Whitney Rose Quotes

So, the white roses and the “He’s just yelling at you because he knows you’re the best. Don’t let him get to you,” note that was on the hood of my car today wasn’t from you?” I hung up.

If anything made that country habitable it was the mountains themselves, purple when the sun dropped and so sharply etched in the morning light the granite dazzled almost more than the bright snow lacing it. The nearest peaks rose ten thousand feet higher than the valley floor, with Whitney, the highest, just off to the south. They were important for all of us, but especially for the Issei. Whitney reminded Papa of Fujiyama, that is, it gave him the same kind of spiritual sustenance.

You and Whitney would not be the first couple to find yourselves on opposite sides of a mountain,” I say. “Romeo and Juliet, Anna Karenina and Vronsky. Maria and Tony. Jack and Rose.” Edison looks at me in horror. “You do realize that in every example you just gave me, at least one of them dies?

Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.

The art show at the new branch of the Whitney met Eph’s exceedingly low expectations. One artist made small Lucite cubes filled with garbage purloined right from New York City trash bins. There were cigarette butts and fast-food wrappers and even blobs of moldy food. Eph could hear one nearby aesthete gush about the artist’s “urban truthfulness.” Another artist featured a painting of a rose done entirely in menstrual blood. The flaw, Eph thought, was that blood dried brown, not red, but nobody seemed to be pointing that out. He also wondered what it had to do with the “New Urban.” “There are no words,” said Eph, sotto voce in case the artist was lurking among the people nearby. “Art is meant to provoke,” said D’Arcy. “If you have a reaction, even a negative one, then the artist has succeeded

And the dress she was wearing, a highly inappropriate one that hugged her thighs a little too tightly, rose up an inch every time she took a step.

Whatever happens, keep moving forward. Always move forward.

Well, you won’t be with Reed tonight, baby,” he tells me. “You’ll be with me. The only man in this city who truly knows how to appreciate you and just how beautiful and talented you are.” I can’t breathe. It’s really happening. Grant Whitney is asking me on…a date? And I’m absolutely, one hundred percent, going to go with him.

While he was in school, we needed to pay our bills. I had to get a job. I'd majored in music (piano). I had no business credentials, connections, or confidence, so I started as a secretary to a retail sales broker at Smith Barney in midtown Manhattan. It was the era of Liar's Poker, Bonfire of the Vanities, and Working Girl. Working on Wall Street was exciting. I started taking business courses at night and I had a boss who believed in me, which allowed me to bridge from secretary to investment banker. This rarely happens. Later I became an equity research analyst and subsequently cofounded the investment firm Rose Park Advisors with Clayton Christensen, a professor at Harvard Business School. When I walked onto Wall Street through the secretarial side door, and then walked off Wall Street to become an entrepreneur, I was a disruptor. "Disruptive innovation" is a term coined by Christensen to describe an innovation at the low end of the market that eventually upends an industry. In my case, I had started at the bottom and climbed to the top—now I wanted to upend my own career. No wonder my friend thought I'd lost my sanity. According to Christensen's theory, disruptors secure their initial foothold at the low end of the market, offering inferior, low-margin products. At first, the disrupter's position is weak. For example, when Toyota entered the U.S. market in the 1950s, it introduced the Corona, a small, cheap, no-frills car that appealed to first-time car buyers on a tight budget.

Time hasn’t eroded my essential Persianness. Instead, it has distilled it to a deep garnet glaze that drips an indelible pomegranate stain, with a trace of rose water that emanates from my pores, marked by the steady tone of the zarb played by the grandfather I never knew that tracks my sometimes stuttering heartbeat.