September 21, 2015 - 3 Comments;

A Love-Fest With My Ancestors

A year ago I began to write a book about seven generations of my paternal family in America. It was a labor of love to celebrate this summer’s 100th birthday of my grandparents’ Adirondack cabin. The house, now owned by my siblings and our families, is located in the High Peaks region of the Adirondack Mountain Reserve, in a tiny hamlet called Keene Valley. It’s across the brook from the site that was once my great-grandparents’ home. 

My Grandparents' Home: 1915

My Grandparents’ Home, Rushing Brook: 1915

The centennial took place in early August, and included 3 glorious days of swimming, hiking and family story-sharing. 50 double cousins*, ranging from 2 months to 82 years, gathered for the occasion. 

*Double Cousins: two brothers married two sisters: Julius Sachs married Rosa Goldman and Samuel Sachs married Louisa Goldman; their offspring are double cousins.
My Great-Grandparents' Home in 1890

My Great-Grandparents’ Home, Waldfried: 1890

I circulated a draft of my book at the event and asked family members to check for errors and omissions (there were plenty!) It will be privately printed this month. It’s difficult to describe how deeply I loved working on this project, which felt almost as if I was traveling back in time, meeting my ancestors one-by-one, and falling in love with them. The year turned into a virtual love-fest in my imagination.  

It all began in 1837, when two young Jewish men met in a synagogue in Würzburg, Germany. Both excelled in their studies: Joseph Sachs (20) was gifted in languages, Marcus Goldman (16) in mathematics, and the two quickly became close friends.  

The custom in 1840s Würzburg, was that well-to-do Jewish families boarded poor students. Joseph was the poor student, and his generous hosts were successful goldsmiths who were also the parents of brilliant, young Sophia Baer.

Sophia Baer Sachs

Sophia Baer Sachs

Joseph Sachs

Joseph Sachs

The student and the young lady fell in love, and when Sophia’s parents objected to their daughter “marrying an impecunious teacher”, the young lovers eloped to Hamburg, then sailed for America in 1847. Marcus followed suit in 1848, and the very day he arrived in Philadelphia he and Joseph happened to bump into each other. Their chance meeting foreshadowed a future alliance between the two families (albeit 30 years later) that would influence the world: Goldman Sachs & Co.

Bertha and Marcus Goldman

Bertha and Marcus Goldman

Meanwhile, Bertha Goldman (no relation to Marcus), was a young seamstress who had also arrived from Germany in 1848, then moved to Philadelphia in 1851. She met Marcus, who wished to court her with a bouquet of flowers but his work as a peddler left him no money, so he surprised her with a bunch of radishes hidden in his hat! It worked. The two fell in love, and were married that year.

Joseph, Sophia, Marcus and Bertha were my great-great-grandparents. Feeling connected to them is visceral to me, although Joseph and Sophia never even visited Keene Valley (alas, they died too young). Their spirit, however, is everywhere surrounding Rushing Brook: in the work ethic, in the commitment to “do what you love and give it your everything” and in the unflagging support and trust for family.

Steps to Waldfried from Rushing Brook

2015: Steps to Waldfried from Rushing Brook

When I was 12, my parents invited several musician friends and their families to bring their instruments and join us for a long weekend of music and improvisation at WaldfriedThe sensory experiences that summer were unforgettable: hearing and playing the music, feeling the freezing water on our bare feet as we ran across the brook and back, throwing meals together on the run… it was creative collaboration. I didn’t know at the time how deeply it would impact my future career.

These days I feel privileged to literally follow in the footsteps of our ancestors: down the old moss-covered-stone-steps, across the brook, and back up the other side, inhabiting their space, which I believe, on occasion, hosts their spirits as well.

A love-fest indeed. What a gift.

SOURCES: Birmingham, Stephen, OUR CROWD: THE GREAT JEWISH FAMILIES OF NEW YORK (Harper & Row, 1967) ISBN: 0815604114; Immigrant Entrepreneurship, MARCUS GOLDMAN:; Sachs, Bernard, BARNEY SACHS: 1858-1944 (New York, 1949: Privately Printed); Sachs, Ernest, M.D., FIFTY YEARS OF NEUROSURGERY, A Personal Story (New York, Vantage Press: 1958); Sachs Jr., Dr. Ernest, GOLDMAN FAMILY TREE (Privately Printed: 1981); Straus, Helen Sachs: SACHS FAMILY TREE (Privately Printed: 1977) 


June 13, 2015 - 5 Comments;

Words. Words. Words: 10 Beloved Quotations

I began collecting quotations during my high school days. These words are not all related to the theatre, but they’re all theatrical!  This piece was originally published in June, 2013. 

1. “All the world’s a stage, and most of us are desperately under-rehearsed.”  

Sean O’Casey  (March 30, 1880 – September 18, 1964) 

Sean O'Casey


2. “I got my start by giving myself a start.” Madame C.J. Walker

 Born Sarah Breedlove  (December 23, 1867 – May 25, 1919)

Madame C.J. Walker

Madame C.J. Walker









3. “The word theatre comes from the Greeks. It means the seeing place.”

Stella Adler (February 10, 1901 – December 21, 1992)

Stella Adler

Stella Adler









4. “The theatre is the involuntary reflex of the ideas of the crowd.”

Sarah Bernhardt (October 22, 1844 – March 26, 1923) 

Sarah Bernhardt

Sarah Bernhardt









5. “A whisper can be stronger, as an atom is stronger, than a whole mountain.” 

Louise Nevelson (September 23, 1899 – April 17, 1988)

Louise Nevelson

Louise Nevelson









6. “If you give an audience a chance they will do half your acting for you.” 

Katharine Hepburn (May 12, 1907 – June 29, 2003)

Katharine Hepburn

Katharine Hepburn









7. “The cure for boredom is curiosity. There is no cure for curiosity.” 

Dorothy Parker (August 22, 1893 – June 7, 1967)

Dorothy Parker

Dorothy Parker









8. “Theatergoing is a communal act, movie going a solitary one.” 

Robert Brustein (Born April 21, 1927)

Robert Brustein

Robert Brustein









9. “Those that don’t got it, can’t show it. Those that got it, can’t hide it.”

Zora Neale Hurston (January 7, 1891 – January 28, 1960)

Zora Neale Hurston

Zora Neale Hurston









10. “The theater is so endlessly fascinating because it’s so accidental. It’s so much like life.” 

Arthur Miller (October 17, 1915 – February 10, 2005)

Arthur Miller

Arthur Miller









And a BONUS! Number 11…

We don’t stop playing because we grow old; we grow old because we stop playing.” 

George Bernard Shaw (July 26, 1856 – November 2, 1950) 

George Bernard Shaw

George Bernard Shaw









Photo Credits:
O’Casey: The Irish News; Adler: John Chiasson-Liaison/Getty Images; Bernhardt: Paul Nadar; Nevelson: Pedro E. Guerrero; Hepburn: Hooked On Houses; Brustein: Berkshire Fine Arts; Hurston: The Poetry Foundation; Miller: Associated Press; Shaw: Magazin Gracija. 


November 6, 2014 - 2 Comments;

Theatrical Intelligence: What Does It Mean And Why Does It Matter?


A dear friend asked me recently, while looking oh-so-confused:  “What IS Theatrical Intelligence, anyway?”

I was mortified. 

I thought to myself, I’d better write A SUMMARY to explain what it means and why it matters.

So here goes:

Theatrical Intelligence is a system that identifies and captures your unique area of talent in order to bring it into your work and your workplace. It’s based on the theatrical production model, which is built on the foundation of all theatre: COLLABORATION.

Why does this matter? 

73% of Americans describe themselves as not engaged or actively disengaged at work1. This is disturbing!

I’m convinced that we all come into the world with multiple intelligences2., and as we morph into grownups, somehow it disappears. Theatrical Intelligence is a system that can bring it back to life; it re-defines the way we engage in our work and in our workplace. I call it “the fun part of being smart”.


A. THE EIGHT ROLES are the professionals required for a commercial, theatrical production. ONE (or more) role probably describes you:
B. THE SIX PRINCIPLES are shared by every person working on the production:
The success of the show is top priority for every stakeholder. 
If the show is a bust, if tickets don’t sell, the show closes and payroll stops.
Everyone knows what everyone else does, and respects it.
The show has some personal meaning to every professional working on it. 
It’s the quickest way to learn.      
Entering unexplored territory leads to defining the future.  
C. THE EIGHT PHASES One (or more) role “takes the lead” in each of the phases, supported by other roles as required. The remaining roles fade into the background, active if necessary, according to the phase of production. 
Support (if commissioned): Producer
Support: Actor/Director
Support: Director/Designer/Manager/Technician
Support: Producer/ Playwright/Manager
Support: Producer/Director/Designer
Support: Manager/Technician
Leader: CRITIC
Support: Playwright/Director/Actor/Designer 
Support: Critic/Playwright/Director/Actor/Designer/Manager/Technician
*5 and *6 are concurrent phases

It’s a great gift to have spent almost 50 years in the theatre industry. It has given me the opportunity to observe the impact of theatre on a wide range of non-theatre folks. It’s fascinating and fun. I’ve led Theatrical Intelligence workshops that have opened new perspectives and exciting possibilities to many who begin in that 73%, and then happily join the 27-percenters.

So I’m continuing to define (and refine) the concept. Please let me know if you’re intrigued by this, or if you have any questions. And thanks in advance for helping me spread the word about Theatrical Intelligence… it really is the fun part of being smart!


1. Feeling Good Matters in the Workplace: Jan 12, 2010, Gallup Management Journal.

2. Multiple Intelligences: Harvard Professor Howard Gardner’s theory of multiple intelligences differentiates it into specific  “modalities”, rather than seeing intelligence as dominated by a single general ability. Gardner introduced the theory in his 1983 book Frames of Mind: The Theory of Multiple IntelligencesHe has been acclaimed as the most influential educational theorist since John Dewey.



July 28, 2014 - 1 Comment

My Inner Critic, My Friend

Clearing out stacks of old boxes recently, I re-discovered my old theatrical reviews. The crumbling newspaper clippings instantly transported me back to the ’70s and 80’s: the 25 years I worked as a professional actress.

Ann Sachs and Frank Langella on Broadway in DRACULA, 1978.  © Martha Swope

Ann Sachs and Frank Langella on Broadway in DRACULA, 1978.
© Martha Swope

Re-reading the notices, I marveled that every single production was still with me, but something was missing… I had no memory of the good reviews. One flattering phrase after another felt as if I was reading love letters I’d never seen before, yet I knew that once upon a time I had treasured every word. 

The bad reviews? (Those from… how shall I say, “Outer Critics”?) It felt as if they’d been on CNN this morning.

Review Strip

Partial amnesia regarding reviews is one of the occupational hazards of being a performer. Most actors, especially early in their careers, tend to believe the good OR the bad, but not both. With me, unfortunately, the bad always came out ahead. I’ve always been very hard on myself, and the negative reviews sounded as familiar as the ones I dreamed up for myself.

The negativity became more and more depressing, however, and one day my dear husband suggested that I create my own system to evaluate my work. As Roger said “It gives you feedback you can trust.”

How did it work? Before and during rehearsals, I kept track of everything I was worried about:

1. Belief that I was miscast
2. Working with a new dialect
3. Tension with the director
4. Physical costume challenges
5. Too much or too little chemistry with my leading man

The list went on and on, and as I invented ways to become comfortable with my usual crazy-making stuff, my Inner Critic appeared. She and I built benchmarks based on habits and pitfalls I’d supposedly learned to manage. 

1. Ease (or lack thereof) getting off book
2. Number of crying jags (joyful)
3. Number of crying jags (furious)
4. Sore throats, rashes,  headaches, mystery pains
5. Degree of neurosis during tech rehearsals

I tend to refer to my Inner Critic in the third person, as if she is real. Actually, she IS… a real and trusted part of myself. 

When I was thinking about shifting careers to do something other than performing, my Inner Critic was invaluable.  Almost everyone I knew was shocked that I might “walk away”, and many tried to talk me out of it, but she was with me. We weighed the points of my colleagues, friends and family, and ultimately took a leap into the unknown side-by-side. I knew then that she was a friend for life.

So as I was rifling through those boxes, reading my old reviews, and was catapulted back into believing the bad ones, I wondered where the hell she was!

But not for long. She made her entrance just in time to set me straight. 

She’s on my shoulder now. And I am so grateful that she’s here.


For Reference:  

Critic \’krɪ-tɪk\ noun* 
1 a: one who expresses a reasoned opinion on any matter especially involving a judgment of its value, truth, righteousness, beauty, or technique
    b: one who engages often professionally in the analysis, evaluation or appreciation of works of art or artistic performances  
2:  one given to harsh or captious judgments
[From Latin criticus, Greek kritikosable to discern; from kritsjudge, from krneinto separate, judge]
* Merriam-Webster® An Encyclopedia Britannica Company


May 21, 2014 - No Comments




To all subscribers, I am so sorry about the mixed up post that arrived early morning May 21st. It was previously deleted, incomplete text. My mistake!



May 11, 2014 - 4 Comments;

On Mothers Day: A Letter From My Daughter

I received this beautiful letter today from my daughter, Abigail, who lives in Los Angeles. She asked my permission to share it on her acupuncture blog, MAMAFLOAT. Of course I agreed. I’m bursting with pride as I write this and forgive me, I asked her if I could post it here. Thankfully, she also agreed. (This post is not part of Theatrical Intelligence except by association with me.)

1981Dear Mom,

On this 39th Mother’s Day since you became a mother, I am writing you a love letter. You know I love lists.  So here’s a Love List!

I love you for patiently waiting 43 weeks for me to make my arrival, and for giving birth to me naturally, bravely ignoring the 12 men staring at your vagina in that teaching hospital.

I love you for rocking and nursing me in the Stickley Chair (which I now have in our living room), calmly convinced that it was normal for a baby to cry for 6 months straight. Colic. How did you survive?

I love you for introducing me to chocolate peanut butter cups.

I love you for loving lilacs.

I love you because of the way you always look me right in the eyes when I have something to say, your head perched between index finger and thumb.

I love you for saying about my spirited child: “he just has a hard time getting through his day. Like you did as a baby.”

I love you for saying “yes, and…” when everyone else said “no.”

I love you for making Fiesta Ware our everyday dishes.

I love you for raising me and Sam in Manhattan, where the nuts come from.

I love you for sending me to the Bank Street School.

I love you for flying 3,000 miles to meet my firstborn, arriving when he was a mere 20 hours old, and arranging fresh flowers in my bedroom every day.

I love you for taking G to the museum while I labored with L… and getting to meet her just a few hours later.  Her middle name is your first.

I love you for showing me what marriage can be: you and Dad, after 43 years, make it look easy.

I love you for introducing me to Shakespeare.

I love you for your curried chicken salad, which is totally delicious and just a little bit weird.

I love you for showing me the value of two simple beauty products: Yardley’s lavender soap and Keri lotion.

I love you for letting me fall asleep with your nightgown on the nights you and Dad left us a with a sitter.

I love you for my annual birthday gift of a trip to the Town Shop (for real or online) for new ladythings.

I love you for the cheesy way you always say “This is God’s country!” the moment we open the car windows on the drive into Keene Valley.

I love you for finding your writing voice as a Woman of the Fourteenth Moon.

I love you for suggesting I apply to Bard College.

I love you for inspiring me to become a woman business owner.

I love you for your many scarves; I always said I’d never wear them.  Now I have 14.

I love you for showing me that motherhood could be the most important job you (or I) would ever have.

Happy Mother’s Day, Mom.  I love you!



Written by Abigail Morgan, L.Ac., all rights reserved.  Photograph (1981) courtesy of Roger Morgan.  This post was inspired by a writing project I’m part of called 40 Love Letters in 40 Days.  Special shout-out to Stacy de la Rosa.



April 11, 2014 - 5 Comments;

The Actor Is What We See, But Only 1/8 Of What Is There

Two earlier versions of this post were published in 2010 and 2012. Several colleagues asked me to re-post it, so here it is.

When I work with individuals or groups on ways Theatrical Intelligence can make a difference in their lives, my goal is to stimulate an exploration into their creative core.

The term Theatrical Intelligence evokes responses such as: “Yes! It’ll help me when I have to give a presentation” to “Not my kind of thing – don’t like being in the spotlight” or “No way. Acting? Yuck!” There is an assumption that Theatrical Intelligence = Actor.

What we see

In a theatrical production model, the Actor is what we see, but only 1/8 of what is there. She/he wouldn’t be on the stage if it weren’t for the Writer, Producer, Director, Designer, Manager, Technician and Critic. The talent and skill contained in each of these roles is interdependent, and without them, the Actor wouldn’t be seen at all!

What's Really There

What’s Really There

Creative collaboration requires that each person within a group takes on his/her most comfortable role, and everyone contributes to the creative potential of the collective. It is built on the premise that all collaborators’ talents and skills complement one another. In other words if I don’t have a particular strength, one of my cohorts will.

Recently I worked with a young woman who told me “I don’t have one creative bone in my body. It’s just the way I’ve always been and I’m fine with it.” She was politely annoyed that I didn’t accept her “non-creativity”. What became abundantly clear during a quick writing exercise, is that she was a born technician (the only one who could get the electronic hook-up to work); and a gifted manager (she organised a group photo while keeping large egos satisfied, and everyone ended up grateful that she was there).

When I pointed out her strengths in those roles, she explained “But that’s the easy stuff!” which gave us our biggest laugh of the day. Everyone admitted their techno-ignorance, impatience with managing differing personalities; the combination of her geeky-gift and people-management-savvy was something they longed for in their employees.

The talented young Technician/Manager took all this in, and with just the hint of a grin, said: “Well, maybe I have a couple of creative bones…” 

Understanding her Theatrical Intelligence that day, she fully experienced “the fun part of being smart”. Yes, it was easy. And the smartness was all her own.

What’s “the easy stuff” for you? How much do you use it every day? Are you giving it the respect it deserves? 



March 27, 2014 - 1 Comment

Falling In Love With A Theatre

This article is revised from our Studio Newsletter archives in honor of World Theatre Day.

World Theatre Day

What makes someone fall in love with a theatre? I asked a bunch of theatrical colleagues to name a theatre that they love and say why they love it. Here are some responses:

“There are so many! But the one that comes to mind is THE GUTHRIE when it was being built and I was going to be playing Hamlet in the inaugural production. Tony [Tyrone Guthrie] and I walked into what felt like Yankee Stadium and I was terrified. How was I going to fill that space? Then when we walked down onto the stage, suddenly it was only half as big, and I did manage to fill it; over the years it was as if I was playing a dearly beloved instrument.” George Grizzard, Actor

“GLYNDEBOURNE, the famous Opera House in England. My husband and I had a private tour, and I stood on the stage alone and sang into the empty theater. The acoustics were incredible – I got the chills hearing my voice ring out like that… it sparked my imagination!”
 Melora Hardin, Actress

“THE MUSIC BOX, on Broadway. It’s a theatre of reasonable size and seating capacity, yet it manages to feel intimate. Rounded boxes flanking the proscenium are a particularly pleasing feature. It is a theatre that really helps the director.”
  Ed Sherin, Director

“IL TEATRO PIU’ TEATRO PICCOLO DEL MONDO (“the smallest theater in the world”) in Umbria. What a gem! It was built in the early 1800s by the families of Monte Castello di Vibio who wanted a place for social gatherings. The mindset at the time was of concordia tra i popoli (concordance between the populations) so the theatre was named Teatro Concordia. It is a space with perfect proportions; a space where you can feel the history of elegant and probably melodramatic performances in that tiny town.” Marianna Houston, Theatre Educator

“I love various parts of many Broadway theatres: the Tiffany stained glass fixtures and wood paneling of the BELASCO THEATRE; the inner lobby of the MAJESTIC and its grand house; the ingenious combination of new and old to combine two theatres into one dazzling space as the HILTON THEATRE [ed: now the FOXWOODS]. And I want to add another gem of a building Off-Broadway, the WESTSIDE THEATRE’s building, lobby and interiors are remarkably beautiful.” Bob Reilly, Company Manager

“THE VIGSZINHAS (Vigszínház) THEATRE in Budapest, Hungary – a magnificent 19th-century horseshoe shaped house with four or five balcony tiers. The stagehouse was completely re-built, and the stage is so deep – it covers a whole city block – with the loading door smack in the middle. For Six Characters In Search of an Author the city agreed to close off the street to traffic every night one half hour before the performance, so the audience saw the cast enter from the city beyond. That 19th century magic was made possible by the 21st century rehab.”
 Peter Frisch, Director

“THE BARTER THEATRE in Abingdon Virginia because it’s where I fell in love with my husband of 50 years! Barter inherited the seats and the curtain from the old EMPIRE THEATRE on Broadway, which gave it a certain mystique, and by the way, probably fostered more romances than any other theatre in America!”
 Diane Hardin, Acting Teacher/Coach

“I love lots and lots of theatres. At the moment I love the McCARTER in Princeton because Emily Mann and everyone there is so wonderful and willing to do anything I ask.” Eugene Lee, Scenic Designer

What is YOUR favorite theatre? Please share it!



October 31, 2013 - No Comments

My Daily Brain-Food Addiction

Brain Food

About a year ago I began posting a daily quote on Twitter, selected from my eclectic collection and using the hashtags  #TheatricalIntelligence or #WomanofWisdom: 

#TheatricalIntelligence: “I’m curious about other people. That’s the essence of my acting. I’m interested in what it would be like to be you.” Meryl Streep

#WomanofWisdom: “A bird doesn’t sing because it has an answer, it sings because it has a song.” Maya Angelou  

My Twitter followers enjoyed the quotes. (Some even suggested that I publish them in a “little book series”. Go figure.) Then six months ago on this blog, I shared a series of quotations in categories:  Actors on Acting, A Life in the Arts, On Critics, Criticism and Reading Reviews, among others. 

The tricky part on Twitter, of course, is that one post = 140 characters including the hashtag. So I found myself scavenging for more and more inspiring quotes that were short.

#TheatricalIntelligence: “What I love about theatre is that it disappears as it happens.” Lusia Strus (= 104) 

#WomanOfWisdom: “I believe the rights of women and girls is the unfinished business of the 21st century.” Hilary Clinton (= 124)

Then LinkedIn mimicked Twitter’s hashtag idea, and their posts can be longer so my quotes g-r-e-w, as did their hashtags:

#TheatricalNostalgia, #TheatricalWonder, #TheatricalWisdom, #ArtisticWisdom, #LiteraryWisdom, #WorthConsidering, #WorthRemembering, #LetsDoThis and #PoliticalPoetry. Yikes.

Daily posting became addictive. I began to feel like my friends who never miss the daily NYTimes crossword puzzle, or others who are deeply committed to “Words With Friends” or (what I take to be its visual equivalent) “Candy Crush”

My daily brain food, I’ve concluded, works for me because the words have such meaning when they’re strung together, that I remember them.  I simply love each one of them because they inspire me.   


Is this addiction a terrible thing? How long will it take me to kick the habit? Do I HAVE to? Help!


September 9, 2013 - 5 Comments;


Love-in-sandI’ve been thinking a lot about love. 

It may be an age thing. I’m in my mid-60s and loving it, my husband Roger and I just celebrated our 43rd anniversary, and our love for each other and our work has grown exponentially over the decades. When we were blessed with grandchildren 3 and 5 years ago, I thought the level of love in our family might actually burst. It didn’t, of course. In fact, it has expanded into a three-generation-love-fest.

And everywhere I look these days, I see love. 

Can it be that love really belongs in this theatrical quotations series?  Absolutely. Why? Because for those of us who spend our lives in the theatre, a passionate love of what we do is the common denominator within the  Six Principles of Theatrical Intelligence.

Let’s take a moment to review those principles, based on the theatrical production model (as is the whole concept of Theatrical Intelligence).

1. Collaborating on a project to make it work for everyone, is number one: EVERYONE SHARES THE SAME GOAL.

2. If the show is a bust, if tickets don’t sell, no one gets paid. That’s the reality: EVERYONE SHARES AN EQUIVALENT RISK.

3. If a play is sustainable, its next steps are defined within the 3rd principle: COLLABORATION RULES.

4. Given: throughout every phase of every project, THE WORK MATTERS.

5. If part of a production’s infrastructure isn’t working (often the case) everyone understands that FAILURE IS YOUR FRIEND AND THE QUICKEST WAY TO LEARN.

6. And finally, a reflection of the commitment to innovation and acceptance of high risk: SUCCESS COMES WITH THE COURAGE TO STEP INTO THE UNKNOWN.

Those who work consistently in the professional theatre simply love what they do; if they didn’t, the ever-changing conditions of the creation, development, rehearsal and run of a show, would be intolerable.

I’ve chosen my favorite quotes on love from my collection. I hope you enjoy them as much as I do. 

zelda-balletZelda Fitzgerald (1900 – 1948)
 “Nobody has ever measured, not even poets, how much the heart can hold.”


Zora Neale Hurston, Class of 1928, Chicago, Ill., November 9, 1934Zora Neale Hurston (1891 – 1960)
“Love makes your soul crawl out from its hiding place.”


NerudaPablo Neruda (1904 – 1973) née Neftali Ricardo Reyes Basoalto
“I want to do with you what spring does with the cherry trees.”


Shel Larry Moyer Shel Silverstein (1930 – 1999)
How many slams in an old screen door? Depends how loud you shut it.
How many slices in a bread? Depends how thin you cut it.
How much good inside a day? Depends how good you live ’em.
How much love inside a friend? Depends how much you give ’em.


George EliotGeorge Eliot (1819 – 1880) Née Mary Ann (Marian) Evans

“I like not only to be loved, but to be told that I am loved; the realm of silence is large enough beyond the grave.”


Nelle Harper LeeHarper Lee (Born 1926) 
“With him, life was routine; without him, life was unbearable.”
(From TO KILL  MOCKINGBIRD, Chapter 12)


Jarod KintzJarod Kintz (Born 1982)
 “With my last breath, I’ll exhale my love for you. I hope it’s a cold day, so you can see what you meant to me.


Dorothy ParkerDorothy Parker (1893 – 1967)
“By the time you swear you’re his,
Shivering and sighing.
And he vows his passion is,
Infinite, undying.
Lady make a note of this –
One of you is lying.”


Ingrid BergmanIngrid Bergman (1915 – 1982)
“A kiss is a lovely trick designed by nature to stop speech when words become superfluous.”  

If you’d like to share your favorites, please do. This love thing is positively contagious. Let’s keep it going.


Picture Credits
Fitzgerald: F. Scott and Zelda Fitzgerald Museum
Hurston: The Estate of Zora Neale Hurston
Neruda: Pablo Neruda – Poemas Originais Traduzidos
Silverstein: Larry Moyer/Evil Eye LLC
Eliot: London Stereoscopic Company/Getty Images
Lee: The Birmingham News
Kintz: Jarod
Bergman: LIFE Magazine