New Orleans Quotes

“America has only three cities: New York, San Francisco, and New Orleans.
Everywhere else is Cleveland.”
― Tennessee Williams

“I mingle with my peers or no one, and since I have no peers, I mingle with no one.”
― John Kennedy Toole, A Confederacy of Dunces

“There are only two things: love, all sorts of love, with pretty girls, and the music of New Orleans or Duke Ellington. Everything else ought to go, because everything else is ugly. ”
― Boris Vian

“In the spring of 1988, I returned to New Orleans, and as soon as I smelled the air, I knew I was home.
It was rich, almost sweet, like the scent of jasmine and roses around our old courtyard.
I walked the streets, savoring that long lost perfume.”
― Anne Rice, Interview with the Vampire

“New Orleans food is as delicious as the less criminal forms of sin.”
― Mark Twain

“Leaving New Orleans also frightened me considerably. Outside of the city limits the heart of darkness, the true wasteland begins.”
― John Kennedy Toole, A Confederacy of Dunces

“there was something about
that city, though
it didn't let me feel guilty
that I had no feeling for the
things so many others
needed.
it let me alone.”
― Charles Bukowski

“To encapsulate the notion of Mardi Gras as nothing more than a big drunk is to take the simple and stupid way out, and I, for one, am getting tired of staying stuck on simple and stupid.

Mardi Gras is not a parade. Mardi Gras is not girls flashing on French Quarter balconies. Mardi Gras is not an alcoholic binge.

Mardi Gras is bars and restaurants changing out all the CD's in their jukeboxes to Professor Longhair and the Neville Brothers, and it is annual front-porch crawfish boils hours before the parades so your stomach and attitude reach a state of grace, and it is returning to the same street corner, year after year, and standing next to the same people, year after year--people whose names you may or may not even know but you've watched their kids grow up in this public tableau and when they're not there, you wonder: Where are those guys this year?

It is dressing your dog in a stupid costume and cheering when the marching bands go crazy and clapping and saluting the military bands when they crisply snap to.

Now that part, more than ever.

It's mad piano professors converging on our city from all over the world and banging the 88's until dawn and laughing at the hairy-shouldered men in dresses too tight and stalking the Indians under Claiborne overpass and thrilling the years you find them and lamenting the years you don't and promising yourself you will next year.

It's wearing frightful color combination in public and rolling your eyes at the guy in your office who--like clockwork, year after year--denies that he got the baby in the king cake and now someone else has to pony up the ten bucks for the next one.

Mardi Gras is the love of life. It is the harmonic convergence of our food, our music, our creativity, our eccentricity, our neighborhoods, and our joy of living. All at once.”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“Louisiana in September was like an obscene phone call from nature. The air--moist, sultry, secretive, and far from fresh--felt as if it were being exhaled into one's face. Sometimes it even sounded like heavy breathing. Honeysuckle, swamp flowers, magnolia, and the mystery smell of the river scented the atmosphere, amplifying the intrusion of organic sleaze. It was aphrodisiac and repressive, soft and violent at the same time. In New Orleans, in the French Quarter, miles from the barking lungs of alligators, the air maintained this quality of breath, although here it acquired a tinge of metallic halitosis, due to fumes expelled by tourist buses, trucks delivering Dixie beer, and, on Decatur Street, a mass-transit motor coach named Desire.”
― Tom Robbins, Jitterbug Perfume

“Times are not good here. The city is crumbling into ashes. It has been buried under taxes and frauds and maladministrations so that it has become a study for archaeologists...but it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”
― Lafcadio Hearn, Inventing New Orleans: Writings of Lafcadio Hearn

“If there was no New Orleans, America would just be a bunch of free people dying of boredom." -Judy Deck in an e-mail sent to Chris Rose”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“Madame Lily Devalier always asked "Where are you?" in a way that insinuated that there were only two places on earth one could be: New Orleans and somewhere ridiculous.”
― Tom Robbins, Jitterbug Perfume

“Ozzy Osbourne and Motley Crue in New Orleans on Mardi Gras = bad idea!”
― Nikki Sixx, The Heroin Diaries: A Year in the Life of a Shattered Rock Star

“The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here.
You could be dead for a long time”
― Bob Dylan

“If New Orleans is not fully in the mainstream of culture, neither is it fully in the mainstream of time. Lacking a well-defined present, it lives somewhere between its past and its future, as if uncertain whether to advance or to retreat. Perhaps it is its perpetual ambivalence that is its secret charm. Somewhere between Preservation Hall and the Superdome, between voodoo and cybernetics, New Orleans listens eagerly to the seductive promises of the future but keeps at least one foot firmly planted in its history, and in the end, conforms, like an artist, not to the world but to its own inner being--ever mindful of its personal style.”
― Tom Robbins, Jitterbug Perfume

“But during all these years I had a vague but persistent desire to return to New Orleans. I never forgot New Orleans. And when we were in tropical places and places of those flowers and trees that grow in Louisiana, I would think of it acutely and I would feel for my home the only glimmer of desire I felt for anything outside my endless pursuit of art.”
― Anne Rice, Interview with the Vampire

“Yes, a dark time passed over this land, but now there is something like light.”
― Dave Eggers, Zeitoun

“I'm not going to lay down in words the lure of this place. Every great writer in the land, from Faulkner to Twain to Rice to Ford, has tried to do it and fallen short. It is impossible to capture the essence, tolerance, and spirit of south Louisiana in words and to try is to roll down a road of clichés, bouncing over beignets and beads and brass bands and it just is what it is.

It is home.”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“...as bad as it is here, it's better than being somewhere else."

-Chris Rose, regarding life in Post-Katrina New Orleans”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“At one point, early on, some public figures even asked whether it 'made sense' to rebuild New Orleans. Would you let your own mother die because it didn't make financial sense to spend the money to treat her, or because you were too busy to spend the time to heal her sick spirit?”
― Tom Piazza, Why New Orleans Matters

“Mrs. Reilly called in that accent that occurs south of New Jersey only in New Orleans, that Hoboken near the Gulf of Mexico.”
― John Kennedy Toole, A Confederacy of Dunces

“You don't control their minds, ma fifille, you control their hearts" - Cosette”
― Alys Arden, The Casquette Girls

“Despite what some people have said, President Bush did not want black people to die in New Orleans. However, he did hope they would not relocate to any areas of Texas that he likes to frequent.”
― Scott Mcclellan, What Happened: Inside the Bush White House and Washington's Culture of Deception

“Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it's as if the audience--dancing, singing to the refrains, laughing--is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music--she to the trumpet melody, he to the bass drum, she to the trombone--the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers' gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down, as in particle physics, to some root stratum where one is freed from the lockstop of time itself, where time might even run backward, or sideways, and something eternal and transcendent is accessed.”
― Tom Piazza, Why New Orleans Matters

“Everybody here has a story. New Orleans was always a place where people talked too much even if they had nothing to say.

Now everyone's got something to say.”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“He's got that New Orleans thing crawling all over him, that good stuff, that We Are the Champions, to hell with the rest and I'll just start over kind of attitude.”
― Chris Rose, 1 Dead in Attic: Post-Katrina Stories

“..I began speaking.. First, I took issue with the media's characterization of the post-Katrina New Orleans as resembling the third world as its poor citizens clamored for a way out. I suggested that my experience in New Orleans working with the city's poorest people in the years before the storm had reflected the reality of third-world conditions in New Orleans, and that Katrina had not turned New Orleans into a third-world city but had only revealed it to the world as such. I explained that my work, running Reprieve, a charity that brought lawyers and volunteers to the Deep South from abroad to work on death penalty issues, had made it clear to me that much of the world had perceived this third-world reality, even if it was unnoticed by our own citizens.

To try answer Ryan's question, I attempted to use my own experience to explain that for many people in New Orleans, and in poor communities across the country, the government was merely an antagonist, a terrible landlord, a jailer, and a prosecutor. As a lawyer assigned to indigent people under sentence of death and paid with tax dollars, I explained the difficulty of working with clients who stand to be executed and who are provided my services by the state, not because they deserve them, but because the Constitution requires that certain appeals to be filed before these people can be killed. The state is providing my clients with my assistance, maybe the first real assistance they have ever received from the state, so that the state can kill them.

I explained my view that the country had grown complacent before Hurricane Katrina, believing that the civil rights struggle had been fought and won, as though having a national holiday for Martin Luther King, or an annual march by politicians over the bridge in Selma, Alabama, or a prosecution - forty years too late - of Edgar Ray Killen for the murder of civil rights workers in Philadelphia, Mississippi, were any more than gestures. Even though President Bush celebrates his birthday, wouldn't Dr. King cry if he could see how little things have changed since his death? If politicians or journalists went to Selma any other day of the year, they would see that it is a crumbling city suffering from all of the woes of the era before civil rights were won as well as new woes that have come about since. And does anyone really think that the Mississippi criminal justice system could possibly be a vessel of social change when it incarcerates a greater percentage of its population than almost any place in the world, other than Louisiana and Texas, and then compels these prisoners, most of whom are black, to work prison farms that their ancestors worked as chattel of other men?
...
I hoped, out loud, that the post-Katrina experience could be a similar moment [to the Triangle Shirtwaist factory fiasco], in which the American people could act like the children in the story and declare that the emperor has no clothes, and hasn't for a long time. That, in light of Katrina, we could be visionary and bold about what people deserve. We could say straight out that there are people in this country who are racist, that minorities are still not getting a fair shake, and that Republican policies heartlessly disregard the needs of individual citizens and betray the common good. As I stood there, exhausted, in front of the thinning audience of New Yorkers, it seemed possible that New Orleans's destruction and the suffering of its citizens hadn't been in vain.”
― Billy Sothern, Down in New Orleans: Reflections from a Drowned City

“Damn. I never should have agreed to this. What is he thinking? Here we are in a piece of crap pickup truck on our way to sit outside of a supermarket to kidnap this girl. Damn. He’d better not be falling for her. Sure she’s cute, but I can’t think about that.”
― Jenna-Lynne Duncan, Hurricane

“She doesn’t even have shoes on” He was trying to reconcile something in his head while talking to Luke.
“In all the time you spent in that shack, you forgot to pack her shoes?” Luke asked rhetorically, shaking his head in both wonder and disappointment. “Look, we’re in the boonies. I am sure shoes are optional, as are a full set of teeth.”
― Jenna-Lynne Duncan, Hurricane

“So I sit there kicked my heels, thinking about New Orleans, and watching a morbid blue-bottle fly attempt to commit suicide by butting his head against the windowpane.”
― Thomas Bailey Aldrich, The Story of a Bad Boy