1930S Quotes

Then she stood on tiptoe and kissed him sweetly on the lips, “I promise you a love affair with a sun-bathed Austrian princess beyond anything you imagine—in love, in beauty, in intensity. A love that will power you to the end of our time together. You are going to be a fortunate man, Geoffrey Ashbrook.

Paul A. Myers

Sandrine opened her eyes to the soft gray light of early dawn. Recollections of sensual pleasure seemed to caress her body, bringing a smile to her lips. She lay back in the pillow and listened to the breathing of Philippe beside her. She lingered in the memory of the previous night, a memory that was like a warm and tender embrace, an evening of small intimate harmonies. As it should be.

Paul A. Myers

Out of the corner of his eye, he saw another woman sitting over in a wing chair, a pleasantly attractive lady wearing the tasteful clothes of a senior redactrice, or senior civil servant, the stylish black skirt, the dark stockings, the black pumps, and the starched white linen blouse of her caste. The dark hair was swept up in a chignon, elegant and functional, dark eyes glistened as she smiled at him in a professional manner. He could see that she was a woman who met men in a highly assured way—serene, and expert at creating a proper distance.

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

1) Work on one thing at a time until finished.2) Start no more new books, add no more new material to "Black Spring."3) Don't be nervous. Work calmly, joyously, recklessly on whatever is in hand.4) Work according to Program and not according to mood. Stop at the appointed time!5) When you can't create you can work.6) Cement a little every day, rather than add new fertilizers.7) Keep human! See people, go places, drink if you feel like it.8) Don't be a draught-horse! Work with pleasure

Henry Miller

Above Constance's desk were nude photographs of women in 1930s France, draped in provocative poses. She had put them there for Bob's viewing pleasure and in return he had placed African art of naked men above his desk for her.

Cecelia Ahern

Fairy tales only happen in movies." -George Meliesfrom The Invention of Hugo Cabret

Brian Selznick

Most of my money remains in England, although my unworthy carcass may not under usual circumstances ...

Kellyn Roth

To cut 1930s jobless, FDR taxed corps and rich. Govt used money to hire many millions. Worked then; would now again. Why no debate on that?

Richard D. Wolff

Driving like a man is one of her few foibles.

Elizabeth Wein

Inspector Milne's suspicious prying appeared to have awakened her inner Bolshevik, and so I discovered my own lady mother is not above quietly circumventing the law.

Elizabeth Wein

When they began, they could not have thought that it would end like this, because their time seemed to them as simple as a flame. We know now that it was a very complicated time and that they were more complicated people than they knew.

Murray Kempton

Every sort of trouble I can think of, we've tried it out- become expert at some of it, even, so much so that I've come to wonder whether artists in particularity seek out hard times the way flowers turn their faces toward the sun.

Therese Anne Fowler

For however inhospitable the wind, from this vantage point Manhattan was simply so improbable, so wonderful, so obviously full of promise - that you wanted to approach it for the rest of your life without ever quite arriving.

Amor Towles

A Jewish woman in exile in the 1930s is an antihero.

Núria Añó

So none of the young men we encountered during our season gave you hot pants for them?Belinda! Your language. I've been mingling with Americans. Such fun. So Naughty.

Rhys Bowen

So none of the young men we encountered during our season gave you hot pants for them?Belinda! Your language. I've been mingling with Americans. Such fun. So Naughty.

Rhys Bowen

1930S Quotes

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