Quote
"I see the dark face that is going to smile at me it is my dark face that is going to smile at me the iron circle is around our neck she does not have sharp earrings in her ears or a round basket she goes in the water with my face."
"When he stood up from the supper table at 124 and turned toward the stairs, nausea was first, then repulsion. He, he. He who had eaten raw meat barely dead, who under plum trees bursting with blossoms had crunched through a doves breast before its heart stopped beating. Because he was a man and a man could do what he would: be still of six hours in a dry well while night dropped; fight raccoon with his hands and win; watch another man, just so the roasters would know what a man was like. And it was he, that man, who had walked from Georgia to Delaware, who could not go or stay put where he wanted to in 124 — shame."

Chloe Anthony Wofford "Toni" Morrison was an American novelist and editor. She was awarded the Nobel Prize in Literature in 1993. Her first novel, The Bluest Eye, was published in 1970. The critically acclaimed Song of Solomon (1977) brought her national attention and won the National Book Critics Circle Award. In 1988, Morrison won the Pulitzer Prize for Beloved (1987).
"I see the dark face that is going to smile at me it is my dark face that is going to smile at me the iron circle is around our neck she does not have sharp earrings in her ears or a round basket she goes in the water with my face."
"Its a tree, Lu. A chokecherry tree. See, heres the trunk — its red and split wide open, full of sap, and this heres the parting for the branches. You got a mighty lot of branches. Leaves, too, look like, and dern if these aint blossoms. Tiny little cherry blossoms, just as white. Your back got a whole tree on it. In bloom. What God have in mind, I wonder."
"Except for an occasional request for color she said practically nothing — until the afternoon of the last day of her life when she got out of bed, skipped slowly to the door of the keeping room and announced to Sethe and Denver the lesson se had learned from her sixty years a slave and ten years free: that there was no bad luck in the world but whitepeople. "They dont know when to stop," she said, and returned to her bed, pulled up the quilt and left them to hold that thought forever."
"Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Dont tell us what to believe, what to fear. Show us beliefs wide skirt and the stitch that unravels fears caul."
"Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way."
"At some point in life the worlds beauty becomes enough. You dont need to photograph, paint or even remember it. It is enough. No record of it needs to be kept and you dont need someone to share it with or tell it to. When that happens — that letting go — you let go because you can."
"How seldom, Friend! a good great man inherits Honour or wealth, with all his worth and pains! It sounds like stories from the land of spirits, If any man obtain that which he merits, Or any merit that which he obtains.   . For shame, dear Friend! renounce this canting strain! … Greatness and goodness are not means, but ends! Hath he not always treasures, always friends, The good great man? Three treasures, and , And , regular as infants breath; And three firm friends, more sure than day and night, , his , and the Angel ."
"He who loves is not ashamed before men of what he does for God, neither does he hide it through shame though the whole world should condemn it."
"Shamino: (when the player clicks repeatedly on a cat) Bloody cats!"
"A cloud was on the mind of men, and wailing went the weather, Yea, a sick cloud upon the soul when we were boys together. Science announced nonentity and art admired decay; The world was old and ended: but you and I were gay; Round us in antic order their crippled vices came — Lust that had lost its laughter, fear that had lost its shame."
"And then it happened. Suddenly, shamelessly, and without warning, as it must in all musical comedies, they were struck by... a love song."
"Prisoner in Castle British dungeon: "Shamino, speak up man!"