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Quote by Mary Stewart

“No-one looked at me, or spoke. I was a shade, a ghost, a dead leaf dropped by the storm into some corner. My story was over. Nothing would happen to me now. I would not even be called upon to explain... I was safe, and I wished I was dead.”

Author

Mary Stewart

Mary Stewart, a British novelist, was born on September 17, 1916, and passed away on May 9, 2014. Known for her suspense, historical, and romance novels, her works have enjoyed great popularity among readers. more

“Another silence. He was standing very still now. Was it a trick of the mist or was he really a very long way away from me, a lonely figure in the queerly-lit darkness? It came to me suddenly that this was how I would always remember him, someone standing alone, apart from the others even of his own family. And, I think for the first time, I began to see him as he really was—not any more as a projection of my young romantic longings, not any more as Prince Charming, the handsome sophisticate, the tiger I thought I preferred. . . . This was Raoul, who had been a quiet, lonely little boy in a house that was "not a house for children," an unhappy adolescent brought up in the shadowof a megalomaniac father, a young man fighting bitterly to save his small inheritance from ruin . . . wild, perhaps, hard, perhaps, plunging off the beaten track more than once . . . but always alone. Wrapped up in my loneliness and danger I hadn't even seen that his need was the same as my own. He and I had hoed the same row, and he for a more bitter harvest.”

Nine Coaches Waiting

Book:Nine Coaches Waiting

Source: Nine Coaches Waiting

“She understood perfectly that when the object of anticipation becomes paramount, trouble begins to lurk like a panther.”

Love Trouble Anticipation Panthers

Book:The Sportswriter

Source: The Sportswriter

“Sometimes I feel like I belong in another century when I write poetry...”

Poetry Poet Poems Writer Me Another Time Amwriting In The Past Poetry Month

Author:Nanette L. Avery

“I have dwelt at length with this poem because it epitomizes and transforms much eighteenth-century criticism of Spenser and because, like any other imitation, it acts as an implicit criticism of the original. The Minstrel takes up major themes in mid-century poetics and criticism - speculative interest in origins, natural descriptions, humble life, the supernatural, education, political corruption - and merges them, awkwardly it must be said - into something recalling a Spenserian romance. The celebrity of Beattie's poem has more to do with its intellectual than its poetic achievements. The Minstrel demonstated that romance could take on the serious social business hitherto treated in epic and georgic, epistle and satire; it proved to an age obsessed with originality that a poet might imitate wihout copying, and emulate Spenser in a way that avoided objections to archaism, allegory, and the use of stanzas in a long poem. Beattie did all these things but did them imperfectly. For the next fifty years, romantic Spenserians would retain beattie's doctrines while refining his poetics.”