Good Ol Boy Quotes

We've searched our database for all the quotes and captions related to Good Ol Boy. Here they are! All 56 of them:

They say God doesn’t give you more than you could handle,
M. Robinson (Complicate Me (The Good Ol' Boys, #1))
Hurting you is my biggest regret, loving you is my only redemption.
M. Robinson (Forbid Me (The Good Ol' Boys, #2))
...Just be advised, boys,' she said, 'you'll want to watch your step, 'cause what I am is, is like a small-diameter pearl of the Orient rolling around on the floor of late capitalism-- lowlifes of all income levels may step on me now and then but if they do it'll be them who slip and fall and on a good day break their ass, while the ol' pearl herself just goes a-rollin' on.
Thomas Pynchon (Inherent Vice)
The deeper the love, the deeper the pain.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
Sometimes people needed to see the light before they could get out of the darkness.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
When I was being moved, a deputy U.S. Marshal with a Southern accent so thick it sounded like he was doing a bad parody of a Good Ol’ Boy sheriff laughed and said, “You’re the only prisoner we ever had that got booted out of jail!
Kevin D. Mitnick (Ghost in the Wires: My Adventures as the World's Most Wanted Hacker)
He didn’t let me do anything, even bought me shirts that said, “If you didn’t put it in there, then don’t touch it.” My mom still laughed about that one. She said that it was endearing the way he protected me,
M. Robinson (Complicate Me (The Good Ol' Boys, #1))
Life was too damn short to pretend to be something I wasn't
M. Robinson (Undo Me (The Good Ol' Boys, #3))
I learned right then and there that the hardest part of watching someone you cared about go through turmoil was how helpless love could make you feel. Everyone
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
They say everything happens for a reason, that we’re destined to meet certain expectations throughout the timeline of our lives. They’re inevitable. It’s already planned out.
M. Robinson (Complicate Me (The Good Ol' Boys, #1))
I hate you so damn much! I hate your apologies! I hate your excuses! Your lies! Your fucking love!  Especially because I can’t stop loving you! And I want to… I want to stop loving you so fucking bad it hurts everywhere inside of me. Especially here.” She put her hand against her heart.
M. Robinson (Crave Me (The Good Ol' Boys, #4))
Well. Well? What are you going to do? What are you going to say? What are you going to say when you’re drowning in your own dung and they keep booting you back into it, when all the screams in hell wouldn’t be as loud as you want to scream, when you’re at the bottom of the pit and the whole world’s at the top, when it has but one face, a face without eyes or ears, and yet it watches and listens…. What are you going to do and say? Why, pardner, that’s simple. It’s easy as nailing your balls to a stump and falling off backwards. Snow again, pardner, and drift me hard, because that’s an easy one. You’re gonna say, they can’t keep a good man down. You’re gonna say, a winner never quits and a quitter never wins. You’re gonna smile, boy, you’re gonna show ’em the ol’ fightin’ smile. And then you’re gonna get out there an’ hit ’em hard and fast and low, an’—an’ Fight!
Jim Thompson (The Killer Inside Me)
That was a mite tacky, ma'am ... even for you." Elizabeth let her mouth fall open. "Even for me? What's that supposed to mean?" "It just means that people with" --He stared pointedly-- "your upbringing aren't usually the most polite folks around." ... "Listen Ranslett, if I've offended you I certainly didn't mean t--" "Sure you did. You just meant to do it in a way that would make yourself look bad." He turned to look at her more fully, and his eyes narrowed, though not in malice. “When you’ve got something to say that isn’t kind, Miss Westbrook, there’s no way to couch it so that it is. Or to hide from how it makes you look when you do. That’s something us good ol’ Southern boys learn real quick about women.” His accent thickened, comically so. “Your gender may say things with a smile, all soft and gentle-like, but some of you --- granted, not all --- have a dagger hidden in your skirts. Us country boys may not be as quick as some, ma’am, but it doesn’t take us too long to figure out who those woman are.” He winked at her. “We just check each other’s backs for the bloodstains.” He stood and reached behind him as though feeling for something. “Yep, feelin’ a little sticky back there.
Tamera Alexander (From a Distance (Timber Ridge Reflections, #1))
The CIA might be a good ol’ boy network, but in my opinion HUMINT (human intelligence) is largely a woman’s world.
Sam Maggs (Wonder Women: 25 Innovators, Inventors, and Trailblazers Who Changed History)
Ol’ Tom, he’s a good ol’ boy…always smilin’. But I seen Eldon Pickering in town last week—he cowboys for
Marcia Lynn McClure (Weathered Too Young (Evans Brothers, #1))
Oh my God! Lucas is going to kill you. He’s going to murder you and hide the body. I’m going to know about it, I’m going to be an accomplice!” I shouted. “Shhh...
M. Robinson (Complicate Me (The Good Ol' Boys, #1))
I knew it!" he cried, jubilant. "I thought 'twas you, but there's more of you now. You should've seen the likes of her, boys," he said, turning towards the other convicts as he pointed at Kel. "We was all outlaws, livin' on the edges, and this bunch of pages stumbled into our camp. We chased 'em back in a canyon, and her -" he jabbed his finger at Kel - "she gutted ol' Breakbone Dell, and him the meanest dog-skinner you'd ever hope to meet. Stood there afoot, her and her spear, cool as meltwater with Breakbone ridin' down on her with that neck-cutter sword of his. First time she got 'im in the leg, second in the tripes, and he was done. Her and six lads held us all back, just them. There she was, eyes like stone and that bloody spear in her hand. Lady." He bowed deep. Kel looked at him, not sure what to say. Finally she asked, "What's your name, soldier?" "Me? Gilab Lofts - Gil. Lady. It's - it's good to see you well." He bowed again and returned to his seat, whispering with the men on either side of him. Kel waited for them to quiet once again before she said ruefully, "I'm not sure that being known for gutting a man is exactly a recommendation for a commander." "It is in the north!" cried someone. Several men laughed outright; others grinned.
Tamora Pierce (Lady Knight (Protector of the Small, #4))
Never mind. Just be advised, boys,” she said, “you’ll want to watch your step, ’cause what I am is, is like a small-diameter pearl of the Orient rolling around on the floor of late capitalism—lowlifes of all income levels may step on me now and then but if they do it’ll be them who slip and fall and on a good day break their ass, while the ol’ pearl herself just goes a-rollin on.
Thomas Pynchon (Inherent Vice)
THE MYTH OF THE GOOD OL BOY AND THE NICE GAL The good of boy myth and the nice gal are a kind of social conformity myth. They create a real paradox when put together with the "rugged individual" part of the Success Myth. How can I be a rugged individual, be my own man and conform at the same time? Conforming means "Don't make a wave", "Don't rock the boat". Be a nice gal or a good ol' boy. This means that we have to pretend a lot. "We are taught to be nice and polite. We are taught that these behaviors (most often lies) are better than telling the truth. Our churches, schools, and politics are rampant with teaching dishonesty (saying things we don't mean and pretending to feel ways we don't feel). We smile when we feel sad; laugh nervously when dealing with grief; laugh at jokes we don't think are funny; tell people things to be polite that we surely don't mean." - Bradshaw On: The Family
John Bradshaw (Healing the Shame that Binds You)
The girl. She brings you peace and tranquality. which is intresting because she is nothing but chaos, but she is the quiet for your storm. Now that´s irony. Be careful, child, don´t play with fire unless you intend to get burnes; that girl is nothing but flames.
M. Robinson (The Good Ol’ Boys (The Good Ol' Boys, #1-4))
People try to put me in a category as a bad-ass, a good ol’ boy, asshole, sniper, SEAL, and probably other categories not appropriate for print. All might be true on any given day. In the end, my story, in Iraq and afterward, is about more than just killing people or even fighting for my country.
Chris Kyle (American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History)
I loved getting lost in the fictional worlds pf the author´s creations, It took away the pain from my own. My way of escaping. My book friends. Where I was loved, cared for, and cherished. Where there´s always a happily ever after and the hero always ends up with the heroine. Those were my kind of stories.
M. Robinson (The Good Ol’ Boys (The Good Ol' Boys, #1-4))
On the other hand, Protestantism's shedding away of authority, as evidenced by my mother's proclamation that I needn't go to church or listen to a preacher to achieve salvation, inspires self-reliance - along with a dangerous disregard for expertise. So the impulse that leads to democracy can also be the downside of democracy - namely, a suspicion of people who know what they are talking about. It's why in U.S. presidential elections the American people will elect a wisecracking good ol'boy who's fun in a malt shop instead of a serious thinker who actually knows some of the pompous, brainy stuff that might actually get fewer people laid off or killed.
Sarah Vowell
Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
Protestantism's evolution away from hierarchy and authority has enormous consequences for America and the world. On the one hand, the democratization of religion runs parallel to political democratization. The king of England, questioning the pope, inspires English subjects to question the king and his Anglican bishops. Such dissent is backed up by a Bible full of handy Scripture arguing for arguing with one's kIng. This is the root of self-government in the English-speaking world. On the other hand, Protestantism's shedding away of authority, as evidenced by my [Pentecostal] mother's proclamation that I needn't go to church or listen to a preacher to achieve salvation, inspires self-reliance—along with a dangerous disregard for expertise. So the impulse that leads to democracy can also be the downside of democracy—namely, a suspicion of people who know what they are talking about. It's why in U.S. presidential elections the American people will elect a wisecracking good ol' boy who's fun in a malt shop instead of a serious thinker who actually knows some of the pompous, brainy stuff that might actually get fewer people laid off or killed.
Sarah Vowell (The Wordy Shipmates)
The most comprehensive studies of racial bias in the exercise of prosecutorial and judicial discretion involve the treatment of juveniles. These studies have shown that youth of color are more likely to be arrested, detained, formally charged, transferred to adult court, and confined to secure residential facilities than their white counterparts.65 A report in 2000 observed that among youth who have never been sent to a juvenile prison before, African Americans were more than six times as likely as whites to be sentenced to prison for identical crimes.66 A study sponsored by the U.S. Justice Department and several of the nation’s leading foundations, published in 2007, found that the impact of the biased treatment is magnified with each additional step into the criminal justice system. African American youth account for 16 percent of all youth, 28 percent of all juvenile arrests, 35 percent of the youth waived to adult criminal court, and 58 percent of youth admitted to state adult prison.67 A major reason for these disparities is unconscious and conscious racial biases infecting decision making. In the state of Washington, for example, a review of juvenile sentencing reports found that prosecutors routinely described black and white offenders differently.68 Blacks committed crimes because of internal personality flaws such as disrespect. Whites did so because of external conditions such as family conflict. The risk that prosecutorial discretion will be racially biased is especially acute in the drug enforcement context, where virtually identical behavior is susceptible to a wide variety of interpretations and responses and the media imagery and political discourse has been so thoroughly racialized. Whether a kid is perceived as a dangerous drug-dealing thug or instead is viewed as a good kid who was merely experimenting with drugs and selling to a few of his friends has to do with the ways in which information about illegal drug activity is processed and interpreted, in a social climate in which drug dealing is racially defined. As a former U.S. Attorney explained: I had an [assistant U.S. attorney who] wanted to drop the gun charge against the defendant [in a case in which] there were no extenuating circumstances. I asked, “Why do you want to drop the gun offense?” And he said, “‘He’s a rural guy and grew up on a farm. The gun he had with him was a rifle. He’s a good ol’ boy, and all good ol’ boys have rifles, and it’s not like he was a gun-toting drug dealer.” But he was a gun-toting drug dealer, exactly.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
He called back with an incredible report: there were people lined up around the store already. Wow, I thought. Wow! Wow didn’t begin to cover it. People lined up on two floors of the store to talk to Chris and get their books signed, hours before he was even scheduled to arrive. Chris was overwhelmed when he got there, and so was I. The week before, he’d been just another guy walking down the street. Now, all of a sudden he was famous. Except he was still the same Chris Kyle, humble and a bit abashed, ready to shake hands and pose for a picture, and always, at heart, a good ol’ boy. “I’m so nervous,” confided one of the people on the line as he approached Chris. “I’ve been waiting for three hours just to see you.” “Oh, I’m sorry,” said Chris. “Waitin’ all that time and come to find out there’s just another redneck up here.” The man laughed, and so did Chris. It was something he’d repeat, in different variations, countless times that night and over the coming weeks. We stayed for three or four hours that first night, far beyond what had been advertised, with Chris signing each book, shaking each hand, and genuinely grateful for each person who came. For their part, they were anxious not just to meet him but to thank him for his service to our country-and by extension, the service of every military member whom they couldn’t personally thank. From the moment the book was published, Chris became the son, the brother, the nephew, the cousin, the kid down the street whom they couldn’t personally thank. In a way, his outstanding military record was beside the point-he was a living, breathing patriot who had done his duty and come home safe to his wife and kids. Thanking him was people’s way of thanking everyone in uniform. And, of course, the book was an interesting read. It quickly became a commercial success beyond anyone’s wildest dreams, including the publisher’s. The hardcover debuted at number two on the New York Times bestseller list, then rose to number one and stayed there for more than two months. It’s remained a fixture on the bestseller lists ever since, and has been translated into twenty-four languages worldwide. It was a good read, and it had a profound effect on a lot of people. A lot of the people who bought it weren’t big book readers, but they ended up engrossed. A friend of ours told us that he’d started reading the book one night while he was taking a bath with his wife. She left, went to bed, and fell asleep. She woke up at three or four and went into the bathroom. Her husband was still there, in the cold water, reading. The funny thing is, Chris still could not have cared less about all the sales. He’d done his assignment, turned it in, and got his grade. Done deal.
Taya Kyle (American Wife: Love, War, Faith, and Renewal)
But now, strange as it seems, a peasant's small, scrawny. light brown nag is harnessed to such a large cart, one of those horses he's seen it often that sometimes strain to pull some huge load of firewood or hay. Especially if the cart has gotten stuck in the mud or a rut. The peasants always whip the horse so terribly, so very painfully, sometimes even across its muzzle and eyes, and he would always feel so sorry, so very sorry to witness it that he would feel like crying, and his mother would always lead him away from the window. Now things are getting extremely boisterous: some very large and extremely drunken peasants in red and blue shirts, their heavy coats slung over their shoulders. come out of the tavern shouting, singing. and playing balalaikas. “Git in. everyone git in!" shouts one peasant, a young lad with a thick neck and a fleshy face, red as a beet, “I'll take ya all. Git in!" But there is a burst of laughter and shouting: “That ol’ nag ain't good for nothin'!" “Hey, Mikolka, you must be outta yer head to hitch that ol' mare to yer cart!" “That poor ol' horse must be twenty if she's a day, lads!" “Git in, I'll take ya all!" Mikolka shouts again,jumping in first, taking hold of the reins, and standing up straight in the front of the cart. “Matvei went off with the bay," he cries from the cart, “and as for this ol' mare here, lads, she's only breakin' my heart: I don't give a damn ifit kills ’er; she ain't worth her salt. Git in, I tell ya! I'll make 'er gallop! She’ll gallop, all right!" And he takes the whip in his hand, getting ready to thrash the horse with delight. "What the hell, git in!" laugh several people in the crowd. "You heard 'im, she'll gallop!" “I bet she ain't galloped in ten years!" "She will now!" “Don't pity 'er, lads; everyone, bring yer whips, git ready!" "That's it! Thrash 'er!" They all clamber into Mikolka's cart with guffaws and wisecracks. There are six lads and room for more. They take along a peasant woman, fat and ruddy. She's wearing red calico, a headdress trimmed with beads, and fur slippers; she‘s cracking nuts and cackling. The crowd’s also laughing; as a matter of fact, how could one keep from laughing at the idea of a broken down old mare about to gallop, trying to pull such a heavy load! Two lads in the cart grab their whips to help Mikolka. The shout rings out: “Pull!" The mare strains with all her might, but not only can’t she gallop, she can barely take a step forward; she merely scrapes her hooves, grunts, and cowers from the blows of the three whips raining down on her like hail. Laughter redoubles in the cart and among the crowd, but Mikolka grows angry and in his rage strikes the little mare with more blows, as if he really thinks she’ll be able to gallop. “Take me along, too, lads!" shouts someone from the crowd who’s gotten a taste of the fun. “Git in! Everyone, git inl" cries Mikolka. “She'll take everyone. I‘ll flog 'er!" And he whips her and whips her again; in his frenzy, he no longer knows what he’s doing. “Papa, papa," the boy cries to his father. “Papa, what are they doing? Papa, they‘re beating the poor horse!" “Let's go, let's go!" his father says. “They’re drunk, misbehaving, those fools: let’s go. Don't look!" He tries to lead his son away. but the boy breaks from his father‘s arms; beside himself, he runs toward the horse. But the poor horse is on her last legs. Gasping for breath, she stops, and then tries to pull again, about to drop. “Beat 'er to death!" cries Mikolka. ”That's what it's come to. I‘ll flog ‘er!" “Aren't you a Christian. you devil?" shouts one old man from the crowd. “Just imagine, asking an ol' horse like that to pull such a heavy load,” adds another. “You‘ll do 'er in!" shouts a third. “Leave me alone! She’s mine! I can do what I want with 'er! Git in, all of ya! Everyone git in I'm gonna make 'er gallop!
Fyodor Dostoevsky (Crime and Punishment)
Nice to see you, Axe,” Jay says. He, after all these years, remembers the man fondly, remembers when Hathorne was the only name he trusted on a police force filled with good ol’ boys.
Attica Locke (Pleasantville (Jay Porter, #2))
He speaks in a way that leaves no room for argument, on the edge of condescension and caring. It's a trick all men of the South have to learn before they're accepted as one of the good ol' boys.
Natalie C. Parker (Beware the Wild (Beware the Wild, #1))
Why don’t you give her a straight answer?” he quipped back. For a moment—for a small, teeny, tiny fraction of a moment—I could swear his good ol’ boy mask cracked a little, annoyance
L.J. Shen (Bad Cruz)
To accomplish this adaptation, racism first needed to be reduced to simple, isolated, and extreme acts of prejudice. These acts must be intentional, malicious, and based on conscious dislike of someone because of race. Racists were those white people in the South, smiling and picnicking at the base of lynching trees; store owners posting Whites Only signs over drinking fountains; and good ol’ boys beating innocent children such as Emmett Till to death. In other words, racists were mean, ignorant, old, uneducated, Southern whites. Nice people, well-intended people, open-minded middle-class people, people raised in the “enlightened North,” could not be racist.
Robin DiAngelo (White Fragility: Why It's So Hard for White People to Talk About Racism)
At the end of the day that statue is nothing more than a chunk of granite and copper sitting in front of the library. That statue matters a lot less than the end goal. Holding onto history is not nearly as important as where we are headed. Pride matters less than power.
David Joy
Conforming means “don’t make waves” or “don’t rock the boat.” Be a nice gal or a good ol’ boy. This means we have to pretend a lot. From Bradshaw On: The Family: We are taught to be nice and polite. We are taught that these behaviors (most often lies) are better than telling the truth. Our churches, schools and politics are rampant with teaching dishonesty (saying things we don’t mean and pretending to feel ways we don’t feel). We smile when we feel sad, laugh nervously when dealing with grief, laugh at jokes we don’t think are funny, tell people things to be polite that we surely don’t mean. Playing roles and acting are forms of lying. If people act like they really feel and it rocks the boat, they are ostracized. We promote pretense and lying as a cultural way of life. Living this way causes an inner split. It teaches us to hide and cover up our toxic shame. This sends us deeper into isolation and loneliness.
John Bradshaw (Healing the Shame that Binds You)
Few critical infrastructures need to expedite their cyber resiliency as desperately as the health sector, who repeatedly demonstrates lackadaisical cyber hygiene, finagled and Frankensteined networks, virtually unanimous absence of security operations teams and good ol’ boys club bureaucratic board members flexing little more than smoke and mirror, cyber security theatrics as their organizational defense.
James Scott, Senior Fellow, Institute for Critical Infrastructure Technology
The videotapes of Nobel’s interview with Adam Leroy Lane reveal him as a sanctimonious fat-fuck of a good ol’ boy redneck cracker. He drawls, “I got manners. I treat people the way I want to be treated...
Peter Vronsky (2015 Serial Killers True Crime Anthology: Volume 2)
In addition to its elements of adolescent titillation, the world of JA2 contains racism, sexism, xenophobia, government-sponsored torture, child labor, and extreme economic inequality. And yet it’s difficult to say what the game’s overall stance is on these issues. JA2 is highly pluralistic, allowing you to play all sorts of characters from all sorts of backgrounds. That pluralism leads to a kind of moral relativism. While you can have a squad of friendly heroes who help each other as well as the downtrodden people of Arulco, you can also play as a squad of psychotic good ol’ boys who ignore issues of social justice, seeking only to get a paycheck for putting a bullet in the queen’s head.
Anonymous
Have you ever wanted something so badly that it consumed your very being? Something that you could practically taste on your tounge? Something that was all you thought about, day in and day out? The feeling is so intense that it becomes a part of you. You could feel it under your skin, in your heart, consuming your mind. That was Jacob to me. He was my core. I couldn´t remember a time when I didn´t want him. When I didn´t think about him. When I didn´t love him.
M. Robinson (The Good Ol’ Boys (The Good Ol' Boys, #1-4))
Special Agent John Lang was a former marine and Georgia state trooper before he joined the Georgia Bureau of Investigation and became a top criminal profiler. At six foot four, he's imposing, with thick hair, chiseled features, and a swagger like a winning football coach. He's a commanding good ol' boy, a Georgia native who cracks f-bombs like peanut shells and makes no apologies for taking up space in the world.
Deb Miller Landau (A Devil Went Down to Georgia: Race, Power, Privilege, and the Murder of Lita McClinton)
Them good ol’ boys always telling us to get over slavery, but they can’t get over having their ass handed to them by Sherman,” Boonie said.
S.A. Cosby (Blacktop Wasteland)
Her body is not a stumbling block. Her body is a temple, and I want to worship it every day for the rest of my existence. That fact alone riddles my mind with guilt, but then I remember that’s not all I want.
M.J. Hendrix (Falling For Temptation (Good Ol' Boys, #1))
The mental health field also maintains authority through selectivity of its members and suppressed dissent. There is a pretense of certainty propagated by leaders in mental health, with oft repeated promises of supporting evidence to be discovered soon; it is taken for granted that their authoritative stance is merited. Despite this political posturing, several areas of concern actually leave much to question, for instance: it is rare for findings to be replicated (Open Science Collaboration, 2015), with only about 3% of journals even being willing to accept articles attempting to repeat previous studies to see if their findings were more than just a fluke (Martin & Clarke, 2017); the peer -review process of journals is biased toward recognizable names and against newcomers or detractors (Bravo, Farjam, Grimaldo Moreno, Birukou, & Squazzoni, 2018), setting up a sort of “good ol’ boys’ club” dynamic; the rates of authors retracting their studies due to problems or false findings are rapidly rising (Steen, Casadevall, & Fang, 2013); the subjects used in studies are consistently biased (Nielsen, Haun, Kartner, & Legare, 2017) and based on samples that are among the least representative of humans, in general (e.g., Arnett, 2008); spurious and meaningless correlations are frequently reported as exciting new discoveries (see Richardson, 2017); gold-standard “evidence-based treatments” are, on average and at best, only helpful for about 25% of people (Shedler, 2015); selective reporting, guild interests, and researcher allegiance heavily bias psychiatric research (Leichsenring et al., 2017; Whitaker & Cosgrove, 2015); and, perhaps most important, with all the purported advances in treatment, the prevalence and long-term outcomes of diagnosable mental disorders has not decreased in the last century (Jorm, Patten, Brugha, & Mojtabai, 2017; Margraf & Schneider, 2016), while disability rates continue to rise exponentially (see Whitaker, 2010 for an analysis on this trend).
Noel Hunter (Trauma and Madness in Mental Health Services)
Fuck ‘em and chuck ‘em was his style.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
Good ol’ boys could be pushed. Wolves could be made to snap. It was time he started pushing.
Jack Ketchum (Red)
Sometimes people needed to see the light
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
She came into my life like a riptide, taking down everything in her path and dragging me right along with her.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
Best way to stop a bad guy with a gun, is with a good guy with a gun.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
I learned right then and there that the hardest part of watching someone you cared about go through turmoil was how helpless love could make you feel.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
I never understood this saying until right now. Until this very moment.” She sucked in her lower lip and stared into the depths of my soul as I said, “The deeper the love, the deeper the pain.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
Who the hell do you think you are? You can’t just go around sniffing girls!
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
You’re going to undo me,” he huskily whispered, rubbing his lips below my earlobe, causing tingles everywhere. “And I’m going to let you.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
Them good ol’ boys always telling us to get over slavery, but they can’t get over having their ass handed to them by Sherman,
S.A. Cosby (Blacktop Wasteland)
Life is simple, darlin’, it’s just not easy.
M. Robinson (Dylan and Aubrey (The Good Ol' Boys, #3))
To accomplish this adaptation, racism first needed to be reduced to simple, isolated, and extreme acts of prejudice. These acts must be intentional, malicious, and based on conscious dislike of someone because of race. Racists were those white people in the South, smiling and picnicking at the base of lynching trees; store owners posting Whites Only signs over drinking fountains; and good ol’ boys beating innocent children such as Emmett Till to death. In other words, racists were mean, ignorant, old, uneducated, Southern whites.
Robin DiAngelo (White Fragility: Why It's So Hard for White People to Talk About Racism)
And for the love of cheese crackers,
M.J. Hendrix (Seeing Double (Good Ol' Boys, #2))
The thought of standing with a hundred strangers in a cold airport at a time like this fills me with misery.
M.J. Hendrix (Seeing Double (Good Ol' Boys, #2))