“She stood at the gate, waiting; behind her the swamp, in front of her Colored Town, beyond it, all Maxwell. Tall and slim and white in the dusk, the girl stood there, hands on the picket gate.”
Strange Fruit (1944) First lines
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Lillian Smith (author) 4
American author, social critic 1897–1966Related quotes
Source: Mary Poppins (1934), Ch. 1 "East-Wind"
Context: Jane and Michael sat at the window watching for Mr. Banks to come home, and listening to the sound of the East Wind blowing through the naked branches of the cherry-trees in the Lane. The trees themselves, turning and bending in the half light, looked as though they had gone mad and were dancing their roots out of the ground.
"There he is!" said Michael, pointing suddenly to a shape that banged heavily against the gate. Jane peered through the gathering darkness.
"That's not Daddy," she said. "It's somebody else."
Then the shape, tossed and bent under the wind, lifted the latch of the gate, and they could see that it belonged to a woman, who was holding her hat on with one hand and carrying a bag in the other. As they watched, Jane and Michael saw a curious thing happen. As soon as the shape was inside the gate the wind seemed to catch her up into the air and fling her at the house. It was as though it had flung her first at the gate, waited for her to open it, and then had lifted and thrown her, bag and all, at the front door. The watching children heard a terrific bang, and as she landed the whole house shook.
"How funny! I've never seen that happen before," said Michael.
“One morn a Peri at the gate
Of Eden stood disconsolate.”
Lalla Rookh http://www.columbia.edu/itc/mealac/pritchett/00generallinks/lallarookh/index.html (1817), Part IV: Paradise and the Peri
Source: Everything Is Illuminated (2002), pp. 79-80
The Golden Violet - The Child of the Sea
The Golden Violet (1827)
“How at heaven's gates she claps her wings,
The morne not waking til she sings.”
Cupid and Campaspe, Act v, Sc. 1. Compare: "Hark, hark! the lark at heaven's gat sings,/And Phœbus 'gins arise", William Shakespeare, Cymbeline, act ii, sc. 3.
“She may very well pass for forty three
In the dusk with the light behind her.”
Trial by Jury (1875)
Source: Where Angels Fear to Tread (1905), Ch. 10
Context: This woman was a goddess to the end. For her no love could be degrading: she stood outside all degradation. This episode, which she thought so sordid, and which was so tragic for him, remained supremely beautiful. To such a height was he lifted, that without regret he could now have told her that he was her worshipper too. But what was the use of telling her? For all the wonderful things had happened.
"Thank you," was all that he permitted himself. "Thank you for everything."