Furniture Moving Quotes

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A WOMAN SHOULD HAVE .... enough money within her control to move out and rent a place of her own even if she never wants to or needs to... A WOMAN SHOULD HAVE .... something perfect to wear if the employer or date of her dreams wants to see her in an hour... A WOMAN SHOULD HAVE ... a youth she's content to leave behind.... A WOMAN SHOULD HAVE .... a past juicy enough that she's looking forward to retelling it in her old age.... A WOMAN SHOULD HAVE ..... a set of screwdrivers, a cordless drill, and a black lace bra... A WOMAN SHOULD HAVE .... one friend who always makes her laugh... and one who lets her cry... A WOMAN SHOULD HAVE .... a good piece of furniture not previously owned by anyone else in her family... A WOMAN SHOULD HAVE .... eight matching plates, wine glasses with stems, and a recipe for a meal that will make her guests feel honored... A WOMAN SHOULD HAVE .... a feeling of control over her destiny... EVERY WOMAN SHOULD KNOW... how to fall in love without losing herself.. EVERY WOMAN SHOULD KNOW... HOW TO QUIT A JOB, BREAK UP WITH A LOVER, AND CONFRONT A FRIEND WITHOUT RUINING THE FRIENDSHIP... EVERY WOMAN SHOULD KNOW... when to try harder... and WHEN TO WALK AWAY... EVERY WOMAN SHOULD KNOW... that she can't change the length of her calves, the width of her hips, or the nature of her parents.. EVERY WOMAN SHOULD KNOW... that her childhood may not have been perfect...but it's over... EVERY WOMAN SHOULD KNOW... what she would and wouldn't do for love or more... EVERY WOMAN SHOULD KNOW... how to live alone... even if she doesn't like it... EVERY WOMAN SHOULD KNOW... whom she can trust, whom she can't, and why she shouldn't take it personally... EVERY WOMAN SHOULD KNOW... where to go... be it to her best friend's kitchen table... or a charming inn in the woods... when her soul needs soothing... EVERY WOMAN SHOULD KNOW... what she can and can't accomplish in a day... a month...and a year...
Pamela Redmond Satran
There'a a phrase, "the elephant in the living room", which purports to describe what it's like to live with a drug addict, an alcoholic, an abuser. People outside such relationships will sometimes ask, "How could you let such a business go on for so many years? Didn't you see the elephant in the living room?" And it's so hard for anyone living in a more normal situation to understand the answer that comes closest to the truth; "I'm sorry, but it was there when I moved in. I didn't know it was an elephant; I thought it was part of the furniture." There comes an aha-moment for some folks - the lucky ones - when they suddenly recognize the difference.
Stephen King
It was ironic, really - you want to die because you can't be bothered to go on living - but then you're expected to get all energetic and move furniture and stand on chairs and hoist ropes and do complicated knots and attach things to other things and kick stools from under you and mess around with hot baths and razor blades and extension cords and electrical appliances and weedkiller. Suicide was a complicated, demanding business, often involving visits to hardware shops. And if you've managed to drag yourself from the bed and go down the road to the garden center or the drug store, by then the worst is over. At that point you might as well just go to work.
Marian Keyes (Lucy Sullivan Is Getting Married)
Patience never wants Wonder to enter the house: because Wonder is a wretched guest. It uses all of you but is not careful with what is most fragile or irreplaceable. If it breaks you, it shrugs and moves on. Without asking, Wonder often brings along dubious friends: doubt, jealousy, greed. Together they take over; rearrange the furniture in every one of your rooms for their own comfort. They speak odd languages but make no attempt to translate for you. They cook strange meals in your heart that leave odd tastes and smells. When they finally go are you happy or miserable? Patience is always left holding the broom.
Jonathan Carroll (White Apples (Vincent Ettrich, #1))
Affection would not be affection if it was loudly and frequently expressed; to produce it in public is like getting your household furniture out for a move. It did very well in its place, but it looks shabby or tawdry or grotesque in the sunshine.
C.S. Lewis (The Four Loves)
Journeys are the midwives of thought. Few places are more conducive to internal conversations than a moving plane, ship or train. There is an almost quaint correlation between what is in front of our eyes and the thoughts we are able to have in our heads: large thoughts at times requiring large views, new thoughts new places. Introspective reflections which are liable to stall are helped along by the flow of the landscape. The mind may be reluctant to think properly when thinking is all it is supposed to do. At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestice setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are. If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.
Alain de Botton (The Art of Travel)
He who floats with the current, who does not guide himself according to higher principles, who has no ideal, no convictions – such a man is a mere article of the worlds furniture – a thing moved, instead of a living and moving being – an echo, not a voice.
Henri-Frédéric Amiel
If there is an operation, and if that operation is successful, she says she will move to Sweden. I fear for her future in a country whose citizenry is forced to assemble its own furniture.
Anthony Marra (The Tsar of Love and Techno)
I'm OK with being single, but I'm not OK when the time comes where I have to move my furniture around and to change the high ceiling light balls...
Hiroko Sakai
Map-making had never been a precise art on the Discworld. People tended to start off with good intentions and then get so carried away with the spouting whales, monsters, waves and other twiddly bits of cartographic furniture that the often forgot to put the boring mountains and rivers in at all.
Terry Pratchett (Moving Pictures (Discworld, #10; Industrial Revolution, #1))
The simplest truth about man is that he is a very strange being; almost in the sense of being a stranger on the earth. In all sobriety, he has much more of the external appearance of one bringing alien habits from another land than of a mere growth of this one. He cannot sleep in his own skin; he cannot trust his own instincts. He is at once a creator moving miraculous hands and fingers and a kind of cripple. He is wrapped in artificial bandages called clothes; he is propped on artificial crutches called furniture. His mind has the same doubtful liberties and the same wild limitations. Alone among the animals, he is shaken with the beautiful madness called laughter; as if he had caught sight of some secret in the very shape of the universe hidden from the universe itself. Alone among the animals he feels the need of averting his thought from the root realities of his own bodily being; of hiding them as in the presence of some higher possibility which creates the mystery of shame.
G.K. Chesterton (The Everlasting Man)
I had refused Emerson's well-meant offers of assistance, knowing his efforts would be confined to moving the furniture to the wrong places and demanding how much longer the process would take.
Elizabeth Peters (A River in the Sky (Amelia Peabody, #19))
I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don’t know why they’d decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.
Hugh Laurie (The Gun Seller)
My mouth is full of Oreo, ice cream, fudge, and Cool Whip, so I just nod. This is heaven. I'm moving into one of their guest rooms. So, Laur, do you want to come with us tomorrow? You can help me plan out furniture while Nick and Ryan dig for grubs,' she says, licking her fork. Can we keep the rest of this dessert?" She grins. 'Sure.' Then I'll come.' She watches me put another bite in my mouth and close my eyes.'You're pitiful.' No, just a chocoholic.' She shakes her head. 'Same thing.
Erynn Mangum (Rematch (Lauren Holbrook, #2))
He had built up within himself a kind of sanctuary in which she throned among his secret thoughts and longings. Little by little it became the scene of his real life, of his only rational activities; thither he brought the books he read, the ideas and feelings which nourished him, his judgments and his visions. Outside it, in the scene of his actual life, he moved with a growing sense of unreality and insufficiency, blundering against familiar prejudices and traditional points of view as an absent-minded man goes on bumping into the furniture of his own room.
Edith Wharton (The Age of Innocence)
We have a soul at times. No one’s got it non-stop, for keeps. Day after day, year after year may pass without it. Sometimes it will settle for awhile only in childhood’s fears and raptures. Sometimes only in astonishment that we are old. It rarely lends a hand in uphill tasks, like moving furniture, or lifting luggage, or going miles in shoes that pinch. It usually steps out whenever meat needs chopping or forms have to be filled. For every thousand conversations it participates in one, if even that, since it prefers silence. Just when our body goes from ache to pain, it slips off-duty. It’s picky: it doesn’t like seeing us in crowds, our hustling for a dubious advantage and creaky machinations make it sick. Joy and sorrow aren’t two different feelings for it. It attends us only when the two are joined. We can count on it when we’re sure of nothing and curious about everything. Among the material objects it favors clocks with pendulums and mirrors, which keep on working even when no one is looking. It won’t say where it comes from or when it’s taking off again, though it’s clearly expecting such questions. We need it but apparently it needs us for some reason too.
Wisława Szymborska
Through this atmosphere of torrid splendor moved wan beings as richly upholstered as the furniture, beings without definite pursuits or permanent relations, who drifted on a languid tide of curiosity... Somewhere behind them, in the background of their lives there was doubtless a real past, yet they had no more real existence than the poet's shades in limbo.
Edith Wharton (The House of Mirth)
Author's Prayer If I speak for the dead, I must leave this animal of my body, I must write the same poem over and over for the empty page is a white flag of their surrender. If I speak of them, I must walk on the edge of myself, I must live as a blind man who runs through the rooms without touching the furniture. Yes, I live. I can cross the streets asking "What year is it?" I can dance in my sleep and laugh in front of the mirror. Even sleep is a prayer, Lord, I will praise your madness, and in a language not mine, speak of music that wakes us, music in which we move. For whatever I say is a kind of petition and the darkest days must I praise.
Ilya Kaminsky (Dancing in Odessa)
Deep practice feels a bit like exploring a dark and unfamiliar room. You start slowly, you bump into furniture, stop, think, and start again. Slowly, and a little painfully, you explore the space over and over, attending to errors, extending your reach into the room a bit farther each time, building a mental map until you can move through it quickly and intuitively.
Daniel Coyle (The Talent Code: Unlocking the Secret of Skill in Sports, Art, Music, Math, and Just About Everything Else)
There’s a phrase, the elephant in the living room, which purports to describe what it’s like to live with a drug addict, an alcoholic, an abuser. People outside such relationships will sometimes ask, ‘How could you let such a business go on for so many years? Didn’t you see the elephant in the living room?’ And it’s so hard for anyone living in a more normal situation to understand the answer that comes closest to the truth: ‘I’m sorry, but it was there when I moved in. I didn’t know it was an elephant; I thought it was part of the furniture.
Stephen King (The Dark Tower (The Dark Tower, #7))
Of course the dust is building up unseen, but you learn to repress this for as long as it goes unnoticed by guests. And then one day someone moves a piece of furniture without your say-so, and everything comes into plain view. Dirt and scratch marks. Permanent damage to the parquet floor. By then it’s too late.
Fredrik Backman (Britt-Marie var här)
13084 Tonight I came back to the hotel alone; the other has decided to return later on. The anxieties are already here, like the poison already prepared (jealousy, abandonment, restlessness); they merely wait for a little time to pass in order to be able to declare themselves with some propriety. I pick up a book and take a sleeping pill, "calmly." The silence of this huge hotel is echoing, indifferent, idiotic (faint murmur of draining bathtubs); the furniture and the lamps are stupid; nothing friendly that might warm ("I'm cold, let's go back to Paris). Anxiety mounts; I observe its progress, like Socrates chatting (as I am reading) and feeling the cold of the hemlock rising in his body; I hear it identify itself moving up, like an inexorable figure, against the background of the things that are here.
Roland Barthes (A Lover's Discourse: Fragments)
I felt about him as I might feel about a friendly, dimwitted dog that had decided to move in with us. He could not be cast out into the street, but he was shedding all over the furniture.
Elizabeth Peters
Nowadays, if a man living in a civilized country (ha!) hears cannon blasts in his sleep, he will, of course, mistake them for thunderclaps, gun salutes on the feast day of the local patron saint, or furniture being moved by the slime-buckets living upstairs, and go right on sleeping soundly. But the ringing of the telephone, the triumphal march of the cell phone, or the doorbell, no: Those are all sounds of summons in response to which the civilzed man (ha-ha!) has no choice but to surface from the depths of slumber and answer.
Andrea Camilleri (August Heat)
Did you really think you could quit?" He moved closer, his steps slow, purposeful. "Just fax me a damned piece of paper and I‘d be forced to let you walk away from me?" "You don‘t have a choice." Lydia swallowed the lump in her throat and moved around the chair. Putting furniture between them seemed like a smart idea. "I quit, end of story." "The hell it is," he growled as he stopped and crossed his arms over his chest. "I‘ve given you space, Lydia, but it‘s time we talk." "There‘s nothing to say." He pointedly glanced at the chair and quirked a brow. "Afraid, little Lydia?" Afraid of her own ability to keep her hands off him, yeah. "You don‘t scare me, Dane. You‘d never hurt me." "Then quit acting so skittish and come here.
Anne Rainey (Body Rush (Masters of Pleasure, #1))
Natural,my ass! The worst poison known to man comes from a tree frog in South America. You cannot imagine how small an amount would be necessary to kill you.and it's natural.Calling something NATURAL is a MEANINGLESS MARKETING PLOY." "All right,calm down! Maybe I like alternative medicine because it's been in use for more than six thousand years.After all that time,they have to know what they're doing." "You mean the wacky idea that somehow in the distant past people had more scientific wisdom than they do today?That's both crazy and counterintuitive.Six thousand years ago people thought thunder was a bunch of gods moving around furniture." -Conversation btw Dr.Jack Stapleton and Vinnie
Robin Cook (Intervention (Jack Stapleton & Laurie Montgomery, #9))
The four legs of the chair never move, but what if the chair could run as fast as a cheetah? That would be one piece of leopard print furniture I’d love to sit on.
Jarod Kintz (This Book is Not for Sale)
Little by little it became the scene of his real life, of his only rational activities; thither he brought the books he read, the ideas and feelings which nourished him, his judgments and his visions. Outside it, in the scene of his actual life, he moved with a growing sense of unreality and insufficiency, blundering against familiar prejudices and traditional points of view as an absent-minded man goes on bumping into the furniture of his own room. Absent- that was what he was: so absent from everything most densely real and near to those about him that it sometimes startled him to find they still imagined he was there.
Edith Wharton (The Age of Innocence)
At the college where I teach, I'm surrounded by circus people. We aren't tightrope walkers or acrobats. We don't breathe fire or swallow swords. We're gypsies, moving wherever there's work to be found. Our scrapbooks and photo albums bear witness to our vagabond lives: college years, grad-school years, instructor-mill years, first-job years. In between each stage is a picture of old friends helping to fill a truck with boxes and furniture. We pitch our tents, and that place becomes home for a while. We make families from colleagues and students, lovers and neighbors. And when that place is no longer working, we don't just make do. We move on to the place that's next. No place is home. Every place is home. Home is our stuff. As much as I love the Cumberland Valley at twilight, I probably won't live there forever, and this doesn't really scare me. That's how I know I'm circus people.
Cathy Day (The Circus in Winter)
By then I had moved often enough not to have the usual illusions about a clean slate or a fresh start or a new life. I knew that I could not escape myself. And the idea of beginning again, with no furniture and no friends, was exhausting. So my happiness then is hard to explain. I am tempted now to believe that entering the life one is meant to inhabit is a thrilling sensation and that is all.
Eula Biss (Notes from No Man's Land: American Essays)
(Things don’t like me. Furniture purposely sticks out its leg for me. A polished corner once literally bit me. My blanket and I have always had a complicated relationship. Soup served to me never cools. Any little thing—a coin or a cuff link—that falls off the table usually rolls away under furniture that’s hard to move. I crawl across the floor and lifting my head I see the sideboard laughing.)
Yury Olesha (Envy)
The morning was hot, and the exercise of reading left her mind contracting and expanding like the main-spring of a clock, and the small noises of midday, which one can ascribe to no definite cause, in a regular rhythm. It was all very real, very big, very impersonal, and after a moment or two she began to raise her first finger and to let it fall on the arm of her chair so as to bring back to herself some consciousness of her own existence. She was next overcome by the unspeakable queerness of the fact that she should be sitting in an arm-chair, in the morning, in the middle of the world. Who were the people moving in the house--moving things from one place to another? And life, what was that? It was only a light passing over the surface and vanishing, as in time she would vanish, though the furniture in the room would remain. Her dissolution became so complete that she could not raise her finger any more, and sat perfectly still, listening and looking always at the same spot. It became stranger and stranger. She was overcome with awe that things should exist at all. . . She forgot that she had any fingers to raise. . . The things that existed were so immense and so desolate. . . She continued to be conscious of these vast masses of substance for a long stretch of time, the clock still ticking in the midst of the universal silence.
Virginia Woolf (The Voyage Out)
As far as I can see, Janet, life is just an endless banquet of loss, and each time a new loss is doled out, you have to move your mental furniture around, throw things out, and by then there's more loss, and the cycle goes on and on. (All Families are Psychotic.)
Douglas Coupland
There's no one else. In my experience, men have one primary use." She let her gaze rove over him suggestively, and the atmosphere shifted from tense to provocative. Hidden terrace lighting played over her features, softening them, and that unrevealing dress dangled the promise of what she'd hidden under it. Then she finished the sentiment. "To move furniture.
Kat Cantrell (Marriage with Benefits)
But on another, more potent level, the work of horror really is a dance—a moving, rhythmic search. And what it’s looking for is the place where you, the viewer or the reader, live at your most primitive level. The work of horror is not interested in the civilized furniture of our lives. Such a work dances through these rooms which we have fitted out one piece at a time, each piece expressing—we hope!—our socially acceptable and pleasantly enlightened character. It is in search of another place, a room which may sometimes resemble the secret den of a Victorian gentleman, sometimes the torture chamber of the Spanish Inquisition . . . but perhaps most frequently and most successfully, the simple and brutally plain hole of a Stone Age cave-dweller. Is horror art? On this second level, the work of horror can be nothing else; it achieves the level of art simply because it is looking for something beyond art, something that predates art: it is looking for what I would call phobic pressure points. The good horror tale will dance its way to the center of your life and find the secret door to the room you believed no one but you knew of—as both Albert Camus and Billy Joel have pointed out. The Stranger makes us nervous . . . but we love to try on his face in secret.
Stephen King (Danse Macabre)
It was she made me acquainted with love. She went by the peaceful name of Ruth I think, but I can't say for certain. Perhaps the name was Edith. She had a hole between her legs, oh not the bunghole I had always imagined, but a slit, and in this I put, or rather she put, my so-called virile member, not without difficulty, and I toiled and moiled until I discharged or gave up trying or was begged by her to stop. A mug's game in my opinion and tiring on top of that, in the long run. But I lent myself to it with a good enough grace, knowing it was love, for she had told me so. She bent over the couch, because of her rheumatism, and in I went from behind. It was the only position she could bear, because of her lumbago. It seemed all right to me, for I had seen dogs, and I was astonished when she confided that you could go about it differently. I wonder what she meant exactly. Perhaps after all she put me in her rectum. A matter of complete indifference to me, I needn't tell you. But is it true love, in the rectum? That's what bothers me sometimes. Have I never known true love, after all? She too was an eminently flat woman and she moved with short stiff steps, leaning on an ebony stick. Perhaps she too was a man, yet another of them. But in that case surely our testicles would have collided, while we writhed. Perhaps she held hers tight in her hand, on purpose to avoid it. She favoured voluminous tempestuous shifts and petticoats and other undergarments whose names I forget. They welled up all frothing and swishing and then, congress achieved, broke over us in slow cascades. And all I could see was her taut yellow nape which every now and then I set my teeth in, forgetting I had none, such is the power of instinct. We met in a rubbish dump, unlike any other, and yet they are all alike, rubbish dumps. I don't know what she was doing there. I was limply poking about in the garbage saying probably, for at that age I must still have been capable of general ideas, This is life. She had no time to lose, I had nothing to lose, I would have made love with a goat, to know what love was. She had a dainty flat, no, not dainty, it made you want to lie down in a corner and never get up again. I liked it. It was full of dainty furniture, under our desperate strokes the couch moved forward on its castors, the whole place fell about our ears, it was pandemonium. Our commerce was not without tenderness, with trembling hands she cut my toe-nails and I rubbed her rump with winter cream. This idyll was of short duration. Poor Edith, I hastened her end perhaps. Anyway it was she who started it, in the rubbish dump, when she laid her hand upon my fly. More precisely, I was bent double over a heap of muck, in the hope of finding something to disgust me for ever with eating, when she, undertaking me from behind, thrust her stick between my legs and began to titillate my privates. She gave me money after each session, to me who would have consented to know love, and probe it to the bottom, without charge. But she was an idealist. I would have preferred it seems to me an orifice less arid and roomy, that would have given me a higher opinion of love it seems to me. However. Twixt finger and thumb tis heaven in comparison. But love is no doubt above such contingencies. And not when you are comfortable, but when your frantic member casts about for a rubbing-place, and the unction of a little mucous membrane, and meeting with none does not beat in retreat, but retains its tumefaction, it is then no doubt that true love comes to pass, and wings away, high above the tight fit and the loose.
Samuel Beckett (Molloy, Malone Dies, The Unnamable (The Trilogy, #1-3))
How to Continue Oh there once was a woman and she kept a shop selling trinkets to tourists not far from a dock who came to see what life could be far back on the island. And it was always a party there always different but very nice New friends to give you advice or fall in love with you which is nice and each grew so perfectly from the other it was a marvel of poetry and irony And in this unsafe quarter much was scary and dirty but no one seemed to mind very much the parties went on from house to house There were friends and lovers galore all around the store There was moonshine in winter and starshine in summer and everybody was happy to have discovered what they discovered And then one day the ship sailed away There were no more dreamers just sleepers in heavy attitudes on the dock moving as if they knew how among the trinkets and the souvenirs the random shops of modern furniture and a gale came and said it is time to take all of you away from the tops of the trees to the little houses on little paths so startled And when it became time to go they none of them would leave without the other for they said we are all one here and if one of us goes the other will not go and the wind whispered it to the stars the people all got up to go and looked back on love
John Ashbery
Rachel left," he says, sighing. "Says she's never coming back." Galen nods. "She always says that. It's probably for the better tonight, though." They both wince as Rayna plants the ball of her foot in Emma's back, splaying her across the sea of shards. "I taught her that," Toraf says. "It's a good move." Neither of the combatants seem to care about the rain, lightning, or the whereabouts of their hostess. The storm billows in, drenching the furniture, the TV, the strange art on the wall. No wonder Rachel didn't want to see this. She fussed over this stuff for days. "So, it kind of threw me when she said she didn't like fish," Toraf says. "I noticed. Surprised me, too, but everything else is there." "Bad temper." "The eyes." "That white hair is shocking though, isn't it?" "Yeah, I like it. Shut up." Galen throws a sideways glare at his friend, whose grin makes him ball his fists. "Hard bones and thick skin, obviously. There's no sign of blood. And she took some pretty hard hits from Rayna," Toraf continues neutrally. Galen nods, relaxes his fists. "Plus, you feel the pull-" Toraf is greeted with a forceful shove that sends him skidding on one foot across the slippery marble floor. Laughing, he comes back to stand beside Galen again. "Jackass," Galen mutters. "Jackass? What's a jackass?" "Not sure. Emma called me that today when she was irritated with me." "You're insulting me in human-talk now? I'm disappointed in you, minnow." Toraf nods toward the girls. "Shouldn't we break this up soon?" "I don't think so. I think they need to work this out on their own." "What about Emma's head?" Galen shrugs. "Seems fine right now. Or she wouldn't have bashed the window into pieces with her forehead.
Anna Banks (Of Poseidon (The Syrena Legacy, #1))
Moving heavy objects allowed me to feel manly in the eyes of other men. With the women it didn't matter, but I enjoyed subtly intimidating the guys with bad backs who thought they were helping out by telling us how to pack the truck. The thinking was that because we were furniture movers, we obviously weren't too bright. In addition to being strong and stupid, we were also thought of as dangerous. It might have been an old story to Patrick and the others, but I got a kick out of being mistaken as volatile. All I had to do was throw down my dolly with a little extra force, and a bossy customer would say, "Let's just all calm down and try to work this out.
David Sedaris (Me Talk Pretty One Day)
He called back over his shoulder, “Make sure you clean that water off the floor too. I wouldn’t want to slip or anything. I’m blind, don’t you know?” I looked down in chagrin at the floor and saw that I was indeed dripping soapy water all over the floorboards. Smug know-it-all. I smiled and called back, “Don’t go in the sunroom. All the furniture has been moved around so I could mop. Hang on…. With second thoughts, you should go in the sunroom. It might teach you a lesson.” The bastard just laughed.
Renae Kaye (The Blinding Light (The Tav #1))
I'm sure there was some bloated-ego thing happening that I wasn't able to recognize, but I didn't feel like it would last for long. The weird thing is that long before we ever had success on a commercial level, I had already developed a sense of entitlement. I had an unnecessary, unwarranted, unfounded, self-centered sense of entitlement from childhood. In elementary school, I always felt like I should be the president of the school and that I was somehow above the law of the school and I could break the rules. When I moved in with my father, he was arrogant and full of himself, and that carried on to me, so I always had this sense of entitlement and a semi-false sense of self. I would steal because I had that sense, whether it was houses or cars or furniture or cactuses, whatever I understand how people can be cold and ruthless criminals, because I remember at that point in my life, I did not think of the consequences for anybody else involved except me. And the consequences for me were that I got what I wanted.
Anthony Kiedis (Scar Tissue)
People get rid of plenty when they move--sometimes they're changing not just places but personalities.
Colson Whitehead (The Nickel Boys)
Getting out of bed, out of a chair, changing her position, was like moving furniture.
Louise Erdrich (LaRose)
Photography’s 1 percent inspiration and 99 percent moving furniture.
Gregory Heisler (Gregory Heisler: 50 Portraits: Stories and Techniques from a Photographer's Photographer)
If you want your home to look like a bland furniture showroom, then move into one. Otherwise, decorate in a way that reflects you. (Frank Bielec)
Brian Kramer
The sonic world of the foyer and vestibule comes at him distorted and from a distance, as if someone’s moving furniture underwater.
Dominic Smith (The Last Painting of Sara de Vos)
I have often wondered, Sir, [. . .] to observe so few Instances of Charity among Mankind; for tho' the Goodness of a Man's Heart did not incline him to relieve the Distresses of his Fellow-Creatures, methinks the Desire of Honour should move him to it. What inspires a Man to build fine Houses, to purchase fine Furniture, Pictures, Clothes, and other things at a great Expence, but an Ambition to be respected more than other People? Now would not one great Act of Charity, one Instance of redeeming a poor Family from all the Miseries of Poverty, restoring an unfortunate Tradesman by a Sum of Money to the means of procuring a Livelihood by his Industry, discharging an undone Debtor from his Debts or a Goal, or any such Example of Goodness, create a Man more Honour and Respect than he could acquire by the finest House, Furniture, Pictures or Clothes that were ever beheld? For not only the Object himself who was thus relieved, but all who heard the Name of such a Person must, I imagine, reverence him infinitely more than the Possessor of all those other things: which when we so admire, we rather praise the Builder, the Workman, the Painter, the Laceman, the Taylor, and the rest, by whose Ingenuity they are produced, than the Person who by his Money makes them his own.
Henry Fielding (Joseph Andrews / Shamela)
It made me think of the nice old Marimekko-clad ladies I sometimes went to see in the Ritz Tower: gravel-voiced, turban-wearing, panther-braceleted widows looking to move to Miami, their apartments filled with smoked-glass and chromed-steel furniture that, in the seventies, they'd purchased through their decorators for the price of a good Queen Anne--but (I was responsible for telling them, reluctantly) had not held its value and could not be re-sold at even half what they'd bought it for.
Donna Tartt (The Goldfinch)
Everything will need selling, or moving, or rearranging. But there's no right place for any of it, including the most awkward piece of furniture: me. I'm too empty to sell. I'm too replaceable to stay in Wellsford, and I'm too big for Celeste's apartment.
Barbara Stuber
Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything would be moving round me through the darkness: things, places, years. My body, still too heavy with sleep to move, would make an effort to construe the form which its tiredness took as an orientation of its various members, so as to induce from that where the wall lay and the furniture stood, to piece together and to give a name to the house in which it must be living. Its memory, the composite memory of its ribs, knees, and shoulder-blades offered it a whole series of rooms in which it had at one time or another slept; while the unseen walls kept changing, adapting themselves to the shape of each successive room that it remembered, whirling madly through the darkness. And even before my brain, lingering in consideration of when things had happened and of what they had looked like, had collected sufficient impressions to enable it to identify the room, it, my body, would recall from each room in succession what the bed was like, where the doors were, how daylight came in at the windows, whether there was a passage outside, what I had had in my mind when I went to sleep, and had found there when I awoke. The stiffened side underneath my body would, for instance, in trying to fix its position, imagine itself to be lying, face to the wall, in a big bed with a canopy; and at once I would say to myself, "Why, I must have gone to sleep after all, and Mamma never came to say good night!" for I was in the country with my grandfather, who died years ago; and my body, the side upon which I was lying, loyally preserving from the past an impression which my mind should never have forgotten, brought back before my eyes the glimmering flame of the night-light in its bowl of Bohemian glass, shaped like an urn and hung by chains from the ceiling, and the chimney-piece of Siena marble in my bedroom at Combray, in my great-aunt's house, in those far distant days which, at the moment of waking, seemed present without being clearly denned, but would become plainer in a little while when I was properly awake.
Marcel Proust (Swann's Way)
You make plans and decisions assuming randomness and chaos are for chumps. The illusion of control is a peculiar thing because it often leads to high self-esteem and a belief your destiny is yours for the making more than it really is. This over-optimistic view can translate into actual action, rolling with the punches and moving ahead no matter what. Often, this attitude helps lead to success. Eventually, though, most people get punched in the stomach by life. Sometimes, the gut-punch doesn’t come until after a long chain of wins, until you’ve accumulated enough power to do some serious damage. This is when wars go awry, stock markets crash, and political scandals spill out into the media. Power breeds certainty, and certainty has no clout against the unpredictable, whether you are playing poker or running a country. Psychologists point out these findings do not suggest you should throw up your hands and give up. Those who are not grounded in reality, oddly enough, often achieve a lot in life simply because they believe they can and try harder than others. If you focus too long on your lack of power, you can slip into a state of learned helplessness that will whirl you into a negative feedback loop of depression. Some control is necessary or else you give up altogether. Langer proved this when studying nursing homes where some patients were allowed to arrange their furniture and water plants—they lived longer than those who had had those tasks performed by others. Knowing about the illusion of control shouldn’t discourage you from attempting to carve a space for yourself out of whatever field you want to tackle. After all, doing nothing guarantees no results. But as you do so, remember most of the future is unforeseeable. Learn to coexist with chaos. Factor it into your plans. Accept that failure is always a possibility, even if you are one of the good guys; those who believe failure is not an option never plan for it. Some things are predictable and manageable, but the farther away in time an event occurs, the less power you have over it. The farther away from your body and the more people involved, the less agency you wield. Like a billion rolls of a trillion dice, the factors at play are too complex, too random to truly manage. You can no more predict the course of your life than you could the shape of a cloud. So seek to control the small things, the things that matter, and let them pile up into a heap of happiness. In the bigger picture, control is an illusion anyway.
David McRaney (You Are Not So Smart: Why You Have Too Many Friends on Facebook, Why Your Memory Is Mostly Fiction, and 46 Other Ways You're Deluding Yourself)
Groaning, Celaena stood and walked to the bookshelf along the wall, where she began pulling out books and stacking them into the nearest empty trunk. She’d have to leave her furniture and most of her shoes behind for now, but there was no way in hell she was going to move to the southern continent without all of her books.
Sarah J. Maas (The Assassin's Blade (Throne of Glass, #0.1-0.5))
In that moment, he felt like the illusion that his family had become was held together only by the constellation of patterns left by the furniture feet set on a rug, by the runes formed in the shadows that the chair backs threw on the walls, and that once those things were moved or faded, he wouldn’t know who he was anymore.
Ari Berk (Death Watch (The Undertaken, #1))
All marriages have their bad sides, because all people have weaknesses. If you live with another human being you learn to handle these weaknesses in a variety of ways. For instance, you might take the view that weaknesses are a bit like heavy pieces of furniture, and based on this you must learn to clean around them. To maintain the illusion. Of course the dust is building up unseen, but you learn to repress this for as long as it goes unnoticed by guests. And then one day someone moves a piece of furniture without your say-so, and everything comes into plain view. Dirt and scratch marks. Permanent damage to the parquet floor. By then it’s too late.
Fredrik Backman (Britt-Marie Was Here)
Kestrel climbed down and studied the garden in the lamplight thrown from her sunroom. She chewed the inside of her cheek, and was wondering whether books stacked on the chair on top of the table would make a difference when she heard something. The grate of a heel against pebbles. It came from beyond the door, and the other side of the wall. Someone had been listening. Was listening still. As quietly as she could, Kestrel took the chair down from the table and went inside. Before Arin left for the mountain pass, during the coldest hours of the night, he found time to order that every piece of furniture light enough for Kestrel to move be taken from her suite.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
They went up the stairs. The next move was a little like a scene in a farce. Each one of the four stood with a hand on his or her bedroom door handle. Then, as though at a signal, each one stepped into the room and pulled the door shut. There were sounds of bolts and locks, of the moving of furniture. Four frightened people were barricaded in until morning.
Agatha Christie (And Then There Were None)
For the rest of her life, Jackie wouldn't forget that comment. She and her daddy weren't as close as they had been, and she felt a pang in her chest whenever she saw him with Sybil, but most of that jealousy was mitigated by T.C. When she had the baby, she realized how much a parent loved a child, and she assumed her father's feelings for her were at least as sturdy. Because of that perspective, all this time she had also assumed that when he asked her how she was doing, when he drove her car to the lot for oil changes, moved her furniture, stopped by unannounced, and paid her light bill, that there was nothing else in the world he'd rather be doing. In reality though he'd been building up anger with every check he signed, every mile he drove, and the last thing she wanted was a favor laced in resentment. She waited for her mam to cut in with a word that might coat the ferocity of what had just been said, but there was only silence, a heavy resolve as though Jackie were the one who needed to explain, as if she would do anything differently if the circumstances tumbled into her lap again.
Margaret Wilkerson Sexton (A Kind of Freedom)
Balloons" Since Christmas they have lived with us, Guileless and clear, Oval soul-animals, Taking up half the space, Moving and rubbing on the silk Invisible air drifts, Giving a shriek and pop When attacked, then scooting to rest, barely trembling. Yellow cathead, blue fish--- Such queer moons we live with Instead of dead furniture! Straw mats, white walls And these traveling Globes of thin air, red, green, Delighting The heart like wishes or free Peacocks blessing Old ground with a feather Beaten in starry metals. Your small Brother is making His balloon squeak like a cat. Seeming to see A funny pink world he might eat on the other side of it, He bites, Then sits Back, fat jug Contemplating a world clear as water. A red Shred in his little fist.
Sylvia Plath (The Collected Poems)
It is ridiculous to lay down to people where a thing should stand, design everything for them from the lavatory pan to the ashtray. On the contrary, I like people to move their furniture so that it suits them (not me!), and it's quite natural (and I approve) when they bring the old pictures and mementos they have come to love into a new interior, irrespective of whether they are good taste or bad.
Adolf Loos
Minutes later Emerson was taking a crack at another of his pet targets: … they call themselves World Federalists, this bunch of amateur statesmen, and they want us to give up the one thing we’ve got left—the right to make our own decisions about our own affairs. They think it would be fine if we had to ask permission of all the world’s runts and funny-looking dimwits every time we wanted to move our furniture around a little, or even to leave it where it is.
Rex Stout (The Second Confession (Nero Wolfe, #15))
Gavriel sat stock-still. Inside him roiled such turmoil that he feared that should he move, he would smash every piece of furniture in the room, crack every pane of every window, until there was nothing but shining splinters where the parlor had been. Instead, he leaned back his head and laughed, a long, cruel laugh that did not seem to belong to the boy Roza had known. It blazed up from deep inside him, from some embers he’d always been careful never to stoke.
Holly Black (The Coldest Girl in Coldtown)
The truth is, new furniture or a better house will never really satisfy - they will just set new, higher standards for what is acceptable to us for our comfort and contentment. When you take care of what you have and find joy right where you are, you set the right tone and expectations for contentment in all circumstances moving forward. Whether things get better or worse, our standard will be to love what we have and be grateful for it (even when we might not like it).
Melissa Michaels
There were days, weeks, and months when I hated politics. And there were moments when the beauty of this country and its people so overwhelmed me that I couldn’t speak. Then it was over. Even if you see it coming, even as your final weeks are filled with emotional good-byes, the day itself is still a blur. A hand goes on a Bible; an oath gets repeated. One president’s furniture gets carried out while another’s comes in. Closets are emptied and refilled in the span of a few hours. Just like that, there are new heads on new pillows—new temperaments, new dreams. And when it ends, when you walk out the door that last time from the world’s most famous address, you’re left in many ways to find yourself again. So let me start here, with a small thing that happened not long ago. I was at home in the redbrick house that my family recently moved into. Our new house sits about two miles from our old house, on a quiet neighborhood street. We’re still settling in. In the family room, our furniture is arranged the same way it was in the White House. We’ve got mementos around the house that remind us it was all real—photos of our family time at Camp David, handmade pots given to me by Native American students, a book signed by Nelson Mandela. What was strange about this night was that everyone was gone. Barack was traveling. Sasha was out with friends. Malia’s been living and working in New York, finishing out her gap year before college. It was just me, our two dogs, and a silent, empty house like I haven’t known in eight years.
Michelle Obama (Becoming)
Size Matters. A lot. How much you have and more importantly how much space it will take up in a movingtruck are the first things you need to know when planning a long distance move. Professional movers charge by weight because it is an easier and more uniform way to determine exactly how much you have. They literally drive the truck onto a large scale before loading your goods to get a light weight and return after loading your stuff to get a heavy weight, with the difference being the weight of your shipment. The moving company’s estimate, however, is based on coming to your home and surveying the total cubic feet, or estimated size of all your household goods. They then convert that figure into a weight estimate by multiplying the cubic feet (cubes) by the average density of 6.5 pounds per cubic foot. A small 2-bedroom house for example might have 1,000 cubic feet which when multiplied by a density of 6.5 (lbs) would equal 6,500 lbs. If this sounds like brain surgery then I would ask you to try and remember the last furniture mover you met who struck you as brain surgeon-ish.
Jerry G. West
There’s a phrase, the elephant in the living room, which purports to describe what it’s like to live with a drug addict, an alcoholic, an abuser. People outside such relationships will sometimes ask, “How could you let such a business go on for so many years? Didn’t you see the elephant in the living room?” And it’s so hard for anyone living in a more normal situation to understand the answer that comes closest to the truth: “I’m sorry, but it was there when I moved in. I didn’t know it was an elephant; I thought it was part of the furniture.
Stephen King (The Dark Tower (The Dark Tower, #7))
Chapter 1 14th November 1940: Coventry, England. Boom. Boom. The ground vibrated with each explosion. Unfamiliar sounds surrounded Rose Sherbourne as her body received blow after blow from displaced items of furniture. She jumped when shattering glass hit falling bricks, and everything around her crashed under their weight. Boom. Another explosion, followed by the sound of metal hitting metal, echoed out around Rose’s ears and her breath came thick and fast. Through the opening of what was once the front room, a sudden blast of hot air blew both her and her mother off their feet. Rose’s body fell against something hard and a searing pain shot through her back. For a few seconds she could not see, and she blinked, only to feel fine dust fall on her cheeks and into her eyes yet again. She wiped it away with the back of her hand and prepared herself to scrabble upright. Boom. A wall fell around her and, unable to move both with fear and because something was pinning down her right leg, Rose took a moment to catch her breath. Above her an intense whistling sound screamed from the sky, followed by an eerie whooshing sound. A continuous whistle followed. Rose held her breath.
Glynis Peters (The Secret Orphan)
What I have called Appreciative love is no basic element in Affection. It usually needs absence or bereavement to set us praising those to whom only Affection binds us. We take them for granted: and this taking for granted, which is an outrage in erotic love, is here right and proper up to a point. It fits the comfortable, quiet nature of the feeling. Affection would not be affection if it was loudly and frequently expressed; to produce it in public is like getting your household furniture out for a move. It did very well in its place, but it looks shabby or tawdry or grotesque in the sunshine.
C.S. Lewis (The Four Loves (The C.))
Make a List (or lists) • Make a list of all the things that you can look at and think: Why did we even bother to move that the last time? Now will be your last and best chance to give or throw away unwanted items until your next move (5-7 years on average). Give unwanted clothes, furniture, kitchen items, etc. to a charity that allows you to use your donation as a tax write-off. Yard sales are another option. • Make a list (and/or get one online) of household hazardous materials. These are common items in your home that are not or might not be safe to transport: flammables like propane tanks (even empty ones), gasoline or kerosene, aerosols or compressed gases (hair spray, spray paint), cleaning fluids in plastic containers (bleach, ammonia) and pesticides (bug spray) and herbicides (weed killer) and caustics like lye or pool acid. There is more likely to be damage caused by leakage of cleaning fluids-- like bleach--than there is by damage caused by a violent explosion or fire in your truck. The problem lies in the fact that any leaking fluid is going to drip its way to the floor and spread out--even in the short time span of your move and more so if you are going up and down hills. Aerosols can explode in the summer heat as can propane BBQ tanks. Gasoline from lawnmowers and pesticide vapors expand in the heat and can permeate everything in the truck. Plastic containers that have been opened can expand and contract with a change in temperature and altitude and crack.
Jerry G. West (The Self-Mover's Bible)
We moved all around, and I was very worried I would not get a chance to show her what I had planned. Here was the children's home, here was the library, here was a furniture factory of the  kibbutz. I tried to squeeze a few words in about everything we saw, as someone who makes himself known and unversed in the ways of the  kibbutz. The highlight was when I gave her a tour, on the tractor, to the pear groves where I worked. I drove the tractor and she sat beside me, in a very unsafe way, standing on the shaft as she rested on one of the wheel's wings of the tractor. The groves were just a few minutes away from the  kibbutz, on a dirt road that led south towards Acre. I kept explaining to her about new life on the  kibbutz the entire time.
Nahum Sivan (Till We Say Goodbye)
She hasn't cried once. SHe doesn't understand that Margaret is dead. At that age, they can't fully understand the concept of death. It's a good thing really. Jane fully understood the concept of death and she felt truly injured that Aunt Bess considered her unmoved. Jane thought it should be perfectly clear to everyone that rearranging the furniture in her dollhouse was her expression of grief. She had been moving the Mother Doll (it was a nuclear family of dolls that consisted of a mother, a father, a boy, and a girl) and all the Mother Doll's possessions into the dollhouse's attic. Jane wondered why tears were considered a superior form of grief to the rearrangement of one's dollhouse. Feeling terribly misunderstood, Jane began to cry. Oh listen, said Aunt Bess, she begins to understand.
Gabrielle Zevin (Margarettown)
One woman called me after her grandmother had died. She explained that she had taken some of her grandmother’s furniture. They had put Grandma’s rocker in the family room, and even when it was empty, that chair rocked back and forth a mile a minute. The woman also mentioned that whenever she walked past the room when the chair was moving, she could smell her grandmother’s signature perfume, a distinctive scent called Evening in Paris. Given all the signs, I couldn’t blame the woman for thinking that the ghost of her grandmother had moved in and reclaimed her rocking chair, but I did not pick up on any earthbound spirits in her home. I reassured the woman that I believed her grandmother had crossed over into the Light and was fine, although it was possible that she just stopped by to visit from time to time.
Mary Ann Winkowski (When Ghosts Speak: Understanding the World of Earthbound Spirits)
There are a number of advantages to moving yourself, with saving money being number one. I have done professional loading and unloading for countless shippers. Most were looking at savings of approximately fifty percent when all expenses were considered. These were people who were moving mostly 8,000 pound or less of furniture (household goods)-- the weight of the contents of the average small three-bedroom home and the maximum usable (as opposed to advertised) capacity of the largest rental trucks. Moving yourself has other advantages too. Weather and road conditions permitting, the move will go on your schedule. You won’t have to worry about coordinating with your movers for delivery because you are the movers. There is also the security of knowing exactly where your stuff is with no worries about delays, mixed-up shipments or theft.
Jerry G. West
She was halfway to deep sleep when the door creaked, a noise loud enough to rouse her, yet soft enough to doubt her having heard anything. She lay motionless, listening but hearing only the wind outside, the clock, the sounds of an ancient building. Normal sounds, but still her skin prickled. Pressure built in her head. Her pulse beat in her ears. The feeling of pressure thickened, stealing over her, a sense of envelopment, a shift in perception. Not her pulse, but footsteps. Someone pacing. Ten steps toward the fireplace. Ten back to the foot of her bed. The susurration of fabric against fabric. Metal sliding along metal, a low ringing sound, and mixed with that a murmuring. She peered into the darkness but saw nothing. No moving shadows, no figure approaching her bed, just the inert shapes of furniture and the resulting shadows. The resonance in her head grew, half convincing her she heard footsteps and the low, regular sound of breathing. The murmuring began again, a breath, then a whisper. My love. Steps paced near, and she swore she could feel the air thicken. Pain lanced along her temple. My heart. Unendurable pressure. She tried to move, but couldn't. Her limbs were frozen, trapped in her nightmare. More footsteps. A breath on her cheek. Cold air wafted through the room. My own. A face flashed before her eyes. She tried to breathe and couldn't get air into her lungs. She screwed her eyes shut, but the face didn't go away. The features blurred, looming, threatening, laughing. She knew that face, but the recollection refused to come. Terror like she'd known only once before in her life consumed her. Her lungs refused to expand. Or couldn't. She was going to die. She knew it. A scream bubbled in her throat.
Carolyn Jewel (The Spare)
The story of the Lynch family was this: Once upon a time, a man named Niall Lynch had three sons, one of whom loved his father more than the others. Niall Lynch was handsome and charismatic and rich and mysterious, and one day, he was dragged from his charcoal-gray BMW and beaten to death with a tire iron. It was a Wednesday. On Thursday, his son Ronan found his body in the driveway. On Friday, their mother stopped speaking and never spoke again. On Saturday, the Lynch brothers found that their father’s death left them rich and homeless. The will forbade them to touch anything in the house — their clothing, the furniture. Their silent mother. The will demanded they immediately move into Aglionby housing. Declan, the eldest, was meant to control the funds and their lives until his brothers reached eighteen. On Sunday, Ronan stole his deceased father’s car. On Monday, the Lynch brothers stopped being friends.
Maggie Stiefvater (The Raven Boys (The Raven Cycle, #1))
One has to imagine the impact of Paddy on an old count from eastern Europe, barely able to live off his much-diminished lands and keep the roof on a house stocked with paintings and furniture that harked back to better days. His children might take a certain pride in their ancient lineage, but they also made it clear that the world had moved on and they planned to move with it. Then a scruffy young Englishman with a rucksack turns up on the doorstep, recommended by a friend. he is polite, cheerful, and cannot hear enough about the family history. He pores over the books and albums in the library, and asks a thousand questions about the princely rulers, dynastic marriages, wars and revolts and waves of migration that shaped this part of the world. He wants to hear about the family portraits too, and begs the Count to remember the songs the peasants used to sing when he was a child. Instead of feeling like a useless fragment of a broken empire, the Count is transformed. This young Englishman has made him realize that he is part of living history, a link in an unbroken chain going back to Charlemagne and beyond.
Artemis Cooper (Patrick Leigh Fermor: An Adventure)
In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.
Anthony Doerr (Four Seasons in Rome: On Twins, Insomnia, and the Biggest Funeral in the History of the World)
When he was sixteen (1923), Peter got a job as copy boy on a New York tabloid and entered a saltier, more hard-bitten world. It was a roaring, lush, lousy tabloid. Everybody was drunk all the time. The managing editor hired girl reporters on condition they sleep with him. New staffs moved in and were mowed down like the Light Brigade. Chorus girls, debutantes, and widows suspected of murdering their husbands were perched on desks with their thighs showing to be photographed. An endless parade of cranks, freaks, ministers, actresses, and politicians moved through the big babbling room, day and night. The city editor went crazy one afternoon. So did his successor. And among the typewriters and the paste pots and the thighs, Peter walked with simple delight. A young reporter took a liking to him, found he was homeless, and insisted he share an elegant bachelor apartment uptown. There were constant parties, starting at dawn and ending as the hush of twilight settled over the city. People went to work and went to parties until they got the two pursuits confused and never noticed the difference. Whisky was oxygen, women were furniture, thinking was masochism.
Jack Iams
OPTIONS FOR REDUCING While thrift stores such as Goodwill or the Salvation Army can be a convenient way to initially let go, many other outlets exist and are often more appropriate for usable items. Here are some examples: • Amazon.com • Antiques shops • Auction houses • Churches • Consignment shops (quality items) • Craigslist.org (large items, moving boxes, free items) • Crossroads Trading Co. (trendy clothes) • Diggerslist.com (home improvement) • Dress for Success (workplace attire) • Ebay.com (small items of value) • Flea markets • Food banks (food) • Freecycle.org (free items) • Friends • Garage and yard sales • Habitat for Humanity (building materials, furniture, and/or appliances) • Homeless and women’s shelters • Laundromats (magazines and laundry supplies) • Library (books, CDs and DVDs) • Local SPCA (towels and sheets) • Nurseries and preschools (blankets, toys) • Operation Christmas Child (new items in a shoe box) • Optometrists (eyeglasses) • Regifting • Rummage sales for a cause • Salvage yards (building materials) • Schools (art supplies, magazines, dishes to eliminate class party disposables) • Tool co-ops (tools) • Waiting rooms (magazines) • Your curb with a “Free” sign
Bea Johnson (Zero Waste Home: The Ultimate Guide to Simplifying Your Life by Reducing Your Waste)
From Tomorrow to Yesterday The tree trunks move in time with the rhythm of her rubber soles on the wet path, where the air is still cool after the night rain. The woodland floor is white with anemones; in one place, growing close to the roots of an ancient tree, they make her think of an old, wrinkled hand. She could go on and on without getting tired, without meeting anyone or thinking of anything in particular, and without coming to the edge of the woods. As if the town did not begin just behind the trees, the leafy suburb with its peaceful roads and its houses hidden behind close-trimmed hedges. She doesn't want to think about anything, and almost succeeds; her body is no more than a porous, pulsating machine. The sun breaks through the clouds as she runs back, its light diffused on the gravel drive and the magnolia in front of the kitchen window. His car is no longer parked beside hers, he must have left while she was in the woods. He hadn't stirred when she rose, and she'd already been in bed when he came home late last night. She lay with her back turned, eyes closed, as he undressed, taking care not to wake her. She leans against one of the pillars of the garage and stretches, before emptying the mailbox and letting herself into the house. She puts the mail on the kitchen table. The little light on the coffeemaker is on; she switches it off. Not so long ago, she would have felt a stab of irritation or a touch of tenderness, depending on her mood. He always forgets to turn off that machine. She puts the kettle on, sprinkles tea leaves into the pot, and goes over to the kitchen window. She observes the magnolia blossoms, already starting to open. They'll have to talk about it, of course, but neither of them seems able to find the right words, the right moment. She pauses on her way through the sitting room. She stands amid her furniture looking out over the lawn and the pond at the end of the garden. The canopies of the trees are dimly reflected in the shining water. She goes into the bathroom. The shower door is still spotted with little drops. As time went on they have come to make contact during the day only briefly, like passing strangers. But that's the way it has been since the children left home, nothing unusual in that. She takes off her clothes and stands in front of the mirror where a little while ago he stood shaving. She greets her reflection with a wry smile. She has never been able to view herself in a mirror without this moue, as if demonstrating a certain guardedness about what she sees. The dark green eyes and wavy black hair, the angularity of her features. She dyes her hair exactly the color it would have been if she hadn't begun to go gray in her thirties, but that's her only protest against age.
Jens Christian Grøndahl (An Altered Light)
Can you please also give me instructions for dancing?” “Excuse me?” “I need instructions for dancing. Like how do I move my body to music in front of other people? Break it down. Step by step.” “Seriously? Dancing isn’t one of those things that come with instructions. It’s not like putting together Ikea furniture.” “Please help me.” “Well, first of all, this is not the sort of music that will be playing.” She motions to the pianist, who is bald and bearded, which I’ve always found to be a bizarre combination. You would think you would want cranial and mandibular hair consistency. “No Ravel’s Bolero. Got it.” “No classical music, period. They’ll probably just play all the crap that’s on the radio.” “I amend my original request. I need instructions for dancing to noise.” “You just move your body to the beat. Feel the music.” Miney puts her arms up and sways to sounds I do not hear. She closes her eyes, leans on the tips of her toes, and jumps. After approximately ninety seconds, she stops and looks at me. “Your turn.” “I don’t think so.” Miney doesn’t respond. She just waits. “Fine.” I copy her, jump up and down, though I don’t actually jump down, which is a misnomer. I let gravity do its job. My sneakers make discordant squeaks along the marble floor. “No. Stop. You look like you’re having a seizure. Think of dancing like having a conversation but with the music instead of with another person. It’s all intuition and instinct.” “Right. Because I’m good at all three of those things. Intuition, instinct, and having conversations with other people.” “Little D, sarcasm becomes you. 
Julie Buxbaum (What to Say Next)
Before leaving the earth altogether, let us as: How does Music stand with respect to its instruments, their pitches, the scales, modes and rows, repeating themselves from octave to octave, the chords, harmonies, and tonalities, the beats, meters, and rhythms, the degrees of amplitude (pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo)? Though the majority go each day to the schools where these matters are taught, they read when time permits of Cape Canaveral, Ghana, and Seoul. And they’ve heard tell of the music synthesizer, magnetic tape. They take for granted the dials on radios and television sets. A tardy art, the art of Music. And why so slow? Is it because, once having learned a notation of pitches and durations, musicians will not give up their Greek? Children have been modern artists for years now. What is it about Music that sends not only the young but adults too as far into the past as they can conveniently go? The module? But our choices never reached around the globe, and in our laziness, when we changed over to the twelve-tone system, we just took the pitches of the previous music as though we were moving into a furnished apartment and had no time to even take the pictures off the walls. What excuse? That nowadays things are happening so quickly that we become thoughtless? Or were we clairvoyant and knew ahead of time that the need for furniture of any kind would disappear? (Whatever you place there in front of you sits established in the air.) The thing that was irrelevant to the structures we formerly made, and this was what kept us breathing, was what took place within them. Their emptiness we took for what it was – a place where anything could happen. That was one of the reasons we were able when circumstances became inviting (chances in consciousness, etc.) to go outside, where breathing is child’s play: no walls, not even the glass ones which, though we could see through them, killed the birds while they were flying.
John Cage (A Year from Monday: New Lectures and Writings)
I was driving home one afternoon during this period when I rolled past a woman putting household objects and furniture out in her front yard. I figured it was a garage sale or she was termite bombing. As I moved past her house an object I saw stopped me. Dragged me into the present. A chair. The chair? The orange Danish modern chair that I broke and that subsequently broke up my marriage appeared to be sitting on her front lawn. “Impossible,” I thought. That was destroyed, thrown out, gone. I stopped my car abruptly in the street, opened my car door, and ran up into her yard. She was pulling more stuff out of her house. I said, “Hi. Hey, are you selling this stuff?” “Just take whatever you want. I’m leaving,” she said, going angrily about her business. “Where did you get this chair? I used to have one exactly like it. I’ve never seen another one.” “I found it,” she said. “Take it.” I inspected the chair. It had been carefully rebuilt, put back together. It was the chair. “Did you find this on the street up on the hill around the corner?” “Yeah,” she said. “Why?” “This chair destroyed my marriage.” She looked at me with a dark, stressed gaze for a second like she was looking through me at something burning in the distance and said, “Mine, too.” I didn’t ask any questions. Synchronicity was upon us. The causality was there, it was explainable, but the meaning of the object before us was at once unique and shared. It was some kind of black magic that sent my thoughts back to the garage wizard who kept Jung’s curtains locked up. What had he unleashed on this world, my world, her world, with this chair? “We have to take it out of circulation.” “Yes,” she said, catatonically, like how I felt. Then this stranger and I proceeded to destroy the chair with our hands and our feet until it was unfixable. We took a breath and looked down at the scattered chair shards. “Thanks,” she said. A horn honked. I turned to see my car, door open, sitting in the middle of the street, running. Someone needed to get by. “Good luck with everything,” I said, then walked back to my car and drove away, strangely relieved. I glanced in my rearview mirror and saw her making a pile of culprit pieces.
Marc Maron (Attempting Normal)
As I watched, two equerries in Renselaeus livery strode along the path, overtook the man, and addressed him. I watched with my heart thumping like a drum as the man spoke at some length, brushed his fingers against his face--the scratches from the trees!--and then gestured in the direction I had gone. Expecting the two equerries to immediately take off after me, I braced for a run. Why had I babbled so much? I thought, annoyed with myself. Why didn’t I just say “No” and leave? But the equerries both turned and walked swiftly back in the direction they’d come, and the old man continued on his way. What does that mean? And the answer was not long in coming: They were going back to report. Which meant a whole lot of them searching. And soon. Yes, I’d really widened my perimeter, I thought furiously, cursing the Baron, music, inns, resorts, food, and the Baron again, throwing in Galdran Merindar and the Marquis of Shevraeth for good measure. I slipped back through the garden to the street. Spotting an alley behind a row of houses, I ducked into that. And when I heard the thunder of approaching horses’ hooves, I dove toward the first door, which was miraculously open. Slipping inside, a sickly smile on my face, I concocted a wild story about deliveries and the wrong address as I looked about for inhabitants angered at my intrusion. But my luck had turned a little: The hallway was empty. Behind me was a stairway leading upward, and next to it one leading to a basement. For a moment I wanted to fling myself down that, to hide in the dark, but I restrained myself: There was generally only one way out of a basement. At my right a plain door-tapestry opened onto a storeroom of some sort. I peeked inside. There were two windows with clouded glass, and a jumble of dishes, small pieces of furniture, trays, and a row of hooks with aprons and caps on them. That outer door was the servants’ entrance, I realized, and this room was their storeroom. Colors flickering in the clouded glass brought my attention around. Moving right up next to the window, I listened, and heard the slow clopping of hooves. The rhythm broke, then stopped; from another direction came more hooves, which swiftly got closer. The house I was in was a corner house, the first in a row. Two search parties met right outside my window, where the alley conjoined with the street. “Nothing this way, my lord,” someone said. A horse sidled; another whickered. Then a familiar voice said, not ten paces from me: “Search the houses.
Sherwood Smith (Crown Duel (Crown & Court, #1))
So,” I cleared my throat, unable to tolerate his moans of pleasure and praise any longer, “uh, what are your plans for the weekend?” “The weekend?” He sounded a bit dazed. “Yes. This weekend. What do you have planned? Planning on busting up any parties?” I asked lightly, not wanting him to know that I was unaccountably breathless. I moved to his other knee and discarded the towel. “Ha. No. Not unless those wankers down the hall give me a reason to.” Removing his arms from his face, Bryan’s voice was thick, gravelly as he responded, “I, uh, have some furniture to assemble.” “Really?” Surprised, I stilled and stared at the line of his jaw. The creases around his mouth—when he held perfectly still—made him look mature and distinguished. Actually, they made him even more classically handsome, if that was even possible. “Yes. Really. Two IKEA bookshelves.” I slid my hands lower, behind his ankle, waiting for him to continue. When he didn’t, I prompted, “That’s it?” “No.” He sighed, hesitated, then added, “I need to stop by the hardware store. The tap in my bathroom is leaking and one of the drawer handles in the kitchen is missing a screw. I just repainted the guest room, so I have to take the excess paint cans to the chemical disposal place; it’s only open on Saturdays before noon. And then I promised my mam I’d take her to dinner.” My mouth parted slightly because the oddest thing happened as he rattled off his list of chores. It turned me on. Even more so than running my palms over his luscious legs. That’s right. His list of adult tasks made my heart flutter. I rolled my lips between my teeth, not wanting to blurt that I also needed to go to the hardware store over the weekend. As a treat to myself, I was planning to organize Patrick’s closet and wanted to install shelves above the clothes rack. Truly, Sean’s penchant for buying my son designer suits and ties was completely out of hand. Without some reorganization, I would run out of space. That’s right. Organizing closets was something I loved to do. I couldn’t get enough of those home and garden shows, especially Tiny Houses, because I adored clever uses for small spaces. I was just freaky enough to admit my passion for storage and organization. But back to Bryan and his moans of pleasure, adult chores, and luscious legs. I would not think about Bryan Leech adulting. I would not think about him walking into the hardware store in his sensible shoes and plain gray T-shirt—that would of course pull tightly over his impressive pectoral muscles—and then peruse the aisles for . . . a screw. I. Would. Not. Ignoring the spark of kinship, I set to work on his knee, again counting to distract myself. It worked until he volunteered, “I’d like to install some shelves in my closet, but that’ll have to wait until next weekend. Honestly, I’ve been putting it off. I’d do just about anything to get someone to help me organize my closet.” He chuckled. I’d like to organize your closet. I fought a groan, biting my lip as I removed my hands, turned from his body, and rinsed them under the faucet. “We’re, uh, finished for today.
L.H. Cosway (The Cad and the Co-Ed (Rugby, #3))
THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.
Jack Canfield (The Success Principles: How to Get from Where You Are to Where You Want to Be)
My dwelling was small, and I could hardly entertain an echo in it; but it seemed larger for being a single apartment and remote from neighbors. All the attractions of a house were concentrated in one room; it was kitchen, chamber, parlor, and keeping-room; and whatever satisfaction parent or child, master or servant, derive from living in a house, I enjoyed it all. Cato says, the master of a family (patremfamilias) must have in his rustic villa "cellam oleariam, vinariam, dolia multa, uti lubeat caritatem expectare, et rei, et virtuti, et gloriae erit," that is, "an oil and wine cellar, many casks, so that it may be pleasant to expect hard times; it will be for his advantage, and virtue, and glory." I had in my cellar a firkin of potatoes, about two quarts of peas with the weevil in them, and on my shelf a little rice, a jug of molasses, and of rye and Indian meal a peck each. I sometimes dream of a larger and more populous house, standing in a golden age, of enduring materials, and without gingerbread work, which shall still consist of only one room, a vast, rude, substantial, primitive hall, without ceiling or plastering, with bare rafters and purlins supporting a sort of lower heaven over one's head—useful to keep off rain and snow, where the king and queen posts stand out to receive your homage, when you have done reverence to the prostrate Saturn of an older dynasty on stepping over the sill; a cavernous house, wherein you must reach up a torch upon a pole to see the roof; where some may live in the fireplace, some in the recess of a window, and some on settles, some at one end of the hall, some at another, and some aloft on rafters with the spiders, if they choose; a house which you have got into when you have opened the outside door, and the ceremony is over; where the weary traveller may wash, and eat, and converse, and sleep, without further journey; such a shelter as you would be glad to reach in a tempestuous night, containing all the essentials of a house, and nothing for house-keeping; where you can see all the treasures of the house at one view, and everything hangs upon its peg, that a man should use; at once kitchen, pantry, parlor, chamber, storehouse, and garret; where you can see so necessary a thing, as a barrel or a ladder, so convenient a thing as a cupboard, and hear the pot boil, and pay your respects to the fire that cooks your dinner, and the oven that bakes your bread, and the necessary furniture and utensils are the chief ornaments; where the washing is not put out, nor the fire, nor the mistress, and perhaps you are sometimes requested to move from off the trap-door, when the cook would descend into the cellar, and so learn whether the ground is solid or hollow beneath you without stamping. A house whose inside is as open and manifest as a bird's nest, and you cannot go in at the front door and out at the back without seeing some of its inhabitants; where to be a guest is to be presented with the freedom of the house, and not to be carefully excluded from seven eighths of it, shut up in a particular cell, and told to make yourself at home there—in solitary confinement. Nowadays the host does not admit you to his hearth, but has got the mason to build one for yourself somewhere in his alley, and hospitality is the art of keeping you at the greatest distance. There is as much secrecy about the cooking as if he had a design to poison you. I am aware that I have been on many a man's premises, and might have been legally ordered off, but I am not aware that I have been in many men's houses. I might visit in my old clothes a king and queen who lived simply in such a house as I have described, if I were going their way; but backing out of a modern palace will be all that I shall desire to learn, if ever I am caught in one.
Henry David Thoreau (Walden)
Clay sat back in his chair and propped his feet on his desk as he took a sip from his coffee cup. If these two assholes wanted to kill each other, he didn't care as long as they didn't get blood on the floor, or move one piece of furniture.
Alex Morgan (Chasing Midnight (The Darkest Desires of Dixie, #1))
Clay sat back in his chair and propped his feet on his desk as he took a sip from his coffee cup. If these two assholes wanted to kill each other, he didn't care as long as they didn't get blood on the floor, or move one piece of furniture.
Shyloh Morgan (Chasing Midnight (The Darkest Desires of Dixie, #1))
I am disturbed to discover that my colleagues have invented a new game which seems to involve attempting to kill me in every juvenile way that presents itself to them. They delight in surprising me with shoves into the paths of oncoming double-decker buses, constructing ridiculous rope-and-pulley devices with the aim of dropping heavy furniture on my head, placing tripwires at the tops of escalators, and other such inanities. They persist for some weeks, during which I become increasingly adept at avoiding sudden death by blackly humorous means. I feel that my senses are sharpened day by day, that my sight is keener, my reflexes quicker. Soon I can detect by the smell of linseed oil alone the presence of a cricket-bat wielding acquaintance in the bathroom. Everything is enhanced. Colours are richer, noises are louder. I awaken to the pattern of life, the weight of deeds. Eventually my heightened awareness evolves into a vividly focused paranoia. I can only retreat; I move surreptitiously to a small seaside resort on the east coast and wait, slowly, for a death of my own choosing.
Stanley Donwood (Slowly Downward)
After the Second and Third Avenue Els were torn down, East Side property owners had prospered as brownstones, loft buildings, and tenements were replaced by high-rise offices and apartment buildings. The area east of Central Park between 59th and 96th Streets, known as the Upper East Side, became home to fashionable boutiques, luxury restaurants, and expensive furniture houses. With thousands of well-educated young professionals moving there, the neighborhood contained the greatest concentration of single people in the entire country.3 Even though the number of cars registered in the United States grew by 47 percent in the 1950s, New York City’s economy still relied on the subway in the early 1960s. During the 8:00 to 9:00 a.m. rush hour, 72 percent of the people entering the CBD traveled by subway, which could move people far more efficiently than automobiles. Each subway car could carry approximately one hundred people, and a ten-car train could accommodate a thousand. Since trains could operate every two minutes, each track could carry thirty thousand people per hour. By comparison, one lane of a highway could carry only about two thousand cars in an hour.4 Although Manhattan and the region were dependent on the rail transit system, 750,000 cars and trucks were entering the CBD on a typical weekday, three times more than had been the case thirty years earlier. Many New Yorkers expected the city to accommodate the growing number of cars. For example, the Greater New York Safety Council’s transportation division claimed that Americans had a fundamental freedom to drive, and that it was the city’s obligation to accommodate drivers by building more parking spaces in Manhattan. The members argued that without more parking, Manhattan would not be able to continue its role as the region’s CBD because a growing number of suburbanites were so highly conditioned to using their cars.5 In
Philip Mark Plotch (Last Subway: The Long Wait for the Next Train in New York City)
their belongings packed up, the house felt like a stranger. Inge wandered through the shadowy rooms and could barely remember how they had looked. The furniture Max had dismissed as not worth the cost of moving hunkered under draped white dust sheets. Packing cases lined up across the bare floors in neat rows. It looks like a cemetery. Inge’s nerves were on edge. She had spent the last four weeks counting the days, expecting the trip to Berlin to be derailed on a whim, the same way she suspected Max had granted it. Now there was only one night left and its hours stretched endlessly. She had given up trying to sleep, given in instead to her need to check and recheck every last inch of the arrangements. Everything was, of course, as it should be. Her suitcase still waited in the hall, Wolf’s smaller one beside it. The tickets were still safe in her handbag, the travel papers stamped for exiting Argentina and entering Germany ready in their wallet. The sight of them
Catherine Hokin (The Fortunate Ones)
A piano is like no other instrument, or any item for that matter, you will purchase. As a musical instrument it should be pleasing to the touch and the ear, and as a piece of furniture—a large one at that—it can enhance the elegance or warmth of a room. A piano is a marvel of both old-fashioned handcrafting and high-tech ingenuity. It has so many intricate, moving parts that your head may spin when trying to learn how it works, let alone when buying one.
Marty C. Flinn (The Complete Idiot's Guide to Buying a Piano: A Goof-Proof Guide That’s in Tune with Your Needs)
Even the furniture made the most of the lack of supervision to move about.
Diane Setterfield (The Thirteenth Tale)
Then his tears came once more, and feeling cold he went into his dressing-room to look for something to throw around his shoulders. But he had lost control of his hand so that it moved like a brainless creature and completely failed to carry out the small mathematical operation which consisted, because the inside of the wardrobe was dark, in fumbling a way through the different velvets, silks and satins of his mother's outmoded dresses which, since she had given up wearing them, for many years, she had put away in this piece of furniture, until it could feel the wooden jamb, far back, which separated these garments from his own, and, on reaching the second rough-surfaced coat, to take it from the hanger from which it depended. Instead, it tore down the first piece of fabric it encountered. This happened to be a black velvet coat, trimmed with braid, and lined with cherry-coloured satin and ermine, which, mauled by the violence of his attack, he pulled into the room like a young maiden whom a conqueror has seized and dragged behind him by the hair. In just such a way did Jean now brandish it, but even before his eyes had sent their message to his brain, he was aware of an indefinable fragrance in the velvet, a fragrance that had greeted him when, at ten years old, he had run to kiss his mother—in those days still young, still brilliant and still happy—when she was all dressed up and ready to go out, and flung his arms about her waist, the velvet crushed within his hand, the braid tickling his cheeks, while his lips, pressed to her forehead, breathed in the glittering sense of all the happiness she seemed to hold in keeping for him.
Marcel Proust (Jean Santeuil)
I went along on this ride, as did Adolph, and we returned to the Feudenheim district of Mannheim, which was where our apartment stood. The roads were extremely cratered from the frequent bombings and the driver had to carefully circumvent these deep chasms. As we drove along we were fully aware that we could also become an inviting target, but eventually we arrived at the house safely. Surprisingly, the house was still relatively undamaged and my flat was locked up and further secured with a padlock, which I had used. It was apparent from the drawn blinds that everyone had moved out. Luckily I still had the keys and could open the door. Letting ourselves in, we looked around. It was really surprising that everything was still in place and that looters hadn’t ransacked everything, as was usually the case. Pointing out the items of furniture I would need, Herr Meyer quickly organized the boys, in a military fashion, and had them carry my things down the three flights of stairs. Even the truck driver helped carry my things, and to my delight the move went smoothly. When the truck was finally loaded, the weight became apparent. Weighted down with an old coal stove and its chimney sections, kitchen cupboard, a radio, double bed and mattress, a sofa and my wardrobe as well as pots and pans, it was down onto its axles.
Hank Bracker
I want to move furniture. It’s late, my boyfriend says. This house needs more space, I declare. My boyfriend—I have no idea where he is at this point. He doesn’t register. Maybe he’s in one of the boxes too, with the baby. No matter. I’m driven by the need for space but mostly by the need for destruction.
Jowita Bydlowska (Drunk Mom: A Memoir)
God loves you so much that he's searching the wild, dark night to save you. He's moving all his furniture and tearing up the carpet simply to reach you. God is watching every moment of every day, waiting for you to return home, and when you're yet only a dot on the horizon, he'll sprint toward you, his arms flung wide and a joyous grin lighting his face.
Craig Groeschel (The Christian Atheist: Believing in God but Living As If He Doesn't Exist)
He carried the ladder back to the farmhouse. From the corner of his eye he thought he saw something move, and he looked in through the window, into the dark room filled with broken furniture, with the plaster peeling from the walls, and for a moment, in a half-dream, he imagined that he saw three women sitting in the dark parlor. One of them was knitting. One of them was staring directly at him. One of them appeared to be asleep. The woman who was staring at him began to smile, a huge smile that seemed to split her face lengthwise, a smile that crossed from ear to ear. Then she raised a finger and touched it to her neck, and ran it gently from one side of her neck to the other. That was what he thought he saw, all in a moment, in that empty room, which contained, he saw at a second glance, nothing more than old rotting furniture and fly-spotted prints and dry rot. There was nobody there at all.
Neil Gaiman (American Gods)
But alas, I’m here, drunk off my ass, boobs practically spilling out of my shirt, and my mascara slowly melting off my eyelashes and onto my face, morphing me from new-in-town college girl, to trash panda from the raccoon clan. “Dottie, Lindsay,” I say weakly, moving my head from side to side. “Where art thou?” “You need help?” a deep voice slurs next to me. I look to my right through very blurry vision and make out what I’m going to assume is an incredibly attractive man. But then again, I’m drunk—the whole mascara melting off my eyes in full swing—and I’ve been fooled once before. But hey, I think those are blue eyes. Can’t go wrong with that . . . reasoning that will be thought better of in the morning. “Have you seen Dottie or Lindsay?” “Can’t say that I have,” he answers, resting against the wall with me. “Damn it. I think they’re making out with some baseball players. Have you seen any of those around?” “Baseball players?” “Mm-hmm.” I nod, shutting my eyes for a second but then shooting them back open when I feel myself wobble to the side. The guy catches me by the hand before I topple over, but thanks to his alcohol intake, he’s not steady enough to hold us up and . . . timber . . . we fall to the couch next to me. “Whoa, great placement of furniture,” I say, as the guy topples on top of me. “Damn near saved our lives.” I rub my face against the scratchy and worn-out fabric. “How many people do you think have had sex on this thing?” “Probably less than what you’re thinking.” The couch is deep, giving me enough room to lie on my side with the guy in front of me, so we’re both facing each other. He smells nice, like vodka and cupcakes. “So, have you seen any baseball players around? I’m looking for my friends.” “Nah, but if you see any, let me know. I can’t find my room.” “You live here?” I ask, eyes wide. “Yup,” he answers, enunciating the P. “For two years now.” “And you don’t remember where your room is?” “It has a yellow door. If the damn room would stop spinning I’d be able to find it.” “Well . . . maybe if we find your room, we’ll find my friends,” I say, my drunk mind making complete sense. “That’s a great idea.” He rolls off the couch and then stands to his feet, wobbling from side to side as he holds out his hand to me. Without even blinking, I take it in mine and let him help me to my feet. “Yellow door, let’s go,” I say, raising my crumpled cup to the air. “We’re on the move.” He keeps my hand clasped in his and we stumble together past beer pong, people making out against walls, the kitchen, to an open space full of doors. “Yellow door, do you see one?” I blink a few times and then see a flash of sunshine. “There.” I point with force. “Yellow, right there.” His head snaps to where I’m pointing. A beam of light illuminates the color of the door, making it seem like we’re about to walk right into the sun. I’m a little chilly, so I welcome the heat. “Fuck, there it is. You’re good.” 
Meghan Quinn (The Locker Room (The Brentwood Boys, #1))
Such travel is not through space foreign to us, but in a space that belongs to us. We do not move from our point of departure, but with our point of departure. To be moved from our living room by an automobile whose upholstered seats differ scarcely at all from those in our living rooms, to an airport waiting room and then to the airplane where we are provided the same sort of furniture, is to have taken our origin with us; it is to have left home without leaving home. To be at home everywhere is to neutralize space.
James P. Carse (Finite and Infinite Games: A Vision of Life as Play and Possibility)
A rustle of movement drew her attention to the open condo door. A tousled blonde head peered in. “Everything okay?” “I think so.” Amber eyes followed the destructive path of the combatants. “Men. Can’t train them to behave inside and can’t teach them to not piss on the furniture.” Arabella’s mouth rounded in an O of surprise. Surely she’d misheard. “Pee?” “Only my ex-boyfriend ever actually did that. He’s the reason why I moved. Fucker would get drunk, break in through the window by the fire escape, and pee on my stuff. I’d get mad. He’d apologize. We’d have wild jungle sex, and then I’d kick him out and tell him to never talk to me again.” Still couldn’t fathom the logic. “You had sex with a guy who peed on your couch?” “Less the couch, more like the kitchen chair, so nothing I couldn’t wipe up. And the worst part is the bastard would wait for me to wake up. I’d wander into the kitchen all oblivious like, totally in the buff, usually to find him munching one of my homemade cookies.” The crazy blonde’s brows shot up in an Aha moment. “Hey, wait a second. I wonder if that’s why he got wasted so often?” She’d just clued in. “He was after no-strings sex.” “I was actually talking about the cookies, but I think your explanation is more plausible.” -Luna & Arabella
Eve Langlais (When a Beta Roars (A Lion's Pride, #2))
He’d be ostracized for trying to stop the flood of furniture jobs from America, for striking back against the one-percenters who were about to move damn near all their plants to Asia and tear the heart out of the Blue Ridge region he loved.
Beth Macy (Factory Man: How One Furniture Maker Battled Offshoring, Stayed Local - and Helped Save an American Town)
Inside it looks like a nineteenth century palace, given the attention to detail and the elegance of the furniture: there are two carpets on the floor, more paintings in gilt frames, wooden furniture along the walls, and a large table with a flower arrangement in the center. All lit with spotlights. Andrea feels like he’s in another era and another season; it doesn’t look like a home in the mountains and there's no summer heat. He expects some nobility to appear. Indeed, standing next to the table is Ian. And he’s watching them. Andrea gasps silently. "Here we are," says Carlotta. "We’re very sorry for making you wait, Count." "Don’t worry, Carlotta," he says politely, moving closer. Ian’s wearing a white top with a black satin jacket and pants, also satin, with a stripe down the side. It creates a strange Casual Count effect that both stuns and disturbs Andrea. Always ambiguous, Ian doesn’t seem to want to adapt to anything. Not even a normal style. Was he not sure whether to go for a stroll or to a party? Andrea feels his brain smoking so much that it must be on fire. "These inconveniences can happen." He smiles at her and she blushes to the point of melting. Her knees buckle and she touches her face, embarrassed. Typical! Andrea grunts. "Can you introduce your friend to me?" says Ian. "Of course. He’s the guy.....," she stops. "Nearest to our Maicol." Ian looks at him and pretends not to know him. Andrea does the same. "Exactly," says Carlotta.
Key Genius (Heart of flesh)
In a town of moderate size, two men lived in neighbouring houses; but they had not been there very long before one man took such a hatred of the other, and envied him so bitterly, that the poor man determined to find another home, hoping that when they no longer met every day his enemy would forget all about him. So he sold his house and the little furniture it contained, and moved into the capital of the country, which was luckily at no great distance. About half a mile from this city he bought a nice little place, with a large garden and a fair-sized court, in the centre of which stood an old well.
Anonymous (The Arabian Nights Entertainments)
Show me a believing man, and I will show you a justified man, and, withal, a man who is never out of his Bible. What else would you have him to read? I would like to hear you urging some of your favourite reading on him. I would like you to tell him where else but in his Bible such faith as his could be fed. Where else could he get songs for the house of his pilgrimage? And shoes for his feet, and a staff for his hand? And his whole furniture for his life of faith, and for his death of victory? Yes: depend upon it, the just man will live, and move, and have his whole being, in his Bible, and in books that have been drawn out of his Bible. But
Alexander Whyte (The Apostle Paul)
One humid summer afternoon, Remy got to missing his dad, who was in Japan doing fieldwork. After searching around the house, I found him in the backyard sitting on a rock and crying tears that were so sincere and alone that I immediately cried right along with him--out of both empathy and also a sense of joy that he, after a mere five years on this earth, was able to feel so deeply for someone else. Because I was crying, I was short on words, but I carried him inside to an overstuffed chair and let his little heaving body fill in every space on my stomach and chest. We stayed there for a long time without speaking while he calmed--he seemed to want to melt right into me until any hurt he felt was gone. I had already been thinking a lot about bodies and the spirit, but that moment brought new clarity to my abstract ideas and tentative conclusions. My body is home to my children. I lie between my children each night while they fall asleep, and they reach out in the dark and stroke my face or reach for my hand. It's like the reaffirmation of both their place in the world and their place in a larger plan, as they run their tiny hands across the familiar and tangible landscape of my body. My body for them is a manifestation of home, and home is what the spirit has always felt like for me. There have been times in my life, more than I'd like to admit, that I've spent copious amounts of thought and energy trying to rearrange the home of my body. Roughly pushing furniture around with dissatisfaction, barging in with the latest trend, sitting at the window wishing my home was anything other than what it was. I think, like many, I've been harsh to my body, spoken unkindly to and about it. Watching Thea move through the world with almost comical confidence has shifted my paradigm. Since she has been around, I slowly, one step and one day at a time, began reclaiming confidence in my body. I feel fierce in protecting her confidence, and I've learned in order to do that I have to protect my own. I've learned that in order to be an efficacious woman with any sort of spiritual power, I first have to love my body.
Ashley Mae Hoiland (One Hundred Birds Taught Me to Fly: The Art of Seeking God)
The word “come” occurs about nineteen hundred times in the Bible, it is said, and this is the first time. It meant salvation. You can see Noah and all his family moving into the ark. They are bringing the household furniture. Some of his neighbors say, “Noah, what is your hurry? you will have plenty of time to get into that old ark. What is your hurry? There are no windows and you cannot look out to see when the storm is coming.” But he heard the voice and obeyed.
Dwight L. Moody (The Overcoming Life and Other Sermons)
Room eight contained a neatly made bed, a wash basin on a chest of drawers, and a desk, each piece of furniture simple but sturdy. Joe moved to the window and paused, looking out at the wreckage of Glipwood with a pang of sadness. Below the window lay what remained of Shaggy’s Tavern. The stone chimney stood like the trunk of an old petrified tree, the ground littered with planks, broken stools, and shattered bottles. Wincing at the creak of his footsteps on the wooden floor, he crept to the chest of drawers and slid it away from the wall. Behind the bureau was a small doorway. Joe looked around one last time and ducked inside, pulling the chest back into place behind him.
Andrew Peterson (North! or Be Eaten)
Dirty money is dripping from the walls, a year’s supply of food wasted on marble floors, hundreds of thousands of dollars in medical aid poured into fancy furniture and Persian rugs. I feel the artificial heat pouring in through air vents and think of children screaming for clean water. I squint through crystal chandeliers and hear mothers begging for mercy. I see a superficial world existing in the midst of a terrorizing reality and I can’t move.
Tahereh Mafi (Shatter Me (Shatter Me, #1))
A letter from John Pearl asking for news of Chicago. As if I had any to give him. I know no more about it than he does. He wanted to go to New York but now sounds nostalgic and writes with deep distaste about his "peeling environment." "Peeling furniture, peeling walls, posters, bridges, everything is peeling and scaling in South Brooklyn. We moved here to save money, but I'm afraid we'd better start saving ourselves and move out again. It's the treelessness, as much as anything, that hurts me. The unnatural, too human deadness." I'm sorry for him. I know what he feels, the kind of terror, and the danger he sees of the lack of the human in the too-human. We find it, as others before us have found it in the last two hundred years, and we bolt for "Nature." It happens in all cities. And cities are "natural," too. He thinks he would be safer in Chicago, where he grew up. Sentimentality! He doesn't mean Chicago. It is no less inhuman. He means his father's house and the few blocks adjacent. Away from these and a few other islands, he would be just as unsafe. But even such a letter buoys me up. It gives me a sense of someone else's recognition of the difficult, the sorrowful, what to others is merely neutral, the environment.
Saul Bellow (Dangling Man)
The thing I hated most about moving was having to buy everything all over again; all the household objects, from furniture to silverware, that you find in any home. Normally, you buy them with the idea that they are going to last over time, be part of your everyday life, and have a history. For a fugitive, it’s different: the only criterion is temporary use, and so each and every object necessarily loses its worth. I thought of them as non-objects, the non-possessions of a non-person living a non-life.
Massimo Carlotto (Il fuggiasco)
The moment you begin moving furniture around and getting rid of garbage, your room changes. It’s very simple. If you put your house in order in one fell swoop, you will have tidied up in one fell swoop. (In Japanese, the term is ikki ni, or “in one go.”) Rebound occurs because people mistakenly believe they have tidied thoroughly, when in fact they have only sorted and stored things halfway. If you put your house in order properly, you’ll be able to keep your room tidy, even if you are lazy or sloppy by nature.
Marie Kondō (The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing (Magic Cleaning #1))
Gabriel regained consciousness slowly. Despite the fact that he was obviously injured, his training kicked in and he deliberately didn’t move or open his eyes until he had a better idea of where he was and who was around him. He gave a subtle sniff of the air. The first smell that hit him was blood. Plenty of his own, and that of one other person. A woman; he could smell traces of her perfume, too. She was moving around in a bathroom somewhere close. He could hear running water. The pillows under his head were freshly laundered and he could also smell furniture polish and bleach. There was also the remnants of many other people,
Elena Bryce (Guardian of the Spear (Immortal Blood Book 2))
stores that specialized in furniture alone.
Josephine Cox (Take this Woman: A moving and utterly compelling coming-of-age saga)
He moved through our house now with the ease of someone who no longer considered himself a guest, no sidestepping knickknacks and perching on the edges of furniture but walking easily across the floors as if he belonged there.
Sarah Dessen (That Summer)
I once met an eighty-nine-year-old woman who had, of her own volition, checked herself into a Boston nursing home. Usually, it’s the children who push for a change, but in this case she was the one who did. She had congestive heart failure, disabling arthritis, and after a series of falls she felt she had little choice but to leave her condominium in Delray Beach, Florida. “I fell twice in one week, and I told my daughter I don’t belong at home anymore,” she said. She picked the facility herself. It had excellent ratings and nice staff, and her daughter lived nearby. She had moved in the month before I met her. She told me she was glad to be in a safe place—if there’s anything a decent nursing home is built for, it is safety. But she was wretchedly unhappy. The trouble was that she expected more from life than safety. “I know I can’t do what I used to,” she said, “but this feels like a hospital, not a home.” It is a near-universal reality. Nursing home priorities are matters like avoiding bedsores and maintaining residents’ weight—important medical goals, to be sure, but they are means, not ends. The woman had left an airy apartment she furnished herself for a small beige hospital-like room with a stranger for a roommate. Her belongings were stripped down to what she could fit into the one cupboard and shelf they gave her. Basic matters, like when she went to bed, woke up, dressed, and ate, were subject to the rigid schedule of institutional life. She couldn’t have her own furniture or a cocktail before dinner, because it wasn’t safe.
Atul Gawande (Being Mortal: Medicine and What Matters in the End)
I do believe in atmosphere, you know. People's thoughts and feelings. They give their impression to the walls and the furniture.
Agatha Christie (The Moving Finger (Miss Marple, #3))
Ruth smiled still more broadly. ‘Good,’ she said. ‘Won’t be a mo.’ She moved a shiny copper pan from the bench on to the stove and began to stir it. Addie stared down at her feet. Snow slid from her shoes on to the tiled floor and quickly melted there. She glanced up. Had Ruth noticed? She hadn’t. She was deep in conversation with Penny, over by the stove. Addie pulled at her wet laces, took off her trainers. She held them up for a moment. Where was she supposed to put them? Nobody had said. She pushed them out of sight, under her chair, clutched her damp coat collar closer round her neck. She looked around. It was the kind of kitchen you see in films, or in magazines at the doctor’s surgery. Big tiles on the floor, big wooden furniture, big dark beams across the ceiling. There was an enormous fridge
Susanna Bailey (Snow Foal)
Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.
Marcel Proust (Swann's Way (In Search of Lost Time, #1))
When a man is asleep, he has in a circle round him the chain of the hours, the sequence of the years, the order of the heavenly host. Instinctively, when he awakes, he looks to these, and in an instant reads off his own position on the earth’s surface and the amount of time that has elapsed during his slumbers; but this ordered procession is apt to grow confused, and to break its ranks. Suppose that, towards, morning, after a night of insomnia, sleep descends upon him while he is reading, in quite a different position from that in which he normally goes to sleep, he has only to lift his arm to arrest the sun and turn it back in its course, and, at the moment of waking, he will have no idea of the time, but will conclude that he has just gone to bed. Or suppose that he gets drowsy in some even more abnormal position; sitting in an armchair, say, after dinner: then the world will go hurtling out of orbit, the magic chair will carry him at full speed through time and space, and when he opens his eyes again he will imagine that he went to sleep months earlier in another place. But for me it was enough if, in my own bed, my sleep was so heavy as completely to relax my consciousness; for then I lost all sense of the place in which I had gone to sleep, and when I awoke in the middle of the night, not knowing where I was, I could not even be sure at first who I was; I had only the most rudimentary sense of existence, such as may lurk and flicker in the depths of an animal's consciousness; I was more destitute than the cave-dweller; but then the memory - not yet of the place in which I was, but of various other places where I had lived and might now very possibly be - would come like a rope let down from heaven to draw me up out of the abyss of not-being, from which I could never have escaped by myself: in a flash I would traverse centuries of civilisation, and out of a blurred glimpse of oil-lamps, then of shirts with turned-down collars, would gradually piece together the original components of my ego. Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves and not anything else, by the immobility of our conception of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything revolved around me through the darkness: things, places, years. My body, still too heavy with sleep to move, would endeavour to construe from the pattern of its tiredness the position of its various limbs, in order to deduce therefrom the direction of the wall, the location of the furniture, to piece together and give a name to the house in which it lay. Its memory, the composite memory of its ribs, its knees, its shoulder-blades, offered it a whole series of rooms in which it had at one time or another slept, while the unseen walls, shifting and adapting themselves to the shape of each successive room that it remembered, whirled round it in the dark.
Marcel Proust (Swann's Way)
When he'd finally managed to access the heavily damaged upper floors, he had moved through them carefully, prepared to find her dead body under the broken furniture or the fallen walls. But he never did. He found no one. That's when Mael had started to hope. Surely they would come looking for him, he told himself. He must keep the building ready for them. He would say it out loud when his loneliness and loud sobs threatened to swallow him and all he wanted was to end it all: She would come. If he was patient and stayed put, she would come. He couldn't leave. One day she would come. - “Worker of the Year” in Gone Lawn #15, 2014
Margrét Helgadóttir
Imagine the baby has moved in. They're a cute little creature who’s just weeks old. Your parenting instincts are in full throttle. Now enters your beloved puppy. Are they used to lounging on the furniture or jumping up for attention? Do they order you to give them a back rub by pawing, barking, or nudging you? Can you see the problem that’s developing there? They won’t stop this behavior just because you’re holding a newborn
Sarah Hodgson (Puppies For Dummies)
It took Kit a moment to notice that there was already someone standing in the library. Someone he didn't know, who moved toward Magnus just as the warlock eased Livvy down onto the long table. It was a young man about Jace's age, with straight dark hair that looked as if he had slept on it and not bothered to brush it. He wore a washed-out sweater and jeans. He glared at Magnus. "You woke up the kids," he said. "Alec, we have kind of an emergency here," said Magnus. So this was Alec Lightwood. Somehow Kit had expected him to look older. "Small children who are awake are also an emergency," said Alec. "I'm just saying." "All right, move the furniture back," Magnus said to Ty and Kit. "I need some working space." He glanced sideways at Alec as the two younger boys moved chairs and small bookcases out of the way. "So where are the kids?" Magnus was stripping off his coat. Alec held out his hand and caught the coat as Magnus tossed it to him, a practiced move that suggested he was used to the gesture. "I left them with a nice girl named Christina. She said she likes children." "You just left our children with strangers?" "Everyone else is asleep," said ALec. "Besides, she knows lullabies. In Spanish. Rafe is in love.
Cassandra Clare (Lord of Shadows (The Dark Artifices, #2))
And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Nom, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths would move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains. The wraith pushes his glasses up in the vaguely sniveling way of a kid that’s just got slapped around on the playground and says he personally spent the vast bulk of his own former animate life as pretty much a figurant, furniture at the periphery of the very eyes closest to him, it turned out, and that it’s one heck of a crummy way to try to live. Gately, whose increasing self-pity leaves little room or patience for anybody else’s self-pity, tries to lift his left hand and wiggle his pinkie to indicate the world’s smallest viola playing the theme from The Sorrow and the Pity, but even moving his left arm makes him almost faint. And either the wraith is saying or Gately is realizing that you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status, because like say for example if one of ‘Cheers!’’s bar’s figurants suddenly decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status on the show, Gately realizes, all that would happen is that one of the audibilizing ‘name’ stars of the show would bolt over from stage-center and apply restraints or the Heineken Maneuver or CPR, figuring the silent gesturing figurant was choking on a beer-nut or something, and that then the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics, or else his fuck-up in applying the Heineken Maneuver to somebody who wasn’t choking on a nut. No way for a figurant to win. No possible voice or focus for the encaged figurant.
David Foster Wallace (Infinite Jest)
thought I’d rent it out on Airbnb,’ he says. ‘That way, I only have to bring my clothes and personal bits and pieces. Leave all the bigger stuff there.’ It’s a good idea, I know it is. It’ll be quicker than renting it out via an agency and there’s no room for any of Michael’s furniture in my cottage. But that annoying little voice has started up again. Because it’s also more temporary, isn’t it? Easier for him to move back in when he’s had enough of playing house
Lesley Kara (The Rumour)
What was best for Charlotte? The answer was obvious. And for once he needed to overcome his selfish desires. "Go home, Charlotte." "So thats it?" She straightened, her lovely pride stiffening her frame. "You are finished with me? Finally?" He discarded the glass and moved so quickly across the room, around the furniture, that he saw the surprise that she couldnt hide. "No." He touched her chin, made her meet his eyes. "I would never be finished with you, Charlotte" Something far more contorted than simple confusion graced her face. "Roman." And her voice was soft, questioning. "Do you think you might come to love me? If you werent ...giving...me back? Someday? Just a little?" He was frozen. Absolutely frozen. He couldnt speak a word. She lifted her chin a notch and pressed a soft kiss to his lips at his nonresponse. And still he remained frozen. He saw her walk to the door and grab Bills arm. Heard their footsteps filing down the hall. Leaving. Leaving. Never hearing his whisper that he already did.
Anne Mallory (One Night Is Never Enough (Secrets, #2))
Of course, come to-morrow" I said and gave him my address in Brooklyn. Before he arrived, he sent me a magnificent arrangement of flowers. We had moved to Brooklyn in November and had the essentially necessary furniture, but no flower vase. When the flowers arrived, I used two borscht jars to put them in. Carlos Bendayan arrived and we talked and talked. He was the son of a wealthy Sephardic family from Venezuela. Carlos was a young man, about 21, on his first trip abroad alone. He was telling me that he realized that I must be Jewish and it became clear to me that I knew very little about Sepharadim. His name was Hebrew, it meant: son of the judge. He was going to spend the Christmas vacation with his parents and younger brother in Spain. Actually, he was being groomed to enter his father's business.
Pearl Fichman (Before Memories Fade)
One type of slave-owner does not discipline his slaves, gives them no structure, sets them no limits, provides them with no direction and does not make it clear who is the boss. What happens, of course, is that in due time his slaves stop working and begin moving into the mansion, raiding the liquor cabinet and breaking the furniture, and soon the slave-owner finds that he is the slave of his slaves, living
M. Scott Peck (The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth)
Learn About The High Rise Apartment Benefits Deciding places to reside typically be a concern and it is truly advisable to search into high rise apartment benefits prior to making a decision. Although surviving in a normal condominium in the city most likely be lurking in small space, it ought sure the benefits of some people. Keep in mind that bigger houses can be found in contain higher overhead expenses. Short-time period stay should involve minimal bills to purchase furniture and decorations for your home. If you happen to lived in a bigger home in the outskirts of city, you will have to buy a lot of thing to refill your place. After you have to move, dropping all of your possessions often are tedious and tiresome. Staying in 1 rental will require you in order to get fundamental furnishings only. Another benefit of staying in a city constructing is the convenience of commuting to work. Sometimes, your office could be downtown where additionally, you will discover many tall residential condominiums. You can walk to operate or take a short bus ride within your office. Going to see the suburbs would require that enable you to personal method to commute specifically for your office every day. The city lifestyle additionally has given to you more luxury and comfort. Good eating locations and pubs must be close by. You'll search for a good shops and goods within the city. It will be convenient to are now living in a high-rise apartment intrinsic of town that provides you easy access to good shops to operate your errands. In the suburbs, you'll likely have to have a automobile as a way to easy chores. If you could have to go to operate with at hours away, you would spend a lot for gasoline. Your car may also wear down quickly the santorini condo price since you'll be driving it usually permanently distances. Making a home in a high-rise residence can remove these extra burdens such as gas costs and time travel. You can spend extra quality time with your partner or youngsters by dwelling near your place of work. Suburban households are inclined to hire babysitters to observe their youngsters though they work miles away. Vacationing as a condominium ear your office will let you being more involved with of affairs since you is certainly not spending couple of days commuting each day. It is right to are now living in urban cities if you're single or live as a general couple. You'll be able to take advantage of high rise apartment benefits if you find yourself in a functional location close to your workplace. Staying in a very very condominium can supply you with higher security.
Mike Kelly
Stirling, Scotland, October 1619 "Kristina, wake up and ready yourself for a journey!" In her bedchamber, Kristina MacQueen jolted awake. Had she just heard her mother's voice? 'Twas impossible. Her mother had passed many years ago. The voice had been inside her dream. What had Ma meant about a journey? Kristina had not left the vicinity of her aunt and uncle's manor house in many months. Hearing the faint hoofbeats of many horses galloping in the distance, she sat up and listened. As each moment passed, the horses' hooves pounded closer and closer until they echoed off the cobblestones just outside the window. Her heart thumping and an eerie feeling prickling along her skin, she swung her feet toward the floor and sat on the edge of the bed. A fist battered violently at the home's entrance door below. "Saints. Who could that be?" she whispered. It had to be the middle of the night or the wee hours of the morn, for she heard no one moving about the house and her room was chilly. The visitor couldn't be the physician calling to treat Uncle Gilbert, who suffered from gout, rheumatism and various other ailments. Nay, he wouldn't bring that many horses with him on a house call. Maybe 'twas the creditors, come to expel them from their home. When her uncle's health had declined, so had his funds. Could it be news of her older sister? She had not heard from Anna in many months. Ready yourself for a journey, her mother had said in the dream. Good heavens! Had someone come for her, to take her to Anna? Heart hammering, Kristina leapt from the warm bed. Though she couldn't see, she knew the placement of the furniture in her room and could easily navigate the space without bumping into anything. After tiptoeing across the cold wooden floor in her stockings, she approached the door and turned the knob to open it a crack, then listened. The maids were in an uproar on the ground floor below. "What's the racket?" Aunt Matilda yelled as she tromped by Kristina's chamber and down the stairs. "Who is it?" she demanded near the front door. "Chief Blackburn MacCromar!" The snarled response was bellowed from outside, just below her window. A chill of terror and revulsion flashed through Kristina. "Saints, preserve us." She shut the door and barred it, her fingers trembling. She had not been near the malicious bastard in two years. He had finally come for her. Anxiety and nausea froze her to the spot. What would he do? Would he kill her for a certainty this time?
Vonda Sinclair (Highlander Entangled (Highland Adventure #9))
What’s the basic way to catch a ghost in Luigi’s mansion: Dark Moon? a) Throw an Ectonet over it. b) Blast it with the ShadeShocker. c)     Stun it with a Strobulb, and then vacuum it into your Poltergust 5000. d)    Trap and store it in a Specter Snare. Name something that you can’t do with Poltergust 5000 a) Roll up a throw rug b)    Run very fast as you are propelled by a jet of water c) Vacuum up spiders and their webs d) Make a ceiling fan spin. These tough-looking spirits just want to give you a hand for your hard work. What do you call them? a) Sly Fives b) Clap Claps c) Slammers d) Slap Happies. Things aren’t always as they seem inside a hunting building. What tool helps you see objects hidden by Spirit Balls? a) Specter-o-scope b) Dark-light device c) De-illusionator d) Goggles of clarity. If you see a piece of furniture or a flowerpot shaking, what should you do? a) Press the X button b) Exercise caution c) Get ready to stun a ghost with your Strobulb d) All of the above. BONUS QUESTION: What does E stand for in Professor E. Gadd? a) Elvis b) Elvin c) Elroy d) Esteban. RESULTS: 0 out of 6 – Very, very very bad! You didn’t only ruin your mission of catching ghosts, but more of them came and they ate your I-scream. 1 out of 6 – Not bad! You did well enough that all of the ghosts moved out of your house. They ate your I-scream before they left. 2 out of 6 – Not too shabby! There ghosts are outside the house, and yup they ate your I-scream. 3 out of 6 – Not bad, but not good either. Let’s say you did manage to get ghosts outside the house, but your I-scream is eaten, and new ghosts won’t see you as a big threat. Get ready. 4 out of 6 – Nice! You must spend a lot of time in Gloomy Manor’s haunted library. It looks like you manage to read besides hunting ghosts. Also, you got an over-Boo notice. 5 out of 6 – Well done! You chase away ghosts so fast that you spend more time reading and improving your knowledge about these little pests. Are you an encyclopedia about ghosts or a human? 6 out of 6 – Excellent! You are the expert in catching and destroying ghosts. You could definitely help Luigi in tackling the
Jenson Publishing (Luigi: The Funniest Luigi Jokes & Memes Volume 2 (Nintendo Jokes))
8. Chapter 4 describes the birth of the assisted-living facility concept (Park Place), designed by Keren Wilson to provide her disabled mother, Jessie, with caregivers who would not restrict her freedom. Key components included having her own thermostat, her own schedule, her own furniture, and a lock on the door. What does it mean to you to treat someone with serious illness as a person and not a patient? 9. In 1980, an eighty-year-old man named Harry Truman refused to move from his home as Mount St. Helens began to erupt. He told authorities that at eighty years old he had a right to decide his fate. Do you agree? What are the implications for individuals and families when elder adults are given full autonomy over their lives?
Atul Gawande (Being Mortal: Medicine and What Matters in the End)
Once, several years ago, I was looking around for something and moved a piece of furniture only to behold behind it a fuzzy little ball of...what? I looked closer, which is always a bad idea, adn jumped back with a screech. Of course, it was a dead mouse. A dead mouse that had been there long enough that it looked a little--what?--petrified. So I did what any normal person would do in a similar circumstance. I immediately, that very minute, sat down and wrote a story about it. I wrote and wrote until I was pleased with the dead mouse story. And then I used a piece of cardboard to life and slide the little mouse corpse into a small white box--the kind you use for jewelry. After all, I reasoned, I had just written a story about him! It felt like something worse than abandonment to get rid of him now...we were linked! Connected through the sacred ritual of storytelling. And anyway, what if this story ended up, you know, famous? What if my dead mouse story ended up being my "The Lottery"? Wouldn't it be incredibly neat to still have the original thing that inspired it? Yes, this is the way I think. So you can see the situation is bad. I have at least one dead rodent that I have kept ON PURPOSE.
Eve O. Schaub (Year of No Clutter)
The rifle was disassembled into its component parts, with its stock, barrel, grip, and scope separate to allow it to fit inside a standard-sized briefcase. There was also a long suppressor. Victor’s was the latest variant of the SVD, with stock and hand guards made from high-density polymer to lighten the weight, instead of the original wood furniture. Though not as sophisticated or accurate at long range as some Western sniper rifles, Victor had a fondness for the Dragunov because of its reliability in all conditions and its no-nonsense mechanics. As a semi-automatic rifle, the Dragunov had a much better rate of fire than a typical bolt-action sniper rifle, though the greater number of moving parts that made the rifle semi-automatic also made it less accurate than a bolt-action. But as a semi-auto the SVD could also be used as an assault rifle and was fitted with conventional iron sights and bayonet mount for just such a use. The Soviet philosophy on arms manufacture had been ease of use and reliability over accuracy, and Victor had found there to be a lot of merit in the ideal. Weapons that were world beaters on the range weren’t much use if they didn’t work under battlefield conditions
Tom Wood (The Hunter (Victor the Assassin, #1))
Graham went to the gym to work out, as he does almost every day. There's a pile of unfolded clothes on the couch beside me and a bag of cheese puffs in my lap. I love it when he goes to the gym, if only because I can be the massive sloth I naturally am in peace. If he were here, he'd be eyeing up my laundry and staring at the edible garbage in my lap and on my fingers, internally freaking out over the possibility of powdery cheese getting on the furniture. One hand in the bag, one hand wrapped around the stem of my wine glass—this is my idea of perfection. 'Girls Chase Boys' by Ingrid Michaelson is presently keeping me company from the stereo system. When my phone rings from where it resides on the back of the couch, I jump and send the bag flying. Orange confetti falls to the floor and I swallow, knowing I am so dead if Graham walks in the door right now. “What?” is my less than friendly greeting. “What'd you do?” How does he know me so well? I guess because he made me. “I just let off a bomb of cheese puffs. Although, technically, I'm blaming it on you since it was your phone call that scared me into dumping the bag over.” “Your mother is knitting again.” Eyes glued to the orange blobs on the pale carpet, I reply, “Oh? I'm sure it's marvelous, whatever it is.” Are they seeping into the carpet as I watch, even now becoming an irremovable part of it? Graham is going to majorly freak out over this. “Looks like a yellow condom.” I choke on nothing. “I have to go, Dad.” He grunts a goodbye. I fling the phone away and dive to my knees, hurriedly scooping up the abused deliciousness into my hands. Of course this is when Graham decides to come home—when my ass is in the air facing the door and I look like I'm eating processed food off the floor. I groan and let my head fall forward, smashing a cheese puff with my forehead. He doesn't say anything for a really, really long time, and I refuse to move or look at him, so it gets sort of awkward. “Never thought I'd come home to this scene. Ever.” Just to rile him up, I shove a cheese puff in my mouth and chomp away. “I can't believe you just ate that!” I get to my feet as I pop another into my mouth. “Mmm.” Graham's face is twisted with horror, his backpack dropping to the floor. Sweat clings to him in a delicious way, his hair damp with it. “Do you know how dirty the carpet is?” “You clean it almost every day. It can't be that dirty.” “I don't get everything out of it!” he exclaims, slapping the remaining puffs from my hands. “Go brush your teeth. No. Wait. Induce vomiting. Immediately.” I look at him and laugh. “You're crazy.” “Just...go drink water or something. I'll clean this up.” “I am perfectly capable of cleaning up my own messes.” He just looks at me. “Okay, so not as well as you, but still.” He remains mute. “Fine.” I toss my hands in the air and carefully walk over the splotches of orange beneath me. As I leave the living room, I pause by a framed photograph of a lemon tree, sliding it off-center on the wall. “I saw that,” he calls after me. “Just giving you something to do!” I smirk as I saunter into the bathroom. “I'll give you something to do.” I cock my head at that, wondering if that was meant to be sexual or not. I'm thinking not. I flip the light switch up in the bathroom and scream. Even with the distance between us, I can hear him laughing. The mirror is covered in what looks like blood, spelling out R – E – D. I put my face close to it and sniff. Ketchup. What a waste of a good condiment. “Not funny!” “So funny!
Lindy Zart (Roomies)
When at last we arrived in Mannheim, I found that my apartment had been rented to a family whose young son was an amputee. I had conscientiously paid our landlady the entire time we were gone and now that I returned and needed my apartment I couldn’t do anything about it. I felt upset that these people usurped what was ours and I didn’t find much comfort when they offered us one of the bedrooms to live in. Frustrated as I was, there was nobody I could turn to. The rule of law had been suspended, so the only thing I could do was accept their offer. As I moved into what had been my bedroom, they reluctantly agreed that I could share the kitchen and use one of the burners on the stove. Climbing up into the attic, I found a bed that my husband Richard had used when he was a student. Now I had to cram onto it with the children every night and it always became a contest as to who got the pillow. None of us got much rest but the experience did bring us closer together. Frequently I wound up on the floor. Somehow I found a vicarious joy in seeing that my furniture, which the other family had been using, was becoming warped from moisture damage. It had been in a room where the window was blown out during one of the air raids. Of course this exposed everything to the weather, and so the frequent rains ruined the table and much of the other furniture. I really grew to dislike these people and with each passing day things became worse. One day while trying to balance three pots on one burner, I got an idea as to what I would do next….
Hank Bracker
You’ll see in time, Eliza,” he said, taking her hand in his. “This is the right way. I love you and I’ll take care of you. You are simply in shock. You’ve gone through a horrifying ordeal. You need to rest. I promise, you’ll feel much better in a few days.” He pushed off his knees, then walked around the room as Donaldson went back outside, the fire now blazing. “I came here many times after I’d found you were gone. I arranged the furniture again, as you can see, and replaced the broken glass.” He ran his fingers over the back of Father’s favorite settee. “Coming here made me feel closer to you.” Eliza moved her eyes to where he paced in front of the now roaring flames. Samuel’s brow grew pensive. “I know I said we would marry at the end of this week, but I’ve decided on tomorrow instead. I have already asked a friend of mine, Reverend Edmonton, to officiate.” “What?” Eliza found her voice in an instant, and it resonated much stronger than she expected. “But you said seven days!” Samuel spun on his heel, a determined stare possessing his features. “I’m sorry to disappoint you, Eliza, but we must not postpone. We can wed tonight if you’d rather.” He winked as if she would find his eagerness amusing. “I’ve arranged for our wedding to be here. I’m sure you won’t mind. We can have a special celebration sometime afterward, with our friends and family in attendance of course.” What friends and family? “Why are you doing this?” She choked on her words, her eyes burning. He tilted his head toward the ceiling and sighed. “Because we love each other, my darling. Your mind has been temporarily clouded. After we are man and wife you will be grateful for what I’ve done for you—for us.” Her
Amber Lynn Perry (So Fair a Lady (Daughters of His Kingdom, #1))
*Buying the Depreciation: New Ikea furniture has to be about the worst purchase ever — why? Because you can almost always buy someone else’s used furniture when they move for 90% off. Ever re-sold cheap furniture? Yeah, it sucks, you get maybe 10% of what you paid for it. It hurts.
Sebastian Marshall (PROGRESSION)
Her great bed had been moved in, and the walls hung with thick tapestries to exclude any noise or sunshine or fresh air. They had put rushes down on the floor with rosemary for scent, and lavender for relief. They had moved all the other furniture out of the room except for one chair and table for the midwife. Anne was expected to stay in bed for one whole month. They had lit a fire although it was midsummer and the room was stifling.
Philippa Gregory (The Other Boleyn Girl)
This was their last day in this house for the next few years. All their furniture was being stored as they moved in to the vice president's residence. "Get your things. We need to be on time this morning.
Kindle Alexander (Always (Always & Forever))
Are you afraid of something, Ellen? Afraid I’ll hurt you?” “Hurt me?” She scooted around a little. “Of course you’ll hurt me.” “Blazes.” Val went still behind her. “That answer doesn’t encourage a fellow, love. Whatever do you mean?” “You will offer me the sort of oblivion widows can discreetly enjoy, Valentine, and some sweet memories, but we both know nothing can come of it. When you are no longer interested, or you sell the property, you’ll move along with your life, selling your furniture, maybe restoring another estate, and I’ll still be here weeding my bed. My beds.” He
Grace Burrowes (The Virtuoso (Duke's Obsession, #3; Windham, #3))
We’ll fix it,” he said, tipping her chin up so he could see her eyes. “Your conservatory was going in on that side, and this will just speed up construction. Dare, get my crews over here to clear this mess. Nick, we’ll be needing the team for sure. Day and Phil can go through the outbuildings and find a suite of bedroom furniture, then pick out a room in the house that’s close enough to done we can move Ellen into it.” He braced a hand on either side of Ellen’s neck. “You are going to let me take care of this and no argument, please. God”—he hugged her to him—“if you’d been home, puttering at your embroidering, putting up jam…” She nodded, eyes teary, and let him hold her. “Ah, look there.” Val pointed to the base of the fallen tree. “Your greatest treasure is unscathed.” Marmalade sat on his fluffy orange backside, washing a front paw as if he hadn’t a care in the world. “I want…” Ellen stretched out a hand toward the cat, who pretended not to notice. “I’ll fetch him for you.” Val kissed her nose and made for the cat, who strolled back a few paces closer to what had been the bottom of the tree. Val reached for the beast then froze and looked more closely at the tree. He tucked the cat against his middle and stole another glance around at the surrounding trees before taking Marmalade back to Ellen. Val handed her the cat. “He says you have abandoned him shamelessly, and for your sins, you must allow him to accompany you up to the manor, where all his friends, the mice, are waiting to welcome him.” “Oh, Val.” Ellen managed a watery smile but leaned against him as she clutched her purring cat. “I’m so glad he’s unharmed. You’re a good kitty, Marmie. A very good, brave kitty.” “He’s also a very heavy kitty.” Val said, taking him from her grasp. “Let’s move him up to the manor, where I’m sure we can find him a dish of cream and you a cup of tea.
Grace Burrowes (The Virtuoso (Duke's Obsession, #3; Windham, #3))
up the pathway to the front door.  She’d called and left him a message, letting him know that she was coming, and that she’d leave the documents with the housekeeper if he wasn’t there.  Ringing the doorbell, she couldn’t stop the blush that stole up her cheeks as she remembered the last time she’d been here.  Had it really been only two days ago?  It seemed like a lot longer.  Did he still have those stockings?  Surely he’d tossed them out by now.  And no, she hadn’t dared to purchase another pair.  Not after the last debacle.  When the door opened, she was bracing herself to face Hunter once again.  Her plan was to congratulate him, just as she would any other client, hand him the champagne and the closing documents, and then leave as quickly as possible.  Just as she would all of her other clients.  They were all trying to unpack, overwhelmed with the process but excited about their new purchase.  She very seriously doubted if anything overwhelmed Hunter, but she was going to go through her routine anyway.  All of her clients deserved the same treatment, and she shouldn’t slack off with Hunter simply because…well, because he could make her feel things that… “Goodness, come in out of the heat, my dear!” the housekeeper urged, waving Kara into the cool interior.  “Mr. West is out back in the pool, but he said he was expecting you and that you’d know the way.  If he needs anything at all,” she said, as she hefted a purse onto her shoulder that Kara suspected could substitute for a suitcase, “just tell him to give me a ring.” Kara opened her mouth to stop the woman as the two of them exchanged places, the housekeeper moving to the outside even as Kara was nudged inside.  Kara went so far as to lift her hand, trying to indicate that she wanted to say something, but the efficient woman bustled out of the house, closing the front door in the process.  Kara stared at the closed door for several long moments, wondering how that had just happened.  Her plan had been simple.  Just hand over the bottle and documents, convey her congratulations and head back.  What had just happened?  Kara turned around.  It felt strange to be standing here, alone, in Hunter’s house.  She’d been here two days ago, but the house hadn’t been his.  The man now owned the house, all the furniture, and the acres of land and waterfront.  It felt much more intimate now for some reason.  Looking around, she wished that she could just leave the documents on the kitchen counter or the rough, wooden coffee table that looked perfect next to the white sofas.  Everything felt and looked clean and comfortable, exactly as she would have decorated this area.  The pops of green were vibrant and exhilarating, a perfect accompaniment to the fresh, white furniture.  With a sigh, she turned away from the alluring great room décor and searched out the man of the moment.  As she stepped past the sofas, she saw him.  In the pool.  Without any clothes on! Oh goodness, she thought with a strangled breath.  It took her several moments to realize that she needed to inhale, her breath caught in her throat as she watched the man’s bare skin, and all the muscles, and…well, all of him!  Okay, so he wasn’t naked, he was wearing a bathing suit but his broad, muscular back and those arms…they were even more ridged with muscles than she’d thought.  He was spectacular!  Never in her wildest imaginings had she pictured him that buff, but there
Elizabeth Lennox (His Indecent Proposal (The Jamison Sisters Book 3))
Laughing. A kind of laugh like every person you never had to know but did. You knew them. Knew them like the sound of someone moving furniture around the apartment above you. Simply through movement. Whole lives lived in movement and elsewhere.
Corey Zeller (You and Other Pieces)
Hi, honey, I’m home!” he hollered. “Did you bring flowers?” Lassiter shouted back. “Not for you.” “Damn it. Well, I’m on deck tonight with Tohr, so can we get moving? There’s a full list of appointments, but I want to get back for Hell’s Kitchen.” “Don’t you DVR that shit?” Wrath groused as he and George went into the old dining room. “Yeah, but I have poor impulse control. It was on at nine, okay? And I hate waiting. I put George’s fresh water down by your chair, b.t.dub.” “At least you’re a dog lover. That’s the only thing that saves you.” “Ha! I have wings and a halo, you cranky son of a bitch. I’m already perma-saved.” “Just our luck.” “Hey, my brother,” V said as he came through the archway and lit a hand-rolled. “Where’s your girl?” Lassiter cut in, “She’s got to be coming back soon, right?” Wrath had to smile as he took his seat. About the only time that annoying SOB got serious was when it came to Beth—and he had to admit, that was kinda endearing. “She back yet?” Rhage asked as he walked into the room. “How long can it take to order baby furniture?” Butch demanded while making his appearance. “Weeks,” Z answered. “You have no idea.” And so it went, everyone arriving with the same question, from Blay and Qhuinn to Phury and Rehvenge. The only one who didn’t ask it out loud was John—but he didn’t have to. Beth’s brother had been a quiet, worried presence since they’d made the announcement of the surprise pregnancy. And Wrath loved the guy for it.
J.R. Ward (The King (Black Dagger Brotherhood, #12))
Rooms For Rent Atlanta That Cater To Your Personal Growth Are you looking for just the right room to rent? Maybe you have the resources you need to find it yourself. After all, this is the age of the search engine, and plenty of information is available to anyone who seriously looks for it. There is a wide variety of choice, so you can concentrate only on those homes that might potentially be for you. There are plenty of advantages to occupying rooms for rent atlanta. You save a lot of money paying only part of the expenses you would normally pay for when you have a house of your own. This is because you only have to pay your share of the rent, water, electricity and heat bills. But there are disadvantages to house share too. Conflicts can arise when you live in house that is not yours, especially if you rent a room in a house where the other residents are from a different background than yours. Having a nice place to stay can even help your physical health, and it surely affects your mental health. You may find a place also that comes with furniture already in it. This would allow you to get by with spending less on not only the furniture but the transportation too. Sometimes you can actually save money finding rooms for rent atlanta in the country. This depends on how often you plan to visit the city. If you have a job you can do from home, or if you are retired and collecting benefits, then there is no real reason for you to pay the extra money to live in the city. Of course there are many choices you need to make while you are searching for a room. Some people just do not enjoy living alone. Renting an entire apartment to oneself can, indeed, be a lonely experience. For those who want an easy opportunity to socialize, then, renting a room is a great option. It is little wonder that so many houses on campuses around the country are full of young students renting rooms - its partly for convenience, and definitely partly for the chance to be among others their own age. Renting a room provides the chance to be among one’s peers. There are many more benefits, but perhaps the biggest and best is the advantage of not being locked into something for life. Room rentals can be very appealing, and they can complement the kind of lifestyle you want and deserve. If you want to find the spirit or soul of a city, move right in with its inhabitants. You may benefit socially by taking a couple of classes at the local college. You might try looking for rooms for rent atlanta where there are games, indoor or outdoor. This is a great way to meet people and get started in your new life. Depending on the weather, you might want a pool or access to a gym or tennis courts. Maybe you are attracted to the kind of community that has stunning architecture and green trees and plants. There may be a certain type of street design that appeals to you.
Ration
Even in the most desolate areas of American cities, evictions used to be rare. They used to draw crowds. Eviction riots erupted during the Depression, even though the number of poor families who faced eviction each year was a fraction of what it is today. A New York Times account of community resistance to the eviction of three Bronx families in February 1932 observed, “Probably because of the cold, the crowd numbered only 1,000.”1 Sometimes neighbors confronted the marshals directly, sitting on the evicted family’s furniture to prevent its removal or moving the family back in despite the judge’s orders. The marshals themselves were ambivalent about carrying out evictions. It wasn’t why they carried a badge and a gun.
Matthew Desmond (Evicted: Poverty and Profit in the American City)
Two more of the gamers Claire had gifted with the invitation stumbled by; one grabbed Claire's arm and planted a sloppy wet kiss on her cheek. "We passed out copies," he said, and giggled. "Hope that was okay. Great party!" Shane sighed and moved him off with one hand on his shoulder. "Yeah, yeah, whatever. Naked Vulcan chick in the next room. Better hurry." The gamers sobered up fast, and moved on. Monica's glossy, perfect lips were open, her eyes wide. "You?" she said. "You did this? These idiots made flyers! They put them all over campus! This was supposed to be the best people!" "Don't worry," Eve said sweetly. "We're here." She smiled, which in that lipstick was Wicked-Witch-of-the-West evil. "Air kiss!" She mwahed the air somewhere near Monica's cheek. "Lovely party. Shame about the furniture. Ta!" She sashayed on, Michael on her arm, as if she was the Queen of Everything, never mind Morganville. Claire got out her camera and got a picture of the murderous fury on Monica's face as she watched her go. "You treacherous little bitch!" Monica snarled. Claire lowered the phone and met her eyes for a long second. She wasn't scared, not anymore. "You got your friends to roofie me and told them I wanted it rough. All I did was recycle your invitation. Let's call it even." "Let's call it not!" Shane leaned forward, dropped his voice so that Monica had to work to hear it, and said, "Calm down. You get blotchy when you're angry. And if you call my girlfriend a bitch one more time, I won't be so nice about it.
Rachel Caine (Midnight Alley (The Morganville Vampires, #3))
At last, we arrived home. Indian Vale. The house my father had built that had become mine and that one day would be my daughter’s, if she chose to stay in the area. She wouldn’t, though. Why should she? The young people here moved somewhere else as fast as they could, and the old folks withered away and died. The factories vanished and the mines and mills sank into the ground, and in their places were erected fast food joints and furniture rental places and pawnshops. Sometimes I hear places like where I live called “Real America,” and I know it rankles some folks—city folks, mostly—something awful, and I wish I could tell them it’s only done out of politeness. That it’s only people saying nice things about the dying.
Jason Miller (Red Dog (Slim in Little Egypt, #2))
You mind if I join you?” he asked. She straightened and her eyes immediately cleared and narrowed. She was one tough customer. “Knock yourself out,” she said coolly. He pulled out a chair and set his coffee cup in front of him. “You seem upset, Ellie. Was it something I said?” “It was something you didn’t say,” she replied. “Oh? What was that?” “You’re hired,” she said. “I thought I should give all the applicants a fair shot.” “Are you kidding me? I sat in my car outside waiting for my turn. I saw the other applicants—all two of them. One could barely get up the stairs; not a good bet for moving furniture. The other one had such a mean schnobble, she could break glass with her face.” “Schnobble?” he asked. “What my gramma used to call a sourpuss. Now, that’s a church lady, all right—if you’re looking for one as mean as a junkyard dog.” He laughed before he could reel it in. “Who knew you were checking out the competition.” Jack brought the pie, put it in front of them and got the heck out of there. Noah lifted a fork. “Pretty accurate, too. But I told you I’d get in touch.” “If you do, it’ll be to say I didn’t get the job.” He was quiet a moment, then he said, “Have some pie. Nobody makes pie like Preacher.” “Preacher? You made the pie?” “No, the cook—he goes by the nickname Preacher. That could lead to problems.” He nodded toward the plate. “Try it.” “Thanks,” she said. “I’m not hungry.” “Give it a chance, you’ll be amazed. And between bites, tell me why I don’t get the benefit of the doubt.” Slowly,
Robyn Carr (Forbidden Falls)
I knew that in religious homes, Jesus had something to do with Christmas, but wasn’t sure how He was connected to it. Was He a special carpenter in Santa’s village? One year I got a BB gun as a gift. I practiced shooting soda cans and empty furniture boxes, but that got boring. I decided I needed to try my skills on a moving target. I’m sorry to say, I shot the neighbor’s cat in the leg. The vet bill came and my BB gun went.
Kirk Cameron (Still Growing: An Autobiography)
The ship retains much of its original structure, meaning that she has not disintegrated or collapsed. In addition, many artifacts have been discovered in the miles surrounding the wreckage: everything from toys to furniture to dishes to personal items (the remains of anyone on board would have been consumed by sea life and bacteria long ago). Talk about raising the ship has also circulated. However, such an undertaking may not be possible: first of all, while vessels can reach such depths, the kind of equipment needed to lift such a heavy load probably cannot (not to mention the power needed to supply it). Secondly, the ship is undoubtedly in fragile condition, and attempting to move it in any way may destroy it. Finally, many people view the undersea wreckage as a kind of gravesite or memorial to the people who lost their lives. Moving it would be akin to digging up the bodies. The wreckage is actually protected by United Nations law, much as other historical sites are similarly protected.
Henry Freeman (Titanic: The Story About The Unsinkable Ship)
Yo momma is so tall… she tripped in Denver and hit her head in New York. Yo momma is so tall… she tripped over a rock and hit her head on the moon. Yo momma is so tall… Shaq looks up to her. Yo momma is so tall… she can see her home from anywhere. Yo momma is so tall… she 69’d bigfoot. Yo momma is so tall… she did a cartwheel and kicked the gates of Heaven. Yo momma is so tall… she has to take a bath in the ocean. Yo momma is so tall… she high-fived God. Yo momma is so poor… Yo momma is so poor… your family ate cereal with a fork to save milk. Yo momma is so poor… the roaches pay the light bill! Yo momma is so poor… I walked in her house and stepped on a cigarette, and your mom said, “Who turned off the lights?” Yo momma is so poor… when her friend came over to use the bathroom she said, “Ok, choose a corner.” Yo momma is so poor… I stepped in her house and I was in the backyard. Yo momma is so poor… she waves around a popsicle stick and calls it air conditioning. Yo momma is so poor… she was in K-Mart with a box of Hefty bags. I said, what ya doing'? She said, “Buying luggage.” Yo momma is so poor… when I ring the doorbell she says, DING! Yo momma is so poor… she can't afford to pay attention! Yo momma is so poor… when I saw her kicking a can down the street, I asked her what she was doing, she said, “Moving.” Yo momma is so stupid… Yo momma is so stupid… she can't pass a blood test. Yo momma is so stupid… she ordered a cheeseburger without the cheese. Yo momma is so stupid… that she burned down the house with a CD burner. Yo momma is so stupid… she got locked in a grocery store and starved. Yo momma is so stupid… when they said that it is chilly outside, she went outside with a bowl and a spoon. Yo momma is so stupid… she got lost in a telephone booth. Yo momma is so stupid… she put lipstick on her forehead to make up her mind. Yo momma is so stupid… she got locked in Furniture World and slept on the floor. Yo momma is so stupid… she sits on the floor and watches the couch. Yo momma is so stupid… she stole free bread. Yo momma is so stupid… she sold her car for gas money. Yo momma is so stupid… she worked at a M&M factory and threw out all the W's. Yo momma is so stupid… she tried to commit suicide by jumping out the basement window. Yo momma is so stupid… she stopped at a stop sign and waited for it to turn green. Yo momma is so stupid… when she asked me what kind of jeans am I wearing I said, “Guess”, and she said, “Levis”. Yo momma is so stupid… it took her 2 hours to watch 60 seconds.
Various (151+ Yo Momma Jokes)
He stood staring round him, and telling himself that he knew how it had happened—oh yes, he could see it all—how at the moment of George’s death Catherine, flooded with pity, with grief, perhaps with love now that she was no longer obliged to love, had clung on to his arrangements, not suffering a thing to be touched or moved or altered, pathetically anxious to keep it exactly as he used to, to keep him still alive at least in his furniture. Other widows he had heard of had done this; and widowers—but fewer of them—had done it too. He could imagine it easily, if one loved some one very much, or was desperately sorry because one hadn’t. But to go on year after year? Yet, once one had begun, how stop? There was only one way to stop happily and naturally, and that was to marry again.
Elizabeth von Arnim (Love)
Michelle Phan grew up in California with her Vietnamese parents. The classic American immigrant story of the impoverished but hardworking parents who toil to create a better life for the next generation was marred, in Phan’s case, by her father’s gambling addiction. The Phan clan moved from city to city, state to state, downsizing and recapitalizing and dodging creditors and downsizing some more. Eventually, Phan found herself sleeping on a hard floor, age 16, living with her mother, who earned rent money as a nail salon worker and bought groceries with food stamps. Throughout primary and secondary school, Phan escaped from her problems through art. She loved to watch PBS, where painter Bob Ross calmly drew happy little trees. “He made everything so positive,” Phan recalls. “If you wanted to learn how to paint, and you wanted to also calm down and have a therapeutic session at home, you watched Bob Ross.” She started drawing and painting herself, often using the notes pages in the back of the telephone book as her canvas. And, imitating Ross, she started making tutorials for her friends and posting them on her blog. Drawing, making Halloween costumes, applying cosmetics—the topic didn’t matter. For three years, she blogged her problems away, fancying herself an amateur teacher of her peers and gaining a modest teenage following. This and odd jobs were her life, until a kind uncle gave her mother a few thousand dollars to buy furniture, which was used instead to send Phan to Ringling College of Art and Design. Prepared to study hard and survive on a shoestring, Phan, on her first day at Ringling, encountered a street team which was handing out free MacBook laptops, complete with front-facing webcams, from an anonymous donor. Phan later told me, with moist eyes, “If I had not gotten that laptop, I wouldn’t be here today.
Shane Snow (Smartcuts: How Hackers, Innovators, and Icons Accelerate Success)
It’s like . . . a house after someone moves out. The house is still there, but all their stuff is gone. Someone took away the furniture and rolled up the rugs. The movers crated all the parts of Shelly Beukes up and shipped her away. There’s just not much left of her anymore except the empty house.
Joe Hill (Strange Weather)
It turns out men use the left side of their brain more (problem-solving, task-oriented), while women use the right side of their brain more (feelings, creativity). Also, men have a thinner parietal region in their brains, which gives them the ability to mentally rotate objects in their mind’s eye. That’s a blessing and a curse when you start moving furniture and appliances. You tell us something will fit, and we know it won’t. Sometimes you’re right; usually we are.
Jay Payleitner (52 Things Husbands Need from Their Wives)
In the mid-twentieth century it became the fashion in library architecture to design buildings as open-floored structures in which furniture, including bookcases, could be moved about at will. The Green/Snead Library of Congress bookstack that six decades earlier had been declared 'perfect' was now viewed as disadvantageously locking a stack arrangement into the configuration of its construction. In the new approach, reinforced concrete floors carry the loads of bookshelves, so that they can be arranged without regard for window placements. This apparently has the appeal of flexibility in the light of indecision, for planners need not look at the functional and aesthetic requirements of their space and its fittings with any degree of finality; they can always change the use of the space as whim and fashion and consultants dictate. It is unfortunate that such has become the case, for it reflects not only a lack of sensitivity to the historical roots of libraries and their use but also rejects the eminently sensible approach to using natural light as a means of energy conservation if nothing else. There is little more pleasing experience in a library than to stand before a bookshelf illuminated not by florescent lights but by the diffused light of the sun. Direct sunlight can be an annoyance and have a downright blinding effect, of course, but it has been the challenge to architects and engineers since Vitruvius to orient their structures--and the bookshelves in them--to minimize such problems in institutional stacks and in private libraries alike. Let us hope that not all future librarians lose their heliotropic instincts nor lose sight of the bookshelves for the forest of bookcases in which they rest.
Petroski, Henry
How in the direction of nearby services with plumber The disease or damaged sewer somewhere to eat on the needs of the environment of the property or in the office is not immediate. Drinking water supply as a result of the expiry of promoting damage, as a significant drop due to the free flow of H2O or ruin your furniture imported and domestic wood. Therefore, the same under the sink, although the cover or part of the house damaged, is smart, a plumber can choose the rescue and hardened pipes quickly. Even before he published a plumber in the house, the important point is high absolutely certain that the supply mechanically interlocked with H2O is on drunk driving to create, so it does not come through other more harm in the sense of your own home , Or, if this type of pipes has a main valve arranged directly detected water meter. Some require keys, and some just came clockwise at the end of lead in drinking water purchased at home alternative pipeline valves. Today, every time you select a plumber, it is less complicated to the user to check the direction of friends and spouse and children advice. Family and friends are to be generally easier to purchase self-guided tour, and will be used by similar problems, are able to keep track direction when they can to implement fantastic plumber composed. Examine the site and installers who can access services, many alternatives are completely abandoned. Plumbers usually contain effective advantage proposals with their name and ask their previous customers to ensure that their correct answers about the plumber. The first person with specialized potentially provide unique designs, what and who himself is a must. At the time, in fact, to relax tight, you can ask to self has types and issues, as they were only in the organization. Added opinion does not necessarily mean a lot more experience, no matter when. In addition, plumbers constructive part’s sure you as needed to be able to manage the project management. Plumber’s consultant can make sure their professionalism. If your own way, one after another, before the service, appearance and adequate compensation and professional identity can be reproduced in the way see that they treat their business. And most important ideals, what little. At any time to explore alternative wages to leave the direction of the conversation, such as supply and property prices have some people will be surprised to see how you will use the monthly bill too important to save for economic time. That's because each of us the importance of creating knew, of course, considering all costs move towards Bill damage to your account, after the tube to take healed.
Boiler Repair
Jesse studied her as she visualized the furniture in the room. Good, exactly why he wanted her help. He needed her to imagine it her home again. Until she moved back into his house and his life, he wouldn’t quit. Despite the bumps and bruises, his love for this woman consumed him.
Callie Hutton (A Run for Love (Oklahoma Lovers #1))
and of eminent scientist R Buckminster Fuller, who put it this way: You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete There is profound wisdom in Fuller’s advice. However, a new model will not come into view until men clean their inner houses. Once the inner republic is hygienic and free of disorder, the answers to external pestilence will be revealed. In the meantime man can waste his time with political reforms. That is as good as moving the furniture around on the Titanic.
Michael Tsarion (Atlantis, Alien Visitation and Genetic Manipulation)
If you practice more kindness and tolerance, you will find more peace. There is no need to change the furniture in your house or move to a new home.
Dalai Lama XIV (How to Practice : The Way to a Meaningful Life)
Emperor held court from his Iron Throne, made from the personal weapons of all those monarchs the Emperors of the past had conquered and deposed, each glazed and guarded against rust. The throne itself was over six feet tall and four feet in width; a monolithic piece of furniture, it was so heavy that it had not been moved so much as a finger-length in centuries. Anyone looking at it could only be struck by its sheer mass—and must begin calculating just how many sword blades, axes, and lance points must have gone into the making of it.... None
Mercedes Lackey (Storm Warning (Valdemar: Mage Storms, #1))
Thinking quickly, Debroeck moved to protect the crime scene from contamination: the Belgian police force trains its officers well. Lucie, for her part, tried to look past the corpses and made a mental grid of the surroundings. Open drawers, furniture tipped over. She noted the presence of a smashed wall safe. The frame of the painting that had hidden it lay shattered on the floor. “First, they keep Luc Szpilman from helping with the composite sketch, and second, they make off with anything that can compromise them.” “What could have compromised them?” “The discoveries his father had surely made about the anonymous film. The documents he might have exchanged with the Canadian informant. They came to do some housecleaning. God dammit!
Franck Thilliez (Syndrome E)
When I was twenty-five and living in Chicago, the building supers were two very polite and meticulous meth heads. Matt and I lived above them and listened to them constantly washing their floors. They also loved to vacuum. They often spent the night rearranging furniture and wiping down surfaces. More than once I woke to the sound of them sweeping the porch steps, moving the same pile of dirt around and around. They were tough to talk to, almost impossible to understand and make eye contact with, but I had a strange affection for their ability to channel their meth-taking into real apartment improvements.
Amy Poehler (Yes Please)
She wore cosmetics tonight, more than he had ever seen on her before. Perhaps she had, in the past, dusted her nose with rice powder, but he had never seen her wear rouge. Indeed, when he bent over her hand in salutation, he caught a whiff of the beet juice used to color the powder for cheeks and lard for lips. Her smile was small and halted rather abruptly. Pain flashed through her eyes, though it was quickly doused. His gaze focused on her right cheek again. Was it swollen? Without question—and the rouge did not quite cover an edge of bruising. As the rest of the party moved to the furniture, a few of the knots smoothed out within him, though a couple of different ones took up residence. He did not release her hand. “Would you take a turn about the room with me, Miss Reeves?” “Very well, sir.” She sounded far from enthusiastic and moved to his right side. Undoubtedly so that hers was turned away from him. “I trust you passed a pleasant afternoon?” He kept his gaze upon her as he led her to the edge of the chamber so that they might walk its perimeter as far from their families as possible. In a low voice he said, “More pleasant than yours, from the looks of it. What is wrong with your cheek, Miss Reeves?” She turned wide eyes on him, filled with outrage and a grain of amusement. “Mr. Lane, perhaps you are yet unaccustomed to seeing ladies wearing paint, but I assure you, ’tis the height of fashion. I resent being told it looks wrong.” He may have been tempted to smile, had it not been a matter of her welfare. “It is not the rouge to which I refer, Miss Reeves, as you well know.” “In which case I have no idea…
Roseanna M. White (Ring of Secrets (The Culper Ring, #1))
Ty is green but never with envy. Best of all, he's usually available to help move a heavy piece of furniture.
John Hopkins (Lost Cactus: The First Treasury)
When children have too many playthings to choose from, they typically choose nothing. When there is too much furniture, children cannot engage in active play or exploration because they are overwhelmed or it’s simply too crowded to move. Items hanging from the ceiling become “clutter flutter,” and too many wall displays take on the look of highly patterned wallpaper. Instead of supporting children’s experiences, cluttered environments prevent learning from happening.
Linda J. Armstrong (Family Child Care Homes: Creative Spaces for Children to Learn)
just give a prospective apprentice a broom and tell them to sweep. The quality of the job they do tells me a great deal about them. Attention to detail, willingness to go the extra mile, pace, fastidiousness, or lack thereof. If you can, hire the gal or guy who moves the furniture and rugs to sweep beneath them. Their work speaks directly of their desire to contribute to the well-being of the community. They know how to do a job right.
Nick Offerman (Paddle Your Own Canoe: One Man's Fundamentals for Delicious Living)
Like the musician's portrait, the person who has become a real part of your life is not located in one part of you, and can never be neatly excised. To really lose the notion of them... Well, how would you? You couldn't lose the picture without destroying the room. In time, however, the furniture will be rearranged and will come to represent other people and places. But the old shapes linger, haunt the room. If you look from a certain angle, you can still see them there. But you move on, your perspective shifts. New friends walk beside you through the streets of Belfast. You practise and perform new routines until, eventually, you can't quite remember how the room used to look or how the streets used to feel when walked in the days of love. That is perhaps the saddest loss of all, and why we want to linger for a while at the end of grief. We don't want to lose the notion. There is no real forgetting. Everything leaves a mark, whether you remember it, whether you bring it to mind or not. There is no subtraction in mind. Only and.
Vincent Deary (How We Are: Book One of the How to Live Trilogy)
Well, there’s a point now. You’re my mate, and as such, we should be living together. I have a house—a big, lovely house I’ve spent years restoring. I… I love my house, and I don’t want to leave it. There’s plenty of room too.” Remi shut the suitcase with a snap. “What exactly are you asking me, Remi?” “Well, it sounds to me like I’m asking you to move in with me.” Okay, wow. I cringed. That sucked. On the romance scale, that was probably a negative one. “Let me see if I have this right.” Marshell advanced on me. “You’re asking me if I want to leave this dumpy little home I rent? This place which has next to no furniture in it.” “Um….” I backed up until my ass hit the dresser. “You want me to leave all this so I can move into that beautiful, grand old home of yours? You’re asking me if I want to spend my days, and more importantly, my nights with you? You’re asking me”—Marshell waved at the urine-soaked bedding and the little dinky room—“to leave all this?” “Um… yeah?” “Thank fuck.
M.A. Church (It Takes Two to Tango (Fur, Fangs, and Felines #3))
When it comes to shifting to different places, people often become find themselves in challenging situations due to the problem of moving all the items. It is quite difficult for people to buy all the necessary items and furniture every time you move to a different city. To provide top-quality moving and packaging services, the Saaya Movers and Packers came into the picture.
Owner
The very little town of N. was largely bypassed by the revolution—the red cavalries thundered by, stopping only to appropriate the ill-gotten wealth of Countess Komarova, the lone survivor of N.’s only noble family. The wealth was somewhat less than the appropriators had anticipated—a ruined mansion and no funds to repair it. The Countess fled to N.’s only inn, and the red cavalry moved on but not before breaking all the windows of Komarov’s mansion and allocating it for the local youth club. Everyone knows what N.’s youth is like, and by fall, most of the Countess’ furniture was turned into firewood, and by mid-December the mansion stood abandoned and decrepit, and a turd frozen to its parquet floors served as its only furnishing and a testament of gloria mundi transiting hastily.
Ekaterina Sedia (Future Fiction: New Dimensions in International Science Fiction)
This is a very well engineered piece of furniture - easy to move, easy to open and fold back, comfortable to sit in and sleep in. We love the colour and the fabric. A prompt delivery was an additional bonus. In other words - this armchair is exactly what we have been looking for. Thank you!
charlotte armchair-bed
3D Modeling In The Architectural Visualization and Rendering Courses at Architectural Institute Gujarat 3D modeling in the Architecture and Design industry became a quantum leap in the area of presentation. Many Architects still remember the times when they had to present their works using sketches, drawings, and physical models. These methods were tried and reliable yet not totally perfect. Drawings could never convey the general feel about the design, while sketches were not informative enough. Today Architectural visualization & rendering courses is on the level where it offers not only beautiful still images, but also breathtaking animated and interactive options for presentations. Let’s take a look at the main CGI products architectural Animations course has offered. 3D modeling in the Architecture and Design industry has gone a long way during the last three decades. Today 3D Architectural Visualization Institute Aanand is a wonderful tool allowing Architects and Designers to highlight every essential element and function of their projects. What is more, making presentations with the help of 3D renders is often much cheaper than using traditional methods such as photography. 3D Architectural visualization is the most recent development in 3d architectural animation training online and refers to creating three-dimensional models of a structure using computer software. Clients can walk around a 3D model and view it from any angle. Elements such as carpets, furniture, paintings and lights can also be added and their effects can be observed. The 3D models of today are detailed and highly accurate. They contain real-life elements like sunlight effects and shadows, making them look almost like photographs. Future of 3D Architectural Visualization The future of 3D best architectural rendering courses is exciting. Rendering software becomes more and more efficient and cost-effective every year, requiring fewer resources and less time to create high-quality models. Perhaps the most exciting possibility for 3D architectural visualization is the use of virtual reality (VR) technology. If renderings are combined with VR, an architect can take their client on a virtual tour of their design, letting them experience the potential of the project immersively. Using VR can lead to more than faster approvals — it can also give clients more confidence to move forward with their project. Virtual experiences let the client explore the design, providing them with more peace of mind about funding an expensive project.
Yait Institute
A good story cannot function like a legal brief, which attempts to persuade and lead the reader down a narrow path suspended above the abyss of unreason. Rather, it must be more like an empty house, an open garden, a deserted beach by the ocean. The reader moves in with their own burdensome baggage and long-cherished possessions, seeds of doubt and shears of understanding, maps of human nature and baskets of sustaining faith. The reader then inhabits the story, explores its nooks and crannies, rearranges the furniture to suit their taste, covers the walls with sketches of their inner life, and thereby makes the story their home.
Ken Liu (The Hidden Girl and Other Stories)
All elves were jaw-droppingly gorgeous, but there was something particularly handsome about Keefe Sencen—and the boy was well aware of it. Though he seemed a little off his game at the moment. His smug smirk was noticeably absent as he scrounged around his blankets, searching for something. “Here,” Ro said, tossing Keefe a wrinkled black tunic from the floor. “Bet you’re wishing it didn’t smell so much like sweaty boy in here, huh?” “It’s fine,” Sophie promised, even if the room could definitely use some airing out. A good cleaning would work wonders too. Everywhere she looked were piles of crumpled clothes and scattered shoes and stacks of papers and plates of half-eaten food. And all the thick curtains were drawn tight, leaving the space dim and stuffy. The room was clearly designed to be beautiful, with marble floors broken up by rugs woven to look like pristine sand, and seafoam walls inlaid with starfish and anemone shells. But under Keefe’s care, it was a disaster zone. Even the furniture had a strange randomness to the arrangement that made Sophie wonder if he’d moved it all just to bug his dad.
Shannon Messenger (Legacy (Keeper of the Lost Cities #8))