Cement Garden Quotes

Girls can wear jeans and cut their hair short and wear shirts and boots because it's okay to be a boy; for girls it's like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading.

At the back of my mind I had a sense of us sitting about waiting for some terrible event, and then I would remember that it had already happened.

Her laughter catches him off guard. As if it’s carbonated and someone has poured it too fast and it’s bubbling over in all directions. It doesn’t fit at all with the gray cement and right-angled garden paving stones. It’s an untidy, mischievous laugh that refuses to go along with rules and prescriptions.

Even though trauma has a way of becoming the wallpaper of my head, watch me drag the art out of my suffering. Watch me plant seeds down my spine and bloom into a garden of poetry from every horrible thing that has ever happened to me, all the nights my voice turned to cement and I couldn't say anything- Watch me build an empire from the ashes of everything that tried to destroy me.

Most houses were crammed with immovable objects in their proper places, and each object told you what to do - here you ate, here you slept, here you sat. I tried to imagine carpets, wardrobes, pictures, chairs, a sewing machine, in these gaping, smashed-up rooms. I was pleased by how irrelevant, how puny such objects now appeared.

Want your boat, Georgie?' Pennywise asked. 'I only repeat myself because you really do not seem that eager.' He held it up, smiling. He was wearing a baggy silk suit with great big orange buttons. A bright tie, electric-blue, flopped down his front, and on his hands were big white gloves, like the kind Mickey Mouse and Donald Duck always wore. Yes, sure,' George said, looking into the stormdrain. And a balloon? I’ve got red and green and yellow and blue...' Do they float?' Float?' The clown’s grin widened. 'Oh yes, indeed they do. They float! And there’s cotton candy...' George reached. The clown seized his arm. And George saw the clown’s face change. What he saw then was terrible enough to make his worst imaginings of the thing in the cellar look like sweet dreams; what he saw destroyed his sanity in one clawing stroke. They float,' the thing in the drain crooned in a clotted, chuckling voice. It held George’s arm in its thick and wormy grip, it pulled George toward that terrible darkness where the water rushed and roared and bellowed as it bore its cargo of storm debris toward the sea. George craned his neck away from that final blackness and began to scream into the rain, to scream mindlessly into the white autumn sky which curved above Derry on that day in the fall of 1957. His screams were shrill and piercing, and all up and down Witcham Street people came to their windows or bolted out onto their porches. They float,' it growled, 'they float, Georgie, and when you’re down here with me, you’ll float, too–' George's shoulder socked against the cement of the curb and Dave Gardener, who had stayed home from his job at The Shoeboat that day because of the flood, saw only a small boy in a yellow rain-slicker, a small boy who was screaming and writhing in the gutter with muddy water surfing over his face and making his screams sound bubbly. Everything down here floats,' that chuckling, rotten voice whispered, and suddenly there was a ripping noise and a flaring sheet of agony, and George Denbrough knew no more. Dave Gardener was the first to get there, and although he arrived only forty-five seconds after the first scream, George Denbrough was already dead. Gardener grabbed him by the back of the slicker, pulled him into the street...and began to scream himself as George's body turned over in his hands. The left side of George’s slicker was now bright red. Blood flowed into the stormdrain from the tattered hole where his left arm had been. A knob of bone, horribly bright, peeked through the torn cloth. The boy’s eyes stared up into the white sky, and as Dave staggered away toward the others already running pell-mell down the street, they began to fill with rain.

I felt stifled. Everything I looked at reminded me of myself.

I believe that my observations have always led me to find that the so-called realist moves about the world with a closed mind, ringed as it were with concrete and cement, and that the so-called romantic is like an unfenced garden in and out of which truth can wander at will.

The possibility that Julie and I were responsible for the disintegration filled me with horror and delight.

Betty's now have a patio garden, where the tourists can sit in the sun and fry to a crisp; it's in the back, that little square of cracked cement where they used to keep the garbage cans. They offer tortellini and cappuccino, boldly proclaimed in the window as if everyone in town just naturally knows what they are. Well, they do by now; they've had a try, if only to acquire sneering rights.

This is the path we take in cultivating joy: learning not to armor our basic goodness, learning to appreciate what we have. Most of the time we don’t do this. Rather than appreciate where we are, we continually struggle and nurture our dissatisfaction. It’s like trying to get the flowers to grow by pouring cement on the garden.

Girls can wear jeans and cut their hair short and wear shirts and boots because it’s okay to be a boy, for girls it’s like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading.

Her laughter catches him off guard. As if it’s carbonated and someone has poured it too fast and it’s bubbling over in all directions. It doesn’t fit at all with the gray cement and right-angled garden paving stones. It’s an untidy, mischievous laugh that refuses to go along with rules and prescriptions

Her laughter catches him on the back foot. As if it’s carbonated and someone has poured it too fast and it’s bubbling over in all directions. It doesn’t fit at all with the grey cement and right-angled garden paving stones. It’s an untidy, mischievous laugh that refuses to go along with rules and prescriptions.

Out in the city, church bells strike one. One thirty. Still her father does not return. At some point, several distinct thumps travel into the museum from the gardens or the streets beyond, as if someone is dropping sacks of cement mix out of the clouds. With each impact, the thousands of keys in their cabinets quiver on their pegs.

In the pleasant May of 1958, a group of pioneers, engineers, second-generation Americans, speculators, ne'er-do-wells, and visionaries known as the Chocinoe Management Group gathered by a bubbling spring in the middle fork of Lansill's Creek and talked about creating a settlement to be called Garden Springs. The next month they received a use permit from the Planning Commission of the City of Lexington, and began clear-cutting and bulldozing, in preparation for the excavation of sites where the cement foundations of this subdivision would be laid .... The building of this subdivision was part of the all-important process of Lexington's becoming The Greater Lexington Area, and I take special pride in noting that this general shift away from its tobacco-town heritage was bemoaned by scarcely anyone.

the road there began with kindness. This philosophy informed his actions toward Cadence in those first weeks. Unlike some of the others, who mistook Cadence’s cold and closed-off ways for pretentiousness, Sully saw only fear. When she bolted her eyes to the ground and wrapped her bony arms around herself, he saw someone who wanted to evade attention. When she countered a person’s questions with monosyllabic replies, he saw someone who was overly conscientious about what escaped her lips. To act otherwise would mean to draw someone’s ire. What really cemented his suspicions was what happened one Saturday, when he and Spencer were cleaning out the house’s rain gutters. Sully was perched on the coarse, flagstone shingles, using a garden spade to excavate the debris (leaves and twigs from a week of thunderstorms) and sending it all down below where Spencer waited, stretching open the mouth of a trash bag. Most of the debris landed everywhere but inside the bag, but as Spencer wasn’t fond of

Her laughter catches him off guard. As if it's carbonated and someone has poured it too fast and it's bubbling over in all directions. It doesn't fit at all with the grey cement and right-angled garden paving stones. It's an untidy, mischievous laugh that refuses to go along with rules and prescriptions.

The taxi arrived in a few minutes and the girls were driven to the yacht club, which was in the opposite direction to the old mansion. As they entered the expansive grounds, Bess exclaimed, “What a beautiful place!” There was a large garden with hedges on three sides. Flower beds were laid out in symmetrical patterns. Roses and delphinium were particularly prominent. At the far end of the grounds stood a long formal-looking Italian-type building of white cement. When the taxi reached the entrance, two young men in well-fitting blue uniforms took their bags. They led the girls through a tastefully furnished lobby to the registration desk.

A CEMENT WALL A few years ago, two patients found themselves sharing a room in the palliative care unit of a hospital. Luis, in the bed next to the window, would talk to Daniel. Every day he would tell him, in luxuriant detail, what happened in the street. Mostly he narrated the adventures—seen from the window—of a family who lived near the hospital. The mother would often play with her children in the garden. He spoke naturally and with grace, although his voice was slurred from the chemotherapy. For Daniel, the last months of his life were rendered entertaining by his roommate. On those days when they were alone, without family or friends, Luis would say, “Shall I tell you what I see?” Daniel’s eyes would light up. And a recital would begin that might last hours. Months later, Luis passed away, and within a few days his bed was occupied by another patient. Daniel, excited by the thought that he would once again be able to hear the stories his friend had told him, asked his new companion to inform him about the children in their garden. The response stunned him: “There’s no garden here, just a cement wall.” Luis had used his imagination—his one remaining resource—to make up stories that would entertain Daniel. Using empathy, Luis had been capable of putting himself in his comrade’s shoes and successfully got him excited about something, helping him to overcome the suffering caused by his illness.

On the eve of her fortieth birthday, Dot began to fear death. Up until then everything had been PERFECT. She had a perfect husband, perfect children (or WOULD, if she'd ever had any), a perfect home, perfect body, ... a PERFECT LIFE!... Ah, but near-perfection's better! The haphazard, the untried. There's no FUTURE in perfection, nowhere left to go. There's no LIFE in it. You stop loving, stop trying, when everything is perfect. There is pleasure in decay, in the awkward and the fumbling...in states of disrepair, disuse, the doomed, degenerate, unconnected, out-of-place, the miserable, malodorous, uncorrected and uncontained. There is deep pleasure to be had in old cement and gravel, cemeteries and the overgrown gardens of people who don't care. In lakes the color of anti-freeze, in which bacteria bloom. In rotting refuse and its attendant gulls, old army bases, abandoned runways, brickwork as it crumbles. INDUSTRIAL WASTELAND, the last real wilderness on offer! Stare at the cracks in which green things grow.

The Pyramids first, which in Egypt were laid; Next Babylon's Gardens, for Amytis made; Then Mausolos' Tomb of affection and guilt; Fourth, the Temple of Diana in Ephesus built; The Colossus of Rhodes, cast in brass, to the Sun; Sixth, Jupiter's Statue, by Phidias done; The Pharos of Egypt comes last, we are told, Or the Palace of Cyrus, cemented with gold.

Critically, the pursuit of economic prosperity through the mere imitation of a Western framework, according to me, would cement the notion that the only viable way was the Western way, which would have irreversible and catastrophic consequences for the survival of Bharat’s indigeneity. I believed that it would be unwise to put economics and civilisational priorities in walled gardens because the relationship between the two was too close to risk a silo-based approach. After all, the average person was bound to assume and attribute the West’s economic prosperity to the values and ideals it subscribed to, and ultimately to its onto-epistemology and theology (OET).

Lawn Lovely is a store two blocks from our house. It’s the place where Dad buys his lawn ornaments. A lot of lawn ornaments. Dad is as nuts about lawn ornaments as he is about gardening. We have so many lawn ornaments in our front yard, it’s impossible to mow the lawn! What a crowd scene! We have two pink plastic flamingos. A cement angel with huge white wings. A chrome ball on a silver platform. A whole family of plaster skunks. A fountain with two kissing swans. A seal that balances a beach ball on its nose. And a chipped plaster deer.

The cab pulled up to our building on St. Louis between Decatur and Chartres Streets, a three-story cement stucco town house in the old creole style. It was painted pale pink and covered with delicate ironwork like a lace veil. It had an arched opening with a wrought-iron gate and an old metal lock. Inside, the ground-floor hallway had high, rounded ceilings and a dark caramel tiled floor leading to a garden in the back. It was drippy and heavy with the scent of jasmine, just like me. Wisteria rolled down from the top-floor balconies all the way to the garden below and curled around the legs of the iron tables and chairs like beautiful prison shackles. Everything about the building looked like it was from another century, and having never been to New Orleans I did not yet know that everything was.