Quotes about luxury
page 2

Anaïs Nin photo
Graham Greene photo
Martin Luther King, Jr. photo
Walter Kirn photo

“Just breathing can be such a luxury sometimes.”

Source: Up in the Air

Dave Eggers photo
Paulo Coelho photo
Orson Scott Card photo
Stephen King photo

“Are you sure self-pity is a luxury you can afford, Jack?”

Source: The Shining

Chuck Palahniuk photo
Marcus Tullius Cicero photo
D.H. Lawrence photo

“A woman unsatisfied must have luxuries. But a woman who loves a man would sleep on a board”

D.H. Lawrence (1885–1930) English novelist, poet, playwright, essayist, literary critic and painter
Plutarch photo
John Calvin photo
Marcus Orelias photo

“Rapping bout the hood, in the hills is blasphemy, rapping from the hills to the hood is luxury.”

Marcus Orelias (1993) American actor, rapper, songwriter, author and entrepreneur

Roaring 20s
Rebel of the Underground (2013)

Kurien Kunnumpuram photo
Jean-François Revel photo
Bernard Mandeville photo
Edsger W. Dijkstra photo
Winston S. Churchill photo

“The greatest danger to the British Empire and to the British people is not to be found among the enormous fleets and armies of the European Continent, nor in the solemn problems of Hindustan; it is not in the 'Yellow Peril' nor the 'Black Peril' nor any danger in the wide circuit of colonial and foreign affairs. No, it is here in our midst, close at home, close at hand in the vast growing cities of England and Scotland, and in the dwindling and cramped villages of our denuded countryside. It is there you will find the seeds of Imperial ruin and national decay—the unnatural gap between rich and poor, the divorce of the people from the land, the want of proper discipline and training in our youth, the exploitation of boy labour, the physical degeneration which seems to follow so swiftly on civilized poverty, the awful jumbles of an obsolete Poor Law, the horrid havoc of the liquor traffic, the constant insecurity in the means of subsistence and employment which breaks the heart of many a sober, hard-working man, the absence of any established minimum standard of life and comfort among the workers, and, at the other end, the swift increase of vulgar, joyless luxury—here are the enemies of Britain. Beware lest they shatter the foundations of her power.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

The People's Rights [1909] (London: Jonathan Cape, 1970), pp. 139-140
Early career years (1898–1929)

Charles Dickens photo
André Maurois photo

“An unsatisfied woman requires luxury, but a woman who is in love with a man will lie on a board.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Happiness

Anthony Crosland photo
Samuel Garth photo

“Hard was their lodging, homely was their food;
For all their luxury was doing good.”

Samuel Garth (1661–1719) British writer

Claremont, line 148, reported in Bartlett's Familiar Quotations, 10th ed. (1919). Compare: "And learn the luxury of doing good", Oliver Goldsmith, The Traveller, line 22; George Crabbe, Tales of the Hall, book iii; "If to do were as easy as to know what were good to do, chapels had been churches, and poor men’s cottages princes’ palaces", William Shakespeare, The Merchant of Venice, Act i. Sc. 2.

Richard Cobden photo
Oliver Wendell Holmes photo

“There is that glorious Epicurean paradox uttered by my friend the Historian, in one of his flashing moments: "Give us the luxuries of life, and we will dispense with its necessaries." To this must certainly be added that other saying of one of the wittiest of men: "Good Americans when they die go to Paris."”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

Holmes attributed the remark "Good Americans, when they die, go to Paris" to "one of the wittiest of men". Later writers have attributed the saying to friend and fellow Saturday Club member Thomas Gold Appleton. In 1859, Ralph Waldo Emerson, also a member of that club, recorded in one of his journals, "T. Appleton says, that he thinks all Bostonians, when they die, if they are good, go to Paris." Emerson in His Journals, ed. Joel Porte (1982), p. 486. Neither sentence has been found in the published writings of Appleton, but the remark may have been made in the presence of Holmes and Emerson. Oscar Wilde used the Holmes version in The Picture of Dorian Gray (1890), p. 75 (Complete Works, vol. 4, 1923), and A Woman of No Importance (1893), p. 180 (Complete Works, vol. 7, 1923).
The Autocrat of the Breakfast Table (1858)

Griff Rhys Jones photo

“For me real peace is lying on a river bank in summer with a sprig of grass in my mouth. I have friends who jet off to a luxury hotel. I think, 'How can you enjoy such ghastly luxury?”

Griff Rhys Jones (1953) British actor and comedian

Michael Odell, "This much I know: Griff Rhys Jones", The Guardian, November 5 2006.
Talking about holidays

James, son of Zebedee photo

“In the evening I study a fair.... if you could see the pomp and luxury of the merry-go-round and the stands and booths. Everything is decorated in Baroque-style, all gold and silver; there are mirrors, fabrics, and electric lightning. By night the whole thing is fantastic and rowdy. First of all I shall make a small picture and some drawings for illustrations.”

Giacomo Balla (1871–1958) Italian artist

quote c. 1900, in: Giacomo Balla (1871 – 1951), ed. Fagiolo dell'Arco, exh. catalogue, Galleria Nationale d'Arte Moderna, Rome, 1971
Balla studied a fair for his later painting ' Luna park in Paris https://www.wikiart.org/en/giacomo-balla/luna-park-par-s-1900,' he painted in 1900

Winston S. Churchill photo
Letitia Elizabeth Landon photo

“A luxury of deep repose! the heart
Must surely beat in quiet here.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The London Literary Gazette, 1824

Sarah Palin photo
Stephen Fry photo
Ralph Waldo Emerson photo
Vitruvius photo
Woodrow Wilson photo

“Uncompromising thought is the luxury of the closeted recluse.”

Woodrow Wilson (1856–1924) American politician, 28th president of the United States (in office from 1913 to 1921)

“The Leaders of Men”, (17 June 1890), p. 75 http://books.google.com/books?id=rxC4IG60KTwC&pg=PA75&dq=%22Uncompromising+thought+is+the+luxury+of+the+closeted+recluse%22
1890s

Henry Hazlitt photo

“Let us begin with the simplest illustration possible: let us, emulating Bastiat, choose a broken pane of glass.A young hoodlum, say, heaves a brick through the window of a baker’s shop. The shopkeeper runs out furious, but the boy is gone. A crowd gathers, and begins to stare with quiet satisfaction at the gaping hole in the window and the shattered glass over the bread and pies. After a while the crowd feels the need for philosophic reflection. And several of its members are almost certain to remind each other or the baker that, after all, the misfortune has its bright side. It will make business for some glazier. As they begin to think of this they elaborate upon it. How much does a new plate glass window cost? Fifty dollars? That will be quite a sum. After all, if windows were never broken, what would happen to the glass business? Then, of course, the thing is endless. The glazier will have $50 more to spend with other merchants, and these in turn will have $50 more to spend with still other merchants, and so ad infinitum. The smashed window will go on providing money and employment in ever-widening circles. The logical conclusion from all this would be, if the crowd drew it, that the little hoodlum who threw the brick, far from being a public menace, was a public benefactor.Now let us take another look. The crowd is at least right in its first conclusion. This little act of vandalism will in the first instance mean more business for some glazier. The glazier will be no more unhappy to learn of the incident than an undertaker to learn of a death. But the shopkeeper will be out $50 that he was planning to spend for a new suit. Because he has had to replace a window, he will have to go without the suit (or some equivalent need or luxury). Instead of having a window and $50 he now has merely a window. Or, as he was planning to buy the suit that very afternoon, instead of having both a window and a suit he must be content with the window and no suit. If we think of him as a part of the community, the community has lost a new suit that might otherwise have come into being, and is just that much poorer.The glazier’s gain of business, in short, is merely the tailor’s loss of business. No new “employment” has been added. The people in the crowd were thinking only of two parties to the transaction, the baker and the glazier. They had forgotten the potential third party involved, the tailor. They forgot him precisely because he will not now enter the scene. They will see the new window in the next day or two. They will never see the extra suit, precisely because it will never be made. They see only what is immediately visible to the eye.”

Economics in One Lesson (1946), The Broken Window (ch. 2)

George William Curtis photo

“And are there no laws of moral health? Can they be outraged and the penalty not paid? Let a man turn out of the bright and bustling Broadway, out of the mad revel of riches and the restless, unripe luxury of ignorant men whom sudden wealth has disordered like exhilarating gas; let him penetrate through sickening stench the lairs of typhus, the dens of small-pox, the coverts of all loathsome disease and unimaginable crimes; let him see the dull, starved, stolid, lowering faces, the human heaps of utter woe, and, like Jefferson in contemplating slavery a hundred years ago in Virginia, he will murmur with bowed head, 'I tremble for this city when I remember that God is just'. Is his justice any surer in a tenement-house than it is in a State? Filth in the city is pestilence. Injustice in the State is civil war. 'Gentlemen', said George Mason, a friend and neighbor of Jefferson's, in the Convention that framed the Constitution, 'by an inscrutable chain of causes and effects Providence punishes national sins by national calamities'. 'Oh no. gentlemen, it is no such thing', replied John Rutledge of South Carolina. 'Religion and humanity have nothing to do with this question. Interest is the governing principle with nations'. The descendants of John Rutledge live in the State which quivers still with the terrible tread of Sherman and his men. Let them answer! Oh seaports and factories, silent and ruined! Oh barns and granaries, heaps of blackened desolation! Oh wasted homes, bleeding hearts, starving mouths! Oh land consumed in the fire your own hands kindled! Was not John Rutledge wrong, was not George Mason right, that prosperity which is only money in the purse, and not justice or fair play, is the most cruel traitor, and will cheat you of your heart's blood in the end?”

George William Curtis (1824–1892) American writer

1860s, The Good Fight (1865)

Letitia Elizabeth Landon photo

“It shock'd me first to see the sun
Shine gladly o'er thy tomb;
To see the wild flowers o'er it run
In such luxuriant bloom.
Now I feel glad that they should keep
A bright sweet watch above thy sleep.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Forgotten One from The Keepsake, 1831 [Probably refers to Letitia’s little sister, Elizabeth]
The Vow of the Peacock (1835)

Richard Cobden photo

“Here is an empire in which is the only relic of the oldest civilization of the world—one which, 2,700 years ago, according to some authorities, had a system of primary education—which had its system of logic before the time of Aristotle, and its code of morals before that of Socrates. Here is a country which has had its uninterrupted traditions and histories for so long a period—that supplied silks and other articles of luxury to the Romans 2,000 years ago! They are the very soul of commerce in the East, and one of the wealthiest nations in the world. They are the most industrious people in Asia, having acquired the name of the ants of the East…You find them not as barbarians at home, where they cultivate all the arts and sciences, and where they have carried all, except one, to a point of perfection but little below our own—but that one is war. You have there a people who have carried agriculture to a state of horticulture, and whose great cities rival in population those of the Western world. Now, there must be something in such a people deserving of respect. If in speaking of them we stigmatize them as barbarians, and threaten them with force because we say they are inaccessible to reason, it must be because we do not understand them; because their ways are not our ways, nor our ways theirs. Now, is not so venerable an empire as that deserving of some sympathy—at least of some justice—at the hands of conservative England?”

Richard Cobden (1804–1865) English manufacturer and Radical and Liberal statesman

Speech http://hansard.millbanksystems.com/commons/1857/feb/26/resolutions-moved-debate-adjourned in the House of Commons (26 February 1857) on China.
1850s

Quentin Crisp photo
Charlotte Salomon photo

“.. Thus in the presence of the scorching sun, purple sea, and luxuriant blossoms, the memory of an experience of her fervid early love [Daberlohn = Alfred Wolfsohn ] came back to her. And she tried to visualize that face, that figure. And Io, she succeeded, and she noticed that this was a very interesting occupation. For she discovered that that figure…”

Charlotte Salomon (1917–1943) German painter

Charlotte's 6th ending, written page in brush, related to JHM no. 4922v https://charlotte.jck.nl/detail/M004922/part/character/theme/keyword/M004922: (553) 'Life? or Theater..', p. 818
Charlotte Salomon - Life? or Theater?

Albert Gleizes photo

“People crowded into our room, they shouted, they laughed, they got worked up, they protested, they luxuriated in all kinds of utterances.”

Albert Gleizes (1881–1953) French painter

Quote of Gleizes, 1911, on the Paris' 'Salon d'Automne' exhibition of 1911; as cited by Anne Ganteführer-Trier, in 'Cubism, Taschen, 2004
1910s

Ann Leckie photo
Jean Paul Sartre photo
Ada Leverson photo
Washington Irving photo
Henry Adams photo
Margaret Cho photo
Dinah Craik photo
Samuel R. Delany photo
Lin Yutang photo

“On the whole, the enjoyment of leisure is something which decidedly costs less than the enjoyment of luxury. All it requires is an artistic temperament which is bent on seeking a perfectly useless afternoon spent in a perfectly useless manner.”

Source: The Importance of Living (1937), p. 153. Often quoted as: "If you can spend a perfectly useless afternoon in a perfectly useless manner, you have learned how to live."

Thomas Chandler Haliburton photo
Nouriel Roubini photo
David Brewster photo
Eric Hobsbawm photo
Thomas R. Marshall photo
Paul Gauguin photo
William Cobbett photo
Jay Samit photo

“Lifelong learning is no longer a luxury but a necessity for employment.”

Jay Samit (1961) American businessman

Source: Disrupt You! (2015), p.64

Jeff Koons photo
Guy De Maupassant photo
Davey Havok photo
Oliver Goldsmith photo

“O Luxury! thou curst by Heaven's decree!”

Source: The Deserted Village (1770), Line 385.

Leo Tolstoy photo

“We cannot pretend that we do not see the armed policeman who marches up and down beneath our window to guarantee our security while we eat our luxurious dinner, or look at the new piece at the theater, or that we are unaware of the existence of the soldiers who will make their appearance with guns and cartridges directly our property is attacked.
We know very well that we are only allowed to go on eating our dinner, to finish seeing the new play, or to enjoy to the end the ball, the Christmas fete, the promenade, the races or, the hunt, thanks to the policeman's revolver or the soldier's rifle, which will shoot down the famished outcast who has been robbed of his share, and who looks round the corner with covetous eyes at our pleasures, ready to interrupt them instantly, were not policeman and soldier there prepared to run up at our first call for help.
And therefore just as a brigand caught in broad daylight in the act cannot persuade us that he did not lift his knife in order to rob his victim of his purse, and had no thought of killing him, we too, it would seem, cannot persuade ourselves or others that the soldiers and policemen around us are not to guard us, but only for defense against foreign foes, and to regulate traffic and fetes and reviews; we cannot persuade ourselves and others that we do not know that the men do not like dying of hunger, bereft of the right to gain their subsistence from the earth on which they live; that they do not like working underground, in the water, or in the stifling heat, for ten to fourteen hours a day, at night in factories to manufacture objects for our pleasure. One would imagine it impossible to deny what is so obvious. Yet it is denied.”

Leo Tolstoy (1828–1910) Russian writer

Source: The Kingdom of God is Within You (1894), Chapter 12

Jean Froissart photo

“If we all spring from a single father and mother, Adam and Eve, how can they claim or prove that they are lords more than us, except by making us produce and grow the wealth which they spend? They are clad in velvet and camlet lined with squirrel and ermine, while we go dressed in coarse cloth. They have the wines, the spices and the good bread: we have the rye, the husks and the straw, and we drink water. They have shelter and ease in their fine manors, and we have hardship and toil, the wind and the rain in the fields. And from us must come, from our labour, the things which keep them in luxury”

Jean Froissart (1337–1405) French writer

Et, se venons tout d'un père et d'une mere, Adam et Eve, en quoi poent il dire ne monstrer que il sont mieux signeur que nous, fors parce que il nous font gaaignier et labourer ce que il despendent? Il sont vestu de velours et de camocas fourés de vair et de gris, et nous sommes vesti de povres draps. Il ont les vins, les espisses et les bons pains, et nous avons le soille, le retrait et le paille, et buvons l'aige. Ils ont le sejour et les biaux manoirs, et nous avons le paine et le travail, et le pleue et le vent as camps, et faut que de nous viengne et de nostre labeur ce dont il tiennent les estas.
Book 2, p. 212.
Froissart is again quoting John Ball.
Chroniques (1369–1400)

Lane Kirkland photo
Grant Morrison photo

“Most human lives are forgotten after four generations. We build our splendid houses on the edge of the abyss then distract and dazzle ourselves with entertainers and sex while we slowly at first, then more rapidly, spin around the ever-thirsty plughole in the middle. My treasured possessions -- all the silly little mementoes and toys and special books I’ve carried with me for decades -- will wind up on flea market tables or rot on garbage heaps. Someone else will inhabit the rooms that were mine. Everything that was important to me will mean nothing to the countless generations that follow our own. In the grand sprawl of it all, I have no significance at all. I don’t believe a giant gaseous pensioner will reward or censure me when my body stops working and I don’t believe individual consciousness survives for long after brain death so I lack the consolations of religion. I wanted Annihilator to peek into that implacable moment where everything we are comes to an end so I had to follow the Black Brick Road all the way down and seriously consider the abject pointlessness of all human endeavours. I found these contemplations thrilling and I was drawn to research pure nihilism, which led me to Ray Brassier’s Nihil Unbound and back to Ligotti. I have a fundamentally optimistic and positive view of human existence and the future and I think it’s important to face intelligent, well-argued challenges to that view on a regular basis. While I agree with Ligotti that the universe is, on the face of it, a blind emergent process, driven by chance over billions of years of trial and error to ultimately produce creatures capable of little more than flamboyant expressions of the agonizing awareness of their own imminent deaths, I don’t share his slightly huffy disappointment at this state of affairs. If the universe is intrinsically meaningless, if the mindless re-arrangement of atomic debris into temporarily arising then dissipating forms has no point, I can only ask, why do I see meaning everywhere, why can I find a point in everything? Why do other human beings like me seem to see meaning in everything too? If the sun is only an apocalyptic series of hydrogen fusion reactions, why does it look like an angel and inspire poetry? Why does the flesh and fur-covered bone and jelly of my cat’s face melt my heart? Is all that surging, roaring incandescent meaning inside me, or is it out there? “Meaning” to me is equivalent to “Magic.” The more significance we bring to things, even to the smallest and least important things, the more special, the more “magical” they seem to become. For all that materialistic science and existential philosophy tells us we live in a chaotic, meaningless universe, the evidence of my senses and the accounts of other human beings seem to indicate that, in fact, the whole universe and everything in it explodes second-to-second with beauty, horror, grandeur and significance when and wherever it comes into contact with consciousness. Therefore, it’s completely down to us to revel in our ability to make meaning, or not. Ligotti, like many extreme Buddhist philosophers, starts from the position that life is an agonizing, heartbreaking grave-bound veil of tears. This seems to be a somewhat hyperbolic view of human life; as far as I can see most of us round here muddle through ignoring death until it comes in close and life’s mostly all right with just enough significant episodes of sheer joy and connection and just enough sh-tty episodes of pain or fear. The notion that the whole span of our lives is no more than some dreadful rehearsal for hell may resonate with the deeply sensitive among us but by and large life is pretty okay generally for most of us. And for some, especially in the developed countries, “okay” equals luxurious. To focus on the moments of pain and fear we all experience and then to pretend they represent the totality of our conscious experience seems to me a little effete and indulgent. Most people don’t get to be born at all, ever. To see in that radiant impossibility only pointlessness, to see our experience as malignantly useless, as Ligotti does, seems to me a bit camp.”

Grant Morrison (1960) writer

2014
http://www.blastr.com/2014-9-12/grant-morrisons-big-talk-getting-deep-writer-annihilator-multiversity
On life

Halldór Laxness photo

“It may well be that fighting is normal, like having something to eat. Peace, on the other hand, is a luxury.”

Halldór Laxness (1902–1998) Icelandic author

Ólafur
Heimsljós (World Light) (1940), Book Three: The House of the Poet

Edmund White photo
Edsger W. Dijkstra photo
William March photo
Leon M. Lederman photo
Frank W. Abagnale photo

“I stole every nickel, dime and dollar and blew it on fine threads, luxurious lodgings, fantastic foxes and other sensual goodies. I partied in every capital in Europe and bask on all the worlds most famous beaches.”

Frank W. Abagnale (1948) American security consultant, former confidence trickster, check forger, impostor, and escape artist

Variant: I stole every nickel, dime and dollar and blew it on fine threads, luxurious lodgings, fantastic foxes and other sensual goodies. I partied in every capital in Europe and bask on all the worlds most famous beaches.
Source: Catch Me if You Can: The True Story of a Real Fake, 2002, Ch.1 Pg.4(a), Ch.1 Pg. 11(b),Back cover(c), Ch.6 Pg.116(d)

Antoni Tàpies photo
Agnes Repplier photo
Zbigniew Brzeziński photo
Edgar Guest photo
Stephen Fry photo
Clement of Alexandria photo

“It is monstrous for one to live in luxury while many are in want.”

Clement of Alexandria (150–215) Christian theologian

The Instructor Chapter 2

Gerard Bilders photo

“I have seen pictures [on the Salon of Brussel, 1860], of which I had never dreamed and in which I found all that my heart desires, all that I nearly always miss in the Dutch painters. Troyon, Courbet, Diaz, Dupré [all painters of the School of Barbizon, Robert Fleury have made a great impression on me. I am a good Frenchman, therefore; but, as Simon van den Berg says, it is just because I am a good Frenchman that I am a good Dutchman, since the great Frenchmen of today and the great Dutchmen of the past have much in common. Unity, restfulness, earnestness and, above all, an inexplicable intimacy with nature are what struck me most in these pictures. There were certainly also a few good Dutch pieces, but, generally speaking, when you place them next to the great Parisians, they lack that mellowness, that quality which, so to speak, resembles the deep tones of an organ. And yet this luxurious manner came originally from Holland, from our steaming, fat-coloured Holland! They were courageous pictures; there was a heart and a soul in them.”

Gerard Bilders (1838–1865) painter from the Netherlands

Quote from Bilders in his letter (End of 1860); as cited in Dutch Art in the Nineteenth Century – 'The Hague School; Introduction' https://en.wikisource.org/wiki/Dutch_Art_in_the_Nineteenth_Century/The_Hague_School:_Introduction, by G. Hermine Marius, transl. A. Teixera de Mattos; publish: The la More Press, London, 1908
1860's

William Ellery Channing photo
Bernard Mandeville photo
Henry John Stephen Smith photo

“If we except the great name of Newton (and the exception is one that the great Gauss himself would have been delighted to make) it is probable that no mathematician of any age or country has ever surpassed Gauss in the combination of an abundant fertility of invention with an absolute vigorousness in demonstration, which the ancient Greeks themselves might have envied. It may be admitted, without any disparagement to the eminence of such great mathematicians as Euler and Cauchy that they were so overwhelmed with the exuberant wealth of their own creations, and so fascinated by the interest attaching to the results at which they arrived, that they did not greatly care to expend their time in arranging their ideas in a strictly logical order, or even in establishing by irrefragable proof propositions which they instinctively felt, and could almost see to be true. With Gauss the case was otherwise. It may seem paradoxical, but it is probably nevertheless true that it is precisely the effort after a logical perfection of form which has rendered the writings of Gauss open to the charge of obscurity and unnecessary difficulty. The fact is that there is neither obscurity nor difficulty in his writings, as long as we read them in the submissive spirit in which an intelligent schoolboy is made to read his Euclid. Every assertion that is made is fully proved, and the assertions succeed one another in a perfectly just analogical order… But when we have finished the perusal, we soon begin to feel that our work is but begun, that we are still standing on the threshold of the temple, and that there is a secret which lies behind the veil and is as yet concealed from us. No vestige appears of the process by which the result itself was obtained, perhaps not even a trace of the considerations which suggested the successive steps of the demonstration. Gauss says more than once that for brevity, he gives only the synthesis, and suppresses the analysis of his propositions. Pauca sed matura—few but well matured… If, on the other hand, we turn to a memoir of Euler's, there is a sort of free and luxuriant gracefulness about the whole performance, which tells of the quiet pleasure which Euler must have taken in each step of his work; but we are conscious nevertheless that we are at an immense distance from the severe grandeur of design which is characteristic of all Gauss's greater efforts.”

Henry John Stephen Smith (1826–1883) mathematician

As quoted by Alexander Macfarlane, Lectures on Ten British Physicists of the Nineteenth Century (1916) p. 95, https://books.google.com/books?id=43SBAAAAIAAJ&pg=PA95 "Henry John Stephen Smith (1826-1883) A Lecture delivered March 15, 1902"

Corneliu Zelea Codreanu photo
Bal Gangadhar Tilak photo
Umberto Eco photo
Gerald Durrell photo

“Halfway up the slope, guarded by a group of tall, slim, cypress-trees, nestled a small strawberry-pink villa, like some exotic fruit lying in the greenery. The cypress-trees undulated gently in the breeze, as if they were busily painting the sky a still brighter blue for our arrival.
The villa was small and square, standing in its tiny garden with an air of pink-faced determination. Its shutters had been faded by the sun to a delicate creamy-green, cracked and bubbled in places. The garden, surrounded by tall fuschia hedges, had the flower beds worked in complicated geometrical patterns, marked with smooth white stones. The white cobbled paths, scarcely as wide as a rake's head, wound laboriously round beds hardly larger than a big straw hat, beds in the shape of stars, half-moons, triangles, and circles all overgrown with a shaggy tangle of flowers run wild. Roses dropped petals that seemed as big and smooth as saucers, flame-red, moon-white, glossy, and unwrinkled; marigolds like broods of shaggy suns stood watching their parent's progress through the sky. In the low growth the pansies pushed their velvety, innocent faces through the leaves, and the violets drooped sorrowfully under their heart-shaped leaves. The bougainvillaea that sprawled luxuriously over the tiny iron balcony was hung, as though for a carnival, with its lantern-shaped magenta flowers. In the darkness of the fuschia-hedge a thousand ballerina-like blooms quivered expectantly. The warm air was thick with the scent of a hundred dying flowers, and full of the gentle, soothing whisper and murmur of insects.”

My Family and Other Animals (1956)

Madison Grant photo
Garrison Keillor photo

“It was luxuries like air conditioning that brought down the Roman Empire. With air conditioning their windows were shut, they couldn't hear the barbarians coming.”

Garrison Keillor (1942) American radio host and writer

As quoted in Simpson's Contemporary Quotations‎ (1988) by James Beasley Simpson, p. 211

Imelda Marcos photo