Ruby Bridges Quotes

We've searched our database for all the quotes and captions related to Ruby Bridges. Here they are! All 32 of them:

All that Ruby said was so horribly true, she was leaving everything she cared for. She had laid up her treasures on earth only. She had lived solely for the little things of life, the things that pass, forgetting the great things that go onward into eternity bridging the gulf between the two lives and making of death a mere passing of one dwelling to the other. From twilight to unclouded day. ...it was no wonder her soul clung in blind helplessness to the only things she knew and loved.
L.M. Montgomery (Anne of the Island (Anne of Green Gables, #3))
It looked like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble.
Ambrose Bierce (An Occurrence at Owl Creek Bridge)
Vocabulary words are the building blocks of the internal learning structure. Vocabulary is also the tool to better define a problem, seek more accurate solutions, etc.
Ruby K. Payne (Bridges Out of Poverty: Strategies for Professionals and Communities)
(Regarding the Roosevelt Tram along Queensboro Bridge): "They had it renovated by the French. French cars. French cables. Cables that surrender! Would you ride in a tram that surrenders? I sure as hell wouldn't!
Camilla Monk (Beating Ruby (Spotless, #2))
He dug his fingers into the sand, threw it over himself in handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he could not think of nothing beautiful which it did not resemble.
Ambrose Bierce (An Occurrence at Owl Creek Bridge)
My birth certificate says: Female Negro Mother: Mary Anne Irby, 22, Negro Father: Jack Austin Woodson, 25, Negro In Birmingham, Alabama, Martin Luther King Jr. is planning a march on Washington, where John F. Kennedy is president. In Harlem, Malcolm X is standing on a soapbox talking about a revolution. Outside the window of University Hospital, snow is slowly falling. So much already covers this vast Ohio ground. In Montgomery, only seven years have passed since Rosa Parks refused to give up her seat on a city bus. I am born brown-skinned, black-haired and wide-eyed. I am born Negro here and Colored there and somewhere else, the Freedom Singers have linked arms, their protests rising into song: Deep in my heart, I do believe that we shall overcome someday. and somewhere else, James Baldwin is writing about injustice, each novel, each essay, changing the world. I do not yet know who I’ll be what I’ll say how I’ll say it . . . Not even three years have passed since a brown girl named Ruby Bridges walked into an all-white school. Armed guards surrounded her while hundreds of white people spat and called her names. She was six years old. I do not know if I’ll be strong like Ruby. I do not know what the world will look like when I am finally able to walk, speak, write . . . Another Buckeye! the nurse says to my mother. Already, I am being named for this place. Ohio. The Buckeye State. My fingers curl into fists, automatically This is the way, my mother said, of every baby’s hand. I do not know if these hands will become Malcolm’s—raised and fisted or Martin’s—open and asking or James’s—curled around a pen. I do not know if these hands will be Rosa’s or Ruby’s gently gloved and fiercely folded calmly in a lap, on a desk, around a book, ready to change the world . . .
Jacqueline Woodson (Brown Girl Dreaming)
When you're brave and honest, you make it easier for the next person. Like Rosa Parks, Jackie Robinson. Thurgood Marshall. Ruby Bridges.....Jenna Talackova. Janet Mock. Lavern Cox. Jenny Boylan...I'm not saying it's easy. I'm saying it's important, not only for you but for the next person.
Donna Gephart (Lily and Dunkin)
The two of them hiding behind their mother tongues as if there was no way to bridge the gap.
Laura Ruby (Bone Gap)
There are white moms who threw stones at the little girls in Little Rock and there are white moms who wish Andres and Omar and Elias and Greta's mom will be deported too.
Karla Cornejo Villavicencio (The Undocumented Americans)
Wasn't it what her father always warned her about? Don't jump off a bridge because a cute guy tells you to?
Joannah Miley (The Immortal Game (The Immortal Game #1))
Around us, the city twinkled, the stars themselves seeming to hang lower, pulsing with ruby and amethyst and pearl. Above, the full moon set the marble of the buildings and bridges glowing as if they were all lit from within. Music played, strings and gentle drums, and on either side of the Sidra, golden lights bobbed over riverside walkways dotted with cafes and shops, all open for the night, already packed. Life- so full of life. I could nearly taste it crackling on my tongue.
Sarah J. Maas (A Court of Mist and Fury (A Court of Thorns and Roses, #2))
They forgot who she was: Something fantastic we could never explain. Someone better and bolder than every one of us. Someone to paint murals and build bridges for. Someone worth every ounce of our love. Someone powerful, but in the end not powerful enough.
Nova Ren Suma (Imaginary Girls)
I am called Zolaya." He stirs the fire. "And you are Ron-ka and she is Bree-shit." At my side, Bridget coughs on her jerky. "Bridge-IT. Jesus Christ." "Bree-shit," he agrees again, as if his pronunciation is fine.
Ruby Dixon (Veronica's Dragon (Icehome, #2))
[G]ood and evil comes in all shades and colors... evil is not prejudiced.... evil just needs an opportunity to work through you.... All of us, no matter what we look like, we all have a common enemy, and that is evil. If we don't understand that and come together, then evil will win.
Ruby Bridges
This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.
Stephanie Garber (Legendary (Caraval, #2))
How long have you known about him?” I asked Jesse, using my free hand to gesture toward his guest. “Forever. Nearly as long as I did about you.” “God, Jesse. Why didn’t you say anything?” “He was a shadow of you.” Jesse shrugged. “His background is diluted, his dragon blood les strong. Even with you in his proximity, I wasn’t certain any of his drakon traits would emerge. He hasn’t anywhere near your potential.” “Pardon me,” Armand said, freezingly polite, “but he is still right here with you in this room.” “Do you mean…I did it?” I asked. “I made him figure it out? What he is?” Jesse gave me an assessing look. “Like is drawn to like. We’re all three of us thick with magic now, even if it’s different kinds. It’s inevitable that we’ll feed off one another. The only way to prevent that would be to separate. And even then it might not be enough. Too much has already begun.” “I don’t want to separate from you,” I said. “No.” Jesse lifted our hands and gave mine a kiss. “Don’t worry about that.” Armand practically rolled his eyes. “If you two are quite done, might we talk some sense tonight? It’s late, I’m tired, and your ruddy chair, Holms, is about as comfortable as sitting on a tack. I want to…” But his voice only faded into silence. He closed his eyes and raised a hand to his face and squeezed the bridge of his nose. I noted again those shining nails. The elegance of his bones beneath his flawless skin. Skin that was marble-pale, I realized. Just like mine. “Yes?” I said, more gently than I’d intended. “Excuse me. I’m finding this all a bit…impossible to process. I’m beginning to believe that this is the most profoundly unpleasant dream I’ve ever been caught in.” “Allow me to assure you that you’re awake, Lord Armand,” I retorted, all gentleness gone. “To wit: You hear music no one else does. Distinctive music from gemstones and all sorts of metals. That day I played the piano at Tranquility, I was playing your father’s ruby song, one you must have heard exactly as I did. Exactly as your mother would have. You also have, perhaps, something like a voice inside you. Something specific and base, stronger than instinct, hopeless to ignore. Animals distrust you. You might even dream of smoke or flying.” He dropped his arm. “You got that from the diary.” “No, I got that from my own life. And damned lucky you are to have been brought into this world as a pampered little prince instead of spending your childhood being like this and still having to fend for yourself, as I did.” “Right. Lucky me.” Armand looked at Jesse, his eyes glittering. “And what are you? Another dragon? A gargoyle, perchance, or a werecat?” “Jesse is a star.” The hand went up to conceal his face again. “Of course he is. The. Most. Unpleasant. Dream. Ever.” I separated my hand from Jesse’s, angling for more bread. “I think you’re going to have to show him.” “Aye.” A single blue eye blinked open between Armand’s fingers. “Show me what?
Shana Abe (The Sweetest Dark (The Sweetest Dark, #1))
Show me." He looks at her, his eyes darker than the air. "If you draw me a map I think I'll understand better." "Do you have paper?" She looks over the empty sweep of the car's interior. "I don't have anything to write with." He holds up his hands, side to side as if they were hinged. "That's okay. You can just use my hands." She smiles, a little confused. He leans forward and the streetlight gives him yellow-brown cat eyes. A car rolling down the street toward them fills the interior with light, then an aftermath of prickling black waves. "All right." She takes his hands, runs her finger along one edge. "Is this what you mean? Like, if the ocean was here on the side and these knuckles are mountains and here on the back it's Santa Monica, Beverly Hills, West L.A., West Hollywood, and X marks the spot." She traces her fingertips over the backs of his hands, her other hand pressing into the soft pads of his palm. "This is where we are- X." "Right now? In this car?" He leans back; his eyes are black marble, dark lamps. She holds his gaze a moment, hears a rush of pulse in her ears like ocean surf. Her breath goes high and tight and shallow; she hopes he can't see her clearly in the car- her translucent skin so vulnerable to the slightest emotion. He turns her hands over, palms up, and says, "Now you." He draws one finger down one side of her palm and says, "This is the Tigris River Valley. In this section there's the desert, and in this point it's plains. The Euphrates runs along there. This is Baghdad here. And here is Tahrir Square." He touches the center of her palm. "At the foot of the Jumhurriya Bridge. The center of everything. All the main streets run out from this spot. In this direction and that direction, there are wide busy sidewalks and apartments piled up on top of shops, men in business suits, women with strollers, street vendors selling kabobs, eggs, fruit drinks. There's the man with his cart who sold me rolls sprinkled with thyme and sesame every morning and then saluted me like a soldier. And there's this one street...." He holds her palm cradled in one hand and traces his finger up along the inside of her arm to the inner crease of her elbow, then up to her shoulder. Everywhere he touches her it feels like it must be glowing, as if he were drawing warm butter all over her skin. "It just goes and goes, all the way from Baghdad to Paris." He circles her shoulder. "And here"- he touches the inner crease of her elbow-"is the home of the Nile crocodile with the beautiful speaking voice. And here"- his fingers return to her shoulder, dip along their clavicle-"is the dangerous singing forest." "The dangerous singing forest?" she whispers. He frowns and looks thoughtful. "Or is that in Madagascar?" His hand slips behind her neck and he inches toward her on the seat. "There's a savanna. Chameleons like emeralds and limes and saffron and rubies. Red cinnamon trees filled with lemurs." "I've always wanted to see Madagascar," she murmurs: his breath is on her face. Their foreheads touch. His hand rises to her face and she can feel that he's trembling and she realizes that she's trembling too. "I'll take you," he whispers.
Diana Abu-Jaber (Crescent)
I tried to look at Ruby with some kind of tenderness but I think it came out as condescension and I couldn’t feel my face, I couldn’t feel my face wrapped around my head, and I couldn’t feel the muscles in it and make them move in the right way. I was trapped in my body and Ruby was trapped in her body and we’d always been trying to bridge the difference between our bodies, atone for the fact that we were supposed to be family but we weren’t, not really, but we had to try anyway, try forever over and over again to find the way that we were related.
Catherine Lacey (Nobody Is Ever Missing)
A Thought: Can we stop showing Black and White pictures of the entire decade of the 1960s so people stop thinking it was 1000 years ago. I'm two years younger than the Civil Rights movement. And Ruby Bridges lives down the street from me and is on Instagram. (8/1/2020 on Twitter)
Hannah Beachler
I can’t help it,” said Ruby pitifully. “Even if what you say about heaven is true — and you can’t be sure — it may be only that imagination of yours — it won’t be JUST the same. It CAN’T be. I want to go on living HERE. I’m so young, Anne. I haven’t had my life. I’ve fought so hard to live — and it isn’t any use — I have to die — and leave EVERYTHING I care for.” Anne sat in a pain that was almost intolerable. She could not tell comforting falsehoods; and all that Ruby said was so horribly true. She WAS leaving everything she cared for. She had laid up her treasures on earth only; she had lived solely for the little things of life — the things that pass — forgetting the great things that go onward into eternity, bridging the gulf between the two lives and making of death a mere passing from one dwelling to the other — from twilight to unclouded day. God would take care of her there — Anne believed — she would learn — but now it was no wonder her soul clung, in blind helplessness, to the only things she knew and loved.
L.M. Montgomery (Anne of Green Gables: The Complete Collection (Anne of Green Gables, #1-8))
The nearly uniform advantages received by the children of the college-educated professionals suggest the evolution of an increasingly distinct subculture in American society, one in which adults routinely transmit to their offspring the symbolic thinking and confident problem solving that mark the adults' economic activities and that are so difficult for outsiders to acquire in mid-life. A trend toward separation into subcultures jeopardizes the upward mobility that has given this nation greatness and presages the tragedy of downward mobility that produces increasing numbers of working poor. If this trend is to be reversed, a beginning must be made now. The issue is no longer one of eradicating poverty or of putting welfare recipients to work but of reversing a trend, the downward drift of the working class.
Ruby K. Payne (Bridges Out of Poverty: Strategies for Professionals and Communities)
Two of them hiding behind their mother tongues as there was no way to bridge the gap.
Laura Ruby (Bone Gap)
What Makes It Work-A Review of the Research Literature Describing Factors Which Influence the Success of Collaboration. They describe collaboration as a mutually beneficial and well-defined relationship entered into by two or more organizations to achieve common goals. The relationship includes a commitment to: (1) a shared vision and mutual goals; (2) a jointly developed structure, shared responsibility, and agreed-upon methods of communication; (3) mutual authority and accountability for success; and (4) sharing of resources and rewards.
Ruby K. Payne (Bridges Out of Poverty: Strategies for Professionals and Communities)
But Ruby understands now, this inclination. This desire to slip away. To seclude herself. She understands how it feels to be an island, separate from everyone else, surrounded by nothing but water. Even when she is with people (at school, at Izzy's house, at the pool), she is aware of how alone she is. Nobody can reach her, not really. She and her mother are more similar than different, but she doesn't know how to tell her mom this. What words might explain she understands.
T. Greenwood (The Forever Bridge)
The troll alone understands. Those goats could have chosen another meadow, crossed a different bridge but that would mean a different story...A wise troll and three non-confrontational goats.
Ruby Mohan (The Kidnapping)
I have been saying for many years how I believe racism is a grown-up disease, and we "adults" must stop using you, our kids, to spread it. None of you is born into the world racist. It is we adults who pass racism on. In so many ways, we have failed you by not setting the example you deserve.
Ruby Bridges (This Is Your Time)
When I arrived at this all-white school that first day, all the white parents rushed in and pulled out their kids. They didn't want their children going to school with me. But why? I didn't understand. They had never met or even seen me before now, so how could they know what kind of person I was? But none of that mattered. I don't think they even saw a child. All they saw was the color of my skin. I was black, and that meant I didn't matter.
Ruby Bridges (This Is Your Time)
As we know and have always known, there is in this country a vast and inveterate minority (about 35 per cent) whose sympathies lie not with the silently studious protestors, in Greensboro, but with the rejectionists yelling in their ears and pouring sodas on their heads and then beating them to the ground; not with six-year-old Ruby Bridges, in New Orleans, but with the hate-warped face of the housewife in the picket line brandishing a black doll in a toy coffin. …Is
Martin Amis (Inside Story)
She hears a zipper, and when she closes her eyes, she can almost see Ruby’s hand reaching into her backpack, finding whatever book she is reading. She wonders what world she will slip into tonight and knows this ability is something she has given her: a genetic inheritance like her dark hair and Robert’s green eyes. Because the only time Sylvie leaves the house anymore is through the paper portals of her novels.
T. Greenwood (The Forever Bridge)
In 1960, Ruby Bridges became the first African American to attend an all-white school. She was six years old. She was selected as one of four first-graders to integrate two elementary schools. Unfortunately, she was sent to integrate one—William Frantz Public School in Louisiana—all by herself. On her first day several hundred protestors gathered outside. She saw one carrying a black doll in a coffin. She was spit on and cursed at, and her life was threatened. She saw a doctor, Dr. Robert Coles, to help her deal with some of the pain of what she was going through. He couldn’t understand how she coped so well with everything going on. He couldn’t understand why she didn’t seem to be angry or bitter or depressed. One morning Ruby’s teacher watched Ruby stop in front of the angry mob that was cursing at her, and she saw Ruby’s lips moving. She told Dr. Coles about it. Later, when he met with Ruby again, he asked what she was saying to the crowd. Ruby said, “I wasn’t talking to them. I was praying for them.” Ruby later wrote in her memoir, Through My Eyes, “My mother and our pastor always said, ‘You have to pray for your enemies and people who do you wrong,’ and that’s what I did.”1 Dr. Coles points out that Ruby’s parents could not read or write but they taught her to do what Jesus said to do. Jesus said to pray for your enemies, so that’s what she did. That’s what allowed her to get rid of all bitterness, rage, and anger. We need to do what Jesus said to do. If we’re going to forgive and let grace flow, we need to pray for our enemies. You may be at a place where you won’t even consider doing what Jesus said to do, but I’d encourage you to remember it’s also what Jesus did for you. He prayed for the people who put him on that cross.
Kyle Idleman (Grace Is Greater: God's Plan to Overcome Your Past, Redeem Your Pain, and Rewrite Your Story)
3.​What does your customer value?
Ruby K. Payne (Bridges Out of Poverty, Strategies for Professionals and Communities)
Drucker was interested in the idea of building a strong, functioning society. He entered business and management because it was his belief that a healthy society needed responsible and effective organizations.
Ruby K. Payne (Bridges Out of Poverty, Strategies for Professionals and Communities)