Cups With Vinyl Quotes

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The vintage dinette chairs featured chrome-plated steel legs and seats upholstered in black vinyl. Very 1950s. She liked the ’50s. The world hadn’t gone crazy yet. As she sat at a chromed table with a red Formica top, paging through the newspaper, she drank her first coffee of the day, which she called her “wind-me-up cup.” To
Dean Koontz (Ashley Bell)
She had thought it was such a simple thing to avoid kissing someone when she'd been with Adam. Her body had never known what to do. Now it knew. Her mouth didn't care that it was cursed. She turned to Gansey. "Blue," he warned, but his voice was chaotic. This close, his throat was scented with mint and wool sweater and vinyl car seat, and Gansey, just Gansey. She said, "I just want to pretend. I want to pretend that I could." He breathed out. What was a kiss without a kiss? It was a tablecloth tugged from beneath a party service. Everything jumbled against everything else in just a few chaotic moments. Fingers in hair, hands cupping necks, mouths dragged on cheeks and chins in dangerous proximity. They stopped, noses mashed against each other in the strange way that closeness required. She could feel his breath in her mouth. "Maybe it wouldn't hurt if I kiss you," he whispered. "Maybe it's only if you kiss me.
Maggie Stiefvater (Blue Lily, Lily Blue (The Raven Cycle, #3))
In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your home-own. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
Neal Stephenson (Snow Crash)
The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder -- its DNA -- Xerox(tm) it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines. In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your hometown. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. "No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallelparked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.
Neal Stephenson (Snow Crash)
There, alone in the sterile room, sitting on a pink vinyl chair that boasts many cracks in its once nice upholster, you wait. You think to yourself , who would have thought I would be ringing in the New Year by urinating into a cup to see if I have chlamydia?
Amanda Steele (The Cliff)
ARE MY CHILDREN still alive?" Sara Prague asked the question in a quiet, steady voice that he heard very clearly despite the noise around her. Cops coming and going, keyboards clicking, phones ringing. She looked haggard. Hard. She hadn't always, Vince figured. The worry lines bracketing her eyes, her mouth, the dry skin, the chapped lips, the sense that she really didn't give a damn what she looked like—those things had been strangers to her that first day. The day her kids hadn't come home from school. Now those lines, that hardness, had made themselves at home. It looked as if they planned to stay awhile. This shouldn't have happened to Sara Prague, a PTA mom whose world revolved around her kids. It shouldn't have happened to her husband. Mike, full-time plumber and part-time Little League coach. It shouldn't happen to anyone. Ever. Vince walked around his desk and eased Sara Prague into a cracked vinyl chair, ignoring the chaos around them. He poured her some stale coffee from the pot on the nearby stand, just as he had every day for the past three weeks. She came in here like clockwork—something the Center for Missing and Exploited Children had probably told her to do. He thought she would keep doing it, too. For years, if necessary. It wouldn't be necessary, though. She took the foam cup and sipped automatically. It was all part of their daily
Maggie Shayne (Gingerbread Man)