1920S Quotes

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

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Jeffrey H. Jackson

Son, it’s easy tae be guid oan a fu’ 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 ony country in the world, who are the only folk that ken whit it’s like tae leeve in that country? The folk at the boattom. The rest can a’ kid themselves oan. They can afford to hiv fancy ideas. We canny, son. We loass the wan idea o’ who we are, we’re deid. We’re wan anither. Tae survive, we’ll respect wan anither. When the time comes, we’ll a’ move forward thegither, or nut at all.

William McIlvanney

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 islanded 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 unconstrainedly 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

As I’ve said before, “the Mod generation”, contrary to popular belief, was not born in even 1958, but in the 1920s after a steady gestation from about 1917 or so. Now, Mod certainly came of age, fully sure of itself by 1958, completely misunderstood by 1963, and in a perpetual cycle of reinvention and rediscovery of itself by 1967 and 1975, respectively, but it was born in the 1920s, and I will maintain this. I don’t care who disagrees with me, and there are dozens of reasons that I do so —from the Art Deco aesthetic, to flapper fashions (complete with bobbed hair), to androgyny and subtle effeminacy, to jazz.

Ruadhán J. McElroy

Momma was with the pony last night. Lily and me have him in the mornings, and we give him a wash with the shammy cloths and a soapy bucket so he's ready for Jade to look after him the next night. I think Momma must ride him too rough because he's always sweating and white-eyed when we get him, pulling tight at his rope and spreading his wide beige lips. He won't settle forever and ever, he just turns circles around the stake. Me and Lily get nervy watching him paw scoops out of the backyard soil.

Kirsty Logan

Alexandra took the rose and lifted it to her face. The fragrance was intoxicating and the soft petals tickled her lips, as they must have done Benedict’s. It was as if he had kissed her. A shiver of delight caressed her body and she felt the warmth of a blush on her throat and cheeks.

Ellen Read

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

As the avenues and streets of a city are nothing less than its arteries and veins, we may well ask what doctor would venture to promise bodily health if he knew that the blood circulation was steadily growing more congested!

Hugh Ferriss

His words are so slippery they might slide right off the page.

Jami Attenberg

Its magnificence was indescribable, and its magnitude was inconceivable. She felt overwhelmed in the presence of its greatness. Pg 87

Mona Rodriguez

Confession is good for the soul even after the soul has been claimed” (p. 381).

Mona Rodriguez

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

Mona Rodriguez

In many ways my life has been rather like a record of the lost and found. Perhaps all lives are like that.

Lucy Foley

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

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

How paltry are the traces left behind by a life, even one concentrated around those supposed things of permanence called words. We spend our time upon the earth and then disappear, and only one one-thousandth of what we were lasts. We send all those bottles out into the ocean and so few wash up on shore.

John Darnton

1920S Quotes

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