A Quote by Madeline Hunter

I did indeed say you could have lovers. But I never promised that I would not kill them. — © Madeline Hunter
I did indeed say you could have lovers. But I never promised that I would not kill them.
I started composing when I was around 13, and back then, people used to say that I needed to be a composer or a performer, but I can't be good at both of them. I could never understand why anyone would say that. Jellyroll did both, Bessie Smith did both, and so did I.
There are people that I didn't like, but I saw them suffer and it changed me. I promised myself that I would never tell a lie, never hurt another human being, and I would try to make the world as positive as I could.
In short, I didn't become a Christian because God promised I would have an even happier life than I had as an atheist. He never promised any such thing. Indeed, following him would inevitably bring divine demotions in the eyes of the world. Rather, I became a Christian because the evidence was so compelling that Jesus really is the one-and-only Son of God who proved his divinity by rising from the dead. That meant following him was the most rational and logical step I could possibly take.
The Art of Conversation could not die in Australia; it never lived. Television did not kill it; there was nothing there to kill.
If they had only themselves to consider, lovers would not need to marry, but they must think of others and of other things. They say their vows to the community as much as to one another, and the community gathers around them to hear and to wish them well, on their behalf and its own. It gathers around them because it understands how necessary, how joyful, and how fearful this joining is. These lovers, pledging themselves to one another "until death," are giving themselves away, and they are joined by this as no law or contract could join them.
There are certain scenes, certain hills and valleys and groves of pines which demand that a story shall be written about them. I would refine; I would say that the emotions aroused by these external things reverberating in the heart are indeed the story; or all that signifies the story....We translate a hill into a tale, conceive lovers to explain a brook, turn the perfect into the imperfect.
I would like to see us find Osama Bin Laden, but let's say we did capture him. Let's say we did kill him. How much good would that do? There's still thousands of people behind him. It's this huge thing.
No one shrieked, 'We want Bung Hatta.' I did not need him. Just as also I did not need Sjahrir, who refused to show himself at the time of the reading of the Proclamation. Indeed, I could do it myself, and indeed, I did it alone.
I know I promised. I said, 'Ask, seek, knock and you will find.' You say, 'But I have found loss. I have found dispossession. I have found letting go.' And I would say to you that until you dispossess what you have you can never possess what I want to give to you. Until you surrender your understanding, you will never get My wisdom. You would say, 'Lord, what is at the end of this process?'
Now Catherine would die. That was what you did. You died. You did not know what it was about. You never had time to learn. They threw you in and told you the rules and the first time they caught you off base they killed you. Or they killed you gratuitously like Aymo. Or gave you the syphilis like Rinaldi. But they killed you in the end. You could count on that. Stay around and they would kill you.
We kill the women. We kill the babies. We kill the blind. We kill the cripples. We kill them all.... When you get through killing them all, go to the goddamn graveyard and kill them a-goddamn-gain because they didn't die hard enough.
I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.
Did you say something Macey?' I asked, but she cut me a look that could kill. She reached into her bag, ripped off a sliver of Evapopaper, and scribbled: 'Can we study tonight? (Tell anyone, and I'll kill you in you sleep!)
How could it be that I had a legal obligation to kill people I did not know, and who did certainly not consent to it, while my father's doctor could not help my father to die when my farther asked for it? My consternation brought me to moral philosophy and a life-long search for an answer to the question when and why we should, and when we shouldn't, kill.
Without the rich - without those who accumulated capital - those poor who could exist at all would be very much poorer indeed, scratching a livelihood from marginal lands on which every drought would kill most of the children they would be trying to raise.
I can't tell you. I would say that if I did, I would have to kill you, but that wouldn't be polite.
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