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The woman has no way of knowing her child’s fate, or if she does know, the medications will cause the memory of it to be nothing but a blur by tomorrow.
It is as if she is attempting to catch the tide, and it drains through her clenched fingers, and finally she floats out along with it.
This is what’s possible when love is real and strong, when people are devoted to one another, when they’ll sacrifice anything to be together.
Just git off our boat ’fore we go on and find the po-lice and tell them some colored woman done trieda kill our mama and steal us blind. They’ll hang you up a tree, they will.”
like a Cajun or an Indian.
Avery, you know that Judy Stafford has always been too outspoken for her own good. It isn’t any big secret. What Elliot doesn’t realize—or maybe doesn’t want to face—is that my grandmother and I are so very much alike.
You tell them Hootsie say it’s time to be who they is.”
Life is not unlike cinema. Each scene has its own music, and the music is created for the scene, woven to it in ways we do not understand. No matter how much we may love the melody of a bygone day or imagine the song of a future one, we must dance within the music of today, or we will always be out of step, stumbling around in something that doesn’t suit the moment. I let go of the river’s song and found the music of that big house.
“A woman’s past need not predict her future. She can dance to new music if she chooses. Her own music. To hear the tune, she must only
stop talking. To herself, I mean. We’re always trying to persuade ourselves of things.”
His fingers close over mine, a warm, strong circle, and we walk up the hill away from the ruins of a life that was. And into a life that can be.
But the love of sisters needs no words. It does not depend on memories, or mementos, or proof. It runs as deep as a heartbeat. It is as ever present as a pulse.