Chain Link Fence Quotes

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I don't know why it's called "getting lost." Even when you turn down the wrong street, when you find yourself at the dead end of a chain-link fence or a road that turnd to sand, you are somewhere. It just isn't where you expected to be.
Jodi Picoult (Vanishing Acts)
I didn't know why it's called "getting lost". even when you turn down the wrong street, when you find yourself at the dead end of a chain-link fence or a road that turns to sand, you are somewhere. It just isn't where you expected
Jodi Picoult (Vanishing Acts)
I will begin to remember our walk in the third person, as if I’d seen it from the Manhattan Bridge, but, at the time of writing, as I lean against the chain-link fence intended to stop jumpers, I am looking back at the totaled city in the second person plural. I know it’s hard to understand / I am with you, and I know how it is.  
Ben Lerner (10:04)
My life is hard. No one would rob me of that. The clothes I am wearing came out of a knotted up black plastic trash bag from a resale shop downtown. And not the downtown where shiny cars wink at you in the sunlight. If a car winks at you in this area it’s being driven by a person you would be best to avoid. My side of downtown is crumbling and skirted by chain link fences. --Rocky Evans
Gwenn Wright (Filter (The Von Strassenberg Saga, #1))
People. And the brutal things we do to one another. The fence shakes against my cheek and I turn, careful to keep my gaze lifted. I don't have it in me to look at her again. Bishop is grasping the chain-link with both hands, knuckles white, his eyes closed. His whole body is wound tight as a spring, like if I reached for him he would simply break apart at the joints, splinter into a hundred pi8eces. I don't try to touch him. He lets out a yell and then another and another, loud and wild and out of control. He shakes the fence hard with both hands. His anger and frustration are more potent somehow because they are unexpected. When his scream fades into silence, he rests his forehead against the metal. "Sometimes," he says, voice raw, "I hate this place." He twists his neck and looks at me, hands still hooked in the fence above his head. "I know," I say, barely a whisper. "Me, too.
Amy Engel (The Book of Ivy (The Book of Ivy, #1))
And then there will be the times when I see you laughing. Like the time you’ll be playing with the neighbor’s puppy, poking your hands through the chain-link fence separating our back yards, and you’ll be laughing so hard you’ll start hiccupping. The puppy will run inside the neighbor’s house, and your laughter will gradually subside, letting you catch your breath. Then the puppy will come back to the fence to lick your fingers again, and you’ll shriek and start laughing again. It will be the most wonderful sound I could ever imagine, a sound that makes me feel like a fountain, or a wellspring.
Ted Chiang (Lightspeed Magazine, December 2012)
What if the curtain that separates us is not death but a chain-link fence and some land?
Veronica Roth (Allegiant (Divergent, #3))
And we stayed there holding each other, inseparable, immovable, tangled like a tree that had grown into a chain-link fence.
Abby Jimenez (Yours Truly (Part of Your World, #2))
In the morning, a local resident drapes a hose over the garden wall so the migrants can brush their teeth, wet their faces, and fill their canteens. A contingent of older ladies walks the tracks, passing out blessings with homemade bagged sandwiches and pickles. A guard from the hut calls Luca over and passes him a grape lollipop through the chain-link fence.
Jeanine Cummins (American Dirt)
About how Mother Nature is not kind, but she is balanced. Every single one of us, from amoeba to blue whale to the tenacious bloom that dares to dream of tomorrow, have their own destiny-fulfilling journey as long as their minds and hearts are open. And how we are all connected by a web that looks gossamer but is stronger than a chain-link fence. And though Nature is tough, she is always conspiring for your success, encouraging you to evolve. You can even hear her if you listen carefully.
Kira Jane Buxton (Hollow Kingdom (Hollow Kingdom #1))
The Los Angeles River is small, but mean. People who don't know the truth of it make fun of our river; all they see is a tortured trickle that snakes along a concrete gutter like some junkie's vein. They don't know that we put the river in concrete to save ourselves; they don't know that the river is small because it's sleeping, and that every year and sometimes more it wakes. Before we put the river in that silly trough centered on a concrete plain at the bottom of those concrete walls, it flashed to life with the rain to wash away trees and houses and bridges, and cut its banks to breed new channels almost as if it was looking for people to kill. It found what it looked for too many times. Now, when it wakes, the river climbs those concrete walls so high that wet claws rake the freeways and bridges as it tries to pull down a passing car or someone caught out in the storm. Chain-link fences and barbed wire spine along the top of the walls to keep out people, but the walls keep in the river. The concrete is a prison. The prison works, most of the time.
Robert Crais (The Last Detective (Elvis Cole, #9))
I urge you to imagine the interlaced abundance if, throughout suburbia, every stockade fence, every chain-linked boundary, were to be buried in varied greenery and each of them and every hedge transformed into a hedgerow. I ask you, at least, to open the door to some first guest that your party might begin.
Sara Bonnett Stein (Noah's Garden: Restoring the Ecology of Our Own Back Yards)
She loses track of where her mother’s voice is coming from, begins to hear it from several directions at once as she steps and stumbles over dry ground, the houses and factories shrinking to toy buildings she can pinch with her fingers, the flaming disc of the sun washing the field white. It’s not until she reaches the chain-link fence that she realizes her mother is gone.
Kayla Maiuri (Mother In the Dark)
Though she had spoken only rarely and had had no real friends, everybody possessed his own vivid memories of Cecilia. Some of us had held her for five minutes as a baby while Mrs. Lisbon ran back into the house to gether purse. Some of us had played in the sandbox with her, fighting over a shovel, or had exposed ourselves to her behind the mulberry tree that grew like deformed flesh through the chain link fence. We had stood in line with her for smallpox vaccinations, had held polio sugar cubes under our tongues with her, had taught her to jump rope, to light snakes, had stopped her from picking her scabs on numerous occasions, and had cautioned her against touching her mouth to the drinking fountain at Three Mile Park. A few of us had fallen in love with her, but had kept it to ourselves, knowing that she was the weird sister.
Jeffrey Eugenides (The Virgin Suicides)
Behind the chain-link fence the skeleton of the structure, floodlit from all sides, looked very much like a rocket ship on its launchpad. The lights, so harsh and intense, refused to admit darkness was behind them, beyond them. But the beams quickly disappeared once they flooded out past the museum and into the Alpine night. You would think so much candlepower could shine well up into the sky, but it can bully the night only so far, which is not far at all.
Jonathan Carroll (Outside the Dog Museum (Answered Prayers, #4))
How Love Leaves You There is no telling how you will love when you do, if you will let it consume you or free you. If love is a chain-link fence or a pair of wings. If love comes on a Monday morning or a Sunday afternoon. Who knows what gifts or sorrows it will bring? But we all know the story of how love leaves you, if you think back to when it last left. And if you’ve forgotten, let me remind you. How love never really ends. How your heart breaks the same way it beats, again and again, and again.
Lang Leav (Love Looks Pretty on You)
I’d loved Emory since the moment I laid eyes on her when I was fourteen. I could still see her—sitting on her bike outside the chain-link fence surrounding the school parking lot as she watched my friends and me on our skateboards that summer. From that moment on, it seemed I was always aware of her, and everything I did, I did it with it in mind that she was watching. Every joke in class. Every strut into the lunchroom. Every new haircut and every new pair of jeans. Even the Raptor. My first thought when my parents bought it was how she’d look in it.
Penelope Douglas (Nightfall (Devil's Night, #4))
It's be when you first learn to walk that I get daily demonstrations of the asymmetry in our relationship. You'll be incessantly running off somewhere, and each time you walk into a door frame or scrape your knee, the pain feels like it's my own. It'll be like growing an errant limb, an extension of myself whose sensory nerves report pain just fine, but whose motor nerves don't convey my commands at all. It's so unfair: I'm going to give birth to an animated voodoo doll of myself. I didn't see this in the contract when I signed up. Was this part of the deal? And then there will be the times when I see you laughing. Like the time you'll be playing with the neighbor's puppy, poking your hands through the chain-link fence separating our back yards, and you'll be laughing so hard you'll start hiccuping. The puppy will run inside the neighbor's house, and your laughter will gradually subside, letting you catch your breath. Then the puppy will come back to the fence to lick your fingers again, and you'll shriek and start laughing again. it will be the most wonderful sound I could ever imagine, a sound that makes me feel like a fountain, or a wellspring. Now if only I can remember that sound the next time your blithe disregard for self-preservation gives me a heart attack.
Ted Chiang (Stories of Your Life and Others)
No guns though, even they could not be trusted with guns. Guns were for the guards, specially picked from the Angels. The guards weren’t allowed inside the building except when called, and we weren’t allowed out, except for our walks, twice daily, two by two around the football field, which was enclosed now by a chain-link fence topped with barbed wire. The Angels stood outside it with their backs to us. They were objects of fear to us, but of something else as well. If only they would look. If only we could talk to them. Something could be exchanged, we thought, some deal made, some tradeoff, we still had our bodies. That was our fantasy. We
Margaret Atwood (The Handmaid's Tale (The Handmaid's Tale, #1))
Two o’clock in the morning. On the outskirts of Sacramento. An abandoned shopping mall. Reconstruction would eventually transform the site into upscale apartments with numerous amenities. A chain-link fence encircled the large property, emblazoned with red-lettered signs warning of hazards and against trespassing. Although nothing remained in the mall worth stealing, a guard was usually stationed in a car inside the only gate in the fence, less to deter thieves than to dissuade adventurous urban explorers—those self-described concrete spelunkers—who engaged in explorations of everything from abandoned hotels to the maze of service tunnels underlying major cities. Such exploring was illegal, but if some catacomber or amateur city archeologist were injured in one of their adventures, there was every reason to be concerned that a jury of the ignorant and a judge with issues would award millions to the trespasser. On
Dean Koontz (Devoted)
Work" I laid telephone line, then cable when it came along. I pulled T-shirts off a silk-screen press. I cleaned offices in buildings thirty-five floors high. I filed the metal edges of grease fryers hot off a welding line. I humped sod in townhouse complexes, and when it became grass I cut it. I sorted mail. I washed police cars, and then I changed their oil. I installed remotes on gas meters so a truck could simply drive down the street and get the readings. I set posts and put up fences, wood and chain link. Five a.m. at the racetrack, I walked hot horses after their exercise. I bathed them. I mopped and swept aisles in a grocery store. Eventually, I stocked shelves. I corrected errors on mortgage papers for a bank. I racked tables in a pool hall. There’s more I’m not telling you. All of this befell me as an adult. As a kid, I cut neighbors’ lawns and delivered newspapers, and I watched after little kids while their parents worked. I painted houses. I collected frogs from ponds and sold them to pet stores. And so on. At fifteen, I went for a busboy position at an all-night diner, but they told me to come back when I turned sixteen. I did. Sometimes, on top of one, I took a second job. It gave me just enough time to sleep between the two. And eat. My father worked, harder than I did, and then he died. Then I worked harder. My mother said, “You’re the man of the house now.” I was seventeen. She kept an eye on me, to make sure I worked. I did. You've just read about all that. Eventually she died, too. I watched my social security numbers grow. I have a pretty good lump. I could leave it to somebody, a spouse or dependent. But there's no one. I have no plan to spend it, but I’ve paid into it. Today I quit my job, my jobs. I had them all written down, phone numbers too, and I called them. You should have seen me, dialing and dialing, crossing names off the list as I went. Some of them I called sounded angry. Some didn’t remember me, and a few didn’t answer. Others had answering machines, but I told the machines I quit anyway. I think about my father. How he worked. I sit by the phone now, after quitting all my jobs, and wish he could see this. A blank calendar on the wall. A single bulb hanging over my head, from a single cord, like the one he wrapped around his neck just before he died.
Michael Stigman
He was sitting at his desk. He had to get some relief from seeing what he did not want to see. The factory was empty. There was only the night watchman who’d come on duty with his dogs. He was down in the parking lot, patrolling the perimeter of the double-thick chain-link fence, a fence topped off, after the riots, with supplemental scrolls of razor ribbon that were to admonish the boss each and every morning he pulled in and parked his car, “Leave! Leave! Leave!” He was sitting alone in the last factory left in the worst city in the world. And it was worse even than sitting there during the riots, Springfield Avenue in flames, South Orange Avenue in flames, Bergen Street under attack, sirens going off, weapons firing, snipers from rooftops blasting the street lights, looting crowds crazed in the street, kids carrying off radios and lamps and television sets, men toting armfuls of clothing, women pushing baby carriages heavily loaded with cartons of liquor and cases of beer, people pushing pieces of new furniture right down the center of the street, stealing sofas, cribs, kitchen tables, stealing washers and dryers and ovens—stealing not in the shadows but out in the open. Their strength is tremendous, their teamwork is flawless. The shattering of glass windows is thrilling. The not paying for things is intoxicating. The American appetite for ownership is dazzling to behold. This is shoplifting. Everything free that everyone craves, a wonton free-for-all free of charge, everyone uncontrollable with thinking, Here it is! Let it come! In Newark’s burning Mardi Gras streets, a force is released that feels redemptive, something purifying is happening, something spiritual and revolutionary perceptible to all. The surreal vision of household appliances out under the stars and agleam in the glow of the flames incinerating the Central Ward promises the liberation of all mankind. Yes, here it is, let it come, yes, the magnificent opportunity, one of human history’s rare transmogrifying moments: the old ways of suffering are burning blessedly away in the flames, never again to be resurrected, instead to be superseded, within only hours, by suffering that will be so gruesome, so monstrous, so unrelenting and abundant, that its abatement will take the next five hundred years. The fire this time—and next? After the fire? Nothing. Nothing in Newark ever again.
Philip Roth (American Pastoral)
Boys will be boys, and ballplayers will always be arrested adolescents at heart. The proof comes in the mid-afternoon of an early spring training day, when 40 percent of the New York Mets’ starting rotation—Mike Pelfrey and I—hop a chain-link fence to get onto a football field not far from Digital Domain. We have just returned from Dick’s Sporting Goods, where we purchased a football and a tee. We are here to kick field goals. Long field goals. A day before, we were all lying on the grass stretching and guys started talking about football and field-goal kickers, and David Wright mentioned something about the remarkable range of kickers these days. I can kick a fifty-yard field goal, Pelfrey says. You can not, Wright says. You don’t think so? You want to bet? You give me five tries and I’ll put three of them through. One hundred bucks says you can’t, David says. This is going to be the easiest money I ever make. I am Pelf’s self-appointed big brother, always looking out for him, and I don’t want him to go into this wager cold. So I suggest we get a ball and tee and do some practicing. We get back from Dick’s but find the nearby field padlocked, so of course we climb over the fence. At six feet two inches and 220 pounds, I get over without incident, but seeing Pelf hoist his big self over—all six feet seven inches and 250 pounds of him—is much more impressive. Pelf’s job is to kick and my job is to chase. He sets up at the twenty-yard line, tees up the ball, and knocks it through—kicking toe-style, like a latter-day Lou Groza. He backs up to the twenty-five and then the thirty, and boots several more from each distance. Adding the ten yards for the end zone, he’s now hit from forty yards and is finding his range. Pretty darn good. He insists he’s got another ten yards in his leg. He hits from forty-five, and by now he’s probably taken fifteen or seventeen hard kicks and reports that his right shin is getting sore. We don’t consider stopping. Pelf places the ball on the tee at the forty-yard line: a fifty-yard field goal. He takes a half dozen steps back, straight behind the tee, sprints up, and powers his toe into the ball … high … and far … and just barely over the crossbar. That’s all that is required. I thrust both my arms overhead like an NFL referee. He takes three more and converts on a second fifty-yarder. You are the man, Pelf, I say. Adam Vinatieri should worry for his job. That’s it, Pelf says. I can’t even lift my foot anymore. My shin is killing me. We hop back over the fence, Pelf trying to land as lightly as a man his size can land. His shin hurts so much he can barely put pressure on the gas pedal. He’s proven he can hit a fifty-yard field goal, but I go into big-brother mode and tell him I don’t want him kicking any more field goals or stressing his right leg any further. I convince him to drop the bet with David. The last thing you need is to start the season on the DL because you were kicking field goals, I say. Can you imagine if the papers got ahold of that one? The wager just fades away. David doesn’t mind; he gets a laugh at the story of Pelf hopping the fence and practicing, and drilling long ones.
R.A. Dickey (Wherever I Wind Up: My Quest for Truth, Authenticity, and the Perfect Knuckleball)
School is no better. Since the day I “played’ fastball, when I step up to the chain-link fence each morning, my shoulders hunch up, my mouth dries, and my head goes blank. A big cloud just swallows up everything about me. It’s like the schoolyard is a big miasma – one of those make-believe poison clouds that scientists once thought killed you until they figured it was actually microbes in water and microwaves and other stuff that really gets you. Yeah, DJ’s a mind erasing miasma, and it’s eating my brain. I forget everything about velocity. I can’t remember the reasons we were in World War I. Each period, I stare at the clock, thinking about getting from one class to the next without meeting Yaqui, like that’s the real test. Sitting in class is just what I do in between.
Meg Medina (Yaqui Delgado Wants to Kick Your Ass)
a single small corrugated-steel warehouse situated in the rear corner of a lot with two unmarked, dirty green shipping containers and room for half a dozen more, all surrounded by an eight-foot-high chain-link fence topped with rusted barbed wire. There was a black Mercedes SUV parked near an open rolling door on the front side of the building.
Tyler Dilts (The Pain Scale (Long Beach Homicide, #2))
A yellow dog barks at him from behind a chain-link fence, all possessive ferocity and no damn balls. Just like the gang-banger kids. They think a pistol equals cojones. That's why they tuck them into their pants.
Lauren Beukes (Broken Monsters)
Chinese authorities built green chain-link fences around the perimeter of the U.S. embassy compound in Beijing to prevent defections. Barbed wire was strewn across the tops of the fences and the fences were set a few yards outside the main walls in order to ensure that North Koreans would fall between the newly built fence and the old wall if they tried to jump it.
Victor Cha (The Impossible State: North Korea, Past and Future)
Chain link all around with razor wire at the top, the fence was maybe nine feet high. I didn’t see any signs right away, but as I trudged along its length I eventually encountered an admonition to KEEP OUT. PROPERTY MONITORED AND MAINTAINED BY THE UNITED STATES ARMED FORCES. TRESPASSERS WILL BE SHOT. It might as well have said, WELCOME, RAYLENE. LET YOURSELF INSIDE, BUT KEEP YOUR HEAD DOWN, M’KAY?
Cherie Priest (Bloodshot (Cheshire Red Reports, #1))
Kami crouched even lower, seizing the chain link of the fence in one hand and Jared’s T-shirt in the other, bringing him down to her level. “I’m not going back to discuss our options,” she told him. He kept his voice low, matching hers. “Who asked you to? Telling each other to do the sensible thing is not really the basis of our relationship.
Sarah Rees Brennan (Untold (The Lynburn Legacy, #2))
As far as I could see, there weren’t any fiber-optic sensors buried in the ground next to the perimeter fence. That would have been outrageously costly. Unnecessary, too. Instead, the facility was protected by a twelve-foot chain-link fence, six-gauge galvanized steel—extremely difficult to cut through—and topped by coils of razor wire.
Joseph Finder (Vanished (Nick Heller, #1))
Adults build fortress-like defenses against disappointment. Kids barely have the tools to construct a chain-link fence.
Loretta Nyhan (The Other Family)
Snaking through the midst of the banal everyday is a deep weirdness, a world of flowerings, decompositions, and seepages, of a million crawling things, of spores and lacy fungal filaments, of minerals reacting and things being eaten away—all just on the other side of the chain-link fence.
Jenny Odell (How to Do Nothing: Resisting the Attention Economy)
doom. The fading sunlight only accentuates it. Up ahead, a tall chain-link fence surrounds the factory. A security guard clears us and motions us forward to the main building. It’s absolutely massive. It reminds me of a giant warehouse, a thousand feet wide and seemingly with no end. Workers bustle about, focused on building the new ship’s modules. I look up at the high ceiling above us. “The building provides cover?” “Yeah. There are several decoys nearby. Basically, empty buildings, but identical. We even send people to each one every day to complete the charade, just in case they attack.
A.G. Riddle (Winter World (The Long Winter, #1))
walked through a small park and up the steps of the stern gray building of US Customs and Border Protection. I strolled down the ramp and pushed through a turnstile, no one looking at my passport. Glancing through the chain-link fence on the Mexican side of the building, I saw a line of people—a long line, stretching down the stairs and through a foyer and along a passageway, hundreds, perhaps a thousand people waiting to enter the United States.
Paul Theroux (On The Plain Of Snakes: A Mexican Journey)
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Palmdale Fence Company
Walter looked like he could chew nails and still come back for a helping of chain link fence. “Why can’t Romeo and Juliet meet in a garden like in Downton Abbey?” Romeo asked. “I mean who meets on a balcony? How real is that?
Suzanne M. Trauth (Show Time (A Dodie O'Dell Mystery #1))
Thanks for that." I let go of the chain-link with one hand to gesture at the degenerate below. Then I climbed faster and threw one leg over the top. "Wait!" he said as I lowered myself from link to link on the other side of the fence. "Who are you?" "Who am I?" The rogue exorcist teenager wanted to know who I was? "Who are you?" "I'm...just trying to help. Why was it following you?" Following me? The goose bumps on my arms had nothing to do with my predawn cold. "I guess my soul smelled yummy.
Rachel Vincent (The Stars Never Rise (The Stars Never Rise, #1))
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Bentley Barfield
AS WE REACQUAINT OURSELVES WITH OUR BREATHING BODIES, then the perceived world itself begins to shift and transform. When we begin to consciously frequent the wordless dimension of our sensory participations, certain phenomena that have habitually commanded our focus begin to lose their distinctive fascination and to slip toward the background, while hitherto unnoticed or overlooked presences begin to stand forth from the periphery and to engage our awareness. The countless human artifacts with which we are commonly involved—the asphalt roads, chain-link fences, telephone wires, buildings, lightbulbs, ballpoint pens, automobiles, street signs, plastic containers, newspapers, radios, television screens—all begin to exhibit a common style, and so to lose some of their distinctiveness; meanwhile, organic entities—crows, squirrels, the trees and wild weeds that surround our house, humming insects, streambeds, clouds and rainfalls—all these begin to display a new vitality, each coaxing the breathing body into a unique dance. Even boulders and rocks seem to speak their own uncanny languages of gesture and shadow, inviting the body and its bones into silent communication. In contact with the native forms of the earth, one’s senses are slowly energized and awakened, combining and recombining in ever-shifting patterns.
David Abram (The Spell of the Sensuous: Perception and Language in a More-Than-Human World)
Past the bushes cypress thriving past the chain link fence and driving farther down the road less traveled there u are athleisure wear unraveled Now I see you clear
Lana Del Rey (Violet Bent Backwards Over the Grass)
They closed the transient 5th Avenue Motel and now where will they go? They came from all over to stay for a night or a month or whatever they could afford, however they can afford it – and now it’s gone, broken windows boarded up, chain link fence surrounding it like it’s a dog with scurvy. The transient hotel drained pale, pissing in an empty ashtray.
Scott C. Holstad
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Boyd Fence Company
Sometimes, though, when he saw her squatting in the corner of the playground, head leaning against the chain-link fence, he turned away, so she wouldn’t have to pretend to be brave. To let her be alone with her grief, or whatever heavier thing she’d put on top to hold it down.
Celeste Ng (Our Missing Hearts)
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Alton Fence
Sandy Ridge is an outdoor holding facility where the Fish and Wildlife Service keeps a few captive red wolves beneath a dense canopy of hardwood trees. Wild wolves are brought here temporarily to recuperate from wounds or sickness. The cabin houses a rotating cadre of barely paid interns, usually students seeking wildlife management experience. They live here for twelve weeks at a time with no potable water, plumbing, or electricity and a stipend of a few hundred dollars a month for groceries. They also get access to a government truck. Given the ruggedness of the surrounding woods, the remoteness of the location, and the lack of communications, access to a truck is a huge selling point - as is working directly with the red wolves. The interns feed the wolves of Sandy Ridge and clean their pens. They also administer medicine to its wild visitors. The current caretaker is taking a rare day off, and one of the red wolf biologists, Ryan Nordsven, is tending the animals this morning. I can’t see the holding pens from the clearing by the cabin, but the woods are so dense, they may be only thirty feet past the tree line and I wouldn’t know. I walk down a dirt road leading from the cabin to the wolf pens. Deer flies dart around my bare legs. As I approach a ten-foot-high chain-link fence, a man waves and opens the gate from the inside. As I pass through, I notice a second chain-link fence about six feet inside the perimeter of the first. “I’m Ryan,” the man says. “So you’re the writer who’s here to learn about red wolves?” “Yes, as much as I can,” I reply. He shakes my hand while holding a shovel in his other hand. Ryan has sandy brown hair, a closely trimmed goatee, and blue eyes set in Scandinavian features. He’s six feet tall, well muscled, and looks like he could wrestle a wolf to the ground with each hand and still have strength left over.
T. DeLene Beeland (The Secret World of Red Wolves: The Fight to Save North America's Other Wolf)
On the other side of the park, two goth girls leaned against the chain-link fence, eyeing me warily. Their cigarettes burned in the near-dark like distant jet engines.
Scott William Carter (Ghost Detective (Myron Vale Investigations, #1))
When you have people who trust you, they’re going to do a better job for you to earn or keep that trust.” In the more than ten years since the chain-link fence came down, there has been almost no theft. And if an employee has a personal problem, they know the leaders of the company—and their fellow employees—will be there for them.
Simon Sinek (Leaders Eat Last: Why Some Teams Pull Together and Others Don't)
It has a chain-link fence around it, so even we can’t access it. Wealth is all about access. There are circles of wealth like there are circles of hell and we’re all trapped in our particular punishing privilege.
Eliza Jane Brazier (Good Rich People)
course it was wrought iron. The stuff isn’t even attractive—it’s like the bold type equivalent of a chain-link fence, all bulky and aggressive and unnecessarily prone to rust—but something deep in humanity’s genetic makeup remembers that the fae are out there, roaming the night, and that sometimes when we get bored, whole villages can disappear. So they deny we ever existed out loud, and they quietly ornament their homes and gardens with as much iron as they can yank out of the hills. They’re still working at keeping us out.
Seanan McGuire (A Killing Frost (October Daye, #14))
GROWING UP changes one’s definition of what is fun — maturation does that, thankfully — so I hate to admit now that as a boy I thoroughly enjoyed throwing rocks at cars. It was a thrill to wait in hiding, ambush the car driving by, and then make our escape. Occasionally, a driver would stop their vehicle and get out to yell at us. But if we were really fortunate, they would chase us. We would run just far enough ahead to encourage them, but when they got close, we would turn on the afterburners of youth, leaving them far behind while we laughed hysterically. Once in a while, the police would come by — usually in unmarked cars — and the chase would be much more dramatic until we reached the ten-foot-tall fences at the end of the neighborhood field. To the police, it must have appeared as if they had us trapped. They had no idea, however, how practiced we were at vaulting those fences. We treated it like an Olympic event, running at full speed toward the fence and then leaping high into the air, grabbing the chain links, and allowing the momentum of our feet to swing us over the top and down on the other side. We would laugh at the police as we ran off, knowing there was no way they would follow us. Today I have great admiration for the police, who risk their lives on a daily basis to protect our lives, freedom, and property.
Ben Carson (America the Beautiful: Rediscovering What Made This Nation Great)
gate at the chain-link fence
Kent Haruf (Benediction)
He looks out over his back yard, what’s left of it. With the forest gone, the property looks smaller than sixty acres, stripped and shrunken like a dog in the bath. Behind the house, the crew left a single patch of grass, twenty foot square. Beyond lies a vast expanse of bare earth, dry and cocoa-colored, enclosed with chain-link fence. A bleak view, but not half as bad as what lies over the hill. The
Jennifer Haigh (Heat and Light)
The zoo had fitted Karen with a protective plastic shell meant to discourage her charges from clutching on to her and wildly humping her frame, but it wasn’t 100 percent effective. On the upside, her many animal behavior classes had provided her with the intuition necessary to condition these monkeys to the concept of a glory hole; the downside was that seeing them lined up and “standing at attention” through a chain-link fence first thing in the morning was enough to make her rethink a career in veterinary medicine altogether. She returned to our lab after the internship having decided that maybe botany wasn’t so boring after all. Even
Hope Jahren (Lab Girl)
Yo momma is so fat… when a bus hit her she said, “Who threw the pebble?” Yo momma is so fat… when she puts on her yellow rain coat and walks down the street people shout out “taxi”! Yo momma is so fat… she uses the interstate as a slip and slide. Yo momma is so fat… you could use her bellybutton as a wishing well. Yo momma is so fat… the government forced her to wear taillights and blinkers so no one else would get hurt. Yo momma is so fat… she supplies 99% of the world’s gas. Yo momma is so fat… when she goes to Taco Bell, they run for the border! Yo momma is so fat… she rolled out of bed and everybody thought there was an earthquake. Yo momma is so fat… when God said, “Let there be light,” he had to ask her to move out of the way. Yo momma is so fat… she has more chins than a Chinese phone book. Yo momma is so fat… she jumped in the air and got stuck. Yo momma is so fat… she's got to wake up in sections. Yo momma is so skinny… Yo momma is so skinny… she can hang glide with a Dorito! Yo momma is so skinny… she swallowed a meatball and thought she was pregnant. Yo momma is so skinny… she turned sideways and disappeared. Yo momma is so skinny… she hula hoops with a cheerio. Yo momma is so skinny… she has to run around in the shower just to get wet. Yo momma is so skinny… she don’t get wet when it rains. Yo momma is so skinny… her nipples touch. Yo momma is so skinny… she has to wear a belt with her spandex pants. Yo momma is so skinny… she can see through peepholes with both eyes. Yo momma is so skinny… she can dive through a chain-linked fence. Yo momma is so skinny… she uses cotton balls for pillows. Yo momma is so old… Yo momma is so old… she knew the Great Wall of China when it was only good! Yo momma is so old… that her bus pass is in hieroglyphics! Yo momma is so old… she was wearing a Jesus starter jacket! Yo momma is so old… her birth certificate is in Roman numerals. Yo momma is so old… she ran track with dinosaurs. Yo momma is so old… she knew Burger King while he was still a prince. Yo momma is so old… her birth certificate says expired on it. Yo momma is so old… she has a picture of Moses in her yearbook. Yo momma is so old… that when she was in school there was no history class. Yo momma is so old… her social security number is 1! Yo momma is so old… I told her to act her own age, and she died. Yo momma is so short… Yo momma is so short… she does backflips under the bed. Yo momma is so short … she can play handball on the curb. Yo momma is so short… she can use a sock for a sleeping bag. Yo momma is so short… she can tie her shoes while standing up. Yo momma is so short… she can sit on a dime and swing her legs. Yo momma is so short … she has to use a ladder to pick up a dime. Yo momma is so short … she poses for trophies! Yo momma is so short… she has a job as a teller at a piggy bank. Yo momma is so short… she has to use rice to roll her hair up. Yo momma is so short… she uses a toothpick as pool stick. Yo momma is so short… she can surf on a popsicle stick.
Various (151+ Yo Momma Jokes)
There are rattlesnakes around here.” His partner grinned in the dark. “Juan, that would be the least of our problems.” A minute later, the handheld radio on his belt chirped with two static transmissions. “That’s him. Let’s move.” They arose and put on light backpacks. Lights from the mine buildings were sprinkled across the hillside in front of them, casting a pale glow over the barren desert. They hiked a short distance to a chain-link fence that encircled the complex. The taller man knelt and rummaged through his pack for a pair of wire cutters. “Pablo, I think we can get through without cutting,” his partner whispered, then pointed to a dry wash that ran beneath the fence. The sandy ground was soft in the middle of the creek bed, and he easily pushed some of it aside with his foot. Pablo joined him in scraping away the loose soil until they had excavated a small hole beneath the fence. Pushing their packs under it, they quickly
Clive Cussler (Poseidon's Arrow (Dirk Pitt, #22))
The other cousin. What was his name? Bill or Ben?” “Beau,” I replied, curious as to what she was going to say. “That’s right. Ugh, I remember the time Beau handcuffed me to the chain-link fence where Sawyer’s daddy kept his hunting dogs. I was terrified of being so close to the gate. I remember thinking that those snarling dogs were going to somehow gnaw my hand off through the fence.” I chuckled at the memory, and Lana twirled around on the bed and frowned at me. “It isn’t funny. You know I’m scared silly of dogs. And that awful boy made me sing ‘I’m a Little Teapot’ at the top of my lungs, over and over. Each time, he told me to sing it louder if I wanted to get free. And the louder I got, the angrier the dogs got. It was horrible.” She stopped, and a soft smile touched her lips, erasing the previous frown. “Then Sawyer showed up, scolded Beau, and unhandcuffed me. You finally popped up out of nowhere about that time and made up some lame excuse about needing Beau’s help with something. The two of you took off running with your giggles trailing behind y’all. Sawyer just shook his head as he watched y’all take off and apologized for his cousin. He was so sweet.” I’d forgotten that escapade. We had had so many that I couldn’t remember them all. But hearing Lana retell it, I laughed out loud. I’d been hiding behind the big ole oak tree just a few feet away. Beau had told me to stay out of sight in case Sawyer showed up. I’d had to shove my fist in my mouth to keep from laughing out loud at the sound of Lana singing so loudly and off-key. “I was so sure the two of you would end up together. You’re still laughing about my torment seven years later. You two were evil.
Abbi Glines (The Vincent Boys (The Vincent Boys, #1))
Three pit bulls stood facing him. His instinct told him to climb back over the fence to safety, but with all the alcohol he’d consumed, his motor skills were impaired, his gait was wobbly, and sheer terror had frozen his feet in place. Before Jamie could put his fingers through the chain-link fence to get the grip he needed to begin his climb, the dogs were on top of him. They gnawed at the flesh of his calves as if they were eating chicken wings served at a Super Bowl party.
Paige Dearth (When Smiles Fade)
Another checkpoint—this one looked haphazardly thrown together with metal drums and coils of barbed wire and a tall chain-link fence.
Kristin Hannah (The Women)
On the steps of the Capitol, behind the temporary chain-link fencing, hundreds of medals glittered in the sunlight. Medals that had cost each recipient so much, thrown away in protest.
Kristin Hannah (The Women)