Gibson Girl Quotes

We've searched our database for all the quotes and captions related to Gibson Girl. Here they are! All 58 of them:

And if there’s one thing in this world I’ve ever known for sure, it’s that this girl is gonna crush me like a small bug, leave me so fucking broken there’ll be body bags beneath my eyes from nights I cried so hard the stars died. But I’m like, go ahead. I’m all yours. I would kiss you in the middle of the ocean during a lightning storm, cause I’d rather be left for dead than left to wonder what thunder sounds like.
Andrea Gibson
..when a war ends, what does that look like exactly? do the cells in the body stop detonating themselves? does the orphanage stop screaming for its mother? when the sand in the desert has been melted down to glass and our reflection is not something we can stand to look at does the white flag make for a perfect blindfold? yesterday i was told a story about this little girl in Iraq, six-years-old, who cannot fall asleep because when she does she dreams of nothing but the day she watched her dog eat her neighbor's corpse. if you told her war is over do you think she can sleep?
Andrea Gibson (The Madness Vase)
Friday, August 04, 2006 MONUMENT posted 8:31 AM Silver nitrous girls pointed into occult winds of porn and destiny.
William Gibson
Damien is a friend. Their boy-girl Lego doesn't click, he would say.
William Gibson (Pattern Recognition (Blue Ant, #1))
My mouth is a fire escape. The words coming out don't care that they are naked. There is something burning in here. When it burns I hold my own shell to my ear, listen for the parade from when I was seven, when the man who played the bagpipes wore a skirt. He was from Scotland. I wanted to move there. Wanted my spine to be the spine of an unpublished book, my faith the first and last page. The day my ribcage became monkey bars for a girl hanging on my every word they said, "You are not allowed to love her." Tried to take me by the throat to teach me, "You are not a boy." I had to unlearn their prison speak, refusing to make wishes on the star on the sheriff's chest. I started taking to the stars in the sky instead. I said, "Tell me about the big bang." The stars said, "It hurts to become.
Andrea Gibson (The Madness Vase)
For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.
Andrea Gibson
They want you thinking you're bad at being a girl instead of good at being yourself. They want you to buy your blush from a store instead of letting it bloom from your butterflies. They're telling you to blend in, like you've never seen how a blender works. Like they think you've never seen the mess from the blade.
Andrea Gibson (Take Me With You)
Case shuffled into the nearest door and watched the other passengers as he rode. A pair of predatory-looking Christian Scientists were edging toward a trio of young office techs who wore idealized holographic vaginas on their wrists, wet pink glittering under the harsh lighting. The techs licked their perfect lips nervously and eyed the Christian Scientists from beneath lowered metallic lids. The girls looked like tall, exotic grazing animals, swaying gracefully and unconsciously with the movement of the train, their high heels like polished hooves against the gray metal of the car’s floor. Before they could stampede, take flight from the missionaries, the train reached Case’s station.
William Gibson (Neuromancer (Sprawl, #1))
Men for the most part are a pain in the keister. Vibrators are a girl’s best friend.
Rachel Gibson (Sex, Lies, and Online Dating (Writer Friends, #1))
As I remember, the worst result of a World War II block was a flood of Argentine Gin. Sensitive martini-boys and Gibson-girls still shudder....
M.F.K. Fisher (How to Cook a Wolf)
Take me home," she said, and the words hit me like a whip. I think I shook my head. "Take me home." There were levels of pain there, and subtlety, and an amazing cruelty. And I knew then that I'd never been hated, ever, as deeply or thoroughly as this wasted little girl hated me now, hated me for the way I'd looked, then looked away, beside Rubin's all-beer refrigerator. So--if that's the word--I did one of those things you do and never find out why, even though something in you knows you could never have done anything else. I took her home.
William Gibson
She was even more beautiful like this, when she didn't veil her emotions behind formality. Helvig would never have guessed that a girl who seemed carved from ice would melt over something as silly as a common deer.
S.T. Gibson (Robbergirl)
Now that is the real thing, the straight goods from the mass unconscious, friend; that little girl is a witch. There’s just no place for her to function in this society. She’d have seen the devil, if she hadn’t been brought up on The Bionic Man and all those Star Trek reruns.
William Gibson (Burning Chrome)
I'm Nathan Parrish and you're the most beautiful girl I've laid eyes on in my entire life. And at the risk of sounding like that crappy Partridge Family song, I think I love you.
Rachel Gibson
When I look at you, I don’t just see the most beautiful girl I’ve ever seen. I see the next sixty years of my life.
Adriana Locke (Crave (The Gibson Boys, #3))
Most of the girls held a single candle, and the combined glow danced among the tear-streaked faces. They were so young, these girls: children. Kathy Torrance had particularly loathed that about Lo/Rez, the way their fan-base had refreshed itself over the years with a constant stream of pubescent recruits, girls who fell in love with Rez in the endless present of the net, where he could still be the twenty-year-old of his earliest hits.
William Gibson (Idoru (Bridge, #2))
If you loved something too much, especially something girl-shaped, you were all but begging the whole host of nature to swoop down and pick its bones clean. Well-loved things must taste sweeter to wolves and frostbite and bears.
S.T. Gibson (Robbergirl)
Well,' Rydell said, trying to pick up his end, 'I was watching this one old movie last night-' Sublett perked up. 'Which one?' Dunno,' Rydell said. 'This guy's in L.A. and he's just met this girl. Then he picks up a pay phone, 'cause it's ringing. Late at night. It's some guy in a missile silo somewhere who knows they've just launched theirs at the Russians. He's trying to phone his dad, or his brother, or something. Says the world's gonna end in short order. Then the guy who answered the phone hears these soldiers come in and shoot the guy. The guy on the phone, I mean.' Suhlett closed his eyes, scanning his inner trivia-banks. 'Yeah? How's it end?' Dunno,' Rydell said. 'I went to sleep.
William Gibson (Virtual Light (Bridge, #1))
Beautiful was it to mark how the poorest began to improve in personal appearance immediately after they came to our Class; how they gradually got shoes and one bit of clothing after another, to enable them to attend our other Meetings, and then to go to Church; and, above all, how eagerly they sought to bring others with them, taking a deep personal interest in all the work of the Mission. Long after they themselves could appear in excellent dress, many of them still continued to attend in their working clothes, and to bring other and poorer girls with them to that Morning Class, and thereby helped to improve and elevate their companions. My delight in that Bible Class was among the purest joys in all my life, and the results were amongst the most certain and precious of all my Ministry.
John G. Paton (The Story of John G. Paton Or Thirty Years Among South Sea Cannibals)
We know that Rangi can at least mutter because Digger Gibson says he used to talk to the bear. In his group home for orphaned Moa boys, Rangi had a pet cinnamon bear. I saw her once. She was just a wet-nosed cub, a cuff of pure white around her neck. Rangi found her on the banks of the Waitiki River and walked her around on a leash. He filed her claws and fed her tiny, smelly fishes. They shot her the day his new father, Digger, came to pick him up. "Burying that bear," I overheard Digger tell Mr. Oamaru once. "The first thing we ever did together as father and son." Rangi's given us this global silent treatment ever since, a silence he extends to people, animals, ice.
Karen Russell (St. Lucy's Home for Girls Raised by Wolves)
I have often raised an eyebrow at hearing him sing, as I push a cart down some Safeway aisle, of the spiritual complexities induced by he admixture of Cuervo Gold, cocaine, and nineteen-year-old girls (in the hands of a man of, shall we say, a certain age). At which point I look around Frozen Foods and wonder: "Is anyone else hearing this?
William Gibson (Distrust That Particular Flavor)
That's a nice girl of Gibson's,' quoth he to himself. 'But what a tight hold the wench got of the notion of his marrying again! One had need be on one's guard as to what one says before her. To think of her never having thought of the chance of a step-mother. To be sure, a step-mother to a girl is a different thing to a second wife to a man!
Elizabeth Gaskell (Wives and Daughters)
You can’t choose how people treat you or the actions they take. They get up in the morning and have to see the ugly things they do reflected in their face.” She rolls her wheelchair back and then centers it in front of me so we’re face-to-face. “You, dear girl, only have to live with how you let them affect you. When you look in the mirror, you get to see all the pretty that you are inside and which you radiate.
Adriana Locke (Craft (The Gibson Boys, #2))
In northwest Seattle, there is an immensely popular 'old-fashioned' ice cream parlor. It is modern, spotless, and gleaming, bursting with comfortable looking people on a warm summer evening. The parlor is dedicated to nostalgia, from the old-time decor to the striped candy, the ragtime music, the costumes of the smiling young waiters, the Gibson-girl menu with its gold-rush type, and the open-handed hospitality of the Old West. It serves sandwiches, hamburgers, and kiddie 'samiches,' but its specialty is ice-cream concoctions, all of them with special names, including several so vast and elaborate that they cost several dollars and arrive with so much fanfare that all other activities stop as the waiters join in a procession as guards of honor. Nobody seems to care that the sandwiches and even the ice cream dishes have a curious blandness, so that everything tastes rather alike and it is hard to remember what one has eaten. Nothing mars the insistent, bright, wholesome good humor that presses on every side. Yet somehow there is pathos as well. For these patrons are the descendants of pioneers, of people who knew the frontiers, of men who dared the hardships of Chilkoot Pass to seek gold in the Klondike. That is their heritage, but now they only sit amid a sterile model of the past, spooning ice cream while piped-in ragtime tinkles unheard.
Charles A. Reich (The Greening of America)
Who is that in the glass? She sees herself for the first time. She doesn't require soft light, not at her age, not with her looks, so the effect of three candles is excessively ravishing. Her hair sparks at every brush stroke. The candlelight carves a grotto in the gloom around her. The mirror is a sacred pool, in it she sees the future: her lips swollen with kissing, eyes caressing, come with me to my home beneath the sea and I will love you. She unbuttons her nightgown. My beautiful throat. Bares a white shoulder, ohh. Parts the fabric to reveal her breasts, sailor take warning. Her image floating just beneath the twilight surface, tempting herself overboard. She hovers her hand above a nipple that gathers and pleats to a point seeking heat. Kisses her palm with one eye on the mirror. Again, this time with her tongue. Experiments with the creation of cleavage. Arranges her hair: Gibson girl, milkmaid, madwoman, dryad. And leaves it there, spilling over her shoulders. It's a self-portrait and the artist is in love.
Ann-Marie MacDonald (Fall on Your Knees)
Some of them tell me things. Stories. Once, there was nothing there, nothing moving on its own, just data and people shuffling it around. Then something happened, and it . . . it knew itself. There’s a whole other story, about that, a girl with mirrors over her eyes and a man who was scared to care about anything. Something the man did helped the whole thing know itself. . . . And after that, it sort of split off into different parts of itself, and I think the parts are the others, the bright ones. But it’s hard to tell, because they don’t tell it with words, exactly. . .
William Gibson (Count Zero (Sprawl, #2))
When I'm dressed like this, people will say I don't look like a doctor." Garrett paused before continuing wryly. "On the other hand, they already say that, even when I'm wearing a surgeon's cap and gown." Carys, who was playing with the left-over glass beads on the vanity table, volunteered innocently, "You've always looked like a doctor to me." Helen smiled at her little sister. "Did you know, Carys, that Dr. Gibson is the only lady doctor in England?" Carys shook her head, regarding Garrett with round-eyed interest. "Why aren't there others?" Garrett smiled. "Many people believe women aren't suited to work in the medical profession." "But women can be nurses," Carys said with a child's clear-eyed logic. "Why can't they be doctors?" "There are many female doctors, as a matter of fact, in countries such as America and France. Unfortunately, women aren't allowed to earn a medical degree here. Yet." "But that's not fair." Garrett smiled down into the girl's upturned face. "There will always be people who say your dreams are impossible. But they can't stop you unless you agree with them.
Lisa Kleypas (Hello Stranger (The Ravenels, #4))
In such families, internalizing children often learn to feel ashamed of the following normal behaviors: Enthusiasm Spontaneity Sadness and grief over hurt, loss, or change Uninhibited affection Saying what they really feel and think Expressing anger when they feel wronged or slighted On the other hand, they are taught that the following experiences and feelings are acceptable or even desirable: Obedience and deference toward authority Physical illness or injury that puts the parent in a position of strength and control Uncertainty and self-doubt Liking the same things as the parent Guilt and shame over imperfections or being different Willingness to listen, especially to the parent’s distress and complaints Stereotyped gender roles, typically people-pleasing in girls and toughness in boys If you were an internalizing child with an emotionally immature parent, you were taught many self-defeating things about how to get along in life. Here are some of the biggest ones: Give first consideration to what other people want you to do. Don’t speak up for yourself. Don’t ask for help. Don’t want anything for yourself. Internalizing children of emotionally immature parents learn that “goodness” means being as self-effacing as possible so their parents can get their needs met first. Internalizers come to see their feelings and needs as unimportant at best and shameful at worst. However, once they become conscious of how distorted this mind-set is, things can change rather quickly.
Lindsay C. Gibson (Adult Children of Emotionally Immature Parents: How to Heal from Distant, Rejecting, or Self-Involved Parents)
For some reason, now, she saw the panel in the Roberts, all those faces. Read Us the Book of the Names of the Dead. All the Marlys, she thought all the girls she’d been through the long season of youth.
William Gibson (Count Zero (Sprawl, #2))
Yes indeed,’ said Miss Gibson. ‘I’m starting to be very glad my last girl flounced off!’ I
Jacqueline Wilson (Little Stars (Hetty Feather Book 5))
Physically transporting bits of information about a grid that consisted of little else, she provided a degree of absolute security in the fluid universe of data. With your memo in the girl’s bag, you knew precisely where it was; otherwise, your memo was nowhere, perhaps everywhere, in that instant of transit.
William Gibson (Virtual Light (Bridge, #1))
In his book about boys, Dobson found occasion to denounce Hillary Clinton, “bra burners,” political correctness, and the “small but noisy band of feminists” who attacked “the very essence of masculinity.” He praised Phyllis Schlafly and recommended homeschooling as “a means of coping with a hostile culture.” He advised girls not to call boys on the telephone (to do so would usurp the role of initiator) and encouraged fathers to engage in rough-and-tumble games with their sons. He lamented that films presenting moral strength and heroism had given way to “man-hating diatribes” like Thelma & Louise and 9 to 5, and that “lovely, feminine ladies” on the small screen had been replaced by “aggressive and masculine women” like those in Charlie’s Angels. Mel Gibson’s The Patriot, a tale in which Gibson starred as a Revolutionary militia leader who ruthlessly avenged his son’s death, proved the exception to the rule. 10
Kristin Kobes Du Mez (Jesus and John Wayne: How White Evangelicals Corrupted a Faith and Fractured a Nation)
But Chevette hadn’t wanted a career, or not the way Tara-May meant it, and Tara-May just hadn’t been able to get that. Actually there were a lot of people like Tara-May in Hollywood, maybe even most people were; everybody had something they “really” did. Drivers wrote, bartenders acted; she’d had massages from a girl who was really a stunt double for some actress Chevette had never heard of yet, except she hadn’t really ever been called, but they had her number. Somebody had everybody’s number, but it looked to Chevette like the game had all their numbers, every one, and nobody really was winning, but nobody wanted to hear that, or talk to you much if you didn’t buy into what they “really” did.
William Gibson (All Tomorrow's Parties (Bridge, #3))
They sat waiting while the wounded and lost, the innocent and guilty filed past them, all docketed and ticketed regardless of circumstance by the efficient desk sergeant.
Mary Gibson (Gunner Girls and Fighter Boys (The Factory Girls #3))
There’s one rule for the men and another for us,
Mary Gibson (Gunner Girls and Fighter Boys (The Factory Girls #3))
She got what I was trying to get away from. The seasons, the bullshit, the stuff that wore out, fell apart, wasn’t real. I’d been that girl, walking across Paris, to the next shoot, no money for a Métro card, and I’d imagined those shoes. And when you imagine something like that, you imagine a world. You imagine the world those shoes come from, and you wonder if they could happen here, in this world, the one with all the bullshit. And sometimes they can. For a season or two.
William Gibson (Zero History (Blue Ant, #3))
Like always, Millie heard him and was waiting for him when he opened the back door. She was one female who was faithful, if a bit overly affectionate sometimes. He flipped on the light as he walked into the kitchen. Her big brown eyes looked up at him with adoration, and the light shone in her silky red hair.“Hey girl.” She licked his hand, and he went down on one knee. “You’re a good dog.
Rachel Gibson (Sex, Lies, and Online Dating (Writer Friends, #1))
When the fourth officer entered the post office on G deck, the mail clerks were hastily pulling armfuls of envelopes out of the sorting racks. On looking down into the lower storage room, he saw mailbags floating in water. When Boxhall reported this to the bridge, the captain gave the order for the lifeboats to be uncovered and went below to see the damage for himself. The ship’s designer, Thomas Andrews, was already making his own inspection tour of the lower decks. He went into the post office and soon dispatched a mail clerk to find the captain. The clerk hurried along the corridor and returned with Captain Smith and Purser McElroy. After they had viewed the damage, Andrews was overheard saying to Smith, “Well, three have gone already, Captain.” Andrews was undoubtedly referring to three of the ship’s bulkheads that divided the ship into the watertight compartments that gave the Titanic its reputation for unsinkability. With only three compartments flooded, however, there was a chance that the pumps could stay ahead of it. The captain then returned to the bridge and gave the order for women and children to go up on deck with lifebelts. Thomas Andrews, meanwhile, continued his inspection. At around twelve-twenty-five William Sloper saw Andrews racing up the staircase with a deeply worried look on his face. As the ship’s designer passed by Dorothy Gibson, she put her hand on his arm and asked him what had happened. Andrews simply brushed past the prettiest girl and continued upward three stairs at a time. He had just discovered that two more watertight compartments had been breached. Andrews knew how serious this was. The bulkhead between the fifth and sixth compartments extended only as high as E deck. As the ship was pulled down at the bow, the water would spill over it into the next compartment, and then the next, until the ship inevitably sank. In all his planning at Harland and Wolff, he had never imagined a scenario such as this. Andrews informed the captain that the ship had only an hour left to live—an hour and a half at best. Smith immediately told Fourth Officer Boxhall to calculate the liner’s position and take it to the Marconi Room so the call for assistance could be sent out. He also gave orders to muster the passengers and crew.
Hugh Brewster (Gilded Lives, Fatal Voyage: The Titanic's First-Class Passengers and Their World)
On the same day that Marcelle Navratil arrived in New York, a brand-new movie entitled Saved from the Titanic was announced on the marquees of the city’s nickelodeons. The ten-minute silent film had been made in three weeks at Éclair’s studios in New Jersey and starred a real-life survivor of the shipwreck, Miss Dorothy Gibson, wearing the same white silk dress and black pumps in which she had escaped from the sinking liner. Dorothy had at first been unwilling to relive her ordeal so soon after the disaster and according to one newspaper there were times during the filming when she had “practically lost her reason by virtue of the terrible strain she had been under.” The one-reeler, which was produced by Jules Brulatour, would be Dorothy’s last film since she then embarked on a career in opera. This would prove to be short-lived, as would her marriage to Brulatour in 1917. Following a generous divorce settlement in 1919, the prettiest girl retreated from public attention and was never seen on stage or screen again.
Hugh Brewster (Gilded Lives, Fatal Voyage: The Titanic's First-Class Passengers and Their World)
Stories can also be nocebos. In a recent study, psychologist Bryan Gibson demonstrated that watching Lord of the Flies-type television can make people more aggressive.25 In children, the correlation between seeing violent images and aggression in adulthood is stronger than the correlation between asbestos and cancer, or between calcium intake and bone mass.26 Cynical stories have an even more marked effect on the way we look at the world. In Britain, another study demonstrated that girls who watch more reality TV also more often say that being mean and telling lies are necessary to get ahead in life.27 As media scientist George Gerbner summed up: ‘[He] who tells the stories of a culture really governs human behaviour.’28
Rutger Bregman (Humankind: A Hopeful History)
Onward Christian Lawyers KELLY SHACKELFORD, LIBERTY LEGAL INSTITUTE, PLANO, TEXAS Kelly Shackelford founded Liberty Legal Institute in 1997 to fight for the protection of religious freedoms and First Amendment rights for individuals, groups, and churches. Shackelford clerked for a federal judge after law school. "When their freedoms are taken away, the average person isn't 0. J. Simpson and can't just go out and hire the dream team. My heart has always been to make sure that those people have the best representation possible so that the government can't erode all of our freedoms by picking on the people who don't have the money to fight. "Religion is the new pornography. If somebody says something religious, the average government official feels like he or she has to run from the room, screaming with their hair on fire. Religion is treated like pornography would be treated if you brought it into the school. I mean, there's a fear. There's a shame, almost, directed toward it. "The ACLU is mainly operating on remote control. They've injected this chilling atmosphere that's antireligious in the schools and they don't even have to do anything in most instances to effectuate a religious cleansing in the schools. They've managed to scare and intimidate and the lore in school districts is religion is bad, religion will get you in trouble. ''I'd say a decent percentage of the time, the person who engages in the violation of our clients' rights is somebody who later will tell us, Tm a religious person.' They just didn't know any better, and what they're doing is reacting. They go to the kneejerk, shut-it-down action. 'Oh, it's religion? We must shut it down .' That is the general approach. "These are young kids. They're in third grade or fourth grade or fifth grade. And the lesson they learn is there are words you can't say. You can't say these curse words, and then you can't say your religion. You can't talk about your religion. And it's a very powerful message. "We had a case where the kids could could draw a tracing of their foot, then put a message on the drawing of their foot, and then put it up on the board in class. And all these kids had all these very innocuous messages, 'Jenny loves Johnny' and 'Peace' and such. A girl very innocently wrote 'Jesus Loves Me.' And the teacher ripped it down, and said to her, 'Don't you ever do this again.' The girl went home crying and wondering what she'd done wrong. "The father was just infuriated. We called the school. And that time, the school had already realized they were in big trouble. And so they went back to this little girl and they told her, unbeknownst to any of us, 'Go ahead and do another - go ahead and do another one and put it up.' She redrew her foot. And instead of writing 'Jesus Loves Me' in the innocent and pure way she did before, she put a little tiny cross up in the very top corner that you could just barely see. ''And I thought, 'There's the picture of what happens inside to these little kids.' She's learned the lesson. Don't be open about your faith. Don't be honest about your faith. Hide it. You can still be whoever you are as long as you'll hide it. They taught her selfoppression and self-censorship through this hysterical reaction to her. They robbed her of that innocence and of that purity of being open about her faith. "That's the sort of thing I decided to fight.
John Gibson (The War on Christmas: How the Liberal Plot to Ban the Sacred Christian Holiday Is Worse Than You Thought)
For so many years, she’d followed a prescription that she’d trusted would result in a beautiful life. Girls don’t fight back. They don’t get angry. They don’t demand things—especially not from men. They are loyal and faithful and quiet and trusting. But slowly, surely, all of those rules had unraveled. It was time to release. To let go. This was why she’d come here.
Claire Gibson (Beyond the Point)
Do you love the girl?” Gibson asked. I nodded. “Are you stupid in love with the girl?” he asked. “Yeah.” I was, and it felt damn good to say it.
Lucy Score (Moonshine Kiss (Bootleg Springs, #3))
When I think of cyberpunk, I inevitably relive in my mind the awesomeness that was William Gibson's pioneering cyberpunk masterpiece, Neuromancer. That book changed the way I looked at science fiction and revitalized the promise it held to the world. Lizard Girl & Ghost comes as close to that experience and that promise as anything I've read since.
Readers' Favorite
Ngemi creaks, beside her. “Was he in a better mood, then?” he asks. “He showed me his gun.” “This is England, girl,” Ngemi says. “People don’t have guns.
William Gibson (Pattern Recognition (Blue Ant, #1))
In gym class, a girl called me a dyke and I didn't have the language to tell her she was wrong and right. I just showed up at her house promising to paint my fingernails red with what would gush from her busted face if she ever said it again.
Andrea Gibson (Take Me With You)
You turned a strong-minded girl into a pulsing wound of need.
S.T. Gibson (A Dowry of Blood (A Dowry of Blood, #1))
Many of these girls are not wanted by their families, and there are few things that make it harder to want to stay alive, she said,
Andrea Gibson (You Better Be Lightning)
month into the job, I can’t look at any of the girls without seeing my baby sister’s face the first time someone hurt her on purpose. It wasn’t my sister’s grief so much as her shock that stuck with me. None of these girls are shocked by the hurt that hunts them— they expect the blade of this life to keep cutting and ask it to whittle them into someone too sharp to touch.
Andrea Gibson (You Better Be Lightning)
A pair of predatory-looking Christian Scientists were edging toward a trio of young office techs who wore idealized holographic vaginas on their wrists, wet pink glittering under the harsh lighting. The techs licked their perfect lips nervously and eyed the Christian Scientists from beneath lowered metallic lids. The girls looked like tall, exotic grazing animals, swaying gracefully and unconsciously with the movement of the train, their high heels like polished hooves against the gray metal of the car’s floor.
William Gibson (Neuromancer (Sprawl, #1))
The story energies that one day; he had on ring out and she came to the door to see a man holding her up by her underwear saying take her she is going to be euthanized. That is what they do this day just look at the train rushing by, there is no love, just death. Just think in a few years’ cars should be flying in the air, look at the buildings now, so modern and space-ie. She was only ten years old at the time. Why did we all think she was slow, it was for she didn’t say much at all, back in middle school… she looked up at her and said- help me, and that is what she did. Mss. Gibson was nasty to everyone, but she is caring for her girl he named Maggie, so for that, it was too far, in that she would not let her go on her own and do the thing, and like any teen, she rebelled and lost her car over it, and she said okay smart ass, know you can walk to school, I said you couldn’t drive. She bought the car herself and started going out to agent her mother’s wishes.
Marcel Ray Duriez (Nevaeh A Void She Cannot Feel)
The girl in 3.7 seemed engrossed in her phone. “What’s she doing?” “Candy Crush Saga. Nondigital surveillance is weaponized boredom.
William Gibson (Agency: Sequel to The Peripheral, now a major new TV series with Amazon Prime)
small kindnesses his ex-wife had done him since the end of the marriage. “See that you do. Little girls need their fathers. Otherwise, they wind up on reality TV.” “Reality TV isn’t ready for her. Trust me.” “They would need a very nimble
Matthew FitzSimmons (The Short Drop (Gibson Vaughn, #1))
he ran his palms up the warmth of her bare back, beneath the white T-shirt, that the people in his life weren’t beads strung on a wire of sequence, but clustered like quanta, so that he knew her as well as he’d known Rudy, or Allison, or Conroy, as well as he knew the girl who was Mitchell’s daughter. “Hey,” she whispered, working her mouth free, “you come upstairs now.
William Gibson (Count Zero (Sprawl, #2))
Kevin watched as Rydell removed the helmet and wrote an address and telephone number on the back of last week’s People. The magazine belonged to Monica, the Chinese girl in the garage; she always got hers printed out so there was never any mention of scandal or disaster, but with a triple helping of celebrity romance, particularly anything to do with the British royal family.
William Gibson (Virtual Light (Bridge, #1))
The old enchantment had gone. She saw him as she had never seen him before - as her clan had always seen him. A handsome fellow, who thought every girl who looked at him fell in love with him; shallow, selfish. Was this what she had supposed she loved? Love! She had known nothing about it till this very moment, when she realised that it was Roger she loved. Roger who was a man! This Noel was only a boy. And he would never be anything but a boy, if he lived to be a hundred - with a boy's fickle heart, a boy's vanity, a boy's emptiness. She had fancied herself in love with him once - fancied herself heartbroken when he jilted her - and now - "Why, it's all ancient history,' she thought in amazement. As soon as she could speak she told Noel to run away. Her voice still shook and Noel thought she was still laughing at him. He went off in high dudgeon. It was a new and very wholesome experience for Noel Gibson to be laughed at. It did him no end of good. He was never quite so self-assured again.
L.M. Montgomery (A Tangled Web)
I had a cigarette,” Case said, looking down at his white-knuckled fist. “I had a cigarette and a girl and a place to sleep. Do you hear me, you son of a bitch? You hear me?
William Gibson (Neuromancer (Sprawl, #1))
It seemed strange to me, to suddenly be so protective of the rights of refusal of a girl I was dying to sink my teeth into, a girl who would probably love to see me crawl and beg and suffer. But I decided on the spot that if I was going to be a monster, I was going to be an elegant one, like my beloved De Lafontaine. There was no sense descending into an animalistic frenzy without the full agreement of my blood donor; there was no art in it, no beauty. And I would die before I sacrificed art and beauty. Life simply wasn't worth living if it wasn't by those principles.
S.T. Gibson