She murmured, “I love the imagery of Sappho, the warm summer air across the velvety darkness, the lover between love’s thighs.” She stayed quiet a moment. “But it takes a man’s kiss to put the fire to the metaphor.

— Paul A. Myers

Son, it’s easy TAE be good OAN a FM’ belly. It’s when a man’s goat two bites an’ wan o’ them he’ll share, ye ken whit he’s made o’. Listen. In on country in the world, who are the only folk that ken whit it’s like TAE leave in that country? The folk at the bottom. The rest can a’ kid themselves OAN. They can afford to HIV fancy ideas. We canny, son. We loss the wan idea o’ who we are, we’re dad. Furthermore, we’re wan another. TAE survive, we’ll respect wan another. When the time comes, well a’ move forward thither, or nut at all.

— William McIlvanney

The crash did not cause the Depression: that was part of a far broader malaise. What it did was expose the weaknesses that underpinned the confidence and optimism of the 1920s - poor distribution of income, a weak banking structure and insufficient regulations, the economy's dependence on new consumer goods, the over-extension of industry and the Government's blind belief that promoting business interests would make America uniformly prosperous.

— Lucy Moore

The late 1920s were an age of islands, real and metaphorical. They were an age when Americans by thousands and tens of thousands were scheming to take the next boat for the South Seas or the West Indies, or better still for Paris, from which they could scatter to Majorca, Corsica, Capri or the isles of Greece. Paris itself was a modern city that seemed islander in the past, and there were island countries, like Mexico, where Americans could feel that they had escaped from everything that oppressed them in a business civilization. Or without leaving home they could build themselves private islands of art or philosophy; or else - and this was a frequent solution - they could create social islands in the shadow of the skyscrapers, groups of close friends among whom they could live as unconstrained as in a Polynesian valley, live without moral scruples or modern conveniences, live in the pure moment, live gaily on gin and love and two lamb chops broiled over a coal fire in the grate. That was part of the Greenwich Village idea, and soon it was being copied in Boston, San Francisco, everywhere.

— Malcolm Cowley

The prosecutor uttered the party line that would distinguish revue from burlesque for the next thirty years. "The difference is movement. On Broadway, unadorned female figures are used to artistic advantage in tableaux. They do not move.

— Dita Von Teese

There is always stardust in my eyes when I look at you, my love.

— Ellen Read

The spicy sweet fragrance of the large full blooms, which rambled over the side and top of an arched metal framework, welcomed them as they walked beneath them. Shafts of sunlight pierced the canopy, dust motes floating languorously in the golden beams that spotlighted clumps of wayward snowdrops growing in the lawn.

— Ellen Read

Well-lit streets discourage sin, but don't overdo it.

— William Kennedy

When they passed a maintenance site in the road bed, Einstein stopped next to a worker who was smashing stones and silently observed this boy with torn clothes and dirty face and hands. He asked your father how much the boy earned each day. After asking the boy, he told Einstein: five cents.

— Liu Cixin

Why are you perpetuating a childhood you grew up despising? Pg 57

— Mona Rodriguez