Freeway Quotes

We've searched our database for all the quotes and captions related to Freeway. Here they are! All 200 of them:

The paradox of our time in history is that we have taller buildings but shorter tempers, wider Freeways, but narrower viewpoints. We spend more, but have less, we buy more, but enjoy less. We have bigger houses and smaller families, more conveniences, but less time. We have more degrees but less sense, more knowledge, but less judgment, more experts, yet more problems, more medicine, but less wellness. We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch TV too much, and pray too seldom. We have multiplied our possessions, but reduced our values. We talk too much, love too seldom, and hate too often. We've learned how to make a living, but not a life. We've added years to life not life to years. We've been all the way to the moon and back, but have trouble crossing the street to meet a new neighbor. We conquered outer space but not inner space. We've done larger things, but not better things. We've cleaned up the air, but polluted the soul. We've conquered the atom, but not our prejudice. We write more, but learn less. We plan more, but accomplish less. We've learned to rush, but not to wait. We build more computers to hold more information, to produce more copies than ever, but we communicate less and less. These are the times of fast foods and slow digestion, big men and small character, steep profits and shallow relationships. These are the days of two incomes but more divorce, fancier houses, but broken homes. These are days of quick trips, disposable diapers, throwaway morality, one night stands, overweight bodies, and pills that do everything from cheer, to quiet, to kill. It is a time when there is much in the showroom window and nothing in the stockroom. A time when technology can bring this letter to you, and a time when you can choose either to share this insight, or to just hit delete... Remember, to spend some time with your loved ones, because they are not going to be around forever. Remember, say a kind word to someone who looks up to you in awe, because that little person soon will grow up and leave your side. Remember, to give a warm hug to the one next to you, because that is the only treasure you can give with your heart and it doesn't cost a cent. Remember, to say, "I love you" to your partner and your loved ones, but most of all mean it. A kiss and an embrace will mend hurt when it comes from deep inside of you. Remember to hold hands and cherish the moment for someday that person might not be there again. Give time to love, give time to speak! And give time to share the precious thoughts in your mind.
Bob Moorehead (Words Aptly Spoken)
My childhood is streets upon streets upon streets upon streets. Streets to define you and streets to confine you, with no sign of motorway, freeway or highway.
Morrissey (Autobiography)
The genius of the current caste system, and what most distinguishes it from its predecessors, is that it appears voluntary. People choose to commit crimes, and that's why they are locked up or locked out, we are told. This feature makes the politics of responsibility particularly tempting, as it appears the system can be avoided with good behavior. But herein lies the trap. All people make mistakes. All of us are sinners. All of us are criminals. All of us violate the law at some point in our lives. In fact, if the worst thing you have ever done is speed ten miles over the speed limit on the freeway, you have put yourself and others at more risk of harm than someone smoking marijuana in the privacy of his or her living room. Yet there are people in the United States serving life sentences for first-time drug offenses, something virtually unheard of anywhere else in the world.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
Half-drunk on well-creamed gas station coffee and the exhilarating loneliness of a freeway in nighttime...
John Green (An Abundance of Katherines)
You can only cruse the boulevards of regret so far, and then you've got to get back up onto the freeway again.
Thomas Pynchon (Inherent Vice)
I guess I´m too used to sitting in a small room and making words do a few things. I see enough of humanity at the racetracks, the supermarkets, gas stations, freeways, cafes, etc. This can´t be helped. But I feel like kicking myself in the ass when I go to gatherings, even if the drinks are free. It never works for me. I´ve got enough clay to play with. People empty me. I have to get away to refill. I´m what´s best for me, sitting here slouched, smoking a beedie and watching this creen flash the words. Seldom do you meet a rare or interesting person. It´s more than galling, it´s a fucking constant shock. It´s making a god-damned grouch out of me. Anybody can be a god-damned grouch and most are. Help!
Charles Bukowski (The Captain is Out to Lunch and the Sailors Have Taken Over the Ship)
Let us take care of ourselves instead of burning out in the long run. The path of our inner world is not an irreversible freeway to immutable integrity. Let us thus leave room for some probing during the fast and furious assault of the wishful targets throughout our lives. We need not feel demeaned either when we waver in facing the hassling crossroads coming up or must admit needing incidental backing or feel compelled to accept to question ourselves to the bottom. ("Poste Restante")
Erik Pevernagie
A working brain is probably a lot like a map, where anybody can get from one place to another on the freeways. It's the nonworking brains that get blocked, that have dead ends, that are under construction like mine.
Ned Vizzini (It's Kind of a Funny Story)
There are new gods growing in America, clinging to growing knots of belief: gods of credit card and freeway, of Internet and telephone, of radio and hospital and television, gods of plastic and of beeper and of neon. Proud gods, fat and foolish creatures, puffed up with their own newness and importance. "They are aware of us, they fear us, and they hate us," said Odin. "You are fooling yourselves if you believe otherwise.
Neil Gaiman (American Gods (American Gods, #1))
There's a small balcony here, the door is open and I can see the lights of the cars on the Harbor Freeway south, they never stop, that roll of lights, on and on. All those people. What are they doing? What are they thinking? We're all going to die, all of us, what a circus! That alone should make us love each other but it doesn't.
Charles Bukowski (The Captain is Out to Lunch and the Sailors Have Taken Over the Ship)
Two wrongs don't make a right. No, but three will get you back on the freeway!
Rita Mae Brown
The setting sun burned the sky pink and orange in the same bright hues as surfers' bathing suits. It was beautiful deception, Bosch thought, as he drove north on the Hollywood Freeway to home. Sunsets did that here. Made you forget it was the smog that made their colors so brilliant, that behind every pretty picture there could be an ugly story.
Michael Connelly (The Black Echo (Harry Bosch Universe, #1))
You can only cruise the boulevards of regret so far, and then you've got to get back up onto the freeway again.
Thomas Pynchon (Inherent Vice)
There's this primary America of freeways and jet flights and TV and movie spectaculars, and people caught up in this primary America seem to go through huge portions of their lives without much consciousness of what immediately surrounds them. The media have convinced them that what's right around them is unimportant. And that's why they're lonely.
Robert M. Pirsig (Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values (Phaedrus, #1))
when I drive the freeways I see the soul of humanity of my city and it's ugly, ugly, ugly: the living have choked the heart away.
Charles Bukowski (You Get So Alone at Times That it Just Makes Sense)
startling! such determination in the dull and uninspired and the copyists. they never lose the fierce gratitude for their uneventfulness, nor do they forget to laugh at the wit of slugs; as a study in diluted senses they'd make any pharaoh cough up his beans; in music they prefer the monotony of dripping faucets; in love and sex they prefer each other and therefore compound the problem; the energy with which they propel their uselessness (without any self-doubt) toward worthless goals is as magnificent as cow shit. they produce novels, children, death, freeways, cities, wars, wealth, poverty, politicians and total areas of grandiose waste; it's as if the whole world is wrapped in dirty bandages. it's best to take walks late at night. it's best to do your business only on Mondays and Tuesdays. it's best to sit in a small room with the shades down and wait. the strongest men are the fewest and the strongest women die alone too.
Charles Bukowski (The People Look Like Flowers at Last)
This is the one thing I hope: that she never stopped. I hope when her body couldn't run any farther she left it behind like everything else that tried to hold her down, she floored the pedal and she went like wildfire, streamed down night freeways with both hands off the wheel and her head back screaming to the sky like a lynx, white lines and green lights whipping away into the dark, her tires inches off the ground and freedom crashing up her spine.
Tana French (The Likeness (Dublin Murder Squad, #2))
Meg turned and gazed out the rear windshield, probably checking for any shiny blobs pursuing us. “At least we’re not being—” “Don’t say it,” Percy warned. Meg huffed. “You don’t know what I was going to—” “You were going to say, ‘At least we’re not being followed,’” Percy said. “That’ll jinx us. Immediately we’ll notice that we are being followed. Then we’ll end up in a big battle that totals my family car and probably destroys the whole freeway. Then we’ll have to run all the way to camp.” Meg’s eyes widened. “You can tell the future?” "Don’t need to.” Percy changed lanes to one that was crawling slightly less slowly. “I’ve just done this a lot.
Rick Riordan (The Hidden Oracle (The Trials of Apollo, #1))
[The modern age] knows nothing about isolation and nothing about silence. In our quietest and loneliest hour the automatic ice-maker in the refrigerator will cluck and drop an ice cube, the automatic dishwasher will sigh through its changes, a plane will drone over, the nearest freeway will vibrate the air. Red and white lights will pass in the sky, lights will shine along highways and glance off windows. There is always a radio that can be turned to some all-night station, or a television set to turn artificial moonlight into the flickering images of the late show. We can put on a turntable whatever consolation we most respond to, Mozart or Copland or the Grateful Dead.
Wallace Stegner (Angle of Repose)
People are afraid to merge on freeways in Los Angeles. This is the first thing I hear when I come back to the city. Blair picks me up from LAX and mutters this under her breath as she drives up the onramp. She says, "People are afraid to merge on freeways in Los Angeles." Though that sentence shouldn't bother me, it stays in my mind for an uncomfortably long time. Nothing else seems to matter. Not the fact that I'm eighteen and it's December and the ride on the plane had been rough and the couple from Santa Barbara, who were sitting across from me in first class, had gotten pretty drunk. Not the mud that had splattered on the legs of my jeans, which felt kind of cold and loose, earlier that day at an airport in New Hampshire. Not the stain on the arm of the wrinkled, damp shirt I wear, a shirt which looked fresh and clean this morning. Not the tear on the neck of my gray argyle vest, which seems vaguely more eastern than before, especially next to Blair's clean tight jeans and her pale-blue shirt. All of this seems irrelevant next to that one sentence. It seems easier to hear that people are afraid to merge than "I'm pretty sure Muriel is anorexic" or the singer on the radio crying out about magnetic waves. Nothing else seems to matter to me but those ten words. Not the warm winds, which seem to propel the car down the empty asphalt freeway, or the faded smell of marijuana which still faintly permeates Blaire's car. All it comes down to is the fact that I'm a boy coming home for a month and meeting someone whom I haven't seen for four months and people are afraid to merge.
Bret Easton Ellis (Less Than Zero)
His view of the world is one that keeps his blood pressure low, sweeping the cholesterol from his relaxed, freeway-sized arteries. Everyone knows he is going to live till age ninety, although the question that goes begging is, “for what?
Steve Martin (Shopgirl)
Like so many named places in California it was less an identifiable city than a grouping of concepts--census tracts, special purpose bond-issue districts, shopping nuclei, all overlaid with access roads to its own freeway.
Thomas Pynchon (The Crying of Lot 49)
The high road of grace will get you somewhere a whole lot faster then the freeway of spite.
Aaron Lauritsen (100 Days Drive: The Great North American Road Trip)
No cop was ever born who isn't a sucker for a finely-executed hi-speed Controlled Drift all the way around one of those clover-leaf freeway interchanges. Few people understand the psychology of dealing with a highway traffic cop. Your normal speeder will panic and immediately pull over to the side when he sees the big red light behind him... and then we will start apologizing begging for mercy. This is wrong. It arouses contempt in the cop-heart. The thing to dowhen you're running along about a hundred or so and you suddenly find a red-flashing CHP-tracker on your trail what you want to do then is accelerate.
Hunter S. Thompson (Fear and Loathing in Las Vegas)
It is like sitting in a traffic jam on the San Diego Freeway with your windows rolled up and Portuguese music booming out of the surround-sound speakers while animals gnaw on your neck and diseased bill collectors hammer on your doors with golf clubs.
Hunter S. Thompson
This is just one of those annoying and unjust differences between you and your younger sibling...I was probably fifteen before I could go to a friend's house without giving mom an FBI dossier on the people; Bex can practically hitchhike on the freeway with a mere "Have fun, honey.
Deb Caletti (The Fortunes of Indigo Skye)
People are afraid to merge on freeways in Los Angeles.
Bret Easton Ellis
What else? I also believe that if someone comes up behind you on the freeway and flashes their lights to get you to move into the slow lane, they deserve whatever punishment you dole out to them. I promptly slow down and drive at the same speed as the car beside me so that I can punish Speed Racer for his impertinence. Actually, it’s not the impertinence I’m punishing him for, it’s that he let other people know what he wanted. Speed Racer, my friend, never ever let people know what you want. Because if you do, you might as well send them engraved invitations saying, “Hi, this is what I want you to prevent me from ever having.
Douglas Coupland (The Gum Thief)
Anxiety is like being in freeway traffic all the time. There's the constant sense of dodging and darting, seeking your chance to cut in, the irritation of others pulling ahead of you. You hit the accelerator, you slam the brakes. You scout and scan for danger.
Deb Caletti (A Heart in a Body in the World)
I tell you this not as aimless revelation but because I want you to know, as you read me, precisely who I am and where I am and what is on my mind. I want you to understand exactly what you are getting: you are getting a woman who for some time now has felt radically separated from most of the ideas that seem to interest people. You are getting a woman who somewhere along the line misplaced whatever slight faith she ever had in the social contract, in the meliorative principle, in the whole grand pattern of human endeavor. Quite often during the past several years I have felt myself a sleepwalker, moving through the world unconscious of the moment’s high issues, oblivious to its data, alert only to the stuff of bad dreams, the children burning in the locked car in the supermarket parking lot, the bike boys stripping down stolen cars on the captive cripple’s ranch, the freeway sniper who feels “real bad” about picking off the family of five, the hustlers, the insane, the cunning Okie faces that turn up in military investigations, the sullen lurkers in doorways, the lost children, all the ignorant armies jostling in the night. Acquaintances read The New York Times, and try to tell me the news of the world. I listen to call-in shows.
Joan Didion (The White Album)
Life was radical right after I met the monster. Later, life became harder, complicated. Ultimately, a living hell, like swimming against a riptide, Walking the wrong direction in the fast lane of the freeway, Waking from sweetest dreams to find yourself in the middle of a nightmare.
Ellen Hopkins (Glass (Crank, #2))
Would you like to watch TV or get between the sheets and contemplate this violent freeway, would you like something to eat would you like to learn to fly would ya, would you like to see me try
Roger Waters
The Santa Monica Freeway is traditionally the scene of every form of automotive folly known to man. It is not white and well-bred like the San Diego, nor as treacherously engineered as the Pasadena, nor quite as ghetto-suicidal as the Harbor. No, one hesitates to say it, but the Santa Monica is a freeway for freaks.
Thomas Pynchon (Gravity's Rainbow)
the rain is coming. little sister, the night broke. the thunder cracked my brain finally. the rain is coming, i promise you. i didn’t mean to but your tears will bring life back. purple flowers grow, the colour blood looks in the veins. they’ll sprout out of my chest. i promise you they’ll crack the ground, grow over the freeways, down the slopes to the sea. i’ll be in their faces. i’ll be in the waves, coming down from the sky. i’ll be inside the one who holds you. and then i won’t be.
Francesca Lia Block (Wasteland)
From a distance,' he says, 'my car looks just like every other car on the freeway, and Sarah Byrnes looks just like the rest of us. And if she's going to get help, she'll get it from herself or she'll get it from us. Let me tell you why I brought this up. Because the other day when I saw how hard it was for Mobe to go to the hospital to see her, I was embarrassed that I didn't know her better, that I ever laughed at one joke about her. I was embarrassed that I let some kid go to school with me for twelve years and turned my back on pain that must be unbearable. I was embarrassed that I haven't found a way to include her somehow the way Mobe has.' Jesus. I feel tears welling up, and I see them running down Ellerby's cheeks. Lemry better get a handle on this class before it turns into some kind of therapy group. So,' Lemry says quietly, 'your subject will be the juxtaposition of man and God in the universe?' Ellerby shakes his head. 'My subject will be shame.
Chris Crutcher (Staying Fat for Sarah Byrnes)
The better you get, the less you run around showing off as a muscle guy. You know, you wear regular shirts-not always trying to show off what you have. You talk less about it. It's like you have a little BMW - you want to race the hell out of this car, because you know it's just going 110. But if you see guys driving a ferrari or a lamborghini, they slide around at 60 on the freeway because they know if they press on that accelerator they are going to go 170. These things are the same in every field.
Arnold Schwarzenegger
From the window, I watch the city and the freeway. In the distance, the sky-rises look like mystic spires, unbearably close and far. I want to pick them up and eat them. I want to scream out loud sometimes, but I never do.
Brenna Yovanoff (An Infinite Thread - A Merry Sisters of Fate Anthology (Vol. 1))
Reading LOVE JUNKIE is like watching a sleepwalker taking a stroll on a freeway. All you can do is pray. Gorgeously written, piercingly honest.
Janet Fitch (White Oleander)
you are on the freeway threading through traffic now, moving both towards something and towards nothing at all as you punch the radio on and get Mozart, which is something, and you will somehow get through the slow days and the busy days and the dull days and the hateful days and the rare days, all both so delightful and so disappointing because we are all so alike and so different.
Charles Bukowski (The Night Torn Mad With Footsteps)
How does anyone ever know anything—the past is a fog that breathes out ghost after ghost, the present a freeway thunder run at 90 mph, which makes the future the ultimate black hole of futile speculation.
Ben Fountain (Billy Lynn's Long Halftime Walk)
And then the rains came. They came down from the hills and up from the sound. And it rained a sickness. And it rained a fear. And it rained an odor. And it rained a murder. And it rained dangers and pale eggs of the beast. Rain poured for days, unceasing. Flooding occurred. The wells filled with reptiles. The basements filled with fossils. Mossy-haired lunatics roamed the dripping peninsulas. Moisture gleamed on the beak of the raven. Ancient Shaman's rained from their homes in dead tree trunks, clacked their clamshell teeth in the drowned doorways of forests. Rain hissed on the freeway. It hissed at the prows of fishing boats. It ate the old warpaths, spilled the huckleberries, ran into the ditches. Soaking. Spreading. Penetrating. And it rained an omen. And it rained a poison. And it rained a pigment. And it rained a seizure.
Tom Robbins (Another Roadside Attraction)
A man in a green truck lays on his horn to my left, as if noise will magically part the congested freeway. I hold back the urge to roll down my window and remind him that he’s not Moses and magic does not exist.
Krista Ritchie (Kiss the Sky (Calloway Sisters, #1))
You can't take highways during the apocalypse, because they'll be packed with panicky people.
J. Cornell Michel (Jordan's Brains: A Zombie Evolution)
when the cities are gone and all the ruckus has died away. when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways. when the Kremlin & the Pentagon are turned into nursing homes for generals, presidents, & other such shit heads. when the glass-aluminum sky scraper tombs of Phoenix, AZ barely show above the sand dunes. why then, by God, maybe free men & wild women on horses can roam the sagebrush canyonlands in freedom...and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!
Edward Abbey
People in this town saw only what they'd all agreed to see, they believed what was on the tube or in the morning papers half of them read while they were driving to work on the freeway, and it was all their dream about being wised up, about the truth setting them free.
Thomas Pynchon (Inherent Vice)
I like radio personalities, and I like to change lanes. And losing yourself on the freeway is like living at the beach--you're not aware of lapsed time, and suddenly you're there, where it was you were going.
Amy Hempel (The Collected Stories)
No, thought Oedipa, sad. As if their home cemetery in some way still did exist, in a land where you could somehow walk, and not need the East San Narciso Freeway, and bones still could rest in peace, nourishing ghosts of dandelions, no one to plow them up. As if the dead really do persist, even in a bottle of wine.
Thomas Pynchon (The Crying of Lot 49)
As to remedying our personal mistakes, we face no hindering traffic jams on the road of repentance. It is a toll road, not a freeway, and applying Christ’s Atonement will speed us along.
Neal A. Maxwell
The Grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships, motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I'd never see. And then, one day I got in...
Kevin Flynn
A working brain is probably a lot like a map, where anybody can get from one place to another on the freeways.
Ned Vizzini (It's Kind of a Funny Story)
I find a grin spreading across my face. I don't know what I'm doing, how I'm doing it, or what will happen when it's done, but at the very bottom of this rising siege-ladder, I at least know I'm going to see Julie again. I know I'm not going to say goodbye. And if these staggering refugees want to help, if they think they see something bigger here than a boy chasing a girl, then they can help, and we'll see what happens when we say Yes while this rigor mortis world screams No. We start lumbering north on the southbound freeway, and the thunder drifts away towards the mountains as if it's scared of us. Here we are on the road. We must be going somewhere.
Isaac Marion (Warm Bodies (Warm Bodies, #1))
It is hard for people who have not lived in Los Angeles to realize how radically the Santa Ana figures in the local imagination. The city burning is Los Angeles's deepest image of itself; Nathanael West perceived that, in The Day of the Locust; and at the time of the 1965 Watts riots what struck the imagination most indelibly were the fires. For days one could drive the Harbor Freeway and see the city on fire, just as we had always known it would be in the end. Los Angeles weather is the weather of catastrophe, of apocalypse, and, just as the reliably long and bitter winters of New England determine the way life is lived there, so the violence and the unpredictability of the Santa Ana affect the entire quality of life in Los Angeles, accentuate its impermanence, its unreliability. The wind shows us how close to the edge we are.
Joan Didion (Slouching Towards Bethlehem)
What is there to see if I go outside? Don't tell me. I know. I can see other people. I don't want to see other people. They look awful. The men look like slobs and the women look like men. The men have mush faces framed by long hair and the women have big noses, big jaws, big heads, and stick-like bodies. That depresses me. Its no fun to people-watch anymore because there's so little variety in types. You say it's good to get a change of scenery. What scenery? New buildings? New cars? New freeways? New shopping malls? Go to the woods or a park? I saw a tree once. The new ones look the same, which is fine. I even remember what the old ones look like. My memory isn't that short. But it's not worth going to see a squirrel grab a nut, or fish swimming around in a big tank if I must put up with the ugly contemporary human pollution that accompanies each excursion. The squirrel may enliven me and remind me of better vistas but the price in social interaction isn't worth it. If, on my way to visit the squirrel, I encounter a single person who gains stimulation by seeing me, I feel like I have given more than I've received and I get sore. If every time I go somewhere to see a fish swimming, I become someone else's stimulation, I feel shortchanged. I'll buy my own fish and watch it swim. Then, I can watch the fish, the fish can watch me, we can be friends, and nobody else interferes with the interaction, like trying to hear what the fish and I are talking about. I won't have to get dressed a certain way to visit the fish. I needn't dress the way my pride dictates, because who's going to see me? I needn't wear any pants. The fish doesn't care. He doesn't read the tabloids. But, if I go out to see a fish other than my own, I'm right back where I started: entertaining others, which is more depleting than visiting the new fish is entertaining. Maybe I should go to a coffee house. I find no stimulation in watching ordinary people trying to put the make on other uninteresting people. I can fix my own cup of coffee and not have to look at or talk to other people. No matter where I go, I stimulate others, and have been doing so all my life. It used to be I'd sometimes get stimulated back.
Anton Szandor LaVey
It was never about money for us it was about us against the system. That system that kills the human spirit. We stand for something to those dead souls inching along the freeways in their metal coffins. We show them that the human spirit is still alive
Character: Bodhi
An Urban Indian belongs to the city, and cities belong to the earth. Everything here is formed in relation to every other living and nonliving thing from the earth. All our relations. The process that brings anything to its current form—chemical, synthetic, technological, or otherwise—doesn’t make the product not a product of the living earth. Buildings, freeways, cars—are these not of the earth? Were they shipped in from Mars, the moon? Is it because they’re processed, manufactured, or that we handle them? Are we so different? Were we at one time not something else entirely, Homo sapiens, single-celled organisms, space dust, unidentifiable pre-bang quantum theory? Cities form in the same way as galaxies.
Tommy Orange (There There)
It’s interesting-most people think about therapy as something that involves going in and undoing what’s happened. But whatever your past experiences created in your brain, the associations exist and you can’t just delete them. You can’t get rid of the past. Therapy is more about building new associations, making new, healthier default pathways. It is almost as if therapy is taking your two-lane dirt road and building a four-lane freeway alongside it. The old road stays, but you don’t use it much anymore. Therapy is building a better alternative, a new default. And that takes repetition, and time, honestly, it works best if someone understands how the brain changes. This is why understanding how trauma impacts our health is essential for everyone.
Bruce D. Perry (What Happened To You?: Conversations on Trauma, Resilience, and Healing)
Lik the tree falling in the forest," says Ira. "Huh?" "You know, the old question - if a tree falls in a forest and no one's there to hear it, does it really make a sound?" Howie considers this. "Is it a pine forest, or oak?" "What's the difference?" "Oak is a much denser wood; it's more likely to be heard by someone on the freeway next to the forest where no one is.
Neal Shusterman (The Schwa Was Here (Antsy Bonano, #1))
This is the one thing I hope: that she never stopped. I hope when her body couldn’t run any farther she left it behind like everything else that tried to hold her down, she floored the pedal and she went like wildfire, streamed down night freeways with both hands off the wheel and her head back screaming to the sky like a lynx, white lines and green lights whipping away into the dark, her tires inches off the ground and freedom crashing up her spine. I hope every second she could have had came flooding through that cottage like speed wind: ribbons and sea spray, a wedding ring and Chad’s mother crying, sun-wrinkles and gallops through wild red brush, a baby’s first tooth and its shoulder blades like tiny wings in Amsterdam Toronto Dubai; hawthorn flowers spinning through summer air, Daniel’s hair turning gray under high ceilings and candle flames and the sweet cadences of Abby’s singing. Time works so hard for us, Daniel told me once. I hope those last few minutes worked like hell for her. I hope in that half hour she lived all her million lives.
Tana French (The Likeness (Dublin Murder Squad, #2))
Let me close with a word of caution: when you’re on the turnpikes and freeways of America, watch out for those Winnebagos and Bounders. You never know who might be inside. Or what.
Stephen King (Doctor Sleep (The Shining, #2))
There is no place less communal in America—no place less cooperative and brotherly, no place with fewer feelings of shared sacrifice—than a rush-hour freeway in Chicago.
Nathan Hill (The Nix)
But somewhere in America, between the freeways and the Food-4-Less, between the filling stations and the 5-o-'clock news, behind the blue blinking light coming off the TV, there is a space, an empty space, between us, around us, inside us, that inevitable, desperate, begs to be filled up. And nothing, not shame, not God, not a new microwave, not a wide-screen TV or that new diet with grapefruits, can ever, ever fill it. Underneath all that white noise there's a lack.
Andrea Portes (Hick)
San Narciso lay further south, near L.A. Like many named places in California it was less an identifiable city than a grouping of concepts—census tracts, special purpose bond-issue districts, shopping nuclei, all overlaid with access roads to its own freeway.
Thomas Pynchon (The Crying of Lot 49)
I believe that we have free will. I believe we get the chance to make choices in our lives. Not everything is set in stone from the moment we're born. We choose our destiny, our ultimate fate. But I also think that we don't realize the choices we've made until after we make them. We're racing down a freeway, only to realize we've missed all the exits, and the only direction we can go is dead ahead.
Neal Shusterman (Dread Locks (Dark Fusion, #1))
poetry readings have to be some of the saddest damned things ever, the gathering of the clansmen and clanladies, week after week, month after month, year after year, getting old together, reading on to tiny gatherings, still hoping their genius will be discovered, making tapes together, discs together, sweating for applause they read basically to and for each other, they can't find a New York publisher or one within miles, but they read on and on in the poetry holes of America, never daunted, never considering the possibility that their talent might be thin, almost invisible, they read on and on before their mothers, their sisters, their husbands, their wives, their friends, the other poets and the handful of idiots who have wandered in from nowhere. I am ashamed for them, I am ashamed that they have to bolster each other, I am ashamed for their lisping egos, their lack of guts. if these are our creators, please, please give me something else: a drunken plumber at a bowling alley, a prelim boy in a four rounder, a jock guiding his horse through along the rail, a bartender on last call, a waitress pouring me a coffee, a drunk sleeping in a deserted doorway, a dog munching a dry bone, an elephant's fart in a circus tent, a 6 p.m. freeway crush, the mailman telling a dirty joke anything anything but these.
Charles Bukowski
Listen - You are not a lonesome freeway with a history of accidents, or the damaged record of every pair of palms that tried to unravel you. You are not a regret, not a letdown. Here you are, living like a scarlet war - no part of you wants to be real. This is when you need to open like a bud to the arms that hold you, even if you prefer to run from the sun into the shadowy sirens that call your name like a prayer. Repeat after me - you are a vessel of roses, and you wont always be in bloom, but I promise that the frost never stays for long. I promise that the light will find you.
Bianca Sparacino (Seeds Planted in Concrete)
I could say this for Arizona: The sun might be ridiculous, but the freeways were exceptional. Six wade, smooth lanes, with shoulders ample enough on either side that it was as good as eight. I used the left shoulder now to streak by two pickups who thought they belonged in the fast lane.
Stephenie Meyer (Midnight Sun (The Twilight Saga, #5))
Freeways flickering; cell phones chiming a tune We're riding to Utopia; road map says we'll be arriving soon Captains of the old order clinging to the reins Assuring us these aches inside are only growing pains But it's a long road out of Eden (...) Behold the bitten apple, the power of the tools But all the knowledge in the world is of no use to fools And it's a long road out of Eden
Eagles (Long Road Out of Eden (Piano/Vocal/Chords))
It's time now to rent a car, roll down the windows and prepare for your first big thrill: the freeways. They're so much fun they should charge admission. Never fret about zigzagging back and forth through six lanes of traffic at high speeds; it erases jet lag in a split second. You're now heading toward Hollywood, like any normal tourist. Breathe in that smog and feel lucky that only in L.A. will you glimpse a green sun or a brown moon. Forget the propaganda you've heard about clean air; demand oxygen you can see in all its glorious discoloration.
John Waters (Crackpot: The Obsessions of John Waters)
There was only one road back to L.A. - U.S. Interstate 15. Just a flat-out high speed burn through Baker and Barstow and Berdoo. Then onto the Hollywood Freeway, and straight on into frantic oblivion. Safety. Obscurity.
Hunter S. Thompson
I remember being stunned at the New York skyline as I drove over this big freeway, coming across the flats in Seacaucus. All of a sudden it was looming up in front of me and I almost lost control of the car. I thought it was a vision.
Hunter S. Thompson (Songs of the Doomed: More Notes on the Death of the American Dream)
On the freeway of life, Lisa Watson was stuck at the entrance ramp, trapped behind a cautious old lady in a Buick.
Judy Nichols (Caviar Dreams)
I clutched the armrest when she gunned the engine on the freeway and cut off a minivan. “That big red shiny thing inches from you was another vehicle.
Katie McGarry (Pushing the Limits (Pushing the Limits, #1))
I know you lost your way, but remember love is the only freeway of life.
Debasish Mridha
What you see on the freeway is just what there is, a funeral procession of the dead, the greatest horror of our time in motion. I’ll see you there tomorrow!
Charles Bukowski (Sifting Through the Madness for the Word, the Line, the Way: New Poems)
Have you ever taken the wrong freeway entrance? You just need to drive to the next exit to turn around, but you hate every inch of travel because you’re going away from your goal.
Andy Weir (The Martian)
In fact, life is our greatest teacher. Whatever we are doing can be instructive, whether we are at the office, or talking to our spouse, or driving a car on the freeway. If we are present to our experiences, the impressions of our activities will be fresh and alive, and we will always learn something new from them. But if we are not present, every moment will be like every other, and nothing of the preciousness of life will touch us.
Don Richard Riso (The Wisdom of the Enneagram: The Complete Guide to Psychological and Spiritual Growth for the Nine Personality Types)
There is no end to that kind of love, even if the lovers’ bodies ceased to exist in this world. No, that love is manifested everywhere else, in a million other couples worldwide, and probably a few not far from where I am driving, up the 405 freeway, through a world I thought I knew but admit that I don’t know at all.
Ray Smith (The Magnolia That Bloomed Unseen)
Her first instinct was to get in her car, get on the freeway going east, and just keep driving. Yes, that was a good idea. She should drive until she hit the desert and then stay there. That way, she would never have to deal with this and maybe eventually it would go away.
Jasmine Guillory (The Proposal (The Wedding Date, #2))
Listen, the road to happiness is a long fucking road trip. You can't take The freeway. Back roads, buddy, that's all you got. Unpaved back roads And bad weather. Storms, baby. Don't expect to get there fast. And don't expect yourself or your car to arrive in mint condition.
Benjamin Alire Sáenz (The Book of What Remains)
The drive downtown is an experience unto itself. You're controlled by this dark energy that's about to take you to a place where you know you don't belong at this stage in your life. You get on the 101 freeway and it's night and it's cool outside. It's a pretty drive, and your heart is racing, your blood is flowing through your veins, an it's kind of dangerous, because the people dealing are cut-throat, and there are cops everywhere. It's not your neck of the woods anymore, now you're coming from a nice house in the hills, driving a convertible Camaro.
Anthony Kiedis (Scar Tissue)
Special Agent Brad Wolgast hated Texas. He hated everything about it. [...] He hated the billboards and the freeways and the faceless subdivisions and the Texas flag, which flew over everything, always as big as a circus tent; he hated the giant pickup trucks everybody drove, no matter that gas was thirteen bucks a gallon and the world was slowly seaming itself to death like a package of peas in a microwave. He hated the boots and the belts and the way people talked, ya'll this and ya'll that, as if they spent the day ropin' and ridin', not cleaning teeth and selling insurance and doing the books, like people did everywhere.
Justin Cronin (The Passage (The Passage, #1))
I’ve scaled mountains with my bare hands, no harness or rope. I’ve sped down freeways at over a hundred miles per hour. I once dove off a forty-foot cliff, swam with sharks, jumped out of a fucking plane, whitewater rafted class five rapids,
Krista Ritchie (Long Way Down (Calloway Sisters, #4))
People happily kill other people in the name of everything from a god to a country to an overly developed sense of annoyance when someone cuts across two lanes on a freeway without signaling. Cats will, on occasion, kill other cats but for the most part they are content to puff up their furr, yowl like banshees, and rip the occassional ear off - and all this is usually done for the sake of food or protecting their own territory (which may not be condonable but it is at least rational) .
Peter Gethers (A Cat Abroad)
Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horrors of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.
J.G. Ballard (The Atrocity Exhibition)
Faster is fatal, slower is safe.
Amit Kalantri (Wealth of Words)
Life’s like driving in peak-hour traffic – you never know if you’re heading for a freeway or a jam.
Cheryse Durrant (The Blood She Betrayed (Heart Hunters #1))
The highway of grace will get you somewhere a whole lot faster then the freeway of spite.
Aaron Lauritsen
We have taller buildings but shorter tempers; wider freeways but narrower viewpoints; we spend more but have less; we buy more but enjoy it less; we have bigger houses and smaller families; more conveniences, yet less time; we have more degrees but less sense; more knowledge but less judgment; more experts, yet more problems; we have more gadgets but less satisfaction; more medicine, yet less wellness; we take more vitamins but see fewer results. We drink too much; smoke too much; spend too recklessly; laugh too little; drive too fast, get too angry quickly; stay up too late; get up too tired; read too seldom; watch TV too much and pray too seldom. We have multiplied our possessions, but reduced our values; we fly in faster planes to arrive there quicker, to do less and return sooner; we sign more contracts only to realize fewer profits; we talk too much; love too seldom, and lie too often. We’ve learned how to make a living, but not a life; we’ve added years to life, not life to years.
Philip Yancey (Vanishing Grace: What Ever Happened to the Good News?)
It is a tragedy, is it not? The little faces on the milk-cartons--although I can't remember the last time I saw a kid on a milk-carton--and on the walls of freeway rest areas. Have you seen me? they ask. A deeply existential question at the best of times. Have you seen me?
Neil Gaiman (American Gods (American Gods, #1))
Riker tells Data to just get on with it already, so Data says Ferengi are like Yankee traders from 18th-century America. This indicates that, in the 24th century, the traditional practice of using 600-year-old comparisons is still in vogue, like when you’re stuck in traffic on the freeway, and say, “Man, this is just like Vasco de Gama trying to go around the Cape of Good Hope!
Wil Wheaton (Memories of the Future - Volume 1)
Some of us came to the cities to escape the reservation. We stayed after fighting in the Second World War. After Vietnam, too. We stayed because the city sounds like a war, and you can't leave a war once you've been you can only keep it at bay -- which is easier when you can see and hear it near you, that fast metal, that constant firing around you, cars up and down the streets and freeways like bullets. The quiet of the reservation, the side-of-the-highway towns, rural communities, that kind of silence just makes the sound of your brain on fire that much more pronounced. (9)
Tommy Orange (There There)
Oedipa resolved to pull in at the next motel she saw, however ugly, stillness and four walls having at some point become preferable to this illusion of speed, freedom, wind in your hair, unreeling landscape—it wasn’t. What the road really was, she fancied, was this hypodermic needle, inserted somewhere ahead into the vein of a freeway, a vein nourishing the mainliner L.A., keeping it happy, coherent, protected from pain, or whatever passes, with a city, for pain. But were Oedipa some single melted crystal of urban horse, L.A., really, would be no less turned on for her absence.
Thomas Pynchon (The Crying of Lot 49)
If the price I have to pay to see Jewish children playing without an armed escort are freeways across the desert and a take-a-way on every street corner throughout the Middle East, then I’m all for it.
Ray Stone (The Trojan Towers)
You think you have it all under control. Your path so perfectly mapped out. And then one day you’re driving along and bam! You get rammed from behind on the freeway. And you never saw it coming. People are like that too. Unpredictable. No matter how well you think you know somebody? How confident you are of their feelings, their reactions? They can still surprise you. And in the most devastating of ways.
Emma Chase (Twisted (Tangled, #2))
Mr. Tagomi turned to a passer-by, a thin man in rumpled suit. “What is that?” he demanded, pointing. The man grinned. “Awful, ain’t it? That’s the Embarcadero Freeway. A lot of people think it stinks up the view.
Philip K. Dick (The Man in the High Castle)
I removed the freeway from its temporal context. Overpasses, cloverleafs, exit ramps took on the personality of Mayan ruins for me. Without destination, without cessation, my run was often silent and empty; there were no increments, no arbitrary graduations reducing time to functional units. I abstracted and purified.
Tom Robbins (Even Cowgirls Get the Blues)
A working brain is probably a lot like a map, where anybody can get from one place to another on the freeways. It’s the nonworking brains that get blocked, that have dead ends, that are under construction like mine.
Ned Vizzini (It's Kind of a Funny Story)
Doc fell in to a car convoy, moving slowly, single lane through the fog. He figured if he missed the Gordita Beach exit, he'd take the first one whose sign he could read and work his way back on surface streets. He knew that at Rosecrans, the freeway began to dogleg east, and at some point, Hawthorne Boulevard or Artesia,he'd lose the fog, unless it was spreading tonight, and settled in region wide... Maybe then it would stay this way for days, maybe he'd have to just keep driving, down past Long Beach, down through Orange County, and San Diego and across a border where nobody could tell anymore in the fog who was Mexican, who was Anglo, who was anybody. Then again, he might run out of gas before that happened, and have to leave the caravan, and pull over on the shoulder, and wait. For whatever would happen. For a forgotten joint to materialize in his pocket. For the CHP to come by and choose not to hassle him. For a restless blonde in a Stingray to stop and offer him a ride. For the fog to burn off, and for something else this time, somehow, to be there instead.
Thomas Pynchon (Inherent Vice)
The most dangerous place for a baby is in the hospital? I could think of several places that had to be more dangerous than a hospital: a lion’s den, Skid Row, the middle of the 110 freeway, and my not-yet-baby-proofed house.
Matthew Logelin (Two Kisses for Maddy: A Memoir of Loss and Love)
i am dead but i know the dead are not like this." the dead can sleep they don’t get up and rage they don’t have a wife. her white face like a flower in a closed window lifts up and looks at me. the curtain smokes a cigarette and a moth dies in a freeway cash as I examine the shadows of my hands. an owl, the size of a baby clock rings for me, come on come on it says as Jerusalem is hustled down crotch-stained halls. the 5 a.m. grass is nasal now in hums of battleships and valleys in the raped light that brings on the fascist birds. I put out the lamp and get in bed beside her, she thinks I’m there mumbles a rosy gratitude as I stretch my legs to coffin length get in and swim away from frogs and fortunes.
Charles Bukowski (Burning in Water, Drowning in Flame)
She was in the right place at the right time last night, safe inside when the tree came down. One thing different—an extra piece of sandpaper outside when she needed it, the tree falling a bit sooner—and she would be gone. One thing different—hitting a red light instead of a green one on the way to the freeway, choosing another errand to run that day—and my dad and Ben would still be here. It’s not right that something so big, your entire life, depends on a million tiny things.
Ally Condie (Summerlost)
Therapy is more about building new associations, making new, healthier default pathways. It is almost as if therapy is taking your two-lane dirt road and building a four-lane freeway alongside it. The old road stays, but you don’t use it much anymore.
Bruce D. Perry (What Happened to You?: Conversations on Trauma, Resilience, and Healing)
This Land is mostly white space on the map...which is how it should be; I'll leave more detailed map making to those graduate students and English teachers who feel that every goose which lays gold must be dissected so that all of its quite ordinary guts can be labelled; to those figurative engineers of the imagination who cannot feel comfortable with the comfortably overgrown (and possible dangerous) literary wilderness until they have built a freeway composed of Cliff's Notes through it - and listen to me, you people: every English teacher who ever did a Monarch or Cliff's Notes ought to be dragged out to his or her quad, drawn and quartered, then cut up into tiny pieces, said pieces to be dried and shrunk in the sun and then sold in the college bookstore as bookmarks.
Stephen King (Danse Macabre)
For cities are museums of time, and to live in them is to be haunted by the places they once were. The waterways that existed before the skyscrapers and freeways are a vanished world that beacons to us. When we catch glimpses of them, the city disappears. Its too-known streets dissolve into unfathomable terrain. It becomes innocent again. We want to unmake the city. To regain a lost paradise.
Gary Kamiya (Cool Gray City of Love: 49 Views of San Francisco)
They hang around, hitting on your friends or else you never hear from them again. They call when they’re drunk, or finally get sober, they’re passing through town and want dinner, they take your hand across the table, kiss you when you come back from the bathroom. They were your loves, your victims, your good dogs or bad boys, and they’re over you now. One writes a book in which a woman who sounds suspiciously like you is the first to be sadistically dismembered by a serial killer. They’re getting married and want you to be the first to know, or they’ve been fired and need a loan, their new girlfriend hates you, they say they don’t miss you but show up in your dreams, calling to you from the shoe boxes where they’re buried in rows in your basement. Some nights you find one floating into bed with you, propped on an elbow, giving you a look of fascination, a look that says I can’t believe I’ve found you. It’s the same way your current boyfriend gazed at you last night, before he pulled the plug on the tiny white lights above the bed, and moved against you in the dark broken occasionally by the faint restless arcs of headlights from the freeway’s passing trucks, the big rigs that travel and travel, hauling their loads between cities, warehouses, following the familiar routes of their loneliness.
Kim Addonizio
Unlike the close-knit, DIY queer scene you were once at the center of in San Francisco, the queer scene in LA can feel like everything else in LA: partitioned by traffic and freeways, oppressively cliquish and bewilderingly diffuse at the same time, hard to fathom, to see.
Maggie Nelson (The Argonauts)
The critical point is that thousands of people are swept into the criminal justice system every year pursuant to the drug war without much regard for their guilt or innocence. The police are allowed by the courts to conduct fishing expeditions for drugs on the streets and freeways based on nothing more than a hunch...and once inside the system, people are often denied attorneys or meaningful representation and pressured into plea bargains by the threat of unbelievably harsh sentences - sentences for minor drug crimes that are higher than many countries impose on convicted murderers. This is the way the roundup works, and it works this way in virtually every major city in the United States.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
drive through hell the people are weary, unhappy and frustrated, the people are bitter and vengeful, the people are deluded and fearful, the people are angry and uninventive and I drive among them on the freeway and they project what is left of themselves in their manner of driving— some more hateful, more thwarted than others— some don’t like to be passed, some attempt to keep others from passing —some attempt to block lane changes —some hate cars of a newer, more expensive model —others in these cars hate the older cars. the freeway is a circus of cheap and petty emotions, it’s humanity on the move, most of them coming from some place they hated and going to another they hate just as much or more. the freeways are a lesson in what we have become and most of the crashes and deaths are the collision of incomplete beings, of pitiful and demented lives. when I drive the freeways I see the soul of humanity of my city and it’s ugly, ugly, ugly: the living have choked the heart away.
Charles Bukowski (You Get So Alone At Times That It Just Makes Sense)
He felt as he always did when he finished a book—queerly empty, let down, aware that for each little success he had paid a toll of absurdity. It was always the same, always the same—like toiling uphill through jungle and breaking out to a clearing at the top after months of hell only to discover nothing more rewarding than a view of a freeway—with a few gas stations and bowling alleys thrown in for good behavior, or something.
Stephen King (Misery)
Technology is blamed for a lot of this loneliness, since the loneliness is certainly associated with the newer technological devices—TV, jets, freeways and so on—but I hope it’s been made plain that the real evil isn’t the objects of technology but the tendency of technology to isolate people into lonely attitudes of objectivity. It’s the objectivity, the dualistic way of looking at things underlying technology, that produces the evil.
Robert M. Pirsig (Zen and the Art of Motorcycle Maintenance)
There may not be a hell, but those who judge may create one. I think people are over-taught. They are over-taught everything. You have to find out by what happens to you, how you will react. I’ll have to use a strange term here… “good.” I don’t know where it comes from, but I feel that there’s an ultimate strain of goodness born in each of us. I don’t believe in God, but I believe in this “goodness” like a tube running through our bodies. It can be nurtured. It’s always magic, when on a freeway packed with traffic, a stranger makes room for you to change lanes… it gives you hope.
Charles Bukowski
When the cities are gone, he thought, and all the ruckus has died away, when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways, when the Kremlin and the Pentagon are turned into nursing homes for generals, presidents and other such shitheads, when the glass-aluminum skyscraper tombs of Phoenix Arizona barely show above the sand dunes, why then, why then, why then by God maybe free men and wild women on horses, free women and wild men, can roam the sagebrush canyonlands in freedom—goddammit!—herding the feral cattle into box canyons, and gorge on bloody meat and bleeding fucking internal organs, and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!—by God, yes! Until, he reflected soberly, and bitterly, and sadly, until the next age of ice and iron comes down, and the engineers and the farmers
Edward Abbey (The Monkey Wrench Gang)
I closed the door and sank into my desk chair. My heart was pounding even harder. I felt like someone who had just staggered out of her car after an accident on a freeway. This was different from the cockroach and the books and the Barbie. I’d been injured. Someone had tried to physically harm me.
Kate White (Eyes on You)
We went up the Harbor freeway north and then we cut onto the San Diego freeway north. I hated the San Diego freeway. It always jammed. Then I noticed a slight rain beginning to fall. "That's it," I said, "it's beginning to rain." All the cars were going to stop. California drivers didn't know how to drive in the rain.
Charles Bukowski (Hollywood)
A plane change in space is not unlike trying to hit the offramp of a freeway covered in black ice. Brakes do nothing. Accelerating spins the wheels. Regardless of what we do, the car’s going to continue sliding on down the lane, but with the steering turned hard and a whole lot of gas, we’ll gain a little sideways motion.
Peter Cawdron (Losing Mars)
I looked a coyote right in the face On the road to Baljennie near my old home town He went running thru the whisker wheat Chasing some prize down And a hawk was playing with him Coyote was jumping straight up and making passes He had those same eyes just like yours Under your dark glasses Privately probing the public rooms And peeking thru keyholes in numbered doors Where the players lick their wounds And take their temporary lovers And their pills and powders to get them thru this passion play No regrets Coyote I just get off up aways You just picked up a hitcher A prisoner of the white lines on the freeway Coyote's in the coffee shop He's staring a hole in his scrambled eggs He picks up my scent on his fingers While he's watching the waitresses' legs He's too far from the Bay of Fundy From appaloosas and eagles and tides And the air conditioned cubicles And the carbon ribbon rides Are spelling it out so clear Either he's going to have to stand and fight Or take off out of here I tried to run away myself To run away and wrestle with my ego And with this flame You put here in this Eskimo In this hitcher In this prisoner Of the fine white lines Of the white lines on the free freeway
Joni Mitchell
I stopped looking at the cars after the first few miles. Once I started to see past the exteriors, I saw what lay inside some of them and felt the urge to sprint to the nearest freeway exit. Some people had tried to outrun The Plague by leaving town. They hadn't realized the illness could still find them in their cars, and now the 405 was one of the largest graveyards in the world. I thought for a moment about all of the other cities across the globe that probably had scenes just like this. My eyes stung, wondering if my mother, my dad, or any of my friends were in similar graveyards. I made the mistake of glancing into an overturned Volkswagen Beetle as I passed and saw a pair of legs clad in jeans and white Jack Purcell sneakers in the shadows of the car. They reminded me of Sarah's shoes. The man who laced those up that morning hadn't realized he wouldn't be taking them off again.
Kirby Howell (Autumn in the City of Angels (Autumn, #1))
Emily Dickinson was full of shit when she prattled about “kindly Death”; that’s an abominable thought, that death is kind. She never saw a six-car pile-up on the Eastshore Freeway.
Philip K. Dick (The Transmigration of Timothy Archer (VALIS Trilogy, #3))
A language is a freeway to a culture.
Abhijit Naskar (Karadeniz Chronicle: The Novel)
Ryan rolled down his window, shouting “these nuts”, before hitting the freeway.
Matt Watson (SuperMega Saves The Troops)
Sweet baby Jesus riding a skateboard down a freeway without a helmet, Blaire’s family is a bunch of assholes.
Helena Hunting (Kiss My Cupcake)
It happens to us all. We drink too much, take one too many hits of acid, proposition the wrong prostitute and end up by the side of some freeway, disheveled and disoriented.
Kenyon Ledford
Entrepreneurs pay the price of a road less traveled, while everyone else takes the freeway and perpetually misses their own exit.
Ryan Lilly
This is golden, Katie thought as they rumbled down the freeway eating fast-food tacos. I love being "us".
Robin Jones Gunn (Peculiar Treasures (Katie Weldon, #1))
Where one sees a dead end, another sees a freeway without a speed limit. That's what separates the entrepreneur or small business owner from the rest of the world.
Sarah Gerdes (The Overlooked Expert)
how the powers of government were being improperly used through improper warrants of arrest—how it was unconstitutional to stop a person on the freeway and arrest them.
Jon Krakauer (Under the Banner of Heaven: A Story of Violent Faith)
Three more fireworks shot up over the freeway, contorting into purple stars as they burst against the dissipating smoke.
Robyn Schneider (The Beginning of Everything)
Usually without realizing it, our ultimate peace starts and ends in the authority of God alone, which means the solution to living in joy, peace, and harmony with our fellow men has been here for all since the beginning of mankind and throughout civilization. I have yet to feel the urge to argue politics: it reminds me of getting off the freeway to sit in raging traffic.
Criss Jami (Killosophy)
The best way I can think to describe it, she said, ' is the way, when you're driving on the freeway at night how everyone can see the moon in their window. Every car on the road. Every car feels the moon is following that car, even in the other direction, right? Everyone in that entire hemisphere can see the moon and think it is there for them, is following where they go.
Aimee Bender (The Color Master: Stories)
Now, as all of you will have had reason aplenty to discover for yourselves, there are new gods growing in America, clinging to growing knots of belief: gods of credit-card and freeway, of internet and telephone, of radio and hospital and television, gods of plastic and of beeper and of neon. Proud gods, fat and foolish creatures, puffed up with their own newness and importance.
Neil Gaiman (American Gods)
The morphine molecule exerts an analogous brainwashing on humans, pushing them to act contrary to their self-interest in pursuit of the molecule. Addicts betray loved ones, steal, live under freeways in harsh weather, and run similarly horrific risks to use the molecule. It became the poster molecule for an age of excess. No amount of it was ever enough. The molecule created ever-higher tolerance. Plus, it had a way of railing on when the body gathered the courage to throw it out. This wasn’t only during withdrawals. Most drugs are easily reduced to water-soluble glucose in the human body, which then expels them. Alone in nature, the morphine molecule rebelled. It resisted being turned into glucose and it stayed in the body. “We still can’t explain why this happens. It just doesn’t follow the rules. Every other drug in the world—thousands of them—follows this rule. Morphine doesn’t,” Coop said. “It really is almost like someone designed it that way—diabolically so.
Sam Quinones (Dreamland: The True Tale of America's Opiate Epidemic)
She thought she’d hate it, this huge, faceless city far from home, but the opposite was true: she felt nothing but relief. The heedless sprawl of Denver, its chaotic snarl of subdivisions and freeways; the openness of the high plains and the indifferent mountains; the way people talked to each other, easily, without pretense, and the fact that nearly everyone was from somewhere else: exiles, like her.
Justin Cronin (The Passage (The Passage, #1))
Some of us came to the cities to escape the reservation. We stayed after fighting in the Second World War. After Vietnam, too. We stayed because the city sounds like a war, and you can't leave a war once you've been you can only keep it at bay--which is easier when you can see and hear it near you, that fast metal, that constant firing around you, cars up and down the streets and freeways like bullets.
Tommy Orange (There There)
California, Labor Day weekend...early, with ocean fog still in the streets, outlaw motorcyclists wearing chains, shades and greasy Levis roll out from damp garages, all-night diners and cast-off one-night pads in Fricso, Hollywood, Berdoo and East Oakland, heading for the Monterey peninsula, north of Big Sur...The Menace is loose again, the Hell's Angels, the hundred-carat headline, running fast and loud on the early morning freeway, low in the saddle, nobody smiles, jamming crazy through traffic and ninety miles an hour down the center stripe, missing by Genghis Khan on an iron horse, a monster steed with a fiery anus, flat out through the eye of a beer can and up your daughter's leg with no quarter asked and non given; show the squares some class, give em a whiff of those kicks they'll never know...Ah, these righteous dudes, they love to screw it on...Little Jesus, the Gimp, Chocolate George, Buzzard, Zorro, Hambone, Clean Cut, Tiny, Terry the Tramp, Frenchy, Mouldy Marvin, Mother Miles, Dirty Ed, Chuck the Duck, Fat Freddy, Filthy Phil, Charger Charley the Child Molester, Crazy Cross, Puff, Magoo, Animal and at least a hundred more...tense for the action, long hair in the wind, beards and bandanas flapping, earrings, armpits, chain whips, swastikas and stripped-down Harleys flashing chrome as traffic on 101 moves over, nervous, to let the formation pass like a burst of dirty thunder...
Hunter S. Thompson (Hell's Angels)
I was an easy birth, and I have never regretted it. Not even for a visit would I return to the womb. I never sleep in the fetal position, but on my back or stomach, legs flung wide. I stay out of hot dark closets. I choose rooms with windows, full of moving air. I like scattered light, a moon, stars, but will settle for anything, even that greenish glow found nowhere in nature of a Santa Monica Freeway sign.
Jaimy Gordon (She Drove Without Stopping)
during a hearing on the proposed expansion of a port terminal, a member of the public objected on the grounds that the project would generate more truck trips on already crowded freeways. "Why do I need a port? the woman asked. "I have Walmart." There were murmurs of agreement from an audience who felt that these trucks were indeed deplorable, their presence a barrier on the travels and commerce of "real people.
Edward Humes (Door to Door: The Magnificent, Maddening, Mysterious World of Transportation)
I remember reading once how some Stone Age Indians from the Brazilian rain forest with no knowledge or expectation of a world beyond the jungle were taken to Sao Paulo or Rio, and when they saw what it contained-the buildings, the cars, the passing airplanes-and how thoroughly at variance it was with their own simple lives, they wet themselves, lavishly and in unison. I believe I had some idea how they felt. It is such a strange contrast. When you’re on the AT, the forest is your universe, infinite and entire. It is all you experience day after day. Eventually it is about all you can imagine. You are aware, of course, that somewhere over the horizon there are mighty cities, busy factories, crowded freeways, but here in this part of the country, where woods drape the landscape for as far as the eye can see, the forest rules. Even the little towns like Franklin and Hiawassee and even Gatlinburg are just way stations scattered helpfully through the great cosmos of woods. But come off the trail, properly off, and drive somewhere, as we did now, and you realize how magnificently deluded you have been. Here, the mountains and woods were just backdrop-familiar, known, nearby, but no more consequential or noticed than the clouds that scudded across their ridgelines. Here the real business was up close and on top of you: gas stations, Wal-Marts, Kmarts, Dunkin Donuts, Blockbuster Videos, a ceaseless unfolding pageant of commercial hideousness.
Bill Bryson (A Walk in the Woods: Rediscovering America on the Appalachian Trail)
Granted, freeways are involved. I’d have to learn how to drive freeways. But it’s a sacrifice I’m willing to make for you, Net. ’Cuz I’m not like my parents. I want what’s best for you. Always. You know that, right?
Jennette McCurdy (I'm Glad My Mom Died)
Dude,” Austin said as we exited the freeway, “in fifty years, all of the old folks’ homes are going to be filled with seniors listening to Justin Bieber on the oldies station and talking about how movies used to be in two-D.
Robyn Schneider (The Beginning of Everything)
Get in or you’ll miss the fun.” Fun? I slid into the seat. The engine purred to life. She floored the accelerator and the car jerked forward. She took a hard right and the tires screeched when she pulled out onto the main road. I gripped the armrest. “Who the f*ck gave you your license?” “Watch your language, Noah, and the state of Kentucky. Why did you miss your appointment?” I loved fast driving. Isaiah and I had drag raced all last summer. What I didn’t love was a middle-aged nut job who couldn’t steer straight. “You want to pull over and let me drive?” Mrs. Collins laughed and cut off a tractor trailer merging onto the freeway. “You’re a riot. Focus, Noah. The appointment.”
Katie McGarry (Pushing the Limits (Pushing the Limits, #1))
Be careful what you say. It comes true. It comes true. I had to leave home in order to see the world logically, logic the new way of seeing. I learned to think that mysteries are for explanation. I enjoy the simplicity. Concrete pours out of my mouth to cover the forests with freeways and sidewalks. Give me plastics, periodical tables, TV dinners with vegetables no more complex than peas mixed with diced carrots. Shine floodlights into dark corners: no ghosts.
Maxine Hong Kingston (The Woman Warrior)
The destruction of old Mecca goes hand in hand with the ban on non-Muslims entering the city, as well as the center of Medina. Both are attempts to cleanse the city of historical complexity. The road signs on the freeway into Mecca spell it out: “Muslims Only.
Alastair Bonnett (Unruly Places: Lost Spaces, Secret Cities, and Other Inscrutable Geographies)
I had to ride my bike to and from their god damn plant way up north in the high-chemical crime district, and reachable only by riding on the shoulder of some major freeways. I could feel the years ticking off my life expectancy as the mile markers struggled by.
Neal Stephenson (Zodiac)
One thing that I used to believe that has stuck with me is, of course, that farts are funny. Burps, too. Sneezes, even. Pretty much the whole gamut of bodily noises is a treasure trove of ready-made comedy. You gather a handful of small boys together and let them entertain themselves and there will be more sharp honks than an angry L.A. freeway. But there's a time and place for such fun, and every second of every day, no matter the location or company, turns out not to be the appropriate venue for a gastrointestinal symphony.
Greg Knauss
As I walked, I pictured the salt air and the endless water stretching out, covering the houses, crashing over the freeways, drowning out the voices of men who wish for you not to love them and the sounds of girls crying into pillows, oceans dripping from their eyes.
Wendy C. Ortiz (Excavation)
The Los Angeles River is small, but mean. People who don't know the truth of it make fun of our river; all they see is a tortured trickle that snakes along a concrete gutter like some junkie's vein. They don't know that we put the river in concrete to save ourselves; they don't know that the river is small because it's sleeping, and that every year and sometimes more it wakes. Before we put the river in that silly trough centered on a concrete plain at the bottom of those concrete walls, it flashed to life with the rain to wash away trees and houses and bridges, and cut its banks to breed new channels almost as if it was looking for people to kill. It found what it looked for too many times. Now, when it wakes, the river climbs those concrete walls so high that wet claws rake the freeways and bridges as it tries to pull down a passing car or someone caught out in the storm. Chain-link fences and barbed wire spine along the top of the walls to keep out people, but the walls keep in the river. The concrete is a prison. The prison works, most of the time.
Robert Crais (The Last Detective (Elvis Cole, #9))
Fe is, I could bang on about the desert and the altitude and the light and the silver and turquoise jewelry, but the best thing is just to mention a traffic sign on the freeway from Albuquerque. It says, in large letters, GUSTY WINDS, and in smaller letters MAY EXIST.
Douglas Adams (The Salmon of Doubt (Dirk Gently, #3))
I look up at her, rolling her mouth and smiling down. I look at the map. It’s not a brain, clearly; it’s a map; can’t she see the rivers and highways and interchanges? But I see how it could look like a brain, like if all roads were twisted neurons, pulling your emotions from one place to another, bringing the city to life. A working brain is probably a lot like a map, where anybody can get from one place to another on the freeways. It’s the nonworking brains that get blocked, that have dead ends, that are under construction like mine.
Ned Vizzini (It's Kind of a Funny Story)
Since it was my car, and since I felt confident it would make Marcus miserable, I pushed the Pearl Jam cassette into the tape deck as I got back on the freeway and turned it up. After a couple of tracks, Bas got hung up on trying to figure out the lyrics to “Yellow Ledbetter”—an unattainable goal since they were basically undecipherable sounds with a few words sprinkled in. The song was all feeling, but he was determined. We listened to it over and over, and caught a little more each time. Metaphorically, the song felt perfect for the mission we were on.
Veronica Rossi (Riders (Riders, #1))
What a wonderful world that was, and how remote it seems now. It is a challenge to believe that there was ever a time that airline food was exciting, when stewardesses were happy to see you, when flying was such an occasion that you wore your finest clothes. I grew up in a world in which everything was like that: shopping malls, TV dinners, TV itself, supermarkets, freeways, air conditioning, drive-in movies, 3D movies, transistor radios, backyard barbecues, air travel as a commonplace—all were brand-new and marvelously exciting. It is amazing we didn’t choke to death on all the novelty and wonder in our lives. I remember once my father brought home a device that you plugged in and, with an enormous amount of noise and energy, it turned ice cubes into shaved ice, and we got excited about that. We were idiots really, but awfully happy, too. —
Bill Bryson (The Road to Little Dribbling: More Notes from a Small Island)
You sell your own wares,then.Are you clever at it?" Shelby lifted her wine. "I like to think so." Tossing her hangs out of her eyes, she turned to Alan. "Would you say I was clever at it, Senator?" "Amazingly so," he returned. "For someone without any sense of organization, you manage to work at your craft,run a shop,and live precisely as you choose." "I like odd compliments," Shelby decided after a moment. "Alan's accustomed to a more structured routine. He'd never run out of gas in the freeway." "I like odd insults," Alan murmured into his wine. "Makes a good balance.
Nora Roberts (The MacGregors: Alan & Grant (The MacGregors, #3-4))
There is a joke about a commuter who’s on his way to work when he gets a call on his mobile phone from his wife. “Be careful, honey,” she says. “They just said on the radio that there’s a maniac driving on the wrong side of the freeway.” “One maniac?” he replies; “There are thousands of them!
Steven Pinker (The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century)
In his backyard, an empty dirt field beside a freeway overpass, I watched Trevor aim his .32 Winchester at a row of paint cans lined on an old park bench. I did not know then what I know now: to be an American boy, and then an American boy with a gun, is to move from one end of a cage to another.
Ocean Vuong (On Earth We're Briefly Gorgeous)
Lured by smooth roads onto a new turnpike, he read with surprise the rules he was handed, don't stop, don't turn around, pay when you get there; he made his escape at the first exit he saw, for fiftyfive cents, and now he was on the old road buzzing the staid turnpike by turns over and under, teasing it crazy.
Douglas Woolf (Wall to Wall)
After a few Republicans on the Houston city council supported the Democratic majority's proposal that stalled cars be towed immediately off the city's notoriously clotted freeways, local Republican officials promised retribution. 'We're not looking for council members who are going to go along and get along,' said Jared Woodfill, chairman of the Harris County Republican Party. 'We're looking for council members who are going to stand up for conservative values.' Surely, political ideology has teetered over some high cliff when towing can be described as a 'value.' What's next, a doctrine of potholes, the water pressure credo?
Bill Bishop (The Big Sort: Why the Clustering of Like-Minded America is Tearing Us Apart)
I can hear cars on the freeway, it’s like a distant sea sludged with people while over my other shoulder, far over on 7th street near Western is the hospital, that house of agony— sheets and bedpans and arms and heads and expirations; everything is so sweetly awful, so continuously and sweetly awful: the art of consummation: life eating life…
Charles Bukowski (You Get So Alone at Times That it Just Makes Sense)
Oh, everything is fun when I’m around.” Hercules’s knees knocked into the back of my seat as he leaned back. “This one time, when I was ordered by the gods to . . .” I could only think of three words. Fuck. My. Life. “You should drive, because I’m going to end it all. Once we’re on the freeway, I’m going to jump out of this vehicle and throw myself in front of a Mack truck.” Josie’s laugh cut off her yawn. “That’s a little excessive.” Adjusting the sunglasses I’d stolen from Aiden yesterday morning, I smirked. “I do not think anything is excessive when it comes to him.” “But that won’t even kill you.” I sighed. “Yeah, but I’m pretty sure it’ll knock me unconscious for the time being.
Jennifer L. Armentrout (The Power (Titan, #2))
...all around George, approaching him, crossing his path from every direction, is the male and female raw material which is fed daily into this factory, along the conveyor-belts of the freeways, to be processed, packaged and placed on the market... What do they think they are up to? Well, there is the official answer; preparing themselves for life which means a job and security in which to raise children to prepare themselves for life which means a job and security in which... Here, in their midst, George feels a sort of vertigo. Oh God, what will become of them all? What chance have they? Ought I yell out to them, right now, here, that it's hopeless? But George knows he can't do that. Because, absurdly, inadequately, in spite of himself almost, he is a representative of hope. And the hope is not false. No. It's just that George is like a man trying to sell a real diamond for a nickel, on the street. The diamond is protected from all but the tiniest few, because the great hurrying majority can never stop to dare to believe that it could conceivably be real.
Christopher Isherwood (A Single Man)
She caught herself then. Such babble! Teresa was shocked by the roaming idleness of her mind, as if she were sifting through trash on the side of the freeway and was stopped, enchanted, by every foil gum wrapper. She came back for a single breath but found herself reflecting on the bean salad they'd had for dinner, some kind of pink beans in there she hadn't seen since childhood. She couldn't remember what they were called. Her mother would ask her to pick through the beans before she soaked them, to look for little rocks, and she would be so meticulous until she lost interest, dumping the unchecked beans on top of the ones she had vetted, ruining everything. Did anyone in her family ever bite down on a rock?
Ann Patchett (Commonwealth)
What the road really was, she fancied, was this hypodermic needle, inserted somewhere ahead into the vein of a freeway, a vein nourishing the mainliner L.A., keeping it happy, coherent, protected from pain, or whatever passes, with a city, for pain. But were Oedipa some single melted crystal of urban horse, L.A., really, would be no less turned on for her absence.
Thomas Pynchon (The Crying of Lot 49)
George feels a kind of patriotism for the freeways. He is proud that they are so fast, that people get lost on them and even sometimes panic and have to bolt for safety down the nearest cutoff. George loves the freeways because he can still cope with them; because the fact that he can cope proves his claim to be a functioning member of society. He can still get by.
Christopher Isherwood (A Single Man)
The guided tour "I am a guide to the labyrinth" city is inside of body made manifest meat organs & electrical power plants The place where, walking down death-row ("You look like you're"), maps - AMERICUS - a river-vein we ride along. give form to the passing world Freeways are a drama, a new art form. Signs. Houses. Faces. Loud gabble of Blacks at a bus-stop.
Jim Morrison (The American Night: The Lost Writings, Vol. 2)
THE City of Angels operated mostly on a grid pattern, with a few winding streets tossed in to fuck up a tourist trying to get from Hollywood to downtown. Adding to the confusion are three of the worst intersected freeways known to mankind. An innocent stranger to the molasses gridlock around the downtown exits could unsuspectingly take the wrong course among the five hundred options available amid the endless construction and find himself circling the area, hopelessly lost until he either ran out of gas or went mad from the hell he couldn’t escape. Bobby was dead certain many of the street people trudging through downtown muttering to themselves were actually motorists who finally abandoned their cars and set to walking the cement and steel desert until the end of their days. I wasn’t all together certain he was wrong.
Rhys Ford (Dirty Laundry (Cole McGinnis, #3))
The more we listen to the voices of others, voices unlike our own, the more we remain open to the transcendent forces that save us from idolatry. The more we listen to ourselves, the more we create God in our own image until God becomes a tawdry idol that looks and speaks like us. The power of the commandments is found not in the writings of theologians, although I read and admire some, but in the pathos of human life, including lives that are very unlike our own. All states and nations work to pervert religions into civic religions, ones where the goals of the state become the goals of the divine. This is increasingly true in the United States. But once we believe we understand the will of God and can act as agents of God we become dangerous, a menace to others and a menace to ourselves. We forget that we do not understand. We forget to listen.
Chris Hedges (Losing Moses on the Freeway: The 10 Commandments in America)
The genius of the current caste system, and what most distinguishes it from its predecessors, is that it appears voluntary. People choose to commit crimes, and that’s why they are locked up or locked out, we are told. This feature makes the politics of responsibility particularly tempting, as it appears the system can be avoided with good behavior. But herein lies the trap. All people make mistakes. All of us are sinners. All of us are criminals. All of us violate the law at some point in our lives. In fact, if the worst thing you have ever done is speed ten miles over the speed limit on the freeway, you have put yourself and others at more risk of harm than someone smoking marijuana in the privacy of his or her living room. Yet there are people in the United States serving life sentences for first-time drug offenses, something virtually unheard of anywhere else in the world.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
In the rearview mirror, they saw the young officer stumble out of the precinct just in time to see them speed away. "A little slower on the turns, Alfred," Bruce managed to say as they screeched around a corner and bolted into a freeway tunnel. Alfred chuckled. He still had his hospital band wrapped around his wrist. "WayneTech cars aren't made for slow turns, Master Wayne." "And you wonder where I get it from." Bruce felt as if his stomach could touch his spine. Even in his Aston Martin, he'd never been able to drive the way Alfred was now. "I used to be in the Royal Air Force, Master Wayne," Alfred answered in a dry tone. "At least I have an excuse. Just because one can doesn't mean one should. I expect you not to use this against me the next time you go for a joyride." "I'll try not to," Bruce managed to reply as he clutched the edges of his seat. In the back seat, Harvey looked green.
Marie Lu (Batman: Nightwalker)
Justice and honesty and loyalty are not properties of this world, she thought; and then, by God, she rammed her old enemy, her ancient foe, the Coca-Cola truck, which went right on going without noticing. The impact spun her small car around; her headlights dimmed out, horrible noises of fender against tire shrieked, and then she was off the freeway onto the emergency strip, facing the other direction, water pouring from her radiator, with motorists slowing down to gape. Come back, you motherfucker, she said to herself, but the Coca-Cola truck was long gone, probably undented. Maybe a scratch. Well, it was bound to happen sooner or later, her war, her taking on a symbol and a reality that outweighed her. Now my insurance rates will go up, she realized as she climbed from her car. In this world you pay for tilting with evil in cold, hard cash. A late-model Mustang slowed and the driver, a man, called to her, “You want a ride, miss?” She did not answer. She just kept on going. A small figure on foot facing an infinity of oncoming lights.
Philip K. Dick (A Scanner Darkly)
Your Overworld persona is a hero,” said Bao. “Heartbeat is a hero. Calaca's a psychopath, but he was right about one thing — the internet is the real world. What you do there matters, and what you do here matters. I've seen you spend days nursing a sick sister back to health; I've seen you work triple shifts in this restaurant to pay your family's mortgage. You took Gabi to ballet when your parents were too scared to send her. Three nights ago you ran into the middle of a freeway to rescue your friend. You're not just a hero, Mari, you're my hero. If anyone can figure this out, it's you.
Dan Wells (Bluescreen (Mirador, #1))
Perhaps the most avid user of Amazon’s auction site was Bezos himself, who began to collect various scientific and historical curiosities. Most memorably, he purchased the skeleton of an Ice Age cave bear, complete with an accompanying penis bone, for $40,000. After the company’s headquarters moved yet again over the summer, out of the deteriorating Columbia Building and into the Pacific Medical Center building, a 1930s-era art-deco hospital that sat on a hill overlooking the I-5 freeway, Bezos displayed the skeleton in the lobby. Next to it was a sign that read PLEASE DON’T FEED THE BEAR.
Brad Stone (The Everything Store: Jeff Bezos and the Age of Amazon)
Jobs and commerce have moved to edge nodes, but few people want to live in them. The presence of housing in edge nodes is often the result of spot builders filling in leftover sites with 'affordable' housing units. Nearby freeways make many of these units undesirable. Occasionally expensive apartments for households without children are added near upscale mall areas...but most affluent families prefer to live elsewhere. Ugly environments, cheap gas, and subsidized freeways mean that workers commute to residences far outside the edge nodes, scattering into less dense areas, creating one more suburban pattern, the rural fringes.
Dolores Hayden (Building Suburbia: Green Fields and Urban Growth, 1820-2000)
Little things. I drive by the funeral home where he was taken several times a week, if not a day. Ordinarily, these trips mean nothing. But one time not long ago I happened to glance at the building and my mind was filled with visions of him laid out on the table, his body being prepared. I started crying. I was still crying when I got on the freeway a short time later. “You’re gone,” I whispered. “I can’t believe you’re gone.” I can’t believe it. I can’t believe he’s gone. I repeated the words over and over, until I started to hear something else above the rumble of the tires and the rush of the wind. I’m still here. Always with you.
Taya Kyle (American Wife: Love, War, Faith, and Renewal)
The professional endures adversity. He lets the birdshit splash down on his slicker, remembering that it comes clean with a heavy-duty hosing. He himself, his creative center, cannot be buried, even beneath a mountain of guano. His core is bulletproof. Nothing can touch it unless he lets it. I saw a fat happy old guy once in his Cadillac on the freeway. He had the A/C going, Pointer Sisters on the CD, puffing on a stogie. His license plate: DUES PD The professional keeps his eye on the doughnut and not on the hole. He reminds himself it's better to be in the arena, getting stomped by the bull, than to be up in the stands or out in the parking lot.
Steven Pressfield (The War of Art)
remember how we used to play" in the upper atmosphere in the vertical climb in the sky above the clouds remember how we used to play in the nautical dusk along the radians of midheaven… out there amid the scattered wavelengths within the aerosols of a meteorological meadow we tread upon the aether side by side the ampere and the joule the whisper and the gleam borne along effervescent freeways remember how we came to rest inside the amethyst auditorium of a storm there - suspended in an echo-plex of thunder you drew me close and I tasted the voltage of your skin the radiometry of your eyes the amphetamine of your lips the flushed cushion of your tongue
Alice Evermore
The worst effects of breathing polluted air are experienced where it is densest: in traffic. Spending time on and near highways, freeways, and other busy roads is terrible for your health. How near is a question that is still being studied, but researchers believe that the effects are worst within either a fifth or a third of a mile. People in cars or buses are exposed to considerably more air pollution, perhaps because of, rather than despite, being in a closed space. People walking and bicycling on or next to roads breathe more air, but inhale somewhat less pollution; and cyclists have been found to have even less risk if they are on paths that are separated from the road.
Elly Blue (Bikenomics: How Bicycling Can Save The Economy)
It’s odd God. Time’s shoeless feet sneaked up on me and caught me by surprise. The days of youth I knew so well are gone with the blink of an eye. Innocent play and laughter, tire swings and fun, those days were too soon ended when I thought they’d only begun. Backyard friends were many Worries and fears were few. Hopes and dreams were not yet dashed. But life as it was then is through. No longer tree swings, now they’re blowouts that complicate schedules and work as I recklessly race down the freeway in search of a paycheck and perks. How I long for the years of my childhood, when life was uncluttered and free. Perhaps there’s a way to reprogram my goals and capture the me that was me.
Ravi Zacharias (Recapture the Wonder: Experiencing God's Amazing Promise of Childlike Joy)
Then he said something about how L.A. is dust and exhaust and the hot, dry wind that sets your nerves on edge and pushes fire up the hillsides in ragged lines like tears in the paper that separates us from hell, and it’s towering clouds of smoke, and it’s sunshine that won’t let up and cool ocean fog that gets unrolled at night over the whole basin like a clean white hospital sheet and peeled back again in the morning. It’s a crescent moon in a sky bruised green after the sunset has beaten the shit out of it. It’s a lazy hammock moon rising over power lines, over the skeletal silhouettes of pylons, over shaggy cypress trees and the spiky black lionfish shapes of palm-tree crowns on too-skinny trunks. It’s the Big One that’s coming to turn the city to rubble and set the rubble on fire but not today, hopefully not today. It’s the obviousness of pointing out that the freeway looks like a ruby bracelet stretched alongside a diamond one, looks like a river of lava flowing counter to a river of champagne bubbles. People talk about the sprawl, and, yeah, the city is a drunk, laughing bitch sprawled across the flats in a spangled dress, legs kicked up the canyons, skirt spread over the hills, and she’s shimmering, vibrating, ticklish with light. Don’t buy a star map. Don’t go driving around gawking because you’re already there, man. You’re in it. It’s all one big map of the stars.
Maggie Shipstead (Great Circle)
Because of the city's fragmentary, far-flung floor plan, accessible almost exclusively by car, there is no collective sense of community, no overarching sense of "we." ... It's a city of transplants ... Everyone moves to LA with plans not to stay. But then we stay. Because somewhere along the way, this Garden of Forking Freeways burrows itself inside our hardened, from-elsewhere hearts, and slowly, we begin to love the place we claimed to hate. Los Angeles is such a misunderstood city... It's a place that's impossible not to ridicule until you...fully appreciate all its endearing inconsistencies. It is ugly, and it is also beautiful. It is fast; it is slow. It is sexy, and it is also smart.
Lilibet Snellings (Box Girl: My Part Time Job as an Art Installation)
Free Falling" She's a good girl, loves her mama Loves Jesus and America too She's a good girl, crazy 'bout Elvis Loves horses and her boyfriend too It's a long day livin' in Reseda There's a freeway runnin' through the yard I'm a bad boy, 'cause I don't even miss her I'm a bad boy for breakin' her heart And I'm free, I'm free fallin' All the vampires walkin' through the valley Move west down Ventura Blvd All the bad boys are standing in the shadows All the good girls are home with broken hearts And I'm free, I'm free fallin' I wanna glide down over Mulholland I wanna write her name in the sky I wanna free fall out into nothin' Gonna leave this world for a while And I'm free, I'm free fallin
Tom Petty
About five miles back I had a brush with the CHP. Not stopped or pulled over: nothing routine. I always drive properly. A bit fast, perhaps, but always with consummate skill and a natural feel for the road that even cops recognize. No cop was ever born who isn't a sucker for a finely-executed hi-speed Controlled Drift all the way around one of those cloverleaf freeway interchanges. Few people understand the psychology of dealing with a highway traffic cop. Your normal speeder will panic and immediately pull over to the side when he sees the big red light behind him ... and then he will start apologizing, begging for mercy. This is wrong. It arouses contempt in the cop-heart. The thing to do – when you're running along about 100 or so and you suddenly find a red-flashing CHP-tracker on your tail – what you want to do then is accelerate. Never pull over with the first siren-howl. Mash it down and make the bastard chase you at speeds up to 120 all the way to the next exit. He will follow. But he won't know what to make of your blinker-signal that says you're about to turn right. This is to let him know you're looking for a proper place to pull off and talk ... keep signaling and hope for an off-ramp, one of those uphill side-loops with a sign saying "Max Speed 25" ... and the trick, at this point, is to suddenly leave the freeway and take him into the chute at no less than 100 miles an hour. He will lock his brakes about the same time you lock yours, but it will take him a moment to realize that he's about to make a 180-degree turn at this speed ... but you will be ready for it, braced for the Gs and the fast heel-toe work, and with any luck at all you will have come to a complete stop off the road at the top of the turn and be standing beside your automobile by the time he catches up. He will not be reasonable at first ... but no matter. Let him calm down. He will want the first word. Let him have it. His brain will be in a turmoil: he may begin jabbering, or even pull his gun. Let him unwind; keep smiling. The idea is to show him that you were always in total control of yourself and your vehicle – while he lost control of everything.
Hunter S. Thompson (Fear and Loathing in Las Vegas)
To “trip out,” you have to trip up your frontal lobes. Although creativity arises from the frontal lobes, it almost always takes a backseat to the dominant responsibility of those same lobes: the executive and planning function that aims to get through the day as efficiently as possible. So with time, mental habits take hold that reinforce efficient behavior by forming preferential electrical pathways and networks, like freeways directing the major flow between major cities. What psychedelics are thought to do is to disassemble the freeways temporarily, leaving only a dense and evenly distributed network of roads. This dissolution greatly expands the diversity of connections and, as a result, allows unexpected and original thoughts.
Rahul Jandial (Neurofitness: The Real Science of Peak Performance from a College Dropout Turned Brain Surgeon)
Frank thought. Each time he became someone else’s spy it got easier. The ideological virgin usually finds his first time an excruciating experience, just as an amateur hiker, used to the straight-and-narrow freeway of nine-to-five reliability, looks askance at the boulder-strewn path of mercenary betrayal, winding on up into the clouds and down into terrible moraines. But after the first time, the pain and intimacy and guilt becomes a habit subject to check listed procedures; and to the professional, the politically promiscuous soul, all that matters is the craft itself, the right skitter and stab and swing of the hips, so that in the end you can laugh at the inevitability of your own violent death. Frank was now almost at that stage.
William T. Vollmann (You Bright and Risen Angels)
It was the scale, the extremity of things here that made an impression on her: the two beds in their double room that could comfortably sleep three people each; the throaty clunking of the machine down the corridor that ejected fat glinting ice cubes, tumbling like coins from a jackpotting fruit machine; the toothache temperature of the Cokes from the mini bar (she had never known drinks to be so cold); the improbable proportions of the cars on the freeway; the sleek gleefulness of the morning TV presenters with drawls so sassy they sounded put on; the enormity of the breakfasts and the people who ate them. America seemed souped-up to JoAnne, as though it had to be bigger, better, colder, hotter, cheerier, louder, just all-round “er” than everywhere else.
Tina Seskis (A Serpentine Affair: Are friendships ever forever?)
The starting point of enlightenment, a goal that every person should strive for, is inner leadership. Leadership is far more than something businesspeople do at work. Leadership is all about personal responsibility, self-discovery, and creating value in the world by the people we become. Too many people spend their time blaming others for all that isn’t working in their lives. We blame our spouses for our unhappy home lives; we blame our bosses for our distress at work; we blame strangers on the freeway for making us angry; we blame our parents for keeping us small. Blame, blame, blame, blame. But blaming others is nothing more than excusing yourself. Blaming others for the current quality of your life is a sad way to live. In doing so, all you’re doing is playing the victim.
Robin S. Sharma (The Saint, Surfer, and CEO)
Trust me, Jennifer. me." I drove another block or two. "Why should I?" "Why shouldn't you?" Because you left me, Cameron. After everything we went through. But I knew it wasn't his fault, any more than it was mine. It wasn't like either of us had control over our lives. We were at the mercy of our parents, both of us. Anyway, I'd already turned the car toward the freeway entrance. I turned on the car radio and we drove twenty minutes without talking. When the exit finally came into view, ugly warehouses and the new Wal-Mart looming before us, I said, "Let's go to my old apartment first. I haven't been there since we moved." "I've gone by it a couple of times." "Really?" "Yeah. Living there with you was kind of my best memory." I imagined that, him going to the apartment and looking up at the window and thinking about me.
Sara Zarr (Sweethearts)
When it comes to our current fears regarding unsupervised children, we see both versions of folk wisdom at work. In the sixties or seventies, a child could walk to school or wait in a car because people were better, the world less violent, we say. But also, parents were dumber. They simply didn’t know. Sure, parents used to leave kids on their own, but they also let them drink Kool-Aid by the vat and play with toy weapons the NRA might find a touch aggro. They let them build forts in the trunks of station wagons careening down the freeway or swim without sunscreen until their skin blistered. Parents let kids wait in cars because they were idiots. But also, on average, because it was safer, because people were better then, gentler, less monstrous. It sounds so nice and pleasant, this safer, simpler past. It sounds almost too good to be true.
Kim Brooks (Small Animals: Parenthood in the Age of Fear)
The critical point is that thousands of people are swept into the criminal justice system every year pursuant to the drug war without much regard for their guilt or innocence. The police are allowed by the courts to conduct fishing expeditions for drugs on streets and freeways based on nothing more than a hunch. Homes may be searched for drugs based on a tip from an unreliable, confidential informant who is trading the information for money or to escape prison time. And once swept inside the system, people are often denied attorneys or meaningful representation and pressured into plea bargains by the threat of unbelievably harsh sentences—sentences for minor drug crimes that are higher than many countries impose on convicted murderers. This is the way the roundup works, and it works this way in virtually every major city in the United States.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
As I walked in the front door, with the glare of early morning sun still in my eyes, I had the illusion that I saw someone I recognized. She was sitting in a chair near the door, reading a magazine, and she looked for all the world like-- But it couldn't really be her, of course. She would have had to talk her protective father into giving her permission. She would have had to drive all night from Baltimore, taking the freeways and turnpikes north through New Jersey and New York and New England. That was the only way she could be here now, putting down her magazine and rising and coming toward me with a smile on her face. If I could have looked down the years then and seen everything from beginning to end--the good times, the best times, the bad times, the bad decisions, the indecision, and the finally the divorce--I still would not have traded anything for that moment.
Kenn Kaufman (Kingbird Highway: The Biggest Year in the Life of an Extreme Birder)
The Pretender" I'm going to rent myself a house In the shade of the freeway I'm going to pack my lunch in the morning And go to work each day And when the evening rolls around I'll go on home and lay my body down And when the morning light comes streaming in I'll get up and do it again Amen Say it again Amen I want to know what became of the changes We waited for love to bring Were they only the fitful dreams Of some greater awakening I've been aware of the time going by They say in the end it's the wink of an eye And when the morning light comes streaming in You'll get up and do it again Amen Caught between the longing for love And the struggle for the legal tender Where the sirens sing and the church bells ring And the junk man pounds his fender Where the veterans dream of the fight Fast asleep at the traffic light And the children solemnly wait For the ice cream vendor Out into the cool of the evening Strolls the Pretender He knows that all his hopes and dreams Begin and end there Ah the laughter of the lovers As they run through the night Leaving nothing for the others But to choose off and fight And tear at the world with all their might While the ships bearing their dreams Sail out of sight I'm going to find myself a girl Who can show me what laughter means And we'll fill in the missing colors In each other's paint-by-number dreams And then we'll put our dark glasses on And we'll make love until our strength is gone And when the morning light comes streaming in We'll get up and do it again Get it up again I'm going to be a happy idiot And struggle for the legal tender Where the ads take aim and lay their claim To the heart and the soul of the spender And believe in whatever may lie In those things that money can buy Though true love could have been a contender Are you there? Say a prayer for the Pretender Who started out so young and strong Only to surrender Jackson Browne, The Pretender (1976)
Jackson Browne (The Pretender: Piano/Vocal/Chords)
But there wasn’t much peace to be had on Southern California freeways during the morning rush hour. The pace alternated between brief intervals of violent acceleration, and total gridlock. He was navigating the I-5 and 805 merge—known euphemistically as the ‘Golden Triangle’—when a motorcyclist riding a blue Kawasaki ZX6 cut in front of him, passing so close to Derrick’s front bumper that he felt his body tense for collision. Somehow, it didn’t come. Still crossing the freeway on a reckless diagonal, the bike barely missed getting run over by a semi-truck in the far right lane. The truck driver blew his horn long and angrily. Without looking up, the cyclist raised his left fist and made the time-honored ‘bird’ gesture. Then, he darted down the off ramp, and sped away on the East 56 freeway. Derrick shook his head in amazement. “What the hell is wrong with people?” Not more than thirty seconds later, he passed an Amber Alert sign that read, “SHARE THE ROAD. LOOK TWICE FOR MOTORCYCLES.
David Lucero (Who's Minding the Store)
The life of a cigarette girl. Hawking cigarettes, breath mints and the occasional condom wasn’t actually the end-all and be-all job occupation for Linda. But without a high school diploma, and a sincere lack of interest in what some would consider a career, she knew her options were limited in today’s society. Oh, no, here at the Club Festival, ethics and morality were only gauged as highly as the limits of an individual’s cash in the wallet. Money, honey, that made things move all about her. Linda Avery was a city girl, born and bred. She was born in the big city of Portland, Oregon, and although raised in a small town a few miles away, came to the big city for excitement. She came to the city both with her parents as a child and as an adolescent on her own. She remembered that back in the day, coming into Portland with her parents was a matter of finding the main drag, Burnside Street, that connected the west side with the east side; now there’s more than one freeway route through town.
Richard E. Riegel (Tough City, Tougher Woman)
What if we fail to stop the erosion of cities by automobiles? What if we are prevented from catalyzing workable and vital cities because the practical steps needed to do so are in conflict with the practical steps demanded by erosion? There is a silver lining to everything. In that case we Americans will hardly need to ponder a mystery that has troubled men for millennia: What is the purpose of life? For us, the answer will be clear, established and for all practical purposes indisputable: The purpose of life is to produce and consume automobiles. It is not hard to understand that the producing and consuming of automobiles might properly seem the purpose of life to the General Motors management, or that it may seem so to other men and women deeply commtted economically or emotionally to this pursuit. If they so regard it, they should be commended rather than cricicized for this remarkable identification of philosophy with daily duty. It is harder to understand, however, why the production and consumption of automobiles should be the purpose of life for this country. Similarly, it is understandable that men who were young in the 1920's were captivated by the vision of the freeway Radiant City, with the specious promise that it would be appropriate to an automobile age. At least it was then a new idea; to men of the generation of New York's Robert Moses, for example, it was radical and exciting in the days when their minds were growing and their ideas forming. Some men tend to cling to old intellectual excitements, just as some belles, when they are old ladies, still cling to the fashions and coiffures of their exciting youth. But it is harder to understand why this form of arrested mental development should be passed on intact to succeeding generations of planners and designers. It is disturbing to think that men who are young today, men who are being trained now for their carreers, should accept *on the grounds that they must be "modern" in their thinking,* conceptions about cities and traffic which are not only unworkably, but also to which nothing new of any significance has been added since their fathers were children.
Jane Jacobs (The Death and Life of Great American Cities)
The difference between a path and a road is not only the obvious one. A path is little more than a habit that comes with knowledge of a place. It is a sort of ritual of familiarity. As a form, it is a form of contact with a known landscape. It is not destructive. It is the perfect adaptation, through experience and familiarity, of movement to place; it obeys the natural contours; such obstacles as it meets it goes around. A road, on the other hand, even the most primitive road, embodies a resistance against the landscape. Its reason is not simply the necessity for movement, but haste. Its wish is to avoid contact with the landscape; it seeks so far as possible to go over the country, rather than through it; its aspiration, as we see clearly in the example of our modern freeways, is to be a bridge; its tendency is to translate place into space in order to traverse it with the least effort. It is destructive, seeking to remove or destroy all obstacles in its way. The primitive road advanced by the destruction of the forest; modern roads advance by the destruction of topography.
Wendell Berry (The Art of the Commonplace: The Agrarian Essays)
Free Fallin' She's a good girl, loves her mama Loves Jesus and America too She's a good girl, crazy 'bout Elvis She loves horses and her boyfriend too, yeah yeah And it's a long day livin' in Reseda There's a freeway runnin' through the yard I'm a bad boy 'cause I don't even miss her I'm a bad boy for breakin' her heart And I'm free, free fallin', fallin And I'm free, free fallin', fallin All the vampires walkin' through the valley They move west down Ventura Boulevard And all the bad boys are standing in the shadows And the good girls are home with broken hearts And Im free, free fallin', fallin Now Im free, free fallin', fallin Free fallin', now I'm free fallin Now I'm free fallin, now I'm free fallin Now I'm free fallin, now I'm free fallin Now I'm free fallin, now I'm free fallin I wanna glide down over Mulholland I wanna write her, her name in the sky I'm wanna free fall out into nothin' Oh, Im gonna leave this, this world for a while Now Im free, free fallin', fallin Now Im free, free fallin', fallin Now Im free, free fallin', fallin Now Im free, free fallin', fallin Free fallin, fallin Free fallin, fallin Free fallin, fallin
Tom Petty
Homie caught a body Got a naughty shawty Throw her in the trunk of my purple buggati Opps on my tail damn making this a party Firing shots man I think they might’ve got me Bleeding and speeding on the 401 This is hood economics 101 Got that gangsta archetype like Carl Yung Damn making me ask who am I running from? When I know I got balls and a fuckin loaded gun Roll out on the freeway while takin some heat One cop two cop three’s on his feet Yeah bullseye put one his knee Cryin oh please don’t hurt me you know I got family Put him to sleep with nice slick kick As I head to his home to go meet his kids His wife’s crying in the corner as I fire from the hip Yeah there’s heart in this clip I put my all in this shit Leaving their home while unfulfilled Got a taste for killing need more blood to spill God looking down asking me to chill Fire shots in the air tellin him no deal Already dug my grave and wrote my will Therapist tells me just stay home and masturbate man Tell him fuck off you know I’m Patrick Bateman Killers don’t discriminate you know I still kill women Brutally beat them into mush on the pavement Screaming for help with no-one here to save them My life has purpose and I know who I am A cold blooded killer with two glocks in his hands Better run mothafucka you know you stand no chance Cause it takes two to tango and damn I wanna dance
A native is a man or creature or plant indigenous to a limited geographical area - a space boundaried and defined by mountains, rivers, or coastline (not by latitudes, longitudes, or state and county lines), with its own peculiar mixture of weeds, trees, bugs, birds, flowers, streams, hills, rocks, and critters (including people), its own nuances of rain, wind, and seasonal change. Native intelligence develops through an unspoken or soft spoken relationship with these interwoven things: it evolves as the native involves himself in his region. A non-native awakes in the morning in a body in a bed in a room in a building on a street in a county in a state in a nation. A native awakes in the in the center of a little cosmos - or a big one, if his intelligence is vast - and he wears this cosmos like a robe, senses the barely perceptible shiftings, migrations, moods, and machinations of its creatures, its growing green things, its earth and sky. Native intelligence is what Huck Finn had rafting the Mississippi, what Thoreau had by his pond, what Kerouac had in Desolation Lookout and lost entirely the instant he caught a whiff of any city. But some have it in cities - like the Artful Dodger, picking his way through a crowd of London pockets; like Mother Teresa in the Calcutta slums. Sissy Hankshaw had it on freeways, Woody Guthrie in crowds of fruit pickers, Ghandi in jails. Almost everybody has a dab of it wherever he or she feels most at home..
David James Duncan (The River Why)
The President of the United States had just been murdered -- and he, Virgil Edward Hoffman, had seen the men who did it.  There was always a chance that someone else could have seen them, too, but even in the distress of the moment, Ed somehow doubted it.               All he knew for certain was that he had to make sure the two men didn't get away with their unspeakable deed.  They had to be caught and made to pay, he thought, as the image of the mortally wounded President flashed before his mind's eye and made him shudder.  It was all Ed could do to keep from running across the busy freeway toward where he had last seen the two men.  But logic told him that it was too far, and there were too many obstacles in the way.  He knew he would never make it.               As the limousine roared on past with its tragic cargo, Ed's eyes darted back to the area behind the wooden fence -- just in time to witness the final act unfolding in the deadly tableau 150 yards away.               "The train man was still standing there.  I could see him very plainly.  I watched him take the gun apart.  I don't know how he did it because I don't know anything about guns, but he dismantled it and put it inside the brown suitcase.  Then he started running, too.  He ran off to the north, into the railroad yards.  I managed to keep him in sight until he ran behind a train.  He ran right around the caboose and disappeared, and after that I couldn't see him anymore.
Bill Sloan (The Kennedy Conspiracy: 12 Startling Revelations About the JFK Assassination)
If you’re going to give me the third degree,” she tells him, “let’s get it over with. Best to withhold food or water; water is probably best. I’ll get thirsty before I get hungry.” He shakes his head in disbelief. “Do you really think I’m like that? Why would you think that?” “I was taken by force, and you’re keeping me here against my will,” she says, leaning across the table toward him. She considers spitting in his face, but decides to save that gesture as punctuation for a more appropriate moment. “Imprisonment is still imprisonment, no matter how many layers of cotton you wrap it in.” That makes him lean farther away, and she knows she’s pushed a button. She remembers seeing those pictures of him back when he was all over the news, wrapped in cotton and kept in a bombproof cell. “I really don’t get you,” he says, a bit of anger in his voice this time. “We saved your life. You could at least be a little grateful.” “You have robbed me, and everyone here, of their purpose. That’s not salvation, that’s damnation.” “I’m sorry you feel that way.” Now it’s her turn to get angry. “Yes, you’re sorry I feel that way, everyone’s sorry I feel that way. Are you going to keep this up until I don’t feel that way anymore?” He stands up suddenly, pushing his chair back, and paces, fern leaves brushing his clothes. She knows she’s gotten to him. He seems like he’s about to storm out, but instead takes a deep breath and turns back to her. “I know what you’re going through,” he says. “I was brainwashed by my family to actually want to be unwound—and not just by my family, but by my friends, my church, everyone I looked up to. The only voice who spoke sense was my brother Marcus, but I was too blind to hear him until the day I got kidnapped.” “You mean see,” she says, putting a nice speed bump in his way. “Huh?” “Too blind to see him, too deaf to hear him. Get your senses straight. Or maybe you can’t, because you’re senseless.” He smiles. “You’re good.” “And anyway, I don’t need to hear your life story. I already know it. You got caught in a freeway pileup, and the Akron AWOL used you as a human shield—very noble. Then he turned you, like cheese gone bad.” “He didn’t turn me. It was getting away from my tithing, and seeing unwinding for what it is. That’s what turned me.” “Because being a murderer is better than being a tithe, isn’t that right, clapper?” He sits back down again, calmer, and it frustrates her that he is becoming immune to her snipes. “When you live a life without questions, you’re unprepared for the questions when they come,” he says. “You get angry and you totally lack the skills to deal with the anger. So yes, I became a clapper, but only because I was too innocent to know how guilty I was becoming.” ... “You think I’m like you, but I’m not,” Miracolina says. “I’m not part of a religious order that tithes. My parents did it in spite of our beliefs, not because of ii.” “But you were still raised to believe it was your purpose, weren’t you?” “My purpose was to save my brother’s life by being a marrow donor, so my purpose was served before I was six months old.” “And doesn’t that make you angry that the only reason you’re here was to help someone else?” “Not at all,” she says a little too quickly. She purses her lips and leans back in her chair, squirming a bit. The chair feels a little too hard beneath her. “All right, so maybe I do feel angry once in a while, but I understand why they did it. If I were them, I would have done the same thing.” “Agreed,” he says. “But once your purpose was served, shouldn’t your life be your own?” “Miracles are the property of God,” she answers. “No,” he says, “miracles are gifts from God. To calthem his property insults the spirit in which they are given.” She opens her mouth to reply but finds she has no response, because he’s right. Damn him for being right—nothing about him should be right! “We’ll talk again when you’re over yourself,” he says.
Neal Shusterman (UnWholly (Unwind, #2))
Understanding Metro's history may illuminate today's debates. To conservatives who decry Metro's expense--around $10 billion in nominal dollars--this book serves as a reminder that Metro was never intended to be the cheapest solution to any problem, and that it is the product of an age that did not always regard cheapness as an essential attribute of good government. To those who celebrate automobile commuting as the rational choice of free Americans, it replies that some Americans have made other choices, based on their understanding that building great cities is more important than minimizing average commuting time. This book may also answer radicals who believe that public funds should primarily--or exclusively--serve the poor, which in the context of transportation means providing bus and rail transit for the carless while leaving the middle class to drive. It suggests that Metro has done more for inner-city African Americans than is generally understood. And to those hostile to public mega-projects as a matter of principle, it responds that it may take a mega-project to kill a mega-project. Had activists merely opposed freeways, they might as well have been dismissed as cranks by politicians and technical experts alike. By championing rapid transit as an equally bold alternative, they won allies, and, ultimately, victory. Most important, this book recalls the belief of Great Society liberals that public investments should serve all classes and all races, rather than functioning as a last resort. These liberals believed, with Abraham Lincoln, that 'the legitimate object of government is to do for a community of people, whatever they need to have done, but can not do, at all, or can not, so well do, for themselves--in their separate, and individual capacities.' This approach justifies the government's role in rail not as a means of distributing wealth, but as an agent for purchasing rapid transit--a good that people collectively want but cannot collectively buy through a market.
Zachary M. Schrag (The Great Society Subway: A History of the Washington Metro)
The genius of the current caste system, and what most distinguishes it from its predecessors, is that it appears voluntary. People choose to commit crimes, and that’s why they are locked up or locked out, we are told. This feature makes the politics of responsibility particularly tempting, as it appears the system can be avoided with good behavior. But herein lies the trap. All people make mistakes. All of us are sinners. All of us are criminals. All of us violate the law at some point in our lives. In fact, if the worst thing you have ever done is speed ten miles over the speed limit on the freeway, you have put yourself and others at more risk of harm than someone smoking marijuana in the privacy of his or her living room. Yet there are people in the United States serving life sentences for first-time drug offenses, something virtually unheard of anywhere else in the world. The notion that a vast gulf exists between “criminals” and those of us who have never served time in prison is a fiction created by the racial ideology that birthed mass incarceration, namely that there is something fundamentally wrong and morally inferior about “them.” The reality, though, is that all of us have done wrong. As noted earlier, studies suggest that most Americans violate drug laws in their lifetime. Indeed, most of us break the law not once but repeatedly throughout our lives. Yet only some of us will be arrested, charged, convicted of a crime, branded a criminal or felon, and ushered into a permanent undercaste. Who becomes a social pariah and excommunicated from civil society and who trots off to college bears scant relationship to the morality of crimes committed. Who is more blameworthy: the young black kid who hustles on the street corner, selling weed to help his momma pay the rent? Or the college kid who deals drugs out of his dorm room so that he’ll have cash to finance his spring break? Who should we fear? The kid in the ’hood who joined a gang and now carries a gun for security, because his neighborhood is frightening and unsafe? Or the suburban high school student who has a drinking problem but keeps getting behind the wheel? Our racially biased system of mass incarceration exploits the fact that all people break the law and make mistakes at various points in their lives and with varying degrees of justification. Screwing up—failing to live by one’s highest ideals and values—is part of what makes us human.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
I don’t expect you to know what the future is going to bring,” I told him. “And I’m not asking for a commitment right now. But I do want to know if it’s possible for us to be something long term. If it’s not a possibility, I’m not interested in doing this.” Chris didn’t answer right away, but when he did, his answer was perfect. “I love you,” he said. “And I don’t want to spend a day of my life without you.” Whoa! Whoa? Instead of feeling happy and confident, I suddenly felt something like fear. In my mind, what he was saying was that he wanted to marry me. Was I ready for that? No. But I loved that I heard that he wanted to marry me and was so confident and open about it. I quickly warmed up to the idea. But as the days and then weeks went by, I began to wonder. Did his answer really mean he wanted to get married? We didn’t talk about it, and our relationship didn’t change in any meaningful way. So, were we headed toward marriage, or not? Then came 9/11. The tragic attack, and the implications that going to war would have for Chris, pushed me to think harder about my future-our future. One day I called him and said, “I just had this crazy idea-let’s get married.” I thought he’d say, Hell yeah! Let’s do it! His actual reaction: “What?” As in, What the heck are you talking about? What!?! “Oh, it’s just an idea,” I said, quickly retreating. “I’m kind of kidding. We can talk about it later. I have to go.” I tried to hide my disappointment: not so much at his answer-well, there was that-but at the fact that I had read him so wrongly. I was mortified. A few days later, we were driving on the 405 Freeway, which is the major north-south connector between Los Angeles and San Diego. “You want to talk about that thing?” he asked out of the blue. “What thing?” I said. “That thing you said on the phone?” “The thing?” It took a moment before I got which thing he meant. “Oh, that thing. Getting married?” “Um, uh, yeah.” “I don’t know. Do you want to?” “Yeah,” said Chris. “If you do.” “I do.” “So?” Chris looked at me. “Are we engaged?” “Well, yeah,” I said. I wasn’t about to lose an opportunity like that-if that was the way he was interpreting it. Maybe this was the first of his many records-the record for most awkward marriage proposal ever, courtesy of me. “I need to get you a ring,” he told me. “And I have to ask your dad.” That was pure Chris: old-fashioned enough to actually ask permission. He did NOT want to do it over the phone-he wanted to go all the way to Oregon and ask in person. But I convinced him to use the phone. I was too excited to hold on to the news until we could get up to see them. I was sitting on the bed when he called my parents a short time later. My father came to the phone. “Mr. Studebaker,” said Chris in his most humble and polite voice. “I want to ask for your daughter’s hand.” “Her hand?” asked my father, not losing a beat. “What are you going to do with her hand?” Chris got a little flustered, but it all worked out. We were getting married.
Taya Kyle (American Wife: Love, War, Faith, and Renewal)