text:
Porridge

Porridge (1974–1977) is a British BBC television sitcom, written by Dick Clement and Ian La Frenais and starring Ronnie Barker and Richard Beckinsale. In a 2004 BBC poll of the 50 greatest British sitcoms, it was voted number 6. It is set in the fictional "Slade Prison" in Cumberland (now Cumbria).

New Faces, Old Hands [1.1]

 * [voice-over on the credits of every episode]
 * Judge: Norman Stanley Fletcher, you have pleaded guilty to the charges brought by this court, and it is now my duty to pass sentence. You are an habitual criminal, who accepts arrest as an occupational hazard, and presumably accepts imprisonment in the same casual manner. We therefore feel constrained to commit you to the maximum term allowed for these offences: you will go to prison for five years.

 * Mackay: 12 o'clock, midday bang-up... [Godber looks surprised] Not what you think, laddie! Not what you think!

 * Mackay: Any questions?
 * Fletch: Any point?
 * Mackay: None whatsoever.

 * Barraclough: Next of kin?
 * Fletch: My beloved Isabel, the little woman. Not that she's so little, mind you. I said to her one day, I said "Isabel, I shall never get over you. I'll have to get up and go around".

 * Fletch: Oh, by the way - when you have your medical, tell him you've got bad feet.
 * Godber: Why?
 * Fletch: 'cos then you might get your brothel-creepers back. Otherwise you'll be given prison boots - and they're guaranteed to give you bad feet for the rest of your life! [Heslop starts laughing] Why are you laughing? That's absolutely true, that!
 * Heslop: No, I don't mean that! I mean, that's funny about your wife being a big woman and you have to get up and go around! [roars with laugher]

 * Doctor: Suffer from any illness?
 * Fletch: Bad feet.
 * Doctor: (annoyed) Suffer from any illness?
 * Fletch: (insistently) Bad feet!
 * Doctor: Paid a recent visit to a doctor or hospital?
 * Fletch: Only with my bad feet.
 * Doctor: Are you now or have you at any time been a practicing homosexual?
 * Fletch: What, with these feet? Who'd have me?
 * Doctor: (stamps his form) Right, you're A-1.
 * Fletch: A-1! 'ang on, 'ang on, I can hardly walk here, doctor! (pretends to limp over to scales)

 * Doctor: Now I want you to fill one of those containers for me.
 * Fletch: What, from 'ere?

 * Godber: I'm only in here due to tragic circumstances.
 * Fletch: Which were?
 * Godber: I got caught.

 * Heslop: [after Fletch implies that he is illiterate] I read a book once! Green, it was.

 * Fletch [explaining to Godber about the early lights-out]: If you wanna watch Z Cars, forget it. You'll have to get your kicks from the Wombles of bleedin' Wimbledon.

The Hustler [1.2]

 * [Fletcher is on the farm, feeding the pigs]
 * Fletch: You eat like pigs an' all!

 * Mackay: What have you got there, Fletcher?
 * Fletch: [sotto voce] Crown jewels. [out loud] Chicken feed!
 * Mackay: Empty it.
 * Fletch: It'll make a terrible mess, Mr Mackay!
 * Mackay: Empty it!
 * [Fletch empties the bag, which contains nothing but chicken feed]
 * Mackay: All right Fletcher, just don't let me catch you thieving!
 * Fletch: I won't, Mr Mackay.
 * Mackay: You won't what?
 * Fletch: I won't let you catch me, Mr Mackay!

A Night In [1.3]

 * Fletch [to Godber]: We could go out, you know... yeah, I could phone up a couple of them dolly birds that dance on Top of the Pops. What are they called?  Pan's People.  There's one special one - beautiful Babs.  Dunno what her name is.

 * Fletch: That's what you've got to tell yourself, you're just having a quiet night in.
 * Godber: Trouble is, I've got six hundred and ninety-eight quiet nights in to go.

 * Prison officer: [Fletch has just sat on Godber's needle] What's going on 'ere, then? [indicates Fletch] Did you assault this man, Godber?
 * Godber: No, he sat on me darning needle.
 * Officer: That true, Fletcher?
 * Fletch: Naff off, can't you see I'm in agony?
 * Officer: Why don't you get a move on? [Walks out of the cell]
 * Fletch: Why don't you go home an' see who's been sleeping with your old lady while you were night duty.
 * [Officer returns to the cell, looking bemused]
 * Officer: [sarcastically] Ha, ha, ha. Oh that is original, Fletcher. I've been havin' that for the last seven years. [wanders off]
 * Fletcher: So's she an' all.

A Day Out [1.4]

 * [Barrowclough and the prisoners are trapped in a locked church]
 * Barrowclough: Come on, Fletcher, you've been convicted of breaking and entering.
 * Fletch: Ah - "entering" being the operative word, Mr Barrowclough. I ain't never been convicted of breaking out of nowhere.

Ways And Means [1.5]

 * Fletch: Lots of famous people have been illegitimate, you know. William the Conqueror.... Napper Wainwright....
 * McLaren: Who's Napper Wainwright?
 * Fletch: He was a screw at Brixton. Mind you, he was a bastard.

Men Without Women[1.6]

Just Desserts [2.1]

 * Fletcher: I've got something very serious to say. I don't know quite how to put this, gentlemen, but there is a thief among us.
 * Warren: There's nigh on 600 people in this prison, and I should think two-thirds of them are in for stealing something.
 * Fletcher: Oh yeah, that's stealing on the outside, innit, Warren, eh? That's stealing against civilians. That's just a way of life. It's a living, innit? That's ordinary skulduggery, that is. The crime I'm talking about has been perpetrated within these walls. Which is despicable! I mean it's beneath the dignity of any moral, law abiding criminal.

 * Banyard: Unlike the rest of you, I'm not a common criminal.
 * Fletcher: Oh? I dunno if it's escaped your notice, but you are doing porridge, ain't you? And have been for 18 months now.
 * Banyard: Yes, you know what I mean, but I'm a professional man, a dentist. Consequently—
 * Fletcher: Now, just a minute. Let's just set the record straight, shall we? You was a dentist, right? It's been some time now since they struck you off their little list, innit, eh? After that regrettable incident with the laughing gas. I mean in your own mind you may not consider yourself a criminal, but to the ladies in question it was no laughing matter, was it?

 * [Fletcher has gathered everyone into his cell to get to the bottom of who stole his tin of pineapple chunks.]
 * McLaren: Kangaroo court, eh? Heard about it.
 * Fletcher: Oh, McLaren, hello! Make room for McLaren, come on, shift up there, Lukewarm.
 * McLaren: No reason to exclude me, you know, Fletch. We're all in this together. The finger of suspicion points at everyone.
 * Fletcher: Right.
 * McLaren: I'd just like to mention, of course, if anybody points it at me, I'll clobber them!
 * Fletcher: Oh yeah. Well, that's nice. Very good of you to be so reasonable.

 * [Godber has hidden a newly stolen tin of pineapple chunks under a towel on Fletcher's bed.]
 * Fletcher: They think we're all pilferers, don't they, eh? Think we're all thieving all the time, don't they? We're under continual harassment, suspicion, poking through our belongings without any justifications whatsoever. I think if you'll excuse me, I'll go for a shower. [goes to grab his towel]
 * Godber: No!
 * Fletcher: What? What?
 * Godber: Oh, well, you've no need to Fletch. You're so clean!
 * Fletcher: What's got into you, Godber? Eh? Eh!? [to Mr. MacKay] You lot are warping this lad's mind, you know that, don't you? [picks up the towel and leaves the cell, inadvertently revealing the tin to Mr. MacKay.]
 * Mr. MacKay: FLETCHER! Come here, a minute. What is that?
 * Fletcher: What's what? [spots the tin] Bloody hell!
 * Mr. MacKay: Come with me, Fletcher!
 * Fletcher: Listen—
 * Mr. MacKay: No, you won't need your towel!
 * Fletcher: Listen, that is a plant!
 * Mr. MacKay: No it's not! It's a tin of pineapples!

Heartbreak Hotel [2.2]

 * [Fletch has a question for Mackay]
 * Fletch: 'Ol love-lorn Lenny here wants to know whether the BBC ever play prisoner requests.
 * Mackay: No. Oh no. The answer to that is no. On the grounds that it could cause embarrassment."
 * Godber: Embarrassment?
 * Mackay: To the prisoner's families. The families might've excused his absence by telling the neighbours that the felon in question was abroad, or working on a North Sea oil rig.
 * Godber: Oh. I see.
 * Mackay: No doubt your wife, Fletcher, has told your friends that you are on a five-year safari. [chuckles at his own joke]
 * Fletch: No. She just tells them I'm doing missionary work in Scotland.

 * [Godber has just asked Fletch if he would make it outside of prison]
 * Fletch: With you, it's different. I mean, you're young, you're 'ealthy, you've go an honest face.
 * Godber: Is that enough?
 * Fletch: Yeah, I think so, yeah. Character, that's what I can read there. That's what you've got, son. Character. [pats him on the shoulder] You're a good lad.
 * Godber: So you think, Fletch, that if somebody cared for me. Like, a girl, like, she'd... uh... forgive me past misdemeanours?
 * Fletch: Yeah. If she's any sort of human being, yes she would, yeah. Any human being would. [places his hand on his shoulder] You see, you've got to learn to believe in yourself, ain't ya, eh? 'Cause I believe in ya.
 * Godber: Do ya?
 * Fletch: Of course I do, yeah.
 * Godber: [handing him an envelope] Oh, well, I'll post this, then. Could you get your mucker, Barrowclough to post it in the village for me quite, like?
 * Fletch: [Reading envelope] Who is it? BBC?
 * Godber: Yeah. It's on plain notepaper, so they won't know it's from a prisoner.
 * Fletch: "'Ello Young Lovers Corner?" Is all this soul searching just for the benefit of that slag Denise?
 * Godber: No! Not 'er.
 * Fletch: Who, then?
 * Godber: [tentative] Ingrid.
 * Fletch: [obviously shocked and infuriated, smiles falsely] My Ingrid?
 * Godber: [poetically] Our eyes met across the crowded room.
 * Fletch: My daughter Ingrid?
 * Godber: [continuing] And though we didn't know each other, we both knew -
 * Fletch: [interrupting him in fury] You think I'd let my daughter Ingrid hang out with the likes of you!? [Grabs him by the shirt and raising his fist] A JUVENILE DELINQUENT FROM THE BACKSTREETS OF BIRMINGHAM!!!
 * Godber: Fletch! Fletch! Fletch! Be careful!
 * Fletch: WHY!?
 * Godber: You've crushed your ping-pong ball.

Disturbing The Peace [2.3]

 * Mr. Mackay: I think some of you wrongly assumed that I had left you for good. But, as you see, nothing could be further from the truth. Only... I am somewhat disturbed to hear what has been happening in my absence. So now... We're going to have a new regime here, based not on lenience and laxity but on discipline, hard work and blind, unquestioning obedience. Feet will not touch the floor. Lives will be made a misery. [At the door] I am back, and I am in charge here.
 * [Mr. Mackay leaves, but as he walks down the corridor, Fletch and Godber start singing]
 * Fletch and Godber: [singing] For 'e's a jolly good fellow, for 'e's a jolly good fellow, for 'e's a jolly good fellow, and so say all of us.
 * Other inmates: [joining in] And so say all of us, and so say all of us. [Mackay smiles proudly and continues to march to the exit] For 'e's a jolly good fellow, for 'e's a jolly good fellow, for 'e's a jolly good fellow... And so say all of us!

 * [Fletch and his friends are cleaning a floor. Mr. Wainwright walks through it with dirty feet, leaving boot marks.]
 * Fletch: [annoyed] Mr. Wainwright! Now look what you've done!
 * [Wainwright wanders over, leaving more dirty marks]
 * Fletch: We'll have to do it all again now, won't we? [Wainwright nods with a smirk on his face]
 * [Fletch sulkily dips his cloth into his bucket of water and throws it on the floor, deliberately near Wainwright's shoes. Wainwright's smile fades and he angrily steps forward and crushes Fletch's hand with his boot. A cry of pain is heard.]

 * Fletch: [Talking about Wainwright] Do you know what sorts of curtailments we've suffered? Shorter telly hours, no fraternisation in the exercise yard, and he's only removed our ping-pong table to put in your flamin' mess.
 * Barrowclough: Yeah, well, that's only until our billiard table is re-covered.
 * Fletch: Oh yeah, yeah, well, yeah.
 * Barrowclough: Well, it was your fault it wanted re-covering.
 * Fletch: Our fault?
 * Barrowclough: Well, some prisoner certainly tampered with it.
 * Fletch: Can you prove that!?
 * Barrowclough: Well, we can surmise it. When Nosher Garrett went over the wall, he was picked up in Blackpool wearing a green baize suit.

No Peace For The Wicked[2.4]

 * Fletch [sings]: Born free..... till somebody caught me..... now I'm doin' solit'ry.....

 * Fletch [sings]: I believe for every bit of rain that falls..... someone gets wet.

Happy Release [2.5]

The Harder They Fall [2.6]

 * [Fletch, under Grouty's orders, is trying to get Godber to throw his fight]
 * Fletch: [Slowly] I've got to ask you... Well, I've got to tell you, what someone has asked me... Well, told me... Well, that they was wondering you see... Well, they was insisting if you could see your way clear... Not that you've got much choice... Oh Gawd, I don't know how to say this to you, son.
 * Godber: But, what is it you're trying to say, Fletch?
 * Fletch: Tomorrow night ain't gonna be your night, Len.
 * Godber: How?
 * Fletch: Big Grouty wants you to take a dive in the second (round). [Godber looks aghast, while Fletch stares solemnly at his boots] It's no good looking at me like that. 'Course you're shocked, I know you'll be shocked. I'm ashamed.
 * Godber: [Still aghast] I can't do that, Fletch.
 * Fletch: I know, I know that, I know that. I respect you for that. But you gotta try and see the position that I'm in, see?
 * Godber: Well, I appreciate that, Fletch, but I just can't do it!
 * Fletch: [pleading] But why not? I mean, what does it mean? It's meaningless. Just inter-wing fightin'! What is it, it's meaningless!
 * Godber: [shouting] I know that!
 * Fletch: [taking his arm] Well then why can't you do it? For me?
 * Godber: I've already promised Billy Moffet I'd go down in the first. (Moffet is Grouty's rival)

No Way Out

 * [The prisoners are singing the carol Good King Wenceslas:
 * Prisoners: Good King Wenceslas looked out, on the feast of Stephen. When the snow lay round about, deep and crisp and even. Brightly shone the moon that night, though the frost was cruel...
 * Mackay: [Entering] SILENCE!
 * Fletcher: [continuing maliciously] ... When a Scotsman came in sight, hollerin' -
 * Mackay: That'll do, Fletcher.

 * [Fletcher is in hospital with a broken leg after falling through a false escape tunnel he was showing to Mackay, who is visiting him, visibly full of "Christmas cheer"]
 * Mackay: There is one question I'd like to ask... [crosses to door and checks nobody is outside] What became of the soil that was excavated from the tunnel?
 * Fletch: Ah now, wait a minute, I don't know what you're imagining about our relationship, but do not presume you've got a new informer in your back pocket. Everything's just the same, it's still them and us, I'm still on the side of us.
 * Mackay: Perfectly harmless question, Fletcher, for future reference. I just want to know they disposed of the soil.
 * Fletch: [insistently] I can't help ya!
 * [Mackay smiles, takes a green bottle of whisky from his packet, shows it to Fletcher and places it on his dinner tray]
 * Mackay: Scotland's finest.
 * Fletch: [checking the bottle] With a couple of nips out of it, I see.
 * Mackay: Well, still a rare treat.
 * Fletch: Bribes, is it?
 * Mackay: Christmas present.
 * [Fletch reaches for the bottle again, but Mackay rests a finger on it to stop him]
 * Mackay: Come along Fletcher. Just between you and me.
 * Fletch: Is that door closed?
 * Mackay: [grinning triumphantly] Oh yes. And there's no-one outside.
 * Fletch: Christmas present?
 * Mackay: Christmas present.
 * [Fletch takes the bottle, unscrews the cap and takes a glass]
 * Fletch: You wanna know how they disposed of the soil?
 * Mackay: Simple as that.
 * Fletch: I'll tell ya.
 * Mackay: I thought you might.
 * Fletch: [pouring himself some whisky and leaning in close] They dug another tunnel and put the earth down there.
 * [Mackay smiles and leaves, but freezes when he realises that Fletch has made a fool of him -- since if true, what did they do with the earth from the 'other tunnel'?]

The Desperate Hours

 * Fletch: Suicide? You wouldn't do that, would ya?
 * Urwin: Well, I tried it once before.
 * Fletch: Did ya? How did you get on?
 * Urwin: I failed, didn't I?
 * Fletch: Oh, did ya?
 * Urwin: It was typical, I was in a supermarket trying to steal a tin of pork luncheon meat, when suddenly it come to me, "is this what my life has come to, trying to steal tins of pork luncheon meat?"
 * Fletch: So you tried to commit suicide in a supermarket? How?
 * Urwin: Well, I just put my head down and charged the glass doors.
 * Fletch: Well, what went wrong?
 * Urwin: [Urwin moves his hands apart while making a noise resembling the sound of automatic doors opening, an amused Fletcher hides his face in his palm]: They was electric, I ran straight through and into an off-duty policeman who booked me for nicking the tin of pork luncheon meats.

A Storm In A Teacup [3.1]

Poetic Justice [3.2]

 * Fletch [to Rawley, the judge who sentenced him]: If I'd known you was crooked I could have slipped you a few bob!

Rough Justice [3.3]

Pardon Me [3.4]

 * [Fletch and Blanco are playing Monopoly]
 * Fletch [draws a Chance card]: Would you Adam and Eve it? "Go to jail".

 * [Blanco is just about to leave the prison on a pardon]
 * Fletch: Here here, come here. [Blanco approaches] Listen, we all know that you didn't kill your old lady, see. Which means that some other bloke did. And you've paid the penance for it, right? But I don't want you going out there harbouring any thoughts of revenge, alright?
 * Blanco: No. I know 'im wot did it. It were the wife's lover. But don't worry, I shan't go round searching for him, 'e died years ago.
 * Fletch: Well, that's alright then...
 * Blanco: That I do know. It were me that killed him!

A Test of Character [3.5]

Final Stretch [3.6]

 * Fletch [explaining his advice for prisoners to Mackay]: One: Bide your time. (raises index finger) Two: Keep your nose clean. (raises middle finger)  And three: don't let the bastards grind you down. (Mackay turns around in shock to see Fletcher still has two fingers up) Oh, sorry (raises third finger).

Cast

 * Ronnie Barker - Norman Stanley Fletcher
 * Fulton Mackay - Mr Mackay
 * Richard Beckinsale - Lennie Godber
 * Brian Wilde - Mr Barrowclough
 * Peter Vaughan - 'Genial' Harry Grout
 * Sam Kelly - ‘Bunny’ Warren
 * Tony Osoba - Jim MacClaren
 * Christopher Biggins - Lukewarm
 * David Jason - Blanco Webb
 * Brian Glover - Cyril Heslop
 * Ronald Lacey - Harris
 * Ken Jones - 'Horrible' Ives
 * Michael Barrington - 'The Governor' Geoffrey Venables
 * Patricia Brake - Ingrid Fletcher
 * Maurice Denham - The Honourable Mr Justice Stephen Rawley
 * Ray Dunbobbin - Evans
 * Dudley Sutton - Reg Urwin 'with a U'
 * Philip Madoc - Williams

title: Porridge


text:
The Catherine Tate Show

The Catherine Tate Show (2004–2006) was an award-winning television sketch comedy which airs on BBC Two. Comedienne Catherine Tate writes and appears in all of the show's sketches, which feature a wide range of characters.

Series 1

 * Lauren: Did you see Beyonce last night on the television? Beyonce is well bing bing. Am I bovvered? Am I bovvered though? I ain't even bovvered! Don't tell me what to do, are you telling me what to do? Are you disrespecting me? Are you stupid? Why don't you shut up though? Shut up, then. I don't care though, I ain't bovvered!

 * Estate Agent: Terry your husband? Ahh! Jesus Christ!!! What the hell have you done in here? You know what they say about a man who likes a bit of chrome in his kitchen, likes a bit of cock up his arse! Do you dream about it? No kids, drives a big black Cherokee Jeep, likes chrome, not to mention the cheap aftershave and cropped hair. YOU BIG OLE' BENDER!

 * Nan Taylor: What a load of ole' shit! Everything's a pound? That ain't bad is it, that's quite reasonable. I don't know where I'd put it all, but I'd take it all off your hands for a pound. Oh, fuckin' chill out!

 * The Backhander Woman: You know what you could do, you could just get out of your car and say No! No! NO!!! I SAID NO!!! and then get the pail of water and fling it over his greasy, flea ridden head and he'll be like "Ow, that's hot, Ow! Ow, that's hot!" and then just give him a backhander, One swift backhander right across his red, steaming face. Hitler worshipping pikey scum!

 * Woman In Office: Guess where my hairdresser comes from? Make time, it's fun! You Love It!!! Norfolk? They don't have hairdressers in Norfolk. Denmark? It's not a mullet! Cardiff! My hairdresser's from Cardiff! You need more than a haircut, you scab faced old trout!!!!!!!!!!

 * Aga Saga Woman: Darling, what are you doing? What did mummy tell you? Not with a wooden spoon, you'll bruise the dough. Thomas, Chloe, I've got some bad news, daddy hasn't been able to find any good brie on this trip.
 * Thomas: What about that Wensleydale left over from Ginnie's christening?
 * Aga Saga Woman: Don't be silly, it's a Parisian picnic, do you want the other children to laugh at you?

Series 2

 * Nan Taylor: There's nothing wrong with these people, look at that one in the running suit. Years ago, you had to be spewing up your guts to see a doctor. Yes, it is an emergency! Me head's hangin' off! What a fuckin' liberty! She's got 'eadache! They want shootin' they really do. Well, it's too late now, love! It's too fucking late.co.uk! Emergencies only? What a load of ole' shit!!!

 * Derek Faye: Mother and I had a little day out. Who, dear? Me, dear? Advice, dear? Yes, dear! I beg your pardon? How very dare you! Me and my mother have come in this shop for 25 years and I have never been so insulted! Just because a man wears a little foundation, takes time on his appearance, you automatically accuse him of hiding the sausage?! Well, I find you impertinent.

 * Janice: We were on our way to see our Valda, we have to keep stopping on the way because Ray forgot his driving glasses.
 * Ray: They're putting in a new ring road so...
 * Janice: So anyway, we stopped to ask for directions...
 * Ray: Listen to this
 * Janice: I thought we'd better have something to eat before we get there because Valda's one of these vegetarians.
 * Ray: They don't eat meat.
 * Janice: So anyways, we went to this pub, looked alright on the outside, didn't it?
 * Ray: Famous last words.
 * Janice: So we get in and there's a sign saying it was, what do they call it?
 * Ray: A gastropub, don't ask.
 * Janice: We read the menu and asked for mushroom soup, you'll never guess what were in it.
 * Ray: Dried shit-ache mushrooms.
 * Janice: You don't get that in soup, do ya?
 * Janice: This is in Beverley.
 * Ray: The dirty bastards!

 * Victoria Russell: Like most of us in this room, I've got a sneaky suspicion that John is gay. My father in law James, hello sir, who I know is very proud that his baby boy has married such a freeloading ginger gippo. My mother in law Janice "1, 2, 1, 2, my mother in law's so fat" By contrast, my sister in law Susan who's a very thin woman, she's so thin I weren't actually sure she was in today. I know she's out there because I can smell the sick. Don't talk about the bulimics, it's a disease!

Series 3

 * Geordie Georgie: Mornin' Martin, how was your weekend, pet?!
 * Martin: Lovely, thank you, we took Michaela and her friends out for a picnic
 * Geordie Georgie: Did her eczema put everyone off their sausage rolls?
 * Martin: No, that's all cleared up.
 * Geordie Georgie: Good, because watching someone scratch until they bleed is not everyone's idea of a good day out! Can I borrow your nice four colour biro?
 * Martin: Yeah sure.
 * Geordie Georgie: I'll tell you what it is. Me and some of the girls are doing a little fundraiser next Saturday - a round-the-clock pancake flip for all the little victims of sexual harassment in the workplace.
 * Martin: That's a really worthy cause.
 * Geordie Georgie: Aye it is. Did you know that every thirty-eight minutes - some unsuspecting little temp in a short skirt bends over to file something in the bottom drawer and gets shagged up the arse?
 * Martin: Every 38 minutes??
 * Geordie Georgie: If you don't believe me, log on to the website ;www.bummedbytheboss.co.uk. How much shall I put you down for?
 * Martin: How about 15p an hour?
 * Geordie Georgie: £3.40? for all those poor little secretaries in their vest tops - who every time they open their mouth's to yawn, someone shoves a cock in it!
 * Martin: Put me down for £4
 * Geordie Georgie: Four pounds... For all those half dressed little dolly birds whose only thanks for franking the mail of a Friday afternoon is a face full of jizz.
 * Martin: I just can't splash it about.
 * Geordie Georgie: Aye, that's it, laugh it up.

 * Paul: Want a cup of tea, babe?
 * Sam: That'll be lovely.

(Ceiling falls down)

 * Sam: Paul.
 * Paul: Yes, babe
 * Sam: You won't believe what's just happened.
 * Paul: What happened?
 * Sam: I found that earring I was looking for.
 * Paul: Where was it?
 * Sam: I dunno!!!

Comic Relief Special

 * Nan Taylor: My grandson Jamie goes to university.
 * Noel Edmunds: What one?
 * Nan Taylor: I don't know what one, I don't really take much notice.

 * Nan Taylor: I'm gonna go with fat Stella.
 * Nan Taylor: You know we live together, don't we?
 * Noel Edmunds: What, in a hotel?
 * Nan Taylor: I wouldn't wanna go down after her for breakfast, there would be nothing left.
 *  Nan Taylor: It's alright darlin', don't worry about it, she probably fuckin' ate the £250

(phone rings)

 * Nan Taylor: Darling, there's £50 in there, I know cos I had a look earlier. Thank you very much. Deal, deal, deal.
 * Noel Edmunds: We have to play on.
 * Nan Taylor: Oh no, love, I ain't got time to play a game for money I won't win. I'm going, darling. £199, thank you very much. Deal or No Deal? What a load of ole' shit!!!

 * Mr Logan: Morning.
 * Class: A'riight?

 * Lauren: Sir?
 * Mr Logan: Yeah?
 * Lauren: Are you English, Sir?
 * Mr Logan: No, I'm Scottish.
 * Lauren: So you ain't English, then?
 * Mr Logan: No, I'm British.
 * Lauren: So you ain't English, then?
 * Mr Logan: No, I'm not, but as you can see, I do speak English.
 * Lauren: But I can't understand what you're sayin', Sir.
 * Mr Logan: Well, clearly you can.
 * Lauren: Sorry, are you talkin' Scottish now?
 * Mr Logan: [agitated] No, I'm talking English.
 * Lauren: Right. Don't sound like it.
 * Mr Logan: Okay, whatever you want. Now! Let's get on with Shakespeare.
 * Lauren: I don't think you're qualified to teach us English.
 * Mr Logan: I am perfectly qualified to teach English.
 * Lauren: I don't think you are, though.
 * Mr Logan: You don't have to be English to teach it.
 * Lauren: Right, have we got double English or double Scottish?
 * Mr Logan: [Beat] Is your name Lauren Cooper, by any chance?
 * Lauren: Yeah... why?
 * Mr Logan: Your reputation precedes you.
 * Lauren: [Proudly] Innit, though?

 * Mr Logan: A Sonnet-
 * Lauren: Sir?
 * Mr Logan: a sonnet is a poem-
 * Lauren: Sir?
 * Mr Logan: written in 14 lines-
 * Lauren: Sir?
 * Mr Logan: the last two of which-
 * Lauren: Sir?
 * Mr Logan: must form a rhyming couplet-
 * Lauren: Sir?
 * Mr Logan: [very agitated] Yes, Lauren?
 * Lauren: Can I aks you a question?
 * Mr Logan: Not just now.
 * Lauren: But can I aks you a question, though?
 * Mr Logan: Just wait.
 * Lauren: But can I aks you a question? I only wanna aks you a question. Why can't I aks you a question? I'm only aksing a question. Can I just aks you question?
 * Mr Logan: What is it?
 * Lauren: Are you the Doctor?
 * [Long beat.]
 * Mr Logan: Doctor Who?
 * Lauren: Innit, though!!! [clicks fingers.]
 * Mr Logan: I don't know what you're talking about.
 * Lauren: You look like Doctor Who though!
 * Mr Logan: I'm not Doctor Who, I'm your English teacher.
 * Lauren: I don't think you are though...
 * Mr Logan: Lauren -
 * Lauren: I think you're a 945-year-old Time Lord.
 * Mr Logan: Listen -
 * Lauren: Did ya' just pitch up from Mars?
 * Mr. Logan: Don't be ridiculous!

 * Lauren: You know your house right?
 * Mr Logan: What?
 * Lauren: You know your house?
 * Mr Logan: Yeah?
 * Lauren: Is it bigger on the inside?
 * Mr Logan: Be quiet.
 * Lauren: Did you park the TARDIS on a meter?
 * Mr Logan: Can we please get back to Shakespeare? [He looks pointedly at Lauren, who is silent, and pauses for a moment] Thank you. So-
 * Lauren: Do you fancy Billie Piper, sir?
 * Mr Logan: [Angry] Right! [slams book] You are the most insolent child I have ever had the misfortune to teach!
 * Lauren: Thank you.
 * Mr Logan: You are pointless, repetitious and extremely dull.
 * Lauren: Bit like Shakespeare.

 * Mr Logan: [fuming.] You are not even worthy to mention his name. William Shakes- WILLIAM SHAKESPEARE WAS A GENIUS! YOU, LITTLE MADAM, ARE DEFINITELY NOT! NOW JUST SIT THERE, KEEP YOUR MOUTH SHUT, OR I WILL FAIL YOU IN THIS WHOLE MODULE RIGHT NOW!
 * Lauren: [breathes in through teeth, leans forward.] Amest I bovveréd?
 * Mr Logan: [confused.] What?
 * Lauren: Amest I bovveréd, forsooth?
 * Mr Logan: Lauren-
 * Lauren: Looketh at my face. Looketh at my face. Ist this a bovveréd face thou seest before thee?
 * Mr Logan: Right, I'm calling your parents-
 * Lauren: Are you disrespecting the house of Cooper?! Art thou calling my mother a pox-ridden wench?! Art thou calling my father a goodly rotten apple?!
 * Mr Logan: [Exasperated.] Lauren-
 * Lauren: But he ain't even a goodly rotten apple. But he ain't a goodly rotten apple, though.

 * Lauren: I ain't even bovveréd, though! Face? Bovveréd? Face? Bovveréd? My Liege, I be not bovveréd, forsooth. You take the high road and I'll take the low road. Bovveréd? Face? I ain't even bovveréd. Shakespeare? Sonnets? I ain't even bovveréd.
 * Mr Logan: Look stop right there-
 * Lauren:
 * "My Mistress's eyes are nothing like the sun,
 * Coral is far more red than her lips red,
 * If Snow be white, why then her breasts are dun,
 * If hair be wires, black wires grow on her head,
 * I have seen roses damask'd red and white,
 * But no such roses see I in her cheeks,
 * And in some perfume is there more delight,
 * Than in the breath that from my mistress reeks,
 * I love to hear her speak, Yet well I know
 * That music has a far more pleasing sound,
 * I grant I never saw a goddess go,
 * My mistress when she walks treads on the ground,
 * And yet by heaven I think my love as rare,
 * As any she belied with false compare." [slaps table.] BITE ME, ALIEN BOY!
 * [Furious, Mr Logan whips out the Sonic Screwdriver, changing Lauren into a 5 inch Rose Tyler figure.]
 * The Doctor: That's better. [grins.] "A Rose by any other name would smell as sweet."
 * Lauren: [squeaking.] I still ain't bovvered!

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: The Catherine Tate Show


text:
User talk:68.150.86.20

~ UDScott 14:26, 5 December 2006 (UTC)

title: User talk:68.150.86.20


text:
User talk:216.120.146.60

Please stop adding nonsense to Wikiquote, as you did to Star Wars Episode V: The Empire Strikes Back. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 14:48, 5 December 2006 (UTC)

title: User talk:216.120.146.60


text:
John Ashbery

John Lawrence Ashbery (July 28, 1927- September 3, 2017) was an award-winning American poet and a prominent art critic. Educated at Harvard and Columbia, he published 26 volumes of poetry spanning 60 years and won nearly every major American award for poetry, including a Pulitzer in 1976 and the Bollingen and Lenore Marshall prizes in 1984 for the collections Self-Portrait in a Convex Mirror and A Wave, respectively. He was elected a Fellow of the American Academy of Arts and Sciences in 1983, taught at Bard as the Stevenson Professor of Languages and Literature from 1990 until his retirement in 2008, and remains the only writer to win the Pulitzer Prize, National Book Award, and the National Book Critics Circle Award in the same year (1976). Selected as the poet laureate of New York State from 2001-03, he was further honored by U.S. President Barack Obama in 2011 with the National Humanities Medal.

His art criticism has been collected in the 1989 volume Reported Sightings, Art Chronicles 1957-1987, edited by the poet David Bergman.

Quotes

 * There is the view that poetry should improve your life. I think people confuse it with the Salvation Army.
 * International Herald Tribune (Paris, October 2, 1989) The Columbia World of Quotations, 1996.

 * "Did I say that? One says so many things, and the problem is they all get written down."
 * (In response to the question "Why do you call yourself anti-art?," Bard College, 2005)

The Paris Review (Issue 90, Winter 1983)

 * ―John Ashbery, The Art of Poetry No. 33. Interviewed by Peter A. Stitt.

 * It didn’t pay very much, but it enabled me to get other jobs doing art criticism, which I didn’t want to do very much, but as so often when you exhibit reluctance to do something, people think you must be very good at it. If I had set out to be an art critic, I might never have succeeded.

 * When I originally started writing, I expected that probably very few people would read my poetry because in those days people didn’t read poetry much anyway.

 * Well, there are certain stock words that I have found myself using a great deal. When I become aware of them, it is an alarm signal meaning I am falling back on something that has served in the past—it is a sign of not thinking at the present moment, not that there is anything intrinsically bad about certain words or phrases.

A Wave (1984)
At incredible speed, traveling day and night, Through blizzards and desert heat, across torrents, through narrow passes. But will he know where to find you, Recognize you when he sees you, Give you the thing he has for you?
 * Somewhere someone is traveling furiously toward you,
 * "At North Farm" (Electronic Poetry Center: At North Farm)

April Galleons (1987)
But are somehow okay. And then some morning There are places that suddenly seem wonderful: Weather and water seem wonderful, And the peaceful night sky that arrives In time to protect us, like a sword Cutting the blue cloak of a prince.
 * In the beginning there are those who don't quite fit in
 * "A Snowball in Hell"

 * These two guys in the front yard-- Are they here to help?
 * "Gorboduc"

Quotes about John Ashbery

 * John Ashbrey, incontrovertibly a great poet, remains both difficult and underread, even by his readers.
 * Harold Bloom, John Ashbery (1985)

 * He had meticulous taste, if taste is a form of discernment, and discernment a kind of care and humility toward the world, its material stuff as well as its arbitrary weathers. He was drawn to the local and to the minor, the huge field of forgotten or overlooked or insignificant details of daily life, which he was able to transcribe, without relying on either mirrors or windows, but on the capaciousness of his restless, inquisitive, integrating imagination. He seemed to have an infinite resource of words and a flexible, if sometimes dissonant, syntax into which to put them. His poems are always in the service of making new relations, so that meanings arise without the insistent correlate of understanding but, instead, offer to his readers a new way to find sense in an apprehension or awareness of the variety of this world, and the capacity of language to provide ways of perceiving and, somehow, renovating it.
 * Ann Lauterbach, Schwab Professor of Languages and Literature & Co-chair, Milton Avery School of the Arts, Bard College (Faculty Remembrances)

title: John Ashbery


text:
User talk:204.38.89.11

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 19:41, 5 December 2006 (UTC)

title: User talk:204.38.89.11


text:
User talk:86.131.179.114

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 19:45, 5 December 2006 (UTC)

title: User talk:86.131.179.114


text:
Hannah Glasse

Hannah Glasse (1708–1770) cookery writer, author of the famous The Art of Cookery Made Plain and Easy published in 1747 and remaining in print for 80 years.

Misattributed

 * First catch your hare.
 * Sometimes attributed to Glasse, but in fact the phrase appears nowhere in her Art of Cookery. The closest is under roast hare (page 6), "Take your hare when it be cas'd", simply meaning take a skinned hare.  (Reference: Acquired Tastes: Celebrating Australia's Culinary History, Colin Bannerman (and others), published by the National Library of Australia, 1998, ISBN 0-642-10693-2, page 2.)

title: Hannah Glasse


text:
Wikiquote:Votes for deletion archive/Ronaldo Menezes

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 20:50, 5 December 2006 (UTC)

Ronaldo Menezes
I am not sure of the notability of this subject. While he is a college professor (which we traditionally would delete on grounds of not being notable), he also appears to be a working scientist and there may be publications or writings that he has issued. I would lean toward deletion, but rather than just speedy delete it, I wanted to put it to a vote to allow anyone who may know of any significant writings to identify them. ~ UDScott 20:19, 27 November 2006 (UTC)

 * Vote closed. Result: delete (four votes to delete, no dissent). —LrdChaos (talk) 20:45, 5 December 2006 (UTC)
 * Delete, unless evidence of notability is provided. ~ UDScott 20:19, 27 November 2006 (UTC)
 * Delete unless solid notability evidence provided and quote properly sourced. This is a vanity article from w:User:Ronaldo, as the material on his user page clearly indicates. Our article was created by, who also made corrects to Ronaldo's user page. However, as I've said before, I'm not inherently against notable folks creating or editing their own Wikiquote article, so long as they are clearly notable (by Wikimedia standards) and do a spotless job of sourcing their quotes (which they should be in a better position than anyone to do). So far, this is not the case. There is also no Ronaldo Menezes or trace of a deletion or discussion to help guide us. ~ Jeff Q (talk) 20:34, 27 November 2006 (UTC)
 * Delete per Jeffq. 121a0012 01:10, 28 November 2006 (UTC)
 * Delete. - InvisibleSun 22:59, 28 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Like An Episode Of

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 20:50, 5 December 2006 (UTC)

Like An Episode Of
Another web comic without stated evidence of notability. Sole source for information is the webcomic itself. Wikipedia's article, Like An Episode Of, was deleted long ago, and the author's supposed WP article, Jimmy Kustes, doesn't seem to have ever existed. ~ Jeff Q (talk) 10:18, 28 November 2006 (UTC)

 * Vote closed. Result: delete (five votes to delete, no dissent). —LrdChaos (talk) 20:46, 5 December 2006 (UTC)

 * Delete unless notability evidence provided. I'll give the editor some credit — at least some of the quotes are sourced. ~ Jeff Q (talk) 10:18, 28 November 2006 (UTC)
 * Delete, concurring with Jeff. It's hard to gauge the Google popularity of this due to its title, as the same phrase is used as part of sentences about completely unrelated things. —LrdChaos (talk) 20:13, 28 November 2006 (UTC)
 * Delete. - InvisibleSun 23:01, 28 November 2006 (UTC)
 * Delete. ~ UDScott 14:19, 29 November 2006 (UTC)
 * Delete as not notable. Fys. “Ta fys aym”. 18:47, 30 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Pizza

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 20:51, 5 December 2006 (UTC)

Pizza
This seems like a too narrow theme subject, and the offered quotes seem highly suspect and are probably not genuine. But this page did not seem to meet any of the criteria for speedy deletion. ~ UDScott 18:09, 28 November 2006 (UTC)

 * Vote closed. Result: delete (five votes to delete, no registered dissent). —LrdChaos (talk) 20:47, 5 December 2006 (UTC)
 * Delete, unless valid, sourced quotes replace the probably bogus quotes. ~ UDScott 18:09, 28 November 2006 (UTC)
 * Delete. Concur with UDScott. Most foods couldn't support a theme quote article, but pizza may be the exception. ~ Jeff Q (talk) 19:45, 28 November 2006 (UTC)
 * Delete unless replaced with valid sourced quotes in proper format. --Ubiquity 03:35, 29 November 2006 (UTC)
 * Comment: Could a broader topic be set up, like "Junk Food" or something along those lines? There may not be a ton of pizza quotes, but I can think of a couple, especially if you think of "beer and pizza" or other combinations with it. --Angel 23:20, 29 November 2006 (UTC)
 * Not a bad idea, but the term "junk food" may be too subjective. (See Junk food.) If we use this or come up with an alternative term, whatever we use could serve equally as a subcategory of Category:Foods (or something similar). I suppose the deciding factor might be how many properly sourced quotes we can expect on any of the related subjects. (I.e., if we have only a few over the whole spectrum, one broad article with subtopics may suffice; if we expect lots of sourced quotes, we might justify separate articles collected in categories and/or subcategories.) It's usually best to start broad and get more specific as the quotes increase, but both have been done here. ~ Jeff Q (talk) 01:05, 30 November 2006 (UTC)
 * Delete. - InvisibleSun 05:49, 30 November 2006 (UTC)
 * Delete. We kept Lasagna, earlier, so there's precedent for single-food theme articles, but unlike that case, this page is irredeemably banal, not to mention unsourced.  There are unquestionably notable people who have said quotable things about pizza -- where are they?  121a0012 06:23, 1 December 2006 (UTC)
 * Comment: So, are you saying that if this page gets deleted, and someone else creates a page of memorable, sourced quotes from notable people, that one would be kept? Just looking for clarity, thanks in advance . --Angel 19:30, 5 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Adam Copeland

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 20:51, 5 December 2006 (UTC)

Adam Copeland
YAPWA (yet another pro-wrestler article), with all the usual problems on inanity and (lack of) sourcing. —LrdChaos (talk) 20:23, 28 November 2006 (UTC)
 * Vote closed. Result: delete (five votes to delete, two votes to keep). —LrdChaos (talk) 20:48, 5 December 2006 (UTC)

 * Delete. —LrdChaos (talk) 20:23, 28 November 2006 (UTC)
 * Comment: There are 72 articles in Category:WWE. Perhaps we should just do a full review of all of them, rather than this dribs-and-drabs approach.  121a0012 01:04, 29 November 2006 (UTC)
 * I don't know that we really have any good way to do a "full review" of them; typically, a VFD nomination is the only sort of review that most pages get, and I'm a little unwilling to advocate a mass nomination of so many pages that would each require independent review. The way I've been finding these articles is when I see one being edited through Special:Recentchanges. It usually ends up being a one- or two-at-a-time approach, but I think that it helps to keep VFD manageable, and it's not like the WWE articles are actively a problem. —LrdChaos (talk) 14:02, 29 November 2006 (UTC)
 * Personally, I keep hoping the wrestling fans will take the hint and try to improve these articles before they're individually nominated. I don't know how realistic a hope this is, either from lack of editor participation or from lack of non-trivial, sourced material. ~ Jeff Q (talk) 14:08, 29 November 2006 (UTC)
 * Delete. ~ UDScott 14:19, 29 November 2006 (UTC)
 * Delete. - InvisibleSun 05:50, 30 November 2006 (UTC)
 * Delete. 121a0012 06:25, 1 December 2006 (UTC)
 * Keep It. Or at least merge it with Edge's article. 66.72.198.104 23:07, 1 December 2006 (UTC)fhb3
 * KEEP IT. We're talking about quotes here. Quotes of an entertaining WWE wrestler. Which, if unsourced, most likely than not it means they said this during some promo they did on WWE television. Why are we worried about getting ten thousand sources because he said many things people felt like putting on here when many of these wrestling quotes may not even be anywhere else on the net, either by text or by audio/video evidence? For example, I can't go back and find a video of where Edge said the words: "I am the MVP of this show!" Yet I completely remember that those words coming out of his mouth when he made a tirade about how he and not RVD should be the WWE champion, about a week or so before he did become the champion a second time. This idea that every link should be sourced - as in, linked back to somewhere that can prove it - is asking for perfection. Now I know why there are no Dragon Ball Z Wikiquote articles despite that anime's hilarious and memorably quotable nature. You guys are being too tough on things. 63.215.29.185 07:37, 2 December 2006 (UTC)
 * Wikiquote, as a project of the Wikimedia Foundation, is about verifiable quotes, not stuff that unidentifiable people (that's all us Wikiquotians, you and me included) claim to remember. I'm sure you do remember many things said by this and other wrestlers. But human memory is extremely fallible, and tons of edits to our own articles to correct incredibly inaccurate quotes from unreliable websites and other sources back up this assertion. It is possible to source quotes said in TV programs. We do it all the time with TV-show articles. If quotes in this article don't appear in any commercially released video, it's likely that the event wasn't notable enough to generate interest in its redistribution, and should be treated just as we would treat a book that no one buys or that is vanity-published. (Contrary to some opinions, we try hard not to be arbitrary. We try to figure out notabiity and verifiability standards that equate to the gold standard of book or periodical publication.) Even if these quotes are sourced, they don't necessarily qualify as interesting to a general audience. There is a minimal expectation of originality and pithiness. This means that someone saying "Sodas rule!" is of no use to Wikiquote unless we have a published source that suggests these words are a catchphrase, like Monty Python's "And now for something completely different" (for which there are such publications). Again, this is not unique to wrestler articles. Many TV-show articles here are littered with stuff that only means something to fans, and which would be removed en masse if we had enough regular editors committed to Wikimedia goals to perform this cleanup. Since we don't, we work on whatever someone decides to put before the community. At the moment, editors are interested in weeding out inane, unsourced wrestler articles. But at the same time, others are weeding out excessive and inane material from TV articles, copyright-violating transcriptions of songs and entire repertoires of comedians, vanity quotes in theme articles, suspect quotes in people articles, and many other items of dubious provenance. The goal is to have a well-documented set of quotations that would make Wikiquote be more useful than Bartlett's Famous Quotations, in the same way that Wikipedia has become for many more useful than Encyclopedia Britannica. (By the way, there is a Dragon Ball Z article, and has been for a while. However, there isn't much participation in the article, and what we do have is almost completely unsourced. Sooner or later someone will get around to either sorting it by episode and verifying it, or nominating it for deletion, too — which may get others to help do the sourcing work, we would hope.) In the end, the best way wrestling fans have of ensuring their favorite stars have articles is to list only well-known, original, generally interesting quotes, document where they come from (per Citing sources), and make sure they're accurate. ~ Jeff Q (talk) 01:10, 3 December 2006 (UTC)
 * Delete unless trimmed to pithy, original quotes and sourced. ~ Jeff Q (talk) 05:31, 3 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Dream Team

Dream Team (1997–2007) is a British television series produced by Hewland International and aired by Sky One, that chronicles the on-field and off-field affairs of the fictional Harchester United F.C..

Series 3

 * Didier Baptiste: "Ray, Alex Ferguson is tough, but he is the only manager to get the best out of Cantona. Why? Because he allows him to express himself. Now some players they need discipline eh, but others must be allowed to fly. Now I need to know that I can. When the moment comes, the moment in a game when the ball becomes like a lover, then there is no discipline, no tactics, you just hold her, and dance with her, and whatever happens happens."

 * Harchester Fan: Aren't you Jerry Block?
 * Jerry Block: Used to be.

Series 6

 * Karl "Fletch" Fletcher: Anyone up for a game of pool tonight?
 * Robbie Walsh: Yeah, I'm up for that.
 * Karl "Fletch" Fletcher: Well you're out of luck, I've been invited to a film premiere tonight.

after fletch has caught patrick and Jacquie sleeping together in the managers office
 * Patrick Doyle: It wasn't what it looked like
 * Karl "Fletch" Fletcher: Oh yer, What are you doing here then?

Series 7
 Viv, Luke and Lee are in the changing rooms.
 * Viv: See that lee, that is greatness, someday you might be just like him
 * (Luke storms off)
 * Viv: oh pressley, your ugly mug scared him off

 Viv, has done a runner after learning his wife isnt at the game and hands marcel his gloves.
 * Stuart ok now's not the time to start panicking
 * Clyde Gaffer, we are playing Thierry Henry out there and we don't have a sub goalie... I'm panicking

Series 8

 * In Episode 32: Play-off... Jaws' half-time speech after hearing about Karl Fletcher's murder. However, the rest of the team do not know about Karl's death.:

 * Vivian "Jaws" Wright: This is only a game of football, we win it, we lose it. So what? People who think that are blaspheming. This game means so much to all of us. I know you lads would do and give anything to be out there on that pitch playing and we dread the day when that is taken away from us. So we stock up on our glories, keep them treasured – right here – in the hope that one day they’ll keep us going because they are out lives.

 * If we lose our football we are dead men, you’re going to look back on today – it’s going to be one of your treasures. ‘Cause we are going to hold on and withstand everything they throw at us and we’re gonna win.

 * We don’t die today gentlemen, we go out there and we live forever in the memories of those who took part and those who came to see – forever! Yeah? Yeah!

 * Don Barker: There's no I in Team
 * Karl "Fletch" Fletcher: true, but there's an I in Genius

 * Karl "Fletch" Fletcher: I'm a big game player, big game manager.
 * Vivian "Jaws" Wright: He's a big game idiot!

 * Vivian "Jaws" Wright: Yeah, he's gay. I'm gay. We're all gay on this team, gentlemen. We're all at it. Can'get enough. We're the only gays in The Championship.

 * Vivian "Jaws" Wright: I thought I'd done pretty well not shooting a single player this season...then I turn my back for 5 minutes and...
 * Vivian "Jaws" Wright: Look I need to start getting some work done for the playoff semis. I doubt the Preston manager is playing Cluedo with the local constabulary.

 * Vivian "Jaws" Wright (Holding a shotgun): I think I've found out who is responsible
 * Ryan Naysmith: JESUS CHRIST!
 * Vivian "Jaws" Wright: Nah, Ive ruled him out.

 * Karl "Fletch" Fletcher: 172 Premiership goals mate. BOSCH!!!! I've been Karl Fletcher, you've been a waste of time. Thank you and Goodnight.

 Viv walks in on the team brawl in portugual
 * Vivian "Jaws" Wright: Nutters
 * Holly James: i thought you liked this kinda thing
 * Vivian "Jaws" Wright: Not me, its kids stuff

Series 9
Casper is wearing nothing but boxer shorts, hitting golfballs at his brother's house.
 * Ashleigh King: This time you've gone too far.
 * Casper Rose: What, don't you like the outfit?

 Scarlett and her brother-in-law Casper are stuck in the club elevator.
 * Scarlett Rose: Damn it I've got no signal!! Does your phone have any signal??
 * Casper Rose: Oh yeah, mine will have signal
 * Scarlett Rose: Yeah?
 * Casper Rose: Yeah, but its in the changing room.

 The lads have found themselves on a beach after a drunken night out
 *  Danny Sullivan: Lads we have a game against Liverpool in 4 hours! How are we going to get back?
 *  Casper Rose: (looking at his phone) Woops!
 *  Liam Mackay: What do you mean 'woops?'
 *  Casper Rose: FRA Telecom...we appear to be in France.

 ''In order to get back to the club, the lads are on their way back to Harchester in a very old plane. The team are clearly nervous as they sit in the back''
 *  Casper Rose: Now, your exits are located here, here and here. We may experience turbulence, should the plane crash, we will hit the ground at 200mph, your exits will be scattered over a five mile radius, but don't worry. because So will you.

title: Dream Team


text:
Marge Piercy

Marge Piercy (born March 31, 1936) is a Jewish American poet, novelist, and social activist.

Quotes

 * All in all, the world of He, She and It is becoming reality much faster than I imagined.
 * Interview (2020)

 * I said, I like my life. If I have to give it back, if they take it from me, let me only not feel I wasted any, let me not feel I forgot to love anyone I meant to love, that I forgot to give what I held in my hands, that I forgot to do some little piece of the work that wanted to come through.
 * "If they come in the night", in The Twelve-Spoked Wheel Flashing (1978); reprinted in Sleeping with Cats: A Memoir (2002).

 * We are past the point where critics, whether reviewing a few poetry books in the London Times or New York Times, or for literary magazines, editors, teachers of literature and male poets themselves can pontificate about poetry and mean only the work of twenty or thirty white male writers.
 * Introduction to Early Ripening: American Women's Poetry Now (1987)

 * Good work in a field breeds interest and makes room for more good practitioners. We are not rivals but workers building something whose final shape we are not able even to fantasize.
 * Introduction to Early Ripening: American Women's Poetry Now (1987)

 * Drifting with things is a habit it takes almost dying to break.
 * Dance the Eagle to Sleep (1973)

Interview with Jewish Womens Archive (2017)

 * As for the political and corporate aspects, as one of the founders of the North American Congress on Latin America, I spent a couple of year doing power structure research. I was extrapolating from current trends – which have progressed today to the point where every cabinet post under Trump is run by an official from the corporations that the departments are supposed to regulate.

 * Reconstructionism, which is my branch of Judaism, is strongly concerned with the environment

 * (What advice would you give to young people who are currently concerned about the state of the world and who want to fight against environmental destruction and big business?) There are endless organizations that have sprung up since Trump entered office to fight many of his terrible decisions and appointments.There are also environmental organizations that have been around since the seventies. Join a group that appeals to you and work on the issue that most alarms or impinges on you. No one else can tell you what to join or what to work on. It has to be something that actually gets you excited, angry, and passionate, not something you think you should care about.

"Woman on the Edge of Time, 40 years on" Article (2016)

 * The point of creating futures is to get people to imagine what they want and don’t want to happen down the road – and maybe do something about it.

 * Feminist utopias were created out of a hunger for what we didn’t have, at a time when change felt not only possible but probable. Utopias came from the desire to imagine a better society when we dared to do so.

 * When I was a child, I first noticed that neither history as I was taught it, nor the stories I was told, seemed to lead to me. I began to fix them. I have been at it ever since. We need a past that leads to us. Similarly, what we imagine we are working toward does a lot to define what we will consider doable action aimed at producing the future we want and preventing the future we fear.

 * Utopia is born of the hunger for something better, but it relies on hope as the engine for imagining such a future. I wanted to take what I considered the most fruitful ideas of the various movements for social change and make them vivid and concrete – that was the real genesis of Woman on the Edge of Time.

My Life, My Body (2015)

 * It may be that television and the ever more aggressive investigative efforts of the news media have addled our ability to choose a leader wisely. Between sound bites and the seduction of images, we run a popularity contest every four years instead of an election. ("THE MORE WE SEE, THE LESS WE KNOW", article originally from 2004)

 * The worst thing that a politician can be called is elitist-and what do we mean by that? In Iowa, Howard Dean was labeled that-a sushi eating, PBS watching, Volvo driving man-not macho enough, clearly, to win the vote of working men. But who determines the massive layoffs and the movement of corporations abroad that gut the economies of so many cities and drive families from comfort into chaos? Those are the members of the real elite ("THE MORE WE SEE, THE LESS WE KNOW")

 * Poetry was a way of keeping myself relatively sane and trying to make sense of the world I inhabited, which did not correspond to the world shown on the television we acquired the year we moved or the world that textbooks and school commended to us. The place I had grown up in was far more violent. Radical politics made sense to me. ("TOUCHED BY GINSBERG AT A (RELATIVELY) TENDER AGE")

Interview

 * Science fiction, speculative fiction, whatever you want to call it, is one of the ways to explore social issues in fiction. You can explore what it's going to be like if current trends continue. You can change a variable and see what that does.

 * The idea that poetry should be devoid of politics is a modern heresy designed to diminish any slight power we might have, to render us irrelevant. It is a notion that poets before about 1940 would have found really weird. Shakespeare's plays are rife with politics; same with Milton, Dryden, Pope, Wordsworth, Shelley, [[Byron, and that's only a few British poets. All the Irish poets had political ideas. Go back to the Romans. Find one without politics! Poets and novelists and memoirists and essayists are all citizens like your plumber or neighborhood cop or clergy. If you don't take an interest, politics may come down on your head, may take away your livelihood, pollute your air, give you cancer from the food you eat, teach your children garbage and false history, make you pay for wars you don't believe in and actually hate.

 * What interests me in history is how those periods influenced the present. In Sex Wars, one of the alarming aspects is that in the period after the Civil War they were dealing with the same problems and issues we are dealing with today: the rights of women and minorities, immigration, abortion, contraception, income inequality, prison reform, election manipulation.

 * The best way, we always say, to learn to write memoirs is to read memoirs and learn from those that don't work for you as well as from those who do. Look at how they did things. Separate out the craft elements. If you want to write detective stories, read them. If you want to write historical novels, read them.

"WHY SPECULATE ON THE FUTURE?"

 * Poetry changes with every generation, but it does not improve or progress. It just changes its styles, trappings and some of its obsessions, but we can still enjoy Sappho and Homer; they are today's news as much as when they were written or recited.

 * the most fruitful ways to approach the future for me are speculative fiction or utopian fiction. Isaac Asimov once said that all science fiction falls into three categories: What if, If only, and If this continues. I have written in all three categories.

 * Who wants equality? Those who do not have it.

 * (about putting time into trying to look young) It is certainly a replacement for educating your mind, developing your interests, becoming closer to other people. If you spent the amount of time a week you might spend on the pursuit of a prepubescent body on learning a foreign language, on writing something meaningful to yourself and to others, on practicing piano, on changing the society-this country would be a far different place.

 * Utopia is work that issues from pain: it is what we do not have that we crave.

 * It is by imagining what we truly desire that we begin to go there. That is the kind of thinking about the future that seems to me most fruitful, most rewarding. I want a future in which women are not punished for having women's bodies, are not punished for desire or the lack of it, are viewed as independent protagonists in their own adventures-spiritual, intellectual, romantic, sexual, and creative adventures. That's one reason I read and write speculative fiction.

The Cost of Lunch, Etc.: Short Stories (2014)

 * When the knocking came, Maud was taking a sponge bath. (first line of "The Cost of Lunch, Etc.")

 * In my life, there have been a great many Mr. Wrongs. I married one of them and spent time and energy and emotion on dozens more. My feeling is that in love you are entitled to a great many mistakes so long as you aren't making the same one over and over. (beginning of "The Easy Arrangement")

 * As if a wind that had been blowing hard against her had suddenly fallen silent, her ears roared with silence. ("What the Arbor Said")

Sleeping with Cats (2001)

 * I love silence but I fear emptiness. (p11)

 * From the time I arrived on the Cape, one of the things I chose explicitly was to put my writing first. Everything else in my life waxed and waned, but writing, I discovered during my restructuring, was my real core. (p218)

 * At that time, a pregnant woman could not get an abortion in Massachusetts -- but a cat could. (p221)

Interview

 * I’ve always felt that in order to change things, you have to understand the forces and choices that created the PRESENT, therefore I write about times in the past that I find very relevant.

 * My political ideas changed when feminism of the second wave developed. I had read Simone de Beauvoir’s The Second Sex partly in French, then far more easily in English as soon as it came out. But there was almost no context then for my feminist leanings until in 1967, we began to organize in women’s liberation. I learned a lot from Marxism but probably lean more toward syndicalist anarchism

 * When you remove religion from the golem, you get Superman.

 * Religions have done far more damage over the centuries than good. Religion may help individuals to bear hard times and trouble and loss, but institutionalized religion of all stripes quickly becomes dangerous. Established religion always seems to breed a them vs us mentality that has lead to crusades, pogroms, ethnic cleansing, the Inquisition, genocide, civil war, and legal discrimination.

"Life of Prose and Poetry — An Inspiring Combination" (December 20, 1999)

 * Poems start from a phrase, an image, an idea, a rhythm insistent in the back of the brain...Some poems are a journey of discovery and exploration for the writer as well as the reader. I find out where I am going when I finally arrive, which may take years.

 * The mind wraps itself around a poem.

 * Each good novel has a vision of its world that informs what is put in and what is left out.

 * For me the gifts of the novelist are empathy and imagination.

 * I think poetry ultimately is a more communal activity than fiction, but I love both equally.

Interview in Fooling with Words: A Celebration of Poets and Their Craft by Bill Moyers (1999)

 * Everything to me is connected-religion, the body, politics, our relation to each other and all other living beings, the environment. Life is of a piece. To me it's all one vision, and poetry is at the center.

 * I've been amazed at the number of unions that tell me how helpful "To be of use" is to them in their organizing work.

 * I am an intensely curious person, nosy, insatiable. As a poet, everything you experience, whether personally or vicariously or virtuously or virtually, for that matter, is your stuff. Imagery can't really be taught. You can lecture about the different kinds of imagery in different sorts of poems, but the truth is, imagery is the most personal core of a poet. What you know and what you feel becomes your imagery.

 * You have to stay open and curious and keep learning as you go. Poems come from a whole variety of sources. When you're younger, you believe in inspiration. As you get older, you believe most in receptivity and work.

 * We have been living in times in which human cruelty is all around us. Yet the world is very beautiful.

 * To be a poet is to open your eyes to everything around you. I love the beauty of the world, but I get angry at the cruelty in the world. How can we not get angry at the tremendous cruelty that is built into our system?

 * From the third grade on, women are trained to mistrust their natural bodies and to try to make them conform with body types belonging to two percent of the population.

 * Lots of people are angry and just can't figure out where to aim their anger. We forget how to do anything political. Every generation has to start all over again-people have to figure out what's happened, but you have to start with two, three at a time, and organize. In the meantime, we need the poems-if not for the politicians then for the people the politicians ignore.

 * I want my poems to give voice to something in the experience of a life. To find ourselves spoken for in art gives dignity to our pain, our anger, our losses.

 * The farther you are from the centers of power in this society, the less likely you are to find validation of your experiences, your insights and ideas, your life. It is more important to you to find in art that validation, that respect for your experiences that no minority except the thin, white, and wealthy can count on.

 * Poems told me there were other people who felt the way I felt. That was validation for the person I was. Poems can mean survival.

 * If you're female in this society, culture tells you that you've had it if you're not twenty-two, blond, and weigh about ninety-two pounds. Then, even if you are twenty-two, blond, and weigh ninety-two pounds, you're still going to fail because you're going to get old. Women are destined to age into failure even if when they're young they are what society defines as perfect. Poems about women who are not twenty-two, blond, and ninety-two pounds can remind us of reality.

 * We have to know how connected we are. It's quite remarkable, the very strange notion of the self today. We think the self stops right here. But my self doesn't stop here. It flows out into the people I love, into the people I have loved, the people I come from, the people I speak to. Sometimes, in dream or in vision, we encounter each other without boundaries. Being strong means being strong together.

He, She and It (1991)

 * Every artist creates with open eyes what she sees in her dream.

 * He fought her with full energy and intelligence, as she had wanted to be loved. (one: IN THE CORPORATE FORTRESS)

 * He's in Veecee Beecee, making those elaborate worlds people play at living in instead of worrying about the one we're all stuck with." (one: IN THE CORPORATE FORTRESS)

 * No one before the twenty-first century had ever loved flowers and fruiting trees and little birds and the simple beauty of green leaves as did those who lived after the Famine, for whom they were precious and rare and always endangered. (four: THROUGH THE BURNING LABYRINTH)

 * This was the home she had fled, not from an unhappy childhood but from too early and too intense love, paradise torn. (four: THROUGH THE BURNING LABYRINTH)

 * For years she had had this magic circle they could weave about themselves, luminous with Gadi's imagination, the place where she could never be lonely or bored. In that private world of play more intense, far more real than reality, she was whatever she longed for. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)

 * Malkah's love was strong but abrasive, scrubbing her clean. Gadi's love bore both roses and thorns... (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)

 * His body was a city, vast, filling her head. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)

 * "You love too hard. It occupies the center and squeezes out your strength. If you work in the center and love to the side, you will love better in the long run, Shira. You will give more gracefully, without counting, and what you get, you will enjoy." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)

 * "...No one can stop children in love unless by exile. But you'll never grow up if you don't let go of each other." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)

 * She felt as if she were seventeen again, ignorant, fearful, a creature all gusty emotions and pain. (eight: HOW SHALL I ADDRESS YOU?)

 * "I never wanted to belong to anybody. I only wanted to borrow them for a while, for the fun of it, the tenderness, some laughs." (Malkah, nine: REVISING THE FAMILY ALBUM)

 * "Some people go on wanting [sex] as long as they live, but other people, they let it go as if it were a garment that had worn out." (Malkah, nine: REVISING THE FAMILY ALBUM)

 * "I still have insomnia, but now I tell myself stories instead of counting men." (Malkah nine: REVISING THE FAMILY ALBUM)

 * People had gone too far in destroying the earth, and now the earth was diminishing the number of people. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)

 * They ambled around the world through the Glops, into multi enclaves, onto the tubes and the zips, far more freely and safely than people or animals could. Shira watched it wistfully. That was true freedom, she thought, something now available only to special machines. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)

 * "One aspect of working with you, even of being with you, that I really appreciate is how hard you try to communicate. Human males don't often have that habit." (Shira to Yod, fourteen: BY THE LIGHT OF THE UNYELLOW MOON)

 * "Nobody at twenty-eight is a success or a failure. It's too early to figure out which way the tide's moving (Malkah, fifteen: THE SAME AS ME)

 * "Before you, the strongest feeling I knew was fear." (Yod, twenty-two: THE PRESENT)

 * We all of us go about, she meant to tell him but was too occupied, wanting to be wanted but unsure why anybody should bother. (twenty-two: THE PRESENT)

 * Riva said, "Most folks press the diodes of stimmies against their temples and experience some twit's tears and orgasms, while the few plug in and access information on a scale never before available. The many know less and less and the few more and more." (twenty-three: WINE IN THE MIDDLE OF THE NIGHT)

 * "They perceive whatever they don't control as hostile." (Avram, twenty-five: WHERE THE ELITE MEET)

 * "I used to wonder what I did wrong. But now I think that unless you grossly mistreat a child or spoil her or let her be injured, basically there's a given element in all of us, something from genes or the moment. From birth on, a child follows her own path. She learns, but she also unfolds from within." (Malkah, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)

 * Most of life was bizarre when she stopped to examine it. (twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)

 * "There's too little pleasant in this nasty dying world. We all need to remember how to play, how to be children together for a little while." (Gadi, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)

 * "He said to me once he had given up a normal life for the cyborgs. As if he could only create life if he gave up loving and living." (Yod about Avram, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)

Gone to Soldiers (1987)

 * [He] felt a controlled importance, a fine passionate honing of his attention and intellect that made him impatient with his whole previous life. (p208)

 * If only I could tell each of them how much more fully I could love them now. I could give them, not the dutiful, selfish and perfunctory love of an adolescent, but an understanding love that would lighten their terrible burdens. (p253)

 * In their minds we're not human...They don't hate us because we did something or said something. They make us stand for an evil they invent and then they want to kill it in us. (p255)

 * "...you have a reciprocal nature. You understand if you want to be listened to, you should put in time listening." (p343)

 * It is not sex that gives the pleasure, but the lover. (p402)

 * Life is the first gift, love is the second, and understanding the third. (p666)

Parti-Colored Blocks for a Quilt (1983)

 * There is an attitude that has developed since about the 1890s that attempts to cast all politics and sociology out of poetry. I don't understand how anyone can seriously maintain this attitude. Actually, the attitude itself is political. Art which embodies the ideals of the ruling class in society isn't conceived as being political, and is simply judged by how well it is done. Art which contains ideas which threaten the position of that ruling class is silenced by critics: it is political, they say, and not art.

Conversation with Ira Wood

 * I like sex because it's one of the ways that people leave off operating so much with forebrain. If I like poetry because it ties all the different ways of knowing and being together, sex does the same thing.

 * The reason I am political is because I want there to be a juster apportionment of the world's pleasure and less unjust apportionment of the world's pain. Power per se is fairly uninteresting to me, except as I observe it distorting peoples' characters.

 * I think that there is in any of us numerous other people that we never live out, and our opposites are as fascinating as what we are. In fiction you get to live out all those little pieces of you, that never really come into your life at all.

 * I don't tend to smile a lot in situations where I feel on display - public situations. I speak directly and straightforwardly and bluntly, and that lack of subterfuge and lack of middle-class women's mannerisms is perceived by some men as hostile, just as Black behavior which is simply straightforward is perceived by some whites as hostile.

 * Unlike some separatists I don't view men as biologically impaired. I believe sexism is culturally conditioned and that if you change the culture, you will change the kind of behavior which people with the various sorts of genitalia will consider appropriate. What I hate in men is what I consider ugly, brutal, violent, mean behavior - behavior damaging to women, to men they consider inferior, to children, to other living creatures with whom we share our biosphere.

 * I'm a pluralist in sexuality as in most things. I want people to make many different choices and flourish in them, and to respect the choices they don't make in their own lives as well as those they do.

 * I am very interested in the voluntary families that people create; not just the communes but the informal social webs by which a great many people survive and flourish. A lot of my adult life I have been trying in one form or another to create alternatives to the nuclear family.

 * Friendship is my paradigm for the good relationship. If you like someone, you will also love them better. If you love without liking, there's a chill at the core of it that easily turns into possessiveness, jealousy, competition.

 * What is honor from a woman's point of view? Honor has been defined from a male point of view. What does it mean to choose not to endure having been raped?

 * just as politically when there is no vocabulary for discussing your situation, when you're a woman before there is language of feminism, trying to understand what it's like to be a woman, you have no concepts, no vocabulary for even understanding your own situation.

 * Often I imagine in different and better times not have to be political. I can even imagine, when I am at the bottom of a long uphill grade, doing something besides writing novels, although I doubt it. But I never imagine living without poetry.

Woman on the Edge of Time (1976)

 * Connie got up from her kitchen table and walked slowly to the door. Either I saw him or I didn't and I'm crazy for real this time, she thought. (first lines)

 * Over the old buildings the rain blew in long gray ropy strands cascading down the brick walls. As she was beckoned out with rough speed, she was surprised to see gulls wheeling above, far inland, as over other refuse grounds. Little was recycled here. She was human garbage carried to the dump. (Chapter One, p26)

 * She will walk in strength like a man and never sell her body and she will nurse her babies like a woman and live in love like a garden... (Chapter Seven, p133)

 * "Those of your time who fought hard for change, often they had myths that a revolution was inevitable. But nothing is! All things interlock. We are only one possible future..." (p177)

 * "How come you took so long to get together and start fighting for what was yours? It's running easy to know smart looking backward, but it seems as if people fought hardest against those who had a little more than themselves or often a little less, instead of the lugs who got richer and richer." (p177)

 * Suddenly she thought that these men believed feeling itself a disease, something to be cut out like a rotten appendix. Cold, calculating, ambitious, believing themselves rational and superior, they chased the crouching female animal through the brain with a scalpel. From an early age she had been told that what she felt was unreal and didn’t matter. Now they were about to place in her something that would rule her feelings like a thermostat. (p282)

 * "Only in us do the dead live. Water flows downhill through us. The sun cools in our bones. We are joined with all living in one singing web of energy. In us live the dead who made us. In us live the children unborn. Breathing each other’s air, drinking each other’s water, eating each other’s flesh, we grow like a tree from the earth." (p322)

"The Grand Coolie Damn" (1969)
Anthologized in Sisterhood Is Powerful edited by Robin Morgan

 * The Movement is supposed to be for human liberation: how come the condition of women inside it is no better than outside?

 * Repression brings hardening.

 * If the rewards are concentrated at the top, the shitwork is concentrated at the bottom.

 * If you have contempt for people and think they cannot know what they want and need, who the hell is the revolution for?

 * We are oppressed, and we will achieve our liberation by fighting for it the same as any other oppressed group. Nobody is going to give it to us because we ask, however eloquently.

 * A tendency to believe quite literally in the rhetoric of Movement males is a form of naiveté that no woman can afford.

 * There are a lot of lonely and a lot of horny women.

 * The use of women as props for a sagging ego is accepted socially. Everybody sees it and everybody agrees that they don't.

 * The importance of male solidarity to enforce discrimination and contempt for women cannot be overemphasized.

 * Certain of any oppressed group can always rise from that group by incorporating the manners and value system of the oppressed, and outwitting them at their own rigged game. We want Something Else. We are told that our sense of oppression is not legitimate. We are told women's liberation is a secondary issue, to be dealt with after the war is won. But the basis of women's oppression is economic in a sense that far predates capitalism and the market economy and that is woven through the whole fabric of socialization. Our claims are the most radical, for they entail restructuring even the nuclear family. Nowhere on earth are women free now, although in some places things are marginally better. What we want we will have to invent ourselves.

 * There is much anger here at Movement Men, but I know they have been warped and programmed by the same society that has damn near crippled us. My anger is because they have created in the Movement a microcosm of that oppression and are proud of it. Manipulation and careerism and competition will not evaporate of themselves. Sisters, what we do, we have to do together, and we will see about them.

Quotes about Marge Piercy

 * Jewish women in second-wave feminism helped to provide the theoretical underpinnings and models for radical action that were seized on and imitated throughout the United States and abroad. Their articles and books became classics of the movement and led the way into new arenas of cultural and political understanding in academe, politics, and grassroots organizing. Even a partial honor roll of Jewish women's liberation pioneers must include such figures as Shulamith Firestone, Ellen Willis, Robin Morgan, Alix Kates Shulman, Naomi Weisstein, Heather Booth, Susan Brownmiller, Marilyn Webb, Meredith Tax, Andrea Dworkin, Linda Gordon, Ellen DuBois, Ann Snitow, Marge Piercy, Letty Cottin Pogrebin, and Vivian Gornick. Despite historians' acknowledgment of the salience of Jewish women in earlier social movements, their prominence within radical feminism failed to attract much attention.
 * Joyce Antler Jewish Radical Feminism: Voices from the Women’s Liberation Movement (2020)

 * Remember to weave real connections, wrote Marge Piercy: “create real nodes, build real houses/Live a life you can endure; make love that is loving/Connections are made slowly, sometimes they grow underground/You cannot tell always by looking what is happening/More than half a tree is spread out in the soil under your feet.”
 * Bettina Aptheker Tapestries of Life: Women's Work, Women's Consciousness, and the Meaning of Daily Experience (1989)

 * Marge Piercy is shameless; that is, she is that rarity, a free person. Her freedom enables her to write about her brilliant, fascinating life with honesty and gusto. She is magnificent on the subject of cats.
 * Marilyn French blurb for Sleeping with Cats (1986)

 * Marge Piercy is a literary icon-novelist, poet, social activist.
 * Alice Hoffman blurb for Sleeping with Cats (1986)

 * (her poems) are Marge Piercy at her most telling. The author is a fearless and exciting woman
 * Elizabeth Marshall Thomas blurb for Sleeping with Cats (1986)

 * In the women's consciousness-raising groups I belonged to in the early 1970s, we shared personal and very emotional stories of what it had really been like for us to live as women, examining our experiences with men and with other women in our families, sexual relationships, workplaces and schools, in the health care system and in surviving the general societal contempt and violence toward women. As we told our stories we found validation that our experiences and our reactions to them were common to many women, that our perceptions, thoughts, and feelings made sense to other women. We then used that shared experience as a source of authority. Where our lives did not match official knowledge, we trusted our lives and used the collective and mutually validated body of stories to critique those official versions of reality. This was theory born of an activist need, and the feminist literature we read, from articles like "The Politics of Housework" and "The Myth of the Vaginal Orgasm" to the poetry of Susan Griffin, Marge Piercy, Alta, Judy Grahn, and others, rose out of the same mass phenomenon of truth-telling from personal knowledge.
 * Aurora Levins Morales Medicine Stories: Essays for Radicals (2019 edition)

 * Some critics may wince at her politics, but no one can doubt whose voice is speaking, or that the language comes from a fully engaged life. Not that politics is her only subject. She writes about planting tomatoes, making love, remodeling the kitchen, and dying. Her avid followers know that she can be just as tough about herself and as humorous-as about the world's absurdities. At heart, Marge Piercy is a utopian, possessing what Margaret Atwood describes as "a view of human possibility-harmony between the sexes, among races, and between humankind and nature-that makes the present state of affairs clearly unacceptable by comparison."
 * Bill Moyers Fooling with Words: A Celebration of Poets and Their Craft (1999)

 * one of our finest novelists and poets
 * Robert Olen Butler blurb for Sleeping with Cats (1986)

 * Marge Piercy is very dear to me-a person who puts her life where her mouth is...I'm always interested in what Marge [Piercy] does. I mean we have our differences about several things, and approaches to writing-what and who and how-but she's an amazing woman and a true writer, and she does a tremendous amount of work and is very particular about what she's doing. She's doing a certain kind of chronicling of our time. She has a book called The High Cost of Living. I think it's really a wonderful book. It's not well-known. And it's one of her shortest things. I think she thinks she just tossed it off.
 * 1981 interview in Conversations with Grace Paley edited by Gerhard Bach and Blaine Hall (1997)

 * I remember Marge Piercy saying at the Aspen Conference that she had "an aesthetics of clarity." And I thought, hmm, that's not bad.
 * 1993 interview in Conversations with Grace Paley edited by Gerhard Bach and Blaine Hall (1997)

 * A lot of the young women in the peace movement were really just pushed around by SDS (the student organization). That is, Meredith Tax or Marge Piercy were pushed around by these guys, these young fellows in these student movements, who were really not shallow because they were very smart, but callow and full of male beans and ambition and so forth. And accustomed to or forced to play a certain role. I think the women's movement has done a lot for men, a tremendous lot for them. For men who paid attention it has taken some of the burden of machoism off their backs, which is a terrible burden to bear. If you think about it, it's horrible. It's horrible to have to be that kind of person in order to be a person.
 * 1995 interview in Conversations with Grace Paley edited by Gerhard Bach and Blaine Hall (1997)

title: Marge Piercy


text:
User talk:217.229.251.106

~ Kalki 23:03, 5 December 2006 (UTC)

title: User talk:217.229.251.106


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User talk:Colombiaaka daddyyankee

 * well dis isnt a quote but is a poem i made*

HOW COME: How come we never talk about us How come we never speak to each other How come we never touch each other How come we never kiss How come you are with another girl and How come you never told me about it you know what forget about it because this relationship is OVER So dont ask me why we never talk, why we never speak to each other, why we never touch and why we never kiss!

i hope ladies think before u act with ur guy!

By Leila Velasco, NY

Welcome
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By the way, if you want to quote yourself or your friends, you should do this on your user page, User:Colombiaaka daddyyankee, not on your user talk page. The latter is for discussing issues with other Wikiquotians. ~ Jeff Q (talk) 07:10, 6 December 2006 (UTC)

title: User talk:Colombiaaka daddyyankee


text:
User talk:24.15.2.90

Please stop making unconstructive changes to Wikiquote. It is considered vandalism. If you want to experiment, please use the sandbox. Wikiquote exists for the collecting of notable quotations from people and works. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in their usernames or IP addresses being blocked from editing. Thank you.

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 02:29, 6 December 2006 (UTC)

title: User talk:24.15.2.90


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User talk:66.24.236.62

Please stop adding nonsense to Wikiquote, as you did to The Bible. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 03:10, 6 December 2006 (UTC)

title: User talk:66.24.236.62


text:
User talk:71.115.155.127

Please stop adding nonsense to Wikiquote, as you did to Star Wars Episode I: The Phantom Menace. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 03:11, 6 December 2006 (UTC)

title: User talk:71.115.155.127


text:
User talk:196.220.0.162

- InvisibleSun 03:33, 6 December 2006 (UTC)

title: User talk:196.220.0.162


text:
User talk:66.43.242.73

- InvisibleSun 03:43, 6 December 2006 (UTC)

title: User talk:66.43.242.73


text:
User talk:24.3.177.60

- InvisibleSun 03:44, 6 December 2006 (UTC)

title: User talk:24.3.177.60


text:
User talk:71.53.218.64

- InvisibleSun 03:53, 6 December 2006 (UTC)

title: User talk:71.53.218.64


text:
All Quiet on the Western Front

All Quiet on the Western Front is a novel by Erich Maria Remarque.

All Quiet on the Western Front may also refer to:
 * All Quiet on the Western Front (Film), an adaptation of Remarque's novel, directed by Lewis Milestone

title: All Quiet on the Western Front