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Quote by Marsha Norman

“I loved that bridge he built over the creek in the back of the house. [...] Or that baby bed he built for Ricky. I told him he didn't have to spend so much time on it, but he said it had to last, and the thing ended up weighing two hundred pounds and I couldn't move it. I said, 'How long does a baby bed have to last, anyway?' But maybe he thought if it was strong enough, it might keep Ricky a baby.”

Quote by Marsha Norman

Work

'Night, Mother

This novel delves into the complex dynamics between a mother and her daughter, culminating in a harrowing and unforgettable event. The narrative explores themes of family, mental health, and the consequences of extreme actions. more

Author

Marsha Norman
Marsha Norman

Marsha Norman, born on September 21, 1947, is an accomplished American playwright known for her profound human and social themes. Her most famous work is 'Who's Afraid of Virginia Woolf?', which won her the Pulitzer Prize for Drama. Her works include 'Who's Afraid of Virginia Woolf?' and 'A Delicate Balance', among others, with 'Who's Afraid of Virginia Woolf?' earning her the prestigious Pulitzer Prize for Drama. 'A Delicate Balance' is a story about women during the American Civil War and has also received widespread acclaim. Norman's works have had a profound impact on contemporary theater, revealing the complexity of human nature and the diversity of society through her unique perspective and insightful observations. more

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“Il pastore augurò Buon Natale, il coro riprese a cantare e l’organo a suonare. Fu in quel momento che Maggie sentì che lui era vicino. Si girò appena e lo vide. Se ne stava in piedi nel corridoio centrale, a qualche passo da lei, lo Stetson fra le mani, un’espressione indecifrabile sul volto. Il sangue prese a correrle troppo veloce nelle vene e, per quanto faticasse ad ammetterlo, si sentì così felice che un sorriso le illuminò il volto, come se lui fosse tornato a casa dopo un lungo viaggio. Già, quale casa? Mitch, invece, rimase di pietra, come se la chiamata di Maggie non fosse che un’altra scocciatura da risolvere. Il sorriso si spense poco per volta sulle labbra di Maggie e gli occhi, prima ridenti, si strinsero in uno sguardo interrogativo. Se il cowboy preferiva che fra loro ci fosse il gelo, che gelo fosse. Non era obbligata a sorridergli, in fondo, né a far conversazione. Lo avrebbe solo ringraziato per il passaggio e poi, estranei come prima. Mitch le fece cenno con la testa di seguirla e, senza neppure aspettarla, ruotò su se stesso e si incamminò verso l’uscita del tempio. Maggie sentì il suo amor proprio reagire all’atteggiamento scostante di Mitch, ma decise di fingere un’indifferenza e una calma che non provava; si prese il tempo necessario per ringraziare i signori Curtis e per salutare le altre persone che, come lei, erano in fila verso l’uscita.”

“If I have any desire at all, it is to show the brotherhood of man. This is a big statement and it sounds al little precious. Generally a man is ashamed to make such a statement. He is afraid sophisticated people will laugh at him. But I don't mind. I'm asking sophisticated people to laugh. That is what sophistication is for. I do not believe in races. I do not believe in governments. I see life as one life at one time, so many million simultaneously, all over the earth. Babies who have not yet been taught to speak any language are the only race of the earth, the race of man: all the rest is pretense, what we call civilization, hatred, fear, desire for strength... but a baby is a baby. And the way they cry, there you have the brotherhood of man, babies crying.”

“Nick and the Candlestick I am a miner. The light burns blue. Waxy stalactites Drip and thicken, tears The earthen womb Exudes from its dead boredom. Black bat airs Wrap me, raggy shawls, Cold homicides. They weld to me like plums. Old cave of calcium Icicles, old echoer. Even the newts are white, Those holy Joes. And the fish, the fish ---- Christ! they are panes of ice, A vice of knives, A piranha Religion, drinking Its first communion out of my live toes. The candle Gulps and recovers its small altitude, Its yellows hearten. O love, how did you get here? O embryo Remembering, even in sleep, Your crossed position. The blood blooms clean In you, ruby. The pain You wake to is not yours. Love, love, I have hung our cave with roses, With soft rugs ---- The last of Victoriana. Let the stars Plummet to their dark address, Let the mercuric Atoms that cripple drip Into the terrible well, You are the one Solid the spaces lean on, envious. You are the baby in the barn.”