Big O Tires Quotes

O God," you pray, "I'm so small and the universe is so big. What can I possibly say? What can I add to this explosion of glory? My mind is slow and unsteady, my heart is twisted and tired, my hands are smudged with sin. I have nothing—nothing—to offer." Write about that. "What do you mean?" Write about your smallness. Write about your sin, your heart, your inability to say anything worth saying. Watch what happens.

I’m tired of sailing my little boat Far inside of the harbor bar; I want to be out where the big ships float — Out on the deep where the Great Ones are! … And should my frail craft prove too slight For storms that sweep those wide seas o’er, Better go down in the stirring fight Than drowse to death by the sheltered shore! — Daisy Rinehart

DOCTOR AIN WAS recognized on the Omaha-Chicago flight. A biologist colleague from Pasadena came out of the toilet and saw Ain in an aisle seat. Five years before, this man had been jealous of Ain's huge grants. Now he nodded coldly and was surprised at the intensity of Ain's response. He almost turned back to speak, but he felt too tired; like nearly everyone, he was fighting the flu. The stewardess handing out coats after they landed remembered Ain too: A tall thin nondescript man with rusty hair. He held up the line staring at her; since he already had his raincoat with him she decided it was some kooky kind of pass and waved him on. She saw Ain shamble off into the airport smog, apparently alone. Despite the big Civil Defense signs, O'Hare was late getting underground. No one noticed the woman. - 'The Last Flight of Doctor Ain

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Shouting didn't help. Kathy keyed her landing skids down and strangled the thruster grips onto full. A flagman on the ground dove sideways. The fighter whizzed past the man's prostrate body, her skids unfolding only feet above his head. She nearly beheaded three others as she scrambled to decrease power to her belly thrusters and fight spinning into a sideways slide. Suddenly a group of people came into view at the edge of the tarmac. “Oh shit!” She killed her belly thrusters completely. The skids hit the cement like a Boeing 747 with no tires. She slammed back into the seat. Metal screeched against cement. Everything shook like a jackhammer. The big Shimeron slued sideways then slammed her into her harness as it lurched to a halt. Every part of her including her hands shook. She took a deep breath and tried to calm her tremors enough to power down. “You did it, O’Donnell,” she said as the gyros whined down in a groan of sympathy. She removed her helmet and pushed back her flight suit hood only to have a pile of sopping wet sparkling hair flop out over her face. She swiped it away and released the canopy. A blast of cool ocean air filled the cockpit. Carefully, she peered over the side of the cockpit. Bodies lay strewn about on the ground. A few prostrate forms moved. Kathy sank down into the seat with a grimace. Great, you just killed your welcoming committee, you twit.

NIGHT, DEATH, MISSISSIPPI By Robert Hayden 1. A quavering cry. Screech-owl? Or one of them? The old man in his reek and gauntness laughs – One of them, I bet – and turns out the kitchen lamp, limping to the porch to listen in the windowless night. Be there with Boy and the rest if I was well again. Time was. Time was. White robes like moonlight In the sweetgum dark. Unbucked that one then and him squealing bloody Jesus as we cut it off. Time was. A cry? A cry all right. He hawks and spits, fevered as by groinfire. Have us a bottle, Boy and me – he’s earned him a bottle – when he gets home. 2 Then we beat them, he said, beat them till our arms was tired and the big old chains messy and red. O Jesus burning on the lily cross Christ, it was better than hunting bear which don’t know why you want him dead. O night, rawhead and bloodybones night You kids fetch Paw some water now so’s he can wash that blood off him, she said. O night betrayed by darkness not its own CHAPTER FOUR THE LYNCHING OF JESSE WASHINGTON: "Haven't I one friend in this crowd?

NIGHT, DEATH, MISSISSIPPI By Robert Hayden 1. A quavering cry. Screech-owl? Or one of them? The old man in his reek and gauntness laughs – One of them, I bet – and turns out the kitchen lamp, limping to the porch to listen in the windowless night. Be there with Boy and the rest if I was well again. Time was. Time was. White robes like moonlight In the sweetgum dark. Unbucked that one then and him squealing bloody Jesus as we cut it off. Time was. A cry? A cry all right. He hawks and spits, fevered as by groinfire. Have us a bottle, Boy and me – he’s earned him a bottle – when he gets home. 2 Then we beat them, he said, beat them till our arms was tired and the big old chains messy and red. O Jesus burning on the lily cross Christ, it was better than hunting bear which don’t know why you want him dead. O night, rawhead and bloodybones night You kids fetch Paw some water now so’s he can wash that blood off him, she said. O night betrayed by darkness not its own

Shaking my head, I grudgingly smiled. “Will the pizza be here soon?” “Yes,” he murmured, suddenly next to me. “You smell good.” Before I could speak, his lips were on mine for a brief touch. I froze for the seconds our lips met and remained a little frozen when he pulled away. As he leaned back, his lips curved into a gentle grin. “Those lips of yours are fucking gorgeous.” Covering my mouth, I sighed. All of my life, I heard about my fat lips. As a kid, people would tease me about how my lips were big enough to eat my whole head. My grandma especially liked that one. When I got older, the comments were always sexual. I hated when people talked about my lips. “You don’t like them,” he said as his fingers drifted along my calf. “Why?” “I like them fine.” “Do guys want to do something with those lips?” Resting my head back on the couch, I sighed. “I’m tired and you’re making me feel dirty.” Cooper’s hand stopped caressing my leg. When I looked at him, he stared back with an edgy expression. “You take things too personally,” he said, holding my gaze. “When guys talk about using my mouth for stuff as if it’s all I’m good for, why wouldn’t I take that personally?” “Not all you’re good for, but you have sexy lips. Like when I threw the bottle, you did this thing with your lips and made a perfect little ‘O’ shape. It was frigging hot and I almost forgot I wanted to beat the shit out of those guys.

PART1: To say Sean felt stressed was a huge understatement. Give him a cliff to scale or a bar brawl to break up. Hell, give him a freight train to try to outrun, anything but having to pull off being the best man for his brother Finn’s wedding—including but not limited to keeping said brother from losing his collective shit. It’s not like Sean didn’t understand. Getting married was a big deal. Okay, so he didn’t fully understand, not really, but he wanted to. He really did. And how funny was that? Sean O’Riley, younger brother, hook-up king extraordinaire, was suddenly tired of the game and found himself aching for his own forever after. “We almost there?” Finn asked him from the backseat of the vehicle Sean was driving. “Yep.” “And you double checked on our reservations?” “Yep.” “No, I’m serious, man,” Finn said. “Remember when you took me to Vegas and when we got there, every hotel was booked and we had to stay at the Magic-O motel?” “Man, a guy screws up one time . . .” “We had a stripper pole in our rooms, Sean.” Sean sighed. “Okay, but to be fair, that was back when I was still in my stupid phase. I promise you that we have reservations—no stripper poles. I even double and triple checked, just like you asked me a hundred and one times. Pru, I hope you realize you’re marrying a nag.” Pru, Finn’s fiancée, laughed from the shotgun position. “Hey, one of us has to be the nag in this relationship, and it isn’t me.” Sean held up a palm and Pru leaned over the console to give him a high-five. “Just so you know,” Sean said to Finn, “I didn’t pick this place, your woman did.” “True story,” Pru said. “The B&B’s closed to the public this entire weekend. Sean booked the whole place for our bachelor/bachelorette party weekend extravaganza.” “I superheroed this thing,” Sean said. Finn snorted and let loose of a small smile because they both knew that for most of Sean’s childhood, that’s what he’d aspired to be, a superhero—sans tights though. Tights had never been Sean’s thing, especially after suffering through them for two seasons in high school football before he’d mercifully cracked his clavicle.

answered, pulling on his overcoat. All the loneliness of the evening seemed to descend upon her at once then and she said with the suggestion of a whine in her voice, ‘Why don’t you take me with you some Saturday?’ ‘You?’ he said. ‘Take you? D’you think you’re fit to take anywhere? Look at yersen! An’ when I think of you as you used to be!’ She looked away. The abuse had little sting now. She could think of him too, as he used to be; but she did not do that too often now, for such memories had the power of evoking a misery which was stronger than the inertia that, over the years, had become her only defence. ‘What time will you be back?’ ‘Expect me when you see me,’ he said at the door. ‘Is’ll want a bite o’ supper, I expect.’ Expect him at whatever time his tipsy legs brought him home, she thought. If he lost he would drink to console himself. If he won he would drink to celebrate. Either way there was nothing in it for her but yet more ill temper, yet further abuse. She got up a few minutes after he had gone and went to the back door to look out. It was snowing again and the clean, gentle fall softened the stark and ugly outlines of the decaying outhouses on the patch of land behind the house and gently obliterated Scurridge’s footprints where they led away from the door, down the slope to the wood, through which ran a path to the main road, a mile distant. She shivered as the cold air touched her, and returned indoors, beginning, despite herself, to remember. Once the sheds had been sound and strong and housed poultry. The garden had flourished too, supplying them with sufficient vegetables for their own needs and some left to sell. Now it was overgrown with rampant grass and dock. And the house itself – they had bought it for a song because it was old and really too big for one woman to manage; but it too had been strong and sound and it had looked well under regular coats of paint and with the walls pointed and the windows properly hung. In the early days, seeing it all begin to slip from her grasp, she had tried to keep it going herself. But it was a thankless, hopeless struggle without support from Scurridge: a struggle which had beaten her in the end, driving her first into frustration and then finally apathy. Now everything was mouldering and dilapidated and its gradual decay was like a symbol of her own decline from the hopeful young wife and mother into the tired old woman she was now. Listlessly she washed up and put away the teapots. Then she took the coal-bucket from the hearth and went down into the dripping, dungeon-like darkness of the huge cellar. There she filled the bucket and lugged it back up the steps. Mending the fire, piling it high with the wet gleaming lumps of coal, she drew some comfort from the fact that this at least, with Scurridge’s miner’s allocation, was one thing of which they were never short. This job done, she switched on the battery-fed wireless set and stretched out her feet in their torn canvas shoes to the blaze. They were broadcasting a programme of old-time dance music: the Lancers, the Barn Dance, the Veleta. You are my honey-honey-suckle, I am the bee… Both she and

Is that The Mountain?” asked Bilbo in a solemn voice, looking at it with round eyes. He had never seen a thing that looked so big before. “Of course not!” said Balin. “That is only the beginning of the Misty Mountains, and we have got to get through, or over, or under those somehow, before we can come into Wilderland beyond. And it is a deal of a way even from the other side of them to the Lonely Mountain in the East where Smaug lies on our treasure.” “O!” said Bilbo, and just at that moment he felt more tired than he ever remembered feeling before. He was thinking once again of his comfortable chair before the fire in his favourite sitting-room in his hobbit-hole, and of the kettle singing. Not for the last time!

Fundamentals of Esperanto The grammatical rules of this language can be learned in one sitting. Nouns have no gender & end in -o; the plural terminates in -oj & the accusative, -on Amiko, friend; amikoj, friends; amikon & amikojn, accusative friend & friends. Ma amiko is my friend. A new book appears in Esperanto every week. Radio stations in Europe, the United States, China, Russia & Brazil broadcast in Esperanto, as does Vatican Radio. In 1959, UNESCO declared the International Federation of Esperanto Speakers to be in accord with its mission & granted this body consultative status. The youth branch of the International Federation of Esperanto Speakers, UTA, has offices in 80 different countries & organizes social events where young people curious about the movement may dance to recordings by Esperanto artists, enjoy complimentary soft drinks & take home Esperanto versions of major literary works including the Old Testament & A Midsummer Night’s Dream. William Shatner’s first feature-length vehicle was a horror film shot entirely in Esperanto. Esperanto is among the languages currently sailing into deep space on board the Voyager spacecraft. - Esperanto is an artificial language constructed in 1887 by L. L. Zamenhof, a polish oculist. following a somewhat difficult period in my life. It was twilight & snowing on the railway platform just outside Warsaw where I had missed my connection. A man in a crumpled track suit & dark glasses pushed a cart piled high with ripped & weathered volumes— sex manuals, detective stories, yellowing musical scores & outdated physics textbooks, old copies of Life, new smut, an atlas translated, a grammar, The Mirror, Soviet-bloc comics, a guide to the rivers & mountains, thesauri, inscrutable musical scores & mimeographed physics books, defective stories, obsolete sex manuals— one of which caught my notice (Dr. Esperanto since I had time, I traded my used Leaves of Grass for a copy. I’m afraid I will never be lonely enough. There’s a man from Quebec in my head, a friend to the purple martins. Purple martins are the Cadillac of swallows. All purple martins are dying or dead. Brainscans of grown purple martins suggest these creatures feel the same levels of doubt & bliss as an eight-year-old girl in captivity. While driving home from the brewery one night this man from Quebec heard a radio program about purple martins & the next day he set out to build them a house in his own back yard. I’ve never built anything, let alone a house, not to mention a home for somebody else. Never put in aluminum floors to smooth over the waiting. Never piped sugar water through colored tubes to each empty nest lined with newspaper shredded with strong, tired hands. Never dismantled the entire affair & put it back together again. Still no swallows. I never installed the big light that stays on through the night to keep owls away. Never installed lesser lights, never rested on Sunday with a beer on the deck surveying what I had done & what yet remained to be done, listening to Styx while the neighbor kids ran through my sprinklers. I have never collapsed in abandon. Never prayed. But enough about the purple martins. Every line of the work is a first & a last line & this is the spring of its action. Of course, there’s a journey & inside that journey, an implicit voyage through the underworld. There’s a bridge made of boats; a carp stuffed with flowers; a comic dispute among sweetmeat vendors; a digression on shadows; That’s how we finally learn who the hero was all along. Weary & old, he sits on a rock & watches his friends fly by one by one out of the song, then turns back to the journey they all began long ago, keeping the river to his right.