Pas Quotes (displaying: 1 - 30 of 47 quotes )
Then Pa looked straight at Laura and said, 'You girls keep away from the camp. When you go walking. don't go near where the men are working, and you be sure you're back here before they come in for the night. There's all kinds of rough men working on the grade and using rough language, and the less you see and hear of them the better. Now remember, Laura. And you too, Carrie.' Pa's face was very serious.'Yes, Pa' Laura promised, and Carrie almost whispered , 'Yes, Pa.' Carrie's eyes were large and frightened. She did not want to hear rough language, whatever rough language might be. Laura would have liked to hear some, just once, but of course she must obey Pa.
When the fiddle had stopped singing Laura called out softly, "What are days of auld lang syne, Pa?" "They are the days of a long time ago, Laura," Pa said. "Go to sleep, now." But Laura lay awake a little while, listening to Pa's fiddle softly playing and to the lonely sound of the wind in the Big Woods,… She was glad that the cozy house, and Pa and Ma and the firelight and the music, were now. They could not be forgotten, she thought, because now is now. It can never be a long time ago.
The ot?ers went u?stairs, a slow unwilling pr?ce?sion. If this had been an old house, with crea?ing wood, and dark sha?ows, and hea?ily pa?elled walls, there might have been an eerie fee?ing. But this house was the essence of mode?n?ty. There were no dark corners - no po?s?ble sli?ing pa?els - it was floo?ed with ele?tric light - ever?thing was new and bright and shining. There was not?ing hi?den in this house, not?ing co?cealed. It had no a?m?sphere about it. Som?how, that was the most frigh?e?ing thing of all. They e?changed good-nights on the u?per lan?ing. Each of them went i?to his or her own room, and each of them automatica?ly, a?most wit?out co?scious thought, locked the door....
I was twenty now, and had given up all hope of being a singer or ever getting out of Aston. PA system or no PA system, it wasn’t going to happen. I’d convinced myself that there was no point in even trying, because I was just going to fail, like I had at school, at work, and at everything else I’d ever tried. ‘You ain’t no good as a singer,’ I told myself. ‘You can’t even play an instrument, so what hope d’you have?’
It was Sunday, and Mumma had gone next door with Lena and the little ones. Under the pepper tree in the yard Pa was sorting, counting, the empty bottles he would sell back: the bottles going clink clink as Pa stuck them in the sack. The fowls were fluffing in the dust and sun: that crook-neck white pullet Mumma said she would hit on the head if only she had the courage to; but she hadn't.
I learned to write nice as hell. Birds an' stuff like that, too; not just word writin'. My ol' man'll be sore when he sees me whip out a bird in one stroke. Pa's gonna be mad when he sees me do that. He don't like no fancy stuff like that. He don't even like word writin'. Kinda scare 'im, I guess. Ever' time Pa seen writin', somebody took somepin away from 'im.
It doesn’t matter who you marry, as long as he thinks like you and is a gentleman and a Southerner and prideful. For a woman, love comes after marriage.” “Oh, Pa, that’s such an Old Country notion!” “And a good notion it is! All this American business of running around marrying for love, like servants, like Yankees! The best marriages are when the parents choose for the girl. For how can a silly piece like yourself tell a good man from a scoundrel?
From the Grapes of Wrath and a woman that would not be moved: "'On'y way you gonna get me to go is whup me.' She moved the jack handle gently again. 'An' I'll shame you, Pa. I won't take no whuppin', cryin' an' a-beggin'. I'll light into you. An' you ain't so sure you can whup me anyways. An' if ya do get me, I swear to God I'll wait till you got your back turned, or you're settin' down, an' I'll knock you belly-up with a bucket. I swear to Holy Jesus' sake I will.
I suppose next time I come home I shall find you wearing false moustaches—or are you doing so now?' Poirot winced. His moustaches had always been his sensitive point. He was inordinately proud of them. My words touched him on the raw. 'No, no, indeed, mon ami. That day, I pray the good God, is still far off. The false moustaches! Quelle Horreur!’ He tugged at them vigorously to assure me of their genuine character. 'Well, they are very luxuriant still,' I said. 'N’est-ce pas? Never, in the whole of London, have I seen a pair of moustaches to equal mine.' A good job too, I thought privately.
Despereaux looked at his father, at his grey-streaked fur and trembling whiskers and his front paws clasped together in front of his heart, and he felt suddenly as if his own heart would break in two. His father looked so small, so sad."Forgive me," said Lester again.Forgiveness, reader, is, I think, something very much like hope and love - a powerful, wonderful thing.And a ridiculous thing, too.Isn't it ridiculous, after all, to think that a son could forgive his father for beating the drum that sent him to his death? Isn't it ridiculous to think that a mouse ever could forgive anyone for such perfidy?But still, here are the words Despereaux Tilling spoke to his father. He said, "I forgive you, Pa."And he said those words because he sensed it was the only way to save his own heart, to stop it from breaking in two. Despereaux, reader, spoke those words to save himself.
I wonder Pa went so easy. I wonder Grampa didn' kill nobody. Nobody never tol' Grampa where to put his feet. An' Ma ain't nobody you can push aroun' neither. I seen her beat the hell out of a tin peddler with a live chicken one time 'cause he give her a argument. She had the chicken in one han', an' the ax in the other, about to cut its head off. She aimed to go for that peddler with the ax, but she forgot which hand was which, an' she takes after him with the chicken. Couldn' even eat that chicken when she got done. They wasn't nothing but a pair of legs in her han'. Grampa throwed his hip outa joint laughin'.
How could a just God permit great misery? The Haitian peasants answered with a proverb: "Bondye konn bay, men li pa konn separe," in literal translation, "God gives but doesn't share." This meant... God gives us humans everything we need to flourish, but he's not the one who's supposed to divvy up the loot. That charge was laid upon us.
If only I had some grease I could fix some kind of a light," Ma considered. "We didn't lack for light when I was a girl before this newfangled kerosene was ever heard of."That's so," said Pa. "These times are too progressive. Everything has changed too fast. Railroads and telegraph and kerosene and coal stoves--they're good things to have, but the trouble is, folks get to depend on 'em.
Our way was to share a fire until it burned down, ayi? To speak to each other until every person was satisfied. Younger men listened to older men. Now the Beelezi tell us the vote of a young, careless man counts the same as the vote of an elder.' In the hazy heat Tata Ndu paused to take off his hat, turn it carefully in his hands, then replace it above the high dome of his forehead. No one breathed. 'White men tell us: Vote, bantu! They tell us: You do not all have to agree, ce n'est pas necessaire! If two men vote yes and one says no, the matter is finished. A bu, even a child can see how that will end. It takes three stones in the fire to hold up the pot. Take one away, leave the other two, and what? The pot will spill into the fire.
Just the other day, I was in my neighborhood Starbucks, waiting for the post office to open. I was enjoying a chocolatey cafe mocha when it occurred to me that to drink a mocha is to gulp down the entire history of the New World. From the Spanish exportation of Aztec cacao, and the Dutch invention of the chemical process for making cocoa, on down to the capitalist empire of Hershey, PA, and the lifestyle marketing of Seattle's Starbucks, the modern mocha is a bittersweet concoction of imperialism, genocide, invention, and consumerism served with whipped cream on top.