Dickies Quotes

We've searched our database for all the quotes and captions related to Dickies. Here they are! All 100 of them:

No short-haired, yellow-bellied, son of tricky dicky Is gonna mother hubbard soft soap me With just a pocketful of soap.
John Lennon
When the warden appeared outside their cell, he ogled Regin's bared midriff. Gross. Whenever men leered at her, Regin tended to leer back. She canted her head on the floor, turning it one way, then the other. "I finally understand what a dickie-do is. Your gut does stick out more than your dickie do.
Kresley Cole (Dreams of a Dark Warrior (Immortals After Dark, #10))
Regin to Fegley: "I finally understand what a dickie-do is. Your gut does stick out more than your dickie do.
Kresley Cole (Dreams of a Dark Warrior (Immortals After Dark, #10))
Regin: “I finally understand what a dickie-do is. Your gut does stick out more than your dickie do.
Kresley Cole (Dreams of a Dark Warrior (Immortals After Dark, #10))
I finally understand what a dickie-do is. Your gut does stick out more than your dickie do.--Regin
Kresley Cole (Dreams of a Dark Warrior (Immortals After Dark, #10))
Am I to assume you would rather not have us as clients?"
 "Let me think about that for a nanosecond," Dickie said. "Yes! Last time you were in my office you tried to kill me."
 "That's an exaggeration. Maim you, yes. Kill you, probably not."

Janet Evanovich (Lean Mean Thirteen (Stephanie Plum, #13))
In fact, I can't think of much I'd like better than for him to step into the room right now, glasses fogged and smelling of damp wool, shaking the rain from his hair like an old dog and saying: 'Dickie, my boy, what you got for a thirsty old man to drink tonight?
Donna Tartt (The Secret History)
Will his work survive? Alas, I worry that it will not. As an American liberal with impeccable credentials, I would like to say that political correctness is going to kill American liberalism if it is not fought to the death by people like me for the dangers it represents to free speech, to the exchange of ideas, to openheartedness, or to the spirit of art itself. Political correctness has a stranglehold on academia, on feminism, and on the media. It is a form of both madness and maggotry, and has already silenced the voices of writers like James Dicky across the land.
Pat Conroy (My Reading Life)
Why should Dickie want to come back to subways and taxis and starched collars and a nine-to- five job? Or even a chauffeured car and vacations in Florida and Maine? It wasn't as much fun as sailing a boat in old clothes and being answerable to nobody for the way
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
I won't ever set the world on fire as a painter,' Dickie said, 'but I get a great deal of pleasure out of it.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Tutti colpevoli, nessuno colpevole,’ as the Italian saying has it: ‘If everyone is guilty, no one is guilty.
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
What do you mean SOS?” “Same old shit, Dickie. It’s always SOS with you.
J.D. Robb (Rapture in Death (In Death, #4))
It wasn’t Dean’s fault,” Allie insists. “Seriously, it’s all on me. I freaked out for no reason.” She finally looks over at me. “See? This is why I don’t like horror movies! You watch one scary movie when you’re a kid and suddenly everyone who comes to your door is a serial killer.” “Are you kidding me right now? You’ll watch a horror movie with my sister but not me? We have to watch the cancer movie?” “Dicky,” Summer chides. “You’re being grumpy.” I glare at my sister with enough force to make her wince. “Not one word out of you,” I snap. “And don’t think I didn’t feel you kick me right before I passed out. Who does that, Summer? Who kicks a man when he’s down?” From the corner of my eye, I see Tucker sink to the floor. He buries his face in his hands, shaking with laughter. The EMT blocks my line of sight by squatting in front of me. “I need to examine you for a concussion.” Oh for fuck’s sake.
Elle Kennedy (The Score (Off-Campus, #3))
Jared’s a dick, but he’s my dick—I mean, no, that’s not what I mean, not like that.
Val Emmich and Justin Paul (Dear Evan Hansen)
I grew up being told, "If you do marijuana you'll be a slave for the rest of your life," and it only took me ten minutes to realize smoking marijuana was pretty cool. Then it was, "If you take LSD you'll be a slave for the rest of your life. Then it got to be, "If you take cocaine, you'll be slave for life." There was a time when I thought, "Hey, I've been taking Heroin for six months and I feel fine. You know, just on weekends." I actually believed that you didn't have to become addicted. I was wrong. The most important thing out of this is, don't lie to the kids. If marijuana is not going to make you homeless and addicted, don't tell people it is, because they'll found out it doesn't, then when they get to the stuff that really WILL, they ain't gonna believe you." - Dickie Peterson
Jon Wiederhorn (Louder Than Hell: The Definitive Oral History of Metal)
Oh, how I wish I had already regenerated to become the tall one with the dicky bow, thought the Doctor, who occasionally had visions of his future selves. He is always so fit and agile. I suppose all that incessant running down corridors that he does . . . will do . . . may do, in one of my possible futures . . . is good for something.
Eoin Colfer (A Big Hand for the Doctor (Doctor Who 50th Anniversary E-Shorts, #1))
If thou does not move the spear forth and back, thou does not have the fountain of ending climax.
Charles Jake Dickie
This was the end of Dickie Greenleaf, he knew. He hated becoming Thomas Ripley again, hated being nobody, hated putting on his old set of habits again, and feeling that people looked down on him and were bored with him unless he put on an act for them like a clown, feeling incompetent and incapable of doing anything with himself except entertaining people for minutes at a time.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
And how does my aide come by this information before I do?" "Well, you know . . . pillow talk. See, sex—in this case—is an advantage to you. McNab said they'd get through faster, but at data clubs like that, the units are totally clogged. But he's on it and it's his top priority." She cleared her throat when Eve made no comment. "Should I still contact Captain Feeney?" "Oh, Feeney and I appear to be superfluous at this point. You and McPecker can fill us in whenever you feel it's appropriate." "McPecker." Peabody snorted. "That's a good one. I'm going to use it on him." "Happy to help." She shot Peabody a deceptively friendly look. "Perhaps I'm wasting my time going to the lab. Have you and Dickie also had a liaison?" " Eeeuw." "My faith in you is, at least, partially restored.
J.D. Robb (Portrait in Death (In Death, #16))
Floyd poured us each a cup and we headed back to the floor, the squad room, a sea of desks with computers and fluorescent lighting where A-type personalities killed themselves trying to find out who killed someone else.
Danny R. Smith (A Good Bunch of Men)
Dicky and Maude lived within familiar confines: the Ivy League, the Junior League, The Social Register, Emily Post, Lilly Pulitzer, the Daughters of the American Revolution, Windsor knots, cummerbunds, needlepointed tissue box covers, L.L. Bean, Memorial Day, Labor Day, waterfowl-based décor.
Maggie Shipstead (Seating Arrangements)
The drug dealer leaned forward and covered his mouth conspiratorily with the back of his hand. In a voice softer than a gust of wind, he said: ‘Got some new merch, though. High tech, top of the line. Muy experimental. Packs quite the punch they say, and hits you like a brick wall, espiritualmente,’ he pushed three fingers together and planted them a kiss. ‘Real sweet. Un dragón muy poderoso.’ ‘Any... particular side-side-side-effects?’ Mario scratched his chin, thinking back on his aggresive nosebleeds. ‘Not a dicky bird,’ affirmed the dealer. ‘This stuff’s cleaner than la cocina de tu abuela. Mind you, it does call for some weird shit, no doubt about it. And you gotta watch yourself for sharp table corners and the lot, cause you WILL be tripping.
Louise Blackwick (The Underworld Rhapsody)
How the devil did he get himself caught?" "By being no brighter than you," Suzette snapped before her father could answer. "God, you are a fishwife," Jeremy said with disgust and then muttered to himself, "It figures Dicky would marry sweet little mousy Christiana himself and stick me with the sister who was a harpy.
Lynsay Sands (The Heiress (Madison Sisters, #2))
And both were more fortunate than Hecky Noble who, within a few nights of Mrs Hetherington’s widowhood, was a victim of that gay desperado, Dickie Armstrong of Dryhope,49 and his 100 jolly followers. Apart from reiving a herd of 200 head, and destroying nine houses, the raiders also burned alive Hecky’s son John, and his daughter-in-law, who was pregnant.
George MacDonald Fraser (The Steel Bonnets: The Story of the Anglo-Scottish Border Reivers)
the origins of the mafia are closely related to the origins of an untrustworthy state – the Italian state.
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
the mafia kills in the way a state does; it does not murder, it executes.
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
A company commander,’ said Dicky Umfraville, when we met later that year, ‘needs the qualifications of a ringmaster in a first-class circus, and a nanny in a large family.
Anthony Powell (The Valley of Bones (A Dance to the Music of Time, #7))
He summed it up by saying that Dickie was a very ordinary young man who liked to think he was extraordinary.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
But Tom had known Dickie very well, and Frank had known his father. Hence the blackout, perhaps, or so Tom suspected. Anyway, Tom did not intend to pump the boy further.
Patricia Highsmith (The Boy Who Followed Ripley (Ripley, #4))
When God finished putting together Dicky Roper, He took a deep breath and shuddered a bit, then He ran up our Jonathan to restore the ecological balance.
John Le Carré (The Night Manager)
It was impossible ever to be lonely or bored, he thought, so long as he was Dickie Greenleaf.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
As people went, he was one of the most innocent and clean-minded he had ever known. That was the irony of this situation with Dickie.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Dickie Greenleaf. The beginning of his troubles, Tom thought. The first man he had killed, and the only one he regretted killing, really, the only crime he was sorry about.
Patricia Highsmith (Ripley Under Water (Ripley, #5))
He had just thought of something brilliant: he could become Dickie Greenleaf himself. He could do everything that Dickie did.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
It was his! Dickie’s money and his freedom. And the freedom, like everything else, seemed combined, his and Dickie’s combined.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
You should never have told them,’ said Dicky, who could always be relied upon for excellent advice long after it was any use.
Len Deighton (London Match (Bernard Samson, #3))
Trent’s a Balliol man, like me,’ said Dicky suddenly. ‘Are you boasting, confessing or complaining?’ I asked.
Len Deighton (Berlin Game (Bernard Samson, #1))
Dicki mõtetes elasid edasi puberteediea kassikuldsed unistused. Aga selles pisut pilla-palla kümne-sendi-poes oli alati miilanud ka piinarikas mõistusetuli.
F. Scott Fitzgerald (Tender is the Night)
Dude, he put ass cream on his face. You do know I’m going to have to start calling your son Ass Face now, right?” Gavin: “Shut up, dicky.” Drew: “You shut up. You’re the one with the ass face.
Tara Sivec (Seduction and Snacks (Chocolate Lovers, #1))
But Dickie’s questions remind me that while I can choose my own silence, and I can choose the kinship or camouflage of others’ silence, I can’t choose what other people say or do when I’m not there.
Edith Eger (The Choice)
All Carolina folk are crazy for mayonnaise, mayonnaise is as ambrosia to them, the food of their tarheeled gods. Mayonnaise comforts them, causes the vowels to slide more musically along their slow tongues, appeasing their grease-conditioned taste buds while transporting those buds to a place higher than lard could ever hope to fly. Yellow as summer sunlight, soft as young thighs, smooth as a Baptist preacher's rant, falsely innocent as a magician's handkerchief, mayonnaise will cloak a lettuce leaf, some shreds of cabbage, a few hunks of cold potato in the simplest splendor, restyling their dull character, making them lively and attractive again, granting them the capacity to delight the gullet if not the heart. Fried oysters, leftover roast, peanut butter: rare are the rations that fail to become instantly more scintillating from contact with this inanimate seductress, this goopy glory-monger, this alchemist in a jar. The mystery of mayonnaise-and others besides Dickie Goldwire have surely puzzled over this_is how egg yolks, vegetable oil, vinegar (wine's angry brother), salt, sugar (earth's primal grain-energy), lemon juice, water, and, naturally, a pinch of the ol' calcium disodium EDTA could be combined in such a way as to produce a condiment so versatile, satisfying, and outright majestic that mustard, ketchup, and their ilk must bow down before it (though, a at two bucks a jar, mayonnaise certainly doesn't put on airs)or else slink away in disgrace. Who but the French could have wrought this gastronomic miracle? Mayonnaise is France's gift to the New World's muddled palate, a boon that combines humanity's ancient instinctive craving for the cellular warmth of pure fat with the modern, romantic fondness for complex flavors: mayo (as the lazy call it) may appear mild and prosaic, but behind its creamy veil it fairly seethes with tangy disposition. Cholesterol aside, it projects the luster that we astro-orphans have identified with well-being ever since we fell from the stars.
Tom Robbins (Villa Incognito)
Dickie has a unique ability to forage deep into the peripheries of the perverse and come back, polo shirt collar popped and grinning like a guy in a beer commercial, like life is just one big, hilarious frat boy stunt.
Mona Awad (13 Ways of Looking at a Fat Girl)
The odd thing was, Dickie longed to experience that feeling. It wasn't any kind of death wish: there was not a suicidal cell in his body. rather, it seemed that the very sensation, the inner force that made Dickie's scrotum tighten, his throat constrict, and his eyeballs swim in dizziness also made him want to tumble into the precipitous void. And ultimately, his fear of longing to fall was greater, more disturbing, than his fear of falling.
Tom Robbins (Villa Incognito)
Dickie Arbiter Once I came across her rummaging in the trunk of a new car. “Not a German car for an English princess, surely,” I said. Quick as a flash she replied, “Well, at least it’s more reliable than a German husband.
Larry King (The People's Princess: Cherished Memories of Diana, Princess of Wales, From Those Who Knew Her Best)
Hal Incandenza, though he has no idea yet of why his father really put his head in a specially-dickied microwave in the Year of the Trial-Size Dove Bar, is pretty sure that it wasn’t because of standard U.S. anhedonia. Hal himself hasn’t had a bona fide intensity-of-interior-life-type emotion since he was tiny; he finds terms like joie and value to be like so many variables in rarified equations, and he can manipulate them well enough to satisfy everyone but himself that he’s in there, inside his own hull, as a human being – but in fact he is far more robotic than John Wayne. One of his troubles with his Moms is the fact that Avril Incandenza believes she knows him inside and out as a human being, and an internally worthy one at that, when in fact inside Hal there’s pretty much nothing at all, he knows. His Moms Avril hears her own echoes inside him and thinks what she hears is him, and this makes Hal feel the one thing he feels to the limit, lately: he is lonely.
David Foster Wallace (Infinite Jest)
A crazy emotion of hate, of affection, of impatience and frustration was swelling in him, hampering his breathing. He wanted to kill Dickie. It was not the first time he had thought of it. Before, once or twice or three times, it had been an impulse caused by anger or disappointment, an impulse that vanished immediately and left him with a feeling of shame. Now he thought about it for an entire minute, two minutes, because he was leaving Dickie anyway, and what was there to be ashamed of anymore?
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Forever, Tom thought. Maybe he’d never go back to the States. It was not so much Europe itself as the evenings he had spent alone, here and in Rome, that made him feel that way. Evenings by himself simply looking at maps, or lying around on sofas thumbing through guidebooks. Evenings looking at his clothes - his clothes and Dickie’s - and feeling Dickie’s rings between his palms, and running his fingers over the antelope suitcase he had bought at Gucci’s. He had polished the suitcase with a special English leather dressing, not that it needed polishing because he took such good care of it, but for its protection. He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn’t that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn’t take money, masses of money, it took a certain security. He had been on the road to it, even with Marc Priminger. He had appreciated Marc’s possessions, and they were what had attracted him to the house, but they were not his own, and it had been impossible to make a beginning at acquiring anything of his own on forty dollars a week. It would have taken him the best years of his life, even if he had economised stringently, to buy the things he wanted. Dickie’s money had given him only an added momentum on the road he had been travelling. The money gave him the leisure to see Greece, to collect Etruscan pottery if he wanted (he had recently read an interesting book on that subject by an American living in Rome), to join art societies if he cared to and to donate to their work. It gave him the leisure, for instance, to read his Malraux tonight as late as he pleased, because he did not have to go to a job in the morning. He had just bought a two-volume edition of Malraux’s Psychologic de I’art which he was now reading, with great pleasure, in French with the aid of a dictionary.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Chris had something better than manners, Tom saw, which was sensitivity. Tom was fascinated by the candlelight through the irises of his blue eyes, because so often Dickie’s eyes had looked the same late at night in Mongibello, or in some candlelit restaurant in Naples.
Patricia Highsmith (Ripley Under Ground (Ripley, #2))
I doubt that I will ever forget those last two years of high school or the devastation that rained upon every person involved. One could say that, in a way, Dickie continued to bully me for many years even after his death. Dickie lost his life, and I lost my ability to control mine.
C. Michael Smith
He depicted Dickie as a stubborn, proud young man, in awe of his father and therefore determined to defy his father’s wishes, a rather erratic fellow who was generous to strangers as well as to his friends, but who was subject to changes of mood—from sociability to sullen withdrawal.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
You were supposed to see the soul through the eyes, to see love through the eyes, the one place you could look at another human being and see what really went on inside, and in Dickie’s eyes Tom saw nothing more now than he would have seen if he had looked at the hard, bloodless surface of a mirror.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Frank felt guilt, which was why he had looked up Tom Ripley, and curiously Tom had never felt such guilt, never let it seriously trouble him. In this, Tom realized that he was odd. Most people would have experienced insomnia, bad dreams, especially after committing a murder such as that of Dickie Greenleaf, but Tom had not.
Patricia Highsmith (The Boy Who Followed Ripley (Ripley, #4))
But what had he said about risks? Risks were what made the whole thing fun. He burst out singing: Papa non vuole, Mama ne meno, Come faremo far’ l’amor’? He boomed it out in the bathroom as he dried himself. He sang in Dickie’s loud baritone that he had never heard, but he felt sure Dickie would have been pleased with his ringing tone.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Anticipation! It occurred to him that his anticipation was more pleasant to him than his experiencing. Was it always going to be like that? When he spent evenings alone, handling Dickie’s possessions, simply looking at his rings on his own fingers, or his woolen ties, or his black alligator wallet, was that experiencing or anticipation?
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
My God, the taint! Well, yes, he had the taint, all right. Worse, he had killed people. True. Dickie Greenleaf. That was the taint, the real crime. Hotheadedness of youth. Nonsense! It had been greed, jealousy, resentment of Dickie. And of course Dickie’s death—rather his murder—had caused Tom to kill the American slob called Freddie Miles.
Patricia Highsmith (Ripley's Game (Ripley, #3))
I'm okay,' Tom said in a quiet, deep voice. 'I don't know what was the matter. Must have been the heat that got me for a minute.' He laughed a little. That was reality, laughing it off, making it silly, something that was more important than anything that had happened to him in the five weeks since he had met Dickie, maybe that had ever happened to him.
Patricia Highsmith (Ripley: The Talented Mr. Ripley / Ripley Underground / Ripley's Game / The Boy Who Followed Ripley (Ripley, #1-4))
Wisdom was knowing what to do. Skill was the ability to do it.Virtue was doing it. When wisdom didn't subdue anger, anger destroyed everything.
Eric Jerome Dickey
Al contadino non gli far sapere, quanto sia buono il cacio colle pere’ –
John Dickie (Delizia!)
Semakin kalian merasa dewasa, semakin kalian jauh dari kesempurnaan" - Kumpulan Cerita Pendek Mama Rice
Ignasius Dicky Takndare
This is one of mommy's friends, buddy," I told Gavin. (...) "You're Mommy's fwiend?" he questioned. Carter just nodded with his mouth open and no sound coming out. I’m pretty sure he didn’t even hear Gavin. Someone could have asked him if he liked to watch gay porn while painting pictures of kittens and he would have nodded his head. Before anyone could react, Gavin pulled back one of his little fists of fury and slammed it right into Carters manhood. He immediately bent over at the waist, clutching his hands between his legs and gasping for breath. "Oh my God! Gavin!" I yelled, as I scrambled over to him, bent down and turned him around to face me while my dad and Liz laughed like hyenas behind me. "What is wrong with you? We don't hit people. EVER," I scolded. While Carter tried to breathe again, my dad managed to stop laughing long enough to apologize. "Sorry, Claire, that's probably my fault. I let Gavin watch "Fight Club" with me last night." "Your fwiends got you sick the other night. You said he was your fwiend," Gavin explained, like it made all the sense in the world. This just made my dad laugh even louder. "Not helping, Dad," I growled through clenched teeth. "You don't make my mommy sick, dicky-punk!" Gavin yelled at Carter, putting his two little fingers up by his eyes, and then pointing them right at Carter just like Liz had done to him earlier. "Jesus Christ," Carter wheezed. "Did he just threaten me?" "Jesus Cwist!" Gavin repeated back.
Tara Sivec (Seduction and Snacks (Chocolate Lovers, #1))
Beyond Sicily came Greece. He definitely wanted to see Greece. He wanted to see Greece as Dickie Greenleaf with Dickie’s money, Dickie’s clothes, Dickie’s way of behaving with strangers. But would it happen that he couldn’t see Greece as Dickie Greenleaf? Would one thing after another come up to thwart him—murder, suspicion, people? He hadn’t wanted to murder, it had been a necessity.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
French rule brought a whole series of innovations in the way the Kingdom was run. Out went feudalism, and in came private property. Out went a messy assemblage of local customs, baronial and church jurisdictions, and public ordinances: in came a new code of civil law and the beginnings of a police force. The southern part of the Italian peninsula began to resemble a modern, centralised state.
John Dickie (Blood Brotherhoods: A History of Italy's Three Mafias)
We had one horse, one mule, and a wagon. We had Horhay with his limp arm and his long past, and Dickie with his hopes for the necklace now dashed and turned to dread of its curse, and me with my ache for your mother who was destined to take her leave of me, and you with a life before you and a look of puzzlement on your face. We had your mother and her sweet baby to be. All together, it was a untidy mix of items.
Elizabeth Crook (The Madstone: A Novel)
I grew up being told, "If you do marijuana you'll be a slave for the rest of your life," and it only took me ten minutes to realize smoking marijuana was pretty cool. Then it was, "If you take LSD you'll be a slave for the rest of your life. Then it got to be, "If you take cocaine, you'll be slave for life." I took LSD, and I wasn't a slave for life. There was a time when I thought, "Hey, I've been taking Heroin for six months and I feel fine. You know, just on weekends." I actually believed that you didn't have to become addicted. I was wrong. The most important thing out of this is, don't lie to the kids. If marijuana is not going to make you homeless and addicted, don't tell people it is, because they'll found out it doesn't, then when they get to the stuff that really WILL, they ain't gonna believe you." - Dickie Peterson
Jon Wiederhorn (Louder Than Hell: The Definitive Oral History of Metal)
When Pat gave her ‘criminal-hero’ Tom Ripley a charmed and parentless life, a wealthy, socially poised Alter Ego (Dickie Greenleaf), and a guilt-free modus operandi (after he kills Dickie, Tom murders only when necessary), she was doing just what her fellow comic book artists were doing with their Superheroes: allowing her fictional character to finesse situations she herself could only approach in wish fulfillment. And when she reimagined her own psychological split in Ripley’s character — endowing him with both her weakest traits (paralyzing self-consciousness and hero-worship) and her wildest dreams (murder and money) — she was turning the material of the ‘comic book’ upside down and making it into something very like a ‘tragic book.’ 'It is always so easy for me to see the world upside down,’ Pat wrote in her diary– and everywhere else.
Joan Schenkar (The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith)
knees and your shirt caught in your zipper.” “I don’t remember that part,” Dickie said. “Did I used to do that?” “Yes.” Dickie started laughing. “I wasn’t making a lot of money back then. I couldn’t afford a hotel room.” “It’s not funny!” I said. “Sure it is. Grass stains and rug burns are always funny.” He looked over at Morelli. “She didn’t like to do doggy.” Morelli slid a look at me and smiled. There wasn’t much I didn’t like
Janet Evanovich (Lean Mean Thirteen (Stephanie Plum, #13))
Trouble with arms is, everyone thought they were recession-proof, but they’re not. Iran–Iraq was an arms dealers’ charter, and they thought it would never end. Since then it’s been downhill all the way. Too many manufacturers chasing too few wars. Too much loose hardware being dumped on the market. Too much peace about and not enough hard currency. Our Dicky did a bit of the Serbo-Croat thing, of course – Croats via Athens, Serbs via Poland – but the numbers weren’t in his league and there were too many dogs in the hunt. Cuba’s gone dead, so’s South Africa, they make their own. Ireland isn’t worth a light or he’d have done that too. Peru, he’s got a thing going there, supplying the Shining Path boys. And he’s been making a play for the Muslim insurgents in the Southern Philippines, but the North Koreans are in there ahead of him and I’ve a suspicion he’s going to get his nose bloodied again.
John Le Carré (The Night Manager)
Half a dozen epicene young pagans who haven’t even been to Algiers will tell you, first, that your notion is borrowed, and, secondly, that it isn’t Art. ‘This comes of my leaving town for a month. Dickie, you’ve been promenading among the toy-shops and hearing people talk.’ ‘I couldn’t help it,’ said Dick, penitently. ‘You weren’t here, and it was lonely these long evenings. A man can’t work for ever.’ ‘A man might have gone to a pub, and got decently drunk.
Rudyard Kipling (The Complete Works of Rudyard Kipling)
Well, you're to stay here and be my little boy till we find out where father is. We shall let the police know. They're sure to find him." "The pleece!" Dickie cried in horror. "Why, father, 'e ain't done nothing." "No, no, of course not," said the lady in a hurry; "but the police know all sorts of things—about where people are, I know, and what they're doing—even when they haven't done anything." "The pleece knows a jolly sight too much," said Dickie, in gloom.
E. Nesbit (Harding's Luck)
Probably, Tom thought, a healthy drive toward self-preservation was preventing Frank from going back in thought to that very moment. And Tom had to admit to himself that he would not care to analyze or relive the seven or eight murders he had committed, the worst undoubtedly having been the first, that of Dickie Greenleaf, beating that young man to death with the blade or the butt of an oar. There was always a curious secret, as well as a horror, about taking the life of another being.
Patricia Highsmith (The Boy Who Followed Ripley (Ripley, #4))
If he'd only gotten his sight-seeing done all by himself, Tom thought, if he only hadn't been in such a hurry and so greedy, if he only hadn't misjudged the relationship between Dickie and Marge so stupidly, or had simply waited for them to separate of their own volition, then none of this would have happened, and he could have lived with Dickie for the rest of his like, travelled and lived and enjoyed living for the rest of his life! If he only hadn't put on Dickie's clothes that day—
Patricia Highsmith (The Talented Mr Ripley)
Above all, mafiosi in both Sicily and the US continued to think of themselves as a breed apart from other human beings and even other criminals. American or Sicilian, to be a man of honour means to operate beyond society’s measures of right and wrong.
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
Ketika kita berada di kaki gunung dan hendak mendaki, yang paling kita butuhkan hanyalah untuk sampai di puncaknya, lalu setalah sampai di sana yang paling kita butuhkan adalah oksigen yang jauh lebih banyak tersedia di kaki gunung" - Kumpulan Cerita Pendek Mama Rice
Ignasius Dicky Takndare
The inhumanity of slavery is incomprehensible. It's glossed over in our schools, and washes over our heads with only passing mention. That bell (slavery) can't be unrung, but I believe the real stories, often horrific, should be told in the hope that history won't repeat itself.
Dickie Erman
This was the end of Dickie Greenleaf, he knew. He hated becoming Thomas Ripley again, hated being nobody, hated putting on his old set of habits again, and feeling that people looked down on him and were bored with him unless he put on an act for them like a clown, feeling incompetent and incapable of doing anything with himself except entertaining people for minutes at a time. He hated going back to himself as he would have hated putting on a shabby suit of clothes, a grease-spotted, unpressed suit of clothes that had not been very good even when it was new.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
In the first part of his life fate had been grossly unfair, he thought, but the period with Dickie and afterward had more than compensated for it. But something was going to happen now in Greece, he felt, and it couldn’t be good. His luck had held just too long. But supposing they got him on the fingerprints, and on the will, and they gave him the electric chair—could that death in the electric chair equal in pain, or could death itself, at twenty-five, be so tragic, that he could not say that the months from November until now had not been worth it? Certainly not.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
Claire, you think about a situation or a person or a book as hard as you can and you keep thinking about it and you don't stop until you find something wrong with it. You might find that difficult as you go through life.' This she said to a doughy twelve-year-old child dressed in yellow Dickies painter's paints and a baseball jersey. I am certain I stared at her speechless from under my enormous mop of tangled, unbrushed hair. But I never forgot what she said. Did she see something true in me, even then, something restlessly critical, or did she make me a critic with those words, cursing me as if she were an evil fairy?
Claire Dederer (Monsters: A Fan's Dilemma)
At Tulliallan Police College DI John Rebus based at St. Leonard’s police station in Edinburgh DI James “Jazz” McCullough based in Dundee DI Francis Gray based in Glasgow DS Stu Sutherland based in Livingston DI Thomas “Tam” Barclay based in Falkirk DC Allan Ward based in Dumfries DCI Archibald Tennant the Resurrection Men’s boss Andrea Thomson career analyst The Rico Lomax Murder Case Eric “Rico” Lomax murder victim Fenella Rico’s widow “Chib” Kelly Fenella’s current lover, Glasgow bar owner and criminal Richard “Dickie” Diamond Rico’s friend Malky Dickie’s nephew, barman in Edinburgh Jenny Bell Dickie’s onetime girlfriend Bernie Johns deceased Glasgow drug baron
Ian Rankin (Resurrection Men (Inspector Rebus, #13))
However,I suspect you aren't a proper lady so we should do well enough." Suzette suddenly came to an abrupt halt and this time even his firm grip couldn't keep her moving,at least not gracefully. If he didn't stop he'd be dragging her along behind him like an old robe. Pausing,Daniel raised an eyebrow in question. "Would you care to repeat that?" she asked coldly. Daniel hesitated and then pointed out mildly, "I simply meant that I suspect you can be a little less than proper at times. Surely a proper young lady wouldn't say what you did back there to Richard?" Her eyes became daggers, her mouth turning down with dislike. "Dicky deserved it. The man is a bounder.
Lynsay Sands (The Heiress (Madison Sisters, #2))
Why I Like Being Baldy • Never have to pay for a haircut • No need for styling • The birds love it • You can get together with a fellow baldy and pretend to be a pair of tits • You can pretend to be Ming the Merciless, Emperor of the Galaxy, with more conviction than people with hair • It makes you look hard • Richard O’Brien • You can draw a line down the middle of your head and pretend to be a cock • A hat will always fit • No dickies • Save money on Shampoo • Time saver should you wish to become ordained into an order of Buddhist monks Why I Don’t Like Being Baldy • Can never make a balloon static to entertain a child • Might get mistaken for Ross Kemp • Lack of hair
Steven LaVey (Shorts)
Tisn't life that matters! 'Tis the courage you bring to it" … this from old Frosted Moses in the warm corner by the door. There might have been an answer, but Dicky Tasset, the Town Idiot, filled in the pause with the tale that he was telling Mother Figgis. "And I ran—a mile or more with the stars dotted all over the ground for yer pickin', as yer might say…." A little boy, Peter Westcott, heard what old Frosted Moses had said, and turned it over in his mind. He was twelve years old, was short and thick-necked, and just now looked very small because he was perched on so high a chair. It was one of the four ancient chairs that Sam Figgis always kept in the great kitchen behind the taproom.
Hugh Walpole (Fortitude)
He stared at Dickie’s blue eyes that were still frowning, the sun-bleached eyebrows white and the eyes themselves shining and empty, nothing but little pieces of blue jelly with a black dot in them, meaningless, without relation to him. You were supposed to see the soul through the eyes, to see love through the eyes, the one place you could look at another human being and see what really went on inside, and in Dickie’s eyes Tom saw nothing more now than he would have seen if he had looked at the hard, bloodless surface of a mirror. Tom felt a painful wrench in his breast, and he covered his face with his hands. It was as if Dickie had been suddenly snatched away from him. They were not friends. They didn’t know each other. It struck Tom like a horrible truth, true for all time, true for the people he had known in the past and for those he would know in the future: each had stood and would stand before him, and he would know time and time again that he would never know them, and the worst was that there would always be the illusion, for a time, that he did know them, and that he and they were completely in harmony and alike. For an instant the wordless shock of his realization seemed more than he could bear. He felt in the grip of a fit, as if he would fall to the ground. It was too much: the foreignness around him, the different language, his failure, and the fact that Dickie hated him. He felt surrounded by strangeness, by hostility.
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
It was a horse-world, that’s what it was. When I think of him sitting beside me up there on the cart I don’t think of scrap metal, brass, copper, lead, cast-iron. I think of Duke. I think of the life of carters and pedlars. I see him lean forward, elbows on knees, after I’ve taken up the reins, and start to look around him as if he hadn’t noticed the world passing by. I see him scratch his neck and reset his cap. I see him light up a snout, dicky chest or no dicky chest, and breathe out the first drag, bottom lip jutting, then rub his chin with the tip of his thumb, cigarette between his fingers, then run the ball of his thumb across his forehead, and I know I do all those things, without helping it, the same gestures, the same motions.
Graham Swift (Last Orders)
The camorra turned the needs and rights of their fellow prisoners (like their bread or their pizzo) into favours. Favours that had to be paid for, one way or another. The camorra system was based on the power to grant those favours and to take them away. Or even to throw them in people’s faces. The real cruelty of the turnip-throwing episode is that the camorrista was bestowing a favour that he could just as easily have withheld.
John Dickie (Blood Brotherhoods: A History of Italy's Three Mafias)
When their brother-in-law turned toward them at the sound,Lisa breathed with horror, "But you're dead." Her head swiveled to Christiana. "Wasn't he dead, Chrissy? We packed ice around him and everything." "The ice must have revived his cold dead heart," Suzette said, anger helping her recover quickly from her shock. Glaring at the man, she added a dry but heartfelt, "More's the pity." If Dicky looked surprised by her comments, Christiana looked absolutely horrified. "Suzette!" she gasped, shuffling a little closer as if to phsyically silence her if Suzette tried to make another such comment. "Perhaps we should go out for some air. Lisa looks ready to faint and you, Suzie, obviously need some time to cool yourself. Perhaps so much dancing has overheated you." Suzette was about to snort at the suggestion that dancing had brought about her bitter words when her arm was suddenly taken in a firm grip and the words "Allow me" rang in her ears. Glancing around with a start, she frowned at the man who had suddenly appeared out of seemingly thin air and stepped between her and Lisa, taking both of them in hand like recalcitrant children. He was already turning them firmly away from Christiana and Dicky as he added, "I shall see the ladies outside so the two of you might talk.
Lynsay Sands (The Heiress (Madison Sisters, #2))
Tonight, however, Dickens struck him in a different light. Beneath the author’s sentimental pity for the weak and helpless, he could discern a revolting pleasure in cruelty and suffering, while the grotesque figures of the people in Cruikshank’s illustrations revealed too clearly the hideous distortions of their souls. What had seemed humorous now appeared diabolic, and in disgust at these two favourites he turned to Walter Pater for the repose and dignity of a classic spirit. But presently he wondered if this spirit were not in itself of a marble quality, frigid and lifeless, contrary to the purpose of nature. ‘I have often thought’, he said to himself, ‘that there is something evil in the austere worship of beauty for its own sake.’ He had never thought so before, but he liked to think that this impulse of fancy was the result of mature consideration, and with this satisfaction he composed himself for sleep. He woke two or three times in the night, an unusual occurrence, but he was glad of it, for each time he had been dreaming horribly of these blameless Victorian works… It turned out to be the Boy’s Gulliver’s Travels that Granny had given him, and Dicky had at last to explain his rage with the devil who wrote it to show that men were worse than beasts and the human race a washout. A boy who never had good school reports had no right to be so morbidly sensitive as to penetrate to the underlying cynicism of Swift’s delightful fable, and that moreover in the bright and carefully expurgated edition they bring out nowadays. Mr Corbett could not say he had ever noticed the cynicism himself, though he knew from the critical books it must be there, and with some annoyance he advised his son to take out a nice bright modern boy’s adventure story that could not depress anybody. Mr Corbett soon found that he too was ‘off reading’. Every new book seemed to him weak, tasteless and insipid; while his old and familiar books were depressing or even, in some obscure way, disgusting. Authors must all be filthy-minded; they probably wrote what they dared not express in their lives. Stevenson had said that literature was a morbid secretion; he read Stevenson again to discover his peculiar morbidity, and detected in his essays a self-pity masquerading as courage, and in Treasure Island an invalid’s sickly attraction to brutality. This gave him a zest to find out what he disliked so much, and his taste for reading revived as he explored with relish the hidden infirmities of minds that had been valued by fools as great and noble. He saw Jane Austen and Charlotte Brontë as two unpleasant examples of spinsterhood; the one as a prying, sub-acid busybody in everyone else’s flirtations, the other as a raving, craving maenad seeking self-immolation on the altar of her frustrated passions. He compared Wordsworth’s love of nature to the monstrous egoism of an ancient bellwether, isolated from the flock.
Margaret Irwin (Bloodstock and Other Stories)
If he had any sense of honor at all, the man would have stayed dead." "Unfortunately, it appears he was merely unconscious," Daniel murmured. He was becoming quite certain George was dead. This might greaty simplify matters, or at least it would if Richard was willing to uphold the marriage to Christiana...and really, Daniel was beginning to think that would be the most honorable thing to do here. While he didn't think much of their looking to marry a man with money to solve their problems, it did seem a shame to cast the scandal of George's actions on these three women when none of it was their fault at all. Unconscious," Suzette spat the word with disdain. "He must have been, and he had obviously been drinking." She tsked with exasperation and stomped her foot, muttering, "Why could the beast not have been dead? I should have smothered him in his bed to be sure he was and stayed that way." Daniel stared at her with amazement. His first thought was that, really, aside froom her fortune hunting and homicidal tendencies, the woman was quite fascinating in her complete and utter lack of artifice. His next thought was that the ton would eat her alive. Artifice and subterfuge were necessary tools to survive society and she was obviously completely lacking in both. Suzette suddenly heaved a put upon breath and muttered, "I suppose I had best be sure I find a husband tonight. Otherwise, surely Dicky will find some way to throw a spanner in my plans." Daniel's eyebrows flew up at her words and then she peered at him with interest. "You're a handsome enough fellow," she commented thoughtfully. Daniel blinked, and then muttered, "Oh...er...thank you. I think." "You don't seem a dullard either," she added, tilting her head to inspect him consideringly. "Erm," he said weakly. "And you aren't old. That's another plus." Daniel was puzzling over that when she asked abruptly, "Are you rich?
Lynsay Sands (The Heiress (Madison Sisters, #2))
So Christiana went to speak to Dicky about taking us out and about, but when she found him in the office, the idiot was dead." Daniel bit his lip at her vexed tone. There was absolutely no grief in her voice at all, just irritation with the inconvenience of it all. But then George had never been one to inspire the finer feelings in those he encountered. Clearing his throat, he asked, "Did he fall and strike his head, or-" "No.He was simply sitting in his chair dead," she said with exasperation, and then added with disgust, "He was obviously a victim of his own excess. We suspected his heart gave out. Certainly the glass and decanter of whiskey next to him suggested he didn't take the best care of himself. I ask you,who drinks hard liquor first thing in the morning?" Daniel shook his head, finding it difficult to speak. She was just so annoyed as she spoke of the man's death, as if he'd deliberately done it to mess up her plans. After a moment, he asked, "Are you sure he is dead?" Suzette gave him another one of those adorable "Don't be ridiculous" looks. "Well, obviously he isn't. He is here now," she pointed out, and then shook her head and added almost under her breath, "Though I could have sworn...The man didn't even stir when he fell off the chair and slammed his head on the floor. Nor when I dropped him and his head crashed to the hardwood floor again, or when we rolled him in the carpet and dragged him upstairs, or when we dropped him in the hall and he rolled out of the carpet, or-" "Er," Daniel interrupted, and then coughed into his hand to hide a laugh, before asking, "Why exactly were you carting him about in a carpet?" "Well,don't be dense," she said with exasperation. "We couldn't let anyone know he was dead, could we?" "Couldn't you?" he asked uncertainly. Suzette clucked with irritation. "Of course not.We would have had to go into mourning then.How would I find a husband if we were forced to abstain from polite society to observe mourning?
Lynsay Sands (The Heiress (Madison Sisters, #2))
Mafiosi, for Franchetti, were entrepreneurs in violence, specialists who had developed what today would be called the most sophisticated business model in the marketplace. Under the leadership of their bosses, mafia bands ‘invested’ violence in various commercial spheres in order to extort protection money and guarantee monopolies. This was what he called the violence industry. As Franchetti wrote, [in the violence industry] the mafia boss . . . acts as capitalist, impresario and manager. He unifies the management of the crimes committed . . . he regulates the way labour and duties are divided out, and controls discipline amongst the workers. (Discipline is indispensable in this as in any other industry if abundant and constant profits are to be obtained.) It is the mafia boss’s job to judge from circumstances whether the acts of violence should be suspended for a while, or multiplied and made fiercer. He has to adapt to market conditions to choose which operations to carry out, which people to exploit, which form of violence to use.
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
Capitalism runs on investment, and lawlessness puts investment at risk. No one wants to buy new machinery or more land to plant with commercial crops when there is a strong risk that those machines or crops will be stolen or vandalized by competitors. When it supplanted feudalism, the modern state was supposed to establish a monopoly on violence, on the power to wage war and punish criminals. When the modern state monopolizes violence in this way, it helps create the conditions in which commerce can flourish. The barons’ ramshackle, unruly private militias were scheduled to disappear. Franchetti argued that the key to the development of the mafia in Sicily was that the state had fallen catastrophically short of this ideal. It was untrustworthy because, after 1812, it failed to establish its monopoly on the use of violence. The barons’ power on the ground was such that the central state’s courts and policemen could be pressurized into doing what the local lord wanted. Worse still, it was now no longer only the barons who felt they had the right to use force. Violence became ‘democratized’,
John Dickie (Cosa Nostra: The Definitive History of the Sicilian Mafia)
Conservatism" in America's politics means "Let's keep the niggers in their place." And "liberalism" means "Let's keep the knee-grows in their place-but tell them we'll treat them a little better; let's fool them more, with more promises." With these choices, I felt that the American black man only needed to choose which one to be eaten by, the "liberal" fox or the "conservative" wolf-because both of them would eat him. I didn't go for Goldwater any more than for Johnson-except that in a wolf's den, I'd always known exactly where I stood; I'd watch the dangerous wolf closer than I would the smooth, sly fox. The wolf's very growling would keep me alert and fighting him to survive, whereas I might be lulled and fooled by the tricky fox. I'll give you an illustration of the fox. When the assassination in Dallas made Johnson President, who was the first person he called for? It was for his best friend, "Dicky"-Richard Russell of Georgia. Civil rights was "a moral issue," Johnson was declaring to everybody-while his best friend was the Southern racist who led the civil rights opposition. How would some sheriff sound, declaring himself so against bank robbery-and Jesse James his best friend? How would some sheriff sound, declaring himself so against bank robbery-and Jesse James his best friend? Goldwater as a man, I respected for speaking out his true convictions-something rarely done in politics today. He wasn't whispering to racists and smiling at integrationists. I felt Goldwater wouldn't have risked his unpopular stand without conviction. He flatly told black men he wasn't for them-and there is this to consider: always, the black people have advanced further when they have seen they had to rise up against a system that they clearly saw was outright against them. Under the steady lullabies sung by foxy liberals, the Northern Negro became a beggar. But the Southern Negro, facing the honestly snarling white man, rose up to battle that white man for his freedom-long before it happened in the North. Anyway, I didn't feel that Goldwater was any better for black men than Johnson, or vice-versa. I wasn't in the United States at election time, but if I had been, I wouldn't have put myself in the position of voting for either candidate for the Presidency, or of recommending to any black man to do so. It has turned out that it's Johnson in the White House-and black votes were a major factor in his winning as decisively as he wanted to. If it had been Goldwater, all I am saying is that the black people would at least have known they were dealing with an honestly growling wolf, rather than a fox who could have them half-digested before they even knew what was happening.
Malcolm X (The Autobiography of Malcolm X)
And then she would discuss very different people whom she had been led to believe existed; hard-working, honourable men and women, not a few of them possessed of fine brains, yet lacking the courage to admit their inversion. Honourable, it seemed, in all things save this that the world had forced on them - this dishonourable lie whereby alone they could hope to find peace, could hope to stake out a claim on existence. And always these people must carry that lie like a poisonous asp pressed against their bosoms; must unworthily hide and deny their love, which might well be the finest thing about them. And what of the women who had worked in the war - those quiet, gaunt women she had seen about London? England had called them and they had come; for once, unabashed, they had faced the daylight. And now because they were not prepared to slink back and hide in their holes and corners, the very public whom they had served was the first to turn round and spit upon them; to cry: 'Away with this canker in our midst, this nest of unrighteousness and corruption!' That was the gratitude they had received for the work they had done out of love for England! And what of that curious craving for religion which so often went hand in hand with inversion? Many such people were deeply religious, and this surely was one of their bitterest problems. They believed, and believing they craved a blessing on what to some of them seemed very sacred - a faithful and deeply devoted union. But the Church's blessing was not for them. Faithful they might be, leading orderly lives, harming no one, and yet the Church turned away; her blessings were strictly reserved for the normal. Then Stephen would come to the thing of all others that to her was the most agonising question. Youth, what of youth? Where could it turn for its natural and harmless recreations? There was Dickie West and many more like her, vigorous, courageous and kind-hearted youngsters; yet shut away from so many of the pleasures that belonged by right to every young creature - and more pitiful still was the lot of a girl who, herself being normal, gave her love to an invert. The young had a right to their innocent pleasures, a right to social companionship; had a right, indeed, to resent isolation. But here, as in all the great cities of the world, they were isolated until they went under; until, in their ignorance and resentment, they turned to the only communal life that a world bent upon their destruction had left them; turned to the worst elements of their kind, to those who haunted the bars of Paris. Their lovers were helpless, for what could they do? Empty-handed they were, having nothing to offer. And even the tolerant normal were helpless - those who went to Valérie's parties, for instance. If they had sons and daughters, they left them at home; and considering all things, who could blame them? While as for themselves, they were far too old - only tolerant, no doubt, because they were ageing. They could not provide the frivolities for which youth had a perfectly natural craving.
Radclyffe Hall (The Well of Loneliness)
Dickie
Robloxia Kid (Diary of a Roblox Noob: Granny (Roblox Book Book 1))
He’d taken many young women by force, but always when he was drunk. It was no harder than leading a goat into his house. None resisted, for they’d all witnessed many beatings and whippings he applied in public displays.
Dickie Erman (Antebellum Struggles: A Story of Love, Lust, Pain and Freedom (Antebellum Struggles #1))
Nearly each man then took his turn, as Amana and the other women watched in horror. Captain LaCrosse watched also, sipping rum from his tin flask. He would have loved to have joined the carnage, but syphilis had long since rendered him impotent.
Dickie Erman (Antebellum Struggles: A Story of Love, Lust, Pain and Freedom (Antebellum Struggles #1))
Senza amore per il prossimo... non si vende uno spillo.
Dicky Fox
We produce enough food for 12 billion living souls, and there are only 6 billion 300 thousand of us on earth. Eight hundred million people suffer from malnutrition and hunger; one billion 700 million suffer from obesity. Madness! It is madness to continue asking more from the earth. Plundering resources and obeying the logic that says all consumption must be fast, abundant and wasteful: it’s all reaching the end of the line. The end of the line…. What isn’t made clear is just how complicit we are. Just how responsible as individual consumers in the so-called developed world…. We are complicit, we are involved. So you, the peasants of the so-called developing world, you have to show us the way. The way to an economy that can make consumption and agriculture local once more….
John Dickie (Delizia!: The Epic History of the Italians and Their Food)
I want to strip that underwear off you. I want to lay you flat and bury my head between your thighs and stay there until you forget the name of any other man who’s ever gone down on you....I want to kiss you until we both can’t breathe...I want to push your gorgeous breasts together and thrust my cock between them until I come all over them....I want to look down and see your mouth around my dick...I want to turn you upside down and inside out with wanting me.
Amy Andrews (Playing It Cool (Sydney Smoke Rugby, #2))
something about little Dicky.” She pulled at her bottom lip for a moment, as if pulling her head together, and then she said, “He didn’t exactly rape me.” Virgil said, “Not exactly.” “Not exactly. We were a year out of high school, and we were drinking in my old man’s bar after hours, and Dicky kept pouring it down me . . . hell, it was free . . . and he is a good-looking thing . . . and, he just did it to me,” she said. “I kind of think I resisted, but I was no virgin, and I kind of think I led him on . . . but I think I tried to say no, and he did it anyway. The
John Sandford (Mad River (Virgil Flowers, #6))
me, “Dickie Johnson and I were born together, grew up together, had lots of women together, and got old together, but he died before me.
Nelson DeMille (Plum Island (John Corey, #1))