The Dressmaker Quotes

If you cannot bear these stories then the society is unbearable. Who am I to remove the clothes of this society, which itself is naked. I don't even try to cover it, because it is not my job, that's the job of dressmakers.

I've faced worse than a dressmaker who breaths fire.

She longed to throw something at him. A chair. Herself.

When I first learned the truth, I thought Sebastian's life would be ruined. But seeing you, I realized everything would be fine. Because someone still loved him.

My whole life is other people deciding what's acceptable. When I put on a dress, I get to decide what's silly.

I deserve passion," she said. "I deserve to be loved- in every way. I deserve a man who'll give his whole heart, not the part he isn't using at the moment..

Life is an act—most of it, anyway. Get out there today and pretend you’re in charge, for goodness’ sake. Do you hear me? Lift up your head and pretend.” A flicker of a smile passed over her face. “It’s the secret to everything.

Low and behold what comes of reading too many romance novels.

Go away,” he said. “Do you know you’ve almost no clothes on?” “Never mind. I need—” “Never mind? Listen to me, Miss Innocence. There are many things a man can ‘never mind.’ A nearly naked woman isn’t one of them.

I'm a prince who likes dresses.

...We have seven people who knew the skewers were there: the wedding planner, the reception hall manager, the dressmaker, the florist, the veil-maker, the cake-maker, and the caterer. I haven't ruled out the butcher, the baker, and the candlestick maker, either.

Your name is on the dress but the dress has none of you in it!

Ghosts!” gasped Alice. “Real, live ghosts?” “No! Not ‘real, live ghosts!’ Spooky, dead ghosts!

Shockingly tactless,” Lady Warford said. “Unfortunately, Longmore can be tactless quite fluently in several languages

I'm no good at being good.

Did you know you could kill a person with a hatpin?” she said. “I did not,” he said. “Do you speak from experience? Have you murdered anybody? Not that I’d dream of criticizing.

She was a dreamer and a schemer & one didnt dream and scheme without hope.

It's time to shop high heels if your fiance kisses you on the forehead.

He was a man, an attractive man if one overlooked the obnoxiousness. But women had to overlook men’s personality flaws, else nobody would ever wed and/or reproduce and the human race would come to an end. Naturally

A dress is a weapon. It must dazzle his eye, raise his temperature . . . and empty his purse.

My dear, here is lesson number one for using opportunity; waste no time on false humility. Tell the world about your achievements don't wait for someone else to do it.

This job won't love you back, you know.

You're a secret, which means I'm a secret!

Time is a dressmaker specializing in alterations

Who were these people, these specially selected tenants? They were mothers and fathers and children. A dressmaker, a secretary, an inventor, a doctor, a judge. And, oh yes, one was a bookie, one was a burglar, one was a bomber, and one was a mistake.

Ayame: In fact, perhaps it would be easier if we just discussed me instead. Yuki: What would be the point in that? Ayame: Oh, in that case, I should be prepared to talk about why I chose this lyrical professional overflowing with fantasy! It's because I wanted to create something. Even I, who have a charisma that wafts of noble refinement, have times when I lose confidence! Ans so I had this uncontrollable urge to try making something. Anything, it didn't matter what. It just so happened that dress-making suited me best.... I just wanted to make sure that I had the power to make something. Maybe I wanted to know if I could create something with my own hands. If there could be something that couldn't exist without me.

Don't work too hard. This job won't love you back, you know.

I expected a good deal more from you," Marcelline said, "You bungled it." "Yes," he said. "What else could I do? I was asking the wrong woman to marry me.

Blonde Queenie, the most beautiful girl ever to don witches' robes, is standing in a silk slip, supervising the mending of a dress on a dressmaker's dummy. Jacob is thunderstruck.

That’s what brings in the customers: the combination of gossip and the intricate detail about the dresses, all related as drama. It has the same effect on women, I’m told, as looking at naked women has on men.

Just listen,” she said. “You can’t kill him in cold blood.” “Whyever not?” Ye gods grant me patience. “Because he’ll be dead,” she said as patiently as she could, “and Lady Clara’s reputation will be stained forever. Do not, I pray you, do anything, Lord Longmore. Leave this to us.” “Us.” “My sisters and me.” “What do you propose? Dressing him to death? Tying him up and making him listen to fashion descriptions?

Clara will break him to bridle,” Longmore said. “And if she can’t cure his wild ways, who knows? Maybe he’ll ride into a ditch or get run over by a post chaise, and she’ll be a young widow. Do try to look on the bright side.

She’s never met an adjective or adverb she didn’t like.

Ma had been very fashionable, before she married Pa, and a dressmaker had made her clothes.

Frances, my girl. The client is not the one who wears the dress. The client is who pays.

For most of my life, I have dwelt in a sort of no man’s land where loneliness has been an easier option than trying to fit in.

It makes no difference what you wear, really. I'll put you in a dark grey. I believe I have some left over from a funeral." says the dressmaker.

I'm in a mood to knock someone down, and you'll do very well." "Don't tell me," Longmore said. "The dressmaker doesn't want you, either. By gad, this isn't your day, is it? Not your week, rather.

She'd read in novels of people who couldn't speak because their hearts were too full and she'd always thought, Not my black heart. But now she couldn't speak, because it was too much, whatever it was.

Oh, good,” he muttered. “We’re going to discuss it now.” “No discussion,” she said. Her mind was quite clear now, as though a fire had blazed through it, burning away all confusion. “It’s perfectly simple. No One Must Ever Know.” He came up onto one elbow and looked at her. “Do you know,” he said, “I can hear those five words in italics. Capitalized.

Hell, what was one more scandal?

You have to humor them you know." Lucile sighed lightly as the door closed. "Men can be boring, but they are necessary. One needs to learn to work around them. Don't you think so?

The witless destroy what they don't understand.

So, if we cling on to life so hard and value it so much, how deep do depression and despair have to drag someone before they reach a place where they can’t bear to go on?

A man ought to look up to a woman, literally or figuratively, because that is the proper mode of worship, and worship is the very least he can do.

It is the loss of those you love that is unbearable.

She swallowed it. So bitter. "Vile," she said. "Vile." "I know, but it helps. Trust me. I know." "Trust you," she said. "Hah." "Clearly you are not dying." "No. Devil won't take me." The low chuckle again. "Then we're all safe.

Well, hell, Eve. If you need to run off to you dressmaker, or take your cat to therapy, Peabody and I can handle this minor matter of murder." Eve lips stretched in a vicious smile. "Bite me, Casto.

From where you are you can hear in Cockle Row in the spring, moonless night, Miss Price, dressmaker and sweetshop-keeper, dream of her lover, tall as the town clock tower, Samson syrup-gold-maned, whacking thighed and piping hot, thunderbolt-bass'd and barnacle-breasted, flailing up the cockles with his eyes like blowlamps and scooping low over her lonely loving hotwaterbottled body.

Then he recalled whose daughter she was, and wondered why he wondered. Then he recalled who it was who had a child. A child, Noirot had a child!

Trouble? Everybody gets into trouble in America -- That's what it's about.

From this day forth I place dressmakers above philosophers. Those people bring beauty into life, and that's worth a hundred times the most unfathomable meditations.

Get off," she said. "Get off now." Before its too late, and I decide to celebrate a narrow escape from death in the traditional manner of our species.

She would almost prefer to fold her arms and sink into an eternal slumber, so that the great longing of her soul for peaceful rest would at last be gratified.

Oh, it's ridiculous. I ought to laugh. But I can't. You won't believe it." "Of course we will," Sophye said. "He offered you a carte blanche," Leonie said. "No, he asked me to marry him." There was a short stunned silence. Then, "I reckon he's in a marrying mood," Sophy said.

No its you," she said. How far away her voice sounded, as though it had traveled to London already, ahead of her. "Your ducal self assurance. Everything will give way to you. Even Satan's own storm." "You are definitely improving," he said. "Full mocking sentences.

His conscience smote him. As smitings go, it wasn't much, his conscience being in poor fighting condition.

It looks beautiful from out here, but nothing glitters quite as much when you get close up.

No good would come of trying to make something of a man with a brain like machinery.

My dear, here is lesson number one for using opportunity: waste no time on false humility. Tell the world about your achievements; don't wait for someone else to do it.

Until now, I have allowed the legacy of trauma to imprison my spirit.

And it dawns on me that perhaps there are very many different ways to keep someone alive in your heart.

So, if we cling on to life so hard and value it so much, how deep do depression and despair have to drag someone before they reach a place where they can’t bear to go on? It

...it was hard to hide one's emotion from one's own kind.

I've told you to look for opportunity, dear Tess. Keep your head up, not down. Don't settle for safety. Push forward-you are not foolish to try.

Pain will no longer be our curse, Molly

Dresses don't look beautiful on hangers.

You know one of the best things? Women gathering, marching, doing anything together makes a lot of men go crazy. They yell and scream and taunt and shake their fists. You know why? They're scared. They're scared we'll actually gain power and force them to change.

If this is how it's going to be -you getting all broody and distracted every time you fall in lust with somebody -well, I haven't the stomach for it. I won't put up with it, not for a dukedom. Not for three dukedoms. I deserve better than the role of a quietly accepting wife. I'm an interesting woman. I read. I have opinions. I appreciate poetry. I have a sense of humor." "I know all that. I've always known." "I deserve to be loved, truly loved -mind, body and soul. And in case you haven't noticed, there's a line of men ready to give me all that. Why on earth should I settle for a man who can't give me anything but friendship. Why should I settle for you?

I have a plan," he said. "Yes," she said. "Let's get married," he said. "Yes," she said. "Let's conquer the world," he said. "Yes," she said. No one in her family had ever been accused of dreaming small. "Let's bring the beau monde to its knees." "Yes." "Let's make them beg for your creations." "Yes," she said. "Yes, yes, yes." "Is tomorrow too soon?" he said. "No." she said. "We've a great deal to do, you and I, conquering the world. We must start at once. We've not a minute to lose." "I love hearing you say that," he said. He kissed her. It lasted a long time. And they would last, she was sure, a lifetime. On that she'd wager anything.

Like the Baron, Mathilde developed a formula for acting out life as a series of roles—that is, by saying to herself in the morning while brushing her blond hair, "Today I want to become this or that person," and then proceeding to be that person. One day she decided she would like to be an elegant representative of a well-known Parisian modiste and go to Peru. All she had to do was to act the role. So she dressed with care, presented herself with extraordinary assurance at the house of the modiste, was engaged to be her representative and given a boat ticket to Lima. Aboard ship, she behaved like a French missionary of elegance. Her innate talent for recognizing good wines, good perfumes, good dressmaking, marked her as a lady of refinement.

But you are a charming and beautiful dunces, madame. And,” he continued in French, “a charming and beautiful woman can get away with murder. Can you imagine that any man here would prosecute you for assassinating our language?

Life had a way of wrecking her careful plans, again and again. Roulette was more predictable than life. Small wonder she was so lucky at it. Life was not a wheel going round and round. It never, ever returned to the same place. It didn't stick to simple red and black and a certain array of numbers. It laughed at logic. Beneath its pretty overdress of man-imposed order, life was anarchy.

Already the people murmur that I am your enemy because they say that in verse I give the world your me. They lie, Julia de Burgos. They lie, Julia de Burgos. Who rises in my verses is not your voice. It is my voice because you are the dressing and the essence is me; and the most profound abyss is spread between us. You are the cold doll of social lies, and me, the virile starburst of the human truth. You, honey of courtesan hypocrisies; not me; in all my poems I undress my heart. You are like your world, selfish; not me who gambles everything betting on what I am. You are only the ponderous lady very lady; not me; I am life, strength, woman. You belong to your husband, your master; not me; I belong to nobody, or all, because to all, to all I give myself in my clean feeling and in my thought. You curl your hair and paint yourself; not me; the wind curls my hair, the sun paints me. You are a housewife, resigned, submissive, tied to the prejudices of men; not me; unbridled, I am a runaway Rocinante snorting horizons of God's justice. You in yourself have no say; everyone governs you; your husband, your parents, your family, the priest, the dressmaker, the theatre, the dance hall, the auto, the fine furnishings, the feast, champagne, heaven and hell, and the social, "what will they say." Not in me, in me only my heart governs, only my thought; who governs in me is me. You, flower of aristocracy; and me, flower of the people. You in you have everything and you owe it to everyone, while me, my nothing I owe to nobody. You nailed to the static ancestral dividend, and me, a one in the numerical social divider, we are the duel to death who fatally approaches. When the multitudes run rioting leaving behind ashes of burned injustices, and with the torch of the seven virtues, the multitudes run after the seven sins, against you and against everything unjust and inhuman, I will be in their midst with the torch in my hand.

Everybody knew gentlemen could be obtuse, especially when it came to matters of the heart. Everybody knew, as well, that gentlemen needed to believe they were in charge. Therefore, ladies had to learn ways of communicating the obvious without being obvious about it.

Slavery is not an indefinable mass of flesh. It is a particular, specific enslaved woman, whose mind is active as your own, whose range of feeling is as vast as your own; who prefers the way the light falls in one particular spot in the woods, who enjoys fishing where the water eddies in a nearby stream, who loves her mother in her own complicated way, thinks her sister talks too loud, has a favorite cousin, a favorite season, who excels at dressmaking and knows, inside herself, that she is as intelligent and capable as anyone.

He'd forget all that, just as he would forget this night. The memories would linger for a time, but they'd grow dull. The ache he felt now, the frustation and anger and sorrow - all those would fade too. She'd given him a night to remember, but of course he'd forget.

She set her hand against his chest, to push him away. He laid his hand over hers, and held hers there, over his pounding heart.

She didn't think she could be a Christian if perfection was required.

Mona,

What can I do for you, Mother?" he asked. "And don't say 'Dance with Hermione Smythe-Smith.' Last time I did that I nearly lost three toes in the process." "I wasn't going to ask anything of the sort," Violet replied. "I was going to ask you to dance with Prudence Featherington." "Have Mercy, Mother," he moaned. "She's even worse." "I'm not asking you to marry the chit," she said. "Just dance with her." Benedict fought a groan. Prudence Featherington, while essentially a nice person, had a brain the size of a pea and a laugh so grating he'd seen grown men flee with their hands over their ears. "I'll tell you what," he wheedled. "I'll dance with Penelope Featherington if you keep Prudence at bay." "That'll do," his mother said with a satisfied nod, leaving Benedict with the sinking sensation that she'd wanted him to dance with Penelope all along. "She's over there by the lemonade table," Violet said, "dressed as a leprechaun, poor thing.The color is good for her,but someone really must take her mother in hand next time they venture out to the dressmaker. A more unfortunate costume,I can't imagine." "You obviously haven't seen the mermaid," Benedict murmured. She swatted him lightly on the arm. "No poking fun at the guests." "But they make it so easy.

I know why you want to wear the plum,” Marcelline said. “It’s ravishing. It’ll make Longmore swoon.” “It might make him do some things,” Sophy said. “But swooning isn’t one of them. He’s the sort of man who tells a girl he l-loves her—and then l-laughs. As though it’s a j-joke.

I see now that it’s one of the paradoxes of life that if we love it so much that we are frightened of losing it, it can make us live a half-life, too scared to get out there and live whole-heartedly because we have too much to lose. In the same way, I think I protect myself in relationships, too scared to love whole-heartedly because then there would be too much to lose there too.

The whole thing’s absurd,” he said. “Your sister married a duke. I told Clevedon . . .” he trailed off. “What did you tell him?” “Never mind that now,” he said. “I certainly will mind it now,” she said. “Do you want to find Clara or do you want to quarrel?” he said. “Preferably both,” she said.

The Cockney accent was almost impenetrable. *Nothing* was "nuffin," and aitches were dropped from and attached to the wrong words, and some of the vowels seemed to have arrived from another planet.

I knew all about the importance of dressmakers, because I'd spent my childhood with a woman permanently torn between the necessity of possessing beautiful clothes and the difficulty of paying for them.

Stifle it,' Longmore told the boy. He needed a clear head to find his way through Sophy's rabbit warren of a mind. He couldn't do that and translate the boy's deranged version of English at the same time.

Brave young women complete heroic acts everyday, with no one bearing witness. This was a chance to even the ledger, to share one small story the made the difference between starvation and survival for the families whose lives it changed. I wanted to pull the curtain back for readers on a place foreigners know more for its rocket attacks and roadside bombs than its countless quiet feats of courage. And to introduce them to the young women like Kamila Sidiqi who will go on. No matter what.

Clevedon told the dressmakers that the previous tenants (a husband and wife) had fallen into dire financial difficulties within months of opening the place. They’d absconded in the dead of night mere days ago, owing three months’ back rent. They must have borrowed or stolen a cart, because they’d taken away most of the shop’s contents and fixtures. This was a complete lie. The truth was, Varley had bribed them to move and sweetened the offer by allowing them to take with them everything that wasn’t nailed down.

The bride wore a dress of that peculiar style of calico known as "furniture prints," without trimming or ornaments of any kind. Whether it was cut "bias" or with "gores," I'm sorry to say I don't know, dress-making being as much of an occult science to me as divination.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

Did you think to have me against a tree in Hyde Park? On a public footpath?” “I was not exactly thinking,” he said. “And how could you expect me to, under the onslaught of you?” She rolled her eyes and turned away and marched down the footpath. “I can’t believe you’re playing injured innocence. Did I throw myself at you, my lord?” “No, and it’s extremely inconsiderate of you not to, when I’ve taken such great pains to make myself attractive to you. Why must I always be the one to make advances? Why can’t you make a little more effort?

He started to draw away but she wasn’t ready. She held on, and after a heartbeat he slid his hands to her waist and pulled her closer. His kiss grew more fiercely determined, as though he would wipe every recollection of anything remotely resembling kisses from her mind and imprint his, permanently, upon it. And upon her body, where the alien feelings simmered into excitement and happiness and a yearning for more. Strange

Following World War II, trials against War Crimes took place in Nuremberg, Germany, commencing in 1945. But before the famous Nuremberg Trials even started, a stealthy purveyor of Nazi atrocities managed to escape the hands of justice by disguising himself as a woman and setting sail across the Atlantic. His masquerade only became known to authorities when a Philadelphia resident, an Italian-American dressmaker, journeying home from the War himself, recognized the criminal of insidious deeds, while traveling on board the same vessel. Luigi D’Alonzo was an instant hero among the passengers and crew alike. But his luck was about to change.

I reckon you must get bored more easily than other people.” He came up onto one elbow and looked at her. “Yes. You’ll have your hands full, keeping me excited.” “I don’t remember anything about that in the marriage vows,” she said. “There was obey—I noticed that came first—but I privately added a lengthy footnote to that item.” “This surprises me not at all. But there was the part about serving me.” “It, too, needed a footnote. Then love and honor and keeping you and sticking with you and nobody else. I remember all those. But I don’t recall the minister mentioning anything about keeping you excited.” “That was the serve part. It had an asterisk and some fine print.” “I did not hear any fine print.

Your short understanding, your clipped mind, your hollow heart, will make more of mankind than it has the power to become. Make of a man what you will, yet he cannot be more than this I say to you, with the leave of all pure women: a human is conceived in sin, nourished with impure, unspeakable feculence in the maternal body, born naked and smeared like a beehive; a mass of refuse, a churn of filth, a dish for worms, a stinkhouse, a repulsive washtub, a rancid carcass, a mildewed crate, a bottomless sack, a perforated pocket, a bellows, a rapacious maw, a reeking flagon of urine, a malodorous pail, a deceptive marionette-show, a loamy robber’s den, an insatiably slaking trough, a painted delusion. Let recognise who will: every human created to completion has nine holes in his body; out of all these there flows such repellent filth that nothing could be more impure. You would never see human beauty, if you had the eyes of a lynx, and your gaze could penetrate to the innards; you would shudder at the sight. Strip the dressmaker’s colouring from the loveliest of ladies, and you will see a shameful puppet, a hastily withering flower, a sparkle of little durance and a soon decomposing clod of earth! Show me a handful of beauty of all the belles who lived a hundred years ago, excluding those painted on the wall, and you shall have the Kaiser’s crown! Let love flow away, let grief flow away! Let the Rhine run its course like other waters, you wise lad from Assville!

Nothing, again, could be more prosaic and impenetrable than the domestic energies of Miss Diana Duke. But Innocent had somehow blundered on the discovery that her thrifty dressmaking went with a considerable feminine care for dress--the one feminine thing that had never failed her solitary self-respect. In consequence Smith pestered her with a theory (which he really seemed to take seriously) that ladies might combine economy with magnificence if they would draw light chalk patterns on a plain dress and then dust them off again. He set up "Smith's Lightning Dressmaking Company," with two screens, a cardboard placard, and box of bright soft crayons; and Miss Diana actually threw him an abandoned black overall or working dress on which to exercise the talents of a modiste. He promptly produced for her a garment aflame with red and gold sunflowers; she held it up an instant to her shoulders, and looked like an empress. And Arthur Inglewood, some hours afterwards cleaning his bicycle (with his usual air of being inextricably hidden in it), glanced up; and his hot face grew hotter, for Diana stood laughing for one flash in the doorway, and her dark robe was rich with the green and purple of great decorative peacocks, like a secret garden in the "Arabian Nights." A pang too swift to be named pain or pleasure went through his heart like an old-world rapier. He remembered how pretty he thought her years ago, when he was ready to fall in love with anybody; but it was like remembering a worship of some Babylonian princess in some previous existence. At his next glimpse of her (and he caught himself awaiting it) the purple and green chalk was dusted off, and she went by quickly in her working clothes.

I run my finger along the textured silk. “It’s so beautiful.” “Salishen silk,” Mage Florel says reverently. “From the Salishen Isles. They’re master weavers, the Salish. True artists. And all of their embroidery is as exquisite as this.” I glance up at her. “Do you think you could use this?” “Of course, Mage Gardner,” she replies, obviously thrilled by my choice. Fallon’s hand comes down on the fabric. “You can’t use this,” she says, her tone hard. I blink up at her in resentful surprise. “Why?” “Because,” she replies, her voice syrupy with condescension, “this is what my dress is being made of.” “Ah, what a pity,” Mage Florel sighs. She pats my shoulder sympathetically. “I’ve others, Mage Gardner, don’t you fret. We’ll find something just as lovely for you...” Heart racing, I put my own hand down firmly on the fabric sample, right next to Fallon’s. I meet Fallon’s stare and hold it. “No. I want this one.” Everyone gapes at me. Fallon leans in a fraction and bares her teeth. “You can’t have it.” I try to ignore the slight trembling of my hand. “Oh, come now, Fallon,” I say as I gesture at the fabric around us, mimicking her sneering tone. “It’s all black. And I’m sure the cut will be different.” I look over at Mage Florel, whose eyes are as wide as everyone else’s. “Can you make sure it’s very different from hers?” Fallon spits out a sound of contempt. “My dress isn’t being made here. I have my own dressmaker.” “Well, then,” I tell her. “That simplifies things.” I turn to Mage Florel. “Can you make it for me in time? With this fabric?” Mage Florel gives me an appraising look, her eyes darting toward Fallon as if weighing the options. She lifts her chin. “Why, yes, Mage Gardner. I think I can.” She smiles coldly at Fallon. “Why don’t you tell me what your dress is like, dear? I’ll make sure it’s quite different.

I have raised you to respect every human being as singular, and you must extend that same respect into the past. Slavery is not an indefinable mass of flesh. It is particular, specific enslaved woman, whose mind is active as your own, whose range of feeling is as vast as your own; who prefers the way the light falls in one particular spot in the woods, who enjoys fishing where the water eddies in a nearby stream, who loves her mother in her own complicated way, thinks her sister talks too loud, has a favorite cousin, a favorite season, who excels at dressmaking and knows, inside herself, that she is as intelligent and capable as anyone. 'Slavery' is this same woman born in a world that loudly proclaims its love of freedom and inscribes this love in its essential texts, a world in which these same professors hold this woman a slave, hold her mother a slave, her father a slave, her daughter a slave, and when this woman peers back into the generations all she sees is the enslaved. she can hope for more. But when she dies, the world - which is really the only world she can ever know - ends. For this woman, enslavement is not a parable. It is damnation. It is the never-ending night. And the length of that night is most of our history. Never forget that we were enslaved in this country longer than we have been free. Never forget that for 250 years black people were born into chains - whole generations followed by more generations who knew nothing but chains. You must struggle to truly remember this past in all its nuance, error, and humanity. You must resist the common urge toward the comforting narrative of divine law, toward fairy tales that imply some irrepressible justice. The enslaved were not bricks in your road, and their lives were not chapters in your redemptive history. They were people turned to fuel for the American machine. Enslavement was not destined to end, and it is wrong to claim our present circumstance - not matter how improved - as the redemption for the lives of people who never asked for the posthumous, untouchable glory of dying for their children. Our triumphs can never compensate for this. Perhaps our triumphs are not even the point. Perhaps struggle is all we have because the god of history is an atheist, and nothing about his world is meant to be. So you must wake up every morning knowing that no promise is unbreakable, least of all the promise of waking up at all. This is not despair. These are the preferences of the universe itself: verbs over nouns, actions over states, struggle over hope.

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.