Farm Boy Quotes

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

I've been saying it so long to you, you just wouldn't listen. Every time you said 'Farm Boy do this' you thought I was answering 'As you wish' but that's only because you were hearing wrong. 'I love you' was what it was, but you never heard.
William Goldman (The Princess Bride)
You know what would help this boy?" Demeter mused. "Farming." Persephone rolled her eyes. "Mother-" "Six months behind a plow. Excellent character building.
Rick Riordan (The Last Olympian (Percy Jackson and the Olympians, #5))
It was a dark and stormy night. Suddenly, a shot rang out! A door slammed. The maid screamed. Suddenly, a pirate ship appeared on the horizon! While millions of people were starving, the king lived in luxury. Meanwhile, on a small farm in Kansas, a boy was growing up.
Charles M. Schulz (It Was a Dark and Stormy Night, Snoopy)
Don't you want me to kiss you goodbye, sweetie?" "Kiss a cow farm boy
Nora Roberts
No one's making any decisions today," Mom translated. "It's late, and we're all tired and a little overwhelmed. Besides, Lucius, Jessica is not ready to contemplate marriage. She hasn't even kissed a boy yet, for goodness' sake." Lucius smirked at me, raising one eyebrow. "Really? No suitors? How shocking. I would have thought your pitchfork skills would be attractive to certain bachelors here in farm country.
Beth Fantaskey (Jessica's Guide to Dating on the Dark Side (Jessica, #1))
Do you love me, Westley? Is that it?’ He couldn’t believe it. ‘Do I love you? My God, if your love were a grain of sand, mine would be a universe of beaches. If your love were—‘ ‘I don’t understand the first one yet,’ Buttercup interrupted. She was starting to get very excited now. ‘Let me get this straight. Are you saying my love is the size of a grain of sand and yours is this other thing? Images just confuse me so—is this universal business of yours bigger than my sand? Help me, Westley. I have the feeling we’re on the verge of something just terribly important.’ ‘I have stayed these years in my hovel because of you. I have taught myself languages because of you. I have made my body strong because I thought you might be pleased by a strong body. I have lived my life with only the prayer that some sudden dawn you might glance in my direction. I have not known a moment in years when the sight of you did not send my heart careening against my rib cage. I have not known a night when your visage did not accompany me to sleep. There has not been a morning when you did not flutter behind my waking eyelids….Is any of this getting through to you, Buttercup, or do you want me to go on for a while?’ ‘Never stop.’ ‘There has not been—‘ ‘If you’re teasing me, Westley, I’m just going to kill you.’ ‘How can you even dream I might be teasing?’ ‘Well, you haven’t once said you loved me.’ ‘That’s all you need? Easy. I love you. Okay? Want it louder? I love you. Spell it out, should I? I ell-oh-vee-ee why-oh-you. Want it backward? You love I.’ ‘You are teasing now; aren’t you?’ ‘A little maybe; I’ve been saying it so long to you, you just wouldn’t listen. Every time you said ‘Farm boy do this’ you thought I was answering ‘As you wish’ but that’s only because you were hearing wrong. ‘I love you’ was what it was, but you never heard, and you never heard.
William Goldman (The Princess Bride)
Why is it always a prince?” asked Winter. “Why isn’t she ever saved by a top-secret spy? Or a soldier? Or a … a poor farm boy, even?” “I don’t know. That’s just how the story was written.” Evret brushed back a curl of Winter’s hair. “If you don’t like it, we’ll make up a different story tomorrow night. You can have whoever you want rescue the princess.” “Like a doctor?” “A doctor? Well—sure. Why not?” “Jacin said he wants to grow up to be a doctor.” “Ah. Well, that’s a very good job, one that saves more than just princesses.” “Maybe the princess can save herself.” “That sounds like a pretty good story too.
Marissa Meyer (Fairest (The Lunar Chronicles, #3.5))
Tomorrow when the farm boys find this freak of nature, they will wrap his body in newspaper and carry him to the museum. But tonight he is alive and in the north field with his mother. It is a perfect summer evening: the moon rising over the orchard, the wind in the grass. And as he stares into the sky, there are twice as many stars as usual.
Laura Gilpin (The Weight of a Soul)
Shinji slowly fell forward onto his face. Debris bounced up on impact. It took less than thirty seconds for the rest of his body to die. The memento of his beloved uncle--the earring worn by the woman he loved--was now stained with the blood running down Shinji's left ear, reflecting the glow from the red flames of the farm building. And so the boy known as the Third Man, Shinji Mimura, was dead.
Koushun Takami (Battle Royale)
A farmer depends on himself, and the land and the weather. If you're a farmer, you raise what you eat, you raise what you wear, and you keep warm with wood out of your own timber. You work hard, but you work as you please, and no man can tell you to go or come. You'll be free and independent, son, on a farm.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Flown Raven is the country,"I muttered. "City slave," he said. "Farm boy," I shot back. "I've never even seen a farm." "Don't trifle me with details.
Moira J. Moore
He never reckoned much to schooling and that. He said you could learn most what was worth knowing from keeping your eyes and ears peeled. Best way of learning, he always said, was doing.
Michael Morpurgo (Farm Boy (War Horse, #2))
A farmer friend of mine told me recently about a busload of middle school children who came to his farm for a tour. The first two boys off the bus asked, "Where is the salsa tree?" They thought they could go pick salsa, like apples and peaches. Oh my. What do they put on SAT tests to measure this? Does anybody care? How little can a person know about food and still make educated decisions about it? Is this knowledge going to change before they enter the voting booth? Now that's a scary thought.
Joel Salatin (Folks, This Ain't Normal: A Farmer's Advice for Happier Hens, Healthier People, and a Better World)
You failed me. His brother’s voice, louder than ever in his head. You let him dupe you all over again. Kaz had called Jesper by his brother’s name. A bad slip. But maybe he’d wanted to punish them both. Kaz was older now than Jordie had been when he’d succumbed to the Queen’s Lady Plague. Now he could look back and see his brother’s pride, his hunger for fast success. You failed me, Jordie. You were older. You were supposed to be the smart one. He thought of Inej asking, Was there no one to protect you? He remembered Jordie seated beside him on a bridge, smiling and alive, the reflection of their feet in the water beneath them, the warmth of a cup of hot chocolate cradled in his mittened hands. We were supposed to look out for each other. They’d been two farm boys, missing their father, lost in this city. That was how Pekka got them. It wasn’t just the enticement of money. He’d given them a new home. A fake wife who made them hutspot, a fake daughter for Kaz to play with. Pekka Rollins had lured them with a warm fire and the promise of the life they’d lost. And that was what destroyed you in the end: the longing for something you could never have.
Leigh Bardugo (Crooked Kingdom (Six of Crows, #2))
I am the saint at prayer on the terrace like the peaceful beasts that graze down to the sea of Palestine. I am the scholar of the dark armchair. Branches and rain hurl themselves at the windows of my library. I am the pedestrian of the highroad by way of the dwarf woods; the roar of the sluices drowns my steps. I can see for a long time the melancholy wash of the setting sun. I might well be the child abandoned on the jetty on its way to the high seas, the little farm boy following the lane, its forehead touching the sky. The paths are rough. The hillocks are covered with broom. The air is motionless. How far away are the birds and the springs! It can only be the end of the world ahead.
Arthur Rimbaud
I am not alone in this. I only let him do to me what men have ever done to women: march off to empty glory and hollow acclaim and leave us behind to pick up the pieces. The broken cities, the burned barns, the innocent injured beasts, the ruined bodies of the boys we bore and the men we lay with. The waste of it. I sit here, and I look at him, and it is as if a hundred women sit beside me: the revolutionary farm wife, the English peasant woman, the Spartan mother-'Come back with your shield or on it,' she cried, because that was what she was expected to cry. And then she leaned across the broken body of her son and the words turned to dust in her throat.
Geraldine Brooks (March)
The first thing the boy Garion remembered was the kitchen at Faldor's farm. For all the rest of his life he had a special warm feeling for kitchens and those peculiar sounds and smells that seemed somehow to combine into a bustling seriousness that had to do with love and food and comfort and security and, above all, home. No matter how high Garion rose in life, he never forgot that all his memories began in that kitchen.
David Eddings (Pawn of Prophecy (The Belgariad, #1))
One day I was driving down the farm track in the pickup,with two of the little boys, aged about four or five, sitting beside me. One of them turned to me conversationally and said, "Baba, don't worry. When you get old one day you'll be sitting here where we are, and we'll be driving you around!
Angus Buchan (Faith Like Potatoes: The Story of a Farmer Who Risked Everything for God)
I saw a little boy, perhaps ten years old, driving a huge cart-horse along a narrow path, whipping it whenever it tried to turn. It struck me that if only such animals became aware of their strength we should have no power over them, and that men exploit animals in much the same way as the rich exploit the proletariat.
George Orwell (Animal Farm)
Gatsby's self-willed metamorphosis from farm boy to prince is many ways identical to my father's. Like Gatsby, my father fueled this transformation with the "colossal vitality of his illusion". Unlike Gatsby he did this on a school teacher's salary.
Alison Bechdel (Fun Home: A Family Tragicomic)
What’s your name, Farm Boy?” “Charlie Heggensford, ma’am.” He stuck out his hand and she smiled as she shook it.
Hank Edwards (Fluffers, Inc. (Fluffers, Inc. #1))
The Two-headed Calf Tomorrow when the farm boys find this freak of nature, they will wrap his body in newspaper and carry him to the museum. But tonight he is alive and in the north field with his mother. It is a perfect summer evening: the moon rising over the orchard, the wind in the grass. And as he stares into the sky, there are twice as many stars as usual.
Laura Gilpin
A little maybe; I've been saying it so long to you, you just wouldn't listen. Every time you said, 'Farm Boy do this' you thought I was answering 'As you wish' but that's only because you were hearing wrong. 'I love you' was what it was, but you never heard, and you never heard.' ~ Westley
William Goldman (The Princess Bride)
The law was applied in accordance to social structure. A dope using poor man was bound for prison. A wealthy farm boy was given a severe talking to and sent home to his momma. Lady Justice was not blind – she was peeking into wallets." From "Molly: House on Fire
R.E. Bradshaw
As Gill says, "every man is called to give love to the work of his hands. Every man is called to be an artist." The small family farm is one of the last places - they are getting rarer every day - where men and women (and girls and boys, too) can answer that call to be an artist, to learn to give love to the work of their hands. It is one of the last places where the maker - and some farmers still do talk about "making the crops" - is responsible, from start to finish, for the thing made. This certainly is a spiritual value, but it is not for that reason an impractical or uneconomic one. In fact, from the exercise of this responsibility, this giving of love to the work of the hands, the farmer, the farm, the consumer, and the nation all stand to gain in the most practical ways: They gain the means of life, the goodness of food, and the longevity and dependability of the sources of food, both natural and cultural. The proper answer to the spiritual calling becomes, in turn, the proper fulfillment of physical need.
Wendell Berry (Bringing it to the Table: On Farming and Food)
Both of the boys were unsettling — Adam Parrish, in particular, had a curious face. Not as in, he was a curious person. But rather that there was something peculiar about his facial features. He was an alien, handsome specimen of this western Virginia species; feather-boned, hollow-cheeked, eyebrows fair and barely visible. He was feral and raw-boned by way of those Civil War portraits. Brother fought brother while their farms ran to ruins — And Ronan Lynch looked like Niall Lynch, which was to say, he looked like an asshole. Oh, youth.
Maggie Stiefvater (Blue Lily, Lily Blue (The Raven Cycle, #3))
It takes lots of hands to do farm work, so farmers have large families. But they want boys—usually three at the minimum. Their logic is heartbreaking.
Peter H. Diamandis (Abundance: The Future is Better Than You Think)
Buttercup sat up in bed. It must be his teeth. The farm boy did have good teeth, give credit where credit was due.
William Goldman (The Princess Bride)
I was a palm-wine drinkard since I was a boy of ten years of age. I had no other work more than to drink palm-wine in my life. - - - But when my father noticed that I could not do any work more than to drink, he engaged an expert palm-wine-tapster for me; he had no other work more than to tap palm-wine every day. So my father gave me a palm-tree farm which was nine miles square and it contained 560,000 palm-trees, and this palm-wine tapster was tapping one hundred and fifty kegs of palm-wine every morning, but before 2 o’clock p.m., I would have drunk it all; after that he would go and tap another 75 kegs.
Amos Tutuola (The Palm-Wine Drinkard)
Just because you are struggling on a farm or in a factory, doing something against which your whole nature rebels, because there is no one to help you support your aged parents or an invalid brother or sister, do not conclude that your vision must perish. Keep pushing on as best you can, and affirming your divine power to attain your desire. Hundreds and thousands of poor boys and girls with poorer opportunities than yours have done immortal deeds because they had faith in their ideal and in their power to attain it.
Orison Swett Marden (How to Get What You Want)
Like so many great American fortunes, the Rosewater pile was accumulated in the beginning by a humorless, constipated Christian farm boy turned speculator and briber during and after the Civil War.
Kurt Vonnegut Jr. (God Bless You, Mr. Rosewater)
Summer on the farm was glorious. Peter spent as much time out of doors as possible, and he had many playmates, since all the children were free from their spring and autumn duties of tending crops or going to school. Peter had become the leader of a merry band of youngsters, aged six to fourteen, who followed the Wild Boy wherever he went and seemed to understand his unintelligible noises. If they did not understand, then they pretended to. The life of a princess has many advantages, but I envied those children for their time with Peter and for what seemed to me to be a simple, carefree existence.
Christopher Daniel Mechling (Peter: The Untold True Story)
Every year, Kansas watches the world die. Civilizations of wheat grow tall and green; they grow old and golden, and then men shaped from the same earth as the crop cut those lives down. And when the grain is threshed, and the dances and festivals have come and gone, then the fields are given over to fire, and the wheat stubble ascends into the Kansas sky, and the moon swells to bursting above a blackened earth. The fields around Henry, Kansas, had given up their gold and were charred. Some had already been tilled under, waiting for the promised life of new seed. Waiting for winter, and for spring, and another black death. The harvest had been good. Men, women, boys and girls had found work, and Henry Days had been all hot dogs and laughter, even without Frank Willis's old brown truck in the parade. The truck was over on the edge of town, by a lonely barn decorated with new No Trespassing signs and a hole in the ground where the Willis house had been in the spring and the early summer. Late summer had now faded into fall, and the pale blue farm house was gone. Kansas would never forget it.
N.D. Wilson (The Chestnut King (100 Cupboards, #3))
Very few things made her happier than getting a rise out of despicable old men who wanted everyone around them to cower in their presence.
Alexandra Bracken (A New Hope: The Princess, the Scoundrel, and the Farm Boy (Star Wars))
What we dedicate today is not a memorial to war, rather it's a tribute to the physical and moral courage that makes heroes out of farm and city boys and that inspires Americans in every generation to lay down their lives for people they will never meet, for ideals that make life itself worth living.
Bob Dole (One Soldier's Story)
They could think they'd taken the parts of her that mattered most. That they'd broken her. But there was a part of Leia that the Emperor, Vader, Tarkin, any of them could never touch. Her heart was a star that would never burn out. And she would outshine them all.
Alexandra Bracken (A New Hope: The Princess, the Scoundrel, and the Farm Boy (Star Wars))
Zinnia always wants to hug me and pat me because she has a boy my same age named Melvin. I said maybe some day Melvin could come play at our farm, and I could bring him to the maze and show him the shortcuts. Zinnia started crying. That’s when I seen that she has freckles.
Wally Lamb (The Hour I First Believed)
In an agricultural society, or during a time of exploration and settlement, or hunting and fathering--which is to say, most of mankind's history--energetic boys were particularly prized for their strength, speed, and agility. [...] As recently as the 1950s, most families still had some kind of agricultural connection. Many of these children, girls as well as boys, would have been directing their energy and physicality in constructive ways: doing farm chores, baling hay, splashing in the swimming hole, climbing trees, racing to the sandlot for a game of baseball. Their unregimented play would have been steeped in nature.
Richard Louv (Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder)
The princess, the scoundrel, the farm boy. The senator, the smuggler, the dreamer. The Rebel leader, the captain, the pilot. More than what they believed of themselves. More than what others saw of them. And together, a new hope for the future.
Alexandra Bracken (A New Hope: The Princess, the Scoundrel, and the Farm Boy (Star Wars))
So I thought I’d feel different afterward, after the visible neon sign proclaiming 'virgin' had blinked out on my forehead. I’d spent years obessessing about it, so it seemed like somthing should have changed. Maybe it would have if I’d still been at Ceder Falls High School surrounded by the gossip and the braggadocio of teenage boys. But on my uncle's farm, nobody noticed, or at least nobody said anything. The next day, like every day, we dug corn, chopped wood, and carried water. And it didn’t really change much between Darla and me, either. Yes, making love was fun, but it wasn’t really any more fun than anything we’d already been doing together. Just different.
Mike Mullin (Ashfall (Ashfall, #1))
The crowd were on Fathers side most of them anyways. Everyone loves a loser I thought and there was tears coming in my eyes and I couldn’t stop them neither.
Michael Morpurgo (Farm Boy (War Horse, #2))
I haven’t had solid food in weeks, and what does he bring me? Some greasy mystery meat–based broth. He’s been holding out on me, this farm boy bastard.
Rick Yancey (The 5th Wave (The 5th Wave, #1))
But I tell you what—if you come across a farm boy and an old wizard, shiv them, take their horses, and go make your own destiny.
Michael R. Underwood (The Shootout Solution (Genrenauts, #1))
provides American business with the only reliable domestic market in the world. Schools train individuals to respond as a mass. Boys and girls are drilled in being bored, frightened, envious, emotionally needy, generally incomplete. A successful mass production economy requires such a clientele. A small business, small farm economy like that of the Amish requires individual competence, thoughtfulness, compassion, and universal participation; our own requires a managed mass of leveled, spiritless, anxious, familyless, friendless, godless, and obedient people who believe the difference between Cheers and Seinfeld is a subject worth arguing about.
John Taylor Gatto (The Underground History of American Education: An Intimate Investigation Into the Prison of Modern Schooling)
How can you care for a rough man like me?' he asked me. 'How can you love a man who can bring you no lands but the farm a soldier's pension can buy? Who can give your children no title of nobility?' Because love does not do sums, I should have told him. Love makes choices, and then gives its all. Had he seen himself as I first saw him though, he could have had no questions.
Tad Williams (The Wood Boy / The Burning Man)
You talk of the mines of Australia, They’ve wealth in red gold, without doubt; But, ah! there is gold on the farm, boys— If only you’ll shovel it out. (Chorus:) “Don’t be in a hurry to go! Don’t be in a hurry to go! Better risk the old farm awhile longer, Don’t be in a hurry to go!
Laura Ingalls Wilder (The First Four Years (Little House, #9))
Always waiting, waiting to go up to the front line, waiting in the trenches with the whizzbags and shells bursting all around you, waiting for the whistle to send you out over the top and across No-Man’s-Land, waiting for the bullet that had name on it.
Michael Morpurgo (Farm Boy (War Horse, #2))
Ye gods and fishes, lad, every town has its resident witch. Every town hides some old Greek pagan priest, some Roman worshipper of tiny gods who ran up the roads, hid in culverts, sank in caves to escape the Christians! In every tiny village, boy, in every scrubby farm the old religions hide out . . . all the little lollygaggin' cults, all flavors and types, scramble to survive. See how they run, boys!
Ray Bradbury
Contrast societies with such restricted sources of decision-making ability with a society in which a farm boy who walked eight miles to Detroit to look for a job could end up creating the Ford Motor Company and changing the face of America with mass-produced automobiles—or a society in which a couple of young bicycle mechanics could invent the airplane and change the whole world. Neither a lack of pedigree, nor a lack of academic degrees, nor even a lack of money could stop ideas that worked, for investment money is always looking for a winner to back and cash in on.
Thomas Sowell (Basic Economics)
The Mayor about the fable of the Prodigal Son: 'But he came home.' 'Yes, his courage failed him. He felt very alone on that pig farm. There was no branch of the Party to which he could look for help. Das Kapital had not yet been written, so he was unable to situate himself in the class struggle. Is it any wonder that he wavered for a time, poor boy?
Graham Greene (Monsignor Quixote)
When not duck farming, I'm busy being mysterious. I'm like The Hardy Boys. Both of them. That's why I exclusively shop Buy One, Get One FREE.
Jarod Kintz (Music is fluid, and my saxophone overflows when my ducks slosh in the sounds I make in elevators.)
A farmer depends on himself, and the land and the weather. If you’re a farmer, you raise what you eat, you raise what you wear, and you keep warm with wood out of your own timber. You work hard, but you work as you please, and no man can tell you to go or come. You’ll be free and independent, son, on a farm.
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
Only then could he have a sad waffle with no syrup on it for breakfast. He didn’t think his mother made them properly: rumor in the village had it that waffles weren’t supposed to be gray.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
And they took the strain and off they went up the field the plough cutting clean. I can mind how I stood there and watched him my heart full of pride for him and I breathed in the smell of the earth. Nothing like the smell of new turned earth. A cold metal smell it is, but clean and good like the first breath of life.
Michael Morpurgo (Farm Boy (War Horse, #2))
Someone told me once, ‘It’s time to get you a pair of overalls, boy.’ But I don’t believe in summing up nothin’ – I let my experiences speak for themselves – and even if I did, a synopsis should be singular. That’s why every time I go out to work in the fields, I work naked. It lets my neighbors speak of my experiences for me.
M.C. Humphreys
He came over last night. He’d been out chasing foxes with his friends, and you know what he and the boys are like when they do the werewolf thing. The women, the drinking, and the farm animals.” “Feeding on raw steak before he went out didn’t curb the need to eat sheep?
Stephanie Rowe (Kiss at Your Own Risk (Soulfire #1))
Beautiful surroundings, the society of learned men, the charm of noble women, the graces of art, could not make up for the loss of those light-hearted mornings of the desert, for that wind that made one a boy again. He had noticed that this peculiar quality in the air of new countries vanished after they were tamed by man and made to bear harvests. Parts of Texas and Kansas that he had first known as open range had since been made into rich farming districts, and the air had quite lost that lightness, that dry, aromatic odour. The moisture of plowed land, the heaviness of labour and growth and grain-bearing, utterly destroyed it; one could breathe that only on the bright edges of the world, on the great grass plains or the sage-brush desert.
Willa Cather (Death Comes for the Archbishop)
One evening, after he’d read a piece about yet another savagery in Bosnia, I saw there were tears in his eyes. ‘Don’t it ever stop?’ he said. ‘I can mind Father telling that there’d be no more wars, not after his one. It shames me. It shames all of us. What’s the good in reading, if that’s all there is to read about?
Michael Morpurgo (Farm Boy (War Horse, #2))
And so it went. OxyContin first, introduced by reps from Purdue Pharma over steak and dessert and in air-conditioned doctors’ offices. Within a few years, black tar heroin followed in tiny, uninflated balloons held in the mouths of sugarcane farm boys from Xalisco driving old Nissan Sentras to meet-ups in McDonald’s parking lots. Others,
Sam Quinones (Dreamland: The True Tale of America's Opiate Epidemic)
Three boys are desirable because one will probably die, while the second will stay home to tend the farm, providing for parents as they age as well as making enough money to send the third child to school so that he can get a better job and end this cycle.
Peter H. Diamandis (Abundance: The Future is Better Than You Think)
I'm sure you do know how to pick guys back on the farm, but this is a whole different world. You can't just grunt and bend some guy over your tractor.
Maris Black (Pinned (SSU Boys, #1))
Seeing Chewie’s look, Han added, “Hey, you’re the married one. Find
Alexandra Bracken (Star Wars: New Hope: The Princess, the Scoundrel, and the Farm Boy (Star Wars: a New Hope))
all the land our forefathers had was a little strip of country, here between the mountains and the ocean. All the way from here west was Indian country, and Spanish and French and English country. It was farmers that took all that country and made it America.” “How?” Almanzo asked. “Well, son, the Spaniards were soldiers, and high-and-mighty gentlemen that only wanted gold. And the French were fur-traders, wanting to make quick money. And England was busy fighting wars. But we were farmers, son; we wanted the land. It was farmers that went over the mountains, and cleared the land, and settled it, and farmed it, and hung on to their farms.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Why do we remember the Boys of Summer? We remember because we were young when they were, of course. But more, we remember because we feel the ache of guilt and regret. While they were running, jumping, leaping, we were slouched behind typewriters, smoking and drinking, pretending to some mystic communion with men we didn't really know or like. Men from ghettos we didn't dare visit, or rural farms we passed at sixty miles an hour. Loving what they did on the field, we could forget how superior we felt towards them the rest of the time. By cheering them on we proved we had nothing to do with the injustices that kept their lives separate from ours. There's nothing sordid or false about the Boys of Summer. Only our memories smell like sweaty jockstraps.
Roger Kahn (The Boys of Summer)
Jedi Master. What would happen if Luke ever came face to face with the Sith? If he hunted Luke down, looking for the droids, looking for the princess? Luke had had a few hours of training; Ben had had decades! And still Vader had cut the Jedi Master down with a single blow. Leaving…nothing.
Alexandra Bracken (Star Wars: New Hope: The Princess, the Scoundrel, and the Farm Boy (Star Wars: a New Hope))
What he was asking for was, effectively, a story without all the conflict. Without tension and animosity. Without many of the things I'd been taught were essential to storytelling. This wasn't a totally new idea to me. I'd already spent 14 years writing a fantasy novel without a single sword-fight, goblin army, or looming apocalypse. I had specifically avoided having a god-lion tortured to death, or farm boys straight-up murk any tyrants or mad wizards. Nobody destroyed anything in a volcano thereby ruining magic forever and making all the elves sad enough to fuck off forever out of the world.
Patrick Rothfuss (The Narrow Road Between Desires (The Kingkiller Chronicle, #2.6))
At times I like it when he is just a deep echo, one utterance after another filling every crevice of the room, a voice that sounds like it's never been an infant's whimper, a boy's whisper, a young man's mumble, a voice that speaks as if every word it has ever uttered has always been and will always be for me.
Edwidge Danticat (The Farming of Bones)
James Heron stepped from the personal transport as Herbert, the family’s outmoded android butler, opened the front door of Scrabo Farm. There were infinitely more efficient and newer model android servants available, but neither James Heron nor his sister Niamh L’Estrange would dream of scrapping the mechanical attendant that had served the family so well, and enlivened their childhood with its fussy care of them both. “Hello, Herbert, is my sister home?” Answering in the slightly mechanical voice that James had liked so much when he was a boy, Herbert said, “She is in her study, Captain. I have alerted her to your arrival.
Patrick G. Cox (First into the Fray (Harry Heron #1.5))
powerless suckers who believed in the American dream scrambling to the suburbs because they, the big boys, wanted a bigger percentage. He felt it, or thought he felt it, as they stood by the front door. There was a connection: a man whose father was dead and a woman whose father was about to die, a sense of wanting to belong, standing in the warm vestibule, she in her farm-girl dress, with a job that paid taxes and drew no cops, no Joe Pecks, no complicated phone calls from complicated people trying to pick your pocket with one
James McBride (Deacon King Kong)
Father was always getting into scrapes when he was a lad. But the worst scrape he ever hot hisself into was the war, First World War. And just like with the swallow’s eggs, he didn’t want to fight anyone. It just happened. This time it was all on account of the horse. See, he didn’t go off to the war because he wanted to fight for King and Country like lots of others did. It wasn’t like that. He went because his horse went, because Joey went.
Michael Morpurgo (Farm Boy (War Horse, #2))
Southerners are an easygoing race when it comes to aberrations of conduct. They will react with anger if something out of the ordinary is presented as a possible future occurrence; but if an unusual circumstance is discovered to be an established fact, they will usually accept it without rancor or judgment as part of the normal order of things. To have informed the men who hung about the seed and feed stores that two women had bought Gavin Pond and were turning it into the biggest farm in the county would have brought out calls to repeal the voting rights amendment; but when confronted with Grace, the men were perfectly willing to accept her, her cousin Lucille, and Lucille's little boy.
Michael McDowell (The War (Blackwater, #4))
I kicked off my shoes and moved in knee-deep. The shock of cold water stole my breath. Cole was dark from the sun, his yellow hair like parched grass. He cocked his head to the side like my grandpop used to do; I swear it’s a gesture taught to all farm boys who plan on growing up to make trouble. I fought to stand my ground against the current pushing at the backs of my legs. “Can’t you swim?” Cole had asked. “I learned in this creek. They threw me in and I declined the opportunity to drown.
Parker Peevyhouse (Where Futures End)
Truman, Acheson knew, was far more sentimental than generally known, or than he wished people to know, far more touched by gestures that to many might seem routine. On board his plane later in the year, bound again for Key West, he would write Acheson a brief longhand note marked and underscored “Personal.” It was good of you to see us off. You always do the right thing. I’m still a farm boy and when the Secretary of State of the greatest Republic comes to the airport to see me off on a vacation, I can’t help but swell up a little. “And then he was so fair,” Acheson would say. “He didn’t make different decisions with different people. He called everyone together. You were all heard and you all got the answer together. He was a square dealer all the way through.
David McCullough (Truman)
It was Dolana, at the salt farm, who first told me about the gaze of men: that look of temporary possession that some men pressed against female flesh. About its dangers and possibilities. It can be used to survive, Dolana had said softly, showing me the power that lay in reflecting a man's desire. And even at twelve years old, the knowledge of it was already in the way I moved my head, my hands, my shoulders. But Dolana had whispered her secrets to a girl. And I had to become a boy. I had to stop being alert to the turn of a man's head towards me. Stop glancing up to meet his gaze in fleeting connection. Stop falsely veiling my eyes from his momentary interest. It was hard to train out of my body, but I practised and learned to cloak myself in the skin and gaze of a boy.
Alison Goodman (Eon: Dragoneye Reborn (Eon, #1))
I see a time when the farmer will not need to live in a lonely cabin on a lonely farm. I see the farmers coming together in groups. I see them with time to read, and time to visit with their fellows. I see them enjoying lectures in beautiful halls, erected in every village. I see them gather like the Saxons of old upon the green at evening to sing and dance. I see cities rising near them with schools, and churches, and concert halls, and theaters. I see a day when the farmer will no longer be a drudge and his wife a bond slave, but happy men and women who will go singing to their pleasant tasks upon their fruitful farms. When the boys and girls will not go west nor to the city; when life will be worth living. In that day the moon will be brighter and the stars more glad, and pleasure and poetry and love of life come back to the man who tills the soil.
Hamlin Garland (A Spoil Of Office: A Story Of The Modern West (1897))
When I removed into the country, it was to occupy an old-fashioned farm-house, which had no piazza - a deficiency the more regretted, because not only did I like piazzas, as somehow combining the coziness of in-doors with the freedom of out-doors, and it is so pleasant to inspect your thermometer there, but the country round about was such a picture, that in berry time no boy climbs hill or crosses vale without coming upon easels planted in every nook, and sunburnt painters painting there.
Herman Melville (The Piazza)
Incendiary That one small boy with a face like pallid cheese And burnt-out little eyes could make a blaze As brazen, fierce and huge, as red and gold And zany yellow as the one that spoiled Three thousand guineas' worth of property And crops at Godwin's Farm on Saturday Is frightening---as fact and metaphor: An ordinary match intended for The lighting of a pipe or kitchen fire Misused may set a whole menagerie Of flame-fanged tigers roaring hungrily. And frightening, too, that one small boy should set The sky on fire and choke the stars to heat Such skinny limbs and such a little heart Which would have been content with one warm kiss Had there been anyone to offer this.
Vernon Scannell (Collected Poems 1950-1993)
I was never a child; I never had a childhood. I cannot count among my memories warm, golden days of childish intoxication, long joyous hours of innocence, or the thrill of discovering the universe anew each day. I learned of such things later on in life from books. Now I guess at their presence in the children I see. I was more than twenty when I first experienced something similar in my self, in chance moments of abandonment, when I was at peace with the world. Childhood is love; childhood is gaiety; childhood knows no cares. But I always remember myself, in the years that have gone by, as lonely, sad, and thoughtful. Ever since I was a little boy I have felt tremendously alone―and "peculiar". I don't know why. It may have been because my family was poor or because I was not born the way other children are born; I cannot tell. I remember only that when I was six or seven years old a young aunt of mind called me vecchio―"old man," and the nickname was adopted by all my family. Most of the time I wore a long, frowning face. I talked very little, even with other children; compliments bored me; baby-talk angered me. Instead of the noisy play of the companions of my boyhood I preferred the solitude of the most secluded corners of our dark, cramped, poverty-stricken home. I was, in short, what ladies in hats and fur coats call a "bashful" or a "stubborn" child; and what our women with bare heads and shawls, with more directness, call a rospo―a "toad." They were right. I must have been, and I was, utterly unattractive to everybody. I remember, too, that I was well aware of the antipathy I aroused. It made me more "bashful," more "stubborn," more of a "toad" than ever. I did not care to join in the games played by other boys, but preferred to stand apart, watching them with jealous eyes, judging them, hating them. It wasn't envy I felt at such times: it was contempt; it was scorn. My warfare with men had begun even then and even there. I avoided people, and they neglected me. I did not love them, and they hated me. At play in the parks some of the boys would chase me; others would laugh at me and call me names. At school they pulled my curls or told the teachers tales about me. Even on my grandfather's farm in the country peasant brats threw stones at me without provocation, as if they felt instinctively that I belonged to some other breed.
Giovanni Papini (Un uomo finito)
Within a few months Mitch Bush, head veterinarian at the National Zoo, and David Wildt, a young reproductive physiologist working as a postdoctoral fellow in my laboratory at the National Cancer Institute, were on a plane bound for South Africa. Bush is a towering, bearded, giant of a man with a strong interest and acumen in exotic animal veterinary medicine, particularly the rapidly improving field of anesthetic pharmacology. Wildt is a slight and modest Midwestern farm boy, schooled in the reproductive physiology of barnyard animals. His boyish charm and polite shy demeanor mask a piercing curiosity and deep knowledge of all things reproductive. Bush and Wildt's expedition to the DeWildt cheetah breeding center outside Pretoria would ultimately change the way the conservation community viewed cheetahs forever.
Stephen J. O'Brien (Tears of the Cheetah: The Genetic Secrets of Our Animal Ancestors)
There was Mary Pickford, who called Frances “the pillar of my career,” for she had written Rebecca of Sunnybrook Farm, Pollyanna, A Little Princess, and a dozen more of Pickford’s greatest successes. Frances was also her best friend and had seen her through her divorce from Owen Moore and marriage to Douglas Fairbanks; Frances and Mary had even honeymooned with their new husbands together in Europe. Irving Thalberg was the “boy genius of Hollywood,” but Frances called him “my rock of Gibraltar” and he was the only man in the room whose opinion she truly valued and respected. He in turn “adored her and trusted her completely.
Cari Beauchamp (Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood)
We entered the cool cave of the practice space with all the long-haired, goateed boys stoned on clouds of pot and playing with power tools. I tossed my fluffy coat into the hollow of my bass drum and lay on the carpet with my worn newspaper. A shirtless boy came in and told us he had to cut the power for a minute, and I thought about being along in the cool black room with Joey. Let's go smoke, she said, and I grabbed the cigarettes off the amp. She started talking to me about Wonder Woman. I feel like something big is happening, but I don't know what to do about it. With The Straight Girl? I asked in the blankest voice possible. With everything. Back in the sun we walked to the edge of the parking lot where a black Impala convertible sat, rusted and rotting, looking like it just got dredged from a swamp. Rainwater pooling on the floor. We climbed up onto it and sat our butts backward on the edge of the windshield, feet stretched into the front seat. Before she even joined the band, I would think of her each time I passed the car, the little round medallions with the red and black racing flags affixed to the dash. On the rusting Chevy, Joey told me about her date the other night with a girl she used to like who she maybe liked again. How her heart was shut off and it felt pretty good. How she just wanted to play around with this girl and that girl and this girl and I smoked my cigarette and went Uh-Huh. The sun made me feel like a restless country girl even though I'd never been on a farm. I knew what I stood for, even if nobody else did. I knew the piece of me on the inside, truer than all the rest, that never comes out. Doesn't everyone have one? Some kind of grand inner princess waiting to toss her hair down, forever waiting at the tower window. Some jungle animal so noble and fierce you had to crawl on your belly through dangerous grasses to get a glimpse. I gave Joey my cigarette so I could unlace the ratty green laces of my boots, pull them off, tug the linty wool tights off my legs. I stretched them pale over the car, the hair springing like weeds and my big toenail looking cracked and ugly. I knew exactly who I was when the sun came back and the air turned warm. Joey climbed over the hood of the car, dusty black, and said Let's lie down, I love lying in the sun, but there wasn't any sun there. We moved across the street onto the shining white sidewalk and she stretched out, eyes closed. I smoked my cigarette, tossed it into the gutter and lay down beside her. She said she was sick of all the people who thought she felt too much, who wanted her to be calm and contained. Who? I asked. All the flowers, the superheroes. I thought about how she had kissed me the other night, quick and hard, before taking off on a date in her leather chaps, hankies flying, and I sat on the couch and cried at everything she didn't know about how much I liked her, and someone put an arm around me and said, You're feeling things, that's good. Yeah, I said to Joey on the sidewalk, I Feel Like I Could Calm Down Some. Awww, you're perfect. She flipped her hand over and touched my head. Listen, we're barely here at all, I wanted to tell her, rolling over, looking into her face, we're barely here at all and everything goes so fast can't you just kiss me? My eyes were shut and the cars sounded close when they passed. The sun was weak but it baked the grime on my skin and made it smell delicious. A little kid smell. We sat up to pop some candy into our mouths, and then Joey lay her head on my lap, spent from sugar and coffee. Her arm curled back around me and my fingers fell into her slippery hair. On the February sidewalk that felt like spring.
Michelle Tea
I know I ain't smart, Miss Althea. I don't pretend to be. It's something a feller can't lie about. But I can get you game. I can keep ups this farm. And I care about your boy. I care about him a lot. But I'd never get between the two of you. Miss Althea, if you'll marry up with me, I promise to listen to you in the things I don't know about. Work for you 'til my back is broke and my fingers is down to the bone. And love and care for you until the day I die.
Pamela Morsi (Simple Jess (Tales from Marrying Stone, #2))
I envied the sons their life in the country. I wasn’t even jealous of how at home they were in the fields and woods and barns; of how they could do so many things I couldn’t, drive tractors, take apart and fix motors, pluck eggs from under a hen, shove their way into a stall with a stubborn horse pushing back: I just marveled at it all, and wanted it. They and the boys who lived on farms near them were also so enviably at ease in their bodies: what back in the city would be taken as a slouch of disinterest, here was an expression of physical grace. No need to be tense when everything so readily submitted to your efficiently minimal gestures: hoisting bales of hay into a loft, priming a recalcitrant pump … Something else there was as well, something more elusive: perhaps that they lived so much of the time in a world of wild, poignant odors—mown grass, the redolent pines, even the tang of manure and horse-piss-soaked hay. Just the thought of those sensory elations inflicted me with a feeling I still have to exert myself to repress that I was squandering my time, wasting what I knew already were irretrievable clutches of years, now hecatombs of years, trapped in my trivial, stifling life.
C.K. Williams (All at Once: Prose Poems)
In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.
Robert Marion La Follette (La Follette's Autobiography: A Personal Narrative of Political Experiences)
Poem in October" It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the net webbed wall Myself to set foot That second In the still sleeping town and set forth. My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In rainy autumn And walked abroad in a shower of all my days. High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke. A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill's shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me. Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around. It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singingbirds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart's truth Still be sung On this high hill in a year's turning.
Dylan Thomas (Collected Poems)
…For many years now, that way of living has been scorned, and over the last 40 or 50 years it has nearly disappeared. Even so, there was nothing wrong with it. It was an economy directly founded on the land, on the power of the sun, on thrift and skill and on the people’s competence to take care of themselves. They had become dependent to some extent on manufactured goods, but as long as they stayed on their farms and made use of the great knowledge that they possessed, they could have survived foreseeable calamities that their less resourceful descendants could not survive. Now that we have come to the end of the era of cheap petroleum which fostered so great a forgetfulness, I see that we could have continued that thrifty old life fairly comfortably – could even have improved it. Now, we will have to return to it, or to a life necessarily as careful, and we will do so only uncomfortably and with much distress. Increasingly over the last maybe forty years, the thought has come to me that the old world, in which our people lived by the work of their hands, close to weather and earth, plants and animals, was the true world. And that the new world of cheap energy and ever cheaper money, honored greed and dreams of liberation from every restraint, is mostly theater. This new world seems a jumble of scenery and props never quite believable. An economy of fantasies and moods, in which it is hard to remember either the timely world of nature, or the eternal world of the prophets and poets. And I fear, I believe I know, that the doom of the older world I knew as a boy will finally afflict the new one that replaced it. The world I knew as a boy was flawed surely, but it was substantial and authentic. The households of my grandparents seemed to breathe forth a sense of the real cost and worth of things. Whatever came, came by somebody’s work.
Wendell Berry (Andy Catlett: Early Travels)
He staggers through the forest. The burning forest. Bits of brush smoldering. A stormtrooper helmet nearby, charred and half melted. A small fire burns nearby. In the distance, the skeleton of an AT-AT walker. Its top blown open in the blast, peeled open like a metal flower. That burns, too. Bodies all around. Some of them are faceless, nameless. To him, at least. But others, he knows. Or knew. There—the fresh-faced officer, Cerk Lormin. Good kid. Eager to please. Joined the Empire because it’s what you did. Not a true believer, not by a long stretch. Not far from him: Captain Blevins. Definitely a true believer. A froth-mouthed braggart and bully, too. His face is a mask of blood. Sinjir is glad that one is dead. Nearby, a young woman: He knows her face from the mess, but not her name, and the insignia rank on her chest has been covered in blood. Whoever she was, she’s nobody now. Mulch for the forest. Food for the native Ewoks. Just stardust and nothing. We’re all stardust and nothing, he thinks. An absurd thought. But no less absurd than the one that follows: We did this to ourselves. He should blame them. The rebels. Even now he can hear them applauding. Firing blasters into the air. Hicks and yokels. Farm boy warriors and pipe-fitter pilots. Good for them. They deserve their celebration. Just as we deserve our graves.
Chuck Wendig (Aftermath (Star Wars: Aftermath, #1))
At first, he was kindly disposed to these men, young as they were, skinny, sometimes shoeless rural boys, most from farms too poor to afford slaves. It had seemed to him an evil fate, a geographical accident, that had forced them to take up arms in what was, to him, a war to secure the rich man’s wealth. Beyond what was strictly required for their care, he would talk to them, to better know their minds. But after a time, he had stopped seeking such dialogue. They were, all of them, lost to a narrative untethered to anything he recognized as true. Their mad conception of Mr. Lincoln as some kind of cloven-hoofed devil’s scion, their complete disregard—denial—of the humanity of the enslaved, their fabulous notions of what evils the Federal government intended for them should their cause fail—all of it was ingrained so deep, beyond the reach of reasonable dialogue or evidence. Scott had become convinced that a total obliteration of their rebellion was the only way forward. And since the drift of things was strong in that direction, he would see it through to the end.
Geraldine Brooks (Horse)
Much of the Irish landscape is dominated by peat bogs; the anaerobic and acidic conditions in the densely packed earth mean that the past in Ireland can be subject to macabre resurrection. Peat cutters occasionally churn up ancient mandibles, clavicles, or entire cadavers that have been preserved for millennia. The bodies date as far back as the Bronze Age, and often show signs of ritual sacrifice and violent death. These victims, cast out of their communities and buried, have surfaced vividly intact, from their hair to their leathery skin. The poet Seamus Heaney, who harvested peat as a boy on his family’s farm, once described the bogs of Ireland as “a landscape that remembered everything that had happened in and to it.
Patrick Radden Keefe (Say Nothing: A True Story of Murder and Memory in Northern Ireland)
Wylan—and the obliging Kuwei—will get the weevil working,” Kaz continued. “Once we have Inej, we can move on Van Eck’s silos.” Nina rolled her eyes. “Good thing this is all about getting our money and not about saving Inej. Definitely not about that.” “If you don’t care about money, Nina dear, call it by its other names.” “Kruge? Scrub? Kaz’s one true love?” “Freedom, security, retribution.” “You can’t put a price on those things.” “No? I bet Jesper can. It’s the price of the lien on his father’s farm.” The sharpshooter looked at the toes of his boots. “What about you, Wylan? Can you put a price on the chance to walk away from Ketterdam and live your own life? And Nina, I suspect you and your Fjerdan may want something more to subsist on than patriotism and longing glances. Inej might have a number in mind too. It’s the price of a future, and it’s Van Eck’s turn to pay.” Matthias was not fooled. Kaz always spoke logic, but that didn’t mean he always told truth. “The Wraith’s life is worth more than that,” said Matthias. “To all of us.” “We get Inej. We get our money. It’s as simple as that.” “Simple as that,” said Nina. “Did you know I’m next in line for the Fjerdan throne? They call me Princess Ilse of Engelsberg.” “There is no princess of Engelsberg,” said Matthias. “It’s a fishing town.” Nina shrugged. “If we’re going to lie to ourselves, we might as well be grand about it.” Kaz ignored her, spreading a map of the city over the table, and Matthias heard Wylan murmur to Jesper, “Why won’t he just say he wants her back?” “You’ve met Kaz, right?” “But she’s one of us.” Jesper’s brows rose again. “One of us? Does that mean she knows the secret handshake? Does that mean you’re ready to get a tattoo?” He ran a finger up Wylan’s forearm, and Wylan flushed a vibrant pink. Matthias couldn’t help but sympathize with the boy. He knew what it was to be out of your depth, and he sometimes suspected they could forgo all of Kaz’s planning and simply let Jesper and Nina flirt the entirety of Ketterdam into submission. Wylan pulled his sleeve down self-consciously. “Inej is part of the crew.” “Just don’t push it.” “Why not?” “Because the practical thing would be for Kaz to auction Kuwei to the highest bidder and forget about Inej entirely.” “He wouldn’t—” Wylan broke off abruptly, doubt creeping over his features. None of them really knew what Kaz would or wouldn’t do. Sometimes Matthias wondered if even Kaz was sure. “Okay, Kaz,” said Nina, slipping off her shoes and wiggling her toes. “Since this is about the almighty plan, how about you stop meditating over that map and tell us just what we’re in for.
Leigh Bardugo (Crooked Kingdom (Six of Crows, #2))
I had to watch my uncle get strung up when I was a child,” she finally said after she returned from the faraway place in her mind. “The white man would only sell us the rotten fruit and vegetables from their bug-infested baskets. We had to collect that mess from the back of the store like we were a pack of wild mutts picking through garbage. My uncle had had enough of his apples having maggots crawling out of them, so he started farming his own vegetables for us to eat. The white man didn’t like that. Not. One. Bit. It’s amazing how their minds work. The way their minds work is the reason we call them devils because only a devil could think the way they do. They were mad about the loss of profit because they no longer had us buying the filthy rot they peddled. “My uncle produced such a high quality of fruits and vegetables that he had white folks coming to buy from him. It wasn’t too long after this started, those devils came in their white hoods and burned his garden to ash. Then they strung him up. We were forced to watch my uncle dangle from the neck while he pissed and shit himself. God will forgive my mouth saying it because he knows I only speak the truth. The evilness that resides inside the mind of those devils still exists in the minds of the ones who wear cop’s uniforms and judge’s robes. This is what our boys are up against. Our boys are at war! They freed us from our chains, so that they could lock us in their jails.
D.E. Eliot (Own Son)
... They're really going to mash the world up this time, the damn fools. When I read that description of the victims of Nagasaki I was sick: "And we saw what first looked like lizards crawling up the hill, croaking. It got lighter and we could see that it was humans, their skin burned off, and their bodies broken where they had been thrown against something." Sounds like something out of a horror story. God save us from doing that again. For the United States did that. Our guilt. My country. No, never again. And then one reads in the papers "Second bomb blast in Nevada bigger than the first! " What obsession do men have for destruction and murder? Why do we electrocute men for murdering an individual and then pin a purple heart on them for mass slaughter of someone arbitrarily labeled "enemy?" Weren't the Russians communists when they helped us slap down the Germans? And now. What could we do with the Russian nation if we bombed it to bits? How could we "rule" such a mass of foreign people - - - we, who don't even speak the Russian language? How could we control them under our "democratic" system, we, who even now are losing that precious commodity, freedom of speech? (Mr. Crockett," that dear man, was questioned by the town board. A supposedly "enlightened" community. All he is is a pacifist. That, it seems, is a crime.) Why do we send the pride of our young men overseas to be massacred for three dirty miles of nothing but earth? Korea was never divided into "North" and "South." They are one people; and our democracy is of no use to those who have not been educated to it. Freedom is not of use to those who do not know how to employ it. When I think of that little girl on the farm talking about her brother - "And he said all they can think of over there is killing those God-damn Koreans." What does she know of war? Of lizard-like humans crawling up a hillside? All she knows is movies and school room gossip. Oh, America's young, strong. So is Russia. And how they can think of atom-bombing each other, I don't know. What will be left? War will come some day now, with all the hothead leaders and articles "What If Women are Drafted?" Hell, I'd sooner be a citizen of Africa than see America mashed and bloody and making a fool of herself. This country has a lot, but we're not always right and pure. And what of the veterans of the first and second world wars? The maimed, the crippled. What good their lives? Nothing. They rot in the hospitals, and we forget them. I could love a Russian boy - and live with him. It's the living, the eating, the sleeping that everyone needs. Ideas don't matter so much after all. My three best friends are Catholic. I can't see their beliefs, but I can see the things they love to do on earth. When you come right down to it, I do believe in the freedom of the individual - but to kill off all the ones who could forge a strong nation? How foolish! Of what good - living and freedom without home, without family, without all that makes life?
Sylvia Plath
The soldiers were already laying pikes along the wall by torch-light, with the points bristling upwards; they had draped cloaks over the poles to make small tents to sleep under. A few of them were sitting around small campfires, soaking dried meat in boiling water, stirring kasha into the broth to cook up. They cleared hastily out of our way without our even having to say a word, afraid. Sarkan seemed not to notice, but I couldn’t help feeling sorry and strange and wrong. One of the soldiers was a boy my own age, industriously sharpening pike-heads one by one with a stone, skillfully: six strokes for each one and done as quick as the two men putting them along the wall could come back for them. He must have put himself to it, to learn how to do it so well. He didn’t look sullen or unhappy. He’d chosen to go for a soldier. Maybe he had a story that began that way: a poor widowed mother at home and three young sisters to feed, and a girl from down the lane who smiled at him over the fence as she drove her father’s herd out into the meadows every morning. So he’d given his mother his signing-money and gone to make his fortune. He worked hard; he meant to be a corporal soon, and after that a sergeant: he’d go home then in his fine uniform, and put silver in his mother’s hands, and ask the smiling girl to marry him. Or maybe he’d lose a leg, and go home sorrowful and bitter to find her married to a man who could farm; or maybe he’d take to drink to forget that he’d killed men in trying to make himself rich. That was a story, too; they all had stories. They had mothers or fathers, sisters or lovers. They weren’t alone in the world, mattering to no one but themselves.
Naomi Novik (Uprooted)
They had this course you had to take, Oral Expression. That I flunked. 'Why?' 'Oh, I don't know.' I didn't feel much like going into it. I was still feeling sort of dizzy or something, and I had a helluva headache all of a sudden. I really did. But you could tell he was interested, so I told him a little bit about it. 'It's this course where each boy in class has to get up in class and make a speech. You know. Spontaneous and all. And if the boy digresses at all, you're supposed to yell "Digression!" at him as fast as you can. It just about drove me crazy. I got an F in it.' 'Why?' 'Oh, I don't know. That digression business got on my nerves. I don't know. The trouble with me is, I like it when somebody digresses. It's more interesting and all.' 'You don't care to have somebody stick to the point when he tells you something?' 'Oh, sure! I like somebody to stick to the point and all. But I don't like them to stick too much to the point. I don't know. I guess I don't like it when somebody sticks to the point all the time. The boys that got the best marks in Oral Expression were the ones that stuck to the point all the time—I admit it. But there was this one boy, Richard Kinsella. He didn't stick to the point too much, and they were always yelling "Digression!" at him. It was terrible, because in the first place, he was a very nervous guy—I mean he was a very nervous guy—and his lips were always shaking whenever it was his time to make a speech, and you could hardly hear him if you were sitting way in the back of the room. When his lips sort of quit shaking a little bit, though, I liked his speeches better than anybody else's. He practically flunked the course, though, too. He got a D plus because they kept yelling "Digression!" at him all the time. For instance, he made this speech about this farm his father bought in Vermont. They kept yelling "Digression!" at him the whole time he was making it, and this teacher, Mr. Vinson, gave him an F on it because he hadn't told what kind of animals and vegetables and stuff grew on the farm and all. What he did was, Richard Kinsella, he'd start telling you all about that stuff—then all of a sudden he'd start telling you about this letter his mother got from his uncle, and how his uncle got polio and all when he was forty-two years old, and how he wouldn't let anybody come to see him in the hospital because he didn't want anybody to see him with a brace on. It didn't have much to do with the farm—I admit it—but it was nice. It's nice when somebody tells you about their uncle. Especially when they start out telling you about their father's farm and then all of a sudden get more interested in their uncle. I mean it's dirty to keep yelling "Digression!" at him when he's all nice and excited... I don't know. It's hard to explain.' I didn't feel too much like trying, either. For one thing, I had this terrific headache all of a sudden. I wished to God old Mrs. Antolini would come in with the coffee. That's something that annoys hell out of me—I mean if somebody says the coffee's all ready and it isn't.
J.D. Salinger (The Catcher in the Rye)
Sumptuary laws were passed by the Senate limiting expenditure on banquets and clothing, but as the senators ignored these regulations, no one bothered to observe them. “The citizens,” Cato mourned, “no longer listen to good advice, for the belly has no ears.”9 The individual became rebelliously conscious of himself as against the state, the son as against the father, the woman as against the man. Usually the power of woman rises with the wealth of a society, for when the stomach is satisfied hunger leaves the field to love. Prostitution flourished. Homosexualism was stimulated by contact with Greece and Asia; many rich men paid a talent ($3600) for a male favorite; Cato complained that a pretty boy cost more than a farm.10 But women did not yield the field to these Greek and Syrian invaders. They took eagerly to all those supports of beauty that wealth now put within their reach. Cosmetics became a necessity, and caustic soap imported from Gaul tinged graying hair into auburn locks.11 The rich bourgeois took pride in adorning his wife and daughter with costly clothing or jewelry and made them the town criers of his prosperity. Even in government the role of women grew. Cato cried out that “all other men rule over women; but we Romans, who rule all men, are ruled by our women.”12 In 195 B.C.. the free women of Rome swept into the Forum and demanded the repeal of the Oppian Law of 215, which had forbidden women to use gold ornaments, varicolored dresses, or chariots. Cato predicted the ruin of Rome if the law should be repealed. Livy puts into his mouth a speech that every generation has heard:
Will Durant (Caesar and Christ (Story of Civilization, #3))
There was a man in the garden with the little girl. He was turning over the soil in a garden bed. He had obviously heard the car, because he raised his hand in greeting, but then he had gone back to his work. He had actually turned his back on the car. Tina thought she knew what that meant. The man had not wanted to see Pete the policeman. Maybe he thought Pete was bringing bad news. Tina smiled. Here was good news. Finally, here was good news for this family. The man dug the garden fork into the soil with a little bit of effort. He was deliberately not looking at Pete. The little girl walked down the driveway towards them. Pete said quietly, ‘No real way to prepare them. You go ahead, Lockie.’ Lockie squeezed Tina’s hand. ‘Go on, Lockie, it’s your dad. He’s been looking for you for a long time. Go on.’ She pulled her hand slowly out of Lockie’s grip. She wanted to save him from his fear, but she had saved him once. Lockie would have to do this by himself. The little girl who was surely Sammy looked back at her father, but he was still concentrating on his work. She smiled in Pete’s direction and then she focused on Lockie. She stared at him, as if trying to work out exactly who he was. Lockie pushed his hood back, exposing his short blond hair. He stood, and Tina could sense him holding his breath, waiting for his sister to see him. To really see him. Sammy stared hard at Lockie now, frowning. And then Tina saw recognition light up her face. She looked at her father who had still not looked up. She looked back at Lockie. She started jumping up and down. ‘Lockie!’ she screamed. ‘Lockie, Lockie, Lockie!’ Lockie smiled.The man jerked upright and dropped the garden fork. ‘Stop that, Samantha,’ he whispered angrily. ‘Jesus, stop that! Be quiet. Stop that.’ ‘Lockie, Lockie, Lockie!’ The little girl flew down the driveway and launched herself at her brother, who went, ‘Oof,’ but he steadied himself and wrapped his arms around her. ‘Lockie, Lockie, Lockie,’ she repeated, as if to make the moment real for herself. The man stood and stared at his children, still without realising that he was indeed looking at both his children. He started walking down the driveway. He began with an angry quick stride but the closer he got the more unsure his steps became. He was a big man in charge of a big farm but his steps became small and faltering. Tina could see the disbelief spreading across his face. Sammy let go of Lockie and took his hand. She started pulling him up the driveway. ‘It’s Lockie, Dad. Look, it’s Lockie, come look, Dad, Lockie’s home. He’s home, Dad. I knew he home. He’s home, Dad. I knew he would come home. I told you, Dad. Look its Lockie. Lockie, Lockie, Lockie’s home. Lockie’s home.’ The man stopped a few feet away from Lockie. His mouth was open. He moved it once or twice, but no words came out, and then came a sound that Tina had never heard before. It was a moaning, keening sound, but rough with the depth of his voice. It was four months of agony and the ecstasy of this moment all rolled into one. It was his heart right out there in the open for everyone to see. He opened his arms and dropped to his knees. Lockie let go of Sammy’s hand and continued alone up the driveway towards his father. He was twisting his hands and pulling at his jumper. He walked into his father’s arms and was completely surrounded by the large man. ‘I’m sorry, Dad,’ he said. ‘I’m sorry, Dad, I’m sorry.’ At the bottom of the driveway Tina watched Lockie and his father. Lockie’s voice was muffled by his father’s arms, but Tina could still hear him repeating, ‘I’m sorry.’ Say it, Tina begged the man silently. Please, please, just say it. ‘Oh, Lockie,’ said the man through his tears, his large shoulders heaving. ‘It wasn’t your fault. It wasn’t your fault. I’m sorry, Lockie. I’m sorry. I’ve been looking for you, Lockie. Where did you go, mate? Where did you go?
Nicole Trope (The Boy Under the Table)
Are you chuckling yet? Because then along came you. A big, broad meat eater with brash blond hair and ruddy skin that burns at the beach. A bundle of appetites. A full, boisterous guffaw; a man who tells knock know jokes. Hot dogs - not even East 86th Street bratwurst but mealy, greasy big guts that terrifying pink. Baseball. Gimme caps. Puns and blockbuster movies, raw tap water and six-packs. A fearless, trusting consumer who only reads labels to make sure there are plenty of additives. A fan of the open road with a passion for his pickup who thinks bicycles are for nerds. Fucks hard and talks dirty; a private though unapologetic taste for porn. Mysteries, thrillers, and science fiction; a subscription to National Geographic. Barbecues on the Fourth of July and intentions, in the fullness of time, to take up golf. Delights in crappy snack foods of ever description: Burgles. Curlies. Cheesies. Squigglies - you're laughing - but I don't eat them - anything that looks less like food than packing material and at least six degrees of separation from the farm. Bruce Springsteen, the early albums, cranked up high with the truck window down and your hair flying. Sings along, off-key - how is it possible that I should be endeared by such a tin ear?Beach Boys. Elvis - never lose your roots, did you, loved plain old rock and roll. Bombast. Though not impossibly stodgy; I remember, you took a shine to Pearl Jam, which was exactly when Kevin went off them...(sorry). It just had to be noisy; you hadn't any time for my Elgar, my Leo Kottke, though you made an exception for Aaron Copeland. You wiped your eyes brusquely at Tanglewood, as if to clear gnats, hoping I didn't notice that "Quiet City" made you cry. And ordinary, obvious pleasure: the Bronx Zoo and the botanical gardens, the Coney Island roller coaster, the Staten Island ferry, the Empire State Building. You were the only New Yorker I'd ever met who'd actually taken the ferry to the Statue of Liberty. You dragged me along once, and we were the only tourists on the boat who spoke English. Representational art - Edward Hopper. And my lord, Franklin, a Republican. A belief in a strong defense but otherwise small government and low taxes. Physically, too, you were such a surprise - yourself a strong defense. There were times you were worried that I thought you too heavy, I made so much of your size, though you weighed in a t a pretty standard 165, 170, always battling those five pounds' worth of cheddar widgets that would settle over your belt. But to me you were enormous. So sturdy and solid, so wide, so thick, none of that delicate wristy business of my imaginings. Built like an oak tree, against which I could pitch my pillow and read; mornings, I could curl into the crook of your branches. How luck we are, when we've spared what we think we want! How weary I might have grown of all those silly pots and fussy diets, and how I detest the whine of sitar music!
Lionel Shriver (We Need to Talk About Kevin)
When Benjamin Bloom studied his 120 world-class concert pianists, sculptors, swimmers, tennis players, mathematicians, and research neurologists, he found something fascinating. For most of them, their first teachers were incredibly warm and accepting. Not that they set low standards. Not at all, but they created an atmosphere of trust, not judgment. It was, “I’m going to teach you,” not “I’m going to judge your talent.” As you look at what Collins and Esquith demanded of their students—all their students—it’s almost shocking. When Collins expanded her school to include young children, she required that every four-year-old who started in September be reading by Christmas. And they all were. The three- and four-year-olds used a vocabulary book titled Vocabulary for the High School Student. The seven-year-olds were reading The Wall Street Journal. For older children, a discussion of Plato’s Republic led to discussions of de Tocqueville’s Democracy in America, Orwell’s Animal Farm, Machiavelli, and the Chicago city council. Her reading list for the late-grade-school children included The Complete Plays of Anton Chekhov, Physics Through Experiment, and The Canterbury Tales. Oh, and always Shakespeare. Even the boys who picked their teeth with switchblades, she says, loved Shakespeare and always begged for more. Yet Collins maintained an extremely nurturing atmosphere. A very strict and disciplined one, but a loving one. Realizing that her students were coming from teachers who made a career of telling them what was wrong with them, she quickly made known her complete commitment to them as her students and as people. Esquith bemoans the lowering of standards. Recently, he tells us, his school celebrated reading scores that were twenty points below the national average. Why? Because they were a point or two higher than the year before. “Maybe it’s important to look for the good and be optimistic,” he says, “but delusion is not the answer. Those who celebrate failure will not be around to help today’s students celebrate their jobs flipping burgers.… Someone has to tell children if they are behind, and lay out a plan of attack to help them catch up.” All of his fifth graders master a reading list that includes Of Mice and Men, Native Son, Bury My Heart at Wounded Knee, The Joy Luck Club, The Diary of Anne Frank, To Kill a Mockingbird, and A Separate Peace. Every one of his sixth graders passes an algebra final that would reduce most eighth and ninth graders to tears. But again, all is achieved in an atmosphere of affection and deep personal commitment to every student. “Challenge and nurture” describes DeLay’s approach, too. One of her former students expresses it this way: “That is part of Miss DeLay’s genius—to put people in the frame of mind where they can do their best.… Very few teachers can actually get you to your ultimate potential. Miss DeLay has that gift. She challenges you at the same time that you feel you are being nurtured.
Carol S. Dweck (Mindset: The New Psychology of Success)
Right now he needed to concentrate on keeping himself under control. Inside, his gut churned. There was a war going on. The joy of holding his son again clashed with the waves of anger that rose higher and higher with each passing moment. He thought he had known why Pete had arrived at the farm. He had pushed the fork into the soil and watched the earth turn over sure that the truth of their tragedy was about to be laid before them. He had watched the dry earth give up the rich brown soil and wanted to stay there forever in the cold garden just watching his fork move the earth. He had not wanted to hear what Pete had to say. And now this..this..What did you call this? A miracle? What else could it be? But this miracle was tainted. He was not holding the same boy he had taken to the Easter Show. This thin child with shaved hair was not the Lockie he knew. Someone had taken that child. They had taken his child and he could feel by the weight of him they had starved him. Someone had done this to him. They had done this and god knew what else. Doug walked slowly into the house, trying to find the right way to break the news to Sarah. She was lying down in the bedroom again. These days she spent more time there than anywhere else. Doug walked slowly through the house to the main bedroom at the back. It was the only room in the house whose curtains were permanently closed. How damaged was his child? Would he ever be the same boy they had taken up to the Show ? What had been done to him? Dear God, what had been done to him? His ribs stuck out even under the jumper he was wearing. It was not his jumper. He had been dressed in shorts and a T-shirt, perfect for the warm day. He had a cap with a Bulldogs logo. What could have happened to his clothes? How long had he had the jumper?Doug bit his lip. First things first. He opened the bedroom door cautiously and looked into the gloom. Sarah was on her back. Her mouth was slightly open. She was fast asleep. The room smelled musty with the heater on. Sarah slept tightly wrapped in her covers. Doug swallowed. He wanted to run into the room whooping and shouting that Lockie was home but Sarah was so fragile he had no idea how she would react. He walked over to the window and opened the curtains. Outside it was getting dark already but enough light entered the room to wake Sarah up. She moaned and opened her eyes. ‘Oh god, Doug, please just close them. I’m so tired.’ Doug sat down on the bed and Sarah turned her back to him. She had not looked at him. Lockie opened his eyes and looked around the room. ‘Ready to say hello to Mum, mate?’ Doug asked. ‘Hi, Mum,’ said Lockie to his mother’s back. His voice had changed. It was deeper and had an edge to it. He sounded older. He sounded like someone who had seen too much. But Sarah would know it was her boy. Doug saw Sarah’s whole body tense at the sound of Lockie’s voice and then she reached her arm behind her and twisted the skin on her back with such force Doug knew she would have left a mark. ‘It’s not a dream, Sarah,’ he said quietly. ‘He’s home.’ Sarah sat up, her eyes wide. ‘Hi, Mum,’ said Lockie again. ‘Hello, my boy,’ said Sarah softly. Softly, as though he hadn’t been missing for four months. Softly, as though he had just been away for a day. Softly, as though she hadn’t been trying to die slowly. Softly she said, ‘Hello, my boy.’ Doug could see her chest heaving. ‘We’ve been looking for you,’ she said, and then she held out her arms. Lockie climbed off Doug’s lap and onto his mother’s legs. She wrapped her arms around him and pushed her nose into his neck, finding his scent and identifying her child. Lockie buried his head against her breasts and then he began to cry. Just soft little sobs that were soon matched by his mother’s tears. Doug wanted them to stop but tears were good. He would have to get used to tears.
Nicole Trope (The Boy Under the Table)
My morning schedule saw me first in Cannan’s office, conferring with my advisor, but our meeting was interrupted within minutes by Narian, who entered without knocking and whose eyes were colder than I had seen them in a long time. “I thought you intended to control them,” he stated, walking toward the captain’s desk and standing directly beside the chair in which I sat.” He slammed a lengthy piece of parchment down on the wood surface, an unusual amount of tension in his movements. I glanced toward the open door and caught sight of Rava. She stood with one hand resting against the frame, her calculating eyes evaluating the scene while she awaited orders. Cannan’s gaze went to the parchment, but he did not reach for it, scanning its contents from a distance. Then he looked at Narian, unruffled. “I can think of a dozen or more men capable of this.” “But you know who is responsible.” Cannan sat back, assessing his opposition. “I don’t know with certainty any more than you do. In the absence of definitive proof of guilt on behalf of my son and his friends, I suggest you and your fellows develop a sense of humor.” Then the captain’s tone changed, becoming more forbidding. “I can prevent an uprising, Narian. This, you’ll have to get used to.” Not wanting to be in the dark, I snatched up the parchment in question. My mouth opened in shock and dismay as I silently read its contents, the men waiting for me to finish. On this Thirtieth Day of May in the First Year of Cokyrian dominance over the Province of Hytanica, the following regulations shall be put into practice in order to assist our gracious Grand Provost in her effort to welcome Cokyri into our lands--and to help ensure the enemy does not bungle the first victory it has managed in over a century. Regulation One. All Hytanican citizens must be willing to provide aid to aimlessly wandering Cokyrian soldiers who cannot on their honor grasp that the road leading back to the city is the very same road that led them away. Regulation Two. It is strongly recommended that farmers hide their livestock, lest the men of our host empire become confused and attempt to mate with them. Regulation Three. As per negotiated arrangements, crops grown on Hytanican soil will be divided with fifty percent belonging to Cokyri, and seventy-five percent remaining with the citizens of the province; Hytanicans will be bound by law to wait patiently while the Cokyrians attempt to sort the baffling deficiency in their calculations. Regulation Four. The Cokyrian envoys assigned to manage the planting and farming effort will also require Hytanican patience while they slowly but surely learn what is a crop and what is a weed, as well as left from right. Regulation Five. Though the Province Wall is a Cokyrian endeavor, it would be polite and understanding of Hytanicans to remind the enemy of the correct side on which to be standing when the final stone is laid, so no unfortunates may find themselves trapped outside with no way in. Regulation Six. When at long last foreign trade is allowed to resume, Hytanicans should strive to empathize with the reluctance of neighboring kingdoms to enter our lands, for Cokyri’s stench is sure to deter even the migrating birds. Regulation Seven. For what little trade and business we do manage in spite of the odor, the imposed ten percent tax may be paid in coins, sweets or shiny objects. Regulation Eight. It is regrettably prohibited for Hytanicans to throw jeers at Cokyrian soldiers, for fear that any man harried may cry, and the women may spit. Regulation Nine. In case of an encounter with Cokyrian dignitaries, the boy-invader and the honorable High Priestess included, let it be known that the proper way in which to greet them is with an ass-backward bow.
Cayla Kluver (Sacrifice (Legacy, #3))