New York state sentence for a Peeping Tom is six months in the workhouse. And they got no windows in the workhouse. You know, in the old days they used to put your eyes out with a red-hot poker.
(John Michael Hayes (b. 1919), U.S. screenwriter, and Alfred Hitchcock. Stella (Thelma Ritter), Rear Window, to invalid photographer L.B. Jeffries (James Stewart), who is spying on his neighbors across the courtyard of his apartment building (1954).
Based on the short story by Cornell Woolrich.)
Billboards, billboards, drink this, eat that, use all manner of things, everyone, the best, the cheapest, the purest and most satisfying of all their available counterparts. Red lights flicker on every horizon, airplanes beware; cars flash by, more lights. Workers repair the gas main. Signs, signs, lights, lights, streets, streets.
(Neal Cassady (1926-1968), U.S. beat hero. "Leaving LA by Train at Night, High ...," The First Third and Other Writings (1971).)
[It is possible] that the race of red men ... will, before many generations, be remembered only as a strange, weird, dream-like specter, which has passed once before the eyes of men, but had departed forever.
(James A. Garfield (1831-1881), U.S. president. To J.D. Cox, August 6, 1870. Garfield, ch. 14, Allen Peskin (1978).)
To many women marriage is only this. It is merely a physical change impinging on their ordinary nature, leaving their mentality untouched, their self-possession intact. They are not burnt by even the red fire of physical passionfar less by the white fire of love.
(Mary Webb (1881-1927), British novelist. The Golden Arrow, ch. 18 (1916).)
One encounters very capable fathers abashed by their piano-playing daughters. Three measures of Schumann make them red with embarrassment.
(Alfred Döblin (1878-1957), German-Jewish novelist, physician. Trans. by David Dollenmayer. "The Spirit of the Naturalistic Age," 1924, Works on Aesthetics, Poetics and Literature, ed. Erich Kleinschmidt (1989).)