John
https://www.goodreads.com/mistreader
“Even if exile is spent in the most beautiful city in the world, Brunetti realized, it is still exile.”
― Death at La Fenice
― Death at La Fenice
“He knew the time for burning and plowing had ended the day before, but there still lingered in the warm March air something of the new season. The smell of freshly turned earth and the odor of pine and sedge-smoke hovered over the land even after burning and plowing was done. He breathed deeply of it, filling his body with the invigorating aroma.”
― Tobacco Road
― Tobacco Road
“Me and Tom used to get along first-rate concerning everything. Me and him never had no difficulties like I was always having with my other children. They used to throw rocks at me and hit me over the head with sticks, but Tom never did. Tom was always a first-rate boy when I knowed him.”
― Tobacco Road
― Tobacco Road
“Let me try to explain it this way. During a performance, it is the conductor who keeps things together, sees that the singers maintain the right tempi, that the orchestra supports them, that the entrances are on time, that neither is allowed to get away from the other. And he must also see that the orchestra’s playing doesn’t get too loud, that the crescendi build and are dramatic but, at the same time, don’t drown out the singers. When a conductor hears this happening, he can quiet them with a flick of his hand or a finger to the mouth.’ To illustrate, the musician demonstrated the gestures that Brunetti had seen performed during many concerts and operas.
‘And he must, at every moment, be in charge of everything: chorus, singers, orchestra, keeping them in balance perfectly. If he doesn’t do this, then the whole thing falls apart, and all anyone hears is the separate parts, not the whole opera as a unit.”
― Death at La Fenice
‘And he must, at every moment, be in charge of everything: chorus, singers, orchestra, keeping them in balance perfectly. If he doesn’t do this, then the whole thing falls apart, and all anyone hears is the separate parts, not the whole opera as a unit.”
― Death at La Fenice
“Saddle horses lined the hitching-rails as far as Brite could see. Canvas-covered wagons, chuck-wagons, buckboards, vehicles of all Western types, stood outside the saddle horses. And up one side and down the other a procession ambled in the dust. On the wide sidewalk a throng of booted, belted, spurred men wended their way up or down. The saloons roared. Black-sombreroed, pale-faced, tight-lipped men stood beside the wide portals of the gaming-dens. Beautiful wrecks of womanhood, girls with havoc in their faces and the look of birds of prey in their eyes, waited in bare-armed splendor to be accosted. Laughter without mirth ran down the walk. The stores were full. Cowboys in twos and threes and sixes trooped by, young, lithe, keen of eye, bold of aspect, gay and reckless. Hundreds of cowboys passed Brite in that long block from the hotel to the intersecting street. And every boy gave him a pang. These were the toll of the trail and of Dodge. It might have been the march of empire, the tragedy of progress, but it was heinous to Brite. He would never send another boy to his death.”
― The Trail Driver: A Western Story
― The Trail Driver: A Western Story
John’s 2025 Year in Books
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