Cardboard Cutout Quotes

I realize your default energy level is Cardboard Cutout, but I can’t get to know you if you don’t speak.

Cardboard cutouts of cheerleaders operated by arthritic monkeys would move more fluidly.

Mr. Fresh sat down on the stool behind the counter and stared into the eyes of the cardboard cutout of Cher, hoping to find answers there. But the bitch was holding out.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

What if you colonize your own mind and when you get inside, the furniture is attached to the ceiling? What if you step inside and when you touch the furniture, you realize it's all just cardboard cutouts and it all collapses beneath the pressure of your finger? What if you get inside and there's no furniture? What if you get inside and it's just you in there, sitting in a chair, rolling figs and eggs around in the basked of your lap and humming a little tune? What if you get inside and there's nothing there, and then the door hatch closes and locks? What is worse: being locked outside of your own mind, or being locked inside of it?

I think about how there are certain people who come into your life, and leave a mark. I don’t mean the usual faint impression: he was cute, she was nice, they made me laugh, I wish I’d known her better, I remember the time she threw up in class. And I don’t just mean that they change you. A lot of people can change you – the first kid who called you a name, the first teacher who said you were smart., the first person who crowned you best friend. It’s the change you remember, the firsts and what they meant, not really the people. Ethan changed me, for instance, but the longer we are apart the more he sort of recedes into the distance as a real person and in his place is a cardboard cutout that says first boyfriend. I’m talking about the ones who, for whatever reason are a part of you as your own soul. Their place in your heart is tender; a bruise of longing, a pulse of unfinished business. My mom was right about that. Just hearing their names pushes and pulls at you in a hundred ways, and when you try to define those hundred ways, describe them even to yourself, words are useless. If you had a lifetime to talk, there would still be things left unsaid.

He’s like a cardboard cutout of a person.

Even when he seems to be interacting with someone else, the narcissist is actually engaged in a self-referential discourse. To the narcissist, all other people are cardboard cutouts, two-dimensional animated cartoon characters, or symbols. They exist only in his inner universe. He is startled when they deviate from the script and prove to be complex and autonomous.

Got the same urgent grasp of reality as a cardboard cutout.

How can I look so real everyday, when really I'm just a cardboard cut-out image of myself-lamenated in coats of artifical happiness with shiny plastic all around- so quite I should be a mime- I wrap my arms around myself when I go out in the wind because I don't know how to make sure that I won't blow away- and I'm standing with my eyes closed so I won't have to see the ground when I fall...

Gradually, I was getting worn down. My sense of direction had evaporated by our fourth day. When south became the opposite of east, I bought a compass, but going around with a compass only made the city seem less and less real. The buildings began to look like backdrops in a photography studio, the people walking in the streets like cardboard cutouts.

Peter Kavinsky’s such a cliché. He’s like a cardboard cut-out of a ‘cool guy’ in a movie about high school.

To say that Agatha Christie’s characters are cardboard cut-outs is an insult to cardboard cut-outs.

For centuries, the West has regurgitated representations of colonized women that came to be accepted as more real than the real. Jezebels. Black velvet. Harem girls. China Dolls. Princess Pocahontas. All of these reduced complex human beings to cardboard cutout sexual objects without agency and whose surrendered sexuality was de facto justification for white supremacy.

The other thing that I would say about writer's block is that it can be very, very subjective. By which I mean, you can have one of those days when you sit down and every word is crap. It is awful. You cannot understand how or why you are writing, what gave you the illusion or delusion that you would every have anything to say that anybody would ever want to listen to. You're not quite sure why you're wasting your time. And if there is one thing you're sure of, it's that everything that is being written that day is rubbish. I would also note that on those days (especially if deadlines and things are involved) is that I keep writing. The following day, when I actually come to look at what has been written, I will usually look at what I did the day before, and think, "That's not quite as bad as I remember. All I need to do is delete that line and move that sentence around and its fairly usable. It's not that bad." What is really sad and nightmarish (and I should add, completely unfair, in every way. And I mean it -- utterly, utterly, unfair!) is that two years later, or three years later, although you will remember very well, very clearly, that there was a point in this particular scene when you hit a horrible Writer's Block from Hell, and you will also remember there was point in this particular scene where you were writing and the words dripped like magic diamonds from your fingers -- as if the Gods were speaking through you and every sentence was a thing of beauty and magic and brilliance. You can remember just as clearly that there was a point in the story, in that same scene, when the characters had turned into pathetic cardboard cut-outs and nothing they said mattered at all. You remember this very, very clearly. The problem is you are now doing a reading and you cannot for the life of you remember which bits were the gifts of the Gods and dripped from your fingers like magical words and which bits were the nightmare things you just barely created and got down on paper somehow!! Which I consider most unfair. As a writer, you feel like one or the other should be better. I wouldn't mind which. I'm not somebody who's saying, "I really wish the stuff from the Gods was better." I wouldn't mind which way it went. I would just like one of them to be better. Rather than when it's a few years later, and you're reading the scene out loud and you don't know, and you cannot tell. It's obviously all written by the same person and it all gets the same kind of reaction from an audience. No one leaps up to say, "Oh look, that paragraph was clearly written on an 'off' day." It is very unfair. I don't think anybody who isn't a writer would ever understand how quite unfair it is.

Most of us want to be authentic. Yet, we are not who we think we are. We are made up of a rich array of facets and possibilities, many of which we ignore because we label them as “bad”. We create a cardboard cutout image of ourselves to look good to others. The discord between who we are and the image we have to live up to slowly kills our aliveness. When we suppress parts of ourselves, it lowers our mojo, sense of fulfillment, leadership effectiveness and impact in the workplace.

When a hot trend turns into a sub-category, new strictures arise along with it. Tropes turn into shortcuts, character paradigms become cardboard cutouts. Publishing pulls the bandwagon, true enough, but when feel-alike fiction floods the market its impact declines because it is starved of what makes fiction rich, surprising, moving, and masterful.

I realize your default energy level is Cardboard Cutout,

I don’t know how many times I’ve driven by here and almost rear-ended someone because I was trying to ogle the newest life-size cardboard cutout of Wolverine or Captain America or whoever.

A few birds flew out from the mountains and glided for a while without sound. Standing out against the sky on high slopes beyond a range of low hills, they saw an endless herd of deer, rendered mute by distance. The landscape was reminiscent of a cardboard cutout, but on a huge scale, which gave the impression they were the ones who had become miniatures…All three of them were equally lost.

Botticelli’s muse is a saint, a lover, and a friend, not a cardboard cut-out of a woman or an adolescent fantasy. She is real, she is complicated, and she is endlessly fascinating. A woman to worship.

So how are things at the Hot Dude Garage?” He glanced at me, his dark brow raised. “Jake change the name?” “He really should. I think your business would skyrocket. Maybe have a gift shop with shirtless picture calendars, keychains, life-size cardboard cutouts. Oh, and mugs.” “Also with us shirtless?” “No, of course not. They’d be the heat activated ones. You’d start out in shirts, then when someone poured their morning coffee, bam! Shirtless.

Across the street, there were parties at other windows. The sky was fading behind the roof peaks and chimney tops, which stood out like cardboard cutout silhouettes, and I looked from them to the lit windows, and back again. A flock of birds, pigeons probably, wheeled across the sky, heading home before dark.

Mom calls it the “curse of minimum wage.” Grandpa works as a ticket-taker at Disneyland, Grandma works as a receptionist at a retirement home, Dad makes cardboard cutouts for Hollywood Video and works in the kitchen design department at Home Depot, and Mom went to beauty school but says having babies sidetracked

And so we find Fussell living alone in a flat unfurnished except for an exercise machine and 'A cardboard cut-out of Arnold with loin cloth and sword as Conan the Barbarian'. Thus the heterosexual bodybuilder's relationship to homosexuality is revealed as a sad kind of insubstantial shadow of it, a kind of mourning, a ghostly kind of love.

In the realm of sense and reason it seemed logical for something to make sense for no reason (natural order) or not make sense for some reason (the deliberate design of deception) but it seemed perverse to have things make no sense for no reason. What if you colonize your own mind and when you get inside, the furniture is attached to the ceiling? What if you step inside and when you touch the furniture, you realize it’s all just cardboard cutouts and it all collapses beneath the pressure of your finger? What if you get inside and there’s no furniture? What if you get inside and it’s just you in there, sitting in a chair, rolling figs and eggs around in the basket on your lap and humming a little tune? What if you get inside and there’s nothing there, and then the door hatch closes and locks? What is worse: being locked outside of your own mind, or being locked inside of it?

Mom calls it the “curse of minimum wage.” Grandpa works as a ticket-taker at Disneyland, Grandma works as a receptionist at a retirement home, Dad makes cardboard cutouts for Hollywood Video and works in the kitchen design department at Home Depot, and Mom went to beauty school but says having babies sidetracked her career—“plus the hair bleaching fumes are toxic”—so she picks up shifts at Target around the holidays but says her main job is ensuring I make it in Hollywood.

What if you colonize your own mind and when you get inside, the furniture is attached to the ceiling? What if you step inside and when you touch the furniture, you realize it’s all just cardboard cutouts and it all collapses beneath the pressure of your finger? What if you get inside and there’s no furniture? What if you get inside and it’s just you in there, sitting in a chair, rolling figs and eggs around in the basket of your lap and humming a little tune? What if you get inside and there’s nothing there, and then the door hatch closes and locks? What is worse: being locked outside of your own mind, or being locked inside of it?

Is she really old enough to have crushes on boys? I feel like she’s too young for all that.” “I had crushes on boys when I was nine,” I tell him. I’m still thinking about Kitty. I wonder how I can make it so she isn’t mad at me anymore. Somehow I don’t think snickerdoodles will cut it this time. “Who?” Josh asks me. “Who what?” Maybe if I can somehow convince Daddy to buy her a puppy… “Who was your first crush?” “Hmm. My first real crush?” I had kindergarten and first- and second-grade crushes aplenty, but they don’t really count. “Like the first one that really mattered?” “Sure.” “Well…I guess Peter Kavinsky.” Josh practically gags. “Kavinsky? Are you kidding me? He’s so obvious. I thought you’d be into someone more…I don’t know, subtle. Peter Kavinsky’s such a cliché. He’s like a cardboard cutout of a ‘cool guy’ in a movie about high school.” I shrug. “You asked.” “Wow,” he says, shaking his head. “Just…wow.” “He used to be different. I mean, he was still very Peter, but less so.” When Josh looks unconvinced, I say, “You’re a boy, so you can’t understand what I’m talking about.” “You’re right. I don’t understand!” “Hey, you’re the one who had a crush on Ms. Rothschild!” Josh turns red. “She was really pretty back then!” “Uh-huh.” I give him a knowing look. “She was really ‘pretty.’” Our across-the-street neighbor Ms. Rothschild used to mow her lawn in terry-cloth short shorts and a string bikini top. The neighborhood boys would conveniently come and play in Josh’s yard on those days. “Anyway, Ms. Rothschild wasn’t my first crush.” “She wasn’t?” “No. You were.

There is no psychology in a fairy tale. The characters have little interior life; their motives are clear and obvious. If people are good, they are good, and if bad, they’re bad. Even when the princess in ‘The Three Snake Leaves’…inexplicably and ungratefully turns against her husband, we know about it from the moment it happens. Nothing of that sort is concealed. The tremors and mysteries of human awareness, the whispers of memory, the promptings of half-understood regret or doubt or desire that are so much part of the subject matter of the modern novel are absently entirely. One might almost say that the characters in a fairy tale are not actually conscious. They seldom have names of their own. More often than not they’re known by their occupation or their social position, or by a quirk of their dress: the miller, the princess, the captain, the Bearskin, Little Red Riding Hood. When they do have a name it’s usually Hans, just as Jack is the hero of every British fairy tale. The most fitting pictorial representation of fairy-tale characters seems to me to be found not in any of the beautifully illustrated editions of Grimm that have been published over the years, but in the little cardboard cut-out figures that come with the toy theatre.

BEFORE THE TREE HOUSE WAS A RECORDING STUDIO FOR PODCASTS, IT WAS:* A grotto for mermaids and mermen. Piles of seashells. Buckets of sand from our old sand table. Fabric in shades of blue hanging everywhere. A fairy house. Shimmer fabric in shades of pink, yellow, and green. Tissue-paper flowers. Cutout butterflies with huge googly eyes. The boxcar from the Boxcar Children books. Spoons, tin plates, a knapsack, crackers, and plain cookies. Red-and-white-checked fabric for the windows. A keep. Cardboard swords wrapped in foil. Many, many of them. The Gryffindor common room. Red and gold, with wands made out of repurposed foil swords.

A brick could be used as a weight to keep the cardboard cutout of the Federal Government from blowing over. Well, at least unless a hurricane gets here, which would mean the government knocked down the government.


Each day, Internet users share more than 1.8 billion photos, according to a report by venture firm Kleiner Perkins Caufield & Byers. For advertisers, the social media posts that include those photos are more valuable than those with just text because pictures reveal how consumers act "in the wild." "You have a window into their world," said Duncan Alney, CEO of Firebelly Marketing in Indianapolis, which uses Ditto Labs' service. Alney, whose firm represents a beer company, learned from Ditto that people drink beer not just with pub grub but also with healthier snacks like hummus. And that consumers who favor mainstream beers also consume craft brews. Other companies use it to interact with fans. Nissan North America found a photo on Twitter of a baby peeking out from behind a cardboard cutout of a Nissan race car driver. Nissan got the Twitter user's permission and reposted the photo on the company's account, garnering 17 retweets and 37 favorites. The original photo was not tagged with "Nissan," so without Ditto the company never would have found it, said Rob Robinson, a senior specialist in social communications at the automaker.

A life-size cardboard cutout of Burt Reynolds dressed as the Bandit greeted her with a wide smile. “Snap my garters!” she laughed, retreating back a pace — and right into his chest. Hughes’ hands descended on her shoulders from behind her. They were warm through her wet dress. “What is this?” “He keeps burglars out.

At some point I realized I was seeing something I had never seen before, that she wasn’t quantitatively more beautiful but qualitatively. She had a dimension no else had; compared to her they were cardboard cutouts.

cardboard cutout of a husband, a man who cared for her not at all?

It’s about the way your parents treat you like you’re a child. It’s about how you turn into a cardboard cutout of yourself whenever you’re around them.

Maybe I should’ve brought a fake boyfriend,” I think, half-seriously. “Or a cardboard cutout of Chris Hemsworth.

Of course they danced together; how could Callum resist dancing with a real live woman instead of a cardboard cut-out?

You see, the Regency conduct book tended to judge a woman by how she conducts herself-that is, by how she acts, by how she seems. The novel, by contrast, was concerned with what women are really like, admitting- perhaps for the very first time- that women too have a fulsome interior life, with thoughts and feelings that are as crucial to get right as the actions that follow from them. In the novel it was much more important that a woman cultivate herself than that she learn how to appear to do so, much more crucial that she be truly worthy than that she learn how to maker herself seem so. In the novel, in other words, women are allowed to be real, and nor merely the cardboard cut-outs to whom the conduct books directed its advice.

Yes I could. I’d been doing it alone for ages. Richard was no more help than a husband-sized cardboard cutout.

Despite an icy northeast wind huffing across the bay I sneak out after dark, after my mother falls asleep clutching her leather Bible, and I hike up the rutted road to the frosted meadow to stand in mist, my shoes in muck, and toss my echo against the moss-covered fieldstone corners of the burned-out church where Sunday nights in summer for years Father Thomas, that mad handsome priest, would gather us girls in the basement to dye the rose cotton linen cut-outs that the deacon’s daughter, a thin beauty with short white hair and long trim nails, would stitch by hand each folded edge then steam-iron flat so full of starch, stiffening fabric petals, which we silly Sunday school girls curled with quick sharp pulls of a scissor blade, forming clusters of curved petals the younger children assembled with Krazy glue and fuzzy green wire, sometimes adding tissue paper leaves, all of us gladly laboring like factory workers rather than have to color with crayon stubs the robe of Christ again, Christ with his empty hands inviting us to dine, Christ with a shepherd's staff signaling to another flock of puffy lambs, or naked Christ with a drooping head crowned with blackened thorns, and Lord how we laughed later when we went door to door in groups, visiting the old parishioners, the sick and bittersweet, all the near dead, and we dropped our bikes on the perfect lawns of dull neighbors, agnostics we suspected, hawking our handmade linen roses for a donation, bragging how each petal was hand-cut from a pattern drawn by Father Thomas himself, that mad handsome priest, who personally told the Monsignor to go fornicate himself, saying he was a disgruntled altar boy calling home from a phone booth outside a pub in North Dublin, while I sat half-dressed, sniffing incense, giddy and drunk with sacrament wine stains on my panties, whispering my oath of unholy love while wiggling uncomfortably on the mad priest's lap, but God he was beautiful with a fine chiseled chin and perfect teeth and a smile that would melt the Madonna, and God he was kind with a slow gentle touch, never harsh or too quick, and Christ how that crafty devil could draw, imitate a rose petal in perfect outline, his sharp pencil slanted just so, the tip barely touching so that he could sketch and drink, and cough without jerking, without ruining the work, or tearing the tissue paper, thin as a membrane, which like a clean skin arrived fresh each Saturday delivered by the dry cleaners, tucked into the crisp black vestment, wrapped around shirt cardboard, pinned to protect the high collar.

Later, when she wakes up, the sun has set and the light in the car is violet and jade. Her mouth is dry as cotton and she lets her face fall toward the window. And there they are, behind her: not mountains, not really, just some fog-shrouded cardboard cutouts retreating in the distance. “One of the most colossal disappointments in my whole life,” she called them, more than fifty years later. “Not a goddamn mountain in sight.

I realise your default energy level is Cardboard Cutout, but I can't get to know you if you don't speak.

Characters who don't change and grow with each life experience turn into caricatures. They're cardboard cutouts of people who eventually become boring because they're predictable. But to grow you need to take risks ... Take the risk.

Sometimes it's easier to write to you, or to speak to you without seeing your face. I feel like I can be more honest about who I am and what I need. I wanted to show you the real me-- not the version of myself I thrust in front of me at all times like a cardboard cutout, anticipating the pain of being misunderstood. Or something that you call vulnerability, anyway. I was so used to that kind of disclosure-- a way of being seen without really being seen.

I’ve been spending all my time genetically mutating this centipede, then I've been leaving it’s cage open and pretending to take a photo of this cardboard cut-out of Mary Jane...

Our 11th grade biology teacher was just a cardboard cutout of Bill Nye,” Sam said proudly. “Best teacher I ever had.

.I caught a very frail Peter grant shortly before his death. He was in reflective mood, and not at all the monster people portrayed him during his seventies heyday. I always regretted deadlines in interviews. I hated the pressure of time. People need space to breathe and relax. That is when the truth is spoken, and you find that it's not the cardboard cut-out character that people expect

Roughhouse, wrestle, and be active with your children, for age catches up with you fast. Exposure to vigorous play will keep them active even when you are not around. Play-fighting also exposes your kids to physical activity separate from actual anger and punishment. They will not run from any conflict simply because of the presentation of force. They will learn context. There will come a moment where they will hit you. It will hurt. 'They will realize their growing power. To be a man is to be aware of the possibility of physical violence. To sanitize one's persona of all aggressive tendencies is to abdicate a responsibility. Look at children's entertainment today. Why do all the male figures seem gay? They aren't, but they act feminine. They have been stripped of any sense of violence, any capability to attack or protect. These are cardboard cutouts, neutered men.

Do you have any fun plans today?” “I’m going to buy a car.” I couldn’t keep the glee out of my voice, and it made him smile. “I’ve never bought a car before. I’m really looking forward to it.” “That does sound . . . well, I don’t know if fun’s the word I would use. Having the car is fun. Buying it usually not so much.” “I’ve been adequately warned. And my friend Shay is supposed to be here in a few minutes. I’m hoping to get to the lot before it opens so I can get the car I want.” This was the dealer’s busiest day of the week and I was afraid the car would get sold. My phone buzzed with a text from Shay. “Speak of the devil.” “Oh no,” I said. “Everything okay?” “Not really. Shay had to cancel. I’m going to try one of my other friends.” I called Delia and she didn’t pick up. Which was unlike her. I tried texting her and waited. “No answer?” Tyler asked. “She didn’t reply,” I confirmed, a sinking feeling settling in my stomach. “Which means I’m going to have to take an Uber to get to this dealership.” It wouldn’t be cheap. “I can drive you.” “What?” Had I heard him correctly? “I can drive you,” he said, repeating his offer. “I don’t have much going on until later on this evening, so if you want, I can go with you.” He’s not interested in you. He has a girlfriend who looks like a Russian Barbie come to life. He is just being your friend. Stop being so excited. My pounding heart didn’t listen. Something in my expression made him laugh. “Is that a yes?” Um, obviously the answer was yes. Because I might have been a lot of things, but stupid was not one of them. It was, in fact, an overly enthusiastic “Yes!” It made him laugh again. So even if I was embarrassing myself, it was worth it to hear his reaction. “From what I’ve read online, you’ll be even better backup than Shay,” I told him. “Because you’re a man. And you’re tall.” And hot. Thankfully, my lips refrained from uttering that last part. “You don’t know any other tall men?” he asked. “We did discuss this as a friend group, and no, we didn’t have anybody else to ask that we thought might do it. Delia did offer to send along her giant cardboard cutout of Edward from Twilight, but I passed.” “Good choice,” he said with a grin. “Are you ready to go?” “Let me grab my purse.

Conversation turned to a case that was in the news—Donald Williams Jr., an African American freshman at San Jose State University, had been relentlessly bullied by the white students he lived with in a four-bedroom dormitory suite. The white kids, also freshmen, had insisted on calling Williams “three-fifths,” a reference to the clause in the original US Constitution that counted slaves as three-fifths of a person when determining population for representation in Congress. They clamped a bike lock around his neck and claimed to have lost the key. They wrote Nigger on a whiteboard and draped a Confederate flag over a cardboard cutout of Elvis Presley in the suite’s living room. They locked him in his room. And they claimed it was all just a series of good-natured pranks. In the end, three eighteen-year-old white students were expelled for what they did to Williams, and a seventeen-year-old was suspended. The three who were expelled were also charged in criminal court. The charge: misdemeanor battery with a hate-crime enhancement, which carried a maximum penalty of a year and a half in county jail. A jury eventually convicted all three of battery but acquitted one of the students of the hate-crime charge and deadlocked on the others. “Girl, they got misdemeanors,” Regis said. “Nobody got charged with any felonies. Three white boys on one black boy.