Carnival Sayings And Quotes

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When your mama was the geek, my dreamlets," Papa would say, "she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing.
Katherine Dunn (Geek Love)
I don’t see why you have to give up one for the other,” she says. “You don’t have to,” I tell my daughter. “You want to. You wake up one day and you don’t want the carnival anymore. In fact, you can’t even believe you did that.
Ann Patchett (Tom Lake)
Miracles are like meatballs, because nobody can exactly agree on what they are made of, where they come from, or how often they should appear. Some people say that a sunrise is a miracle, because it is somewhat mysterious and often very beautiful, but other people say it is simply a fact of life, because it happens every day and far too early in the morning. Some people say that a telephone is a miracle, because it sometimes seems wondrous that you can talk with somebody who is thousands of miles away, and other people say it is merely a manufactured device fashioned out of metal parts, electronic circuitry, and wires that are very easily cut. And some people say that sneaking out of a hotel is a miracle, particularly if the lobby is swarming with policemen, and other people say it is simply a fact of life, because it happens every day and far too early in the morning. So you might think that there are so many miracles in the world that you can scarcely count them, or that there are so few that they are scarcely worth mentioning, depending on whether you spend your mornings gazing at a beautiful sunset or lowering yourself into a back alley with a rope made of matching towels.
Lemony Snicket (The Carnivorous Carnival (A Series of Unfortunate Events, #9))
Everything about her seems to be saying, Listen, if you don’t look attentively, if you don’t go beyond my simplicity to detect the simmering volcano in me, you are not it.
Rawi Hage (Carnival)
I KNEW IT WAS OVER when tonight you couldn't make the phone ring when you used to make the sun rise when trees used to throw themselves in front of you to be paper for love letters that was how i knew i had to do it swaddle the kids we never had against january's cold slice bundle them in winter clothes they never needed so i could drop them off at my mom's even though she lives on the other side of the country and at this late west coast hour is assuredly east coast sleeping peacefully her house was lit like a candle the way homes should be warm and golden and home and the kids ran in and jumped at the bichon frise named lucky that she never had they hugged the dog it wriggled and the kids were happy yours and mine the ones we never had and my mom was grand maternal, which is to say, with style that only comes when you've seen enough to know grace like when to pretend it's christmas or a birthday so she lit her voice with tiny lights and pretended she didn't see me crying as i drove away to the hotel connected to the bar where i ordered the cheapest whisky they had just because it shares your first name because they don't make a whisky called baby and i only thought what i got was what i ordered i toasted the hangover inevitable as sun that used to rise in your name i toasted the carnivals we never went to and the things you never won for me the ferris wheels we never kissed on and all the dreams between us that sat there like balloons on a carney's board waiting to explode with passion but slowly deflated hung slave under the pin- prick of a tack hung heads down like lovers when it doesn't work, like me at last call after too many cheap too many sweet too much whisky makes me sick, like the smell of cheap, like the smell of the dead like the cheap, dead flowers you never sent that i never threw out of the window of a car i never really owned
Daphne Gottlieb (Final Girl)
Why did we divorce? I guess you could say we had trouble synchronizing. You know that carnival ride where two cages swing in opposite directions, going higher and higher until they go over the top? That was us. We passed each other all the time, but we never actually stopped in the same place until it was time to get off the ride.
Diane Hammond (Hannah's Dream)
He stops rocking the cage. "Oh, come on, Callie. It won't be fun if we don't rock it. In fact, the more we rock it, the better it'll feel." His voice drops to a deep whisper. "We can rock it nice and slow or really, really fast."... "Do I have your permission to rock away and give you the ride of your life?" Why does it feel like he's secretly talking dirty to me? "Yeah, go ahead, rock it nice and hard," I say without thinking, then bite down on my lip as the dirty section of my brain catches up with me. Honestly, I didn't even know that side existed.
Jessica Sorensen (The Coincidence of Callie & Kayden (The Coincidence, #1))
Dan, this is crazy!" Amy quavered. "You can't drive a boat!" "Say's who? It's no different from Xbox!" Wham! The port-side rubber bumper at the launch's bow slammed into the end of an ancient cobblestone wharf. The small craft spun like a top, pitching Amy to the deck. Only an iron grip on the wheel saved Dan from a similar spill. He hung on for dear life. "Okay, scratch Xbox–think bumper cars! I rock at those! Remember the carnival?
Gordon Korman (One False Note (The 39 Clues, #2))
And sometimes we discuss frightening and troublesome animals that might be nearby, and this topic always leads to much disagreement over which part of a frightening and troublesome beast is the most frightening and troublesome. Some say the teeth of the beast, because teeth are used for eating children, and often their parents, and gnawing on their bones. Some say the claws of the beast, because claws are used for ripping things to shreds. And some say the hair of the beast, because hair can make allergic people sneeze. But I always insist that the most frightening part of any beast is its belly, for the simple reason that if you are seeing the belly of the beast it means you have already seen the teeth of the beast and the claws of the of the beast and even the hair of the beast, and now you are trapped and there is probably no hope for you.
Lemony Snicket (The Carnivorous Carnival (A Series of Unfortunate Events, #9))
Devereaux is going with our pitch.” “Hey, that’s just great,” I said superperkily. “Wendell’s or mine?” “Yours.” “But you want to fire me. So fire me.” “We can’t fire you. They loved you. The head guy, Leonard Daly, thought you were, I quote, ‘a great kid, very courageous’ and a natural to do a whispering campaign. He said you had believability.” “That’s too bad.” “Why? You’re not quitting!” I thought about it. “Not if you don’t want me to. Do you?” Go on, say it. 298 ♥elavanilla♥ “No.” “No what?” “No, we don’t want you to quit.” “Ten grand more, two assistants, and charcoal suits. Take it or leave it.” Ariella swallowed. “Okay to the money, okay to the assistants, but I can’t green-light charcoal suits. Formula Twelve is Brazilian, we need carnival colors.” “Charcoal suits or I’m gone.” “Orange.” “Charcoal.” “Orange.” “Charcoal.” “Okay, charcoal.” It was an interesting lesson in power. The only time you truly have it is when you genuinely don’t care whether you have it or not. “Right,” I said. “I’m giving myself the rest of the day off.
Marian Keyes (Anybody Out There? (Walsh Family, #4))
I wanted to be perfect,” he said over dinner. “I…need to be perfect.” It’s such a burden to place on yourself. Say you are perfect—who’s going to recognize it? Few things are like the Olympics, where judges hold up score cards. How does one paint perfectly? Or lawyer perfectly? The key is to fill the space between your skill level and perfection with charm. That said, you can’t do it consciously. Charm can’t be constructed that way.
David Sedaris (A Carnival of Snackery: Diaries (2003-2020))
Miracles are like meatballs, because nobody can exactly agree what they are made of, where they come from, or how often they should appear. Some people say that a sunrise is a miracle, because it is somewhat mysterious and often very beautiful, but other people say it is simply a fact of life, because it happens every day and far too early in the morning.
Lemony Snicket (The Carnivorous Carnival (A Series of Unfortunate Events, #9))
Dr. Doris Parker: I have your ten week report. You know what it says "F, F, F… ". Do you know what that means? It means you don't care. Student: You're brilliant. (Pause) Can I go now? Dr. Doris Parker: (Sarcastic laugh) God! you're shallow, disgusting creature. You wanna know the truth? Dr. Doris Parker: One, you're not gonna be in a band or a model missy because you have no ambition. With no skills you'd be competing with 80 percent of US work force for minimum wage job which you will work at for the rest of your life, till you're replaced by a computer. Student: I don't care! Dr. Doris Parker: The only talent you ever have is *insult*. Your life will basically become a carnival of pain and when you can't stand not one more day, not one more hour, it will get worse, much worse. Every day I come to this office and I listen to you kids *insult* all over your selves. It is so easy to be careless, it takes courage and character to care. Not that you have any of those qualities.
Doris Parker
Streets were quieter then. Dogs had the run of the town and children played outdoors. The side streets were for Simon Says and Green Light and Giant Step and other games. We set up our own carnivals. We told fortunes and sold coin purses that we made. But the buses on Wisteria Drive meant no one played outside my house. Even the dogs were wary except for one who only had three legs and still chased cars.
Georgia Scott (American Girl: Memories That Made Me)
I couldn’t tell you why the carnival lured me with its sticky fingers and bright, whirling colors, except to say that it was different, and that excited me. I’d only read about ‘different’ in books, never experienced it for myself. Perhaps it was a case of be careful what you wish for.
Jane Harvey-Berrick (The Traveling Man (Traveling, #1))
You know who we been living with for the past week? We been living with the only man in history who ever took a piece in the ladies’ can of a Boston & Maine train. When the conductor caught him in there with his Winter Carnival date she screamed, ‘He trapped me!’ and that’s how he got his name. This is the famous Trapper John. God, Trapper, I speak for the Duke as well as myself when I say it’s an honor to have you with us. Have a martini, Trapper.
Richard Hooker (MASH: A Novel About Three Army Doctors)
It is often said by the critics of Christian origins that certain ritual feasts, processions or dances are really of pagan origin. They might as well say that our legs are of pagan origin. Nobody ever disputed that humanity was human before it was Christian; and no Church manufactured the legs with which men walked or danced, either in a pilgrimage or a ballet. What can really be maintained, so as to carry not a little conviction, is this: that where such a Church has existed it has preserved not only the processions but the dances; not only the cathedral but the carnival. One of the chief claims of Christian civilisation is to have preserved things of pagan origin.
G.K. Chesterton (The Superstition of Divorce)
He didn’t explain how, but then again, no one does. They just say it’s your patriotic duty and everyone kind of goes along with it.
David Sedaris (A Carnival of Snackery: Diaries (2003-2020))
A boy at a carnival went to a booth run by a man who said, "If I can write your exact weight on this piece of paper then you have to give me $50, but if I cannot, I will pay you $50." The boy looked around and saw no scale so he agreed, thinking no matter what the carny writes he'll just say he weighs more or less. In the end the boy ended up paying the man $50. How did the man win the bet?
M. Prefontaine (Difficult Riddles For Smart Kids: 300 Difficult Riddles And Brain Teasers Families Will Love (Thinking Books for Kids Book 1))
Some people say that a sunrise is a miracle, because it is somewhat mysterious and often very beautiful, but other people say it is simply a fact of life, because it happens every day and far too early in the morning.
Lemony Snicket (The Carnivorous Carnival (A Series of Unfortunate Events, #9))
I cocked my head on one side. “Is that what we have? A relationship?” Kes looked taken aback. “Well, yeah.” Then he hesitated, “What would you call it?” “Well, at the moment, I’d say it’s two old friends catching a ride together to go see the carnival.” Kes nodded. “Okay,” he said. “Works for me.” “Just so you know,” I sniffed, “that’s the wrong answer. We’re totally in a relationship.” Kes grinned. “Good. So we’re both clear on that.
Jane Harvey-Berrick (The Traveling Man (Traveling, #1))
don’t see why you have to give up one for the other,” she says. “You don’t have to,” I tell my daughter. “You want to. You wake up one day and you don’t want the carnival anymore. In fact, you can’t even believe you did that.
Ann Patchett (Tom Lake)
Maggie nodded. She was more than okay. Not only was she no longer sick, she felt as if she'd just awoken from the long, safe torpor of her childhood. The night had blasted her free of that shell, and she had emerged new and raw and ready. She felt the ticket stub folded carefully in her pocket. How many kids in Bray would be able to say they'd stood just feet from Billy Corgan, that they'd been at the Metro for the "Siamese Dream" record release show, that they'd seen Lake Shore Drive on a Sunday morning through the prism of a concert comedown, the runners looking so silly with their skinny legs and their neon shorts, chugging along the footpath with their calorie counters and Gatorade?
Jessie Ann Foley (The Carnival at Bray)
Aaaand we have a winnerrrrr!" a man shouts into the mic in a singsong carnival voice as I lick the last of Patrick's ice cream from my fingers. "Pick out a prize for the beautiful girl." "For you," Patrick says, kneeling in front of me with a moose in his outstretched hands. I pull the stuffed animal to my chest. "Thank you. I shall love him always. I shall call him Holden Caulfield." "From the book?" "Yes, from the book. You were reading it when I saw you my first day here." "You remember that?" "It's one of my favorite books," I say. "You were totally checking me out." "Patrick! Not in front of Holden Caulfield!" I cover the moose's floppy ears with my hands, hoping neither he nor Patrick sees the red flooding my cheeks.
Sarah Ockler (Fixing Delilah)
His words slow my pulse. His fingers, square and even, feel nonpareil entwined with mine. He is symmetry. He is color. "Never," I tell him. "I will never go away." "You're sure about that?" "I'm sure I can't live with a Ram-sized hole in my chest." "That would be a pretty big hole, I think," Ram says. "Don't be so sure. You're short." "Hey," Ram protests. "I worry for you on carnival rides." "I get on carnival rides just fine, thanks." "The operator doesn't stop you?" "Tim," He pauses. "Sometimes.
Rose Christo (Unborn: Three Short Stories)
He smiles.  It’s a blinding, white-toothed smile.  A push-me-over-the-edge-of-the-love-cliff smile.  And before I can say a word in protest, he’s got my hand and is dragging me through the carnival. Note to self: Do not stare directly at his smile. It holds special powers. Also: Do not kiss him. His mouth is definitely the source of his power.
Jillian Dodd (Kiss Me (The Keatyn Chronicles, #2))
The most powerful country in the world has handed over all of it's affairs, the prosperity of an entire economy, the security of some 300 million citizens, the purity of it's water, the viability of it's air, the safety of it's food, the future of it's vast system of education, the soundness of it's national highways, airways, and railways, the apocalyptic potential of nuclear arsenal to a carnival barker who introduce the phrase "grab em by the pussy", into the national lexicon. It is as if the white tribe united in demonstration to say "if a black man can be president than any white man, no matter how fallen, can be president", and in that perverse way, the democratic dreams of Jefferson and Jackson were fulfilled. The American Tragedy now being wrought, is larger than most imaged and will not end with Trump. In recent times, whiteness as an overt political tactic has been restrained by a kind of cordiality held that it's overt invocation would scare off moderate whites. This has proved to be only half-true at best. Trump's legacy will be exposing the patina of decency for what it is and revealing just how much a demagague can get away with. It does not take much to imagine another politician, wiser in the ways of Washington, schooled in the methodology of governance, now liberated from the pretense of anti-racist civility, doing a much more effective job than Trump.
Ta-Nehisi Coates (We Were Eight Years in Power: An American Tragedy)
When your mama was the geek, my dreamlets,' Papa would say, 'she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing. "Spread your lips, sweet Lil," they'd cluck, "and show us your choppers!"' This same Crystal Lil, our star-haired mama, sitting snug on the built-in sofa that was Arty's bed at night, would chuckle at the sewing in her lap and shake her head. 'Don't piffle to the children, Al. Those hens ran like whiteheads.' Nights on the road this would be, between shows and towns in some campground or pull-off, with the other vans and trucks and trailers of Binewski's Carnival Fabulon ranged up around us, safe in our portable village. After supper, sitting with full bellies in the lamp glow, we Binewskis were supposed to read and study. But if it rained the story mood would sneak up on Papa. The hiss and tick on the metal of our big living van distracted him from his papers. Rain on a show night was catastrophe. Rain on the road meant talk, which, for Papa, was pure pleasure. 'It's a shame and a pity, Lil,' he'd say, 'that these offspring of yours should only know the slumming summer geeks from Yale.' 'Princeton, dear,' Mama would correct him mildly. 'Randall will be a sophomore this fall. I believe he's our first Princeton boy.' We children would sense our story slipping away to trivia. Arty would nudge me and I'd pipe up with, 'Tell about the time when Mama was the geek!' and Arty and Elly and Iphy and Chick would all slide into line with me on the floor between Papa's chair and Mama. Mama would pretend to be fascinated by her sewing and Papa would tweak his swooping mustache and vibrate his tangled eyebrows, pretending reluctance. 'WellIll . . .' he'd begin, 'it was a long time ago . . .' 'Before we were born!' 'Before . . .' he'd proclaim, waving an arm in his grandest ringmaster style, 'before I even dreamed you, my dreamlets!' 'I was still Lillian Hinchcliff in those days,' mused Mama. 'And when your father spoke to me, which was seldom and reluctantly, he called me "Miss." ' 'Miss!' we would giggle. Papa would whisper to us loudly, as though Mama couldn't hear, 'Terrified! I was so smitten I'd stutter when I tried to talk to her. "M-M-M-Miss . . ." I'd say.' We'd giggle helplessly at the idea of Papa, the GREAT TALKER, so flummoxed. 'I, of course, addressed your father as Mister Binewski.
Katherine Dunn (Geek Love)
The crimson woman has quite a few adversaries, just as she is connected with powerful allies. How can I say exactly who they are — some group specializing in art=magic, no doubt, but I can't just say, with a fatuous certainty, "Yes, it must be some particular gang of illuminati," or esoteric scientists, as so many have begun styling themselves these days.
Thomas Ligotti (Teatro Grottesco)
Maggie sipped her drink with the cat draped across her lap and the dog curled at her feet. The only sounds in the room were the crackling of the fire and Dan Sean's shallow snores. There were no CD's to play, no radio, no television. There was nothing. She was just sitting there in silence, getting drunk. It occurred to her that a person's first drunken experience shoud be in the basement of a friend's house, in a forest preserve, behind the bleachers of a football field. Certainly not in the company of a sleeping ninety-nine-year-old man. She giggled a little and wondered what Uncle Kevin would make of it. "Hot port?" he would say. "Very impressive, Mags. I would have thought you'd be more of a wine cooler type of girl.
Jessie Ann Foley (The Carnival at Bray)
Her mother, an unshapely, chubby-cheeked creature from the rural gentry of Styria, permanently lost her hair at the age of forty after being treated for influenza by her husband, and prematurely withdrew from society. She and her husband were able to live in the Gentzgasse thanks to her mother's fortune, which derived from the family estates in Styria and then devolved upon her. She provided for everything, since her husband earned nothing as a doctor. He was a socialite, what is known as a beau, who went to all the big Viennese balls during the carnival season and throughout his life was able to conceal his stupidity behind a pleasingly slim exterior. Throughout her life Auersberger's mother-in-law had a raw deal from her husband, but was content to accept her modest social station, not that of a member of the nobility, but one that was thoroughly petit bourgeois. Her son-in-law, as I suddenly recalled, sitting in the wing chair, made a point of hiding her wig from time to time--whenever the mood took him--both in the Gentzgasse and at the Maria Zaal in Styria, so that the poor woman was unable to leave the house. It used to amuse him, after he had hidden her wig, to drive his mother-in-law up the wall, as they say. Even when he was going on forty he used to hide her wigs--by that time she has provided herself with several--which was a symptom of his sickness and infantility. I often witnessed this game of hide-and-seek at Maria Zaal and in the Gentzgasse, and I honestly have to say that I was amused by it and did not feel in the least bit ashamed of myself. His mother-in-law would be forced to stay at home because her son-in-law had hidden her wigs, and this was especially likely to happen on public holidays. In the end he would throw the wig in her face. He needed his mother-in-law's humiliation, I reflected, sitting in the wing chair and observing him in the background of the music room, just as he needed the triumph that this diabolical behavior brought him.
Thomas Bernhard (Woodcutters)
Obama himself, underestimating Trump and thus underestimating the power of whiteness, believed the Republican nominee too objectionable to actually win. In this Obama was, tragically, wrong. And so the most powerful country in the world has handed over all of its affairs—the prosperity of an entire economy, the security of some 300 million citizens, the purity of its water, the viability of its air, the safety of its food, the future of its vast system of education, the soundness of its national highways, airways, and railways, the apocalyptic potential of its nuclear arsenal—to a carnival barker who introduced the phrase “grab ’em by the pussy” into the national lexicon. It is as if the white tribe united in demonstration to say, “If a black man can be president, then any white man—no matter how fallen—can be president.” And in that perverse way the democratic dreams of Jefferson and Jackson were fulfilled.
Ta-Nehisi Coates (We Were Eight Years in Power: An American Tragedy)
What is this enemy that scripture calls “the world?” Is it drinking and dancing and smoking? Is it going to the movies or playing cards? That is a shallow and ridiculous approach to holiness. It numbs us to the fact that good and evil are much more serious. No, the world is not a place or a set of behaviors. It is any system built by our collective sin. It is all our false selves coming together to reward and destroy each other. Take all the posers out there, put them together in an office, or a club, or a church and what you get is what the scriptures mean by “the world.” The world is a carnival of counterfeits - counterfeit battles, counterfeit adventures, counterfeit beauties. Men should think of it as a corruption of their strength. “Battle your way to the top,” says the World, “and you are a man.” Why is it then that the men that get there are often the emptiest, most frightened, prideful posers around?
John Eldredge (Wild at Heart: Discovering the Secret of a Man's Soul)
I Hate Death. I Hate … Death. I Hate Death. I Hate when thinking beings end and are no more. I think it is sane to hate Death. I Love you and I Hate it when you die. I try to understand when you say there are causes worth killing and dying for, but I do not understand. I Hate Death.” [...] “War is the thesis that there is a special time when causing death is normal, legal, heroic, accepted, right; I Hate this thesis and I cannot call it justice.” [...] “Billions have just acted on this thesis, killing as if killing were normal now because we named this five hundred and four days ‘war’ and this naming alone suspended ethics and made a blood-carnival time when death was not an evil. No. I do not accept war’s thesis. We do not need to accept war’s thesis. War’s thesis is not of this era [...] “This is terra ignota. We get to make new laws of war for this new age. We do not have to make our laws of war exempt the soldier from the truth that we should not kill when we do not have to. I say killing is a crime. If it is war and there is such a thing as war crime, then I say killing should be a war crime, every killing, exempting only those we would exempt in peacetime, too. [...] “This is terra ignota. We get to make new laws of war for this new age. We do not have to make our laws of war exempt the soldier from the truth that we should not kill when we do not have to. I say killing is a crime. If it is war and there is such a thing as war crime, then I say killing should be a war crime, every killing, exempting only those we would exempt in peacetime, too. [...]
Ada Palmer (Perhaps the Stars (Terra Ignota, #4))
I look around and see that many — not all, but many — problems we've got could be solved if our culture simply fostered the habit of reading. Reading books of science, philosophy, history. Reading literature of quality, the sort that touches us because of a more profound reason, such as, for instance, because it's got something to say beyond all the futilities and trifles of life, even while depicting the ordinary in life, at the same time that it says it with style, in a unique, admirable manner. An original one. We are not a county of readers, notwithstanding. We are the country of football turned into a cult, of guile being ranked high as a cardinal virtue, of Carnival made for exportation. A country where there are more letters in political party acronyms than in all many of our politicians have written in a lifetime. A country where ethics has become a joke theme. Where democracy is but a ridiculous puppet theatre. Yes, I look around and see that many problems could be solved if we had the habit of reading. But I am not even sure whether there is someone reading these words.
Camilo Gomes Jr.
I can’t abandon my dad’s store.” “Abandon what? Look around you, fool. There ain’t nothin’ here left to protect!” “You’re right.” She sobs harder. “We have nothing left.” “This can all be replaced. Can’t replace us if someone comes in here and cracks our head open because they want a power tool or a hammer. Or if the cops run up in here and want to put my ass in jail because they think I’m the one takin’ things.” “You don’t get it,” she says, tears running down her face. “This place is all my dad has.” “I don’t understand? You got us sitting in a broken window like ducks at a carnival game lined up to get popped. Quit crying over a store! You so busy feeling sorry for yourself, we gonna get killed.
Kimberly Jones (I'm Not Dying with You Tonight)
When I first started hearing about the places that give people joy, I realized that many of them evoke this giddy feeling of abundance: carnivals and circuses, dollar stores and flea markets, and giant old hotels like the Grand Budapest of director Wes Anderson’s imagining. The same feeling also exists on a smaller scale. An ice-cream cone covered in rainbow sprinkles is like a candy store held in your hand. A shower of confetti, a multicolored quilt, a simple game of pick-up sticks, have this irresistible allure. Even the language of joy is rife with excess. We say we’re overjoyed or that we’re brimming with happiness. We say, “My cup runneth over.” And this is very much how it feels to be in a moment of joy, when our delight is so abundant it feels like it can’t be contained by the boundaries of our bodies.
Ingrid Fetell Lee (Joyful: The Surprising Power of Ordinary Things to Create Extraordinary Happiness)
Did I ever tell you about the man who taught his asshole to talk? His whole abdomen would move up and down you dig farting out the words. It was unlike anything I ever heard. This ass talk had sort of a gut frequency. It hit you right down there like you gotta go. You know when the old colon gives you the elbow and it feels sorta cold inside, and you know all you have to do is turn loose? Well this talking hit you right down there, a bubbly, thick stagnant sound, a sound you could smell. This man worked for a carnival you dig, and to start with it was like a novelty ventriliquist act. Real funny, too, at first. He had a number he called “The Better ‘Ole” that was a scream, I tell you. I forget most of it but it was clever. Like, “Oh I say, are you still down there, old thing?” “Nah I had to go relieve myself.” After a while the ass start talking on its own. He would go in without anything prepared and his ass would ad-lib and toss the gags back at him every time. Then it developed sort of teeth-like little raspy in-curving hooks and started eating. He thought this was cute at first and built an act around it, but the asshole would eat its way through his pants and start talking on the street, shouting out it wanted equal rights. It would get drunk, too, and have crying jags nobody loved it and it wanted to be kissed same as any other mouth. Finally it talked all the time day and night, you could hear him for blocks screaming at it to shut up, and beating it with his fist, and sticking candles up it, but nothing did any good and the asshole said to him: “It’s you who will shut up in the end. Not me. Because we dont need you around here any more. I can talk and eat and shit.” After that he began waking up in the morning with a transparent jelly like a tadpole’s tail all over his mouth. This jelly was what the scientists call un-D.T., Undifferentiated Tissue, which can grow into any kind of flesh on the human body. He would tear it off his mouth and the pieces would stick to his hands like burning gasoline jelly and grow there, grow anywhere on him a glob of it fell. So finally his mouth sealed over, and the whole head would have have amputated spontaneous — (did you know there is a condition occurs in parts of Africa and only among Negroes where the little toe amputates spontaneously?) — except for the eyes you dig. Thats one thing the asshole couldn’t do was see. It needed the eyes. But nerve connections were blocked and infiltrated and atrophied so the brain couldn’t give orders any more. It was trapped in the skull, sealed off. For a while you could see the silent, helpless suffering of the brain behind the eyes, then finally the brain must have died, because the eyes went out, and there was no more feeling in them than a crab’s eyes on the end of a stalk.
William S. Burroughs
We must remember with Heine that Aristophanes is the God of this ironic earth, and that all argument is apparently vitiated from the start by the simple fact that Wagner and a rooster are given an analogous method of making love. And therefore it seems impeccable logic to say that all that is most unlike the rooster is the most spiritual part of love. All will agree on that, schisms only arise when one tries to decide what does go farthest from the bird's automatic mechanism. Certainly not a Dante-Beatrice affair which is only the negation of the rooster in terms of the swooning bombast of adolescence, the first onslaught of a force which the sufferer cannot control or inhabit with all the potentialities of his body and soul. But the rooster is troubled by no dreams of a divine orgy, no carnival-loves like Beethoven's Fourth Symphony, no heroic and shining lust gathering and swinging into a merry embrace like the third act of Siegfried. It is desire in this sense that goes farthest from the animal.
Jack Lindsay (Lysistrata)
No, “the world” is not a place or a set of behaviors—it is any system built by our collective sin, all our false selves coming together to reward and destroy each other. Take all those posers out there, put them together in an office or a club or a church, and what you get is what the Scriptures mean by the world. The world is a carnival of counterfeits—counterfeit battles, counterfeit adventures, counterfeit beauties. Men should think of it as a corruption of their strength. Battle your way to the top, says the world, and you are a man. Why is it then that the men who get there are often the emptiest, most frightened, prideful posers around? They are mercenaries, battling only to build their own kingdoms. There is nothing transcendent about their lives. The same holds true of the adventure addicts; no matter how much you spend, no matter how far you take your hobby, it’s still merely that—a hobby. And as for the counterfeit beauties, the world is constantly trying to tell us that the Golden-haired Woman is out there—go for her.
John Eldredge (Wild at Heart: Discovering the Secret of a Man's Soul)
I have no idea how long Quisser was gone from the table. My attention became fully absorbed by the other faces in the club and the deep anxiety they betrayed to me, an anxiety that was not of the natural, existential sort but one that was caused by peculiar concerns of an uncanny nature. What a season is upon us, these faces seemed to say. And no doubt their voices would have spoken directly of certain peculiar concerns had they not been intimidated into weird equivocations and double entendres by the fear of falling victim to the same kind of unnatural affliction that had made so much trouble in the mind of the art critic Stuart Quisser. Who would be next? What could a person say these days, or even think, without feeling the dread of repercussion from powerfully connected groups and individuals? I could almost hear their voices asking, "Why here, why now?" But of course they could have just as easily been asking, "Why not here, why not now?" It would not occur to this crowd that there were no special rules involved; it would not occur to them, even though they were a crowd of imaginative artists, that the whole thing was simply a matter of random, purposeless terror that converged upon a particular place at a particular time for no particular reason. On the other hand, it would also not have occurred to them that they might have wished it all upon themselves, that they might have had a hand in bringing certain powerful forces and connections into our district simply by wishing them to come. They might have wished and wished for an unnatural evil to fall upon them but, for a while at least, nothing happened. Then the wishing stopped, the old wishes were forgotten yet at the same time gathered in strength, distilling themselves into a potent formula (who can say!), until one day the terrible season began. Because had they really told the truth, this artistic crowd might also have expressed what a sense of meaning (although of a negative sort), not to mention the vigorous thrill (although of an excruciating type), this season of unnatural evil had brought to their lives. ("Gas Station Carnivals")
Thomas Ligotti (The Nightmare Factory)
I thought I was going to be happy." "Okay," I said, for the third time, because there wasn't anything else I could say. "I was so wrong." He kept looking at his hands. "I thought I knew what happy was, and I guess I did because I wasn't miserable. People liked me. My grandmother loved me. She still loves me. She'll die loving me, even if she never sees me again. I love the trapeze. I did good stuff with the carnival, and I'm not sorry I did it, but I wasn't happy the way I am when I went with you. Even when I'm mad at you, or you're mad at me, or you do something stupid, like when you ate that gas station sushi and I had to hold your hair back when you threw up in the ditch, even then, I'm so happy it hurts. This isn't happiness. This is weaponized joy. I'm going to die from loving you too much, and I'm not even sure I'll e sorry. How is that fair? You didn't mean to, and I don't blame you, but you've ruined me for being happy without you. I can't do it. I can't too. I want to, and I can't." "Okay," I said one more time, and placed my hand over his.
Seanan McGuire (That Ain’t Witchcraft (InCryptid, #8))
Maybe that’s his game, though,” I said. “The hunt for one soul, again and again.” “Then why are you still here?” “The other women lived with him for a long time too. Maybe he wants to wait until my defenses are down, and then-“ “Wow, Clea, you are so jaded. You found your soulmate. People wait their whole lives for this. It’s the most amazing thing in the world, and it’s happened to you. Can’t you just accept it and be happy?” What she said made sense, but… I flopped back on the bed and stared at the ceiling. Without looking at Rayna, I said, “He doesn’t act like he’s my soulmate. Sometimes I think maybe he liked the other women more. I think maybe he wishes I was one of them.” Rayna was silent. This was something I’d never heard. “This is seriously, deep,” she finally said. “You’re feeling insecure because you’re jealous…of yourself.” “I didn’t say I was jealous…” “You’d rather think he’s a serial killer than risk being with him and finding out he doesn’t like you as much as he liked…you?” She scrunched her brow and thought, then tried again. “Yous? Anyway, you know what I mean-the other yous.” “Forget the jealousy thing, okay? There are other reasons to doubt him too. Ben doesn’t trust him at all. He thinks Sage is some kind of demon. He said there’s a spirit called an incubus that comes to women in their sleep, and-“ “Of course Ben said that.” Rayna shrugged. “He’s jealous.” “Of what?” “Ben’s crazy in love with you, Clea. I’ve been saying that forever!” “And I’ve been ignoring you forever, because it’s not true. You just want it to be true because it’s romantic.” “Did you not see the pictures of you from Rio?” I narrowed my eyes. “What are you talking about?” Rayna pulled out her phone. “Honestly, I don’t know how you survive without Google Alerts on yourself. The paparazzi were out in full force for Carnival.” She played with the phone for a minute, then handed it to me. It showed a close-up of Ben and me at the Sambadrome that could only have been taken with a serious zoom. I felt violated. “I hate this,” I muttered. “Why? You look cute!” “I hate that people are sneaking around taking pictures of me!” “I know you do. Ignore that for the moment. Just scroll through.” There were five pictures of Ben and me. Four of them were moments I vividly remembered, pictures of the two of us facing each other, laughing as we did our best to imitate the dancers shimmying and strutting down the parade route. The fifth one I didn’t remember. I wouldn’t have; in it I had my camera up to my face and was concentrating on lining up the perfect shot. Ben stood behind me, but he wasn’t wearing the goofy smile he’d had in the other pictures. He was staring right at me with those big puppydog eyes, and his smile wasn’t goofy at all, but… “Uh-huh,” Rayna said triumphantly. She had climbed into my bed was looking at the picture over my shoulder. “Knew that one would stop you. There is only one word for the look on that boy’s face, Clea: love-struck. Which is probably why a bunch of websites are reporting he’s about to propose.” “What?” “Messenger. Don’t kill the messenger.” I looked back at the picture. Ben did look love-struck. Very love-struck. “It could just be the picture,” I said. “They caught him at a weird moment.” “Yeah, a weird moment when he thought no one was looking so he showed how he really felt.” I gave Rayna back the phone and shook my head. “Ben and I are like brother and sister. That’s gross.” “Hey, I read Flowers in the Attic. It was kind of hot.” “Shut up!” I laughed. “I’m just saying, think about it. Really think about it. Is it that hard to believe that Ben’s in love with you?
Hilary Duff (Elixir (Elixir, #1))
It’s nice when grown people whisper to each other under the covers. Their ecstasy is more leaf-sigh than bray and the body is the vehicle, not the point. They reach, grown people, for something beyond, way beyond and way, way down underneath tissue. They are remembering while they whisper the carnival dolls they won and the Baltimore boats they never sailed on. The pears they let hang on the limb because if they plucked them, they would be gone from there and who else would see that ripeness if they took it away for themselves? How could anybody passing by see them and imagine for themselves what the flavor would be like? Breathing and murmuring under covers both of them have washed and hung out on the line, in a bed they chose together and kept together nevermind one leg was propped on a 1916 dictionary, and the mattress, curved like a preacher’s palm asking for witnesses in His name’s sake, enclosed them each and every night and muffled their whispering, old-time love. They are under the covers because they don’t have to look at themselves anymore; there is no stud’s eye, no chippie glance to undo them. They are inward toward the other, bound and joined by carnival dolls and the steamers that sailed from ports they never saw. That is what is beneath their undercover whispers. But there is another part, not so secret. The part that touches fingers when one passes the cup and saucer to the other. The part that closes her neckline snap while waiting for the trolley; and brushes lint from his blue serge suit when they come out of the movie house into the sunlight. I envy them their public love. I myself have only known it in secret, shared it in secret and longed, aw longed to show it—to be able to say out loud what they have no need to say at all: That I have loved only you, surrendered my whole self reckless to you and nobody else. That I want you to love me back and show it to me. That I love the way you hold me, how close you let me be to you. I like your fingers on and on, lifting, turning. I have watched your face for a long time now, and missed your eyes when you went away from me. Talking to you and hearing you answer —that’s the kick. But I can’t say that aloud; I can’t tell anyone that I have been waiting for this all my life and that being chosen to wait is the reason I can. If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.
Toni Morrison (Jazz (Beloved Trilogy, #2))
My mother had a passion for all fruit except oranges, which she refused to allow in the house. She named each one of us, on a seeming whim, after a fruit and a recipe- Cassis, for her thick black-currant cake. Framboise, her raspberry liqueur, and Reinette after the reine-claude greengages that grew against the south wall of the house, thick as grapes, syrupy with wasps in midsummer. At one time we had over a hundred trees (apples, pears, plums, gages, cherries, quinces), not to mention the raspberry canes and the fields of strawberries, gooseberries, currants- the fruits of which were dried, stored, made into jams and liqueurs and wonderful cartwheel tarts on pâte brisée and crème pâtissière and almond paste. My memories are flavored with their scents, their colors, their names. My mother tended them as if they were her favorite children. Smudge pots against the frost, which we base every spring. And in summer, to keep the birds away, we would tie shapes cut out of silver paper onto the ends of the branches that would shiver and flick-flack in the wind, moose blowers of string drawn tightly across empty tin cans to make eerie bird-frightening sounds, windmills of colored paper that would spin wildly, so that the orchard was a carnival of baubles and shining ribbons and shrieking wires, like a Christmas party in midsummer. And the trees all had names. Belle Yvonne, my mother would say as she passed a gnarled pear tree. Rose d'Aquitane. Beurre du Roe Henry. Her voice at these times was soft, almost monotone. I could not tell whether she was speaking to me or to herself. Conference. Williams. Ghislane de Penthièvre. This sweetness.
Joanne Harris (Five Quarters of the Orange)
Everything has already been caught, until my death, in an icefloe of being: my trembling when a piece of rough trade asks me to brown him (I discover that his desire is his trembling) during a Carnival night; at twilight, the view from a sand dune of Arab warriors surrendering to French generals; the back of my hand placed on a soldier's basket, but especially the sly way in which the soldier looked at it; suddenly I see the ocean between two houses in Biarritz; I am escaping from the reformatory, taking tiny steps, frightened not at the idea of being caught but of being the prey of freedom; straddling the enormous prick of a blond legionnaire, I am carried twenty yards along the ramparts; not the handsome football player, nor his foot, nor his shoe, but the ball, then ceasing to be the ball and becoming the “kick-off,” and I cease being that to become the idea that goes from the foot to the ball; in a cell, unknown thieves call me Jean; when at night I walk barefoot in my sandals across fields of snow at the Austrian border, I shall not flinch, but then, I say to myself, this painful moment must concur with the beauty of my life, I refuse to let this moment and all the others be waste matter; using their suffering, I project myself to the mind's heaven. Some negroes are giving me food on the Bordeaux docks; a distinguished poet raises my hands to his forehead; a German soldier is killed in the Russian snows and his brother writes to inform me; a boy from Toulouse helps me ransack the rooms of the commissioned and non-commissioned officers of my regiment in Brest: he dies in prison; I am talking of someone–and while doing so, the time to smell roses, to hear one evening in prison the gang bound for the penal colony singing, to fall in love with a white-gloved acrobat–dead since the beginning of time, that is, fixed, for I refuse to live for any other end than the very one which I found to contain the first misfortune: that my life must be a legend, in other words, legible, and the reading of it must give birth to a certain new emotion which I call poetry. I am no longer anything, only a pretext.
Jean Genet (The Thief's Journal)
When the center of gravity of life is placed, not in life itself, but in "the beyond" in nothingness then one has taken away its center of gravity altogether. The vast lie of personal immortality destroys all reason, all natural instinct henceforth, everything in the instincts that is beneficial, that fosters life and that safeguards the future is a cause of suspicion. So to live that life no longer has any meaning: this is now the "meaning" of life. Why be public spirited? Why take any pride in descent and forefathers? Why labor together, trust one another, or concern one's self about the common welfare, and try to serve it? Merely so many "temptations," so many strayings from the "straight path." " One thing only is necessary". That every man, because he has an "immortal soul," is as good as every other man; that in an infinite universe of things the "salvation" of every individual may lay claim to eternal importance; that insignificant bigots and the three fourths insane may assume that the laws of nature are constantly suspended in their behalf it is impossible to lavish too much contempt upon such a magnification of every sort of selfishness to infinity, to insolence. And yet Christianity has to thank precisely this miserable flattery of personal vanity for its triumph it was thus that it lured all the botched, the dissatisfied, the fallen upon evil days, the whole refuse and off scouring of humanity to its side. The "salvation of the soul" in plain English: "the world revolves around me." The poisonous doctrine, " equal rights for all," has been propagated as a Christian principle: out of the secret nooks and crannies of bad instinct Christianity has waged a deadly war upon all feelings of reverence and distance between man and man, which is to say, upon the first prerequisite to every step upward, to every development of civilization out of the ressentiment of the masses it has forged its chief weapons against us , against everything noble, joyous and high spirited on earth, against our happiness on earth. To allow "immortality" to every Peter and Paul was the greatest, the most vicious outrage upon noble humanity ever perpetrated. And let us not underestimate the fatal influence that Christianity has had, even upon politics! Nowadays no one has courage any more for special rights, for the right of dominion, for feelings of honorable pride in himself and his equals for the pathos of distance. Our politics is sick with this lack of courage! The aristocratic attitude of mind has been undermined by the lie of the equality of souls; and if belief in the "privileges of the majority" makes and will continue to make revolutions it is Christianity, let us not doubt, and Christian valuations, which convert every revolution into a carnival of blood and crime! Christianity is a revolt of all creatures that creep on the ground against everything that is lofty: the gospel of the "lowly" lowers.
Friedrich Nietzsche (The Anti-Christ)
It’s sad to say, but it is much easier selling, for example, a crap Brazilian than a brilliant Mexican. The Brazilian gets across the image of happiness, party, carnival. Irrespective of talent, it is very seductive to have a Brazilian in your team.
Simon Kuper (Soccernomics: Why England Loses, Why Germany and Brazil Win, and Why the U.S., Japan, Australia, Turkey--and Even Iraq--Are Destined to Become the Kings of the World's Most Popular Sport)
I have almost five hundred dollars saved.” Alison spoke slowly and deliberately. This time Laura did pull away. “Five hundred dollars?” Her eyes were incredulous. “How did you ever save that much?” Then, before Alison could answer, Laura’s eyes widened again and she let out a faint squeal. Mom half-turned to the back again, and Alison could tell that Laura was fighting to keep a normal look about her. After Mom had resumed her road watching, Laura finally spoke. “Just think of all the things we can buy on vacation,” she spouted. “Cotton candy at the carnival, model horses, saltwater taffy, postcards…We can even ride all the rides, more than once!” Alison shook her head and sighed again. “Let me remind you that this isn’t your money.” “It is if you want me to keep it a secret,” Laura challenged. “Why, you little rat!” “Well, it’s mostly yours,” Laura conceded. Alison rolled her eyes in exasperation. If she hadn’t needed her sister on her side she’d have been tempted to rap her. She tapped Laura on the top of her red head. “Think about it,” she prodded. “What could we buy with five hundred dollars?” All at once a light filled Laura’s eyes. All right, Alison thought. Laura is finally awake! “A pony!” The words slid from Laura in a hiss. “Are you going to buy a pony at the Pony Penning auction?” This time it was Alison who settled back smugly in her seat. “Every year we ask Mom and Dad, and every year they say we can’t afford one,” she said softly. “Now I have the money. How can they possibly say no?
Lois K. Szymanski (Sea Feather)
It had been often commented upon that Vibe offspring tended to be crazy as bedbugs. ‘Fax’s brother Cragmont had run away with a trapeze girl, then brought her back to New York to get married, the wedding being actually performed on trapezes, groom and best man, dressed in tails and silk opera hats held on with elastic, swinging upside down by their knees in perfect synchrony across the perilous Æther to meet the bride and her father, a carnival “jointee” or concessionaire, in matched excursion from their own side of the ring, bridesmaids observed at every hand up twirling by their chins in billows of spangling, forty feet above the faces of the guests, feathers dyed a deep acid green sweeping and stirring the cigar smoke rising from the crowd. Cragmont Vibe was but thirteen that circus summer he became a husband and began what would become, even for the day, an enormous family. The third brother, Fleetwood, best man at this ceremony, had also got out of the house early, fast-talking his way onto an expedition heading for Africa. He kept as clear of political games as of any real scientific inquiry, preferring to take the title of “Explorer” literally, and do nothing but explore. It did not hurt Fleetwood’s chances that a hefty Vibe trust fund was there to pick up the bills for bespoke pith helmets and meat lozenges and so forth. Kit met him one spring weekend out at the Vibe manor on Long Island. “Say, but you’ve never seen our cottage,” ‘Fax said one day after classes. “What are you doing this weekend? Unless there’s another factory girl or pizza princess or something in the works.” “Do I use that tone of voice about the Seven Sisters material you specialize in?” “I’ve nothing against the newer races,” ‘Fax protested. “But you might like to meet Cousin Dittany anyway.” “The one at Smith.” “Mount Holyoke, actually.” “Can’t wait.” They arrived under a dourly overcast sky. Even in cheerier illumination, the Vibe mansion would have registered as a place best kept clear of—four stories tall, square, unadorned, dark stone facing looking much older than the known date of construction. Despite its aspect of abandonment, an uneasy tenancy was still pursued within, perhaps by some collateral branch of Vibes . . . it was unclear. There was the matter of the second floor. Only the servants were allowed there. It “belonged,” in some way nobody was eager to specify, to previous occupants. “Someone’s living there?” “Someone’s there.” . . . from time to time, a door swinging shut on a glimpse of back stairway, a muffled footfall . . . an ambiguous movement across a distant doorframe . . . a threat of somehow being obliged to perform a daily search through the forbidden level, just at dusk, so detailed that contact with the unseen occupants, in some form, at some unannounced moment, would be inevitable . . . all dustless and tidy, shadows in permanent possession, window-drapes and upholstery in deep hues of green, claret, and indigo, servants who did not speak, who would or could not meet one’s gaze . . . and in the next room, the next instant, waiting . . . “Real nice of you to have me here, folks,” chirped Kit at breakfast. “Fellow sleeps like a top. Well, except . . .” Pause in the orderly gobbling and scarfing. Interest from all around the table. “I mean, who came in the room in the middle of the night like that?” “You’re sure,” said Scarsdale, “it wasn’t just the wind, or the place settling.” “They were walking around, like they were looking for something.” Glances were exchanged, failed to be exchanged, were sent out but not returned. “Kit, you haven’t seen the stables yet,” Cousin Dittany offered at last. “Wouldn’t you like to go riding?
Thomas Pynchon (Against the Day)
How much does this thing cost?” Travis says, walking closer to it. Honestly, Travis is always like this. A negative nelly is what my mother would call him. He always has to ask the questions that nobody wants to answer because it ruins all the fun. “Well, that’s a hard question. Are you talking about the rental price or the price of all the smiles on everyone’s faces as they are having the time of their lives?” “The rental price.” “Well, here’s the thing−” I start, but he holds his hand up and looks to Tina. “$1599.00 plus deposit and taxes,” she says. “WHAT?” Travis exclaims. “No way! Forget it. This is a veto.” “You can’t use a veto for this!” I argue. “Well, I just did,” he says, shrugging. I can see he has already put the idea out of his mind, which is completely ridiculous. I mean, I know it is pretty expensive, but then I think of all the fun memories everyone will make together− and can you really put a price on that? “Travis, you’re not seeing the bigger picture here!” I argue. “We said a small party. A couple of friends, some food and wine. This,” he says, pointing to the obstacle course, “is not small.” “Who wants small for a thirtieth birthday party? I mean, you only turn thirty once−” From the look on Travis’ face I decide to switch tactics. “What about if we charge people?” “You’re crazy,” he says. “Not our guests, but the neighbours and stuff. Kind of like a carnival.” Actually, I just thought of that idea right here and now, but it’s not a bad one. Plus, it might be easier to have the neighbours agree to have it on the street if I let them join in the fun. “Or we could just stick to the regular plan,” Travis says and turns to Tina. “I’m sorry we wasted your time.” I already know the next part of this conversation is not going to go well. “I kind of already put the deposit down,” I say, trying to get an imaginary piece of dirt off my sweater. No one says anything and I am starting to feel pretty sorry for Tina because she looks beyond uncomfortable with the conversation. “What kind of deposit?” Travis says in a low tone. “The non-refundable kind,” I say, biting my lip. “How much was the deposit?” he asks, looking from me to Tina. Tina’s eyes are wide and she looks to me desperately, asking me to rescue her from this awkwardness. Honestly, if anyone needs a life jacket right now− it’s me. “Nimfy perfin,” I mumble. “What?” “Ninety percent,” I say, meeting his eyes. “The remaining ten percent is due on delivery.” “You really are crazy,” he says, shaking his head. “I don’t know what you are getting all worked up about,” I say. “I’m paying for it!” “Etty, this… thing… is your rent for the month!” “I’ll take extra shifts,” I say, shrugging. “I wanted to make sure Scott’s day was really special.” “It’s going to be special because he’s with his friends and family. You don’t need to do these things.” “Yes, I do!” I say. “It’s how I show people that I care about them.” “Write them a nice card,” Travis says slowly. “I knew you wouldn’t understand. You’re always the storm cloud that rains on my parade!” “No, I’m the voice of reason in a land of eternal sunshine and daisies,” he says, and turns to Tina. “Is there any way we can get her deposit back?” Tina is now fidgeting with her skirt. “No, I’m sorry, but−” “Don’t worry Tina, I don’t want my deposit back. What I want is my brother to have the best day ever with his friends and family on a hundred foot inflatable obstacle course,” I narrow my eyes at Travis while lifting my purse further up my shoulder. “Now, if you will excuse me, I have to go and start my first of twenty overtime shifts to pay for the best day of all of our lives.
Emily Harper (My Sort-of, Kind-of Hero)
I’m also getting a kick out of “having a blue,” which means having a fight. You could say, “It was a serious blue,” or “We had a blue,” or “If I talk to this woman there’s going to be a blue.” You could also say, “I’m ready to put the blue on.
David Sedaris (A Carnival of Snackery: Diaries (2003-2020))
Today on two legs stood and reached to the right spot as I saw it choosing among the twisting branches and multifaceted changing shades, and greens, and shades of greens, lobed, and lashing sun, the fig that seemed to me the perfect one, Shhh say the spreading sails of cicadas as the winch of noon takes hold and we are wrapped in day and hoisted up, all the ribs of time showing through in the growing in the lengthening harness of sound— white powder in the confetti of light all up the branches, truth, sweetness of blood-scent and hauled-in light, withers of the wild carnival of tree shaking once as the fruit... Iwant to sit under it full of secrecy insight immensity vigor bursting complexity swarm. Oh great forwards and backwards.
Jorie Graham ([To] The Last [Be] Human)
You should go to her,” Nunna says. “Where the heart loves is where the legs walk.
Carly Keene (Carnival Fever: World's Biggest Party)
Who knows, thought Giovanni, whether this first meeting might have turned out differently after such a long separation. Perhaps we can meet again. I have two months free. You can’t draw any conclusions from a brief encounter. She may still love me and I may never return to the Fortezza. But the girl said, “What a shame! In three days I’m leaving with mamma and Giorgina. We’ll be away a few months, I think.” The mere idea made her burst with joy. “We’re going to Holland.” “To Holland?” The girl now launched into an account of the journey, waxing enthusiastic about the friends who would accompany her, her horses, the parties she had attended during carnival, her life, and her companions. She was oblivious of Drogo. She now felt completely at ease and seemed more beautiful. “A magnificent idea,” said Drogo, who felt a bitter knot closing his throat. “I’ve heard this is the best season in Holland. They say entire fields are blooming with tulips.
Dino Buzzati (The Stronghold)
It is fair to say the attendees of the carnival-like conference just outside Miami took little note of McNabb’s consternation. Investors have in recent years been able to buy niche, “thematic” ETFs that purport to benefit from—deep breath—the global obesity epidemic; online gaming; the rise of millennials; the whiskey industry; robotics; artificial intelligence; clean energy; solar energy; autonomous driving; uranium mining; better female board representation; cloud computing; genomics technology; social media; marijuana farming; toll roads in the developing world; water purification; reverse-weighted US stocks; health and fitness; organic food; elderly care; lithium batteries; drones; and cybersecurity. There was even briefly an ETF that invested in the stocks of companies exposed to the ETF industry. Some of these more experimental funds gain traction, but many languish and are eventually liquidated, the money recycled into the latest hot fad.
Robin Wigglesworth (Trillions: How a Band of Wall Street Renegades Invented the Index Fund and Changed Finance Forever)
Oddly, Orkut became a sensation in Brazil. “In Brazil, Orkut is the Internet and Google is search,” wrote one local journalist, who added that using Orkut was “like putting sugar in your coffee, watching Globo telenovelas, or heading to the beach from Christmas to Carnival.” On a trip to Brazil in 2006, Sergey Brin was asked why, and he responded, “We don’t know—what do you think?” When pressed, Googlers would refer to stereotypes of Carioca sociability, but that didn’t sufficiently explain why Orkut became the social networking choice of this country over other competitors—or why Orkut was so badly left behind in the rest of the world. Marissa Mayer’s personal analysis was based on the Google yardstick of speed. Brazilians, she says, were used to lousy Internet service and thus more tolerant of the delays. “They would just keep sitting there and waiting,” she says. Orkut was also dominant in India, where it was the number one Google service—ahead of search and Gmail. “There is no second product in India—Orkut is dominant,” said Manu Rekhi, the Orkut India product manager, in 2007. “I’ve seen beggar kids who use their money to get on Orkut.” Mayer also attributed that success to its quick response compared to other services. “Do you know why Orkut took off in India?” she would ask. “Opposite time zone, and no load on the servers at night. Speed matters.” (Why Orkut ruled in Brazil, however, was a mystery never solved.)
Steven Levy (In the Plex: How Google Thinks, Works, and Shapes Our Lives)
Two weeks later I’m the last one in the locker room to change for gym. The click of heels makes me look up. It’s Carmen Sanchez. I don’t freak out. Instead, I stand and look right at her. “He was back in Fairfield, you know,” she tells me. “I know,” I say, remembering the hand warmers in my locker. But he left. Like a whisper, he was there and then disappeared. She looks almost nervous, vulnerable. “You know those giant stuffed-animal prizes at the carnival? The kind practically nobody wins, except the lucky few? I’ve never won one.” “Yeah. I’ve never won one, either.” “Alex was my giant prize. I hated you for taking him away,” she admits. I shrug. “Yeah, well, stop hating me. I don’t have him, either.” “I don’t hate you anymore,” she says. “I’ve moved on.” I swallow and then say, “Me, too.” Carmen chuckles. Then, just as she walks out of the room, I hear her mumble, “Alex sure as hell hasn’t.” What’s that supposed to mean?
Simone Elkeles (Perfect Chemistry (Perfect Chemistry, #1))
Brittany, wait!” a voice calls from behind me. I turn around and am face-to-face with the guy who’s haunting my dreams…daydreams and night dreams. Alex. The guy who I hate. The guy who I can’t get out of my mind, no matter how drunk I am. “Ignore Javier,” Alex says. “Sometimes he gets carried away tryin’ to be a badass.” I’m stunned when he steps closer and wipes away a tear from my cheek. “Don’t cry. I wouldn’t let him hurt you.” Should I tell him I’m not afraid of being hurt? I’m afraid of not being in control. Though I haven’t run far, it’s far enough from Alex’s friends. They can’t see me or hear me. “Why do you like Carmen?” I ask as the world tilts and I stumble in the sand. “She’s mean.” He holds out his hands to help me but I flinch, so he stuffs his hands in his pockets. “What the fuck do you care, anyway? You stood me up.” “I had stuff going on.” “Like washin’ your hair or getting’ a manicure?” Or having my hair ripped out by my sister and getting reamed out by my mom? I jab my finger into his chest. “You’re an asshole.” “And you’re a bitch,” he says. “A bitch with a kick-ass smile and eyes that can seriously screw with a guy’s head.” He winces, as if the words slipped out and he wants to take them back. I was expecting him to say a lot of things, but not that. Especially not that. I notice his bloodshot eyes. “You’re high, Alex.” “Yeah, well you don’t look too sober yourself. Maybe now’s a good time to give me that kiss you owe me.” “No way.” “¿Por qué no? Afraid you’ll like it so much you’ll forget your boyfriend?” Kiss Alex? Never. Although I’ve been thinking about it. A lot. More than I should. His lips are full and inviting. Oh, boy, he’s right. I am drunk. And I’m definitely not feeling right. I’m past numbness and going on delirium, because I’m thinking things I have no business thinking. Like how I want to know what his lips feel like against mine. “Fine. Kiss me, Alex,” I say, stepping forward and leaning into him. “Then we’ll be even.” His hands are braced on my arms. This is it. I’m going to kiss Alex and find out what it’s like. He’s dangerous and he mocks me. But he’s sexy and dark ad beautiful. Being this close to him makes my body shiver with excitement and my head spin. I loop my finger through his belt loop to steady myself. It’s like we’re standing on a Tilt-a-Whirl ride at the carnival.
Simone Elkeles (Perfect Chemistry (Perfect Chemistry, #1))
Apart from Lucy and Shanan, the only person I know today is my other former flatmate, Oliver. At dinner, I’m seated next to him, and he helpfully announces to the whole table that I’m not drinking. I’m asked if I’m pregnant. I say no. Oliver tells them that I’m writing a book about my booze-free year. There are a few astonished faces. A guy sitting opposite me pipes up, ‘That would be a really short book. Fucking boring. The end.’ I laugh politely, but secretly I want to stab him in the eye with my entree fork. He says that stopping drinking would be easy in winter, but impossible during Melbourne’s Spring Racing Carnival: ‘You can’t not drink at the races. You just can’t.’ This, it seems, is an indisputable fact. He tells me how he stopped drinking for three months a few years ago, and every day of it was so boring that he’d never do it again. He doesn’t appear to see the irony in the fact that with a beer in his hand, he’s the most boring man alive.
Jill Stark (High Sobriety: My Year Without Booze)
You know those giant stuffed-animal prizes at the carnival? The kind practically nobody wins, except the lucky few? I've never won one." "Yeah. I've never won one, either." "Alex was my giant prize. I hated you for taking him away," she admits. I shrug. "Yeah, well, stop hating me. I don't have him, either." "I don't hate you anymore," she says. "I've moved on." I swallow and then say, "Me, too." Carmen chuckles. Then, just as she walks out of the room, I hear her mumble, "Alex sure as hell hasn't.
Simone Elkeles (Perfect Chemistry (Perfect Chemistry, #1))
Whoa! That is the biggest sixth grader I’ve ever seen,” I gasp. “Like, Museum-of-the-Weird big!” “See, I told you I had a bad feeling about coming this way,” Becky says as she picks up my notebook. “C’mon, let’s just
Mark Tatulli (Desmond Pucket and the Cloverfield Junior High Carnival of Horrors)
And so the most powerful country in the world has handed over all its affairs—the prosperity of its entire economy; the security of its 300 million citizens; the purity of its water, the viability of its air, the safety of its food; the future of its vast system of education; the soundness of its national highways, airways, and railways; the apocalyptic potential of its nuclear arsenal—to a carnival barker who introduced the phrase grab ’em by the pussy into the national lexicon. It is as if the white tribe united in demonstration to say, “If a black man can be president, then any white man—no matter how fallen—can be president.” And in that perverse way, the democratic dreams of Jefferson and Jackson were fulfilled.
Ta-Nehisi Coates (The First White President)
Maybe you should grow a Vandyke.” I didn’t say that I’d rather have herpes, as the doctor had a Vandyke himself. It looked like he’d taken a big gulp from a mugful of hair.
David Sedaris (A Carnival of Snackery: Diaries (2003-2020))
of yesterday, the London Underground announcements will no longer begin with “Ladies and gentlemen.” Gender-queer people said it made them feel excluded, so from now on the conductors will say, “Hello, everyone.
David Sedaris (A Carnival of Snackery: Diaries (2003-2020))
t is interesting, he says, how weapons reflect the soul of the maker. The Soviets always wanted bigger yield, bigger stockpiles. They had to convince themselves they were a superpower. Throw-weight. What is throw-weight? We don’t know exactly but we agree it sounds like hurled bulk, the hurled will of the collective. Soviet long-range missiles had greater throw-weight. They had to convince themselves with numbers and bulk and mass. “And the U.S.?” I say. Eyes flicking my way, happy as carnival lights. It was the U.S., Viktor says, that designed the neutron bomb. Many buzzing neutrons, very little blast. The perfect capitalist tool. Kill people, spare property.
Don DeLillo (Underworld)
By the Cauldron,' a familiar male voice said beside Cassian, and he turned to find Lucien in the archway to the training area. ... 'Feyre said she was training, but I hadn't realised she was... well, training.' ... 'Did you think she was filing her nails?' Lucien's mechanical eye clicked. His face tightened as Nesta threw a spectacular left hook into the wood beam. It shuddered with the impact. 'I wonder if there are some things that should not be awoken,' he murmured. Cassian cut him a glare. 'Mind your own business, fireling.' Lucien just watched Nesta attack, his golden skin a little pale. 'Why are you here?' Cassian asked, unable to help the sharpness. 'Where's Elain?' 'I am not always in the city to see my mate.' The last two words dripped with discomfort. 'And I came up here because Feyre said I should. I need to kill a few hours before I'm to meet with her and Rhys. She thought I might enjoy seeing Nesta at work.' 'She's not a carnival attraction,' Cassian said through his teeth. 'It's not for entertainment.' Lucien's red hair gleamed in the dimness of the rainy day. 'I think Feyre wanted a progress assessment from someone who hasn't seen her in a while. 'And?' Cassian bit out. Lucien threw him a withering look. 'I'm not your enemy, you know. You can drop the aggressive brute act.' Cassian gave him a grin that didn't meet his eyes. 'Who says it's an act?' Lucien let out a long sigh. 'Very well.
Sarah J. Maas (A ​Court of Silver Flames (A Court of Thorns and Roses, #4))
A person looking into a carnival mirror couldn’t accurately describe the true person who is being reflected in the mirror. Neither can you accurately say what truth is when you look through the distorted mirror of your soul. The soul within you—how you see a matter—needs to be restored. You do this by exchanging your thoughts for God’s truth.
Tony Evans (A Kid's Guide to the Armor of God)
Months earlier, I'd become so fed up with the relentless, carnival-barker commentary on CNN, MSNBC, and Fox News that I'd permanently blacklisted those channels during my evenings at home, treating myself instead to a more steadying diet of E! and HGTV. At the end of a busy day, I will tell you, there is nothing better than watching a young couple find their dream home in Nashville or some young bride-to-be saying yes to the dress.
Michelle Obama (Becoming)
I think of my black slug, slithering around, slurping up my potential energy for joy. I press my hand to my stomach and desperately wish that it didn't exist. That there was a way to fix me, fix him. I dig my nails into the flesh of my stomach and wince. Roman reaches out and puts his hand on top of mine. 'But the most confusing thing is that me being confused about seeing you happy doesn't change anything.' He lowers his voice so only I can hear him. 'I still want to die on April 7th. 'And I still need you to do it with me.' All of a sudden the carnival seems too loud. I hear the clunking of the metal faris wheel and the swirling of the teacups and the screams of delighted kids. I move to touch my hand to my head but he grabs it interlocking his fingers with mine and pulling it down to his side. 'I get it' I say in a strained whisper. 'I won't flake on you.' He squeezes my hand so tight I can't feel it anymore. I wish someone would do that to my heart.
Jasmine Warga (My Heart and Other Black Holes)
Jez rocked forward on the balls of her feet with a laugh. “You might hate Alexa, but you love what she does to you. I’d even go so far as to say you’ve gotten attached.
Trina M. Lee (Carnival of Sins (Alexa O'Brien, Huntress #15))
The Puritans knew what subsequent generations would forget: that when the Church, more than a millennium earlier, had placed Christmas Day in late December, the decision was part of what amounted to a compromise, and a compromise for which the Church paid a high price. Late-December festivities were deeply rooted in popular culture, both in observance of the winter solstice and in celebration of the one brief period of leisure and plenty in the agricultural year. In return for ensuring massive observance of the anniversary of the Savior's birth by assigning it to this resonant date, the Church for its part tacitly agreed to allow the holiday to be celebrated more or less the way it had always been. From the beginning, the Church's hold over Christmas was (and remains still) rather tenuous. There were always people for whom Christmas was a time of pious devotion rather than carnival, but such people were always in the minority. It may not be going too far to say that Christmas has always been an extremely difficult holiday to Christianize. Little wonder that the Puritans were willing to save themselves the trouble.
Stephen Nissenbaum (The Battle for Christmas: A Cultural History of America's Most Cherished Holiday)
A clocked minute of static—a long time to sit and watch nothing, I was all for fast-forwarding but Nakota glared me down—then a sip of absolute blackness, recorded blackness, rich and menacing as an X ray of a cancer. Nakota, lips parting to say something but the thought drowned in the flash of an image: something like bloody stalks, caressing the screen like hands behind the glass, so greedily intimate even Nakota gave a tiny backstepping whoop. Then as if a barrier shattered, ferocious fun, whatever provided the images warming to this game: a vast black grin like the Funhole itself become its namesake, black asshole-mouth studded with teeth or bones like broken glass and in that Pandora opening Nakota breathless and me with my mouth hanging wide open, village idiot at freak show, a vertiginous glide forward as upon the screen came things I didn’t want to know about, oh yes I’m quite sophisticated, quite the bent voyeur, I can laugh at stuff that would make you vomit but how would you like to see the ecstatic prance of self-evisceration, a figure carving itself, re-created in a harsh new form from what seemed to be its own hot guts, becoming no figure at all but the absence of one, a cookie-cutter shape and in but not contained by its outline a blackness, a vortex of nothing so final that beside it the Funhole was harmless, do you see what I’m saying, the Funhole was a goddamned carnival ride next to this nonfigure and all at once what I wanted least, least, far less than to be struck blind or any kind of petty death was to see the figure turn (as it did now) in slick almost pornographic slowness and show me, show me what there was to see
Kathe Koja (The Cipher)
I say, doctors are the profiteers of death and unclaimed cadavers that were once inhabited by homeless and wondering poets!
Rawi Hage (Carnival)
There’s more good news,” Kristy said. “I hate to say this, but I’m afraid we’re going to have to cancel the winter carnival.
Ann M. Martin (Abby's Twin (The Baby-Sitters Club, #104))