Farm Boy Quotes

We've searched our database for all the quotes and captions related to Farm Boy. Here they are! All 200 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))
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)
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)
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
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))
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)
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
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 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)
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)
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)
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)
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
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)
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)
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))
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))
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)
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))
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)
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))
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))
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)
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 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))
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)
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)
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))
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))
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))
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)
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
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
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)
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)
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)
It smelled of repressed desire and unwanted potatoes.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
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))
He was simply the most dangerous person in all the world; a person of small talent and large purse.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
I'd be okay with that kind of trouble," Amber said, as a pair of flannel-clad farm boys headed toward them.
Laura Ruby (Bone Gap)
The princess, the scoundrel, the farm boy. The senator, the smuggler, the dreamer. The Rebel leader, the captain, the pilot.
Alexandra Bracken (Star Wars: Episode IV A New Hope)
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))
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))
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)
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)
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)
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))
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)
Rubbing the place where a headache was brewing, Toby said, “You may keep whatever parts of the goat you wish. I just want this farm boy’s heart.” “So the rest of him is up for grabs?” “The rest of the goat?” “No, the rest of the…yeah, the goat. The goat. Good eating, goat.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #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))
There was a wall against learning. A man wanted his children to read, to figure, and that was enough. More might make them dissatisfied and flighty. And there were plenty of examples to prove that learning made a boy leave the farm to live in the city—to consider himself better than his father. Enough.
John Steinbeck (East of Eden)
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))
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)
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 (Blackwater IV: The War (Blackwater, #4))
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)
Have you learned nothing from this journey? Magic is a drug. You can't just go around eating everything that sparkles.
Kevin Hearne (Kill the Farm Boy (The Tales of Pell, #1))
Fia asked so many questions regarding what was and was not fried in animal fat that Toby cast an enchantment enrobing all the vegan items with a greenish glow.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
Self-awareness had its downside, for he had lost the bliss of ignorance.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
He was simply one of the most dangerous creatures in the world: a person of small talent and large purse who was thoroughly certain that he deserved more.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
you will also, in passing through, discover the steely strength of our Morningwood, whose limber limbs bend but do not break yet bear succulent fruit with each new stroke of spring.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
Teenage boys were very useful for farm work, of course. But the men did not like having their grown sons in the house. They took up too much space, for one. But also, it was not fit to have lusty young men share a roof with so many women. Since the girls in Paradise were married off at seventeen or eighteen, that meant that the youngest wives were often the same age as the bachelors.
Sarina Bowen (Goodbye Paradise (Hello Goodbye, #1))
There was also an abundance of portent swaddled about the place. Oodles of it. A surfeit, even. Something would go down there soon. But for now, the lady slept. And drooled a little, probably.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
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: Screenwriter Frances Marion and the Powerful Women of Early Hollywood)
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))
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 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)
oversee the farm in their absence and also to keep Hazel out of mischief.” Jason smiled at her joke, studying her profile, drinking in her loveliness. “Rebecca, aren’t you angry with Claude at all? He put you through so much.” “Left to myself, I would surely hate him, but God showed me something that changed everything.” Staring into the waves, her eyes lost focus. “I saw who he was as a little boy. Once you understand where someone comes from, it’s easy to forgive, no matter
Dianne J. Wilson (Shackles: The truth will set you free)
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)
Seed-- The boy I loved/had the veins of the ancient./He was eighteen, but also/a hundred and eighty,/Biblical and stubborn/as stone lodged/in the earth./ When the seed/spit its way to my womb,/I wanted to farm it,/watch over its growth,/ and I was the mother,/ my body the soil,/ and so it was my/ soil to keep./ My soil to keep./And I would tend it/ myself, root out/ the weeds, rake/ the dirt back/ and forth, smooth/ and soil over and/ over and over and over/ with my two bare hands.
Jenny Hubbard (And We Stay)
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)
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)
Into my heart an air that kills From yon far country blows; What are those blue remembered hills, What spires, what farms are those?   That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again.   Into
Craig Saunders (The Dead Boy)
I see a time when the farmer will not need to live in a cabin on a lonely farm. I see the farmers coming together in groups. I see them with the 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 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.
Howard Zinn (A People's History of the United States)
There was a wall against learning. A man wanted his children to read, to figure, and that was enough. More might make them dissatisfied and flighty. And there were plenty of examples to prove that learning made a boy leave the farm to live in the city—to consider himself better than his father. Enough arithmetic to measure land and lumber and to keep accounts, enough writing to order goods and write to relatives, enough reading for newspapers, almanacs, and farm journals, enough music for religious and patriotic display—that was enough to help a boy and not to lead him astray.
John Steinbeck (East of Eden)
Think testosterone,’ says Matthew, ‘multiply it by πr2 and double it. Forget boys locked in boarding schools. They’ve spent ten months as a caterpillar waiting for this. They’ve pupated, they’re mature and they’re desperate. They’re squaddies in the disco on a Saturday night. They’re sailors in port after a nine-month voyage.
Isabella Tree (Wilding: Returning a Farm to Nature)
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))
Luke begins as that innocent farm boy, with no particular religious convictions. He is isolated and rootless—an excellent target for extremists. Sure enough, he embarks on what an online commentator describes as a “dark journey into religious fundamentalism and extremism.” A disaffected and somewhat lost young man, in search of something, he comes across Obi-Wan Kenobi, plainly a religious fanatic, who follows self-evidently extremist ideas about the Force. “Within moments of meeting Luke, Obi-Wan tells Luke he must abandon his family and join him, going so far as telling a shocking lie that the Empire killed Luke’s father, hoping to inspire Luke to a life of jihad.” Obi-Wan
Cass R. Sunstein (The World According to Star Wars)
…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)
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)
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))
The sleds accelerated quickly as they glided effortlessly over the smooth ice. We had never before experienced such a quick, easy slide. usually we wished we could push ourselves to make our sleds go faster. But not this time. The crystals of ice started flying past at an incredible rate of speed. No longer aware of where my sister and her sled were, all I could see was raw ice whizzing by ten inches under my chin at a rate of speed I never imagined I would experience on a sled. I felt like I was flying!
Daniel Boerman (The Flying Farm Boy)
The Herb Farm reminded Marguerite of the farms in France; it was like a farm in a child's picture book. There was a white wooden fence that penned in sheep and goats, a chicken coop where a dozen warm eggs cost a dollar, a red barn for the two bay horses, and a greenhouse. Half of the greenhouse did what greenhouses do, while the other half had been fashioned into very primitive retail space. The vegetables were sold from wooden crates, all of them grown organically, before such a process even had a name- corn, tomatoes, lettuces, seventeen kinds of herbs, squash, zucchini, carrots with the bushy tops left on, spring onions, radishes, cucumbers, peppers, strawberries for two short weeks in June, pumpkins after the fifteenth of September. There was chèvre made on the premises from the milk of the goats; there was fresh butter. And when Marguerite showed up for the first time in the summer of 1975 there was a ten-year-old boy who had been given the undignified job of cutting zinnias, snapdragons, and bachelor buttons and gathering them into attractive-looking bunches.
Elin Hilderbrand (The Love Season)
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)
Paugh!" the troll scoffed. "Romance. Kissing and folly. Where's the story, where's the philosophy? I'm a troll, and even I can't rip a bodice. You should read real literature. The classics." He held up a book called Ye Olde Clubbe of Fisticuffs. "This is one of my favorites. It's all about, like, rejecting capitalism." He held up another, the spine as yet uncracked, called Alliance of Nincompoops. "Or this one, about a misunderstood genius. You should read it. I'd love to chat about what the true meaning of success is when we're living in a world that values looks instead of substance.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
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))
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)
And it wasn't just their physical prowess. He liked the character of these particular freshmen. The boys who had made it this far were rugged and optimistic in a way that seemed emblematic of their western roots. They were the genuine article, mostly the products of lumber towns, dairy farms, mining camps, fishing boats, and shipyards. They looked, they walked, and they talked as if they had spent most of their lives out of doors. Despite the hard times and their pinched circumstances, they smiled easily and openly. They extended calloused hands eagerly to strangers. They looked you in the eye, not as a challenge, but as an invitation. They joshed you at the drop of a hat. They looked at impediments and saw opportunities. All that, Bolles knew, added up to a lot of potential...
Daniel James Brown (The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics)
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)
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)
Hundreds of men crowded the yard, and not a one among them was whole. They covered the ground thick as maggots on a week old carcass, the dirt itself hardly anywhere visible. No one could move without all feeling it and thus rising together in a hellish contortion of agony. Everywhere men moaned, shouting for water and praying for God to end their suffering. They screamed and groaned in an unending litany, calling for mothers and wives and fathers and sisters. The predominant color was blue, though nauseations of red intruded throughout. Men lay half naked, piled on top of one another in scenes to pitiful to imagine. Bloodied heads rested on shoulders and laps, broken feet upon arms. Tired hands held in torn guts and torsos twisted every which way. Dirty shirts dressed the bleeding bodies and not enough material existed in all the world to sop up the spilled blood. A boy clad in gray, perhaps the only rebel among them, lay quietly in one corner, raised arm rigid with a finger extended, as if pointing to the heavens. His face was a singular portrait of contentment among the misery. Broken bones, dirty white and soiled with the passing of hours since injury, were everywhere abundant. All manner of devices splinted the damaged and battered limbs: muskets, branches, bayonets, lengths of wood or iron from barns and carts. One individual had bone splinted with bone: the dried femur of a horse was lashed to his busted shin. A blind man, his eyes subtracted by the minié ball that had enfiladed him, moaned over and over “I’m kilt, I’m kilt! Oh Gawd, I’m kilt!” Others lay limp, in shock. These last were mostly quiet, their color unnaturally pale. It was agonizingly humid in the still air of the yard. The stink of blood mixed with human waste produced a potent and offensive odor not unlike that of a hog farm in the high heat of a South Carolina summer. Swarms of fat, green blowflies everywhere harassed the soldiers to the point of insanity, biting at their wounds. Their steady buzz was a noise straight out of hell itself, a distress to the ears.
Edison McDaniels (Not One Among Them Whole: A Novel of Gettysburg)
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 [i]vecchio[/i]―"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 [i]rospo[/i]―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)
His months of teaching experience were now a lost age of youth and innocence. He could no longer sit in his office at Fort McNair, look out over the elm trees and the golf course, and encompass the world within "neat, geometric patterns" that fit within equally precise lectures. Policy planning was a very different responsibility, but explaining just how was "like trying to describe the mysteries of love to a person who has never experienced it." There was, however, an analogy that might help. "I have a largish farm in Pennsylvania." had 235 acres, on each of which things were happening. Weekends, in theory, were days of rest. But farms defied theory: Here a bridge is collapsing. No sooner do you start to repair it than a neighbor comes to complain about a hedge row which you haven't kept up half a mile away on the other side of the farm. At that very moment your daughter arrives to tell you that someone left the gate to the hog pasture open and the hogs are out. On the way to the hog pasture, you discover that the beagle hound is happily liquidating one of the children's pet kittens. In burying the kitten you look up and notice a whole section of the barn roof has been blown off and needs instant repair. Somebody shouts from the bathroom window that the pump has stopped working, and there's no water in the house. At that moment, a truck arrives with five tons of stone for the lane. And as you stand there hopelessly, wondering which of these crises to attend to first, you notice the farmer's little boy standing silently before you with that maddening smile, which is halfway a leer, on his face, and when you ask him what's up, he says triumphantly 'The bull's busted out and he's eating the strawberry bed'. Policy planning was like that. You might anticipate a problem three or four months into the future, but by the time you'd got your ideas down on paper, the months had shrunk to three to four weeks. Getting the paper approved took still more time, which left perhaps three or four days. And by the time others had translated those ideas into action, "the thing you were planning for took place the day before yesterday, and everyone wants to know why in the hell you didn't foresee it a long time ago." Meanwhile, 234 other problems were following similar trajectories, causing throngs of people to stand around trying to get your attention: "Say, do you know that the bull is out there in the strawberry patch again?
John Lewis Gaddis (George F. Kennan: An American Life)
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)
The town knew about darkness. It knew about the darkness that comes on the land when rotation hides the land from the sun, and about the darkness of the human soul. The town is an accumulation of three parts which, in sum, are greater than the sections. The town is the people who live there, the buildings which they have erected to den or do business in, and it is the land. The people are Scotch-English and French. There are others, of course - a smattering, like a fistful of pepper thrown in a pot of salt, but not many. This melting point never melted very much. The buildings are nearly all constructed of honest wood. Many of the older houses are saltboxes and most of the stores are false-fronted, although no one could have said why. The people know there is nothing behind those false facades just as most of them know that Loretta Starcher wears falsies. The land is granite-bodied and covered with a thin, easily ruptured skin of topsoil. Farming it is a thankless, sweaty, miserable, crazy business. The harrow turns up great chunks of the granite underlayer and breaks on them. In May you take out your truck as soon as the ground is dry enough to support it, and you and your boys fill it up with rocks perhaps a dozen times before harrowing and dump them in the great weed-choked pile where you have dumped them since 1955, when you first took this tiger by the balls. And when you have picked them until the dirt won't come out from under your nails when you wash and your fingers feel huge and numb and oddly large-pored, you hitch your harow to your tractor and before you've broken two rows you bust one of the blades on a rock you missed. And putting on a new blade, getting your oldest boy to hold up the hitch so you can get at it, the first mosquito of the new season buzzes bloodthirstily past your ear with that eye-watering hum that always makes you think it's the sound loonies must hear before they kill all their kids or close their eyes on the interstate and put the gas pedal to the floor or tighten their toe on the trigger of the .30-.30 they just jammed into their quackers; and then your boy’s sweat-slicked fingers slip and one of the other round harrow blades scrapes skin from your arm an d looking around in that kind of despairing, heartless flicker of time, when it seems you could just give it all over and take up drinking or go down to the bank that holds your mortgage and declare bankruptcy, at that moment of hating the land the soft suck of gravity that holds you to it, you also love it and understand how it knows darkness and has always known it. The land has got you, locked up solid got you, and the house, and the woman you fell in love with when you started high school (only she was a girl then, and you didn't know for shit about girls except you got one and hung on to her and she wrote your name all over her book covers and first you broke her in and then she broke you in and then neither one of you had to worry about that anymore), and the kids have got you, the kids that were started in the creaky double bed with the splintered headboard. You and she made the kids after the darkness fell - six kids, or seven, or ten. The bank has you, and the car dealership, and the Sears store in Lewiston, and John Deere in Brunswick. But most of all the town has you because you know it the way you know the shape of your wife's breast. You know who will be hanging around Crossen’s store in the daytime because Knapp Shoe laid him off and you know who is having woman trouble even before he knows it, the way Reggie Sawyer is having it, with that phone-company kid dipping his wick in Bonnie Sawyer’s barrel; you know where the roads go and where, on Friday afternoon, you and Hank and Nolly Gardener can go and park and drink a couple of sixpacks or a couple of cases. You know how the ground lies and you know how to get through the Marshes in April without getting the tops of your boots wet. You know it all.
Stephen King
What had been a region of model farming became almost a desert, for more than half the population was exiled or sent to concentration camps. The young people left the villages, the boys to go to the factories if they could get jobs, or to become vagabonds if they couldn’t. *** An echo of the tragic fate of Russia’s German Protestant population reached the world when the Mennonites flocked to Moscow and sought permission to leave the country. Some of these Germans had tried to obey the government and had formed collective farms, only to have them liquidated as Kulak collectives. Being first-class farmers, they had committed the crime of making even a Kolkhoz productive and prosperous. Others had quite simply been expropriated from their individual holdings. All were in despair. Few were allowed to leave Russia. They were sent to Siberia to die, or herded into slave labor concentration camps. The crime of being good farmers was unforgivable, and they must suffer for this sin. *** Cheat or be cheated, bully or be bullied, was the law of life. Only the German minority with their strong religious and moral sense—the individual morality of the Protestant as opposed to the mass subservience demanded by the Greek Orthodox Church and the Soviet Government—retained their culture and even some courage under Stalin’s Terror.
Freda Utley (Lost Illusion)
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)
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)
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)
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))
Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D
The buzzards over Pondy Woods Achieve the blue tense altitudes Black figments that the woods release, Obscenity in form and grace, Drifting high through the pure sunshine Till the sun in gold decline. (...) By the buzzard roost Big Jim Todd Listened for hoofs on the corduroy road Or for the foul and sucking sound A man's foot makes on the marshy ground. Past midnight, when the moccasin Slipped from the log and, trailing in Its obscured waters, broke The dark algae, one lean bird spoke, (...) "[Big Jim] your breed ain't metaphysical." The buzzard coughed, His words fell In the darkness, mystic and ambrosial. "But we maintain our ancient rite, Eat the gods by day and prophesy by night. We swing against the sky and wait; You seize the hour, more passionate Than strong, and strive with time to die -- With time, the beaked tribe's astute ally. "The Jew-boy died. The Syrian vulture swung Remotely above the cross whereon he hung From dinner-time to supper-time, and all The people gathered there watched him until The lean brown chest no longer stirred, Then idly watched the slow majestic bird That in the last sun above the twilit hill Gleamed for a moment at the height and slid Down the hot wind and in the darkness hid. [Big Jim], regard the circumstance of breath: Non omnis moriar, the poet sayeth." Pedantic, the bird clacked its gray beak, With a Tennessee accent to the classic phrase; Jim understood, and was about to speak, But the buzzard drooped one wing and filmed the eyes. At dawn unto the Sabbath wheat he came, That gave to the dew its faithless yellow flame From kindly loam in recollection of The fires that in the brutal rock one strove. To the ripe wheat he came at dawn. Northward the printed smoke stood quiet above The distant cabins of Squiggtown. A train's far whistle blew and drifted away Coldly; lucid and thin the morning lay Along the farms, and here no sound Touched the sweet earth miraculously stilled. Then down the damp and sudden wood there belled The musical white-throated hound. In pondy Woods in the summer's drouth Lurk fever and the cottonmouth. And buzzards over Pondy Woods Achieve the blue tense altitudes, Drifting high in the pure sunshine Till the sun in gold decline; Then golden and hieratic through The night their eyes burn two by two.
Robert Penn Warren
The most comprehensive studies of racial bias in the exercise of prosecutorial and judicial discretion involve the treatment of juveniles. These studies have shown that youth of color are more likely to be arrested, detained, formally charged, transferred to adult court, and confined to secure residential facilities than their white counterparts.65 A report in 2000 observed that among youth who have never been sent to a juvenile prison before, African Americans were more than six times as likely as whites to be sentenced to prison for identical crimes.66 A study sponsored by the U.S. Justice Department and several of the nation’s leading foundations, published in 2007, found that the impact of the biased treatment is magnified with each additional step into the criminal justice system. African American youth account for 16 percent of all youth, 28 percent of all juvenile arrests, 35 percent of the youth waived to adult criminal court, and 58 percent of youth admitted to state adult prison.67 A major reason for these disparities is unconscious and conscious racial biases infecting decision making. In the state of Washington, for example, a review of juvenile sentencing reports found that prosecutors routinely described black and white offenders differently.68 Blacks committed crimes because of internal personality flaws such as disrespect. Whites did so because of external conditions such as family conflict. The risk that prosecutorial discretion will be racially biased is especially acute in the drug enforcement context, where virtually identical behavior is susceptible to a wide variety of interpretations and responses and the media imagery and political discourse has been so thoroughly racialized. Whether a kid is perceived as a dangerous drug-dealing thug or instead is viewed as a good kid who was merely experimenting with drugs and selling to a few of his friends has to do with the ways in which information about illegal drug activity is processed and interpreted, in a social climate in which drug dealing is racially defined. As a former U.S. Attorney explained: I had an [assistant U.S. attorney who] wanted to drop the gun charge against the defendant [in a case in which] there were no extenuating circumstances. I asked, “Why do you want to drop the gun offense?” And he said, “‘He’s a rural guy and grew up on a farm. The gun he had with him was a rifle. He’s a good ol’ boy, and all good ol’ boys have rifles, and it’s not like he was a gun-toting drug dealer.” But he was a gun-toting drug dealer, exactly.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
Until three weeks before,Lu Xin had lived on her family's millet farm on the banks of the Huan River. Passing through her river valley on his shining chariot one afternoon,the king had glimpsed Lu Xin tending the crops.He had decided that he fancied her. The next day,two militiamen had arrived at her door.She'd had to leave her family and her home. She'd had to leave De, the handsome young fisherman from the next village. Before the king's summons, De had shown Lu Xin how to fish using his pair of pet cormorants,by tying a bit of rope loosely around their necks so that they could catch several fish in their mouths but not swallow them. Watching De gently coax the fish from the depths of the funny bird's beaks,Lu Xin had fallen in love with him.The very next morning,she'd had to say goodbye to him. Forever. Or so she'd thought. It had been nineteen sunsets since Lu Xin had seen De,seven sunsets since she'd received a scroll from home with bad news: De and some other boys from the neighboring farms had run away to join the rebel army, and no sooner had he left than the kind's men had ransacked the village,looking for the deserters. With the king dead,the Shang men would show no mercy to Lu Xin,and she would never find De,never reunite with Daniel. Unless the king's council didn't find out that their king was dead.
Lauren Kate (Passion (Fallen, #3))
One popular saying was, "The boy who goes into medicine is too lazy for farm or shop, too stupid for the Bar, and too immoral for the pulpit.
Volney Steele (Bleed, Blister, and Purge: A History of Medicine on the American Frontier)
Dubnus. Brother. I wouldn’t have amounted to anything better than a rotting corpse in a ditch on the road south from Yew Grove without your help over the last few months. Nor can I pretend that I was responsible for turning the Ninth from a waste of rations to a fighting century, that was mostly you too. But trust me when I tell you this, these men will not respond to your style of leadership. They are lonely, frightened, but worst of all they feel worthless. They’ve sat here for the last month watching Gaulish farm boys in armour get snapped up like the last cake in the bakery while they, with all their abilities, are demeaned as incapable of fighting our war.
Anthony Riches (Arrows of Fury (Empire, #2))
Something girls never understood about poker night. The real point of the card play was to razz. Razzing calls forth unbridled farm-boy humour, earthy by some standards. The best quip involves belittling someone else's penis, or turning it back on the sayer, or both.
Allan Dare Pearce (Paris in April)
Oh boy, how you gonna keep 'em down on the farm once they've seen Karl Hungus? -Jeffrey "The Dude" Lebowski
Scott L. Anderson
Behold the rich farm boy Malachy Burns Who plays his pipe among the churns. He's a coward, he's benighted, He makes everyone feel slighted, And all things but music he spurns.
Julia Glass (And the Dark Sacred Night)
Jones, along with the US military attaché in Indonesia, took Subandrio’s advice. He emphasized to Washington that the United States should support the Indonesian military as a more effective, long-term anticommunist strategy. The country of Indonesia couldn’t be simply broken into pieces to slow down the advance of global socialism, so this was a way that the US could work within existing conditions. This strategic shift would begin soon, and would prove very fruitful. But behind the scenes, the CIA boys dreamed up wild schemes. On the softer side, a CIA front called the Congress for Cultural Freedom, which funded literary magazines and fine arts around the world, published and distributed books in Indonesia, such as George Orwell’s Animal Farm and the famous anticommunist collection The God That Failed.33 And the CIA discussed simply murdering Sukarno. The Agency went so far as to identify the “asset” who would kill him, according to Richard M. Bissell, Wisner’s successor as deputy director for plans.34 Instead, the CIA hired pornographic actors, including a very rough Sukarno look-alike, and produced an adult film in a bizarre attempt to destroy his reputation. The Agency boys knew that Sukarno routinely engaged in extramarital affairs. But everyone in Indonesia also knew it. Indonesian elites didn’t shy away from Sukarno’s activities the way the Washington press corps protected philanderers like JFK. Some of Sukarno’s supporters viewed his promiscuity as a sign of his power and masculinity. Others, like Sumiyati and members of the Gerwani Women’s Movement, viewed it as an embarrassing defect. But the CIA thought this was their big chance to expose him. So they got a Hollywood film crew together.35 They wanted to spread the rumor that Sukarno had slept with a beautiful blond flight attendant who worked for the KGB, and was therefore both immoral and compromised. To play the president, the filmmakers (that is, Bing Crosby and his brother Larry) hired a “Hispanic-looking” actor, and put him in heavy makeup to make him look a little more Indonesian. They also wanted him bald, since exposing Sukarno—who always wore a hat—as such might further embarrass him. The idea was to destroy the genuine affection that young Sakono, and Francisca, and millions of other Indonesians, felt for the Founding Father of their country. The thing was never released—not because this was immoral or a bad idea, but because the team couldn’t put together a convincing enough film.36
Vincent Bevins (The Jakarta Method: Washington's Anticommunist Crusade and the Mass Murder Program that Shaped Our World)
than she was deep. Her shallow draft let her go up rivers or right onto beaches without damage, but her passage over deeper water left a lot to be desired. She sidled along, with here a dip and there a curtsy, like a bundle-laden farm wife making her way through a crowded market. We seemed to be the sole cargo. A deckhand gave me a couple of apples to share with the horses, but little talk. So after I had parceled out the fruit, I settled myself near them on their straw and took Chade’s advice about resting. The winds were kind to us, and the captain took us in closer to the looming cliffs than I’d have thought possible, but unloading the horses from the vessel was still an unpleasant task. All of Chade’s lecturing and warnings had not prepared me for the blackness of night on the water. The lanterns on the deck seemed pathetic efforts, confusing me more with the shadows they threw than aiding me with their feeble light. In the end, a deckhand rowed Chade to shore in the ship’s dory. I went overboard with the reluctant horses, for I knew Sooty would fight a lead rope and probably swamp the dory. I clung to Sooty and encouraged her, trusting her common sense to take us toward the dim lantern on shore. I had a long line on Chade’s horse, for I didn’t want his thrashing too close to us in the water. The sea was cold, the night was black, and if I’d had any sense, I’d have wished myself elsewhere, but there is something in a boy that takes the mundanely difficult and unpleasant and turns it into a personal challenge and an adventure. I came out of the water dripping, chilled, and completely exhilarated. I kept Sooty’s reins and coaxed Chade’s horse in. By the time I had them both under control, Chade was beside me, lantern in hand, laughing exultantly. The dory man was already away and pulling for the ship. Chade gave me my dry things, but they did little good pulled on over my dripping clothes. “Where’s the path?” I asked, my voice shaking with my shivering. Chade gave a derisive snort. “Path? I had a quick look while you were pulling in my horse. It’s no path, it’s no more than the course the water takes when it runs off down the cliffs. But it will have to do.” It was a little better than he had reported, but not much. It was narrow and steep and the gravel on it was loose underfoot. Chade went before with the lantern. I followed, with the horses in tandem.
Robin Hobb (Assassin's Apprentice (Farseer Trilogy, #1))
When we think of a human person, we see a father with his children around him, with his children around his table, in a room on his farm, and he shares soup and bread with them, or in a house in the suburbs, and there is nowhere he’s so well off as on his farm, or in his fourth floor apartment, or in his house in the suburbs, and he returns from work and he asks what happened that day; or he is in his workshop, and he shows to his little boy how one properly makes a board, how one passes one’s hand over the board to check that the work is good. It is this human person whom we defend and respect, this human person and no other, and all that belongs to him, his children, his house, his work, his field. And we say that this human person has the right that his children’s bread be assured, that his house be inviolable, that his work be honoured, that his field belong to him.
Maurice Bardèche
And traps me in a dungeon with some old crazy stranger and a bunch of bones.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
Grinda waited while Gustave urinated, the stream arcing straight up into the air and splashing into a bowl of lima beans, which may or may not have improved the dish. “Man, I don’t know why you guys wear clothes at all,” Gustave enthused. “Your bodies do the funnest stuff!” “Just not usually in public,” Fia grumbled.
Delilah S. Dawson (Kill the Farm Boy (The Tales of Pell, #1))
There are bishops, knights and queens. Once they fought for their people, going to prison and refusing to come out unless the white man went west. Everyone demonstrated while their leaders were in prison, demanding their unconditional release, their names written with wet paint across huge placards... 'Our dear savior, so and so,' they yelled. In torn and bloody clothes, their heroes waved to the crowds, as big trucks waited to whisk them off to maximum-security prisons. They were adored and worshiped. Heroes, my foot! Saviors? Bullshit!" Kangu was suddenlt trembling with rage. "Imagine calling somebody a hero without knowing his motives, just because a poor African boy went to University and read a few of Martin Luther King's speeches. Maybe he was just looking for fame, or eyeng the fat farms of the white man. Then the 'hero' suddenly finds himself wallowing in power, money and sex... All the things he's dreamed of, but never seen. He forgets what he was fighting for, and becomes meaner than the white man ever was; he becomes the devil.
Oduor Jagero (The Ghosts of 1894)
All my life, I have gotten everything I ever wanted. I have a mother and father who are incredibly successful. We live in a big house in upstate New York where my parents own a horse farm. I’m attending this prestigious college and I don’t have to worry about anything. To everyone looking on, I have it all. But no one knows how very lonely I am. No one knows that my parents work every minute of every day. No one knows that I’m having trouble fitting in at school. I work really hard to hide my need for more. More what? I have no idea. But I need more. I don’t know why I thought I’d find it by befriending Bob Caster. Bob Caster, the bad boy. Bob Caster, the dreamy man who makes me want to ask him a thousand questions and just sit back and listen to the answers. Bob Caster, who, although he is incredibly poor—you can tell by the quality of his clothes and shoes—probably has more than I do. He probably even has friends. Real ones. Not just the ones who want to be around me because I can buy the shots.
Tammy Falkner (Yes You (The Reed Brothers #9.5))
The Jeremiah guy invited me to come work for the government. He said he was with the military and they were looking for guys like me. I was all, ‘Farm boys? Y’all looking for redneck farm boys?
J.R. Ward (Crave (Fallen Angels, #2))
There was another rule, too: the young Southern and Western farm boys thought more highly of personal liberty, and of the word patriotism, than the more sophisticated personnel from the northeastern American cities.
John C. Keats (They Fought Alone)
With no more than enough money to ride the streetcar home, I closed the door and was out of the speakeasy into the alley on a day not yet light, hoping to resurrect the farm boy that had grown up with country-loving decency.
Annette Valentine (Eastbound from Flagstaff)
He is retired and the family farm is now run by his eldest daughter, Rosie.
Robert Muchamore (Henderson's Boys: Scorched Earth)
I only managed to last a week on a dating website. You see, because of 'The Princess Bride' I have high standards when it comes to love and I just didn't believe that any beautiful farm boys would be on How would he have wifi up in his mountainous hovel?
Hadley Freeman (Life Moves Pretty Fast: The Lessons We Learned From Eighties Movies (And Why We Don't Learn Them From Movies Any More))
The old barn had a history. Nine-year-old Sally Ferman had heard all of the stories, and every single one scared her. Her dad told her that the farm was originally owned by a young German immigrant by the name of Hans Schneider. He built a cabin and married a French woman, Rebecca. They had three sons, and over the years, Hans and his boys built the barn, raised cattle and sheep, and grew tobacco and corn
Linda Castillo (After the Storm (Kate Burkholder #7))
The maids - by which I mean the long succession of magdalens and half-wits that did the heavy work about the house - lived in one of the back (attic) rooms. Of course it was not considered necessary to give a kitchen wench a decent room - she wasn't accustomed to it and wouldn't have known what to do with it. A creaky bed, a cracked mirror, and a rickety table were all she deserved and all she usually got... a hole into which she could creep at night and which she could emerge at half-past four, eager for another day's work. Now my grandmother was not of that school of thought, but she was not a revolutionary either and, though the maid's room had some amenities such as a wardrobe and a chest of drawers, it was by no means a Paradise in which a lonely girl might be soothed to sweet slumbers. It was long and narrow with a skylight opening on the north. The walls were distempered a cold blue. There the domestics spent their dreary nights diversified with spasms of bucolic love at the week-ends.
John R. Allan (Farmer's Boy)
connection. “So, the short skirts…they’d be to help them run more easily?” he suggested. Halt nodded in his turn. “It would certainly be a more sensible form of dress than long skirts, if you wanted to do a lot of running.” He shot a quick look at Horace to see if his gentle teasing was not being turned back on himself—to see if, in fact, the boy realized Halt was talking nonsense and was simply leading him on. Horace’s face, however, was open and believing. “I suppose so,” Horace replied finally, then added, in a softer voice, “They certainly look a lot better that way too.” Again, Halt shot him a look. But Horace seemed to be content with the answer. For a moment, Halt regretted his deception, feeling a slight pang of guilt. Horace was, after all, totally trusting and it was so easy to tease him like this. Then the Ranger looked at those clear blue eyes and the contented, honest face of the warrior apprentice and any sense of regret was stifled. Horace had plenty of time to learn about the seamier side of life, he thought. He could retain his innocence for a little while longer. They left La Rivage by its northern gate and headed into the farm country surrounding it. Horace’s curiosity remained as strong as ever, and he peered from side to side as the road took them past fields and crops
John Flanagan (The Icebound Land (Ranger's Apprentice, #3))
… This was chronicled in a harsher book and McCaslin, fourteen and fifteen and sixteen, had seen it and the boy himself had inherited it as Noah’s grandchildren had inherited the Flood although they had not been there to see the deluge: that dark corrupt and bloody time while three separate people had tried to adjust not only to one another but to the new land which they had created and inherited too and must live in for the reason that those who had lost it were no less free to quit it than those who had gained it were: – those upon whom freedom and equality had been dumped overnight and without warning or preparation or any training in how to employ it or even just endure it and who misused it not as children would nor yet because they had been so long in bondage and then so suddenly freed, but misused it as human beings always misused freedom, so that he thought Apparently there is a wisdom beyond even that learned through suffiring necessary for a man to distinguish between liberty and license; those who had fought for four years and lost to preserve a condition under which that franchisement was anomaly and paradox, for the old reasons for which man (not the generals and politicians but man) has always fought and died in wars: to preserve a status quo or to establish a better future one to endure for his children; and lastly, as if that were not enough for bitterness and hatred and fear, that third race even more alien to the people whom they resembled in pigment and in whom even the same blood ran, than to the people whom they did not, – that race threefold in one and alien even among themselves save for a single fierce aged Quartermaster lieutenants and Army sutlers and contractors in military blankets and shoes and transport mules, who followed the battles they themselves had not fought and inherited the conquest they themselves had not helped to gain, sanctioned and protected even if not blessed, and left their bones and in another generation would be engaged in a fierce economic competition of small sloven farms with the black men they were supposed to have freed and the white descendants of fathers who had owned no slaves anyway whom they were supposed to have disinherited and in the third generation would be back once more in the little lost country seats as barbers and garage mechanics and deputy sheriffs and mill- and gin-hands and power-plant firemen, leading, first in mufti then later in an actual formalized regalia of hooded sheets and passwords and fiery Christian symbols, lynching mobs against the race their ancestors had come to save: and of all that other nameless horde of speculators in human misery, manipulators of money and politics and land, who follow catastrophe and are their own protection as grasshoppers are and need no blessing and sweat no plow or axe-helve and batten and vanish and leave no bones, just as they derived apparently from no ancestry, no mortal flesh, no act even of passion or even of lust: and the Jew who came without protection too since after two thousand years he had got out of the habit of being or needing it, and solitary, without even the solidarity of the locusts and in this a sort of courage since he had come thinking not in terms of simple pillage but in terms of his great-grand-children, seeking yet some place to establish them to endure even though forever alien: and unblessed: a pariah about the face of the Western earth which twenty centuries later was still taking revenge on him for the fairy tale with which he had conquered it. …
William Faulkner (Go Down Moses)
The etiquette of the bothy and stable was equalled in rigidity only by that of the court of Louis IV. Each man had his place and was taught to keep it. For the second horseman to have gone into supper before the first horseman would have created as much indignation as an infringement of precedence at Versailles. The foreman was always the first to wash his face in the bothy at night; it was he who wound the alarm clock and set it for the morning, and so on and so on. The order of seniority was as strictly observed between the second horseman and the third, while the halflin always got the tarry end of the stick... But the foreman had pride of place in everything. He slept at the front end of the first bed - that is, nearest the fire; he sat at the top of the table in the kitchen; he worked the best pair of horses; and he had the right to make the first pass at the kitchen maid.
John R. Allan (Farmer's Boy)
Mom sends me another text with pictures of cakes she found on Pinterest for a gender reveal party. “How do you feel about having a gender reveal party?” Iask. “What is that?” Archer gets up to make a pot of coffee. “Basically a party announcing if the baby is a boy or girl. You don’t tell anyone until the end, and you pop a balloon with pink or blue confetti in it or something.” “And it’s a thing people donow?” “Yeah. If you have a halfway decent Instagram following and you don’t do one, people will wonder what’s wrong withyou.” Archer chuckles. “I don’t really care either way. Any excuse to have a party is good in my book. Do you want to haveone?” “I know they’re a little lame, but yeah.” I bite my lip, looking at the photos my mom sent. I haven’t told anyone besides my family and Marissa about the baby. I’m a modern woman with a successful job, and shouldn’t worry about people judging me over having a baby when I’m not married. But I do, just abit. “Then let’s doit.” Archer’s words make me smile. “My mom is going to go crazy over this. She wants to know where to have the party?” It’s a simple question, but I know it raises the same concerns to Archer too. He turns on the coffee maker and comes back to the table. “If you’re going to take impressive Instagram pictures, your parents’ farm has the perfect setting.” “I’m glad you have your priorities in check.” He nods. “I gotcha, babe. We’ll make sure to have everything posed perfectly. I’ll even take pictures of all my food before I eat it. Actually, we could invest in some of that realistic-looking fake food. I hear it photographs better.” I look at Archer, a big smile on my face. He makes it so easy tofall. “Good idea. Anything for the likes.” “Exactly. The number of likes is a direct correlation to how loved this baby is. We really have to step itup.
Emily Goodwin (End Game (Dawson Family, #2))
Anyway, we animals always settle our own quarrels without dragging Mr. Bean into it. Now if Peter were here, he could take that boy in hand without any fuss. A bear is about the only animal that his stones wouldn’t hurt. But as you know, Peter is spending some weeks with relatives in Herkimer County. “Now of course we can keep out of trouble by staying away from the side of the farm by the
Walter R. Brooks (Freddy and the Popinjay (Freddy the Pig Book 12))
Gib bit his bottom lip, taking a moment to plead in silence to the Goddess of Light. If ever she were to listen to the requests of a poor farm boy, this would be an ideal time. Daya, be merciful. We’ll lose half the field if there is a hard freeze tonight. This would surely spell disaster for his family as it had already been a rough year on the crops. With too little warmth and so much excess rain, the fields had resembled a bog for the better part of the season.
Shiriluna Nott (A Call to Arms (The Chronicles of Arden, #1))
When I was first called as a General Authority, we lived on a very small plot of ground in Utah Valley that we called our farm. We had a cow and a horse and chickens and lots of children. One Saturday, I was to drive to the airport for a flight to a stake conference in California. But the cow was expecting a calf and in trouble. The calf was born, but the cow could not get up. We called the veterinarian, who soon came. He said the cow had swallowed a wire and would not live through the day. I copied the telephone number of the animal by-products company so my wife could call them to come and get the cow as soon as she died. Before I left, we had our family prayer. Our little boy said our prayer. After he had asked Heavenly Father to “bless Daddy in his travels and bless us all,” he then started an earnest plea. He said, “Heavenly Father, please bless Bossy cow so that she will get to be all right.” In California, I told of the incident and said, “He must learn that we do not get everything we pray for just that easily.” There was a lesson to be learned, but it was I who learned it, not my son. When I returned Sunday night, Bossy had “got to be all right.” This process is not reserved for the prophets alone. The gift of the Holy Ghost operates equally with men, women, and even little children. It is within this wondrous gift and power that the spiritual remedy to any problem can be found. “And now, he imparteth his word by angels unto men, yea, not only men but women also. Now this is not all; little children do have words given unto them many times, which confound the wise and the learned” (Alma 32:23).
Boyd K. Packer (Truths Most Worth Knowing)
When he had ate his fill, and proceeded from the urgent first cup and necessary second to the voluntary third which might be toyed with at leisure, without any particular outcry seeming to suggest he should be on his guard, he leant back, spread the city’s news before him, and, by glances between the items, took a longer survey of the room. Session of the Common Council. Vinegars, Malts, and Spirituous Liquors, Available on Best Terms. Had he been on familiar ground, he would have been able to tell at a glance what particular group of citizens in the great empire of coffee this house aspired to serve: whether it was the place for poetry or gluttony, philosophy or marine insurance, the Indies trade or the meat-porters’ burial club. Ships Landing. Ships Departed. Long Island Estate of Mr De Kyper, with Standing Timber, to be Sold at Auction. But the prints on the yellowed walls were a mixture. Some maps, some satires, some ballads, some bawdy, alongside the inevitable picture of the King: pop-eyed George reigning over a lukewarm graphical gruel, neither one thing nor t’other. Albany Letter, Relating to the Behaviour of the Mohawks. Sermon, Upon the Dedication of the Monument to the Late Revd. Vesey. Leases to be Let: Bouwerij, Out Ward, Environs of Rutgers’ Farm. And the company? River Cargos Landed. Escaped Negro Wench: Reward Offered. – All he could glean was an impression generally businesslike, perhaps intersown with law. Dramatic Rendition of the Classics, to be Performed by the Celebrated Mrs Tomlinson. Poem, ‘Hail Liberty, Sweet Succor of a Briton’s Breast’, Offered by ‘Urbanus’ on the Occasion of His Majesty’s Birthday. Over there there were maps on the table, and a contract a-signing; and a ring of men in merchants’ buff-and-grey quizzing one in advocate’s black-and-bands. But some of the clients had the wind-scoured countenance of mariners, and some were boys joshing one another. Proceedings of the Court of Judicature of the Province of New-York. Poor Law Assessment. Carriage Rates. Principal Goods at Mart, Prices Current. Here he pulled out a printed paper of his own from an inner pocket, and made comparison of certain figures, running his left and right forefingers down the columns together. Telescopes and Spy-Glasses Ground. Regimental Orders. Dinner of the Hungarian Club. Perhaps there were simply too few temples here to coffee, for them to specialise as he was used.
Francis Spufford (Golden Hill)
He peered through a broken window and saw a face. The face of The Great Chaffalo. “You saved me, for certain,” declared Touch, his heart still banging away. “I’m mighty grateful, sir. And thankful for the horse.” For the first time Touch looked down at the high-legged stallion under him. It was a bay with a golden mane and a hide as fine as China silk. “More’n I reckoned for, sir!” Touch exclaimed. “A plow horse would have done me fine. This must be the prettiest horse this side of sunset.” “It is,” agreed The Great Chaffalo with an air of pride. “Although I might have done a tad better with the tail. I’m somewhat out of practice.” Touch felt bedazzled. “I can’t imagine how you do it, sir!” “A bit of straw and a touch of midnight,” remarked The Great Chaffalo with a lofty smile. “It was a secret passed on to me by a Hey Hey Man in the Black Forest. A fellow trickster.” And Touch said, “I was in the coach early this morning when you jumped on the roof.” “I do like to kick up my heels, now and then. Did I frighten you?” “No, sir. Not exactly. I was almighty curious, though. I’d never seen a haunt before.” “A haunt! I’ve never haunted anything. I regard that as slander. Do I look like a frail wisp of smoke?” “No, sir,” replied Touch quickly. “You look big as life.” “Bigger!” declared The Great Chaffalo, with a sharp lift of one eyebrow. “Of course, sir,” said Touch, becoming a little nervous. The magician kept piercing him with his black poster eyes. “You must swear not to tell anyone how you came by this horse,” said the Great Chaffalo. “I don’t want every farm boy turning up with a bundle of straw.” “I swear it, sir.” “Ride on, Touch.” And with a snap of his long fingers, The Great Chaffalo was gone.
Sid Fleischman (The Midnight Horse)
Meeting and Greeting 1. Use eye contact and smiling as your first contact with others. In doing so, you can scout out the friendly, approachable strangers in the room and feel immediately more at ease. 2. Be the first to say hello. Stay calm if you are left alone to mingle—large parties, forgetful hosts, and friendly guests make this situation inevitable. 3. Introduce yourself to others. Offer your hand and say: “Hello. My name is . . .” 4. As you shake hands, repeat the person’s name. “Nice to meet you, Jack.” This will help imprint the name in your own mind. 5. Make an extra effort to remember names and use them in conversation: “Don’t you agree, Jim?” This makes people feel special. 6. Go out of your way to meet new people. They may feel as out of place as you do: “Hi, I don’t believe we’ve met yet, I’m . . . “ or “I don’t know a soul.” 7. Ask neutral questions that are easy to answer to convey the message that you’d like to get to know this person better. 8. Be prepared to say something interesting about what you do—but in small doses. No one wants to hear you talk exclusively about yourself. 9. Communicate a sense of enthusiasm about the event at hand or life in general. Focus on the positive. 10. Look for passing comments that could open up a whole topic of conversation. “The New York subways were a real experience for this country boy” could lead to a discussion of childhood on the farm, adjusting to city life, public transportation. . . . Clothes, jewelry, and accessories also make excellent conversation pieces. It’s up to you to take the conversational ball and run with it, but be sure to pass it back to your teammate from time to time.
Jonathan Berent
Lois Lane was part of the Superman dynamic from the very start. The intrepid star newspaper reporter had made her first appearance in 1938’s Action Comics #1, the same issue where Superman made his debut. She was infatuated with the powerful, godlike Superman, while repulsed by his meek pantywaist alter ego, her rival reporter Clark Kent. Lois’ 1940s persona of tough crusading reporter was in the mold of Hollywood dames like Rosalind Russell. Lois’ tireless effort to get her next headline, along with her impulsive personality, often put her in danger, from which Superman would have to rescue her. But the 40s Lois was no pushover. She was a modern career woman, and her dream was to get her greatest scoop: Superman’s secret identity. The Superman/Lois Lane relationship had many complicated factors that would prevent a romance from ever reaching fruition, while still providing the right tension to sustain the relationship for decades. First off, they were literally from different worlds. Superman was the last survivor of the doomed planet Krypton, and was raised by simple midwestern farm folk. Lois Lane was very much a woman of 20th century America: emancipated, headstrong, and unwilling to take “no” for an answer. Superman’s timid farm boy Clark Kent persona crumbled before Lois’ ferocious, emasculating temperament, while his heroic Man of Steel found himself constantly confounded by her impetuous nature. Meanwhile, the very issue of Superman’s secret identity always threw a wrench into his romance with Lois. Besides the basic duplicity, Superman becomes his own rival, squelching any chance for a healthy relationship. Superman loves Lois Lane, but tries to win her heart as meek Clark Kent, with the rationale that he wants to be sure Lois really loves him for himself, not for his glamorous superhuman persona. But since he’s created a wallflower persona that Lois will never find attractive, he sabotages any chance for love. Lois, for her part, is enamored with Superman, yet has a burning desire to discover his secret identity. Lois never considers that she risks losing Superman’s love if she learns his secret identity, or that the world may lose its champion and protector. (...) If the Lois Lane of the ’40s owed much to the tough talking heroines of that decade’s screwball comedies, the Lois of the ’50s was defined by the medium of the new era—television.
Mike Madrid (The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines)
Her voice had a breathless, broken quality that suggested the fluty sexless timbre of a choir-boy’s notes (only choir-boys are seldom sexless, as many a harassed vicaress knows to her cost).
Stella Gibbons (Cold Comfort Farm)
The planter himself was of a type then common in the South. He was a large, coarse looking man, with an immense paunch, wore a broad-brimmed, home-made straw hat and butter nut jeans clothes. His trousers were of the old-fashioned, "broad-fall" pattern. His hair was long, he had a scraggy, sandy beard, and chewed "long green" tobacco continually and viciously. But he was shrewd enough to know that ugly talk on his part wouldn't mend matters, but only make them worse, so he stood around in silence while we took his corn, but he looked as malignant as a rattlesnake. His wife was directly his opposite in appearance and demeanor. She was tall, thin, and bony, with reddish hair and a sharp nose and chin. And goodness, but she had a temper! She stood in the door of the dwelling house, and just tongue-lashed us "Yankees," as she called us, to the full extent of her ability. The boys took it all good naturedly, and didn't jaw back. We couldn't afford to quarrel with a woman. A year later, the result of her abuse would have been the stripping of the farm of every hog and head of poultry on it,
John Edwin Stillwell (The Story of a Common Soldier of Army Life in the Civil War, 1861-1865)
She eventually adopted the “gold collar” and married a former U.S. ambassador to Russia, John Wallace Riddle. She achieved her goal of creating a progressive boys’ school as a memorial to her late father. She built it in Avon, Connecticut, and called it Avon Old Farms School, which exists today.
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
You don’t want to marry that farm boy, he is not going to make it anywhere.
A.J. Baime (The Accidental President: Harry S. Truman and the Four Months That Changed the World)
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 Unabridged Journals of Sylvia Plath)
I still am amazed at how it all came together. A lanky naïve Mennonite farm boy from the prairies of Canada falling in love with a world wise, beautiful southern girl from Central Florida sounds like a fairy tale! I remember the first time I laid eyes on her… there was just no way in the world that someone as beautiful as her would even notice me. Little did I know that she was having the same thoughts about me. For the life of me I had no idea what she saw in me and still don’t. I count my blessings daily and live in fear that I will be unmasked!
Franz Martens (Exposed: The untold story of what missionaries endure and how you can make all the difference in whether they remain in ministry.)
A snapshot of these forces pushing in the same direction may be found in an advertisement for tractors in a 1921 issue of the magazine Successful Farming entitled “Keep the Boy in School”: The
Steven Pinker (Enlightenment Now: The Case for Reason, Science, Humanism, and Progress)
Farm boy Davenport nodded. Pitts wondered when was the last time he’d seen a black woman up close and personal. Weeks? Months? Worse yet, she was his superior in this case, but so far, he seemed to be handling it okay.
Dan Ames (A Man Born For Battle: The Jack Reacher Cases)
It was farmers that took all that land and made it America...It was farmers that went over the mountains, and cleared the land, and settled it, and farmed it, and hung onto their land.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
woman came to our farm, asking if we had a young boy who was wandering the area at night. My brother was telling
Shalu Sharma (Real Ghost And Paranormal Stories From India)
Too many among us have bought into the collective hypnosis that those with extraordinary skill are cut from a different cloth and have been divinely blessed by The Gods of Exceptional Talent. But that just ain’t so,” observed the billionaire, a wisp of his farm boy manner emerging. “Dedication and discipline beats brilliance and giftedness every day of the week. And A-Players don’t get lucky. They make lucky. Each time you resist a temptation and pursue an optimization you invigorate your heroism. Every instant you do that which you know to be right over the thing that you feel would be easy, you facilitate your entry into the hall of fame of epic achievers.
Robin S. Sharma (The 5 AM Club: Own Your Morning. Elevate Your Life)
I have told the reader that Tim Gamelyn's father was a retired non-commissioned officer who lived near Dublin on a small private income and a pension. It will be seen that Tim's people did not roll in wealth any to speak of. They owned a small farm with five cows, twenty pigs and a flock of hens. There was beer always in the cellar, bacon hanging up in the kitchen and a bucket of soft soap in the out-house. In the top lean-to room where Tim slept, in the winter time the rain and sleet drifted cheerily in through the cracks and covered the army blankets which covered him. But he didn't lie awake thinking about it—boys like Tim who help on farms start playing shut-eye as soon as they hit the pillow. Old Sergeant Gamelyn came of an ancestry which,
Forbes Phillips (War and the Weird)
You boys ain’t but two weeks off the farm. Your mama probably gave you your last bath. You think you went through one battle and you’re soldiers now? I saw that boy fight for his cause. I saw him sicken and almost die for it. He sang around that fire when he had nothing left to sing. He sang for us. that boy gave everything and then he up and left and I say God bless him.
Kathy Hepinstall (Sisters of Shiloh)
Neither of us uttered a word about what happened. We never do. But I can't smudge it from my mind. The farm boys' sneering red faces. The runt shaking the fence. The brown lump of spit tobacco. The anguish in David's eyes. They don't know the first thing about us; they just hate us because we're black
Julia Scheeres (Jesus Land: A Memoir)
The jacket had a purpose, and so did the boy. His purpose in life was to travel, and, after two years of walking the Andalusian terrain, he knew all the cities of the region. He was planning, on this visit, to explain to the girl how it was that a simple shepherd knew how to read. That he had attended a seminary until he was sixteen. His parents had wanted him to become a priest, and thereby a source of pride for a simple farm family. They worked hard just to have food and water, like the sheep. He had studied Latin, Spanish, and theology. But ever since he had been a child, he had wanted to know the world, and this was much more important to him than knowing God and learning about man's sins. One afternoon, on a visit to his family, he had summoned up the courage to tell his father that he didn't want to become a priest. That he wanted to travel.
Paulo Coelho (The Alchemist)
Each one of use carries his own baggage, the baggage of his past, the record of his experiences and deeds, his foibles and his minor triumphs. It’s all there in the every-heavier baggage we bear through life.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
My father believed all children had work potential, no matter how young they were. Play was okay for town kids, he’d say, but country youth had to learn responsibility. More importantly, their labor was genuinely needed.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
Off across the dark fields from spring to late fall, farmers break the blackness with lighted machinery – ever mindful of the caprice of weather that could make that night work the only guarantee for crucial field work to be done on schedule.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
The hungry boy on a farm may not be able to get into the cookie jar at times, but it’s hard to keep him out of the garden.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
Winter’s continuum – its prolonged and erratic way of mingling pleasant days with cheerless weeks – holds farm activities in somber check until that season finally breaks its hold.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
A common farm expression was, “If you don’t have anything else to do, you can fix fence.” Fences are like friendships. They need constant maintenance to keep them up.
Lawn Griffiths (BATTING ROCKS OVER THE BARN: An Iowa Farm Boy's Odyssey)
The Union, now being in alliance with the ship-owners, could not very well see eye to eye with the average wants and desires of boys. The boys remained boys all their lives and for ever. They accepted a black mark upon the brow, their eyes became black too, their hands, rather than those of children, which many of them were, resembled those of farm labourers.
James Hanley (Boy)
Intelligence is the decisive factor in planning guerrilla operations. Where is the enemy? In what strength? What does he propose to do? What is the state of his equipment, his supply, his morale? Are his leaders intelligent, bold, and imaginative or stupid and impetuous? Are his troops tough, efficient, and well disciplined, or poorly trained and soft? Guerrillas expect the members of their intelligence service to provide the answers to these and dozens more detailed questions. “Guerrilla intelligence nets are tightly organized and pervasive. In a guerrilla area, every person without exception must be considered an agent — old men and women, boys driving ox carts, girls tending goats, farm laborers, storekeepers, schoolteachers, priests, boatmen, scavengers. The local cadres “put the heat” on everyone, without regard to age or sex, to produce all conceivable information. And produce it they do.
Sebastian Marshall (PROGRESSION)
Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.
Carmine Gallo (The Storyteller's Secret: From TED Speakers to Business Legends, Why Some Ideas Catch On and Others Don't)
He was always saying: “Don’t get ideas above your station. Don’t think you’re anything special.” When the boys in their high spirits declared that they wanted to become professional footballers when they grew up, or lawyers or millionaires, he would always snap back: “One should know one’s place!” He was stingy when it came to praise and encouragement, and certainly when it came to money. He distilled his own spirits, ate the meat of animals which he himself had shot or slaughtered, and the farm was as good as self-sufficient. Nothing was ever bought unless heavily discounted or in a
David Lagercrantz (The Girl Who Takes an Eye for an Eye (Millennium, #5))
Eventually, due to a bug, it became possible to create obsidian by making lava flow into redstone dust that is placed next to a block of flowing water. This glitch was so useful that the developers decided to leave it in.   A
BlockBoy (Farming Handbook for Minecraft: Master Farming in Minecraft: Create XP Farms, Plant Farms, Resource Farms, Ranches and More! (Unofficial Minecraft Guide) (MineGuides))
Her Grace is coming to High Scape,” Karish said quietly. I scraped some soap from the bar into the sink. “Who?” “The Dowager Duchess of Westsea.” I hesitated a moment. His mother. “Well, it’s been a good while since you’ve seen her.” I handed him a soapy dish. He snorted. “I’ve gone a good seventeen years without seeing her.” What could I say to that? “Oh.” “Apparently she had been on some kind of retreat in the country—” “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.” “Anyway,” he continued, but he looked a little less grim, which had been the point of the interruption. “The gossip failed to catch up with her at the rustic chalet where she was meditating or whatever,” he sneered at the word ‘meditating, ’ “and she only recently learned that I had abjured the title.” “Ah.” I could see where this was going. “Displeased, was she?” The sound he made might have been a breathy laugh. “Furious. Enraged. Maddened. I fear for the life of the poor servant who handed the letter to her.” He opened a cabinet—the correct one, as it happened—and placed the dish inside.
Moira J. Moore (The Hero Strikes Back (Hero, #2))
Paw, paw, paw. On his shirt. “Fucking hell.” He gave in and rubbed that black belly. “And no, I don’t need anything.” The purring got so loud, he had to lean in to the butler. “What did you say?” “I’m happy to oblige whatever you require.” “Yeah. I know. But I’m going to take care of my brother. No one else. Are we clear.” The cat was now rubbing its head into his pec. Then stretching up into the itching. Oh, God, this was awful—especially as the butler’s already droopy face sagged down to what were no doubt knobby knees. “Ah, shit, Fritz—” “Is he ill?” iAm closed his eyes briefly as the female voice registered. Fantastic. Another party heard from. “He’s fine,” iAm said without looking at the Chosen Selena. Leaving the kibitzers in the dust, he went into the pantry with the freeloading cat and . . . Right. How was he going to get the load of post-migraine recovery rations down from the shelves with his arms full of— What was its name? Fine. It was G*dd*mn Cat, then. Looking down into those wide, contented eyes, iAm thinned his lips as he rubbed under its chin. Behind an ear. “Okay, enough with this.” He played with one of the paws. “I gotta put you down now.” Assuming control, he took the cat out of its recline and went to put it down on the— Somehow the thing managed to claw its way into the very fibers of his fleece and hang off the front of him like a tie. “Are you kidding me.” More purring. A blink of those luminous eyes. An expression of self-possession that iAm took to mean this interaction was going to go the cat’s way—and no one else’s. “Mayhap I shall help?” Selena asked softly. iAm bit out a curse and glared at the cat. Then at the Chosen. But short of taking off his pullover? G*dd*mn Cat was sticking with him. “I need some of those Milanos up there?” The Chosen reached up and took a bag from the Pepperidge Farm munchie department. “And he’s going to need some of those tortilla chips.” “Plain or the lime flavor?” “Plain.” iAm gave up the ghost and resumed servicing G*dd*mn—and the cat immediately went into full La-Z-Boy again. “He’s going to want one of the Entenmann’s pound cakes. And we’re going to bring him three ice-cold Cokes, two big Poland Springs, room temperature, and a partridge in a pear tree.” -Boo, iAm, Fritz, & Selena
J.R. Ward (The King (Black Dagger Brotherhood, #12))
To: Mel Fuller From: [email protected] Subject: Dinner You got it. I’ll make reservations for eight. I hope you know what you’re doing, however, letting me choose the restaurant. I am very partial to entrails, you know. John To: [email protected] From: Mel Fuller Subject: I don’t believe you You’re just trying to scare me. I grew up on a farm. We had entrails on toast every morning for breakfast. Mel To: Mel Fuller From: [email protected] Subject: Now you’re scaring me. See you at six. John
Meg Cabot (The Boy Next Door (Boy, #1))
She looked like the sexiest librarian he’d ever seen. And boy, do I want to look at books with her.
Amanda Ashby (Falling for the Best Man (Sisters of Wishing Bridge Farm, #1))
What are you doing behind my cornstalks? There was to be no pumpkin-pie-eating for you,” said the angry voice of the spirit that lived in the scarecrow. Shaking with fear, Angus turned to face the scarecrow, and the pie fell to the earth. “I…I was hungry and didn’t think Mom would mind,” said Angus. But Angus’s excuse only made the spirit angrier, and he shouted at Angus. “You were told to go to bed and to eat no pie.” And swinging the great scarf he wore like long arms flapping in the wind, the scarecrow turned Angus into a little dog. “Because you now have fur the color of fallen leaves, you will be called Autumn,” the scarecrow said as he made another swirl of his great scarf. “And because you stole and ate your mother’s pie, every night you will climb the ladder to the barn loft and guard a magic pumpkin until a forgiving soul carves it and releases the power to change you back to a boy.” The scarecrow spirit spoke in a voice as chilling as the cold which ruffled the cornstalks standing beneath him. As Autumn ran back to the farm he tried to think of a way to get someone up to the loft to carve the magic pumpkin. But thinking is not easy when you have just been changed into dog. So no ideas came to him. Great sadness now fell over the farm and the daily tasks were done with little joy. “Maybe Angus just ran away,” Angus’s mother said in a voice full of sorrow. “Or maybe he’s been taken over the fields by an angry spirit,” said his father. “Well, at least we have him,” the mother said, pointing to the playful little dog that had suddenly come to the farm and during the day always kept her company. But when evening came Autumn slipped away and sadly climbed the steep ladder to the barn loft. There he lay with his head next to the magic pumpkin, guarding it through the night. Sometimes he thought he could almost hear sounds from deep within the pumpkin. As if messages from the sun and the moon somehow entered through the pumpkin’s stem to rest among the silent seeds.
David Ray (Pumpkin Light)
Think of it like a fast-food franchise, the informant said, like a pizza delivery service. Each heroin cell or franchise has an owner in Xalisco, Nayarit, who supplies the cell with heroin. The owner doesn’t often come to the United States. He communicates only with the cell manager, who lives in Denver and runs the business for him. Beneath the cell manager is a telephone operator, the informant said. The operator stays in an apartment all day and takes calls. The calls come from addicts, ordering their dope. Under the operator are several drivers, paid a weekly wage and given housing and food. Their job is to drive the city with their mouths full of little uninflated balloons of black tar heroin, twenty-five or thirty at a time in one mouth. They look like chipmunks. They have a bottle of water at the ready so if police pull them over, they swig the water and swallow the balloons. The balloons remain intact in the body and are eliminated in the driver’s waste. Apart from the balloons in their mouths, drivers keep another hundred hidden somewhere in the car. The operator’s phone number is circulated among heroin addicts, who call with their orders. The operator’s job, the informant said, is to tell them where to meet the driver: some suburban shopping center parking lot—a McDonald’s, a Wendy’s, a CVS pharmacy. The operators relay the message to the driver, the informant said. The driver swings by the parking lot and the addict pulls out to follow him, usually down side streets. Then the driver stops. The addict jumps into the driver’s car. There, in broken English and broken Spanish, a cross-cultural heroin deal is accomplished, with the driver spitting out the balloons the addict needs and taking his cash. Drivers do this all day, the guy said. Business hours—eight A.M. to eight P.M. usually. A cell of drivers at first can quickly gross five thousand dollars a day; within a year, that cell can be clearing fifteen thousand dollars daily. The system operates on certain principles, the informant said, and the Nayarit traffickers don’t violate them. The cells compete with each other, but competing drivers know each other from back home, so they’re never violent. They never carry guns. They work hard at blending in. They don’t party where they live. They drive sedans that are several years old. None of the workers use the drug. Drivers spend a few months in a city and then the bosses send them home or to a cell in another town. The cells switch cars about as often as they switch drivers. New drivers are coming up all the time, usually farm boys from Xalisco County. The cell owners like young drivers because they’re less likely to steal from them; the more experienced a driver becomes, the more likely he knows how to steal from the boss. The informant assumed there were thousands of these kids back in Nayarit aching to come north and drive some U.S. city with their mouths packed with heroin balloons.
Sam Quinones (Dreamland: The True Tale of America's Opiate Epidemic)
Having tasted defeat, the Navy was starting to come back to appreciating the unpolished strengths of the Georgia farm boys who found themselves under gentle persecution on board Commander Wylie’s Fletcher. A rebel yell and a blast of powder. That and a little planning and technical proficiency would carry the day.
James D. Hornfischer (Neptune's Inferno: The U.S. Navy at Guadalcanal)
The Falcon had taken him away from Tatooine decades ago—a shell-shocked farm boy hurled into the middle of a galactic civil war he’d wrongly assumed would never touch him, his step-parents, or his friends. He wondered what that Luke Skywalker would think of what he’d become.
Jason Fry (The Last Jedi: Expanded Edition (Exclusive Edition) (Star Wars))
Yet Ford was also a widely admired, even beloved, figure in the United States, especially in the Midwest. A “poor farm boy who made good,” the plainspoken businessman was revered by many rural Americans as a folk hero, alongside such presidents as Washington and Lincoln.
Steven Levitsky (How Democracies Die)
... 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
destiny by the throat and wring its neck. My Japanese name is Masaji Ishikawa, and my Korean name is Do Chan-sun. I was born (for the first time) in the neighborhood of Mizonokuchi in the city of Kawasaki, just south of Tokyo. It was my misfortune to be born between two worlds—to a Korean father and a Japanese mother. Mizonokuchi is an area of gently sloping hills that now grows crowded on the weekends with visitors from Tokyo and Yokohama seeking an escape from the city and some fresh air. But sixty years ago, when I was a child, it consisted of little more than a few farms, with irrigation canals that led from the Tama River running between them. Back then, the irrigation canals were used not just for farming but also for household tasks like laundry and washing dishes. As a boy, I spent long summer days playing in the canals. I’d
Masaji Ishikawa (A River in Darkness: One Man's Escape from North Korea)
Inquest juries frequently linked suicide to cheap literature. When a twelve-year-old servant boy hanged himself in Brighton in 1892, the jury delivered a verdict of ‘suicide during temporary insanity, induced by reading trashy novels’. When a twenty-one-year-old farm labourer in Warwickshire shot himself in the head in 1894, the coroner suggested that the fifty penny dreadfuls found in his room had had ‘an unhinging and mesmeric effect’ upon his mind.
Kate Summerscale (The Wicked Boy: The Mystery of a Victorian Child Murderer)
Miss Elton, who found the conversation increasingly distressing, got up, murmured a quick good night . . . and went to her room. During the bellicose talk in the lounge, the ghosts of Frank Durrant, Madeleine, Arvid and Mr. Sorenius seemed to be slipping further and further away with their own receding world. And what was one offered in exchange for this world of the dead? A future in which all signposts pointed to war and the ruin of all those useless little things which made life worth living. And then, as if provoked by the contrast of the speeches and ideas to which she had just been listening, a flood of images, each of them a small part of her life at Ashleigh Place, swept through her mind with an overwhelming suddenness—a walk on a windy autumn afternoon to the farm with a message about eggs, cartloads of logs coming before Christmas to be stacked in the stables, the remodelling of the rose-garden, with Mrs. Durrant setting the new labels in their places, two swans which spent a season on the little River Mene at the foot of the western slope, and the sudden appearance of a kingfisher by those fitful waters, the endless cooing of wood-pigeons in the trees round the house, the catch whistled by the baker's boy as he jumped out of his bright little van, the tick of the huge grandfather clock in the darkest corner of the hall, the pattern of the old-fashioned tiles in the bathroom which she had used, cockchafers beating against the windows on hot summer nights, the scent of the tobacco plants in the round bed near the drawing-room, an expedition to the woods on a grey day to cut mistletoe. . . .
C.H.B. Kitchin (The Auction Sale)
glamorous Italian supermodels being wooed by American farm boys,
Rita Gunther McGrath (The End of Competitive Advantage: How to Keep Your Strategy Moving as Fast as Your Business)
I'll give that boy the farm Heinrich couldn't take. Write me his name and address on a coaster. All the most important messages are sent on beer mats...
Heinrich Böll (Billiards at Half-Past Nine)
them again, and all would change to dull reality--the grass would be only rustling in the wind, and the pool rippling to the waving of the reeds--the rattling teacups would change to tinkling sheep- bells, and the Queen's shrill cries to the voice of the shepherd boy--and the sneeze of the baby, the shriek of the Gryphon, and all thy other queer noises, would change (she knew) to the confused clamour of the busy farm-yard--while the lowing of the cattle in the distance would take the place of the Mock Turtle's heavy sobs. Lastly, she pictured to herself
Lewis Carroll (Alice's Adventures in Wonderland (Alice's Adventures in Wonderland, #1))
Twelve secret presses printed the text in Germany. A clandestine network of couriers carried copies to every parish. Catholic youth used backpack caravans and hiked through the Bavarian Alps, the Black Forest, and along the Rhine. Altar boys pedaled bicycles at night. High school athletes ran across barley farms. Nuns rode motorcycles to remote villages. In church confessional booths, the couriers delivered their cargo to priests. The priests locked the text in their tabernacles, and on Palm Sunday, they read it from every pulpit in the Reich.29
Mark Riebling (Church of Spies: The Pope's Secret War Against Hitler)
Thought you might like some help around here.” The children raced down the porch steps. Sheriff Jeffries swung Dan up in the air, but his eyes never left my face. I bit my lip and concentrated on Janie as she painted the shoulder of my clean blouse with her half-gnawed teacake. I sighed. Maybe I could make myself a bigger apron. I switched Janie from one hip to the other. In spite of my worry over Arthur and Mama, the sight of the sheriff set me in a more playful mood. “Do we need help?” I hollered. “Well, let me see. I don’t know as we have any lawbreakers to be hauled off to jail. You boys seen any outlaws?” Dan and James giggled, and the sheriff grinned as he swiped his hat from his head and twirled it round and round his fingers. “Figured you might like a break from farm chores. I don’t imagine it’s easy for a slip of a girl like you to take care of it all.” I pulled my shoulders back and lifted my chin, my good humor retreating a bit. “I do just fine, thank you.” He held up his hands. “I didn’t mean to imply otherwise. Just bein’ neighborly.” I studied his eager eyes, trying to decide if I should be offended or flattered. But unlike Mama, I never could stay offended long. I threw him a grin. “You do the rest of my barnyard work, and I promise a filling dinner in return.” “My pleasure.” He bowed at the waist and slapped his hat on his head. Now it was my turn to blush. Help sounded wonderful, as did company, but did I sense something more in his manner? I ought to turn the conversation to Arthur during dinner. That would make it clear that my future was spoken for.
Anne Mateer (Wings of a Dream)
The Ukrainian man told us that the Russians came in twice and took his farm, all of his grain that he grew, and that they did this to everyone. He was a boy the first time, in the 1920s, a teenager I think. His father argued with the official, and they shot him on the spot. Then they came again just a few years before the war, and again they took everything.
Colin D. Heaton (The German Aces Speak II: World War II Through the Eyes of Four More of the Luftwaffe's Most Important Commanders)
you have to come to terms with the fact that you’ve really only got yourself in life, and if you don’t make yourself happy someone else isn’t going to make you happy. Too many people clutch onto someone else, looking for security and acceptance.
Will Fellows (Farm Boys: Lives of Gay Men from the Rural Midwest)