Susan > Susan's Quotes

“Books can be possessive, can't they? You're walking around in a bookstore and a certain one will jump out at you, like it had moved there on its own, just to get your attention. Sometimes what's inside will change your life, but sometimes you don't even have to read it. Sometimes it's a comfort just to have a book around. Many of these books haven't even had their spines cracked. 'Why do you buy books you don't even read?' our daughter asks us. That's like asking someone who lives alone why they bought a cat. For company, of course.”
― Sarah Addison Allen, The Sugar Queen

“I’m done. I’m old, I’m sad - that’s on a good day. I want out of this mess. But I don’t want to fade away, I want to flame away - I want my death to be an attraction, a spectacle, a mystery. A work of art.”
― Jennifer Egan, A Visit from the Goon Squad

“Whatever the cost of our libraries, the price is cheap compared to that of an ignorant nation.”
― Walter Cronkite

“The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.”
― Jane Austen, Northanger Abbey

“A room without books is like a body without a soul.”
― Marcus Tullius Cicero

“If you're 50 years old or younger, give every book about 50 pages before you decide to commit yourself to reading it, or give it up.

If you're over 50, which is when time gets shorter, subtract your age from 100 - the result is the number of pages you should read before deciding whether or not to quit. If you're 100 or over you get to judge the book by its cover, despite the dangers in doing so.”
― Nancy Pearl

“I hope that in this year to come, you make mistakes. Because if you are making mistakes...you're Doing Something.”
― Neil Gaiman

“Chava," he said, "it's a cruel irony that you have the most difficulty precisely when those around you are on their best behavior. I suspect you would find it much easier if we all cast politeness aside, and took whatever we pleased."
She considered. "It would be easier, at first. But then you might hurt each other to gain your wishes, and grow afraid of each other, and still go on wanting.”
― Helene Wecker, The Golem and the Jinni

“Buy an atlas and keep it by the bed—remember you can go anywhere.”
― Joanna Lumley

“She said: “We all spend our twenties and thirties trying so hard to be perfect, because we’re so worried about what people will think of us. Then we get into our forties and fifties, and we finally start to be free, because we decide that we don’t give a damn what anyone thinks of us. But you won’t be completely free until you reach your sixties and seventies, when you finally realize this liberating truth—nobody was ever thinking about you, anyhow.”
― Elizabeth Gilbert, Big Magic: Creative Living Beyond Fear

“Precision and technique can be learned,” she told him. “That’s just practice. A lot of practice, but it’s still just practice. What we can’t teach is how to make a musician actually connect—emotionally connect—with the pieces he’s playing. To really care about the music, and let the music tell its story.”
― Brendan Slocumb, The Violin Conspiracy

“They had to ring a bell to be buzzed in to the main showroom, where a faded violet couch sat against one wall, a beat-up coffee table covered with magazines in front of it. Instruments hung from everywhere, including the ceiling: violins, violas, and cellos shone with a gorgeous luster like nothing he’d ever seen. These were the instruments of princes and kings, the violins for the best violinists in the world. On the counter rested an old-fashioned cash register. No electronics, no card reader. Behind the counter, a staircase carpeted in red damask led up into darkness. On one side of the steps hung an”
― Brendan Slocumb, The Violin Conspiracy

“the Saint Jacques Hotel. Revolving doors led into a stark white lobby with an artificial fireplace that took up almost the entire length of one wall; on the other wall a concierge desk stretched forever. Janice asked the doorman where the business service center was and disappeared, heels clattering, down”
― Brendan Slocumb, The Violin Conspiracy

“He say to me but if I free you who will play for me at nite. I say to him I will play for you master Thomas sir. I wont leev you. I will play for you as a free man. He thot about that and he took out some papr and he rote out what he tol me was my freedom paprs and he gav me them with my fiddle. I never let them paprs out o my site. Them papr and my fiddle kept me alive. I beggd him on my hands and nees to let my momma be free too and she wood stay here and hep him. He tol me he coodnt do that. I went to tell momma that I was free. I tol her I was goin to find work after master Thomas past and that I was comin back for her to buy her freedom when I made enuff money from my playing. You no what my momma tol me? She tol me dont Never come back to this place. You go be free and dont you Never look back. Master Thomas died in his Bed. The Missus made me play that song he loved. I lef a few days later. The nex yeer I did come back to find momma but she was Gone. You no why I tol you all this and made you rite it down? Because Master Thomas was a teribl man. He did teribl things to my momma and to my brother and to many other slaves. Even tho he did all that I still lookt him in the eye and treetd him with respekt. No mattr how mad I was. No mattr how bad things got. I was always respektfl. Even when I didnt get no respekt. I dont never want you to forget that girl. I wont”
― Brendan Slocumb, The Violin Conspiracy

“Secretly, Ray was a rotten celebrity. He never got used to it, never learned to take it for granted. The photos and adulation and program signing always made him uncomfortable, and after the theft he never ordered room service again. Every day, no matter where he was, he’d find a busker or someone on the street and leave money or help otherwise when he could. He was making a great deal of money and giving a lot of it away as quickly as he got it. He played charity concerts for several different organizations. He loved Kelly Hall-Tompkins’s Music Kitchen, a charity that organized musicians to serve food and play in soup kitchens, and he often volunteered—both to play and to serve the guests. Another charity bought instruments for students who couldn’t afford to buy their own: at the inaugural fundraising gala, he played for free, enlisted several musicians—Wynton Marsalis and Trombone Shorty—and donated a hundred thousand dollars to the cause.”
― Brendan Slocumb, The Violin Conspiracy

“grandmother’s Thanksgiving words to him, seasoned with love, potato peels, and sliced squash: that he work twice as hard as everyone else, that he stand tall and treat others with respect, and that he stay the same “sweet Ray” that Grandma Nora loved so much. He didn’t know if he’d succeeded, but he never stopped trying. He had to believe that she would be proud.”
― Brendan Slocumb, The Violin Conspiracy

“Music’s the gift. Caring’s the gift. And you give it to others now. There are a lot of ways apart from a concert hall to make a difference in someone’s life.”
― Brendan Slocumb, The Violin Conspiracy

“Music is for everyone. It’s not—or at least shouldn’t be—an elitist, aristocratic club that you need a membership card to appreciate: it’s a language, it’s a means of connecting us that is beyond color, beyond race, beyond the shape of your face or the size of your stock portfolio. Musicians of color, however, are severely underrepresented in the classical music world—and that’s one of the reasons I wanted to write this book. Look up the statistics: 1.8 percent of musicians performing in classical symphonies are Black; 12 percent are people of color. But for me, day to day, performance by performance, it wasn’t about being a statistic: it was about trying to live my life and play the music that I loved, and often being”
― Brendan Slocumb, The Violin Conspiracy

“The story that results is often a disheartening one. Though the various parts of rural America differ in important ways, as a whole, they are weighed down by their struggles: resource economies where powerful interests extracted wealth and left the people who toiled to remove it with little or nothing to show for their decades of labor; manufacturing jobs that fled overseas; inadequate healthcare and physical infrastructure; limited opportunities that push talented young people to leave; and much more. And all this exists within a landscape of political emptiness in which a lack of real competition leaves Democrats believing there’s no point in trying to win rural votes and Republicans knowing they can win those votes without even trying—and give the people who supply them nothing in return. We”
― Tom Schaller, White Rural Rage: The Threat to American Democracy