A Quote by Hannah Brown

You know what southern women are? Whiskey in a teacup. We're strong in the inside, but ornate on the outside. — © Hannah Brown
You know what southern women are? Whiskey in a teacup. We're strong in the inside, but ornate on the outside.
There's something about Southern women that is so unique yet so universal. Strong southern women are allowed to be soft and feminine and have a sense of humor. But what I love about Southern women in particular is their universality.
You know your inside, and you know the others' outside: that creates jealousy. They know your outside, and they know their inside: that creates jealousy. Nobody else knows your inside. There you know you are nothing, worthless. And the others on the outside look so smiling. Their smiles may be phony, but how can you know that they are phony? Maybe their hearts are also smiling. You know your smile is phony, because your heart is not smiling at all, it may be crying and weeping.
Most men act so tough and strong on the outside because on the inside, we are scared, weak, and fragile. Men, not women, are the weaker sex.
The French are a smallish, monkey-looking bunch and not dressed any better, on average, than the citizens of Baltimore. True, you can sit outside in Paris and drink little cups of coffee, but why this is more stylish than sitting inside and drinking large glasses of whiskey I don't know.
The Southern Baptist Convention, as you know, decided in the year 2000 that women should not be permitted to be pastors or deacons or chaplains in the military service. Some Southern Baptist seminaries don't even permit women to teach male students. I don't agree with that. But they can go in and quote a few passages of Paul that women should be restricted in their services.
I know that I want to concentrate more on my inside-pretty than my outside-pretty, because thats gonna go away. But if your inside is beautiful, it never wears away. The light always shows on the outside if you are striving to be good inside.
You know, there's nothing damnable about being a strong woman. The world needs strong women. There are a lot of strong women you do not see who are guiding, helping, mothering strong men. They want to remain unseen. It's kind of nice to be able to play a strong woman who is seen.
Love is like a teacup that every day falls to the ground and breaks to pieces. In the morning the pieces are gathered and with a little moisture and a little warmth, the pieces are glued together, and again there is a little teacup. He who is in love spends life fearing that the terrible day will come when the teacup is so broken that it can no longer mended.
We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of materials and method and purpose are all in unison.
Things outside you are projections of what's inside you, and what's inside you is a projection of what's outside. So when you step into the labyrinth outside you, at the same time you're stepping into the labyrinth inside.
People ask why do I write strong women characters, and basically, all the girls I know are strong; the girls I've had are strong. The women in my life are strong.
Really, the fundamental, ultimate mystery -- the only thing you need to know to understand the deepest metaphysical secrets -- is this: that for every outside there is an inside and for every inside there is an outside, and although they are different, they go together.
So many women just don't know how great they really are. They come to us all vogue outside and vague on the inside.
The southern Chinese are a mixture of the Han, or northern Chinese, and the local tribes, some of which allowed women a great deal of freedom - much to the horror of the Chinese who were good Confucians. As a result, the folklore from southern China has strong females; and I found that the folktales mirrored my own experience.
I think of being ornate as a Victorian quality, little to do with Shakespeare. But even Dickens wasn't ornate; he wrote with flow and naturalism.
The natural response of the old-timers is to build a strong moral wall against the outside. This is where the world starts to be painted in black and white, saints inside, and sinners outside the wall.
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