The Street Quotes

“Her voice had a thin thread of sadness running through it that made the song important, that made it tell a story that wasn’t in the words – a story of despair, of loneliness, of frustration. It was a story that all of them knew by heart and had always known because they had learned it soon after they were born and would go on adding to it until the day they died.”
― Ann Petry, The Street

“The snow fell softly on the street. It muffled sound. It sent people scurrying homeward, so that the street was soon deserted, empty, quiet. And it could have been any street in the city, for the snow laid a delicate film over the sidewalk, over the brick of the tired, old buildings; gently obscuring the grime and the garbage and the ugliness.”
― Ann Petry, The Street

“She held the paper in her hand for a long time, trying to follow the reasoning by which that thin ragged boy had become in the eyes of a reporter a 'burly Negro.' And she decided that it all depended on where you sat how these things looked. If you looked at them from inside the framework of a fat weekly salary, and you thought of colored people as naturally criminal, then you didn't really see what any Negro looked like. You couldn't because the Negro was never an individual. He was a threat, or an animal, or a curse, or a blight, or a joke.”
― Ann Petry, The Street

“From the time she was born, she had been hemmed into an ever-narrowing space, until now she was very nearly walled in and the wall had been built up brick by brick by eager white hands.”
― Ann Petry, The Street

“Streets like the one she lived on were no accident. They were the North’s lynch mobs, she thought bitterly; the method the big cities used to keep Negroes in their place. And she began thinking of Pop unable to get a job; of Jim slowly disintegrating because he, too, couldn’t get a job, and of the subsequent wreck of their marriage; of Bub left to his own devices after school. From the time she was born, she had been hemmed into an ever-narrowing space, until now she was very nearly walled in and the wall had been built up brick by brick by eager white hands.”
― Ann Petry, The Street

“Slowly she began to reach for some conclusion, some philosophy with which to rebuild her shattered hopes. The world hadn't collapsed about her. She hadn't been buried under brick and rubble, falling plaster and caved-in sidewalks. Yet that was how she had felt ...

The trouble was with her. She had built up a fantastic structure made from the soft, nebulous, cloudy stuff of dreams. There hadn't been a solid, practical brick in it, not even a foundation. She had built it up of air and vapor and moved right in. So of course it had collapsed. It had never existed anywhere but her own mind.”
― Ann Petry, The Street

“And while you were out working to pay the rent on this stinking, rotten place, why, the street outside played nursemaid to your kid. The street did more than that. It became both mother and father and trained your kid for you, and it was an evil father and a vicious mother, and, of course, you helped the street along by talking to him about money.”
― Ann Petry, The Street

“It wasn't just this street that she was afraid of or that was bad. It was any street where people were packed together like sardines in a can.

And it wasn't just this city. It was any city where they set up a line and say black folks stay on this side and white folks on this side, so that the black folks were crammed on top of each other—jammed and packed and forced into the smallest possible space until they were completely cut off from light and air.

It was any place where the women had to work to support the families because the men couldn't get jobs and the men got bored and pulled out and the kids were left without proper homes because there was nobody around to put a heart into it. Yes. It was any place where people were so damn poor they didn't have time to do anything but work, and their bodies were the only source of relief from the pressure under which they lived; and where the crowding together made the young girls wise beyond their years.

It all added up to the same thing, she decided—white people. She hated them. She would always hate them.”
― Ann Petry, The Street

“She started choosing her words carefully. 'It's the way you were trying to earn money that made me mad,' she began. Then she leaned down until her face was on a level with his, still talking slowly, still picking her words thoughtfully. 'You see, colored people have been shining shoes and washing clothes and scrubbing floors for years and years. White people seem to think that's the only kind of work they're fit to do. The hard work. The dirty work. The work that pays the least.' She thought about this small dark apartment they were living in, about 116th Street which was filled to overflowing with people who lived in just such apartments as this, about the white people on the downtown streets who stared at her with open hostility in their eyes, and she started talking swiftly, forgetting to choose her words.

'I'm not going to let you begin at eight doing what white folks figure all eight-year-old colored boys ought to do. For if you're shining shoes at eight, you'll probably be doing the same thing when you're eighty. And I'm not going to have it.”
― Ann Petry, The Street

“These other folks feel the same way, she thought—that once they are freed from the contempt in the eyes of the downtown world, they instantly become individuals. Up here they are no longer creatures labeled simply ‘colored’ and therefore all alike. She noticed that once the crowd walked the length of the platform and started up the stairs toward the street, it expanded in size. The same people who had made themselves small on the train, even on the platform, suddenly grew so large they could hardly get up the stairs to the street together. She reached the street at the very end of the crowd and stood watching them as they scattered in all directions, laughing and talking to each other.”
― Ann Petry, The Street

“the crap game in progress in the middle of the block, the scraps of obscene talk she heard as she passed the poolroom, the tough young boys with their caps on backward who swaggered by, were things that she saw with the eyes of an adult and reacted to from an adult’s point of view. It was impossible to know how this street looked to eight-year-old Bub.”
― Ann Petry, The Street

“Lutie sat down near the back of the room. It was filled with colored women, sitting in huddled-over positions. They sat quietly, not moving. Their patient silence filled the room, made her uneasy. Why were all of them colored? Was it because the mothers of white children had safe places for them to play in, because the mothers of white children didn't have to work?”
― Ann Petry, The Street

“This was, by comparison, a safe, secure, clean world. And looking at it, she thought it must be rather pleasant to be able to live anywhere you wanted to, just so you could pay the rent, instead of having to find out first whether it was a place where colored people were permitted to live.”
― Ann Petry, The Street

“The women work because the white folks give them jobs—washing dishes and clothes and floors and windows. The women work because for years now the white folks haven’t liked to give black men jobs that paid enough for them to support their families. And finally it gets to be too late for some of them. Even wars don’t change it. The men get out of the habit of working and the houses are old and gloomy and the walls press in. And the men go off, move on, slip away, find new women. Find younger women.”
― Ann Petry, The Street

“The trouble with colored folks is they ain't got no gumption. They ought to let white folks know they ain't going to keep on putting up with their nonsense.'

'How they going to do that? You keep saying that, and I keep telling you you don't know what you're talking about. A man can't have no gumption when he ain't got nothing to have it with. Why, don't you know they could clean this whole place out easy if colored folks started to acting up.”
― Ann Petry, The Street

“She thought of the animals at the Zoo. She and Bub had gone there one Sunday afternoon. They arrived in time to see the lions and tigers being fed. There was a moment, before the great hunks of red meat were thrust into the cages, when the big cats prowled back and forth, desperate, raging, ravening. They walked in a space even smaller than the confines of the cages made necessary, moving in an area just barely the length of their bodies. A few steps up and turn. A few steps down and turn. They were weaving back and forth, growling, roaring, raging at the bars that kept them from the meat, until the entire building was filled with the sound, until the people watching drew back from the cages, feeling insecure, frightened at the sight and the sound of such uncontrolled savagery. She was becoming something like that.”
― Ann Petry, The Street

“You know a good-looking girl like you shouldn’t have to worry about money,’ he said softly. She didn’t say anything and he continued, ‘In fact, if you and me can get together a coupla nights a week in Harlem, those lessons won’t cost you a cent. No sir, not a cent.’

Yes, she thought, if you were born black and not too ugly, this is what you get, this is what you find. It was a pity he hadn’t lived back in the days of slavery, so he could have raided the slave quarters for a likely wench any hour of the day or night. This is the superior race, she said to herself, take a good long look at him: black, oily hair; slack, gross body; grease spots on his vest; wrinkled shirt collar; cigar ashes on his suit; small pig eyes engulfed in the fat of his face.”
― Ann Petry, The Street

“Her thoughts returned to Junto, and the bitterness and the hardness increased. In every direction, anywhere one turned, there was always the implacable figure of a white man blocking the way, so that it was impossible to escape. If she needed anything to spur her on, she thought, this fierce hatred, this deep contempt, for white people would do it. She would never forget Junto. She would keep her hatred of him alive. She would feed it as though it were a fire.”
― Ann Petry, The Street

“Yet she could feel a hard, tight knot of anger and hate forming within her as she walked along. She decided to walk home, hoping that the anger would evaporate on the way. She moved in long, swift strides. There was a hard sound to her heels clicking against the sidewalk and she tried to make it louder. Hard, hard, hard. That was the only way to be--so hard that nothing, the street, the house, the people--nothing would ever be able to touch her.”
― Ann Petry, The Street

“Then I don't see—'

'Of course you don't,' he interrupted. 'You never will because you ain't never known what its like to live somewhere where you ain't wanted and every white son-of-a-bitch that sees you goes out of his way to let you know you ain't wanted. Christ, there ain't even so much as a cheap stinking diner in this town that I don't think twice before I walk into it to buy a cup of lousy coffee, because any white bastard in there will let me know one way or another that niggers belong in Harlem. Don't talk to me about Germans. They're only doing the same thing in Europe that's been done in this country since the time it started.”
― Ann Petry, The Street

“Listen, Junto,' he said. 'They can wave flags. They can tell me the Germans cut off baby's behinds and rape women and turn black men into slaves. They can tell me any damn thing. None of it means nothing.'

'Why?'

'Because, no matter how scared they are of Germans, they're still more scared of me. I'm black, see? And they hate Germans, but they hate me worse. If that wasn't so they wouldn't have a separate army for black men.”
― Ann Petry, The Street

“Mrs. Hedges, I believe you're prejudiced. I didn't know you were that human.'

'I ain't prejudiced,' she said firmly. 'I just ain't got no use for white folks. I don't want 'em anywhere near me. I don't even wanta have to look at 'em. I put up with you because you don't ever stop to think whether folks are white or black and you don't really care. That sort of takes you out of the white folks class.”
― Ann Petry, The Street

“There was something inexpressibly dreary about the Casino when it was empty, she thought. You could see all of it for what it was worth, and it was never good to see anything like that.”
― Ann Petry, The Street

“She had gone past the bakery shop again the next afternoon. The windows had been smashed, the front door had apparently been broken in, because it was boarded up. There were messages chalked on the sidewalk in front of the store. They all said the same thing: "White man, don't come back." She was surprised to see that there were men still standing around, on the nearest corners, across the street. Their faces were turned toward the store. They weren't talking. They were just standing with their hands in their pockets—waiting.

Two police cars with their engines running were drawn up in front of the store. There were two cops right in front of the door, swinging nightsticks. She walked past, thinking that it was like a war that hadn't got off to a start yet, though both sides were piling up ammunition and reserves and were now waiting for anything, any little excuse, a gesture, a word, a sudden loud noise—and pouf! it would start.

Lutie moved uneasily on the bed. She pulled the robe more tightly around her. All of these streets were filled with violence, she thought. You turned a corner, walked through a block, and you came on it suddenly, unexpectedly.”
― Ann Petry, The Street

“The next day's papers said that a 'burly Negro' had failed in his effort to hold up a bakery shop, for the proprietor had surprised him by resisting and stabbed him with a bread knife. She held the paper in her hand for a long time, trying to follow the reasoning by which that thin ragged boy had become in the eyes of a reporter a 'burly Negro.' And she decided that it all depended on where you sat how these things looked. If you looked at them from inside the framework of a fat weekly salary, and you thought of colored people as naturally criminal, then you didn't really see what any Negro looked like. You couldn't, because the Negro was never an individual. He was a threat, or an animal, or a curse, or a blight, or a joke.

It was like the Chandlers and their friends in Connecticut, who looked at her and didn't see her, but saw instead a wench with no morals who would be easy to come by. The reporter saw a dead Negro who had attempted to hold up a store, and so he couldn't really see what the man lying on the sidewalk looked like. He couldn't see the ragged shoes, the thin, starved body. He saw, instead, the picture he already had in his mind: a huge, brawny, blustering, ignorant, criminally disposed black man who had run amok with a knife on a spring afternoon in Harlem and who had in turn been knifed.”
― Ann Petry, The Street

“Lutie watched her from the front porch. Damn white people, she thought. Damn them. And then—but it isn't that woman's fault. It's your fault. That's right, but the reason Pop came here to live was because he couldn't get a job and we had to have the State children because Jim couldn't get a job. Damn white people, she repeated.”
― Ann Petry, The Street

“A cop on a motorcycle roared alongside, waved them to the curb. 'Goin' to a fire?' he demanded.

He peered into the car and Lutie saw a slight stiffening of his face. That meant he had seen they were colored. She waited for his next words with a wincing feeling, thinking it was like having an old wound that had never healed and you could see someone about to knock against it and it was too late to get out of the way, and there was that horrible tiny split second of time when you waited for the contact, anticipating the pain and quivering away from it before it actually started.

The cop's mouth twisted into an ugly line.”
― Ann Petry, The Street

“And she got the feeling that Boots Smith's relationship to this swiftly moving car was no ordinary one. He wasn't just a black man driving a car at a pell-mell pace. He had lost all sense of time and space as the car plunged forward into the cold, white night.

The act of driving the car made him feel he was a powerful being who could conquer the world. Up over hills, fast down on the other side. It was like playing god and commanding everything within hearing to awaken and listen to him. The people sleeping in the white farmhouses were at the mercy of the sound of his engine roaring past in the night. It brought them half-awake—disturbed, uneasy. The cattle in the barns moved in protest, the chickens stirred on their roosts and before any of them could analyze the sound that had alarmed them, he was gone—on and on into the night.

And she knew, too, that this was the reason white people turned scornfully to look at Negroes who swooped past them on the highways. 'Crazy niggers with autos' in the way they looked. Because they sensed that the black men had to roar past them, had for a brief moment to feel equal, feel superior; had to take reckless chances going around curves, passing on hills, so that they would be better able to face a world that took pains to make them feel that they didn't belong, that they were inferior.

Because in that one moment of passing a white man in a car they could feel good and the good feeling would last long enough so that they could hold their heads up the next day and the day after that. And the white people in the cars hated it because—and her mind stumbled over the thought and then went on—because possibly they, too, needed to go on feeling superior. Because if they didn't, it upset the delicate balance of the world they moved in when they could see for themselves that a black man in a ratclap car could overtake and pass them on a hill. Because if there was nothing left for them but that business of feeling superior to black people, and that was taken away even for the split second of one car going ahead of another, it left them with nothing.”
― Ann Petry, The Street

“This world was one of great contrasts, she thought, and if the richest part of it was to be fenced off so that people like herself could only look at it with no expectation of ever being able to get inside it, then it would be better to have been born blind so you couldn't see it, born deaf so you couldn't hear it, born with no sense of touch so you couldn't feel it. Better still, born with no brain so that you would be completely unaware of anything, so that you would never know there were places that were filled with sunlight and good food and where children were safe.”
― Ann Petry, The Street

“I ain't seen you in Junto's before, baby,' said Boots Smith.

'I don't go there very often,' she said. There was something faintly contemptuous about the way he said 'baby.' He made it sound like 'bebe,' and it slipped casually, easily, out of his mouth as though it were his own handy, one-word index of women.”
― Ann Petry, The Street