Gravel Road Quotes

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Charisma is a word that erodes stale on the page. When compared with the tangible, flesh experience it tries to label, it falls short. The only way to understand it, is to meet it.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
The car suddenly veered off the road and we came to a sliding halt in the gravel. I was hurled against the dashboard. My attorney was slumped over the wheel. “What’s wrong?” I yelled. “We can’t stop here. This is bat country!
Hunter S. Thompson
Butterflies, the embodiment of myth, the articulation of the past, first for the elite, then for the rest of us.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
Coming down off the trail, I am lost in my own thoughts and unprepared when a bear chugs across the path just before it gives out on the gravel road. I am so distracted that I keep walking towards the bear. I only stop when it rears, stands on hind legs, and stares at me, sensitive nose pressed into the air, weak eyes searching. I have never been this close to a wild bear before, but I am not frightened. There is no menace in its stance; it is not even curious. The bear seems to know who or what I am. The bear is not impressed.
Louise Erdrich (The Painted Drum)
My idea of heaven still is to drive the gravel farm roads of Umbria and Tuscany, very pleasantly lost.
Frances Mayes (Under the Tuscan Sun)
Maybe I wasn’t broken after all, maybe I was only learning to walk on a new kind of path, a gravel road my tender feet had yet to master.
Kandi Steiner (Revelry)
Pay phones, relics of an almost-vanished landscape, always a touch of seediness and sadness, and a sense of transience, sweaty phones used by men outside maternity wards, feeding them fistfuls of change.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
Trying to change someone only makes them cling to their existing behavior with brutish, primal force.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
We hopped back into the Jeep, and he drove us along a back road, which changed to a dirt road, which changed to gravel, which changed to two lines in the dirt, and then disappeared altogether.
Colleen Houck (Tiger's Curse (The Tiger Saga, #1))
American dream, a spouse, a brace of children, cuddly pets, coffee-table books, rusted skeleton keys, plastic cauliflower bags, business cards of business-card printers, a mound of used airmail envelopes. Old house on moving day, all echoes and loneliness.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
He books it into that little playground there. I mean the guy is zooming like the Road Runner, skidding through the gravel and the slush and everything. I’m yelling, “Police, police! Stop, motherfucker!” ‘You do not yell, “Stop, motherfucker.”’ ‘I do. Because you know, Palace, this is it. This is the last chance I get to run after a perp yelling, “Stop, motherfucker.
Ben H. Winters (The Last Policeman (The Last Policeman, #1))
My favourite road I've ever been on ain't paved.
Viktor Tatarczuk
Rum is tonic that clarifies the vision, and sets things in true perspective.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
We were hockey gypsies, heading down another gravel road every weekend, plowing into the heart of that magnificent northern landscape. We never gave a thought to being deprived as we travelled, to being shut out of the regular league system. We never gave a thought to being Indian. Different. We only thought of the game and the brotherhood that bound us together off the ice, in the van, on the plank floors of reservation houses, in the truck stop diners where if we'd won we had a little to splurge on a burger and soup before we hit the road again. Small joys. All of them tied together, entwined to form an experience we would not have traded for any other. We were a league of nomads, mad for the game, mad for the road, mad for ice and snow, an Arctic wind on our faces and a frozen puck on the blade of our sticks.
Richard Wagamese (Indian Horse)
She cleared them out, and fast. The car went off down the gravel road with the springs flat on the rear axle and human flesh oozing out the windows, then the evening quiet descended upon us.
Robert Penn Warren (All The King's Men)
Pigpen pulls off the gravel road near the house and severs the engine. I go to open the door and he stops me. "Talk to me a second, and I don't mean me talking and you nodding your head like that's acceptable conversation.
Katie McGarry (Walk the Edge (Thunder Road, #2))
Twenty minutes 'til 9, we're getting in the truck. I'm sweaty, stinky and covered in red mud. I'm not sure what Logan smells like and I don't plan on getting close enough to find out. “What do you wanna be when you grow up?” he asks, as we ride along the quiet, foggy, gravel road in the dark. “Alive,” I say, thoughtlessly. “I like that. Aim low,” he retorts.
Elizabeth Nicole (September, After Everything)
All the roads here are not graveled in rock, girls, but with the woman’s scars, because only a woman’s scars are strong enough to bear something driving over them, again and again.
Tiffany McDaniel (On the Savage Side)
Dangerous and indifferent ground: against its fixed mass the tragedies of people count for nothing although the signs of misadventure are everywhere. No past slaughter nor cruelty, no accident nor murder that occurs on the little ranches or at the isolate crossroads with their bare populations of three or seventeen, or in the reckless trailer courts of mining towns delays the flood of morning light. Fences, cattle, roads, refineries, mines, gravel pits, traffic lights, graffiti'd celebration of athletic victory on bridge overpass, crust of blood on the Wal-Mart loading dock, the sun-faded wreaths of plastic flowers marking death on the highway are ephemeral. Other cultures have camped here a while and disappeared. Only earth and sky matter. Only the endlessly repeated flood of morning light. You begin to see that God does not owe us much beyond that.
Annie Proulx
The gravel road widened into a large turnaround where three similar looking and designed brothels sat waiting for customers. They were called Sheila's Front Porch, Tawny's High Five Ranch and Miss Delilah's House of Holies. "Nice," Rachel said as we surveyed the scene. "why are these places always named after women -- as if women actually own them?" "You got me. I guess Mister Dave's House of Holies wouldn't go over so well with the guys." Rachel smiled. "You're right. I guess it's a shrewd move. Name a place of female degradation and slavery after a female and it doesn't sound so bad, does it? It's packaging.
Michael Connelly (The Narrows (Harry Bosch, #10; Harry Bosch Universe, #14))
I start to run, and my nose fills with the smell of rain and wet earth. I run along the shoulder of the highway in an easy rhythm, and the rain gathers up on my forehead and eyebrows; it flows down my face, it drips from the tip of my nose. There is wet dirt, a puddle in the gravel, new grass pushing through old in the ditch. Violets grow along the edge of the road. To my right, the Little Jib River flows brown and swollen to the lake. The water moves ceaselessly, and I move along with it. To my left, across the road, the rain strips wilted cherry blossoms from the rows and rows of trees, and drops them to the ground.
Jon Harrison (The Banks of Certain Rivers)
Life, perhaps less a document than an impression, conveyed through partial glances, stream-of-consciousness juxtapositions, unpredictable rhythms, a collage of sound, a conscientious diarist, a career of blackmail and scandal culminated in murder, a blind man with a will of iron and a nervous system of gossamer.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
After an hour’s drive, he pulled off onto a gravel road and followed it back to a lake surrounded by woods. At one time, the place had been special. He had gone fishing there with his sons when they were younger.
Angela Roquet (Graveyard Shift (Lana Harvey, Reapers Inc. #1))
I'll bite: Hard science TA's and RA's often repair equipment; it's part of our science. If you want a silver spoon, don't go to grad school. Science is all about dangerous chemicals, semi-safe experimental equipment, and 4am drives down gravel roads in old vans with a nice steep drop on one side. Guardrail? Ho ho ho. Fixing the computers is just the tip of the iceberg. Plus, where else could you get on-the-job experience with a PDP-8?
Greg Lindahl
Nearly every aspect of life was subject to some measure of legal restraint. At a local level, you could be fined for letting your ducks wander in the road, for misappropriating town gravel, for having a guest in your house without a permit from the local bailiff.
Bill Bryson (Shakespeare: The World as Stage)
Long ago I learned that even the most inanimate things we know of—stone, iron columns, copper pipes, gravel roads, a piece of paper—won’t last very long without attention and fixing and the loan of additional order. Existence, it seems, is chiefly maintenance. What
Kevin Kelly (The Inevitable: Understanding the 12 Technological Forces That Will Shape Our Future)
And you remember how warm bourbon tasted, in a paper cup with water dipped out of the lake at your feet. How the nights were so unbearably, hauntingly beautiful that you wanted to cry. How every patch of light and shadow from the moon seemed deep and lovely. Calm or storm, it didn't matter. It was exquisite and mysterious, just because it was night. I wonder now how I lost it, the mysteriousness, the wonder. It faded steadily until one day it was entirely gone, and night became just dark, and the moon was only something that waxed and waned and heralded a changing in the weather. And rain just washed out graveled roads. The glitter was gone. And the worst part was that you didn't know exactly at what point it disappeared. There was nothing you could point to and say: now, there. One day you saw that it was missing and had been missing for a long time. It wasn't even anything to grieve over, it had been such a long time passing. The glitter and hush-breath quality just slipped away...there isn't even a scene--not for me, nothing so definite--just the seepage, the worms of time...I look at my children now and I think: how long before they slip away, before I am disappointed in them.
Shirley Ann Grau (The Keepers of the House)
If I could really love, I would take away these tubes dripping lipids and glucose into your blood. I would liquefy the things you love and flood them through your veins: our sleeping dogs' rhythmic breathing, huge orange trumpets of the amaryllis we thought would never bloom, the crunch of the gravel road coming home. If I could really love, I would climb onto your narrow back and wrap myself around, guarding like a ladybug, or Achilles' mighty shield.
Laurie Cooper
How every patch of light and shadow from the moon seemed deep and lovely. Calm or storm, it didn’t matter. It was exquisite and mysterious, just because it was night. I wonder now how I lost it, the mysteriousness, the wonder. It faded steadily until one day it was entirely gone, and night became just dark, and the moon was only something that waxed and waned and heralded a changing in the weather. And rain just washed out graveled roads. The glitter was gone.
Grau, Shirley Ann (The Keepers of the House)
GRAY-EYED COLE SAT in his bedroom window, looking out over the road, a scoped Ruger 10/22 in his hands. Squirrel rifle. Below him, a quilt hung on the wire clothesline, airing out. Before the end of the day, the quilt would smell like early-summer fields, with a little gravel dust mixed in. A wonderful smell, a smell like home.
John Sandford (Extreme Prey (Lucas Davenport, #26))
My best girl wore diesel. Steamy asphalt ribbons poured over her gravel shoulders. Curves that took me to Zanzibar....
Michael Walsh (Western Roads)
There is such a quiet desperation and chronic sense of dullness to Helena, Montana, which makes it the most socially grotesque and culturally bitter of any of the capital cities.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
Gravel and road dust mark my very taught torso. Marks that have worn away at my stressed skin over time. The road tattoos are symbols of stages of my life faced solo. [Road Block]
Susan L. Marshall (Bare Spirit: The Selected Poems of Susan Marshall)
And I walked across the gravel, towards the road and somewhere in the universe of my soul a fiery, life-giving star collapsed, and a very black hole began to form.
Matt Haig
The bike crunches along the gravel path, weaving around the potholes that could present danger to someone who didn’t know the road like the back of their hand.
Jane Green (The Beach House)
1 The summer our marriage failed we picked sage to sweeten our hot dark car. We sat in the yard with heavy glasses of iced tea, talking about which seeds to sow when the soil was cool. Praising our large, smooth spinach leaves, free this year of Fusarium wilt, downy mildew, blue mold. And then we spoke of flowers, and there was a joke, you said, about old florists who were forced to make other arrangements. Delphiniums flared along the back fence. All summer it hurt to look at you. 2 I heard a woman on the bus say, “He and I were going in different directions.” As if it had something to do with a latitude or a pole. Trying to write down how love empties itself from a house, how a view changes, how the sign for infinity turns into a noose for a couple. Trying to say that weather weighed down all the streets we traveled on, that if gravel sinks, it keeps sinking. How can I blame you who kneeled day after day in wet soil, pulling slugs from the seedlings? You who built a ten-foot arch for the beans, who hated a bird feeder left unfilled. You who gave carrots to a gang of girls on bicycles. 3 On our last trip we drove through rain to a town lit with vacancies. We’d come to watch whales. At the dock we met five other couples—all of us fluorescent, waterproof, ready for the pitch and frequency of the motor that would lure these great mammals near. The boat chugged forward—trailing a long, creamy wake. The captain spoke from a loudspeaker: In winter gray whales love Laguna Guerrero; it’s warm and calm, no killer whales gulp down their calves. Today we’ll see them on their way to Alaska. If we get close enough, observe their eyes—they’re bigger than baseballs, but can only look down. Whales can communicate at a distance of 300 miles—but it’s my guess they’re all saying, Can you hear me? His laughter crackled. When he told us Pink Floyd is slang for a whale’s two-foot penis, I stopped listening. The boat rocked, and for two hours our eyes were lost in the waves—but no whales surfaced, blowing or breaching or expelling water through baleen plates. Again and again you patiently wiped the spray from your glasses. We smiled to each other, good troopers used to disappointment. On the way back you pointed at cormorants riding the waves— you knew them by name: the Brants, the Pelagic, the double-breasted. I only said, I’m sure whales were swimming under us by the dozens. 4 Trying to write that I loved the work of an argument, the exhaustion of forgiving, the next morning, washing our handprints off the wineglasses. How I loved sitting with our friends under the plum trees, in the white wire chairs, at the glass table. How you stood by the grill, delicately broiling the fish. How the dill grew tall by the window. Trying to explain how camellias spoil and bloom at the same time, how their perfume makes lovers ache. Trying to describe the ways sex darkens and dies, how two bodies can lie together, entwined, out of habit. Finding themselves later, tired, by a fire, on an old couch that no longer reassures. The night we eloped we drove to the rainforest and found ourselves in fog so thick our lights were useless. There’s no choice, you said, we must have faith in our blindness. How I believed you. Trying to imagine the road beneath us, we inched forward, honking, gently, again and again.
Dina Ben-Lev
I settle for a radio station that’s currently playing a Tom Waits track. That man has so much gravel in his voice that, if he coughed, you could build a road with the contents of his phlegm.
Mark Capell (Cafe Insomniac)
It was late afternoon. This time tomorrow he would be somewhere on a good graveled road, driving his car past things that happened to people, quicker than their happening. ("Death of a Traveling Salesman")
Eudora Welty (The Collected Stories)
Rock to gravel to dust to mud to rock and so the world goes, as his mother used to say when he demanded reasons or explanation as to how the world got to be this way or that. The world is, she would say. It just is, boy.
Richard Flanagan (The Narrow Road to the Deep North)
When she slowly straightened, the land was vast before her. The sun was setting down the river, casting a cold pink hue along the white-capped mountains that framed both sides of the valley. Upriver, the willow shrubs and gravel bars, the spruce forests and low-lying poplar stands, swelled to the mountains in steely blue. No fields or fences, homes or roads; not a single living soul as far as she could see in any direction. Only wilderness.
Eowyn Ivey (The Snow Child)
Picking oranges in Florida. Pushing a broom in New Orleans. Mucking out horse-stalls in Lufkin, Texas. Handing out real estate brochures on street corners in Phoenix, Arizona. Working jobs that pay cash. ... The faces on the currency don't matter. What matters is the sight of a weathervane against a violent pink sunset, the sound of his heels on an empty road in Utah, the sound of the wind in the New Mexico desert, the sight of a child skipping rope beside a junked-out Chevrolet Caprice in Fossil, Oregon. What matters is the whine of the powerlines beside Highway 50 west of Elko, Nevada, and a dead crow in a ditch outside Rainbarrel Springs. Sometimes he's sober and sometimes he gets drunk. Once he lays up in an abandoned shed-this is just over the California state line from Nevada-and drinks for four days straight. It ends with seven hours of off-and-on vomiting. For the first hour or so, the puking is so constant and so violent he is convinced it will kill him. Later on, he can only wish it would. And when it's over, he swears to himself that he's done, no more booze for him, he’s finally learned his lesson, and a week later lies drunk again and staring up at the strange stars behind the restaurant where he has hired on as a dishwasher. He is an animal in a trap and he doesn't care. ... Sometimes he asks himself what he thinks he's doing, where the hell he's going, and such questions are apt to send him in search of the next bottle in a hurry. Because he's really not going anywhere. He's just following the highways in hiding and dragging his trap along behind him, he's just listening to the call of those roads and going from one to the next. Trapped or not, sometimes he is happy; sometimes he sings in his chains like the sea. He wants to see the next weathervane standing against the next pink sunset. He wants to see the next silo crumbling at the end of some disappeared farmer's long-abandoned north field and see the next droning truck with TONOPAH GRAVEL or ASPLUNDH HEAVY CONSTRUCTION written on the side. He's in hobo heaven, lost in the split personalities of America. He wants to hear the wind in canyons and know that he's the only one who hears it. He wants to scream and hear the echoes run away.
Stephen King
Faith, is the road that goes straight past the gravel, and cloud-mesh dirt into a mirage, where still you believe to go straight, and when you finally catch up with it, it ends at a lake where you stretch your eyes across, but unable to glimpse the other side- so you jump in and swim, gliding each stroke with tiredness and swallow of water, you reach the end, put a hand out and pull yourself up on concrete, where the same road continues straight into another blue-white blur.
Anthony Liccione
At times the differences concerned me. Could I ever be with a man who’d never, in his entire life, eaten sushi? Could I, a former vegetarian, conceivably spend the rest of my life with a man who ate red meat at every meal? I’d never thought about it before. And, most concerning, could I ever--in a million years--live so far out in the country that I’d have to traverse five miles of gravel road to reach my house? The Magic 8-Ball in my head revealed its answer: OUTLOOK NOT SO GOOD.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
In these shallow arroyos and grease-covered hills, blowing dust zones, the Christmas spirit of cotton bales, fried in butter and sweeping heat, life, spaciously allotted. Catching our breath, smiling in silence, with the lowering sun in our faces.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
... the old Berlin – last vestige of a mysterious fête – wheeled away from the gravelled road and went lurching noiselessly across country over a grass-grown track. Beyond the hedge nothing could be seen of it but the driver's cap bobbing up and down.
Alain-Fournier (Le Grand Meaulnes)
They pulled off a twisting country road and bumped along a rutted gravel driveway. Rocky promontories barred their view until they topped a rise and found a half-are property where the cabin faced south, toward the red clay river that lazed across the horizon.
Meg Gardiner (Into the Black Nowhere (UNSUB, #2))
Before she could say anything more, Sabella swung around at the sound of Noah’s Harley purring to life behind the garage. God. He was dressed in snug jeans and riding chaps. A snug dark T-shirt covered his upper body, conformed to it. And he was riding her way. “Is there anything sexier than a man in riding chaps riding a Harley?” Kira asked behind her. “It makes a woman simply want to melt.” And Sabella was melting. She watched as he pulled around the side of the garage then took the gravel road that led to the back of the house. The sound of the Harley purred closer, throbbing, building the excitement inside her. “I think it’s time for me to leave,” Kira said with a light laugh. “Don’t bother to see me out.” Sabella didn’t. She listened as the Harley drew into the graveled lot behind the house and moved to the back door. She opened it, stepping out on the back deck as he swung his legs over the cycle and strode toward her. That long-legged lean walk. It made her mouth water. Made her heart throb in her throat as hunger began to race through her. “The spa treated you well,” he announced as he paused at the bottom of the steps and stared back at her. “Feel like messing your hair up and going out this evening? We could have dinner in town. Ride around a little bit.” She hadn’t ridden on a motorcycle since she was a teenager. She glanced at the cycle, then back to Noah. “I’d need to change clothes.” His gaze flickered over her short jeans skirt, her T-shirt. “That would be a damned shame too,” he stated. “I have to say, Ms. Malone, you have some beautiful legs there.” No one had ever been as charming as Nathan. She remembered when they were dating, how he would just show up, out of the blue, driving that monster pickup of his and grinning like a rogue when he picked her up. He’d been the epitome of a bad boy, and he had been all hers. He was still all hers. “Bare legs and motorcycles don’t exactly go together,” she pointed out. He nodded soberly, though his eyes had a wicked glint to them. “This is a fact, beautiful. And pretty legs like that, we wouldn’t want to risk.” She leaned against the porch post and stared back at him. “I have a pickup, you know.” She propped one hand on her hip and stared back at him. “Really?” Was that avarice she saw glinting in his eyes, or for just the slightest second, pure, unadulterated joy at the mention of that damned pickup? He looked around. “I haven’t seen a pickup.” “It’s in the garage,” she told him carelessly. “A big black monster with bench seats. Four-by-four gas-guzzling alpha-male steel and chrome.” He grinned. He was so proud of that damned pickup. “Where did something so little come up with a truck that big?” he teased her then. She shrugged. “It belonged to my husband. Now, it belongs to me.” That last statement had his gaze sharpening. “You drive it?” “All the time,” she lied, tormenting him. “I don’t have to worry about pinging it now that my husband is gone. He didn’t like pings.” Did he swallow tighter? “It’s pinged then?” She snorted. “Not hardly. Do you want to drive the monster or question me about it? Or I could change into jeans and we could ride your cycle. Which is it?” Which was it? Noah stared back at her, barely able to contain his shock that she had kept the pickup. He knew for a fact there were times the payments on the house and garage had gone unpaid—his “death” benefits hadn’t been nearly enough—almost risking her loss of both during those first months of his “death.” Knowing she had held on to that damned truck filled him with more pleasure than he could express. Knowing she was going to let someone who wasn’t her husband drive it filled him with horror. The contradictor feelings clashed inside him, and he promised himself he was going to spank her for this.
Lora Leigh (Wild Card (Elite Ops, #1))
Her moral obligation to keep our hearts entwined. Her preeminent love, smelling like life, in a good way, familiar like an ancient woodcut, a private postcard in the midst of a crowd, in an old T-shirt to soak up the memories, committed to recycling life. repairing the nucleus.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
I dismissed this course of action, sensing my own reserves of strengths, but I experimented with the idea and took it as far as I could in a game I christened Bus Stop: on summer nights, I would stretch out on the road in front of my house, on hot, grainy asphalt scattered with sharp bits of gravel, and watch and wait for growling motors, the blinding movement of headlights, and I weighed up the pros and cons, what tied me to life like a blood oath, what left me cold, or tired me out; and when the noise grew sharper, more grating, and when the headlights from the first bend in the road began to cut out the sides of the buildings and project a slow, revolving shadow dance on the wall, I always came back to the same conclusion - that I felt something stir inside me, as hazy and phony as a childhood memory, as insistent as a hit song you'd heard so often you couldn't get its bitterness out of your head, something that promised me a better future, only somewhere else. And I would unpeel myself from the road, I'd pick myself up, what was left of me, what could still be of some use, and slowly make my way back to the pink gravel of the sidewalk, just like the one my little retarded friend was standing on this morning as stoic as an abandoned house awaiting demolition.
Jean-Christophe Valtat (03)
I’m a migrant worker picking frozen peas, and a clodhopper hiding behind a white sheet. I’m a shootout at Ruby Ridge, and a freefall of flames. I am closed for the winter, and crawling in my playpen. I am cold, and quick chatter and beautiful smiles. I am a man missing a limb, and lettuce and tomatoes. I am a palace, and fresh milk and goat cheese. I’m the great emptiness among Cubans, and a job that requires the auditing of truth and lies. I’m a confounding calm that will shatter fear and complacency, and a town full of self-defined renegades and recluses. I’m a public execution, and a lanky husband waiting by the checkout.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
backed out of the drive, the tires spitting up gravel. Shifting into drive, she slammed her foot on the accelerator and flew down the road. The neighborhood was quiet, the sun still hidden, just an orange and pink glow rising through the barren trees. The car bounced over the railroad tracks, jolting her body into the air, smacking her head
E.C. Diskin (Broken Grace)
Instead of continuing on the highway to the gravel road that led to his house, Marlboro Man took an alternate route. “I’ve got to turn some cattle out of the horse trap,” he said. I didn’t even know what that meant, but I was game. He drove through a series of twisted, confusing roads--roads I could never imagine understanding or negotiating myself--and stopped at a pasture full of black cattle. Swinging open a couple of gates, he made a few gestures with his arms--and in no time at all, the cattle had gone where they were supposed to go. This man had a way of getting creatures of all kinds--whether it be bovine animals or redheaded women in their midtwenties--to bend to his influence.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
The Boston marathon bombings, which took place on April 15, 2013, resulted in injuries to 264 people and the deaths of 3 people. In the ensuing police chase, one of the perpetrators, Tamerian Tsarnaev, was shot several times and run over by his own brother Dzhokhar. When the dust finally settled, the Boston funeral home that had volunteered to care for Tamerian’s body required a round the clock police guard. However, no cemetery in New England would accept the body. Weeks later, in desperation, the Boston police department appealed to the public to help them find a cemetery. In rural Virginia, Martha Mullen, sipping coffee at Starbucks, heard that appeal and said to herself, “Somebody needs to do something about that.” She decided to be that somebody. Through her efforts, Tsarnaev’s body finally found a burial place at the end of a long, quiet gravel road off Sadie Lane in Doswell, Virginia. Needless to say, when this was discovered by the local community, all sorts of controversy arose. The people of her county were upset, and the family members of others buried in that cemetery rose up in anger. Reached by reporters from the AP by phone, she was asked what her response was to all of the hubbub. Her explanation was simple. Martha calmly said, “Jesus said love your enemies.” He did say precisely that, and that revolutionary call echoed through two millennia of time to minister to a dead Muslim’s grieving family in Boston. Is it ministering to anybody around you?
Tom Brennan (The Greatest Sermon Ever Preached)
She lives in a town of sorry history, indifferent to ethical perspectives, apathetic to female attributes, cargo and trunk liners, spilled oil in the garage, telephone poles shaped like liquor bottles, sustaining burly weather, cardiac distressing cold, tobacco and mortality, lying face-up on the bar’s concrete floor, no one can waste a life faster than a Montana redneck.
Brian D'Ambrosio (Fresh Oil and Loose Gravel: Road Poetry by Brian D'Ambrosio 1998-2008)
Wherever I may be, peace will be by my side. The tears I so often cried / Will all have dried / Bringing me rays of sunshine and happiness / To fill my life with warmth / And serenity / No longer scorned by the evil of others / A road of my own that I will travel / No hills, no curves, and no gravel. Giving a clear, open way to where I belong / Showing me love and how to be strong.
Rebecca Godfrey (Under the Bridge: The True Story of the Murder of Reena Virk)
Without ever leaving her hide-out in Milledgeville, Georgia, Flannery O’Connor knew all there was to know about the two-lane, dirt and blacktop Southern roads of the 1950s—with their junkyards and tourist courts, gravel pits and pine trees that pressed at the edges of the road. She knew the slogans of the Burma Shave signs, knew the names of barbecue joints and the chicken baskets on their menus. She also knew a backwoods American cadence and vocabulary you’d think was limited to cops, truckers, runaway teens, and patrons of the Teardrop Inn where at midnight somebody could always be counted on to go out to a pickup truck and come back with a shotgun. She was a virtuoso mimic, and she assimilated whole populations of American sounds and voices, and then offered them back to us from time to time in her small fictional detonations, one of which she named, in 1953, “A Good Man Is Hard To Find.
William Caverlee (Amid the Swirling Ghosts: And Other Essays)
Everything had become song. The curve of the road beneath the clouds here, and there the strokes of dark earth, the green and the gray, the torn pink of clay and gravel under fingertips. The consonance was above all that of the muffled shadow and grass to the depths of sky, where a flutter of cheerful feathers quivered. In these dreams there are also black walnut trees, and then a forest that opens in a breeze. Nothing. Nothing more than the obstinate sound of wind.
Deborah Heissler (Comme un morceau de nuit, découpé dans son étoffe)
Weird, how love is,” Izuku talks to the sky, swinging his legs as Katsuki piggybacks him, “Someone can have the ability to crush your heart in the palm of their hands, stab it with words that kill and actions that torture. And you’d still hand it over to them.” Katsuki seemed to not know what to say to this for a while, for the blonde goes silent in what felt like contemplation. He kicked gravel on the road under his feet as he walked, and Izuku just held on. “Why would anyone do that,” Katsuki finally asks, tone genuinely curious, yet cautious. Izuku laughs and looks down at Katsuki’s side profile, mapping the blonde’s jaw, his eyes, the bridge of his nose, “Because, love feels like flying.” Katsuki slows down to a stop, looking ahead, words on the tip of his tongue, before glancing to the side where Izuku was facing, but not exactly looking at the greenette. And Katsuki tells him then, “Everything that flies eventually falls.” Oh .
suffocatingspring (From The Sidelines)
I turn on my heel, which is no easy feat in a gravel parking lot. Not losing eye contact with Galen, I stare him down until I get to the door he's opened for me. He seems unconcerned. In fact, he seems downright emotionless. "This better be good," I tell him as I plop down. "You should have returned my calls. Or my texts," he says, his voice tight. As he backs out of the parking space, I yank my cell out of my purse, perusing the texts. "Well, doesn't look like anyone died, so why the hell did you ruin my date?" It's the first time I've ever cursed at royalty and it's liberating. "Or is this a kidnapping? Is Grom in the trunk? Are you taking us on our honeymoon?" You're supposed to be hurting him, not yourself, moron. My lip trembles like the traitor it is. Even though I'm looking away, I can tell Galen's impassive expression has softened because of the way he says, "Emma." "Leave me alone, Galen." He pulls my chin to face him. I knock his hand away. "You can't go forty miles an hour on the interstate, Galen. You need to speed up.” He sighs and presses the gas. By the time we reach a less-embarrassing speed, I’ve abandoned my hurt for rage-o-plenty, struck by the realization that I’ve turned into “that girl.” Not the one who exchanges her doctorate for some kids and a three-bedroom two-bath, but the other kind. That girl who exchanges her dignity and chances for happiness for some possessive loser who beats her when she makes eye contact with some random guy working the hot dog stand. Not that Galen beats me, but after his little show, what will people think? He acted like a lunatic tonight, stalking me to Atlantic City, blowing up my phone, and threatening my date with physical violence. He made serial-killer eyes, for crying out loud. That might be acceptable in the watery grave, but by dry-land standards, it’s the ingredients for a restraining order. And why are we getting off the interstate? “Where are you taking me? I told you I want to go home.” “We need to talk,” he says quietly, taking a dark road just off the exit. “I’ll take you home after I feel you understand.” “I don’t want to talk. You might have realized that when I didn’t answer your calls.” He pulls over on the shoulder of Where-Freaking-Are-We Street. Shutting off the engine, he turns to me, putting his arm around the back of my seat. “I don’t want to break up.” One Mississippi…two Mississippi…”You followed me like a crazy person to tell me that? You ruined my date for that? Mark is a nice guy. I deserve a nice guy, don’t I, Galen?” “Absolutely. But I happen to be a nice guy, too.” Three Mississippi…four Mississippi…”Don’t you mean Grom? And you’re not a nice guy. You threatened Mark with physical pain.” “You threw Rayna through a window. Call it even?” “When are you going to get over that? Besides, she provoked me!” “Mark provoked me, too. He put his hand on your leg. We won’t even talk about the kiss on your cheek. Don’t think I didn’t hear you give him permission either.” “Oh, now that’s rich,” I snort, getting out of the car. Slamming the door, I scream at him. “Now you’re acting jealous on behalf of your brother,” I say, spinning in place. “Can Grom do anything without the almighty Galen helping him?
Anna Banks (Of Poseidon (The Syrena Legacy, #1))
But there was no lift or any excitement in his heart. That was all gone and there was nothing but a calmness. And now, as he crouched behind the marker stone with the looped wire in his hand and another loop of it around his wrist and the gravel beside the road under his knees he was not lonely nor did he feel in any way alone. He was one with the wire in his hand and one with the bridge, and one with the charges the Inglés had placed. He was one with the Inglés still working under the bridge and he was one with all of the battle and with the Republic.
Ernest Hemingway (For Whom the Bell Tolls)
The creek at night under the moon was just enough like the creek in daylight to be reassuring. There was the deadfall spruce that sieved the current with skeleton branches, churning a line of pale foam. There was the long pool above, a dark mirror of tree shadows and beacon moon. There were the gravel bars, chalky, shaped to the banks and swept into low moraines that divided the water. There the sky, softened as if by a thin fog of moonlight, filling the canyon. For a moment I forgot my preoccupation with the dark and drove up the road with that awe I felt before certain paintings in certain museums, the awe in which I disappeared.
Peter Heller (The Painter)
The horse looked at him and it looked at the dog. He crossed the room and went out in the rain and walked around the side of the building. When he came back he had in his fist a threefoot length of waterpipe and with it he advanced upon the dog. Go on, he shouted. Git. The dog rose moaning and slouched away down the wall and limped out into the yard. When he turned to go back to his blankets it slank past him into the building again. He turned and ran at it with the pipe and it scrabbled away. He followed it. Outside it had stopped at the edge of the road and it stood in the rain looking back. It had perhaps once been a hunting dog, perhaps left for dead in the mountains or by some highwayside. Repository of ten thousand indignities and the harbinger of God knew what. He bent and clawed up a handful of small rocks from the gravel apron and slung them. The dog raised its misshapen head and howled weirdly. He advanced upon it and it set off up the road. He ran after it and threw more rocks and shouted at it and he slung the length of pipe. It went clanging and skittering up the road behind the dog and the dog howled again and began to run, hobbling brokenly on its twisted legs with the strange head agoggle on its neck. As it went it raised its mouth sideways and howled again with a terrible sound. Something not of this earth. As if some awful composite of grief had broke through from the preterite world. It tottered away up the road in the rain on its stricken legs and as it went it howled again and again in its heart’s despair until it was gone from all sight and all sound in the night’s onset.
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
wanted to sit down in the middle of the road and stay there for the rest of my life. Whenever someone came by and said, Hey, Cecilia, what’re you doing there in the road, I’d tell them, missing people was a full-time job, being sorry about what was gone was going to take every waking minute now, so much time and energy that I had no choice but to stay right on that spot until they all decided to come back. I meant it as a joke at first, but then I looked down at the gravel and I really thought about it. I couldn’t wait for them. They weren’t coming back. I’d been trying all my life to figure out what was going on, with my mother, with all those girls that come and then go away. But now I wanted to forget. Right then I decided, as much as I’d wanted to know before, from here on out I didn’t want to know at all.
Ann Patchett (The Patron Saint of Liars)
Dangerous and indifferent ground: against its fixed mass the tragedies of people count for nothing although the signs of misadventure are everywhere. No past slaughter nor cruelty, no accident nor murder that occurs on the little ranches or at the isolate crossroads with their bare populations of three or seventeen, or in the reckless trailer courts of mining towns delays the flood of morning light. Fences, cattle, roads, refineries, mines, gravel pits, traffic lights, graffiti'd celebration of athletic victory on bridge overpass, crust of blood of the Wal-Mart loading dock, the sun-faded wreaths of plastic flowers marking death on a highway are ephemeral. Other cultures have camped here a while and disappeared. Only earth and sky matter. Only the endlessly repeated flood of morning light. You begin to see that God does not owe us much beyond that.
Annie Proulx (Close Range: Wyoming Stories)
The road climbed higher into the mountains of Nikko National Park, the terraced farm fields giving way grudgingly to forests of tiny trees that seemed to be trimmed, the growth around them carefully cultivated. From a narrow defile the car was passed through a massive wooden gate that swung on a huge arch ornately carved with the figures of fierce dragons. From there a perfectly maintained road of crushed white gravel led up the valley to a broad forested ledge through which a narrow stream bubbled and plunged over the sheer edge. The view from the top was breathtaking. Perched on the far edge was a traditionally styled Japanese house, low to the ground and rambling in every direction. Tiled roofs, rice-paper screens and walls, carved beams, courtyards, broad verandas, gardens, ponds, and ancient statues and figures gave the spot an unreal air, as if it were a setting in a fairy tale
David Hagberg (High Flight (Kirk McGarvey, #5))
By the time Bond had taken in these details, he had come to within fifty yards of the two men. He was reflecting on the ranges of various types of weapon and the possibilities of cover when an extraordinary and terrible scene was enacted. Red-man seemed to give a short nod to Blue-man. With a quick movement Blue-man unslung his blue camera case. Blue-man, and Bond could not see exactly as the trunk of a plane-tree beside him just then intervened to obscure his vision, bent forward and seemed to fiddle with the case. Then with a blinding flash of white light there was the ear-splitting crack of a monstrous explosion and Bond, despite the protection of the tree-trunk, was slammed down to the pavement by a solid bolt of hot air which dented his cheeks and stomach as if they had been made of paper. He lay, gazing up at the sun, while the air (or so it seemed to him) went on twanging with the explosion as if someone had hit the bass register of a piano with a sledgehammer. When, dazed and half-conscious, he raised himself on one knee, a ghastly rain of pieces of flesh and shreds of blood-soaked clothing fell on him and around him, mingled with branches and gravel. Then a shower of small twigs and leaves. From all sides came the sharp tinkle of falling glass. Above in the sky hung a mushroom of black smoke which rose and dissolved as he drunkenly watched it. There was an obscene smell of high explosive, of burning wood, and of, yes, that was it – roast mutton. For fifty yards down the boulevard the trees were leafless and charred. Opposite, two of them had snapped off near the base and lay drunkenly across the road. Between them there was a still smoking crater. Of the two men in straw hats, there remained absolutely nothing. But there were red traces on the road, and on the pavements and against the trunks of the trees, and there were glittering shreds high up in the branches. Bond felt himself starting to vomit. It was Mathis who got to him first, and by that time Bond was standing with his arm round the tree which had saved his life.
Ian Fleming (Casino Royale (James Bond, #1))
Hunter filled the opening in the privacy curtains. He wore green scrubs like the doctors and nurses who had scraped me off the pavement. For a split second I mistook him for an adorable doctor who looked a lot like Hunter. I knew it was Hunter when he gaped at me with a mixture of outrage and horror, his face pale, and demanded, “What did you do?” “Crossed the street,” I said. “Badly.” Wincing, I eased up from the gurney, putting my weight on my hand and my good hip. Only a few minutes had passed since they had brought me in, ascertained I wasn’t dying, and dumped me here. I still felt very shaky from the shock of being hit. But I didn’t want to face Hunter lying down. In two steps he bent over me and wrapped his arms around me. He was careful not to press on my hospital gown low against my back where the road rash was, but his touch on my shoulders radiated pain to the raw parts. I winced again. “Oh, God. I’m sorry.” He let me go but hovered over me, placing his big hands on my shoulder blades. He was so close that the air felt hot between us. “What did you hurt?” “This is just where I skidded across the road.” I gestured behind my back and then flinched at the sting in my skin as I moved my arm. “How far down does it go?” My back felt cold as he lifted on flap of my paper gown and looked. I kept my head down, my red cheeks hidden. He was peering at my back where my skin was missing. What could be sexier? Even if the circumstances had been happier, I was wearing no makeup and I was sure my hair was matted from my scarf. There was no reason for my blood to heat as if we were on a date instead of a gurney. But my body did not listen to logic when it came to Hunter. He was no examining my wound. He was captivated by the sight of my lovely and unblemished bottom. I was a novelist. I could dream, couldn’t I? Lightly I asked, “Are you asking whether I have gravel embedded in my ass? By the grace of God, no.” Hunter let my gown go and stood up “The doc said the car hit your hip,” he insisted. “Is it broken?” I rolled on my side to face him. “It really hurts,” I said. “If it were broken, I think it would hurt worse.” He nodded. “When I broke my ribs, I couldn’t breathe.” “That’s because your ribs punctured your lung.” He pointed at me. “True.” Then he cocked his head to one side, blond hair falling into his eyes. “I’m surprised you remember that.
Jennifer Echols (Love Story)
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)
In the meantime, I tried my best to acclimate to my new life in the middle of nowhere. I had to get used to the fact that I lived twenty miles from the nearest grocery store. That I couldn’t just run next door when I ran out of eggs. That there was no such thing as sushi. Not that it would matter, anyway. No cowboy on the ranch would touch it. That’s bait, they’d say, laughing at any city person who would convince themselves that such a food was tasty. And the trash truck: there wasn’t one. In this strange new land, there was no infrastructure for dealing with trash. There were cows in my yard, and they pooped everywhere--on the porch, in the yard, even on my car if they happened to be walking near it when they dropped a load. There wasn’t a yard crew to clean it up. I wanted to hire people, but there were no people. The reality of my situation grew more crystal clear every day. One morning, after I choked down a bowl of cereal, I looked outside the window and saw a mountain lion siting on the hood of my car, licking his paws--likely, I imagined, after tearing a neighboring rancher’s wife from limb to limb and eating her for breakfast. I darted to the phone and called Marlboro Man, telling him there was a mountain lion sitting on my car. My heart beat inside my chest. I had no idea mountain lions were indigenous to the area. “It’s probably just a bobcat,” Marlboro Man reassured me. I didn’t believe him. “No way--it’s huge,” I cried. “It’s seriously got to be a mountain lion!” “I’ve gotta go,” he said. Cows mooed in the background. I hung up the phone, incredulous at Marlboro Man’s lack of concern, and banged on the window with the palm of my hand, hoping to scare the wild cat away. But it only looked up and stared at me through the window, imagining me on a plate with a side of pureed trout. My courtship with Marlboro Man, filled with fizzy romance, hadn’t prepared me for any of this; not the mice I heard scratching in the wall next to my bed, not the flat tires I got from driving my car up and down the jagged gravel roads. Before I got married, I didn’t know how to use a jack or a crowbar…and I didn’t want to have to learn now. I didn’t want to know that the smell in the laundry room was a dead rodent. I’d never smelled a dead rodent in my life: why, when I was supposed to be a young, euphoric newlywed, was I being forced to smell one now? During the day, I was cranky. At night, I was a mess. I hadn’t slept through the night once since we returned from our honeymoon. Besides the nausea, whose second evil wave typically hit right at bedtime, I was downright spooked. As I lay next to Marlboro Man, who slept like a baby every night, I thought of monsters and serial killers: Freddy Krueger and Michael Myers, Ted Bundy and Charles Manson. In the utter silence of the country, every tiny sound was amplified; I was certain if I let myself go to sleep, the murderer outside our window would get me.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
It’s just a kiss,” she says softly. “Why are you all torn up about a kiss?” She’s studying me way too closely. “I’m not torn up,” I protest. “You’ve been moping ever since I told you about the fundraiser, Sean,” she says. “What’s your problem? It’s for charity, for God’s sake.” She lays her free hand on her chest. “My kiss is going to feed victims of domestic violence. I’m doing my part for a better community.” I look down at her mouth. God, I could just slide my fingers into her hair, pull her to me, and kiss her right here and now. But I won’t. Because she doesn’t want me. “I can’t believe you’re going kiss some stranger,” I bite out. “Don’t do it.” “I’ve kissed men before, Sean,” she reminds me. I wish she would keep that shit to herself. “What if it’s some big, goofy guy with really bad breath?” I ask. “What if it’s some big, brawny guy who smells like you and kisses like a god?” she asks. She smiles, the corners of her lips tilting up so prettily. Her fingertips touch my forearm lightly, and she traces the tattoos that decorate my arm from wrist to shoulder. Every hair on my body stands up, and I lift my hand from her knee and thread my fingers with hers so she’ll stop. “If I’m lucky, he’ll be all tatted up, too.” She looks off into the distance, her gaze no longer on me. “Honey, if you want to kiss someone who looks like me and smells like me, I think I can accommodate you so you don’t have to kiss some stranger.” Her eyes shift back to meet mine, and she may as well have just punched me in the gut. She looks into my eyes and stares as if she’s looking into my soul. She can look into it anytime. Shit, I’d give it to her, if she wanted it. But it’s not me she wants. She’s made that abundantly clear. “If I ever kissed you, I would never be able to stop,” I say quietly. My voice sounds like it’s been dragged down a gravel road and back, and I fucking hate that she can affect me this way. “Prove it,” she says, and then she licks her cherry-red lips. She doesn’t break eye contact. I move quickly. This is the first time she’s ever made an offer like this, and my gut tells me that she’s going to take it back. I cup her neck with my palm and pull her toward me. My gentle tug brings her flush against my chest, and the weight of her settles against me and feels so right. Her lips are so close to mine that her inhale is my exhale. My hand quivers as it holds her nape, so I work my fingers into the hair at the back of her head. I hold her still and look into her green eyes. “Tell me you want me to kiss you and you got me, honey,” I whisper. She shivers and inches up my chest ever so slightly, her mouth moving closer to mine. So close. Just a little closer. I can almost taste her. “I want you to kiss me,” she whispers. “Please.” Suddenly, the door opens, and Lacey jumps up, separating us in one final, powerful leap. Fuck. I pull the pillow from behind my head and shove it in my lap, sitting up on the side of the bed. Friday,
Tammy Falkner (Just Jelly Beans and Jealousy (The Reed Brothers, #3.4))
The world is dead, The Samurai, moving among the inert metal of pumps and lines and distillation columns, over the concrete apron in which the plants were constructed, over gravel brought from the Prospect quarries. it is a world of age-old stones - picking up a piece of gravel in which glinted minerals unknown to him - of basalt chiped from mountains long ago, lying around on roads, lying under hills waiting to be plundered. And laughing at humans. These dead rocks were all of them older than the human race which trod them. each fragment had an immortality. Humans rotted away into the soil in an instant of time. What was the power he had that enabled him to lift this fragment of eternity in his hand and decide where to throw it? What had been breathed into his fragile dust that seemed for his instant of life to mock the inertia of the rock? Was his own existence supported by a paper warrant somewhere? He drew back from following these thoughts. There was a power in him, or rather power came to him that made him stronger than he needed to be. A power that blew up certain feelings to an enormous size, a secret power. Was he so different from the men around him? What was the mission that he had been born to perform? He deliberately relaxed. As he looked about him with a new mood the whole world filled with love. Even the dirt underfoot was sympathetic and grateful. he could love these random stones, these heaps of inert, formed metal so far now from where they were mined. He could love the soil itself and everything that was. He needed, at the moment, no written justification of his existence.
David Ireland
Top Dog" If I could, I would take your grief, dig it up out of the horseradish field and grate it into something red and hot to sauce the shellfish. I would take the lock of hair you put in the locket and carry it in my hand, I would make the light strike everything the way it hit the Bay Bridge, turning the ironwork at sunset into waffles. If I could, I would blow your socks off, they would travel far, always in unison, past the dead men running, past the cranes standing in snow, beyond the roads we rode, so small in our little car, it was like riding in a miner's helmet. If I could I would make everyone vote and call their public servants to say, “No one was meant for this.” I would go back to the afternoon we made love in the tall grass under the full sun not far from the ravine where the old owner had flung hundreds of mink cages. I would memorize gateways to the afterworld, the electric third rail, the blond braid our girl has hanging down her back, the black guppy we killed at our friends’ when we unplugged the bubbler and the fish floated to the top, one eye up at the ceiling, the other at the blue gravel on the bottom of the tank. I would beg an audience with Sister Lucia, the last living of the children visited by Our Lady of Fatima, I would ask her about the weight of secrets, if they let her sleep or if she woke at night with a body on her body, if the body said, “Let's play top dog, first I'll lie on you, then you lie on me.” I would ask how she lived with revelation, the normal state of affairs amplified beyond God, bumped up to the Virgin Mother, who no doubt knew a few things, passed them on, quietly, and I would ask Lucia how she lived with knowing, how she could keep it under her hat, under wraps, button up, zip her lip, play it close to the vest, never telling, never using truth as a weapon.
Barbara Ras (Bite Every Sorrow: Poems (Walt Whitman Award of the Academy of American Poets))
I hopped in the car and headed toward the ranch. I almost fell asleep at the wheel. Twice. Marlboro Man met me at the road that led to his parents’ house, and I followed him down five miles of graveled darkness. When we pulled into the paved drive, I saw the figure of his mother through the kitchen window. She was sipping coffee. My stomach gurgled. I should have eaten something. A croissant, back at my parents’ house. A bowl of Grape-Nuts, maybe. Heck, a Twinkie at QuikTrip would have been nice. My stomach was in knots. When I exited the car, Marlboro Man was there. Shielded by the dark of the morning, we were free to greet each other not only with a close, romantic hug but also a soft, sweet kiss. I was glad I’d remembered to brush my teeth. “You made it,” he said, smiling and rubbing my lower back. “Yep,” I replied, concealing a yawn. “And I got a five-mile run in before I came. I feel awesome.” “Uh-huh,” he said, taking my hand and heading toward the house. “I sure wish I were a morning person like you.” When we walked into the house, his parents were standing in the foyer. “Hey!” his dad said with a gravelly voice the likes of which I’d never heard before. Marlboro Man came by it honestly. “Hello,” his mom said warmly. They were there to welcome me. Their house smelled deliciously like leather. “Hi,” I said. “I’m Ree.” I reached out and shook their hands. “You sure look nice this morning,” his mom remarked. She looked comfortable, as if she’d rolled out of bed and thrown on the first thing she’d found. She looked natural, like she hadn’t set her alarm for 3:40 A.M. so she could be sure to get on all nine layers of mascara. She was wearing tennis shoes. She looked at ease. She looked beautiful. My palms felt clammy. “She always looks nice,” Marlboro Man said to his mom, touching my back lightly. I wished I hadn’t curled my hair. That was a little over-the-top. That, and the charcoal eyeliner. And the raspberry shimmer lip gloss.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
We needed to drive down the road a couple of miles to meet the rest of the cowboys and gather the cattle from there. “Mom, why don’t you and Ree go ahead in her car and we’ll be right behind you,” Marlboro Man directed. His mother and I walked outside, climbed in the car, and headed down the road. We exchanged pleasant small talk. She was poised and genuine, and I chattered away, relieved that she was so approachable. Then, about a mile into our journey, she casually mentioned, “You might watch that turn up ahead; it’s a little sharp.” “Oh, okay,” I replied, not really listening. Clearly she didn’t know I’d been an L.A. driver for years. Driving was not a problem for me. Almost immediately, I saw a ninety-degree turn right in front of my face, pointing its finger at me and laughing--cackling--at my predicament. I whipped the steering wheel to the left as quickly as I could, skidding on the gravel and stirring up dust. But it was no use--the turn got the better of me, and my car came to rest awkwardly in the ditch, the passenger side a good four feet lower than mine. Marlboro Man’s mother was fine. Lucky for her, there’s really nothing with which to collide on an isolated cattle ranch--no overpasses or concrete dividers or retaining walls or other vehicles. I was fine, too--physically, anyway. My hands were trembling violently. My armpits began to gush perspiration. My car was stuck, the right two tires wedged inextricably in a deep crevice of earth on the side of the road. On the list of the Top Ten Things I’d Want Not to Happen on the First Meeting Between My Boyfriend’s Mother and Me, this would rate about number four. “Oh my word,” I said. “I’m sorry about that.” “Oh, don’t worry about it,” she reassured, looking out the window. “I just hope your car’s okay.” Marlboro Man and his dad pulled up beside us, and they both hopped out of the pickup. Opening my door, Marlboro Man said, “You guys okay?” “We’re fine,” his mother said. “We just got a little busy talking.” I was Lucille Ball. Lucille Ball on steroids and speed and vodka. I was a joke, a caricature, a freak. This couldn’t possibly be happening to me. Not today. Not now. “Okay, I’ll just go home now,” I said, covering my face with my hands. I wanted to be someone else. A normal person, maybe. A good driver, perhaps. Marlboro Man examined my tires, which were completely torn up. “You’re not goin’ anywhere, actually. You guys hop in the pickup.” My car was down for the count.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
Our team’s vision for the facility was a cross between a shooting range and a country club for special forces personnel. Clients would be able to schedule all manner of training courses in advance, and the gear and support personnel would be waiting when they arrived. There’d be seven shooting ranges with high gravel berms to cut down noise and absorb bullets, and we’d carve a grass airstrip, and have a special driving track to practice high-speed chases and real “defensive driving”—the stuff that happens when your convoy is ambushed. There would be a bunkhouse to sleep seventy. And nearby, the main headquarters would have the feel of a hunting lodge, with timber framing and high stone walls, with a large central fireplace where people could gather after a day on the ranges. This was the community I enjoyed; we never intended to send anyone oversees. This chunk of the Tar Heel State was my “Field of Dreams.” I bought thirty-one hundred acres—roughly five square miles of land, plenty of territory to catch even the most wayward bullets—for $900,000. We broke ground in June 1997, and immediately began learning about do-it-yourself entrepreneurship. That land was ugly: Logging the previous year had left a moonscape of tree stumps and tangled roots lorded over by mosquitoes and poisonous creatures. I killed a snake the first twelve times I went to the property. The heat was miserable. While a local construction company carved the shooting ranges and the lake, our small team installed the culverts and forged new roads and planted the Southern pine utility poles to support the electrical wiring. The basic site work was done in about ninety days—and then we had to figure out what to call the place. The leading contender, “Hampton Roads Tactical Shooting Center,” was professional, but pretty uptight. “Tidewater Institute for Tactical Shooting” had legs, but the acronym wouldn’t have helped us much. But then, as we slogged across the property and excavated ditches, an incessant charcoal mud covered our boots and machinery, and we watched as each new hole was swallowed by that relentless peat-stained black water. Blackwater, we agreed, was a name. Meanwhile, within days of being installed, the Southern pine poles had been slashed by massive black bears marking their territory, as the animals had done there since long before the Europeans settled the New World. We were part of this land now, and from that heritage we took our original logo: a bear paw surrounded by the stylized crosshairs of a rifle scope.
Anonymous
From the gravel road, they all strained to see the old sycamore, but after a few seconds of focusing it was apparent there was a man hanging from it. Calvin told them everything he knew. The deputies decided it was best to proceed as if a crime had been committed, and they prohibited the ambulance crew from approaching the scene.
John Grisham (Sycamore Row (Jake Brigance, #2))
house. • Useful
Wendy Laird (The Road Less Graveled (Kindle Single))
Useful Italian Phrase: “Non, grazie, non voglio ascoltare Mike Mulligan and his Steamsh‑— va bene.” (No, thank you, I don’t want to listen to Mike Mulligan and his Steamsh‑— oh, all right.) 16.
Wendy Laird (The Road Less Graveled (Kindle Single))
Useful Italian Phrase: “Un caffè, per favore. E posso vedere la lista dolci?”(A coffee, please. And can I see the dessert menu?)
Wendy Laird (The Road Less Graveled (Kindle Single))
I reach up to my hair, lifting it, squeezing water out of it down my back, and I know that the movement summons Luca’s attention back to me. I can feel his eyes on me now as I move closer to Evan on the lounger, looking at his hands moving on the strings, the typical girl admiring a boy playing a guitar. Evan flashes me a smile and keeps strumming away, quite unaware of the little drama being enacted around him. “Don’t forget, Vio-let,” he croons softly. And though I can’t really sing, not properly, I know the tune now, and my head leans in toward his as I join in on the last two words: “Dive in!” He finishes on a last, rising chord and lifts his head, our faces close now. The sunshine beats down on us; the blue water of the swimming pool glints brightly in the heat, the breeze raising tiny ripples on the surface. Evan’s eyes are as clear and blue as the water, with no hidden currents, no unexpected, dangerous undertow. The rosemary and lavender bushes planted around the verge are wafting a lovely, sun-warmed scent, bees buzzing in the lavender. It’s paradise. It should be paradise. In the parking lot below, tires screech. We all jump. Luca must be executing the tightest, sharpest three-point turn in history: the car scrapes, churns, tears up the gravel, and shoots out of the lot and down the drive so fast we wince. It snaps back and forth like Road Runner as he speeds downhill. Only a very good driver could make those switchback turns so fast without crashing--and he’s very lucky he didn’t meet anyone coming up. “Wow! I guess they have somewhere they really need to be,” Paige observes. “More like someone to get away from,” Kelly says dryly under her breath, so only I can hear her.
Lauren Henderson (Kissing in Italian (Flirting in Italian, #2))
HE WOKE WITHOUT A SOUND, his bones knowing it was time. Both eyes scraped open, followed a crack across gray ceiling, seeing a lonely road through wilderness. His bare back registered a rumpled sheet below the left shoulder blade. Gold light glowed behind a green curtain; darkness was finally arriving in Alaska. He had been awake less than ten seconds when his mind began projecting images of roadway slipping under a motorcycle wheel. Like an athlete visualizing ideal form he saw gravel for eight kilometers, asphalt for the next fifteen, mud for three…on and on south to the river. The road held many ways to fail.
Joe Klingler (RATS)
spitting up gravel. Shifting into drive, she slammed her foot on the accelerator and flew down the road. The neighborhood was quiet, the sun still hidden, just an orange and pink glow rising
E.C. Diskin (Broken Grace)
And he would have killed to have a piece of you still with him after you’d left.
Stephie Walls (Gravel Road (The Journey Collection #1))
The county would grow used to hearing the wail of sirens in the middle of the night, the sound of engines and tankers crunching over gravel. The county would see landmarks go up in flames and neighbors eye one another with suspicion at the grocery store. At night, the roads would transform into a sea of checkpoints and cop cars; citizens trying to get home while Accomack turned into a police state and the county lit up around them. The county went about its business. The county burned down.
Monica Hesse (American Fire: Love, Arson, and Life in a Vanishing Land)
I hadn’t been much help packing for the trip. I was accustomed to America, where I was always within striking distance of a grocery store, gas station, or equipment supply. The Australian bush wasn’t like that. Parts of the Burdekin were dangerously remote, and these, of course, were the parts where we were headed. Steve had to pack his own fuel, water, food, spare tires, boat, engine, and extra parts. He loaded up the Ute. Swags went in, but no tent. We would be sleeping under the stars. As we headed out, it came to light that this would be a sixteen-hour trip--and the driving would be shared. “Remember one thing,” Steve said as he climbed over the seat. “If you see a road train coming, you’ve got to get clear off the road.” “Okay,” I agreed. “But I need you to explain what a road train is.” I learned that long-distance truckers in the outback drive huge rigs--double-deckers that are three trailers long. “Okay, great,” I said. “Drive on the left, and watch out for road trains. Got it.” Steve climbed into the back under the canvas canopy and stretched out on top of one of the swags. I wasn’t worried about falling asleep while I was driving. I was too nervous to be sleepy. The farther north I drove, the smaller the roads became. Cars were few and far between. I saw the headlights of an oncoming Ute. Maybe I’ll practice pulling off the road, I thought. I miscalculated the speed of the oncoming vehicle, slowed down more abruptly than I intended, and pulled completely onto the soft gravel shoulder. The draft of the passing truck hit our Ute like a sonic boom--it was a giant beast with a huge welded bull bar on its front and triple trailers behind. The road train flew past us doing every bit of seventy-five miles per hour, never slowing down. I realized that if I hadn’t pulled over, I would have probably been knocked off the face of the earth. I imagined a small paragraph buried deep inside the Eugene Register-Guard, my hometown newspaper: “Oregon Woman Bites the Dust.” Road trains owned the road, but I had passed my first test. I could do this! I should not have spoken so soon.
Terri Irwin (Steve & Me)
The small town of Kasane stands on the high veld plains of the northern horn of Botswana, a tourist haven shouldering the economy of the small but rich country. The town is located some one thousand kilometers north-east of the Capital City, Gaborone, with its hard blue skies and river-clear air, Kasane is a piece of paradise in this desert region; a shit-hole for the natives apparently as I was to learn, but still the place is a slice of heaven for tourists coming from outside. At the center of the small town resides an underrated true wonder of nature. A place called Plateau from which one can observe a pack of lions stalking a herd of Zebras; wildebeests crowded together like bees; a fish eagle splashing against the slow moving river and come out bearing a fighting catfish; herds of elephants and Buffaloes grazing and browsing the green mass of flora that escorts what seems like a coiling dark green phantom. The entire place below Plateau to the north is a wide array of interconnected channels, caressed on the sides by tall evergreen grass. The true wonder that is the exemplar of the Chobe District. The gravel to the height of ‘Plateau’ snakes through tall, fat baobab trees rising and falling, offering breathtaking views of the dense ridges, then dipping into creeks filled with clusters of dilapidated shacks and mobile homes with junk cars and abandoned road construction machinery scattered about. It clings to more defined creeks with shallow rapids and water clear enough to drink.
Thabo Katlholo
periwinkle flowers. Here and there were gravel turnouts that led up to blank and brooding houses, but neither Rachel nor DeVontay were inclined to stop and explore them. Experience suggested such places were more likely to harbor danger than supplies. Not that the open road was much safer, but at least their options were more appealing—fight or flight rather than fight or die. “I thought you were done with that philosophical stuff,” DeVontay said. “I’m done with asking why, but not with wondering what’s next.” Rachel scanned the surrounding vegetation
Scott Nicholson (Afterburn (Next, #1))
Through the trees there was a motion, a person walking on the road. Isabelle watched as the girl - it was Amy - moving slowly and with her head down, came up the gravel driveway. The sight of her pained Isabelle. It pained her terribly to see her, but why? Because she looked unhappy, her shoulders slumped like that, her neck thrust forward, walking slowly, just about dragging her feet. This was Isabelle's daughter; this was Isabelle's fault. She hadn't done it right, being a mother, and this youthful desolation walking up the driveway was exactly proof of that. But then Amy straightened up, glancing toward the house with a wary squint, and she seemed transformed to Isabelle, suddenly a presence to be reckoned with. Her limbs were long and even, her breasts beneath her T-shirt seemed round and right, neither large or small, only part of some pleasing symmetry; her face looked intelligent and shrewd. Isabelle, sitting motionless in her chair, felt intimidated. And angry. The anger arrived in one quick thrust. It was the sight of her daughter's body that angered her. It was not the girl's unpleasantness, or even the fact that she had been lying to Isabelle for so many months, nor did Isabelle hate Amy for taken up all the space in her life. She hated Amy because the girl had been enjoying the sexual pleasures of a man, while she herself had not.
Elizabeth Strout (Amy and Isabelle)
Not a single breath of air stirred in the light fabric at the windows. Moonlight flooded the garden with a cold radiance that slivered every leaf and glittered the gravel path. Shanghai was exciting, but it was too dense, too clamorous. Even though my little house was sheltered behind brick walls, I always sensed an undercurrent of noise, the hum of traffic from busy Avenue Joffre a few blocks away. I missed the quiet of evenings at Dragon Springs Road, when you could hear the rustle of vines as the air cooled and breezes lifted, when a restful silence descended, encouraging nocturnal creatures to venture out.
Janie Chang (Dragon Springs Road)
This time it was longer, more drawn out, pleasure being dragged down a gravel road.
Amy Lane (Christmas Kitsch)
But my throat’s tight as hell, and all I can get out is, “I’m sorry, baby.” A frown knits her brows together. “For what?” “For what I’m about to do.” Heart pounding, I slip my hand into my pocket. “Because you know making sure that you have choices is my number one priority. But I’m not giving you a choice now.” The confusion creasing her brow smooths into utter astonishment when I hold up the ring between us. The diamond’s sparkle gleams in the sudden tears pooling in her eyes. I begin speaking, fear and hope crashing together in every gruff word. “You can choose winter, summer, spring, or fall. You can choose a big wedding or a small. You can choose to invite thousands of people, or just our family. You can choose to do it here, or the church down the road, or in a fucking castle in Transylvania. You can choose between a honeymoon in Paris or hiking up Everest or a road trip or a month holed up in a flea-bitten hotel.” Filled with emotion, my voice roughens to pure gravel. “The only thing you can’t choose is your answer. It’s yes.
Kati Wilde (Going Nowhere Fast)
But my throat’s tight as hell, and all I can get out is, “I’m sorry, baby.” A frown knits her brows together. “For what?” “For what I’m about to do.” Heart pounding, I slip my hand into my pocket. “Because you know making sure that you have choices is my number one priority. But I’m not giving you a choice now.” The confusion creasing her brow smooths into utter astonishment when I hold up the ring between us. The diamond’s sparkle gleams in the sudden tears pooling in her eyes. I begin speaking, fear and hope crashing together in every gruff word. “You can choose winter, summer, spring, or fall. You can choose a big wedding or a small. You can choose to invite thousands of people, or just our family. You can choose to do it here, or the church down the road, or in a fucking castle in Transylvania. You can choose between a honeymoon in Paris or hiking up Everest or a road trip or a month holed up in a flea-bitten hotel.” Filled with emotion, my voice roughens to pure gravel. “The only thing you can’t choose is your answer. It’s yes.
Kati Wilde (Going Nowhere Fast)
Cherry Hill, like most local wineries, is on a peninsula that juts into the vast expanse of Lake Michigan’s northernmost curve. The vineyards sprawl across gently rolling hills on either side of the long gravel road that brings us to the winery itself, all sleek glass, balsa wood, and corrugated metal. The parking lot is jammed, the gardens that encircle it bursting with colorful blooms, all tinted pinkish by the setting sun. Out beyond the flowers and hedges, whitewashed tables dot a grassy stretch, customers milling from the bocce court on one end to a duck pond at the other, delicately stemmed glasses in hand. Globe lights hang over the seating area, just waiting for the falling night to give them the cue to light up.
Emily Henry (Funny Story)
glanced in the mirror and saw him still there but did not summon him, his presence alone a flag that could one day be raised should anything come. She did not know how they sifted through so much human debris, allocating hairs to heads, skin to bodies. When they were done, she watched the van press the gravel deep as it followed the trees and curved out onto the road. “You stood there seven hours,” she said, as he walked over, that slight limp still catching in her throat. “When will you hear?” She shrugged because she did not know. It was an act built on favors she would one day have to repay.
Chris Whitaker (All the Colors of the Dark)
Twenty unsettling minutes later she dropped the pen on her stack of papers, and then leaned back in her chair. The time seemed to be dragging like a immobile car without tires hooked to a tow-truck with square wheels traveling cautiously down a road of fresh gravel. Tess struggled to maintain focus, similar to how an alternator belt would struggle if it had to try to keep traction on a turn spindle that had been lubricated after an antifreeze leak. And similar to the—would be—alternator on the sidelines of that metaphor, Tess’s enthusiasm for her after hours work was having difficulty in keeping charged up also.
Calvin W. Allison (Strong Love Church)
passed through the town before they knew it. Aunt Claire continued down Main Street and five minutes later she pulled onto an unmarked gravel road. The road wound through a thick stand of pine trees before ending at a grassy
Roderick J. Robison (Island Dresses (girls books ages 9-12))
GRACE’S HANDS SHOOK AS SHE TRIED to put the key in the ignition. She looked back at the house, threw the gear in reverse, and backed out of the drive, the tires spitting up gravel. Shifting into drive, she slammed her foot on the accelerator and flew down the road. The neighborhood was quiet, the sun still hidden, just an orange and pink glow rising through the barren trees. The car bounced over the railroad tracks, jolting her body into the air, smacking her head against the roof. She slowed as she reached Red Arrow Highway and made a right onto the empty road.
E.C. Diskin (Broken Grace)
There was an engine approaching. Sounded like a truck to the boy. And now he thought he could hear the crunching of tires on the gravel access road that skirted the reservoir.
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
A country road, a gravel road, is a sign of civilization, sure, but it’s just a farm, an easy conquest. Iron means a stronghold, people who can defend what’s theirs.
Kathy Bryson, Fighting Mad
The sunrise was the most amazing part of the day. The quiet of the block seemed even more silent when I watched the light make its way effortlessly into the world. Its serenity bathed itself in the rose colored light above bleeding into the sky. The road was vulnerable. The pink and the orange seeped onto the street and lit up my path, just for me. I saw it in front of my feet and it pulled me forward, my footsteps hitting the gravel. I wanted to run into it, to dive feet first and plunge into the harmony of my safe haven. It serenaded me into a calm sense of security. A calm idea that everything was just the way it was supposed to, and everything else, would always get better. Siempre mejorando.
Adriana Rodrigues (Protect These Streets)