Alix french Quotes

“You, child, do not deserve the gift of Undeath bestowed upon you. Oh yes, I hear reports of your works and deeds. I am like the Lord God, counting the sparrows from my throne. I number all the birds and bees in my realm. "Six years you’ve spent in Dagon’s service, and for what? You’re as weak as a newborn, as frightened as a lycan pup. You do not fight our enemies, nor contribute to our cause, nor enrich our coffers. You do not deserve a nanorian. I shall pry it from your heart until you learn to live among us, as one of us. We, who are abominable to the light of the sun.”

“Why did you turn me?” she’d screamed in his face, close enough for saliva. “You didn’t know me. You didn’t owe me anything. I don’t deserve this. Why didn’t you leave me in the coma? Why didn’t you let me die?”

“Lies and half-truths hurt not only the liar, but the people they love most.”

“This isn’t a church social, Sweetheart. You aren’t going to be able to save me this time.”

“You can’t turn love on and off like a light switch, no matter how hard you try. All you can do is wall it off, one brick at a time, until you’ve created an impenetrable fortress around your emotions. And once that fortress is built, you camouflage it so well that even you can’t see it anymore.”

“To my surprise, Nick reached under his shirt and pulled out the half-heart pendant. With his gaze fixed on mine, he slid the chain over my head. “No one should have to go through life with only half a heart,” he whispered.”

“Please, hate me if you have to, never speak to me again, but don't settle for someone you don't love because I hurt you”

“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.”

“I phoned the Admiral back.'It's no use, Admiral, the French speak nothing but French.'There was a short pause on the end of the line then his voice rattled into life like a sabre.'They're lying, Tim!''What?''The French Navy must by law speak English, as English is the international maritime language of the sea.''Has anyone told the French that?'The line went dead for a moment before he thundered, 'Yes Nelson. At the battle of Trafalgar.'I tried to stifle an irresistibly British giggle not knowing if the Admiral was making a joke or not. I got it right. He was serious.”