Catching The Big Fish Quotes

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure.They’re huge and abstract. And they’re very beautiful.

They say when you meet the love of your life, time stops, and that's true. What they don't tell you is that when it starts again, it moves extra fast to catch up.

Keep your eye on the doughnut, not on the hole.

Chin up. There are other fish in the sea. It's a big ocean. Sometimes we need to catch and release a few before we find the keeper.

Don’t fight the darkness. Don’t even worry about the darkness. Turn on the light and the darkness goes. Turn up that light of pure consciousness: Negativity goes.

If you want to get one hour of good painting in, you have to have four hours of uninterrupted time.

You can understand conflict, but you don'thave to live in it.

Eraserhead is my most spiritual movie. No one understands when I say that, but it is.

Intuition is seeing the solution.....its emotion and intellect going together.

The beautiful thing is that when you catch one fish that you love, even if it’s a little fish—a fragment of an idea—that fish will draw in other fish, and they’ll hook onto it. Then you’re on your way. Soon there are more and more and more fragments, and the whole thing emerges. But it starts with desire.

We all want expanded consciousness and bliss. It's a natural, human desire. And a lot of people look for it in drugs. But the problem is that the body, the physiology, takes a hard hit on drugs. Drugs injure the nervous system, so they just make it harder to get those experiences on your own. I have smoked marijuana, but I no longer do. I went to art school in the 1960s, so you can imagine what was going on. Yet my friends were the ones who said, "No, no, no, David, don't you take those drugs." I was pretty lucky. Besides, far more profound experiences are available naturally. When your consciousness stars expanding, those experiences are there. All those things can be seen. It's just a matter of expanding that ball of consciousness. And the ball of consciousness can expand to be infinite and unbounded. It's totality. You can have totality. So all those experiences are there for you, without the side effects of drugs.

Right here people might bring up Vincent van Gogh as an example of a painter who did great work in spite of—or because of—his suffering. I like to think that van Gogh would have been even more prolific and even greater if he wasn’t so restricted by the things tormenting him. I don’t think it was pain that made him so great—I think his painting brought him whatever happiness he had.

We catched fish, and talked, and we took a swim now and then to keep off sleepiness. It was kind of solemn, drifting down the big still river, laying on our backs looking up at the stars, and we didn’t ever feel like talking loud, and it warn’t often that we laughed, only a kind of low chuckle. We had mighty good weather, as a general thing, and nothing ever happened to us at all, that night, nor the next, nor the next.

There’s a safety in thinking in a diner. You can have your coffee or your milk shake, and you can go off into strange dark areas, and always come back to the safety of the diner.

This idea comes to you, you can see it, but to accomplish it you need what I call a "setup." For example, you may need a working shop or a working painting studio. You may beed a working music studio. Or a computer room where you can write something. It's crucial to have a setup, so that, at any given moment, when you get an idea, you have the place and the tools to make it happen. If you don't have a setup, there are many times when you get the inspiration, the idea, but you have no tools, no place to put it together. And the idea just sits there and festers. Overtime, it will go away. You didn't filfill it--and that's just a heartache.

Stay true to yourself. Let your voice ring out, and don’t let anybody fiddle with it. Never turn down a good idea, but never take a bad idea. And meditate.

When you see an aging or a rusted bridge, you are seeing nature and man working together. If you paint over a building there is no more magic to that building. But if it is allowed to age, then man has built it and nature has added into it — it’s so organic.

It's the pool where we all go down to drink, to swim, to catch a little fish from the edge of the shore; it's also the pool where some hardy souls go out in their flimsy wooden boats after the big ones. It is the pool of life, the cup of imagination, and she has an idea that different people see different versions of it, but with two things ever in common: it's always about a mile deep in the Fairy Forest, and it's always sad. Because imagination isn't the only thing this place is about.

I love going into another world, and I love mysteries. So I don't really like to know very much ahead of time. I like the feeling of dicovery.

Life is filled with abstractions, and the only way we make heads or tails of it is through intuition. Intuition is seeing the solution—seeing it, knowing it. It’s emotion and intellect going together. That’s essential for the filmmaker.

But if you know that you’ve got to be somewhere in half an hour, there’s no way you can achieve that. So the art life means a freedom to have time for the good things to happen. There’s not always a lot of time for other things.

I was doing something that had become a pattern in my life, and I thought, Well I should go talk to a psychiatrist. When I got into the room, I asked him, 'Do you think that this process could, in any way, damage my creativity?', And he said ´Well, David, I have to be honest; it could´ And I shook his hand and left.

I don't necessarily love rotting bodies, but there's a texture to a rotting body that is unbelievable. Have you ever seen a little rotted animal? I love looking at those things, just as much as I like to look at a close-up of some tree bark, or a small bug, or a cup of coffee, or a piece of pie. You get in close and the textures are wonderful.

The thing about meditation is: You become more and more you.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. Its a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music-it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

He whose happiness is within, whose contentment is within, whose light is all within, that yogi, being one with Brahman, attains eternal freedom in divine consciousness. BHAGAVAD-GITA

Desire for an idea is like bait. When you're fishing, you have to have patience. You bait your hook, and then you wait.The desire is the bait that pulls those fish in—those ideas. The beautiful thing is that when you catch one fish that you love, even if it's a little fish—a fragment of an idea—that fish will draw in other fish, and they'll hook onto it. Then you're on your way. Soon there are more and more and more fragments, and the whole thing emerges. But it starts with desire.

And it should be fun. In work and in life, we’re all supposed to get along. We’re supposed to have so much fun, like puppy dogs with our tails wagging. It’s supposed to be great living; it’s supposed to be fantastic.

I love the French. They’re the biggest film buffs and protectors of cinema in the world. They really look out for the filmmaker and the rights of the filmmaker, and they believe in final cut.

I went to a psychiatrist once. I was doing something that had become a pattern in my life, and I thought, Well, I should go talk to a psychiatrist. When I got into the room, l asked him, "Do you think that this process could, in any way, damage my creativity?" And he said, "Well, David, I have to be honest: it could." And I shook his hand and left.

The sea is full of saints. You know that? You know that: you're a big boy. The sea's full of saints and it's been full of saints for years. Since longer than anything. Saints were there before there were even gods. They were waiting for them, and they're still there now. Saints eat fish and shellfish. Some of them catch jellyfish and some of them eat rubbish. Some saints eat anything they can find. They hide under rocks; they turn themselves inside out: they spit up spirals. There's nothing saints don't do. Make this shape with your hands. Like that. Move your fingers. There, you made a saint. Look out, here come another one! Now they're fighting! Yours won. There aren't any big corkscrew saints anymore, but there are still ones like sacks and ones like coils, and ones like robes with flapping sleeves. What's your favourite saint? I'll tell you mine. But wait a minute, first, do you know what it is makes them all saints? They're all a holy family, they're all cousins. Of each other, and of ... you know what else they're cousins of? That's right. Of gods. Alright now. Who was it made you? You know what to say. Who made you?

Inside every human being is an ocean of pure, vibrant consciousness. When you “transcend” in Transcendental Meditation, you dive down into that ocean of pure consciousness. You splash into it. And it’s bliss. You can vibrate with this bliss. Experiencing pure consciousness enlivens it, expands it. It starts to unfold and grow. If you have a golf-ball-sized consciousness, when you read a book, you’ll have a golf-ball-sized understanding; when you look out a window, a golf-ball-sized awareness; when you wake up in the morning, a golf-ball-sized wakefulness; and as you go about your day, a golf-ball-sized inner happiness. But if you can expand that consciousness, make it grow, then when you read that book, you’ll have more understanding; when you look out, more awareness; when you wake up, more wakefulness; and as you go about your day, more inner happiness. You can catch ideas at a deeper level. And creativity really flows. It makes life more like a fantastic game.

Don’t even think about it. You’ll never catch that big fish with your small hook.

Stay true to yourself. Let your voice ring out, and don’t let anybody fiddle with it.

Never turn down a good idea, but never take a bad idea. And meditate. It’s very important to experience that Self, that pure consciousness. It’s really helped me. I think it would help any filmmaker. So start diving within, enlivening that bliss consciousness. Grow in happiness and intuition. Experience the joy of doing. And you’ll glow in this peaceful way. Your friends will be very, very happy with you. Everyone will want to sit next to you. And people will give you money!

... we [can] catch fish and just throw them back... it [doesn't] seem to hurt the fish much past a cut lip. But then... one [may] swallow the hook...[it'd be] a goner, whether we tried to pull it out or just cut the line. Because once you've swallowed the hook, there's no losing it. Me, I've swallowed it big time.

I used to go to Bob's Big Boy restaurant just about every day from the mid-seventies until the early eighties. I'd have a milk shake and sit and think. There's a safety in thinking in a diner. You can have your coffee or your milk shake, and you can go off into strange dark areas, and always come back to the safety of the diner.

The idea is the whole thing. If you stay true to the idea, it tells you everything you need to know, really. You just keep working to make it look like that idea looked, feel like it felt, sound like it sounded, and be the way it was.

Looking for bad bonds inside a CDO was like fishing for crap in a Port-O-Let: The question wasn’t whether you’d catch some but how quickly you’d be satisfied you’d caught enough.


Leaving your dreams and living someone's dreams is like dipping a pole into a pool to catch a weaver bird alive! It doesn't work that way... Pursue what God sent you for!

Catching your big dream, touching it by hand is not an easy thing like catching fish, you have to give your years, not hours or whole day!

Sitting in front of a fire is mesmerizing. It's magical. I feel the same way about electricity. And smoke. And flickering lights.

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.

May everyone be happy. May everyone be free of disease. May auspiciousness be seen everywhere. May suffering belong to no one.

Eraserhead is my most spiritual movie. No one understands when I say that, but it is. Eraserhead was growing in a certain way, and I didn’t know what it meant. I was looking for a key to unlock what these sequences were saying. Of course, I understood some of it; but I didn’t know the thing that just pulled it all together. And it was a struggle. So I got out my Bible and I started reading. And one day, I read a sentence. And I closed the Bible, because that was it; that was it. And then I saw the thing as a whole. And it fulfilled this vision for me, 100 percent. I don’t think I’ll ever say what that sentence was.

Then he says, “I once read a story about three brothers who washed up on an island in Hawaii. A myth. An old one. I read it when I was a kid, so I probably don’t have the story exactly right, but it goes something like this. Three brothers went out fishing and got caught in a storm. They drifted on the ocean for a long time until they washed up on the shore of an uninhabited island. It was a beautiful island with coconuts growing there and tons of fruit on the trees, and a big, high mountain in the middle. The night they got there, a god appeared in their dreams and said, ‘A little farther down the shore, you will find three big, round boulders. I want each of you to push his boulder as far as he likes. The place you stop pushing your boulder is where you will live. The higher you go, the more of the world you will be able to see from your home. It’s entirely up to you how far you want to push your boulder.’” The young man takes a drink of water and pauses for a moment. Mari looks bored, but she is clearly listening. “Okay so far?” he asks. Mari nods. “Want to hear the rest? If you’re not interested, I can stop.” “If it’s not too long.” “No, it’s not too long. It’s a pretty simple story.” He takes another sip of water and continues with his story. “So the three brothers found three boulders on the shore just as the god had said they would. And they started pushing them along as the god told them to. Now these were huge, heavy boulders, so rolling them was hard, and pushing them up an incline took an enormous effort. The youngest brother quit first. He said, ‘Brothers, this place is good enough for me. It’s close to the shore, and I can catch fish. It has everything I need to go on living. I don’t mind if I can’t see that much of the world from here.’ His two elder brothers pressed on, but when they were midway up the mountain, the second brother quit. He said, ‘Brother, this place is good enough for me. There is plenty of fruit here. It has everything I need to go on living. I don’t mind if I can’t see that much of the world from here.’ The eldest brother continued walking up the mountain. The trail grew increasingly narrow and steep, but he did not quit. He had great powers of perseverance, and he wanted to see as much of the world as he possibly could, so he kept rolling the boulder with all his might. He went on for months, hardly eating or drinking, until he had rolled the boulder to the very peak of the high mountain. There he stopped and surveyed the world. Now he could see more of the world than anyone. This was the place he would live—where no grass grew, where no birds flew. For water, he could only lick the ice and frost. For food, he could only gnaw on moss. Be he had no regrets, because now he could look out over the whole world. And so, even today, his great, round boulder is perched on the peak of that mountain on an island in Hawaii. That’s how the story goes.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

The strength of a balancing feedback loop is important relative to the impact it is designed to correct. If the impact increases in strength, the feedbacks have to be strengthened too. A thermostat system may work fine on a cold winter day—but open all the windows and its corrective power is no match for the temperature change imposed on the system. Democracy works better without the brainwashing power of centralized mass communications. Traditional controls on fishing were sufficient until sonar spotting and drift nets and other technologies made it possible for a few actors to catch the last fish. The power of big industry calls for the power of big government to hold it in check; a global economy makes global regulations necessary.

It would be great if the entire film came all at once. But it comes, for me, in fragments... In Blue Velvet, it was red lips, green lawns, and the song—Bobby Vinton’s version of ‘Blue Velvet.’ The next thing was an ear lying in a field. And that was it.

Using a fisherman's net with large holes will only catch big fish; letting the smaller ones escape unharmed. It is a lot like life: focusing only on one golden opportunity lets the smaller ones slip away unnoticed. However, starting small will catch larger opportunities over time.

It looks like every truck them kind of boys drive. Jacked up to the sky and not a lick of dirt in the bed. They do them trucks just like some of them fellas that come up on the bay in them big fancy boats but don’t never catch no fish. Use a workingman’s tools for toys,” Albert said.

Socialism is anti-biological: the process of evolution involves the utilization of the inferior species, race, class, or individual by the superior; all life is exploitation, and subsists ultimately on other life; big fishes catch little fishes and eat them, and that is the whole story. Socialism is envy: “they want something which we have.

Fishermen know that if they wish to catch big fish, they must fish in deep waters; if you would catch a large measure of life, you must leave behind you the shallow waters with its many reefs and barriers and launch out into the deep blue waters where the big ones play. To catch the large manifestations of life you must enter into deeper and freer states of consciousness; only in these depths do the big expressions of life live.

Corn is what feeds the steer that becomes the steak. Corn feeds the chicken and the pig, the turkey, and the lamb, the catfish and the tilapia and, increasingly, even the salmon, a carnivore by nature that the fish farmers are reengineering to tolerate corn. The eggs are made of corn. The milk and cheese and yogurt, which once came from dairy cows that grazed on grass, now typically comes from Holsteins that spend their working lives indoors tethered to machines, eating corn. Head over to the processed foods and you find ever more intricate manifestations of corn. A chicken nugget, for example, piles up corn upon corn: what chicken it contains consists of corn, of course, but so do most of a nugget's other constituents, including the modified corn starch that glues the things together, the corn flour in the batter that coats it, and the corn oil in which it gets fried. Much less obviously, the leavenings and lecithin, the mono-, di-, and triglycerides, the attractive gold coloring, and even the citric acid that keeps the nugget "fresh" can all be derived from corn. To wash down your chicken nuggets with virtually any soft drink in the supermarket is to have some corn with your corn. Since the 1980s virtually all the sodas and most of the fruit drinks sold in the supermarket have been sweetened with high-fructose corn syrup (HFCS) -- after water, corn sweetener is their principal ingredient. Grab a beer for you beverage instead and you'd still be drinking corn, in the form of alcohol fermented from glucose refined from corn. Read the ingredients on the label of any processed food and, provided you know the chemical names it travels under, corn is what you will find. For modified or unmodified starch, for glucose syrup and maltodextrin, for crystalline fructose and ascorbic acid, for lecithin and dextrose, lactic acid and lysine, for maltose and HFCS, for MSG and polyols, for the caramel color and xanthan gum, read: corn. Corn is in the coffee whitener and Cheez Whiz, the frozen yogurt and TV dinner, the canned fruit and ketchup and candies, the soups and snacks and cake mixes, the frosting and candies, the soups and snacks and cake mixes, the frosting and gravy and frozen waffles, the syrups and hot sauces, the mayonnaise and mustard, the hot dogs and the bologna, the margarine and shortening, the salad dressings and the relishes and even the vitamins. (Yes, it's in the Twinkie, too.) There are some forty-five thousand items in the average American supermarket and more than a quarter of them now contain corn. This goes for the nonfood items as well: Everything from the toothpaste and cosmetics to the disposable diapers, trash bags, cleansers, charcoal briquettes, matches, and batteries, right down to the shine on the cover of the magazine that catches your eye by the checkout: corn. Even in Produce on a day when there's ostensibly no corn for sale, you'll nevertheless find plenty of corn: in the vegetable wax that gives the cucumbers their sheen, in the pesticide responsible for the produce's perfection, even in the coating on the cardboard it was shipped in. Indeed, the supermarket itself -- the wallboard and joint compound, the linoleum and fiberglass and adhesives out of which the building itself has been built -- is in no small measure a manifestation of corn.

Maybe you don't think it's helpful to hear how big the problem is and how we're making it worse without thinking about it. I agree: the size of the problem and the narrative of personal responsibility is destructive! It makes us feel guilty about everything we do, even though we had no idea and weren't responsible for setting up the cattle industry! It shouldn't be the consumer's responsibility to find out what type of fish is okay to eat, or which inexpensive cashmere sweater is okay to buy (which is not to say you should eat fish and wear cheap cashmere with abandon). Instead, it should be up to the company to produce cashmere responsible or not to catch and sell fish that shouldn't be caught and sold, since the companies making money from these activities are the experts (theoretically) who control how the product is made. That's a change we can demand companies make. We don't have to buy their products if they are unwilling to at least tell us where they come from.

Twolegs call it a boat,” Mistyfoot told them, padding up. Her fur lay flat on her shoulders, and she obviously wasn’t bothered by the rattling halfbridge. “They used to bring them onto our river sometimes—did you never see one? Sometimes they used them for fishing.” Brambleclaw tried to picture a Twoleg crouching in this boat, waiting to hook out a fish with its big clumsy paws. He found it hard to believe they’d be quick enough to catch anything, but if Mistyfoot said so, it must be true.

After a couple of hours, I reach an old house near the edge of the lake. Maybe “house” is too big a word for it. It’s only one room, about twelve feet square. My father thought that a long time ago there were a lot of buildings — you can still see some of the foundations — and people came to them to play and fish in the lake. This house outlasted the others because it’s made of concrete. Floor, roof, ceiling. Only one of four glass windows remains, wavy and yellowed by time. There’s no plumbing and no electricity, but the fireplace still works and there’s a woodpile in the corner that my father and I collected years ago. I start a small fire, counting on the mist to obscure any telltale smoke. While the fire catches, I sweep out the snow that has accumulated under the empty windows, using a twig broom my father made me when I was about eight and I played house here.

There was once a businessman who was sitting by the beach in a small Brazilian village. As he sat, he saw a Brazilian fisherman rowing a small boat toward the shore having caught quite a few big fish. The businessman was impressed and asked the fisherman, “How long does it take you to catch so many fish?” The fisherman replied, “Oh, just a short while.” “Then why don’t you stay longer at sea and catch even more?” The businessman was astonished. “This is enough to feed my whole family,” the fisherman said. The businessman then asked, “So, what do you do for the rest of the day?” The fisherman replied, “Well, I usually wake up early in the morning, go out to sea and catch a few fish, then go back and play with my kids. In the afternoon, I take a nap with my wife, and [when] evening comes, I join my buddies in the village for a drink—we play guitar, sing and dance throughout the night.” The businessman offered a suggestion to the fisherman. “I am a PhD in business management. I could help you to become a more successful person. From now on, you should spend more time at sea and try to catch as many fish as possible. When you have saved enough money, you could buy a bigger boat and catch even more fish. Soon you will be able to afford to buy more boats, set up your own company, your own production plant for canned food and distribution network. By then, you will have moved out of this village and to São Paulo, where you can set up an HQ to manage your other branches.” The fisherman continues, “And after that?” The businessman laughs heartily. “After that, you can live like a king in your own house, and when the time is right, you can go public and float your shares in the Stock Exchange, and you will be rich.” The fisherman asks, “And after that?” The businessman says, “After that, you can finally retire, you can move to a house by the fishing village, wake up early in the morning, catch a few fish, then return home to play with [your] kids, have a nice afternoon nap with your wife, and when evening comes, you can join your buddies for a drink, play the guitar, sing and dance throughout the night!” The fisherman was puzzled. “Isn’t that what I am doing now?

Twenty, thirty, forty feet. The pressure wasn’t uncomfortable. I’d never tried to push it—to see if there was a limit to how deep I could dive. I knew most regular humans couldn’t go past two hundred feet without crumpling like an aluminum can. I should’ve been blind, too, this deep in the water at night, but I could see the heat from living forms, and the cold of the currents. It’s hard to describe. It wasn’t like regular seeing, but I could tell where everything was. As I got closer to the bottom, I saw three hippocampi—fish-tailed horses—swimming in a circle around an overturned boat. The hippocampi were beautiful to watch. Their fish tails shimmered in rainbow colors, glowing phosphorescent. Their manes were white, and they were galloping through the water the way nervous horses do in a thunderstorm. Something was upsetting them. I got closer and saw the problem. A dark shape—some kind of animal—was wedged halfway under the boat and tangled in a fishing net, one of those big nets they use on trawlers to catch everything at once. I hated those things. It was bad enough they drowned porpoises and dolphins, but they also occasionally caught mythological animals. When the nets got tangled, some lazy fishermen would just cut them loose and let the trapped animals die. Apparently this poor creature had been mucking around on the bottom of Long Island Sound and had somehow gotten itself tangled in the net of this sunken fishing boat. It had tried to get out and managed to get even more hopelessly stuck, shifting the boat in the process. Now the wreckage of the hull, which was resting against a big rock, was teetering and threatening to collapse on top of the tangled animal. The hippocampi were swimming around frantically, wanting to help but not sure how. One was trying to chew the net, but hippocampi teeth just aren’t meant for cutting rope. Hippocampi are really strong, but they don’t have hands, and they’re not (shhh) all that smart. Free

Jack’s eyes glinted with humor. “Do we have to start with that?” “What else would we start with?” “Couldn’t you ask me something like, ‘How did your morning go?’ or ‘What’s your idea of the perfect day?’” “I already know what your idea of the perfect day is.” He arched a brow as if that surprised him. “You do? Let’s hear it.” I was going to say something flip and funny. But as I stared at him, I considered the question seriously. “Hmmn. I think you’d be at a cottage at the beach . . .” “My perfect day includes a woman,” he volunteered. “Okay. There’s a girlfriend. Very low-maintenance.” “I don’t know any low-maintenance women.” “That’s why you like this one so much. And the cottage is rustic, by the way. No cable, no wireless, and you’ve both turned off your cell phones. The two of you take a morning walk along the beach, maybe go for a swim. And you pick up a few pieces of seaglass to put in a jar. Later, you both ride bikes into the town, and you head for the outfitters shop to buy some fishing stuff . . . some kind of bait—” “Flies, not bait,” Jack said, his gaze not moving from mine. “Lefty’s Deceivers.” “For what kind of fish?” “Redfish.” “Great. So then you go fishing—” “The girlfriend, too?” he asked. “No, she stays behind and reads.” “She doesn’t like to fish?” “No, but she thinks it’s fine that you do, and she says it’s healthy for you to have separate interests.” I paused. “She packed a really big sandwich and a couple of beers for you.” “I like this woman.” “You go out in your boat, and you bring home a nice catch and throw it on the grill. You and the woman have dinner. You sit with your feet up, and you talk. Sometimes you stop to listen to the sounds of the tide coming in. After that, the two of you go on the beach with a bottle of wine, and sit on a blanket to watch the sunset.” I finished and looked at him expectantly. “How was that?” I had thought Jack would be amused, but he stared at me with disconcerting seriousness. “Great.” And then he was quiet, staring at me as if he were trying to figure out some sleight-of-hand trick.

Suddenly I realized I was standing on the hot wood of the dock, still touching elbows with Adam, staring at the skull-and-crossbones pendant. And when I looked up into his light blue eyes, I saw that he was staring at my neck. No. Down lower. “What’cha staring at?” I asked. He cleared his throat. “Tank top or what?” This was his seal of approval, as in, Last day of school or what? or, Dallas Cowboys Cheerleaders or what? Hooray! He wasn’t Sean, but he was built of the same material. This was a good sign. I pumped him for more info, to make sure. “What about my tank top?” “You’re wearing it.” He looked out across the lake, showing me his profile. His cheek had turned bright red under his tan. I had embarrassed the wrong boy. Damn, it was back to the football T-shirt for me. No it wasn’t, either. I couldn’t abandon my plan. I had a fish to catch. “Look,” I told Adam, as if he hadn’t already looked. “Sean’s leaving at the end of the summer. Yeah, yeah, he’ll be back next summer, but I’m afraid I won’t be able to compete once he’s had a taste of college life and sorority girls. It’s now or never, and desperate times call for desperate tank tops.” Adam opened his mouth to say something. I shut him up by raising my hand. Imitating his deep boy-voice, I said, “I don’t know why you want to hook up with that jerk.” We’d had this conversation whenever we saw each other lately. I said in my normal voice, “I just do, okay? Let me do it, and don’t get in my way. Stay out of my net, little dolphin.” I bumped his hip with my hip. Or tried to, but he was a lot taller than me. I actually hit somewhere around his mid-thigh. He folded his arms, stared me down, and pressed his lips together. He tried to look grim. I could tell he was struggling not to laugh. “Don’t call me that.” “Why not?” “Dolphins don’t live in the lake,” he said matter-of-factly, as if this were the real reason. The real reason was that the man-child within him did not want to be called “little” anything. Boys were like that. I shrugged. “Fine, little brim. Little bass.” He walked toward the stairs. “Little striper.” He turned. “What if Sean actually asked you out?” I didn’t want to be teased about this. It could happen! “You act like it’s the most remote poss-“ “He has to ride around with the sunroof open just so he can fit his big head in the truck. Where would you sit?” “In his lap?” A look of disgust flashed across Adam’s face before he jogged up the stairs, his weight making the weathered planks creaked with every step.

When I was young, I did a lot of things with pine. But then, I started falling in love with Douglas fir, vertical-grain Douglas fir.

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.

So Lily and I are on the boat and she’s asking me a ton of questions and I’m trying to answer them as patiently as possible. ‘Dad,’ she said, ‘what if we don’t catch any fish?’ ‘Then there will be one more fish in the loch.’ ‘Dad, what if we lose an oar?’ ‘Then I’ll use the one we have left to get us back to the docks.’ ‘Dad, what if we lose both oars?’ ‘Then we’ll paddle back with our hands.’ ‘Dad, what if a boat came?’ ‘Then we’d get out of the way.’ ‘What if it was really close?’ ‘We’d get out of the way really fast.’ ‘Dad, what if you didn’t see the boat?’ And by now I’m losing my patience. ‘Lily,’ I said, ‘I thought you wanted to learn how to fish. Why all the boat questions?’ ‘Because, Dad, there’s a big boat behind you.’ I look over my shoulder and the Dunoon ferry is right there!” We all burst out laughing as Nate starts gesturing with his hands. “I start rowing like hell to get us out of the way and Lily’s just sitting there calm as you please.

Creatures of the Deep v1.89 MOD APK (Unlocked Everything) Welcome to “Creatures of the Deep,” a special fishing game where you can explore, relax, and have fun competing with others. If you want to catch the biggest fish, this game is perfect for you. There’s some strange news from all around the world about mysterious monsters in the deep sea. As a player, your job is to talk to local people, investigate, and do it quickly! Join other anglers from different parts of the world and travel to cool fishing spots. Throw your fishing line, catch big fish, find sea creatures, discover treasures underwater, and maybe even meet some legendary monsters. This game gives you a mix of excitement and relaxation as you fish and explore the secrets under the ocean. “Creatures of the Deep” is waiting for you to start your adventure.

K is for Kite Today we have gone fishing. Dad's excited, so am I. He's angling in the ocean. Me? I'm fishing in the sky. Dad cast his line. Hours have passed. He hasn't had one bite. I feel a sharp tug on my string. Hurray, I've caught a kite. My catch is big and colorful, and trails a bow-tied tail. My dad is packing up his bait, his hooks, his rod and reel. When I get home, I'll show my prize and put it on display. When Dad gets home he'll tell tall tales of fish that got away.

Don’t worry,” he said, that grandfatherly smile spreading across his face once more, “I’ve been fishing for over forty years.  You’ve got plenty of time to catch up, maybe even pass what I’ve done.  You’re a perspicacious piscatorial pursuer, and I’m sure you’ll catch the big ones.

The two young boys raced along the sidewalk, twisting their way between passers-by, their eyes frantically glancing behind them at the large pursuing policeman. Suddenly Mr. Thorn, a large, burley man dressed in black blocked their way and took them both by the collars. “So there you are!” He snatched the apple quickly from James’ hand. “What have we here?” He was about to take a bite of it, when he saw the officer racing towards them. “It’s all right officer. I have the young scoundrels and I’ll make full restitutions for their thievery.” He quickly fished coins from his pocket and with a conning smile, put them in the hand of the frowning Policeman. “And a little extra for your trouble, my good man. It’s such a small crime and the criminals so . . . minor.” The burly policeman rocked back and forth considering and then grunted, after all it was Christmas. “Very well sir. I’ll give these to the Vendor but I catch either of you snatching again, it’s behind bars with you and a good strong workhouse. You got me!” Jonas glanced down at his worn out boots, his face red with shame. “Oh yes sir.” James followed suit and then glanced up into the gruff face of the law. “Sorry, we were just hungry!” Mr. Thorn smiled and tipped his hat to the Policeman, who shaking his head, sauntered away. Immediately Mr. Thorn slapped Jonas hard across the face, drawing blood from his nose and then smacked James on the head, crushing his cap. He snatched the apple from James’ hand and pocketed them both. “So here you two no-accounts are? I’ve been searching high and wide for the lot of you. I left you at this corner and I expected to find you right where I left ya!” He then snatched the cup from Jonas’ hand with a scowl. He poured the coins into his hand and his greedy eyes took in the meager profits. Jonas immediately stammered justification for their absence. “We-we found a better corner to beg at, Mr. Thorn. I think we done all right.” Mr. Thorn cleared his throat considering and then his boisterous laughter echoed. He put his big arms around the two young lads. “Well, you done fine for us boys! We needs the money! We’ll have to have you two young Sirs representing our fine establishment again tomorrow, I do believe.” He chuckled cruelly. “We’ve great charity in our hearts for you kiddies but a soulful heart won’t put bread and molasses on the table.” He greedily poured the coins into his coat pocket. Both lads coughed mischievously at mention of such charitable actions. Thorn eyed them both to see if they are making fun of him, which they were. Jonas cleared his throat. “A bit of a tickle.” Thorn growled and gruffly took hold of the boy’s arm. “I’d tickle you both with a whip if I thought you was funning with me! Now boys, you’ve roughed my gentle nature. You know that I has nothing but love for the lot of you. My big heart swells at the sight of each and every one of you little bastards . . . I mean kiddies. Shall we on home?” “Here Jamey lad, you hold the cup. Give us a song the two of you, to beg alms by. I think I’m in the mood for “Oh Come All Ye Faithful”, but make it sweet or there’s a lashing for the both of ya!” Jonas and James exchanged tortured looks. Together the young Nicholas boys sweetly began to sing the song, as they moved through the crowd. The Tall Toymaker followed them down the sidewalk, trying not to be observed by Thorn. ”And a villain enters the scene, an ugly villain at that!

A large fish jumped across the river and they were silent; he was huge. “King,” Rick finally said. “I haven’t seen one that size in a long time.” “He must be lost,” Jack said, casting in that direction. Rick took a few paces downstream, changed out his fly and threw a line. They played with him a while, then Rick hooked him and yelled, “Woo-hoo!” “Lead him, let him take out line, tire him out before you—” Rick laughed. “I know how to catch a fish.” “Don’t screw around, get too anxious and lose him,” Jack said. “You milking this cow?” Ricky asked him. For the better part of an hour Rick played him, letting out line, letting him run, pulling him back, walking up and down in the shallow part of the river when the fish ran, and all the while he had Jack in his ear. “That son of a bitch is big. Let out more line. Don’t spoil him, he’s a fighter. He’s getting too far from your control, reel him back.” And on and on and on. Rick finally brought him in, a great big Chinook, over thirty pounds. And that was more than enough fishing; Rick’s ears were ringing from Jack’s mother-henning. When they got back to the bar, Preacher whistled in admiration and loaded the fish on the scale. “Thirty-seven point four. You catch him all by yourself, Rick?” Rick made a face at Jack. “Not exactly.” *