the young man said. “There is a sign out front saying this is a place of business.

Editing is the most obvious way of manipulating vision. And yet, the camera sometimes sees what you don’t - a person in the background, for example, or an object moving in the wind. I like these accidents. My first full-length film, Esperanza, was about a woman I befriended on the Lower East Side when I was a film student at NYU. Esperanza had hoarded nearly all the portable objects she had touched every day for thirty years: the Chock Full O’Nuts paper coffee cups, copies of the Daily News, magazines, gum wrappers, price tags, receipts, rubber bands, plastic bags from the 99-cent store where she did most of her shopping, piles of clothes, torn towels, and bric-a-brac she had found in the street. Esperanza’s apartment consisted of floor-to-ceiling stacks of stuff. At first sight, the crowded apartment appeared to be pure chaos, but Esperanza explained to me that her piles were not random. Her paper cups had their own corner. These crenellated towers of yellowing, disintegrating waxed cardboard stood next to piles of newspapers … One evening, however, while I was watching the footage from a day’s filming, I found myself scrutinizing a pile of rags beside Esperanza’s mattress. I noticed that there were objects carefully tucked in among the fraying bits of coloured cloth: rows of pencils, stones, matchbooks, business cards. It was this sighting that led to the “explanation.” She was keenly aware that the world at large disapproved of her “lifestyle,” and that there was little room left for her in the apartment, but when I asked her about the objects among the rags, she said that she wanted to “keep them safe and sound.” The rags were beds for the things. “Both the beds and the ones that lay down on them,” she told me, “are nice and comfy.” It turned out that Esperanza felt for each and every thing she saved, as if the tags and town sweaters and dishes and postcards and newspapers and toys and rags were imbued with thoughts and feelings. After she saw the film, my mother said that Esperanza appeared to believe in a form of “panpsychism.” Mother said that this meant that mind is a fundamental feature of the universe and exists in everything, from stones to people. She said Spinoza subscribed to this view, and “it was a perfectly legitimate philosophical position.” Esperanza didn’t know anything about Spinoza … My mother believed and I believe in really looking hard at things because, after a while, what you see isn’t at all what you thought you were seeing just a short time before. looking at any person or object carefully means that it will become increasingly strange, and you will see more and more. I wanted my film about this lonely woman to break down visual and cultural cliches, to be an intimate portrait, not a piece of leering voyeurism about woman’s horrible accumulations.

She had an internal clock set to her mother’s hunger for news, but sometimes it felt good to ignore it.

At regular intervals they checked in with their parents, fawning. I heard the kid with the neck bandanna compliment his mother on a nasty purple-and-orange sarong. The parents were their insurance policy, James said. Diplomatic relations had to be maintained. “But I mean, even if you acted like jerks, they wouldn’t, like, abandon you,” said Jen, on night two. The yacht parents had appeared in the late morning, sat drinking in a state of soft paralysis—not unlike our own parents’—until the sun went down, then left again to have a nightcap on the deck. A three-person galley staff had served them lunch and dinner on the beach, plus mixed drinks from a portable bar.

Who cares if she called you?” Veblen cried out. There was a time when abreacting to her mother was out of the question, untenable. The slightest ripple between them terrified her. She was aware that her mother had trained her to turn herself inside out, like a pocket to be inspected for pilfered change.

William Morris, her mother’s hero, had blind spots. He was seen as effete and ridiculous by Professor Veblen after he paid Morris a visit in England. Veblen came home and blasted Morris’s Kelmscott Press and the whole Arts and Crafts movement for producing overly precious items for the wealthy, the only ones who could afford them—decadent aestheticism, he called it.

She nodded with earnest sympathy. How many times had she borne witness to her naked mother, running to the bedroom after a shower with a towel pressed to her front? But repeated viewings of her mother’s unclad emotions had been way worse, and had led Veblen to fear depressives. Back then she’d run for cover outside, where she would help frightened grasshoppers escape into the ravine, in danger of her mother’s shears. (When she was in a bad mood, and even when she was in a good mood, Melanie liked to hunt them down and cut them cleanly in half, which made Veblen scream.) She’d pretend she was part of the resistance during World War II, helping grasshopper comrades escape across the border.

The way I always see her is the way she used to be on a Sunday afternoon, say, when the old folks were talking after the big Sunday dinner. I always see her wearing pale blue. She’d be sitting on the sofa. And my father would be sitting in the easy chair, not far from her. And the living room would be full of church folks and relatives. There they sit, in chairs all around the living room, and the night is creeping up outside, but nobody knows it yet. You can see the darkness growing against the windowpanes and you hear the street noises every now and again, or maybe the jangling beat of a tambourine from one of the churches close by, but it’s real quiet in the room. For a moment nobody’s talking, but every face looks darkening, like the sky outside. And my mother rocks a little from the waist, and my father’s eyes are closed. Everyone is looking at something a child can’t see. For a minute they’ve forgotten the children. Maybe a kid is lying on the rug, half asleep. Maybe somebody’s got a kid in his lap and is absent-mindedly stroking the kid’s head. Maybe there’s a kid, quiet and big-eyed, curled up in a big chair in the corner. The silence, the darkness coming, and the darkness in the faces frightens the child obscurely. He hopes that the hand which strokes his forehead will never stop—will never die. He hopes that there will never come a time when the old folks won’t be sitting around the living room, talking about where they’ve come from, and what they’ve seen, and what’s happened to them and their kinfolk. But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light. Then the old folks will remember the children and they won’t talk any more that day. And when light fills the room, the child is filled with darkness. He knows that every time this happens he’s moved just a little closer to that darkness outside. The darkness outside is what the old folks have been talking about. It’s what they’ve come from. It’s what they endure. The child knows that they won’t talk any more because if he knows too much about what’s happened to them, he’ll know too much too soon, about what’s going to happen to him.

Nobody, not Darwin’s best friend, not even God’s mother could tell him that this was any way to run a universe. The only conclusion Paul could possibly draw was that the whole operation had gone to cock, and a billion years of mutating plankton would be entirely justified in asking for their money back.

These books, which cover many of the topics discussed in this book, may be helpful further reading. GENERAL REFERENCE American Academy of Pediatrics. Caring for Your Baby and Young Child: Birth to Age Five. New York: Bantam, 2004. Druckerman, P. Bringing Up Bébé: One American Mother Discovers the Wisdom of French Parenting. New York: Penguin, 2014. Eliot, L. What’s Going On in There?: How the Brain and Mind Develop in the First Five Years of Life. New York: Bantam, 2000. Nathanson, L. The Portable Pediatrician for Parents: A Month-by-Month Guide to Your Child’s Physical and Behavioral Development from Birth to Age Five. New York: HarperCollins, 1994. DISCIPLINE Phelan, T. W. 1-2-3 Magic: Effective Discipline for Children 2–12. Naperville, IL: ParentMagic, Inc., 2010. Webster-Stratton, C. The Incredible Years: A Trouble-Shooting Guide for Parents of Children Aged 2–8. Toronto: Umbrella Press, 1992. SLEEP Ferber, R. Solve Your Child’s Sleep Problems. Rev. ed. New York: Simon & Schuster, 2006. Karp, H. The Happiest Baby on the Block: The New Way to Calm Crying and Help Your Newborn Baby Sleep Longer. Rev. ed. New York: Bantam, 2015. Weissbluth, M. Healthy Sleep Habits, Happy Child: A Step-by-Step Program for a Good Night’s Sleep. 4th ed. New York: Ballantine Books, 2015. POTTY TRAINING Glowacki, J. Oh Crap! Potty Training: Everything Modern Parents Need to Know to Do It Once and Do It Right. New York: Touchstone, 2015.