Ernest J. Gaines Quotes

My master jecked up my dress and gived my mistress the whip and told her to teach me a lesson. Every time she hit me she asked me what I said my name was. I said Jane Brown. She hit me again: what I said my name was. I said Jane Brown.

Jefferson needs something in that cell," I said.
"Yes, he do," the minister said. "You hit the nail on the head, mister. Yes, he do. But not that box."
"And what do you suggest, Reverend Ambrose?" I asked.
"God," the minister said. "He ain't got but five more Fridays and a half. He needs God in that cell, and not that sin box."
"What sin box?" I said.
"What you call that kind of music he listen to?" the minister asked. "Us standing in there trying to talk to him, and him listening to that thing till she got to reach over and turn it off - what you call it?"
"I call it company, Reverend Ambrose," I said.
"And I call it sin company," he said.
"And I don't care what you call it!" I said to him.

I had heard the same carols all my life, seen the same little play, with the same mistakes in grammar. The minister had offered the same prayer as always, Christmas or Sunday. The same people wore the same old clothes and sat in the same places. Next year it would be the same, and the year after that, the same again. Vivian said things were changing. But where were they changing?

If I ain't nothing but trouble, you ain't nothing but Nothing.

Do you know what a myth is, Jefferson?" I asked him. "A myth is an old lie that people believe in. White people believe that they're better than anyone else on earth--and that's a myth. The last thing they ever want is to see a black man stan, and think, and show that common humanity that is in us all. It would destroy their myth. They would no longer have justification of having made us slaves and keeping us in the condition we are in. As long as none of us stand, they're safe. They're safe with me. They're safe with Reverend Ambrose. I don't want them to feel safe with you anymore.

had two reasons. Ned was by himself in this world, except for me, and I didn't want no man and no children spiting him just because he was an orphan. The other reason I never looked at a man, I was barren. An old woman on the place had told me that. I went to her one day and told her how my body act and didn't act. After we had sat down and talked a while, she said one word: "Barren." I went to a doctor and he told me the same thing: "You barren, all right.

I don't care what a man is. I mean, a great artist is like a great doctor. I don't care how racist he is. If he can show me how to operate on a heart so that I can cure a brother, or cure someone else, I don't give a damn what the man thinks; he has taught me something. And that is valuable to me. And that is valuable to others and man as a whole.

I hope when I die, they won't put on my tombstone, 'He wrote Miss Jane Pittman.' Put anything else, but don't put just that.

Then he spoke of James Joyce. He told about Joyce's family, his religion, his education, his writing. He spoke of a book called Dubliners and a story in the book titled "Ivy Day in the Committee Room." Regardless of race, regardless of class, that story was universal, he said.

It was the kind of "here" your mother or your big sister or your great-aunt or your grandmother would have said. It was the kind of "here" that let you know this was hard-earned money but, also, that you needed it more than she did, and the kind of "here" that said she wished you had it and didn't have to borrow it from her, but since you did not have it, and she did, then "here" it was, with a kind of love. It was the kind of "here" that asked the question, When will all this end? When will a man not have to struggle to have money to get what he needs "here"? When will a man be able to live without having to kill another man "here"?

We've only been living in these ghettos for seventy-five years or so, but the other three hundred years -- I think this is worth writing about. I think we've made tremendous sacrifices, we've shown tremendous strength. In the ghetto you see a lot of frustration; you see very little strength.

Writing is too goddamned hard for me to think about a soul in teh world ... I don't think about a soul, but just try to get those goddamned characters to act right.

The sky blue blue, Mr. Wiggins.

Memories wasn't a place, memories was in the mind.

That's man's way. To prove something. Day in, day out he must prove he is a man. Poor Fool.

Well, in San Francisco if someone's against you, they know how to vote you out of an area. If someone's against you in Louisiana, or if I wrote a book and they did not like it or me in Louisiana, they might shoot me anytime.

That's why you look down on me, because you know I lie. At wakes, at funerals, at weddings - yes, I lie. I lie at wakes and funerals to relieve pain. 'Cause reading, writing, and 'rithmetic is not enough. You think that's all the sent you to school for? They send you to school to relieve pain, to relieve hurt - and if you have to lie to do it, then you lie. You lie and you lie and you lie. When you tell yourself you feeling good when you sick, you lying. When you tell other people you feeling well when you feeling sick, you lying. You tell them that 'cause they have pain too, and you don't want to add yours - and you lie. She been lying every day of her life, your aunt in there. That's how you got through that university - cheating herself here, cheating herself there, but always telling you she's all right. I've seen her hands bleed from picking cotton. I've seen the blisters from the hoe and the cane knife. At that church, crying on her knees. You ever looked at the scabs on her knees, boy? Course you never. 'Cause she never wanted you to see it. And that's the difference between me and you, boy; that make me the educated one, and you the gump. I know my people. I know what they gone through. I know they done cheated themself, lied to themself - hoping that one they all love and trust can come back and help relieve the pain.