A Quote by Jamie Wyeth
My aunt Caroline was really a character. She lived and worked in my grandfather's old house and even wore some of his clothes.
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Me and my brother lived in kind of a shed behind our house, and it was cold. We really lived kind of a dirty existence. It was tough to move away from my father and grandfather in California. I wore socks that were so dirty they were hard and black, and I would go into the lost and found box at school and look for clothes.
I think my mum was really very ahead of her time. She wore very little makeup. She really explored the way that she wore clothes in a very honest way. She wore a lot of vintage stuff and mixed it with bespoke men's tailoring and things like that. That was a huge influence on me, seeing a woman in the spotlight carry herself in that kind of way. But mostly, for me, it was just that she was an incredibly honest and sort of natural person.
When my wife's Aunt Caroline was in her nineties, she lived with us, and she once remarked: 'Remembrance is sufficient of the beauty we have seen.' I cherish the remembrance of the beauty I have seen. I cherish the grave, compulsive word.
I had an emerald ring that my mother gave me four or five years before she died. She wore it always, I wore it always, and I have given it to my daughter, and she wears it always. This ring belonged originally to my great, great grandfather. It's well over 150 years old.
She was very near hating him now; yet the sound of his voice, the way the light fell on his thin, dark hair, the way he sat and moved and wore his clothes—she was conscious that even these trivial things were inwoven with her deepest life.
My mom was there, in some form, in some sense, in some universe. My mom was still my mom, even if she only lived in books and door locks and the smell of fried tomatoes and old paper. She lived.
My first banjo? My mother's sister, my aunt, lived about a mile from where we did, and she raised some hogs. And she had - her - the hog - the mother - they called the mother a sow - of a hog. And she had some pigs. Well, the pigs were real pretty, and I was going to high school and I was taking agriculture in school. And I sort of got a notion that I'd like to do that, raise some hogs. And so my aunt had this old banjo, and my mother told me, said, which do you want, the pig or a banjo? And each one of them's $5 each. I said, I'll just take the banjo.
My mom, she got taken away from me when I was 14 years old. She is incarcerated. My sister was incarcerated. I was homeless. When my mom went away when I was 14... I was forced to live with my aunt. My aunt, she doesn't like rap music. She thinks rap music is the devil's music. Basically she said, "Yo, if you are going to do music you can't do it in my house."
You'd think that would have been forgotten long ago. But no, no sooner has a little grass grown over it than some clumsy camel comes along and rakes it all up again." Caroline giggled. She was probably imagining Aunt Glenda as a camel. "This is not a TV series, Maddy," said Lady Arista sharply. "Thank goodness, no, it isn't," said Great-aunt Maddy. "If it were, I'd have lost track of the plot ages ago.
Who ever saw his old clothes, - his old coat, actually worn out, resolved into its primitive elements, so that it was not a deed of charity to bestow it on some poor boy, by him perchance to be bestowed on some poorer still, or shall we say richer, who could do with less? I say, beware of all enterprises that require new clothes, and not rather a new wearer of clothes.
Even some rock star girls, which I didn't really know her name. I will probably find out and probably get slaughtered for not knowing her name, but she brought some of her clothes that she used to wear on stage. I wore one of the corsets and stuff. I don't know why I'm blanking. It was not Pat Benatar. It's like Debbie Gibson, Pat Benatar, Joan Jett, I know those girls.
I used to be good at clothes shopping and whatnot - at least ,I think I was! - but at some point after two kids and a career that worked out better than I ever could have imagined, I looked up from my desk and realized that I wore the same three t-shirts and 15-year-old jeans every day.
If you look at Caterpillar now [in Japan] with what's going on. [Shinz?] Abe is a great leader. Who is our chief negotiator? Essentially it is Caroline Kennedy. I mean give me a break. She doesn't even know she's alive. It's Caroline Kennedy. So Caterpillar is having a hard time selling because Komatsu is under-cutting them.
Until I was four years old I lived in the house of my paternal grandfather, about two miles from the pretty little village of Wallace, at the mouth of the river of that name.
The past--the wild charge at the head of his men up San Juan Hill; the first years of his marriage when he worked late into the summer dusk down in the busy city for young Hildegarde whom he loved; the days before that when he sat smoking far into the night in the gloomy old Button house on Monroe Street with his grandfather-all these had faded like unsubstantial dreams from his mind as though they had never been. He did not remember.
The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.
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