Farewell Cake Quotes

I never in my life argued with a piece of cake or a bowl of ice cream.

Movie directors often shoot funerals in the rain. The mourners stand in their dark suits under large black umbrellas, the kind you never have handy in real life, while the rain falls symbolically all around them, on grass and tombstones and the roods of cars, generating atmostphere. What they don't show you is how the legs of your suit caked with grass clippings, cling soaked to your shins, how even under umbrellas the rain still manages to find your scalp, running down your skull and past your collar like wet slugs, so that while you're supposed to be meditating on the deceased, instead you're mentally tracking the trickle of water as it slides down your back. The movies don't convey how the soaked, muddy ground will swallow up the dress shoes of the pallbearers like quicksand, how the water, seeping into the pine coffin, will release the smell of death and decay, how the large mound of dirt meant to fill the grave will be transformed into an oozing pile of sludge that will splater with each stab of the shovel and land on the coffin with an audible splat. And instead of a slow and dignified farewell, everyone just wants to get the deceased into the ground and get the hell back into their cars.

He looked at his monitor. A hundred and seventy-five. A hundred and seventy-two. A welcome little gust of wind carried the sound of distant cheering up from the town. It must have been from Ullevål Stadium—there was an important international match this evening. Slovakia or Slovenia. Erlend Vennesla imagined for a few seconds that they had been applauding for him. It was a while since anyone had done that. The last time would have been the farewell ceremony at Kripos up at Bryn. Layer cake, speech by the boss, Mikael Bellman, who since then had continued his steady rise to take the top police job. And Erlend had received the applause, met their eyes, thanked them and even felt his throat constrict as he was about to deliver his simple, brief speech.

A private car was waiting for us and Renée and I were driven back to the Pleasure Prison. As we rode along I was thinking, “Why do I feel so inflated, so pumped up, so on edge? I have been here eight weeks and worked only eight days.” I mean, talk about mad dogs and Englishmen, the British were incredible. A sixty-year-old makeup man stood for hours each day in the burning sun, just to press ice packs on our necks so we wouldn’t faint, and I was complaining? I was feeling ravaged, all spoiled and puffed up. But, oh, how I was going to miss it. How I was going to miss it. Riding in the car, I said a silent farewell. Farewell to the fantastic breakfasts, the pineapple like I’d never tasted and probably never will taste again. Farewell to the fresh mango and papaya, farewell to the Thai maid and the fresh, clean, cotton sheets on the king-size bed every night. Farewell to the incredible free lunches under the circus tent with fresh meat flown in from America every day. Roast lamb, roast potatoes and green beans at 110 degrees, in accordance with British Equity. Farewell to the cakes and teas and ices at four. Farewell to the Thai driver with the tinted glasses and the Mercedes with the one-way windows. Farewell to the single fresh rose in the glass on my bureau every morning. And just as I was dozing off in the Pleasure Prison, I had a flash. An inkling. I suddenly thought I knew what it was that killed Marilyn Monroe.

She says I may bid you farewell. This is what I would like to say. I trust you. Do you trust me?" He was suffocating. Frozen and flailing in the void. "Always." Those secretive lips trembled into a tiny smile. Golden-brown eyes glowed with love for him. Love and purpose. "When you think of me, I want you to remember one thing: There are storms, of course. Storms big enough to carry your hat away. But there are also orange cakes, my love. And they are divine.

Popular fiction is supposed to be essentially story-driven; the proof that it works is the sound of the pages turning. But a few of the great pop writers were stylists, above all, and their success is measured by a different sound, that of the snort of appreciation followed by a phrase read out loud to a half-sleeping spouse in bed at night. The pages stop turning while we admire the sentences. Few readers of Raymond Chandler can recall, or even follow, the plot of Farewell, My Lovely - Chandler himself couldn't always follow his plots. What they remember is that Moose Malloy on a Los Angeles street was as inconspicuous as a tarantula on a slice of angel-food cake. Of all the pop formalists, the purest and strangest may be Damon Runyon... Runyon's appeal came from his mastery of an American idiom. We read Runyon not for the stories but for the slang, half found on Broadway in the nineteen-twenties and thirties and half cooked up in his own head...