Bent Over Row Quotes

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Take the Cup, Sophia Collins,"she said, and the room was breathlessly silent. The Council chamber was not full, but the row Tessa sat at the end was:Gideon and Gabriel, Cecily and Henry, and her and Will, all leaning forward eagerly, waiting for Sophie to Ascend. At each end of the dais stood a Silent Brother, their heads bent, their parchment robes looking as if they had been carved out of marble. Charlotte lowered the Cup, and held it out to Sophie, who took it carefully. "Do you swear, Sophia Collins, to forsake the mundane world and follow the path of the Shadowhunter? Will you take into yourself the blood of the Angel Raziel and honor that blood? Do you swear to serve the Clave, to follow the Law as set forth by the Covernant, and to obey the word of the Council? Will you defend that which is human and mortal, knowing that for your service there will be no recompense and no thanks but honor?"I swear,"said Sophie, her voice very steady. "Can you be a shield for the weak, a light in the dark, a truth among falsehoods, a tower in the flood, an eye to see when all others are blind?" I can." "And when you are dead, will you give up your body to the Nephilim to be burned, that your ashes may be used to build the City of Bones?" "I will." "The drink,"said Charlotte. Tessa heard Gideon draw in his breath. This was the dangerous part of the ritual. This was the part that would kill the untrained and unworthy. Sophie bent her dark head and set the Cup to her lips. Tessa sat forward, her chest tight with aprehension. She felt Will's hand slide over hers, a warm, comforting weight. Sophie's throat moved as she swallowed. The circle that surrounded her and Charlotte flared up once with a cold, blue-white light, obscuring them both. When it faded, Tessa was left blinking stars from her eyes as the light dwindled. She blinked hastily, and saw Sophie hold up the Cup. there was a glow about the Cup she held as she handed it back to Charlotte, who smiled broadly. "You are Nehilim now,"she said. "I name you Sophia Shadowhunter, of the blood of Jonathan Shadowhunter, child of the Nehilim. Arise, Sophia.
Cassandra Clare (Clockwork Princess (The Infernal Devices, #3))
America, is there lipstick on my teeth?" Zoe asked. I turned to my left and found her smiling maniacally, exposing all her pearly whites. "No, you're good," I answered, seeing out of the corner of my eye that Marlee was nodding in confirmation. "Thanks. How is he so calm?" Zoe asked, pointing over at Maxon, who was talking to a member of the crew. She then bent down and put her head between her legs and started doing controlled breathing. Marlee and I looked at each other, eyes wide with amusement, and tried not to laugh. It was hard if we looked at Zoe, so we surveyed the room and chatted about what others were wearing. There were several girls in seductive reds and lively greens, but no one else in blue. Olivia had gone so far as to wear orange. I'd admit that I didn't know that much about fashion, but Marlee and I both agreed that someone should have intervened on her behalf. The color made her skin look kind of green. Two minutes before the cameras turned on, we realized it wasn't the dress making her look green. Olivia vomited into the closest trash can very loudly and collapsed on the floor. Silvia swooped in, and a fuss was made to wipe the sweat off her and get her into a seat. She was placed in the back row with a small receptacle at her feet, just in case. Bariel was in the seat in front of her. I couldn't hear what she muttered to the poor girl from where I was, but it looked like Bariel was prepared to injure Olivia should she have another episode near her. I guessed that Maxon had seen or heard some of the commotion, and I looked over to see if he was having any sort of reaction to it all. But he wasn't looking toward the disturbance; he was looking at me. Quickly-so quickly it would look like nothing but scratching an itch to anyone else-Maxon reached up and tugged on his ear. I repeated the action back, and we both turned away. I was excited to know that tonight, after dinner, Maxon would be stopping by my room.
Kiera Cass (The Selection (The Selection, #1))
heel (calf) raise leg (knee) extension leg (knee) flexion squat (one half – full squat) or leg press good morning hip flexion hip abduction hip adduction hip extension back raises back raises with a twist 45° sit-up reverse trunk twist reverse sit-up bench press bent over row, two variants overhead press, two variants full and partial range front arm raises full and partial range lateral arm raises lat pulldown biceps curl) triceps push down supination-pronation wrist curls reverse curls finger and grip exercises breathing exercises
Michael Yessis (The Revolutionary 1 x 20 RM Strength Training Program)
Oh," he said again and picked up two petals of cherry blossom which he folded together like a sandwich and ate slowly. "Supposing," he said, staring past her at the wall of the house, "you saw a little man, about as tall as a pencil, with a blue patch in his trousers, halfway up a window curtain, carrying a doll's tea cup-would you say it was a fairy?" "No," said Arrietty, "I'd say it was my father." "Oh," said the boy, thinking this out, "does your father have a blue patch on his trousers?" "Not on his best trousers. He does on his borrowing ones." 'Oh," said the boy again. He seemed to find it a safe sound, as lawyers do. "Are there many people like you?" "No," said Arrietty. "None. We're all different." "I mean as small as you?" Arrietty laughed. "Oh, don't be silly!" she said. "Surely you don't think there are many people in the world your size?" "There are more my size than yours," he retorted. "Honestly-" began Arrietty helplessly and laughed again. "Do you really think-I mean, whatever sort of a world would it be? Those great chairs . . . I've seen them. Fancy if you had to make chairs that size for everyone? And the stuff for their clothes . . . miles and miles of it . . . tents of it ... and the sewing! And their great houses, reaching up so you can hardly see the ceilings . . . their great beds ... the food they eat ... great, smoking mountains of it, huge bogs of stew and soup and stuff." "Don't you eat soup?" asked the boy. "Of course we do," laughed Arrietty. "My father had an uncle who had a little boat which he rowed round in the stock-pot picking up flotsam and jetsam. He did bottom-fishing too for bits of marrow until the cook got suspicious through finding bent pins in the soup. Once he was nearly shipwrecked on a chunk of submerged shinbone. He lost his oars and the boat sprang a leak but he flung a line over the pot handle and pulled himself alongside the rim. But all that stock-fathoms of it! And the size of the stockpot! I mean, there wouldn't be enough stuff in the world to go round after a bit! That's why my father says it's a good thing they're dying out . . . just a few, my father says, that's all we need-to keep us. Otherwise, he says, the whole thing gets"-Arrietty hesitated, trying to remember the word-"exaggerated, he says-" "What do you mean," asked the boy, " 'to keep us'?
Mary Norton (The Borrowers (The Borrowers, #1))
His head bent over hers; she could feel the rush of his unsettled exhalations. The hairs on his chest were not flat and straight, but softly curling. She wanted to brush her nose and lips across them. He smelled of soap, male skin, clean earth and meadow grass, and every breath of him made her feel warm in places that hadn't been warm in years. When the placket was finally unfastened, Mr. Ravenel raised his arms and let the shirt settle over his head, wincing as the neat row of stitches at his side was strained. Phoebe reached up to tug at the hem of the garment. Her knuckles inadvertently grazed the dark fleece on his chest, and her stomach did an odd little flip. From the surface of her skin down to the marrow of her bones, her entire body was alive with sensation.
Lisa Kleypas (Devil's Daughter (The Ravenels, #5))
Montgomery, Alabama. December 1, 1955. Early evening. A public bus pulls to a stop and a sensibly dressed woman in her forties gets on. She carries herself erectly, despite having spent the day bent over an ironing board in a dingy basement tailor shop at the Montgomery Fair department store. Her feet are swollen, her shoulders ache. She sits in the first row of the Colored section and watches quietly as the bus fills with riders. Until the driver orders her to give her seat to a white passenger.
Susan Cain (Quiet: The Power of Introverts in a World That Can't Stop Talking)
Aiden was the whole world stretched out beneath him. Aiden’s hair spread out on the sheets, Aiden moaning in his ear. The magnitude of his certainty tipped Harvard over the edge into terrifying and unwelcome knowledge. Terrible realization dawned, remorseless illumination shed on a whole landscape. Harvard found himself looking at his entire life in a new light. Aiden on their first day of school, on their first day of fencing class, on their last day in the hospital, on their first day at Kings Row. Inextricably part of every important moment in Harvard’s life. The bright and shining center of Harvard’s life, ever since he’d turned around and seen Aiden and thought, That boy looks sad, and wanted nothing but to give Aiden everything. Finding Aiden and being too young to understand what he’d found. Only knowing Aiden was necessary to him and wanting Aiden there always. Of course he loved his best friend, of course he did. That was always such an absolute truth that Harvard could never question it. Harvard gasped against Aiden’s mouth. He should have questioned it before now. He should have asked himself what he was feeling. Only he’d been afraid. Dating someone else hadn’t been Harvard’s idea, and with this new clarity he realized he didn’t actually want to do it. He hadn’t wanted to be alone, hadn’t wanted to be left behind, but it was impossible and distinctly horrible to think of being like this with anyone but Aiden. Only very recently, as Aiden dated more and more people and the potential for distance between them started to feel far more real, had Harvard started to feel lonely. If it hadn’t been for Coach suggesting dating, it might never have occurred to him. Why would he go out and look for a partner when he had one at home? Why would he go searching for a lightning strike when there was all the brightness and all the pain he could wish for, always with him? He’d never cared about dating, never really felt the need to find someone, because he’d been otherwise emotionally committed all along. Apparently, Harvard’s subconscious was insane, bent on his own ruin. Somewhere in the back of his mind he’d just decided he was Aiden’s boyfriend, without consulting Aiden. Without even consulting himself. He’d been in love with Aiden the whole time.
Sarah Rees Brennan (Striking Distance (Fence, #1))
I threw it over my shoulder and skulked through the moonlit vineyard to see what was going on. I crept to the end of a row and knelt in the warm dirt. Her five brothers were singing melodious songs in Spanish. The stars bent over the little roof; smoke poked from the stovepipe chimney. I smelled mashed beans and chili. The old man growled. The brothers kept right on yodeling. The mother was silent. Johnny and the kids were giggling in the bedroom. A California home; I hid in the grapevines, digging it all. I felt like a million dollars; I was adventuring in the crazy American night.
Jack Kerouac (On the Road)
Montgomery, Alabama. December 1, 1955. Early evening. A public bus pulls to a stop and a sensibly dressed woman in her forties gets on. She carries herself erectly, despite having spent the day bent over an ironing board in a dingy basement tailor shop at the Montgomery Fair department store. Her feet are swollen, her shoulders ache. She sits in the first row of the Colored section and watches quietly as the bus fills with riders. Until the driver orders her to give her seat to a white passenger. The woman utters a single word that ignites one of the most important civil rights protests of the twentieth century, one word that helps America find its better self. The word is “No.” The driver threatens to have her arrested. “You may do that,” says Rosa Parks. A police officer arrives. He asks Parks why she won’t move. “Why do you all push us around?” she answers simply. “I don’t know,” he says. “But the law is the law, and you’re under arrest.” On the afternoon of her trial and conviction for disorderly conduct, the Montgomery Improvement Association holds a rally for Parks at the Holt Street Baptist Church, in the poorest section of town. Five thousand gather to support Parks’s lonely act of courage. They squeeze inside the church until its pews can hold no more. The rest wait patiently outside, listening through loudspeakers. The Reverend Martin Luther King Jr. addresses the crowd. “There comes a time that people get tired of being trampled over by the iron feet of oppression,” he tells them. “There comes a time when people get tired of being pushed out of the glittering sunlight of life’s July and left standing amidst the piercing chill of an Alpine November.” He praises Parks’s bravery and hugs her. She stands silently, her mere presence enough to galvanize the crowd. The association launches a citywide bus boycott that lasts 381 days. The people trudge miles to work. They carpool with strangers. They change the course of American history.
Susan Cain (Quiet: The Power of Introverts in a World That Can't Stop Talking)
Although Daisy was the mildest-tempered of all the Bowmans, she was by no means a coward. And she would not accept defeat without a fight. “You’re forcing me to take desperate measures,” she said. His reply was very soft. “There’s nothing you can do.” He had left her no choice. Daisy turned the key in the lock and carefully withdrew it. The decisive click was abnormally loud in the silence of the room. Calmly Daisy tugged the top edge of her bodice away from her chest. She held the key above the narrow gap. Matthew’s eyes widened as he understood what she intended. “You wouldn’t.” As he started around the dresser, Daisy dropped the key into her bodice, making certain it slipped beneath her corset. She sucked in her stomach and midriff until she felt the cold metal slide to her navel. “Damn it!” Matthew reached her with startling speed. He reached out to touch her, then jerked his hands back as if he had just encountered open flame. “Take it out,” he commanded, his face dark with outrage. “I can’t.” “I mean it, Daisy!” “It’s fallen too far down. I’ll have to take my dress off.” It was obvious he wanted to kill her. But she could also feel the force of his longing. His lungs were working like bellows, and scorching heat radiated from his body. His whisper contained the ferocity of a roar. “Don’t do this to me.” Daisy waited patiently. The next move was his. He turned his back to her, the seams of his coat straining over bunched muscles. His fists clenched as he struggled to master himself. He took a shuddering breath, and another, and when he spoke his voice sounded thick, as if he had just awakened from a heavy sleep. “Take off your gown.” Trying not to antagonize him any more than was necessary, Daisy replied in an apologetic tone. “I can’t do it by myself. It buttons up the back.” Matthew said something in a muffled voice that sounded very foul. After an eternity of silence he turned to face her. His jaw could have been cast in iron. “I’m not going to fall apart that easily. I can resist you, Daisy. I’ve had years of practice. Turn around.” Daisy obeyed. As she bent her head forward, she could actually feel his gaze travel over the endless row of pearl buttons. “How do you ever get undressed?” he muttered. “I’ve never seen so many blasted buttons on one garment.” “It’s fashionable.” “It’s ridiculous.” “You can send a letter of protest to Godey’s Lady’s Book,” she suggested. Giving a scornful snort, Matthew began on the top button. He tried to unfasten it while avoiding contact with her body. “It helps if you slide your fingers beneath the placket,” Daisy said. “And then you can pop the button through the—” “Quiet,” he snapped. She closed her mouth.
Lisa Kleypas (Scandal in Spring (Wallflowers, #4))
Weekly Layout Monday- Legs (Quad Dominant) and Calves A.1- Squat  6 sets total 7,5,3,7,5,3 B.1- Leg press 3-4 sets of 10 C.1- Leg Extension 3-4 sets of 10-15 C.2- Standing Calf Raise 3-4 sets of 15-20       Tuesday- Chest/Shoulder A.1- Dumbbell Bench Press 6 sets total 7,5,3,7,5,3 A.2- Leaning Lateral Raise 4 sets of 10-12 B.1- Incline Bench Press 6 sets total 7,5,3,7,5,3 B.2- Upright Rows 3 sets of 15-20 C.1- Machine Flies 3 sets of 8-10   Thursday- Back/Hamstrings A.1- Deadlift 6 sets total 7,5,3,7,5,3 A.2- Bent Over Row 3 sets of 8-10 B.1- Wide grip Pull-ups 3 sets of 10+ B.2- Cable Row 3 sets of 10-12 C.1- Leg Curl 3 sets of 6-8     Friday or Saturday- Arms    A.1- Dips with weight 6 sets total 7,5,3,7,5,3 A.2- EZ- Bar Curl 6 sets total 7,5,3,7,5,3 B.1- Hammer Curl 3 Sets of 6-8 B.2- Reverse Curl 3 Sets of 6-8 C.1- Close Grip Bench Press 3 Sets of 10-12 C.2- Skull Crushers 3 Sets of 10-12 CONCLUSION
Alexx Leyva (Weight Training: Muscle by Science: Your Simple Guide to Building a Muscular and Powerful Body (Build Muscle, Get Stronger, Workout, Gain Mass, Build Size, Gym, Weight Lifting, Exercise, Fitness))
DAY 1 CHEST & CALVES Incline Barbell Bench Press – Warm-up sets and then 3 working sets Incline Dumbbell Bench Press – 3 working sets Flat Barbell Bench Press – 3 working sets Optional: Dip (Chest Variation) – 3 working sets Calf Workout A If you can’t do dips, find out whether your gym has an assisted dip machine. If it doesn’t and you still want to do 3 more sets in your workout, you can do 3 sets of flat dumbbell presses. DAY 2 BACK & BUTT & ABS Barbell Deadlift – Warm-up sets and then 3 working sets Barbell Squat – 3 working sets Barbell Row – 3 working sets One-Arm Dumbbell Row – 3 working sets 3 to 6 ab circuits If you have lower-back issues, remember that you can swap the deadlift for a more lower-back-friendly variation like the sumo or hex deadlift, or you can drop it altogether and choose another “approved” exercise like the T-bar row. If you can’t do pull-ups or chin-ups, you can use a machine that assists you. If your gym doesn’t have one, you can do dumbbell rows instead. DAY 3 SHOULDERS & CALVES Seated or Standing Barbell Military Press – Warm-up sets and then 3 working sets Side Lateral Raise – 3 working sets Bent-Over Rear Delt Raise – 3 working sets Calf Workout B DAY 4 ARMS & ABS Barbell Curl – Warm-up sets and then 3 working sets Close-Grip Bench Press – Warm-up sets and then 3 working sets Alternating Dumbbell Curl – 3 working sets Seated Triceps Press – 3 working sets 3 to 6 ab circuits DAY 5 LEGS & BUTT Barbell Squat – Warm-up sets and then 3 working sets Leg Press – 3 working sets Romanian Deadlift – 3 working sets Hip Thrust – 3 working sets Calf Workout C If you’re going to lift 5 days per week, I recommend that you start with this routine for your first eight to ten weeks. It’s the first phase of the workouts you’ll find in the bonus report. In terms of which days to train on, most people like to lift Monday through Friday and take the weekends off, maybe doing some cardio on one or both of these days. This works well. Feel free to work your rest days however you want, though. Some people prefer to lift on the weekends and take off two days during the week. Work your cardio in as needed. You can lift and do cardio on the same days without an issue.
Michael Matthews (Thinner Leaner Stronger: The Simple Science of Building the Ultimate Female Body)
Your best compound exercises are squats, front squats, deadlifts, Trap Bar deadlifts, standing presses with barbells or dumbbells (or a single dumbbell), barbell and dumbbell bent-over rowing, pull-ups, chin-ups, pull-downs, weighted push-ups, bench presses (performed with barbells, dumbbells, or a single dumbbell), incline presses (performed with barbells, dumbbells, or a single dumbbell), shoulder shrugs (performed with a barbell, two dumbbells, one dumbbell or a Trap Bar), deadlifts from the knees (performed with the bar or Trap Bar elevated by resting the plates on sturdy wooden blocks), hand and thigh lifts, and Hise shrugs. (Many would add dips to the list; I don't because they're hard on the shoulders and can cause shoulder problems for many trainees, particularly older trainees.
Brooks D. Kubik (Dinosaur Training Secrets: Volume I: Exercises, Workouts and Training Programs)
Are we going to…” she started to ask, her voice turning scratchy. St. Vincent began on the front fastenings of her gown. “Are we going to…” he repeated, and followed her gaze to the bed. “Good God, no.” His fingers moved rapidly along her bodice, freeing the row of buttons. “Delectable as you are, my love, I’m too tired. I’ve never said this in my entire life—but at the moment I would much rather sleep than fuck.” Overwhelmed with relief, Evie let out an unsteady sigh. She was forced to clutch at him for balance as he pushed the loosened gown down over her hips. “I don’t like that word,” she said in a muffled voice. “Well, you had better get used to it,” came his caustic reply. “That word is said frequently at your father’s club. God knows how you managed to escape hearing it before.” “I did,” she said indignantly, stepping out of the discarded gown. “I just didn’t know what it meant until now.” St. Vincent bent to untie her shoes, his broad shoulders quivering. A curious gasping, choking noise came from him. At first Evie wondered anxiously if he had suddenly been taken ill, and then she realized that he was laughing. It was the first genuine laughter she had ever heard from him, and she had no idea what he found so funny. Standing over him in her chemise and drawers, she crossed her arms over her front and frowned.
Lisa Kleypas (Devil in Winter (Wallflowers, #3))
Finally, it was our turn and my stomach churned with anxiety and nerves. As we raced out onto the stage to form our positions before the curtain went up, Sara turned to me and said, “Break a leg, Julia!” “What?” I frowned. “That’s for good luck,” she smirked and then faced the audience whose applause was deafening once again. We lunged into our routine, with Sara in the front row, doing the somersaults that she was so good at and as usual, her precision and timing were excellent. The applause erupted again and with a flick of her long ponytail, she executed a very tricky interchange with Alex and then moved to the back. Alex attacked his moves with his usual gusto and the sharp, expressive movements which made him the stand out hip-hop dancer that he was. I felt a rush of pride at being a part of such a cool routine but just as I moved to the front position, I felt my leg give way under me. It was a completely involuntary reaction and one I was powerless to prevent. I was supposed to kneel down and support the weight of one of the smaller girls on my bent knee but unfortunately, it was the leg that I had injured that morning. There was no way I could bear her weight and the sharp pain caused my knee to drop just as Abbie pressed down on it to raise herself into the air. With a gasp from the audience, she went tumbling to the ground. Bright red with embarrassment, she glared at me in horror and all I could do was help her up and try to resume the timing and movements of the routine going on around us. Fortunately, Abbie had no trouble getting back into rhythm, but I just seemed to lose my place and was not able to recover. As if in slow motion, I felt myself limping around the stage after the others and then looking down, I realized that blood was oozing from my leg and onto the floor. I tried to ignore it and focus on the moves that I knew so well, but I was simply unable to get it together. Gratefully, Millie took over my spot and I moved once again to the back row, trying to camouflage myself amongst the others. The scene around me was almost surreal and I felt as though I were a spectator watching the event unfold from afar. The swirling, twisting and turning of the dancers in front of me, along with the steady thumping beat of the latest hip-hop song that everyone knew so well, all seemed to mesh together into a whirlpool of crazy colors and sounds. Then, feeling a slight nudge in my lower back, I was pushed towards the front of the stage. An instant flash of recall had me leaping into the air. Everyone still considered this moment the highlight of our routine. It was the grand finale and my chance to relinquish my status as actually being a decent dancer and choreographer. Flinging my arms and legs forward, I came down onto the stage, one foot at a time. Then reminiscent of that morning’s episode in the school driveway, rather than gripping onto the stage in a final dramatic stomp, my foot slid forward and just kept on going until my whole body landed horizontally on the floor with a loud bang. In a blur of dizziness, I sat up and looked around then saw that I had slipped on a pool of blood; blood that had oozed from the gash in my knee and onto the stage. At that very moment, I was overcome with a sudden rush of nausea and unable to stop the sudden convulsion, I vomited all over the floor in front of me. Too terrified to open my eyes, I wished I could turn back the clock. Back to the day of our dress rehearsal when everything had gone so smoothly. My final leap had been the high point of the day, where even Miss Sheldon and also Alex our expert hip hop dancer, had congratulated me on my performance. I dared to glance fearfully out into the audience. Everyone appeared aghast and I could see the shocked expressions of my mom and dad. Then, realizing I was surrounded by worried faces peering down at me, everything suddenly went black.
Katrina Kahler (My Worst Day Ever! (Julia Jones' Diary #1))
Until he was almost ten the name stuck to him. He had literally to fight his way free of it. From So Big (of fond and infantile derivation) it had been condensed into Sobig. And Sobig DeJong, in all its consonantal disharmony, he had remained until he was a ten-year-old schoolboy in that incredibly Dutch district southwest of Chicago known first as New Holland and later as High Prairie. At ten, by dint of fists, teeth, copper-toed boots, and temper, he earned the right to be called by his real name, Dirk DeJong. Now and then, of course, the nickname bobbed up and had to be subdued in a brief and bitter skirmish. His mother, with whom the name had originated, was the worst offender. When she lapsed he did not, naturally, use schoolyard tactics on her. But he sulked and glowered portentously and refused to answer, though her tone, when she called him So Big, would have melted the heart of any but that natural savage, a boy of ten. The nickname had sprung from the early and idiotic question invariably put to babies and answered by them, with infinite patience, through the years of their infancy. Selina DeJong, darting expertly about her kitchen, from washtub to baking board, from stove to table, or, if at work in the fields of the truck farm, straightening the numbed back for a moment’s respite from the close-set rows of carrots, turnips, spinach, or beets over which she was labouring, would wipe the sweat beads from nose and forehead with a quick duck of her head in the crook of her bent arm.
Edna Ferber (So Big)
could. Jeu Gong was not so fortunate. He would have to find his bride in America. There was talk of a servant girl who lived in Gunnison. She cared for the Wong family’s two young sons and worked in their grocery. Her name was Katherine, an American name, a name that did not spend its childhood barefoot, bent over rows of dry earth, harvesting sweet potatoes. In China she was Hang Toy, an orphaned peasant. In America she was Katherine Wong, adoptive daughter of a wealthy merchant. Jeu
Adrienne Berard (Water Tossing Boulders: How a Family of Chinese Immigrants Led the First Fight to Desegregate Schools in the Jim Crow South)
The only human in evidence was a white-haired Constable whose belly had created a visible divergence between his two rows of brass buttons. He was bent over using a trowel to extract a steaming turd from the emerald grass. Circumstances suggested that it had come from one of two corgis who were even now slamming their preposterous bodies into each other not far away, trying to roll each other over, which runs contrary to the laws of mechanics even in the case of corgis that are lean and trim, which these were not. This struggle, which appeared to be only one skirmish in a conflict of epochal standing, had driven all lesser considerations, such as guarding the gate, from the combatants' sphere of attention, and so it was the Constable who first noticed Nell and Harv. “Away with you!” he hollered cheerfully enough, waving his redolent trowel down the hill. “We've no work for such as you today! And the free matter compilers are all down by the waterfront.
Neal Stephenson (The Diamond Age)
They grew some of their own vegetables, but Semple was never in eighteen years allowed out into the truck gardens. Instead, he watched out the north window of the violent ward through the thick cyclone mesh and felt himself out there, going down the rows of corn, cutting suckers or tugging up the dark-leafed weeds, feeling the strain low in his back and hearing the dry rustle of stalks in the July wind; the sun reddening his neck and rills of sweat cutting lines through the dust on his cheeks; bent over, his hands green stained and sore, blistered and cut from the weeds and the sharp-edged corn plant leaves; feet hot and swollen in state-issue shoes cracked and dirty; but smelling it, the corn, the dirt, the hand-mashed weeds, the sticky white milk gumming and clotting his fingers; the smell on cloudy days when everything was heavy with the expectancy of rain and sullen with the summer heat, the smell denser then, making him straighten up, his nose high, waiting for it, for something, a man in silhouette against the background of corn, like all the other men in cornfields and gardens and on farms, even the men in cities between the buildings on crowded streets lifting their noses to the heavy clouds and feeling the expectancy of the rain, waiting for the first thick drops to sound against the corn, to strike his face. And then the gallop home through sheets of rain, ducking into doorways, newspapers over heads, laughter coming up out of the heart at this common happening, and men together, in doorways, cafeterias, kitchens, barns, tractor sheds, or even in the lee of haystacks, looking at each other happily with wet red faces because it was raining hard. Loving it and feeling joy from such a thing. He stood at the window and made it happen, even under a blue sky. And would, early in his eighteen years, turn front eh window expressing how he felt in snapping wild-eyed growls and grunts, his hands jerking out of control and his legs falling out from under him, thrashing between the beds, bumping along the floors, his contorted face frightening the other madmen into shrieks and fits and dribbles; happy, so happy inside that it all burst in one white hot uncontrollable surge; the two white-coated attendants coming with their stockings full of powdered soap rolled into fists to club him without marking him, knocking him into enough submission that they could drag him twitching still across the open floor and out to the restraining sheets.
Don Carpenter (Blade of Light)
They grew some of their own vegetables, but Semple was never in eighteen years allowed out into the truck gardens. Instead, he watched out the north window of the violent ward through the thick cyclone mesh and felt himself out there, going down the rows of corn, cutting suckers or tugging up the dark-leafed weeds, feeling the strain low in his back and hearing the dry rustle of stalks in the July wind; the sun reddening his neck and rills of sweat cutting lines through the dust on his cheeks; bent over, his hands green stained and sore, blistered and cut from the weeds and the sharp-edged corn plant leaves; feet hot and swollen in state-issue shoes cracked and dirty; but smelling it, the corn, the dirt, the hand-mashed weeds, the sticky white milk gumming and clotting his fingers; the smell on cloudy days when everything was heavy with the expectancy of rain and sullen with the summer heat, the smell denser then, making him straighten up, his nose high, waiting for it, for something, a man in silhouette against the background of corn, like all the other men in cornfields and gardens and on farms, even the men in cities between the buildings on crowded streets lifting their noses to the heavy clouds and feeling the expectancy of the rain, waiting for the first thick drops to sound against the corn, to strike his face. And then the gallop home through sheets of rain, ducking into doorways, newspapers over heads, laughter coming up out of the heart at this common happening, and men together, in doorways, cafeterias, kitchens, barns, tractor sheds, or even in the lee of haystacks, looking at each other happily with wet red faces because it was raining hard. Loving it and feeling joy from such a thing. He stood at the window and made it happen, even under a blue sky. And would, early in his eighteen years, turn from the window expressing how he felt in snapping wild-eyed growls and grunts, his hands jerking out of control and his legs falling out from under him, thrashing between the beds, bumping along the floors, his contorted face frightening the other madmen into shrieks and fits and dribbles; happy, so happy inside that it all burst in one white hot uncontrollable surge; the two white-coated attendants coming with their stockings full of powdered soap rolled into fists to club him without marking him, knocking him into enough submission that they could drag him twitching still across the open floor and out to the restraining sheets.
Don Carpenter (Blade of Light)
For two full days we picked green beans out in the field, under the molten rays of the summer sun, rows and rows of beans. And the more rows I picked alongside Serafino, the madder I grew inside, thinking about those charityless, virtueless, and benevolentless shitheads who have spread about this glorious land a melodyless song, a giftless song that accuses the immigrant of stealing their lunches—when in fact they are picking, packing, and purveying them.* Millions of immigrant workers—men, women, and children—ignorant, poor, yet so ripe with hope and determination and humility, even while bent over at the waist, picking America’s crops, servicing America’s insatiable appetite, shouldering the heaviest and most dangerous loads, not so much for themselves, but for America, daily, joyously, like Whitman’s song: “A song for occupations! / In the labor of engines and trades and the labor of fields I find / the developments,
Richard Horan (Harvest: An Adventure into the Heart of America's Family Farms)
Even while I dreamed I prayed that what I saw was only fear and no foretelling, for I saw the last known landscape destroyed for the sake of the objective, the soil bludgeoned, the rock blasted. Those who had wanted to go home would never get there now. I visited the offices where for the sake of the objective the planners planned at blank desks set in rows. I visited the loud factories where the machines were made that would drive ever forward toward the objective. I saw the forest reduced to stumps and gullies; I saw the poisoned river, the mountain cast into the valley; I came to the city that nobody recognized because it looked like every other city. I saw the passages worn by the unnumbered footfalls of those whose eyes were fixed upon the objective. Their passing had obliterated the graves and the monuments of those who had died in pursuit of the objective and who had long ago forever been forgotten, according to the inevitable rule that those who have forgotten forget that they have forgotten. Men, women, and children now pursued the objective as if nobody ever had pursued it before. The races and the sexes now intermingled perfectly in pursuit of the objective. the once-enslaved, the once-oppressed were now free to sell themselves to the highest bidder and to enter the best paying prisons in pursuit of the objective, which was the destruction of all enemies, which was the destruction of all obstacles, which was the destruction of all objects, which was to clear the way to victory, which was to clear the way to promotion, to salvation, to progress, to the completed sale, to the signature on the contract, which was to clear the way to self-realization, to self-creation, from which nobody who ever wanted to go home would ever get there now, for every remembered place had been displaced; the signposts had been bent to the ground and covered over. Every place had been displaced, every love unloved, every vow unsworn, every word unmeant to make way for the passage of the crowd of the individuated, the autonomous, the self-actuated, the homeless with their many eyes opened toward the objective which they did not yet perceive in the far distance, having never known where they were going, having never known where they came from.
Wendell Berry (A Timbered Choir: The Sabbath Poems 1979-1997)