Quotes of All Topics . Occasions . Authors
The only picture I have of my childhood is the picture of me in kindergarten. I have this expression on my face - it's not a smile, it's not a frown. I swear to you, that's the girl who wakes up in the morning and who looks around her house and her life saying, 'I cannot believe how God has blessed me.'
During my childhood, Washington was a segregated city, and I lived in the midst of a poor black neighborhood. Life on the streets was often perilous. Indoor reading was my refuge, and twice a week, I made the hazardous bicycle trek to the central library at Seventh and K streets to stock up on supplies.
A soul that is ruined in the bud will frequently return to the springtime of its beginning and its promise-filled childhood, as though it could discover new hopes there and retie the broken threads of life. The shoots grow rapidly and eagerly, but it is only a sham life that will never be a genuine tree.
To play the trumpet, you must train your lips for a long time. When I was twelve or thirteen I was a good player, but I lost the skill and now I play very badly. I do it every day even so. The reason is that I want to return to my childhood. For me, the trumpet is evidence of the sort of young man I was.
People have asked me about the 19th century and how I knew so much about it. And the fact is I really grew up in the 19th century, because North Carolina in the 1950s, the early years of my childhood, was exactly synchronous with North Carolina in the 1850s. And I used every scrap of knowledge that I had.
It was a unique childhood, to say the least. My father was born in Patiala to refugee parents and was a part of the Indian Air Force. The talented few amongst the Air Force pilots are made test pilots. Test pilots are best suited to look at the space programme as they are trained to expect the unexpected.
In high school, I got into a speech class run by a nun who used to put on plays. She put me in a oratorical competitive program. You would tell a story, and they were very corny, something like 'My Childhood Hero.' It was something out of 'Readers Digest.' I always thought it was too much and too dramatic.
Christmas, in fact, is not an external event at all, but a piece of one's home that one carries in one's heart: like a nursery story, its validity rests on exact repetition, so that it comes around every time as the evocation of one's whole life and particularly of the most distant bits of it in childhood.
I have never sat down and studied the Bible, never consciously echoed its language, and am, in reality, as ignorant of it as most brought-up Christians. All of the Bible that I use in my work is remembered from childhood and is the common property of all who were brought up in English-speaking communities.
I'm surprised by how much I remember [on childhood on film]. I think it's just because I had these interesting moments. Of course, you never know when they're interesting moments, but there was a lot of stuff that I remember and have attached significance to later. I remember enough. I remember highlights.
Mom cooked a lot of turkey when I was growing up. Turkey meatloaf, turkey burgers, ground turkey shepherd's pie - my childhood was the Bubba Gump of turkey. You'd think I would be sick of it, but when I find gems like Gwyneth Paltrow's turkey meatball recipe, it's as though the fowl is no longer foul to me.
Quakers are known for wanting to give back. Ban the bomb and the civil rights movement and the native American struggle for justice - those things were very, very front-burner in my childhood, as were the ideas of working for peace and if you have more than you need, then you share it with people who don't.
I grew up as an only child, so inherently, most of my life was centered around me. My parents taught me to play well with others and to share my toys, but I was still an only child who didn't have to share my parent's attention with siblings. As great as my childhood was, I always wanted brothers and sisters.
In any economy, the entire population is supported by the part of it that is working. All other things being equal, it thus follows that the most attractive acquisition a society can have is a young adult, whose childhood and education has already been paid for, but whose entire working life still lies ahead.
When you get together with childhood friends, for example, there's an intimacy that you instantly have because you share something really profound in your past. There's a shortcut to emotional intimacy if you share your past with somebody. It's really empowering when you're reunited with people who share that.
I wonder if childhood is ever really happy. Just as well, perhaps. To be blissfully happy so young would leave one always seeking to recapture the unobtainable. Like those people who were always happiest at school or university. Always going back. No reunion ever missed. It always seemed to me rather pathetic.
I'm a huge fan of Tupac. I'm from Chicago and his music helped me kind of get through that phase of my childhood, my teenage years. He was one of the biggest artists of all time and his music got me through just day to day life. He was a key to our generation and culture and he still is, even after his passing.
I have found that the person with a sense of story built in from childhood is in better shape than one who has not had stories . . One knows what stories can do, how they can make up worlds and transpose existence into these worlds. . . .One learns that worlds are made by words and not only by hammers and wires.
In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
Children became an obsessive theme in Victorian culture at the same time that they were being exploited as never before. As the horrors of life multiplied for some children, the image of childhood was increasingly exalted. Children became the last symbols of purity in a world which was seen as increasingly ugly.
In Ronald Reagan's chaotic childhood, the imagination was armor. There is nothing unusual about that; transcending the doubts, hesitations, and fears swirling around you by casting yourself internally as the hero of your own adventure story is a characteristic psychic defense mechanism of the Boy Who Disappears.
If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth.
Scientists have one thing in common with children: curiosity. To be a good scientist you must have kept this trait of childhood, and perhaps it is not easy to retain just one trait. A scientist has to be curious like a child; perhaps one can understand that there are other childish features he hasn't grown out of.
We were so poor as kids. I didn't even see a bathtub, running water, hot water, commode - we didn't have any of that. We started with a humble log house, milk cow, garden-raised our own food, killed a hog every year in the fall, and had the meat hanging up in the smokehouse - that was our childhood, me and ol' Si.
Meaning is a shaky edifice we build out of scraps, dogmas, childhood injuries, newspaper articles, chance remarks, old fillms, small victories, people hated, people loved; perhaps it is because our sense of what is the case is constructed from such inadequate materials that we defend it so fiercely, even to death.
The truth about childhood, as many of us have had to endure it, is inconceivable, scandalous, painful. Not uncommonly, it is monstrous. Invariably, it is repressed. To be confronted with this truth all at once and to try to integrate it into our consciousness, however ardently we may wish it, is clearly impossible.
I grew up in a humble neighbourhood in Argentina called Dock Sud. From my house, about 200 metres away was a football pitch. That's where I spent my childhood. It's a neighbourhood where everybody helped each other because there was a lot of difficulties. There, I grew up happily, because I learned a lot of things.
'Under the Poppy' is the love story of Istvan and Rupert, lovers and friends from childhood, who've been parted by jealousy - and a secret betrayal by Istvan's sister, Decca, who also loves Rupert, with whom she runs the brothel called Under the Poppy, where the floozies cater to every taste from saucy to peculiar.
I don't wish I started later, but I was never a child star. I was in school every year and had normal friends and I loved it and here I am, so I can't say that I wish I hadn't done it. I used to say, 'No, I didn't miss any of my childhood,' but it is a very adult place to be, a movie set. Like, it's a little weird.
My family life reads a bit like 'Little House on the Prairie.' I was big sister to Joan, Renee, and brother William, and we grew up in Dalkey, a little town 10 miles outside of Dublin. It was a secure, safe and happy childhood, which was meant to be a disadvantage when it comes to writing stories about family dramas.
The word "people" is unpleasant to me. The phrase "Soviet people" was drummed into us from childhood on. I love concrete people, enlightened people who live conscious lives and do not simply sit there and vegetate. To love the people you have to be the general secretary of the Communist Party or an absolute dictator.
Our parents deserve our honor and respect for giving us life itself. Beyond this they almost always made countless sacrifices as they cared for and nurtured us through our infancy and childhood, provided us with the necessities of life, and nursed us through physical illnesses and the emotional stresses of growing up.
And I wanted to do a movie [Moonrise Kingdom] about a childhood romance - a very powerful experience of childhood romance. About what it's like to just be blindsided, when you're in fifth grade or sixth grade, by these kinds of feelings. Along the way, I sort of mixed in some interest in "young adult fantasy" writing.
The picture of Mother Teresa that I remember from my childhood is of a short, sari-wearing woman scurrying down a red gravel path between manicured lawns. She would have in tow one or two slower-footed, sari-clad young Indian nuns. We thought her a freak. Probably wed picked up on unvoiced opinions of our Loreto nuns.
I was born into the Chicago branch of Negroland. My father was a doctor, a pediatrician, and for some years head of pediatrics at Provident, the nation's oldest black hospital. My mother was a social worker who left her job when she married, and throughout my childhood, she was a full-time wife, mother, and socialite.
I try to interpret how people subjectively experience life. Everyone has a great, horrible opera inside him. I feel that my plays, in a way, are very old-fashioned. They’re pre-Freudian in the sense that the Greeks and Shakespeare worked with similar assumptions. Catharsis isn’t a wound being excavated from childhood.
Development can indeed continue beyond childhood and youth, beyond the seventies. It can continue until the very end of life, given purposes that challenge and use our human abilities. . . . In sum, our development does not necessarily end at any age. We can continue to develop into our eighties, even to our nineties.
I spent my childhood clad in 1970s hand-me-downs, primarily from male cousins, which mainly consisted of a selection of beige, brown and orange dungarees. That, combined with a perfectly round pudding-bowl haircut, made me look, on a good day, like a cross between Ann Widdecombe, one of the Flower Pot Men, and a monk.
My theory is that Kurt had a lot of residual pain from his childhood. And when you pile that on top of his experience in World War II - he was in Dresden when it was bombed and saw a city annihilated. When you combine those two things, my impression of Kurt Vonnegut at 84 was that he was a very pained and haunted man.
I'm 40 years old now and I have my friends from five years old up to 40, over 20 lifelong friends I have. And you can't keep that. You can't have that kind of friendship with people for 40 years from childhood friends if you're not an honorable person and if you're not a respectful person. And that's exactly what I am.
I found this website, The Experience Project, which has people write first-hand experiences of their life and what they went through. There would be a 75-year-old man who talked about his childhood or a 15-year-old girl who talked about what she is going through right now. It was amazing to read their personal thoughts.
My dad said, 'The thing that I was told that was really helpful was that I mustn't be afraid of the things I was afraid of when I was five years old'. The shock of his childhood had put him in this defensive crouch against the world, and he needed to know that he had a nice wife and kids and it wasn't the same any more.
Whether surrounded with error or truth, the web woven around them in childhood's days lasts, and seldom wears threadbare...The traditions of my earliest recollection are so forcible upon me that it seems impossible for me to get rid of them. And so it is with others; hence the necessity of correct training in childhood.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
there are - as every one knows - two kinds of writing: one coming out of your vitals and the other from the top of your head. The first is the only sort from which any true private pleasure can be gained, for it is a way of getting something out of life which seemed to be there in childhood, when childhood is quite over.
Folklore, legends, myths and fairy tales have followed childhood through the ages, for every healthy youngster has a wholesome and instinctive love for stories fantastic, marvelous and manifestly unreal. The winged fairies of Grimm and Andersen have brought more happiness to childish hearts than all other human creations.
From early childhood, I was interested in understanding how the world worked, and assumed I would be some kind of physical scientist or chemist. But the truth was, I didn't know there was another kind of world, the inner world, that was just as interesting, if not more relevant, than what was going on in the outside world.
A child of three cannot raise its chubby fist to its mouth to remove a piece of carpet which it is through eating, without being made the subject of a psychological seminar of child-welfare experts, and written up, along with five hundred other children of three who have put their hands to their mouths for the same reason.
One of the things that I share with Bryan Becket is this hole in my childhood memory. There's about five years of my life that's virtually gone. I've thought about it a lot, and I've come to the conclusion that it might be for my own protection that those memories are gone, and maybe I don't want to dredge up those things.
There are vivid memories from my childhood - what we had to go through because of low wages and the conditions, basically because there was no union. I suppose, if I wanted to be fair, I could say that I'm trying to settle a personal score. I could dramatize it by saying that I want to bring social justice to farm workers.