Hidden in a toolbox, in the rafters of his four-car garage, was an envelope full of pictures taken by a private detective...They were pictures of a scrawny, boyish looking nine year old with a wide mouth and a tangle of brown hair...Her eyes were oblong and deep set, their color hidden from the camera by the slant of the sun. The angles and planes of her face were oddly beautiful just then, in that moment, frozen on Kodak paper. A hint of the woman she would someday become.
She was a woman with a broom or a dust-pan or a washrag or a mixing spoon in her hand. You sawher cutting piecrust in the morning, humming to it, or yousaw her setting out the baked pies at noon or taking them in,cool, at dusk. She rang porcelain cups like a Swiss bell ringerto their place. She glided through the halls as steadily as avacuum machine, seeking, finding, and setting to rights. Shemade mirrors of every window, to catch the sun. She strolledbut twice through any garden, trowel in hand, and the _wersraised their quivering _es upon the warm air in her wake.She slept quietly and turned no more than three times in anight, as relaxed as a White glove to which, at dawn, a brisk hand will return. Waking, she touched people like pictures,to set their frames straight.
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She was a woman with a broom or a dust-pan or a washrag or a mixing spoon in her hand. You sawher cutting piecrust in the morning, humming to it, or yousaw her setting out the baked pies at noon or taking them in,cool, at dusk. She rang porcelain cups like a Swiss bell ringerto their place. She glided through the halls as steadily as avacuum machine, seeking, finding, and setting to rights. Shemade mirrors of every window, to catch the sun. She strolledbut twice through any garden, trowel in hand, and the _wersraised their quivering _es upon the warm air in her wake.She slept quietly and turned no more than three times in anight, as relaxed as a White glove to which, at dawn, a brisk hand will return. Waking, she touched people like pictures,to set their frames straight.
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The stuff of nightmare is their plain bread. They butter it with pain. They set their clocks by deathwatch beetles, and thrive the centuries. They were the men with the leather-ribbon whips who sweated up the Pyramids seasoning it with other people's salt and other people's cracked hearts. They coursed Europe on the White Horses of the Plague. They whispered to Caesar that he was mortal, then sold daggers at half-price in the grand March sale. Some must have been lazing clowns, foot props for emperors, princes, and epileptic popes. Then out on the road, Gypsies in time, their populations grew as the world grew, spread, and there was more delicious variety of pain to thrive on. The train put wheels under them and here they run down the log road out of the Gothic and baroque; look at their wagons and coaches, the carving like medieval shrines, all of it stuff once drawn by horses, mules, or, maybe, men.
It's poor judgment', said Grandpa 'to call anything by a name. We don't know what a hobgoblin or a vampire or a troll is. Could be lots of things. You can't heave them into categories with labels and say they'll act one way or another. That'd be silly. They're people. People who do things. Yes, that's the way to put it. People who *do* things.
The revolutionary woman knows the world she seeks to overthrow is precisely one in which love between equal human beings is well nigh impossible. We are still part of the ironical working-out of this, our own cruel contradiction. One of the most compelling facts which can unite women and make us act is the overwhelming indignity or bitter hurt of being regarded as simply __he other_, __n object_, __ommodity_, __hing_. We act directly from a consciousness of the impossibility of loving or being loved without distortion. But we must still demand now the preconditions of what is impossible at the moment. It is a most disturbing dialectic, our praxis of pain.
When a Wanderess has been caged, or perched with her wings clipped, She lives like a Stoic, She lives most heroic, smiling with ruby, moistened lips once her cup of Death is welcome sipped.
The important thing for you to remember, Montag, is we're the Happiness Boys, the Dixie Duo, you and I and the others. We stand against the small tide of those who want to make everyone unhappy with conflicting theory and thought. We have our fingers in the dike. Hold steady. Don't let the torrent of melancholy and drear philosophy drown our world. We depend on you. I don't think you realize how important you are, we are, to our happy world as it stands now.