Street Quotes (displaying: 1 - 30 of 1672 quotes )
And when you discover what you will be in your life, set out to do it as if God Almighty called you at this particular moment in history to do it. Don’t just set out to do a good job. Set out to do such a good job that the living, the dead or the unborn couldn’t do it any better. If it falls your lot to be a street sweeper, sweep streets like Michelangelo painted pictures, sweep streets like Beethoven composed music, sweep streets like Leontyne Price sings before the Metropolitan Opera. Sweep streets like Shakespeare wrote poetry. Sweep streets so well that all the hosts of heaven and earth will have to pause and say: Here lived a great street sweeper who swept his job well.
If it falls to your lot to be a street sweeper, sweep streets like Michelangelo painted pictures, sweep streets like Beethoven composed music ... Sweep streets like Shakespeare wrote poetry. Sweep streets so well that all the host of heaven and earth will have to pause and say: Here lived a great street sweeper who swept his job well.
A city uninhabited is different. Different from what a "normal" observer, straggling in the dark - the occasional dark - would see. It is a universal sin among the false-animate or unimaginative to refuse to let well enough alone. Their compulsion to gather together, their pathological fear of loneliness extends on past the threshold of sleep; so that when they turn the corner, as we all must, as we all have done and do - some more than others - to find ourselves on the street... You know the street I mean, child. The street of the 20th Century, at whose far end or turning - we hope - is some sense of home or safety. But no guarantees. A street we are put at the wrong end of, for reasons best known to the agents who put us there. But a street we must walk.
... it's like this. Sometimes, when you've a very long street ahead of you, you think how terribly long it is and feel sure you'll never get it swept. And then you start to hurry. You work faster and faster and every time you look up there seems to be just as much left to sweep as before, and you try even harder, and you panic, and in the end you're out of breath and have to stop--and still the street stretches away in front of you. That's not the way to do it. You must never think of the whole street at once, understand? You must only concentrate on the next step, the next breath, the next stroke of the broom, and the next, and the next. Nothing else. That way you enjoy your work, which is important, because then you make a good job of it. And that's how it ought to be. And all at once, before you know it, you find you've swept the whole street clean, bit by bit. what's more, you aren't out of breath. That's important, too... (28-29)
When the short days of winter came, dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street.
Practical jokes are a demonstration that the distinction between seriousness and play is not a law of nature but a social convention which can be broken, and that a man does not always require a serious motive for deceiving another.Two men, dressed as city employees, block off a busy street and start digging it up. The traffic cop, motorists and pedestrians assume that this familiar scene has a practical explanation? a water main or an electric cable is being repaired? and make no attempt to use the street. In fact, however, the two diggers are private citizens in disguise who have no business there.All practical jokes are anti-social acts, but this does not necessarily mean that all practical jokes are immoral. A moral practical joke exposes some flaw of society which is hindrance to a real community or brotherhood. That it should be possible for two private individuals to dig up a street without being stopped is a just criticism of the impersonal life of a large city where most people are strangers to each other, not brothers; in a village where all inhabitants know each other personally, the deception would be impossible.
And always America is the place of the deathless and enraptured moments, the eye that looked, the mouth that smiled and vanished, and the word; the stone, the leaf, the door we never found and never have forgotten. And these are the things that we remember of America, for we have known all her thousand lights and weathers, and we walk the streets, we walk the streets forever, we walk the streets of life alone.
Is there anything, apart from a really good chocolate cream pie and receiving a large unexpected cheque in the post, to beat finding yourself at large in a foreign city on a fair spring evening, loafing along unfamiliar streets in the long shadows of a lazy sunset, pausing to gaze in shop windows or at some church or lovely square or tranquil stretch of quayside, hesitating at street corners to decide whether that cheerful and homy restaurant you will remember fondly for years is likely to lie down this street or that one? I just love it. I could spend my life arriving each evening in a new city.
Tomorrow I too - this feeling and thinking soul, the universe I am to myself - yes, tomorrow I too will be someone who no longer walks the streets, someone others will evoke with a vague: 'I wonder what's become of him?' And everything I do, everything I feel, everything I experience, will be just one less passer-by on the daily streets of some city or other.
I must go now.""Stay up the night with me! We'll go to the fish market. There are great noble monsters packed in ice. There are turtles, live ones, for famous restaurants. We'll rescue one and write messages on his shell and put him in the sea, Shell, seashell. Or we'll go to the vegetable market. They've got red-net bags full of onions that look like huge pearls. Or we'll go down to Forty-second Street and see the movies and buy a mimeographed bulletin of jobs we can get in Pakistan --""I work tomorrow.""Which has nothing to do with it.""But I'd better go now.""I know this is unheard in America, but I'll walk you home.""I live on Twenty-third Street.""Exactly what I'd hoped. It's over a hundred blocks.
It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.
Every time I came to the end of a block and stepped off the goddam curb, I had this feeling that I'd never get to the other side of the street. I thought I'd just go down, down, down, and nobody'd ever see me again. Boy, did it scare me. You can't imagine. I started sweating like a bastard? my whole shirt and underwear and everything. Then I started doing something else. Every time I'd get to the end of a block I'd make believe I was talking to my brother Allie. I'd say to him, "Allie, don't let me disappear. Allie, don't let me disappear. Allie, don't let me disappear. Please, Allie." And then when I'd reach the other side of the street without disappearing, I'd thank him.
DEAR MISS MANNERS: When does a gentleman offer his arm to a lady as they are walking down the street together? GENTLE READER: Strictly speaking, only when he can be practical assisstance to her. That is, when the way is steep, dark, crowded, or puddle-y. However, it is rather a cozy juxtapostion, less comprising than walking hand in hand, and rather enjoyable for people who are fond of each other, so Miss Manners allows some leeway in interpreting what is of practical assisstance. One wouldn't want a lady to feel unloved walking down the street, any more than one would want her to fall of the curb.
The dead boy in his arms hung with his head back and those partly opened eyes beheld nothing at all out of that passing landscape of street or wall or paling sky or the figures of the children who stood blessing themselves in the gray light. This man and his burden passed on forever out of that nameless crossroads and the women stepped once more into the street and the children followed and all continued on to their appointed places which as some believe were chosen long ago even to the beginning of the world.
Memory in these incomparable streets, in mosaics of pain and sweetness, was clear to me now, a unity at last. I remembered small and unimportant things from the past: the whispers of roommates during thunderstorms, the smell of brass polish on my fingertips, the first swim at Folly Beach in April, lightning over the Atlantic, shelling oysters at Bowen's Island during a rare Carolina snowstorm, pigeons strutting across the graveyard at St. Philip's, lawyers moving out of their offices to lunch on Broad Street, the darkness of reveille on cold winter mornings, regattas, the flash of bagpipers' tartans passing in review, blue herons on the marshes, the pressure of the chinstrap on my shako, brotherhood, shad roe at Henry's, camellias floating above water in a porcelain bowl, the scowl of Mark Santoro, and brotherhood again.
That day in Chartres they had passed through town and watched women kneeling at the edge of the water, pounding clothes against a flat, wooden board. Yves had watched them for a long time. They had wandered up and down the old crooked streets, in the hot sun; Eric remembered a lizard darting across a wall; and everywhere the cathedral pursued them. It is impossible to be in that town and not be in the shadow of those great towers; impossible to find oneself on those plains and not be troubled by that cruel and elegant, dogmatic and pagan presence. The town was full of tourists, with their cameras, their three-quarter coats, bright flowered dresses and shirts, their children, college insignia, Panama hats, sharp, nasal cries, and automobiles crawling like monstrous gleaming bugs over the laming, cobblestoned streets. Tourist buses, from Holland, from Denmark, from Germany, stood in the square before the cathedral. Tow-haired boys and girls, earnest, carrying knapsacks, wearing khaki-colored shorts, with heavy buttocks and thighs, wandered dully through the town. American soldiers, some in uniform, some in civilian clothes, leaned over bridges, entered bistros in strident, uneasy, smiling packs, circled displays of colored post cards, and picked up meretricious mementos, of a sacred character. All of the beauty of the town, all the energy of the plains, and all the power and dignity of the people seemed to have been sucked out of them by the cathedral. It was as though the cathedral demanded, and received, a perpetual, living sacrifice. It towered over the town, more like an affliction than a blessing, and made everything seem, by comparison with itself, wretched and makeshift indeed. The houses in which the people lived did not suggest shelter, or safety. The great shadow which lay over them revealed them as mere doomed bits of wood and mineral, set down in the path of a hurricane which, presently, would blow them into eternity. And this shadow lay heavy on the people, too. They seemed stunted and misshapen; the only color in their faces suggested too much bad wine and too little sun; even the children seemed to have been hatched in a cellar. It was a town like some towns in the American South, frozen in its history as Lot's wife was trapped in salt, and doomed, therefore, as its history, that overwhelming, omnipresent gift of God, could not be questioned, to be the property of the gray, unquestioning mediocre.
A lady known as Paris, Romantic and Charming. Has left her old companions and faded from view. Lonely men with lonely eyes are seeking her in vain. Her streets are where they were, but there's no sign of her. She has left the Seine. The last time I saw Paris, her heart was warm and gay, I heard the laughter of her heart in every street caf. The last time I saw Paris, her trees were dressed for spring, And lovers walked beneath those trees and birds found songs to sing. I dodged the same old taxicabs that I had dodged for years. The chorus of their squeaky horns was music to my ears. The last time I saw Paris, her heart was warm and gay, No matter how they change her, I'll remember her that way. I'll think of happy hours, and people who shared them. Old women, selling flowers, in markets at dawn. Children who applauded, Punch and Judy in the park. And those who danced at night and kept our Paris bright'til the town went dark.
He held the apple box against his chest. And then he leaned over and set the box in the stream and steadied it with his hand. He said fiercely, "Go down an' tell 'em. Go down in the street an' rot an' tell 'em that way. That's the way you can talk. Don' even know if you was a boy or a girl. Ain't gonna find out. Go on down now, an' lay in the street. Maybe they'll know then.
I wander thro' each charter'd street, Near where the charter'd Thames does flow, And mark in every face I meet Marks of weakness, marks of woe. In every cry of every Man, In every Infant's cry of fear, In every voice, in every ban, The mind-forg'd manacles I hear. How the Chimney-sweeper's cry Every black'ning Church appalls; And the hapless Soldier's sigh Runs in blood down Palace walls. But most thro' midnight streets I hear How the youthful Harlot's curse Blasts the new born Infant's tear, And blights with plagues the Marriage hearse.
Silly that a grocery should depress one—nothing in it but trifling domestic doings—women buying beans—riding children in those grocery go-carts—higgling about an eighth of a pound more or less of squash—what did they get out of it? Miss Willerton wondered. Where was there any chance for self-expression, for creation, for art? All around her it was the same—sidewalks full of people scurrying about with their hands full of little packages and their minds full of little packages—that woman there with the child on the leash, pulling him, jerking him, dragging him away from a window with a jack-o’-lantern in it; she would probably be pulling and jerking him the rest of her life. And there was another, dropping a shopping bag all over the street, and another wiping a child’s nose, and up the street an old woman was coming with three grandchildren jumping all over her, and behind them was a couple walking too close for refinement.