Boston Accent Quotes

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I'm going to take you back to our room. I'm going to bend you over the end of our fucking bed, and I'm going to fill you so full of me you'll be screaming in a Boston accent.
Abigail Roux (Cross & Crown (Sidewinder, #2))
Yeah? Well, you and your snooty, all-knowing witches have never been to the moon. My people have, because it was there and it was a good thing to do," Lily said in her best Boston accent. "So bite my scientist-loving ass.
Josephine Angelini (Trial by Fire (Worldwalker, #1))
Flight 2039 to Boston is now boarding at gate 14A," a voice announced over the PA system. Nellie sighed. "I love Irish accents." She paused. "And Australian accents. And English accents." A dreamy look came over her face. "Theo had an awesome accent." Dan snorted. "Yeah, there was just that one tiny problem. He turned out to be a two-timing, backstabbing thief.
Rick Riordan (The Black Book of Buried Secrets)
When she says margarita she means daiquiri. When she says quixotic she means mercurial. And when she says, "I'll never speak to you again," she means, "Put your arms around me from behind as I stand disconsolate at the window." He's supposed to know that. When a man loves a woman he is in New York and she is in Virginia or he is in Boston, writing, and she is in New York, reading, or she is wearing a sweater and sunglasses in Balboa Park and he is raking leaves in Ithaca or he is driving to East Hampton and she is standing disconsolate at the window overlooking the bay where a regatta of many-colored sails is going on while he is stuck in traffic on the Long Island Expressway. When a woman loves a man it is one ten in the morning she is asleep he is watching the ball scores and eating pretzels drinking lemonade and two hours later he wakes up and staggers into bed where she remains asleep and very warm. When she says tomorrow she means in three or four weeks. When she says, "We're talking about me now," he stops talking. Her best friend comes over and says, "Did somebody die?" When a woman loves a man, they have gone to swim naked in the stream on a glorious July day with the sound of the waterfall like a chuckle of water rushing over smooth rocks, and there is nothing alien in the universe. Ripe apples fall about them. What else can they do but eat? When he says, "Ours is a transitional era," "that's very original of you," she replies, dry as the martini he is sipping. They fight all the time It's fun What do I owe you? Let's start with an apology Ok, I'm sorry, you dickhead. A sign is held up saying "Laughter." It's a silent picture. "I've been fucked without a kiss," she says, "and you can quote me on that," which sounds great in an English accent. One year they broke up seven times and threatened to do it another nine times. When a woman loves a man, she wants him to meet her at the airport in a foreign country with a jeep. When a man loves a woman he's there. He doesn't complain that she's two hours late and there's nothing in the refrigerator. When a woman loves a man, she wants to stay awake. She's like a child crying at nightfall because she didn't want the day to end. When a man loves a woman, he watches her sleep, thinking: as midnight to the moon is sleep to the beloved. A thousand fireflies wink at him. The frogs sound like the string section of the orchestra warming up. The stars dangle down like earrings the shape of grapes.
David Lehman (When a Woman Loves a Man: Poems)
... and he had a Boston accent that could scrape the rust from a manhole cover.
Neal Stephenson (Reamde)
The accent is a really hard thing for me. It reminds me of my family and my childhood, but it’s one of the worst-sounding accents out there. I love Boston, but we sound like idiots.
Amy Poehler (Yes Please)
So I’m standing in a tree thirty feet above the pond with my three friends and my friend Pat says, “Dude, jump!” And I look down at the water, which is so far away, and I say, “That doesn’t seem like a good plan.” And they said, “Dude, we already jumped, it’s no biggie. What’s the worst thing that could happen? It’s only watah” (that’s “water” with a Boston accent), which is really flawed logic, that watah logic. I learn later that many bad things historically have happened in water. Shark attacks. Drowning. Bad sex. But my friend Nick makes an argument that in Massachusetts is irrefutable. He’s like, “Do it.” So I do.
Mike Birbiglia (Sleepwalk with Me: and Other Painfully True Stories)
I had loved Portland. It was a clean city, with weather so delicate that at night you had to look at the streetlights to tell whether it was raining or snowing. Everything was heavier near Boston: air, accents, women.
Elizabeth McCracken (Here's Your Hat What's Your Hurry)
I was recently on a plane from Raleigh to Boston when I overheard a conversation between two women in the seats behind me that captured the national mood perfectly. An older woman with a Boston accent remarked, “It’s gone to shit. Everything’s gone to shit. The economy is terrible. Crime is crazy—I mean, I just go to work and come home and I don’t even go out.” The younger woman, who had a Southern accent, sighed knowingly. “It makes you wonder if you want to bring a child into this world,” she said. These were women who could afford airplane tickets. They were traveling between two affluent cities during a period of historically low crime rates in the richest nation during the wealthiest period of the history of the world. Clearly, it didn’t feel that way.
Keith Payne (The Broken Ladder: How Inequality Affects the Way We Think, Live, and Die)
To pass the time, he hunted through the apartment, patting surfaces down with his palms in an attempt to find computers, extra phones, more goddamn guns. He’d just returned to the second bedroom when something ricocheted off the window. Wrath unholstered his forty again and back-flatted it on the wall next to the window. With his hand, he sprang the lock and pushed the sheet of glass open a crack. The cop’s Boston accent was about as subtle as a loudspeaker. “Yo, Rapunzel, you going to let down your frickin’ hair, there?” “Shh, you wanna wake the neighbors?” “Like they can hear anything over that TV? Hey, this is the bat epi…” Wrath left Butch to talk to himself, putting his gun back on his hip, pushing the window wide, then heading for the closet. The only warning he gave the cop as he winged the first two-hundred-pound crate out of the building was, “Brace yourself, Effie.” “Jesus Ch—” A grunt cut off the swearing. Wrath poked his head out of the window and whispered, “You’re supposed to be a good Catholic. Isn’t that blasphemy?” Butch’s tone was like someone had pissed out a fire on his bed. “You just threw half a car at me with nothing but a quote from Mrs. fucking Doubtfire.” “Put on your big-girl pants and deal.” As the cop cursed his way over to the Escalade, which he’d managed to park under some pine trees, Wrath headed back to the closet. When Butch returned, Wrath heaved again. “Two more.” There was another grunt and a rattle. “Fuck me.” “Not on your life.” “Fine. Fuck you.” -Butch & Wrath
J.R. Ward (Lover Avenged (Black Dagger Brotherhood, #7))
MY FIRST ASSIGNMENT AFTER BEING ORDAINED as a pastor almost finished me. I was called to be the assistant pastor in a large and affluent suburban church. I was glad to be part of such an obviously winning organization. After I had been there a short time, a few people came to me and asked that I lead them in a Bible study. “Of course,” I said, “there is nothing I would rather do.” We met on Monday evenings. There weren’t many—eight or nine men and women—but even so that was triple the two or three that Jesus defined as a quorum. They were eager and attentive; I was full of enthusiasm. After a few weeks the senior pastor, my boss, asked me what I was doing on Monday evenings. I told him. He asked me how many people were there. I told him. He told me that I would have to stop. “Why?” I asked. “It is not cost-effective. That is too few people to spend your time on.” I was told then how I should spend my time. I was introduced to the principles of successful church administration: crowds are important, individuals are expendable; the positive must always be accented, the negative must be suppressed. Don’t expect too much of people—your job is to make them feel good about themselves and about the church. Don’t talk too much about abstractions like God and sin—deal with practical issues. We had an elaborate music program, expensively and brilliantly executed. The sermons were seven minutes long and of the sort that Father Taylor (the sailor-preacher in Boston who was the model for Father Mapple in Melville’s Moby Dick) complained of in the transcendentalists of the last century: that a person could no more be converted listening to sermons like that than get intoxicated drinking skim milk.[2] It was soon apparent that I didn’t fit. I had supposed that I was there to be a pastor: to proclaim and interpret Scripture, to guide people into a life of prayer, to encourage faith, to represent the mercy and forgiveness of Christ at special times of need, to train people to live as disciples in their families, in their communities and in their work. In fact I had been hired to help run a church and do it as efficiently as possible: to be a cheerleader to this dynamic organization, to recruit members, to lend the dignity of my office to certain ceremonial occasions, to promote the image of a prestigious religious institution. I got out of there as quickly as I could decently manage it. At the time I thought I had just been unlucky. Later I came to realize that what I experienced was not at all uncommon.
Eugene H. Peterson (Run with the Horses: The Quest for Life at Its Best)
he had a Boston accent that could scrape the rust from a manhole cover.
Neal Stephenson (Reamde)
His burrito is halfway to his mouth as he says, “Takes me a week and a half to get through a self-help book when a new season of The Challenge comes out.” Then he takes a bite of his burrito, and honestly, from the lack of facial expressions, I can’t tell if he’s being serious or not. Might as well test his knowledge. “You watch The Challenge?” He nods slowly. “CT for life.” Okay, okay, don’t freak out. Gah . . . but CT! “He’s my dream man,” I say before I can stop myself. “Heavy Boston accent, troubled past, buff—even in his dad-bod era—and just a fine piece of ass.
Meghan Quinn (A Not So Meet Cute (Cane Brothers, #1))
Teasdale doesn't have money for an attorney," he said. "Especially one from Boston. Who are you, really?" Sidney lifted her chin. "An attorney from Boston." "You don't sound like it." She lifted an eyebrow. "Like an attorney?" He scoffed. "No, you have that droning drivel down. You don't sound Boston." She shrugged. "I didn't start out there." "You sound like Sawyer," he said with a nod toward wherever Sawyer had headed. She refused to turn around to find out. "Well, I'm sure there are more than just two of us from---" "You know him," Crane said, narrowing his eyes. Sidney's tongue faltered, and she cleared her throat. "You're from the same place, aren't you?" he asked. "The same little hick town." "Because we both have an accent?" she asked, laughing, hoping it would cover up her lie. "Because of how I just saw him look at you," Crane said, studying Sidney with a grin. "Like a lovesick schoolboy. Holy shit, you're her>." Sidney's breath felt trapped in her chest, unable to move in or out, just held captive there. Sawyer had a her? And she was it? "I---I'm who?" "The girl he came to town all messed up over," Crane said, crossing his own arms. "A hundred years ago. Well, well, well." All messed up over. After punching out his own father. Defending her. Damn it if all her carefully constructed and ancient defenses weren't crumbling around her regarding him. The boy who shattered her already shaky confidence. The reason she bitterly swore off love and dove into work, into making herself a hard and formidable beast. A beast without people skills but still. And now... "We were friends in high school, yes," Sidney managed to push out, her voice sounding decidedly wobbly. "That has no bearing on Mr. Teasdale's case." "Which came to you how, again?" Crane asked. Sidney smiled. "I'll ask the questions." Crane winked, and she so much wanted to slug him. "Nice deflection. What firm are you with?" "Finley and Blossom." "Blossom?" he asked. And it wasn't about the name. It was recognition. Shit. "Yes, sir." "His damn niece," Crane said, slapping a big hand against the ladder. "I forgot she was a lawyer. Damn it. She sent you." Oh, seven kinds of hell, now this wall was disintegrating, too. She needed a suit of armor. "Everything okay?" said a voice from directly behind her. A voice that sent shock waves to all her nether regions, especially coupled with thee hand that rested on the back of her neck. Crap, she needed more than armor. Sidney needed a force field. "I work for her," Sidney said, ignoring Sawyer's question and fighting the urge to settle back against him. "And you need to bring back the win," Crane said, chuckling. God help her if she was ever up against this asshole in court.
Sharla Lovelace (The Cottage on Pumpkin and Vine)
So did Marcus and Colin Shaughnessy, the final two in the great hall, brothers with thick Boston accents and huge, stubby-fingered red hands, who restored old houses for a living. Marcus, short, was dressed in red overalls. Colin, tall, wore green.
Kate Racculia (Tuesday Mooney Talks To Ghosts)
Your English is great. Why do your compadres choose to not adapt to an American accent when speaking English? NACHO MAMA Dear Gabacha: What the hell is an American accent, anyway? The drawl of the South? The lazy uh s of beachside Southern California? It’s difficult enough to learn a second language, and now you want Mexicans to adopt a mythical “American” accent?! When a Mexican keeps his accent, he’s just continuing the proud American ethnic tradition of allowing one’s native tongue to influence a region’s cadence—examples include the Scandinavian singsong common to Minnesota and North Dakota, the Irish brogues of Boston, the hurried Italian of Philadelphia, the Jewish nasal inflections of New York City, and so on.
Gustavo Arellano (Ask a Mexican)
I’m shanty Irish. A south Boston boy—you’ll hear the accent when I get excited or drunk,” Hennessey said. “We know potatoes. But most of us still can’t make a decent slab of hash browns to save our lives. We can boil stuff like nobody’s business, but frying is too exotic.
Neal Stephenson (The Cobweb: A Novel)
What? It’s what the baby wanted. Don’t blame me. Blame them.”  “It’s also what I wanted.” It’s a voice in the background. Male. Boston accent.  “Is that Rio?” I ask, taking my phone back from my brother. 
Liz Tomforde (Play Along (Windy City, #4))
You have an accent I do not recognize," he was saying. 'Tis certainly not local…." "Really, Lord Gareth — you should rest, not try to talk. Save your strength." "My dear angel, I can assure you I'd much rather talk to you, than lie here in silence and wonder if I shall live to see the next sunrise. I ... do not wish to be alone with my thoughts at the moment. Pray, amuse me, would you?" She sighed. "Very well, then. I'm from Boston." "County of Lincolnshire?" "Colony of Massachusetts." His smile faded. "Ah, yes ... Boston."  The town's name fell wearily from his lips and he let his eyes drift shut, as though that single word had drained him of his remaining strength. "You're a long way from home, aren't you?" "Farther, perhaps, than I should be," she said, cryptically. He seemed not to hear her. "I had a brother who died over there last year, fighting the rebels.... He was a captain in the Fourth. I miss him dreadfully." Juliet leaned the side of her face against the squab and took a deep, bracing breath. If this man died, he would never know just who the little girl playing so contentedly with his cravat was. He would never know that the stranger who was caring for him during his final moments was the woman his brother had loved, would never know just why she — a long way from home, indeed — had come to England. It was now or never. "Yes," she whispered, tracing a thin crack in the squab near her face. "So do I." "Sorry?" "I said, yes. I miss him too." "Forgive me, but I don't quite understand...."  And then he blanched and stiffened as the truth hit him with debilitating force. His eyes widened, their lazy dreaminess fading. His head rose halfway out of her lap. He stared at her and blinked, and in the sudden, charged silence that filled the coach, Juliet heard the pounding tattoo of her own heart, felt his gaze boring into the underside of her chin as his mind, dulled by pain and shock, quickly put the pieces together. Boston. Juliet. I miss him, too. He gave an incredulous little laugh. "No," he said, slowly shaking his head, as though he suspected he was the butt of some horrible joke or worse, knew she was telling the truth and could not find a way to accept it. He scrutinized her features, his gaze moving over every aspect of her face. "We all thought ... I mean, Lucien said he tried to locate you ... No, I am hallucinating, I must be!  You cannot be the same Juliet. Not his Juliet —" "I am," she said quietly. "His Juliet. And now I've come to England to throw myself on the mercy of his family, as he bade me to do should anything happen to him." "But this is just too extraordinary, I cannot believe —" Juliet was gazing out the window into the darkness again. "He told you about me, then?" "Told us? His letters home were filled with nothing but declarations of love for his 'colonial maiden,' his 'fair Juliet' — he said he was going to marry you. I ... you ... dear God, you have shocked my poor brain into speechlessness, Miss Paige. I do not believe you are here, in the flesh!" "Believe it," she said, miserably. "If Charles had lived, you and I would have been brother and sister. Don't die, Lord Gareth. I have no wish to see yet another de Montforte brother into an early grave." He settled back against her arm and flung one bloodstained wrist across his eyes, his body shaking. For a moment she thought the shock of her revelation had killed him. But no. Beneath the lace of his sleeve she could see his gleaming grin, and Juliet realized that he was not dying but convulsing with giddy, helpless mirth. For the life of her, she did not see what was so funny. "Then this baby —" he managed, sliding his wrist up his brow to peer up at her with gleaming eyes — "this baby —" "Is your niece.
Danelle Harmon (The Wild One (The de Montforte Brothers, #1))
You can always tell a rich New York girl from a poor one. And you can tell a rich Boston girl from a poor one. After all, that’s what accents and manners are there for. But to the native New Yorker, the midwestern girls all looked and sounded the same. Sure, the
Amor Towles (Rules of Civility)
So, Taylor, with the list from Boston—” “I never told you I was from Boston.” “You’re on a flight from Boston. Call it a wild guess.” “Well, you’re on a flight from Boston, but you’re not from Boston.” I don’t know why I’m being so obtuse. But being this way with him is kinda fun. “My English accent gave it away, huh?” He smirks. “Okay, so, Taylor, with the list, who isn’t from Boston—where are you from?” “Boston.” I grin.
Samantha Towle (The Ending I Want)
Mr. Cobb,” he said. And in just those two words his Boston Back Bay accent rolled over me as dramatically as if he were one of my mother’s leading men making an entrance, the “Mister” coasting on a schwa to a vanished “r
Robert Olen Butler (The Star of Istanbul (Christopher Marlowe Cobb Thriller #2))
a faint accent that sounded like Russia by way of being mangled through Boston.
Hailey Turner (In the Wreckage (Metahuman Files #1))
One of the great advantages that the midwestern girls had was that you couldn’t tell them apart. You can always tell a rich New York girl from a poor one. And you can tell a rich Boston girl from a poor one. After all, that’s what accents and manners are there for. But to the native New Yorker, the midwestern girls all looked and sounded the same.
Amor Towles (Rules of Civility)