Women Authors From The United States

"“Only one way to find out,” said Kade, and started walking. “Why do people always say that?” muttered Cora, trailing along at the rear of the group. There’s always more than one way to find something out. People only say there’s only one way when they want an excuse to do something incredibly stupid without getting called on it. There are lots of ways to find out, and some of them even involve not pissing off a man who goes by ‘the Lord of the Dead.’” “Yeah, but they wouldn’t be as much fun, now would they?”"

"The first man—the Master—raised his goblet in a mocking toast. “To the future,” he said. “It’s on its way now, whether we’re prepared or not.”"

"There are moments that change everything, and once things have been changed, they do not change back."

"Parents lied to children when they thought it was necessary, or when they thought that it would somehow make things better. It only made sense that children should lie to parents in the same way."

"Time is the alchemy that turns compassion into love."

"Time resumed. Time had a way of doing that."

"Hope only got you hurt. Hope was her least favorite thing, of all things."

"“There might be spiders,” said Jacqueline. She wrinkled her nose, less out of actual distaste and more out of the knowledge that she was supposed to find spiders distasteful. She really found them rather endearing. They are sleek and clean and elegant, and when their webs got messed up, they ripped them down and started over again. People could learn a lot from spiders."

"Then Angela turned on Kade, and said, “I meant what I said. It’s sick, how you pretend like you’re something you’re not.” “I was about to say the same thing to you,” said Christopher. “I mean, you always did a pretty good job of pretending to be a decent human being. You had me fooled.”"

"Miss Hansard, who had been teaching for nearly twenty years, slumped against her desk and wondered when retirement had gone from a distant impossibility to something to be devoutly yearned for. They got younger every year. She was certain of that much, at least. They got younger, and harder to understand, every single year."

"Her accusations had been met with reality, and they didn’t have anyplace else to go."

"You know, sometimes I almost forget how creepy you are, and then you go and say something like that."

"Of course this was all real. She had had her share of wild and beautiful dreams, but never anything like this. And if she hadn’t dreamed it, it had to be real, and if it was real, of course they were still there. Real places didn’t go away just because you’d had a nap."

"Mysteries in books were the best kind. The real world was absolutely full of boring mysteries, questions that never got answered and lost things that never got found. That wasn’t allowed, in books. In books, mysteries were always interesting and exciting, packed with daring and danger, and in the end, the good guys found the clues and the bad guys got their comeuppance. Best of all, nothing was ever lost forever. If something mattered enough for the author to write it down, it would come back before the last page was turned. It would always come back."

"“Hope hurts. That’s what you need to learn, and fast, if you don’t want it to cut you open from the inside out. Hope is bad. Hope means you keep on holding to things that won’t ever be so again, and so you bleed an inch at a time until there’s nothing left. Ely-Eleanor is always saying ’don’t use this word’ and ’don’t use that word,’ but she never bans the ones that are really bad. She never bans hope.”"

"Katherine understood rules. Understood them down to the marrow of her bones. Rules were the reason the world could work at all. Following the rules didn’t make you a good person, just like breaking them didn’t make you a bad one, but it could make you an invisible person, and invisible people got to do as they liked."

"There are many good things in the world, and each of them happens for the first time only once, and never again."

"Turn her loose, Robert. You might learn something."

"Nobody gave me anything. I had to fight to do scripts and fight not to do scripts and go on suspension and sue, and that's what saved me. Take Mary Astor. I had to fight to get her into ', and she won the Oscar, and then did The Maltese Falcon and had a whole new career. She was beautiful, and a fine actress, but she could never be sure of that, because she was so beautiful that everything was handed to her right from the beginning only because of her beauty. So that led to insecurity and drinking and terrible scandals, and she became her own worst enemy."

"Mary Astor said nothing but stared a lot over the top of her glasses, and I thought this was a woman that no one will get close to. To my surprise she asked everyone to autograph the front page of her script. She was collecting autographs, she said, from every television play she had ever done. It was the first intimation of what it took me a long time to realize: She nearly always likes the people she works with. What I had taken to be offhandedness was her way of covering her terror of live television. Anyway, in that ill-lit ballroom, there she was, a good deal older than when she had won her Academy Award but not much changed; the darkly red hair in the mannish cut, that profile, the freckles, eyes the color of cracked hazelnuts. And the unique voice, a cello voice, Edith Cortright's voice in Dodsworth, a voice that has a trick to it: It can make a banal line seem intelligent; it has had experience doing that."

"If I ever do make Beau Brummel, I want that girl to play Lady Margery Alvanley."

"Another offering that is on the grim side but will hold your interest as a dramatic story in A Place Called Saturday, by Mary Astor. The former screen actress tells the story of a rape—and its effect on not only the victim, an Arizona housewife, but also on her husband and her "friends," one of whom, as it turns out, is "is going steady," as they used to say, with the rapist. There's everything here, from impotence to abortion, and Miss Astor is rapidly developing, from book to book, no mean ability at pulling out emotional stops."

"If I could only get to see Mary Astor! Mary Astor was always my favorite actress. [...] When Mary Astor sat down to play the piano, she bloody well played the thing."

"Mary is un-actressy, though, herself, one of the least actressy actresses I have ever known. She is no more given to ostentatious behavior than she is to big hats. In fact, the impression she gives is more that of a successful woman lawyer; that has something to do with her native intelligence. [...] [A]s a person there is so little sham in her that you wonder at her spending forty years working in artificial light. It has always been the work she likes and not the limelight. "Let's work," she says at rehearsal and if there is too much chat about it, "Let's get back to work.""

"When I think of Mary Astor, which is quite often, that prayer that was recited over our heads at College comes to mind. "Lord" (or some such), "who has granted that when two or three are gathered together in Thy Name, Thou wilt grant their requests . . ." And I have thought how strange it is, and how indisputable, that when two or three who love the cinema are gathered together, the name of Mary Astor always comes up, and everybody agrees that she was an actress of special attraction, whose qualities of depth and reality always seemed to illuminate the parts she played. And all this in spite of—or because of—the fact that she was never exactly a star. [...] [She] conceive[d] of her performance from the start in the terms the author laid down, not in terms of her own personality. This is why every performance she gave has the ring of truthfulness and the depth of reality. She was never a good liar."

"I think "laconic" is a good word for and for his technique of direction. No big deal about communication with John. Terse, pithy, to the point. Very Irish, a dark personality, a sensitivity which he did everything to conceal, but once he said to me while I was doing a scene with Ray Massey, "Make it scan, Mary." And I said to myself, "Aha! I know you now!"."

"Under contract, for some weird reason, you get typed, stuck into the same part, over and over again. In my case, it was mother roles. It isn't that I didn't like being a mother: I had two wonderful children of my own. But Metro's Mothers never did anything but mothering. They never had a thought in their heads except their children. They sacrificed everything: they were domineering or else the "Eat up all your spinach" type. Clucking like hens. Eventually every actor on the Metro lot called me Mom. I was in my late thirties and it played hell with my image of myself. And my image of the Diary days went right down the drain."

"There is a kind of attitude, a manner of speaking, a look in the eye, the kind of smile you get, the embrace from a director or producer that carries the most depressing hypocrisy: "Hey! You know you're still looking pretty sexy!" "Wow, you still got it, you know!" "You haven't got a worry in the world—you can be right up there again." Translated, in means "The old girl still looks pretty good." But the old girl, now nearing fifty, is not a young girl, is not sexy and has no intention of competing with anybody. Competition has never been my thing, and I wasn't sure I wanted to be right up there again. [...] I wanted to put my craft, what I had learned, my experiences, to work. The myth of Sunset Boulevard, with the old glamorous actress looking at all her old movies in the sumptuous, decaying mansion, is just that. It may have been taken from a factual story of some kind of nut—but believe me, that isn't where old actresses go!"

"As far as acting was concerned, I simply did what I was told. This I was good at. For too many years I had searched for cues as to my father's disposition and desires. And this ability called forth praise of "How beautifully she takes direction!" You bet I did! In silents the direction went on during the action: after the camera turned, I'd hear, "Now look at him, Mary—that's it—you can't believe it! Tears come to your eyes—reach out and touch his arm—gently, gently." The more experienced actors would refuse anything but the minimum of offstage cueing, like perhaps, "You hear the door slam," but I wouldn't have been able to carry a whole scene without help. Not because I'd forget what we had done in rehearsal, but because I was afraid I'd do it wrong. You see, I was "stupid"—I really thought I was—and that was the role I played in life. It was very safe."

"Yes, I do miss my "family." That great big family I accumulated over the years. [...]. We shared the ephemeral quality, the sense of impermanence of the medium we worked in. Often when a scene was being worked over in rehearsal, experimenting, nit-picking about words and moves, somebody would break up the over-seriousness with the question, "Who's waiting for this opera, anyway?" and we'd all laugh and realize it was all something that shouldn't be taken too seriously—and yet, if it wasn't taken seriously it wasn't any good. I miss these people who were part of my life—co-workers, co-actors. Friends. And I watch the new ones, the new breed, and when they do something great and fine, I'm proud. And when they do things that are blatantly bad, I am ashamed. But I can't disinherit them, for no matter how much they may feel that it is a whole new thing, it isn't really. It is a continuation. For what they have today was built upon the great and fine and the blatantly bad jobs that we did—we old movie-makers."

"My father often used to rebuke me by saying, "You're almost nine years old" (and then "ten," and then "eleven," and "twelve") "and you haven't learned a thing!" Well, here I was, fifty years old and I still hadn't learned a thing! My father's rebuke had always seemed to imply a promise that years, the very accumulation of years, would bring experience and understanding. So, at whatever age I was, I wished I were older. At seventeen I longed to be twenty-five. At twenty I wanted to be a woman of the world of thirty. At thirty I read that the French thought a woman did not reach full maturity of beauty and attractiveness until she was forty. Finally, at forty-five, I decided that the whole thing was a pack of lies. Where was the "serenity" that the years were to bring? Where was :"the cooling of passion's blood?" I realized that I, who leaned on so many people and things, had been leaning even on the abstraction of time."

"Tuesday night we had a dinner at ‘21’ and on the way to see ' he did kiss me—and I don’t think either of us remember much what the show was about. We played kneesies during the first two acts, my hand wasn’t in my own lap during the third. It’s been years since I’ve felt up a man in public, but I just got carried away. Afterwards we had a drink someplace and then went to a little flat in 73rd Street where we could be alone, and it was all very thrilling and beautiful. Once George lays down his glasses, he is quite a different man. His powers of recuperation are amazing, and we made love all night long. It all worked perfectly, and we shared our fourth climax at dawn. I didn’t see much of anybody else the rest of the time—we saw every show in town, had grand fun together and went frequently to 73rd Street where he fucked the living daylights out of me.”"

"That guy over there, Ray Massey. He can put his boots under my bed any day of the week."

"Acting was my parents' idea for me. I happened to have a very pretty face. It was a very pretty face indeed, and it was sold to the highest bidder, that's all. I wanted to be a writer. I didn't know that until about 15 years ago, and I've been writing ever since. And that's about all I want to do."

"There is a reason that American Jews overwhelmingly voted against [[Donald Trump|[Donald] Trump]]. These Americans voted their values, which include opposition to racism in all forms, a concern for the poor and the stranger, and a reverence for the rule of law."

"But Trump will not stop. He continues to single out Jewish lawmakers (e.g., House Intelligence Committee Chairman Adam B. Schiff (D-Calif.) is "shifty") and his Republican Party routinely invokes Jewish billionaire George Soros as a maniacal force behind progressive Democrats. This is today's Republican Party: a cesspool of right-wing nationalist rhetoric, anti-Semitic tropes that find favor in certain circles (since America is a white, Christian nation in their eyes, Jews are "outsiders"), as well as anti-immigrant screeds and conspiracy theories. They overlap and reinforce one another."

"As we saw on Jan. 6, when elected leaders defy the law, they invite their followers to do the same. Chaos reigns, the courts become powerless, and mob rule (directed by an authoritarian leader) prevails. When [Donald] Trump lambastes judges and prosecutors and promises to "weaponize" the Justice Department, judges must maintain a zero-tolerance policy for officials' (and former officials') defiance of laws and court orders and ignore their claims of persecution. Judges should continue to denounce the contempt for courts, the law and truth Republicans routinely display. If courts do not mete out severe consequences for willful disregard of the law and attacks on the legitimacy of the courts, Trump will succeed in ripping up the foundation of our democracy. Judges simply must hold the line."

"Buddhist philosophy made so much sense to me when I encountered it. It also upended so much of my thinking — about the self, about suffering, about the mental barriers I’d drawn up my whole life. I can’t understate the freedom that comes — at any age, but especially at that young age — with understanding there is no need to chase after anything, that one innately contains a vast understanding and wisdom. The freedom and balm of knowing that the root of so much suffering is also an illusion: You are not separate from any other thing."

"I gravitate toward language that radiates a certain energy for me."

"I’m interested in teasing out the moral complications in travel, but I’m not claiming any moral authority on the subject. Traveling, and the estrangement that comes with it — both physical and mental — can be deeply meaningful in many regards. That’s certainly been true for me. Being unsettled and departing from the familiar encourages a certain kind of attention and awakening of curiosity that helps us reach outside of our own skins, and in doing so, makes us consider not only what is unfamiliar to us in our surroundings, but what is unfamiliar to us in ourselves."

"I consider myself a Buddhist practitioner, but still a beginner, even though I’ve been meditating on and off for many years now. When I was growing up, no one in my household was religious. I’d always been curious about religion, probably because it was bound up for me with questions about how to live as a person when you’re granted such a brief stretch of time. I remember picking up a Buddhist book during my senior year of high school, when it was dawning on me that I would soon experience a new level of autonomy."

"My initial impulse is to say that the poems aren’t “about” me, but that response plays into the faulty assumption that poems whose primary aim might be self-disclosure or testimony are somehow less aesthetically rigorous or energizing. I don’t buy that, really. At the same time, the “I” in these poems, while they might share autobiographical details with the person that wrote them, aren’t “about” me insofar as the speakers are fashioned, dramatized, contextually bound. I invoke them and write into them to better serve the poems and their modes, registers, and textures. Many of the poems take up self-interrogation, but I’m not interested in getting the plot details exactly right. The self is a fiction."

"Reading is migratory, an act of transport, from one life to another, one mind to another. Just like geographic travel, reading involves estrangement that comes with the process of dislocating from a familiar context. I gather energy from this kind of movement, this estranging and unsettling, and I welcome it precisely because it’s conducive to examination, interrogation, reordering. Travel, imaginative or physical, can sharpen perception and force a measuring of distance and difference."

"Speaking and writing in English carried with it the anxiety of being betrayed by one’s usage mistakes and lack of fluency; this was no doubt reinforced by the linking of academic success to facility with speech and writing. At the same time that I began learning English, my Mandarin slowed in development, because I wasn’t using it outside of the domestic sphere. To this day, even though I enrolled in a year of intensive Mandarin study in college, my Mandarin is quite stunted. I’ve lost most of the ability to read and write in it, sadly."

"I try to distance myself from systems of literary production and strains of thought that place primacy on publishing and publishing quickly. Ironically, one way to keep myself going is to surrender completely to the fear that I won’t write again, and try to access some recessed zone where any need or ambition to write poems, or to write for others’ eyes, falls away. Once I’ve been emptied of those needs, I find I can allow myself to be filled once more. Reading invigorating work, putting myself in the presence of formidable voices and minds, or submerging myself in slow films usually helps, too."

"Education is considered the peculiar business of women; perhaps for that very reason it is one of the worst-paid business in the world; the salaries of men who engage in it are double those of women, who do better work and more of it."

"I was always determined to find just the right book for that one child who maybe was a reluctant reader. I knew there was a book to turn him on to reading. I just had to find it. I do have a special place in my heart for kids who maybe have trouble reading or who just don't want to for various reasons. It's always my goal to write books that will somehow entice them to want to read."

"The strange thing is that what makes a wonderful story for some could be quite boring for others. It’s quite rare to find a story that everyone loves. But I think the best stories are those where the underdog somehow finds a way to succeed, hopefully with friends helping along the way."

"I would not have gone into acting. I would have done something else with my life. Although I had an incredible amount of fun, and it opened up doors for me that were unattainable in other ways, I think I would have been better off developing my brains. On the other hand, I might not have gotten into what I'm doing now without that background. All the experience I had in television, radio, theater, stage and films gave me confidence in front of crowds. Because of that, I can talk to an audience of a thousand people without a moment's nervousness, and talk without a script for hours."

"It is a lake in width, it is enclosed in masonry, and it measures about three miles around! Superb! Few architects think in measurements as big as that... Any architect would thrill at the harmony of the facade, an unbroken stretch of repeated pillars leading from the far angles of the structure to the central opening, which is dominated, by three imposing towers with broken summits... The Vat rises in fair majesty against the heavens... All the ancient power of the temple and its gods is puissant still. It surrounds those who look upon the wonder. The eyes sweep upwards over the rising storeys, up, up, to the mounting towers, to the pure firmament, and pause subdued. It is ever thus. Some power overcomes, some mysterious spell is caste, one never look upon the ensemble of the Vat without a thrill, a pause, a feeling of being caught up into the heavens. Perhaps it is the most impressive sight in the world of edifices. The whole place is covered, once you open your eyes to it, columns, lintels, surbases, panels, pediments, jambs of doors and windows. One says that this holy sanctuary contained a wondorus statue of God Vishnu carved from precious stone... The portico is magnificent in a way not unfamiliar. One is at once in harmony with the plan. Nothing exotic about it, nothing that shocks Western traditions, simply grandeur and dignified beauty as we know it in our own architecture.""