Gurney Quotes

We've searched our database for all the quotes and captions related to Gurney. Here they are! All 100 of them:

What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood's a thing for cattle or making love or playing the baliset. It's not for fighting.
Frank Herbert (Dune (Dune, #1))
The stories people tell you about themselves seem to retain the possibility of being false. But what you discover about them by yourself seems to be the truth.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
Behold, as a wild ass in the desert, go I forth to my work.
Frank Herbert (Dune (Dune, #1))
Sometimes, when we lose ourselves in fear and despair, in routine and constancy, in hopelessness and tragedy, we can thank God for Bavarian sugar cookies. And, fortunately, when there aren't any cookies, we can still find reassurance in a familiar hand on our skin, or a kind and loving gesture, or subtle encouragement, or a loving embrace, or an offer of comfort, not to mention hospital gurneys and nose plugs, an uneaten Danish, soft-spoken secrets, and Fender Stratocasters, and maybe the occasional piece of fiction. And we must remember that all these things, the nuances, the anomalies, the subtleties, which we assume only accessorize our days, are effective for a much larger and nobler cause. They are here to save our lives. I know the idea seems strange, but I also know that it just so happens to be true.
Zach Helm (Stranger Than Fiction: The Shooting Script)
The sun sets and we sleep. The sun rises and we wake. We wake and, ever so briefly, ever so blindly, we enjoy the fantasy of beginning anew. Then, without fail, reality reasserts its presence.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
Survival of all or none. One raindrop raises the sea. Weapons are enemies even to their owners. Give more, take less. Others first, self last. Observe, listen, and learn. Do one thing at a time. Sing every day. Exercise imagination. Eat to live, don't live to eat.
James Gurney (Dinotopia: A Land Apart from Time)
As they were carting him off on a gurney, all I could think was, I wish that was me.
Julie Anne Peters (By the Time You Read This, I'll Be Dead)
Forget about the scant hours in her brief life when Sylvia Plath was able to produce the works in Ariel. Forget about that tiny bit of time and just remember the days that spanned into years when she could not move, couldn’t think straight, could only lie in wait in a hospital bed, hoping for the relief that electroconvulsive therapy would bring. Don’t think of the striking on-screen picture, the mental movie you create of the pretty young woman being wheeled on the gurney to get her shock treatments, and don’t think of the psychedelic, photonegative image of this sane woman at the moment she receives that bolt of electricity. Think, instead, of the girl herself, of the way she must have felt right then, of the way no amount of great poetry and fascination and fame could make the pain she felt at that moment worth suffering. Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes a its by-product.
Elizabeth Wurtzel (Prozac Nation)
This case is complex. It's got layers to it, Davey. It's a fucking onion... You're a natural-born onion peeler -- the best that ever was.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
There is no line between fine art and illustration; there is no high or low art; there is only art, and it comes in many forms.” (p. 12)
James Gurney (Imaginative Realism: How to Paint What Doesn't Exist (Volume 1) (James Gurney Art))
One of the most terrible moments in a boy’s life,” Paul said, “is when he discovers his father and mother are human beings who share a love that he can never quite taste. It’s a loss, an awakening to the fact that the world is there and here and we are in it alone. The moment carries its own truth; you can’t evade it. I heard my father when he spoke of my mother. She’s not the betrayer, Gurney.
Frank Herbert (Dune (Dune, #1))
Am I horny enough to hump a bedpost?" Mica asked. "Not quite yet. Should I consult with you first, Doctor?" Sarcasm lay thick and heavy in her voice. "I believe a consult would be a good idea." Ely nodded with mocking solemnity as Mica lifted herself onto the gurney. "You never know what you may end up hurting if the act isn't done properly.
Lora Leigh (Navarro's Promise (Breeds #17))
I have been a stranger in a strange land, Halleck quoted. Paul stared at him, recognizing the quotation from the O.C. Bible, wondering: Does Gurney, too, wish an end to devious plots?
Frank Herbert (Dune (Dune, #1))
The worst pain in our lives comes from the mistakes we refuse to acknowledge--the things we've done that are so our of harmony with who we are that we can't bear to look at them.
John Verdon (Think of a Number (Dave Gurney, #1))
I figured it out eventually," she says. She's sitting on the edge of the gurney again; her features slowly materialize as my vision clears. "It's momentum." "What?" I whisper. The feeling returning to my lips, spreading out to my fingertips and toes. "Momentum," she repeats. "You can't just stand there if you want something to fly. You have to run.
Lauren DeStefano (Fever (The Chemical Garden, #2))
We are all broken by something. We have all hurt someone and have been hurt. We all share the condition of brokenness even if our brokenness is not equivalent. I desperately wanted mercy for Jimmy Dill and would have done anything to create justice for him, but I couldn’t pretend that his struggle was disconnected from my own. The ways in which I have been hurt—and have hurt others—are different from the ways Jimmy Dill suffered and caused suffering. But our shared brokenness connected us. Paul Farmer, the renowned physician who has spent his life trying to cure the world’s sickest and poorest people, once quoted me something that the writer Thomas Merton said: We are bodies of broken bones. I guess I’d always known but never fully considered that being broken is what makes us human. We all have our reasons. Sometimes we’re fractured by the choices we make; sometimes we’re shattered by things we would never have chosen. But our brokenness is also the source of our common humanity, the basis for our shared search for comfort, meaning, and healing. Our shared vulnerability and imperfection nurtures and sustains our capacity for compassion. We have a choice. We can embrace our humanness, which means embracing our broken natures and the compassion that remains our best hope for healing. Or we can deny our brokenness, forswear compassion, and, as a result, deny our own humanity. I thought of the guards strapping Jimmy Dill to the gurney that very hour. I thought of the people who would cheer his death and see it as some kind of victory. I realized they were broken people, too, even if they would never admit it. So many of us have become afraid and angry. We’ve become so fearful and vengeful that we’ve thrown away children, discarded the disabled, and sanctioned the imprisonment of the sick and the weak—not because they are a threat to public safety or beyond rehabilitation but because we think it makes us seem tough, less broken. I thought of the victims of violent crime and the survivors of murdered loved ones, and how we’ve pressured them to recycle their pain and anguish and give it back to the offenders we prosecute. I thought of the many ways we’ve legalized vengeful and cruel punishments, how we’ve allowed our victimization to justify the victimization of others. We’ve submitted to the harsh instinct to crush those among us whose brokenness is most visible. But simply punishing the broken—walking away from them or hiding them from sight—only ensures that they remain broken and we do, too. There is no wholeness outside of our reciprocal humanity.
Bryan Stevenson (Just Mercy: A Story of Justice and Redemption)
Children. There was no particular gurney for children and few things made Benke feel as uncomfortable as seeing the empty spaces left over on the trolley when he was transporting the body of a child; the little figure under the white cover, pushed up against the headboard. The lower half empty, the sheet smooth. That flat sheet was death itself.
John Ajvide Lindqvist (Let the Right One In)
A moment well spent is the best accomplishment. Yesterday is a phantom and tomorrow a mirage. The only day worth living is this one. If we can do that wekl, the yesterdays and tomorrows take care of themselves
James Gurney (Dinotopia: Journey to Chandara)
Breathe Deep, Seek Peace.
James Gurney (Dinotopia: A Land Apart from Time)
The person I think I am is terrified of the person I really am, terrified of what others would think of that person. What would they do to me if they knew the person I really was? Better to be safe! Better to hide the real person, starve the real person, bury the real person!
John Verdon (Think of a Number (Dave Gurney, #1))
So I think I’ll stay here a little while longer. There’s plenty of time to get off this gurney and open that door and rejoin the rest of you. There’s all the time I have left on Earth. There’s the rest of my life.
Ilsa J. Bick (Drowning Instinct)
As Harold took a bite of Bavarian sugar cookie, he finally felt as if everything was going to be ok. Sometimes, when we lose ourselves in fear and despair, in routine and constancy, in hopelessness and tragedy, we can thank God for Bavarian sugar cookies. And, fortunately, when there aren't any cookies, we can still find reassurance in a familiar hand on our skin, or a kind and loving gesture, or subtle encouragement, or a loving embrace, or an offer of comfort, not to mention hospital gurneys and nose plugs, an uneaten Danish, soft-spoken secrets, and Fender Stratocasters, and maybe the occasional piece of fiction. And we must remember that all these things, the nuances, the anomalies, the subtleties, which we assume only accessorize our days, are effective for a much larger and nobler cause. They are here to save our lives. I know the idea seems strange, but I also know that it just so happens to be true.
Zach Helm (Stranger Than Fiction: The Shooting Script)
For her, people in general were a plus, a source of positive stimulation (with exceptions such as the predatory Sonya Reynolds). For Gurney, people in general were a minus, a drain on his energy (with exception such as the encouraging Sonya Reynolds).
John Verdon (Think of a Number (Dave Gurney, #1))
What he took he will give, when he gets what he gave.
John Verdon (Think of a Number (Dave Gurney, #1))
A shrink once told me that an expectation is a resentment waiting to be born.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
I’m going to go out on a limb here,” I say, waggling the leg around before dropping it onto the gurney with a thunk.
Trisha Wolfe (Marrow)
Gurney says there’s no artistry in killing with the tip, that it should be done with the edge.
Frank Herbert (Dune (Dune, #1))
Life is a one way journey, so don't sit on a gurney, enjoy the ride, with love and pride.
Debasish Mridha
(Once when Buddy Rich was on the road in Michigan, he suffered a heart attack and was rushed to the hospital. As he was wheeled in on the gurney, the nurse ran alongside and asked him if he had any allergies, and Buddy growled, “Yeah — country music.”)
Neil Peart (Traveling Music: The Soundtrack to My Life and Times)
and so it came to pass that i was strapped to a gurney and covered in raw liver and slabs of beef that very quickly turned rancid under the bright spotlights. there exists a videotape somewhere that documents me being wheeled about the dance floor by two burly "orderlies," while i desperately search for a bathroom big enough to accommodate the stretcher so i can do a bump of cocaine. watching me retch from the decomposing meat, and simultaneously fiend for drugs, makes for an entertaining time, indeed. when i told my mother the extremes i went to in order to make a living, she just shook her head and said, "now don't you wish you'd finished college, dear?" mothers are so wise, sometimes.
James St. James (Party Monster: A Fabulous But True Tale of Murder in Clubland)
The purpose of life is to get as close as we can to other people.
John Verdon (Think of a Number (Dave Gurney, #1))
Few behaviors of other people are more irritating than those that display our own faults in an unattractive way.
John Verdon (Peter Pan Must Die (Dave Gurney, #4))
SWAT? For me?" Still trembling, one hand clung to the ambulance gurney, the other held a massive sterilised cotton wool wad under my nose. "Tactical Support was busy. You got Dennis and Arlo," said Harry, speed-reading the papers he'd snatched from inside my jacket. Closest his hands had been to my chest in a long time. "Which one broke my nose?" "That'd be Dennis.
Morana Blue (Gatsby's Smile)
Here is the best true story on giving I know, and it was told by Jack Kornfield of the Spirit Rock Meditation Center in Woodacre. An eight-year-old boy had a younger sister who was dying of leukemia, and he was told that without a blood transfusion she would die. His parents explained to him that his blood was probably compatible with hers, and if so, he could be the blood donor. They asked him if they could test his blood. He said sure. So they did and it was a good match. Then they asked if he would give his sister a pint of blood, that it could be her only chance of living. He said he would have to think about it overnight. The next day he went to his parents and said he was willing to donate the blood. So they took him to the hospital where he was put on a gurney beside his six-year-old sister. Both of them were hooked up to IVs. A nurse withdrew a pint of blood from the boy, which was then put in the girl’s IV. The boy lay on his gurney in silence while the blood dripped into his sister, until the doctor came over to see how he was doing. Then the boy opened his eyes and asked, “How soon until I start to die?
Anne Lamott (Bird by Bird: Some Instructions on Writing and Life)
Desperation works in job search as well as it does in dating.
Darrell Gurney (Never Apply for a Job Again!: Break the Rules, Cut the Line, Beat the Rest)
Nothing leaves you more vulnerable to your past than the illusion that you've dealt with it.
John Verdon (Wolf Lake (Dave Gurney, #5))
They looked like linebackers on a prison football team, whose idea of commincation was to smash into something at full speed, preferably another person.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
A patient on the way to surgery travels at twice the speed of a patient on the way to the morgue. Gurneys that ferry the living through hospital corridors move forward in an aura of purpose and push, flanked by caregivers with long strides and set faces, steadying IVs, pumping ambu bags, barreling into double doors. A gurney with a cadaver commands no urgency. It is wheeled by a single person, calmly and with little notice, like a shopping cart(167).
Mary Roach (Stiff: The Curious Lives of Human Cadavers)
Inside, Lexi saw only people on gurneys. Coughing, screaming, prostrate patients, but no doctors. She yelled for help, flapping open each curtain as she ducked through the maze of rooms. But there was no one.
Dayna Lorentz (No Safety in Numbers (No Safety in Numbers, #1))
Dr. Kevorkian has just unstrapped me from the gurney after yet another controlled near-death experience. I was lucky enough on this trip to interview none other than the late Adolf Hitler. I was gratified to learn that he now feels remorse for any actions of his, however indirectly, which might have had anything to do with the violent deaths suffered by thirty-five million people during World War II. He and his mistress Eva Braun, of course, were among those casualties, along with four million other Germans, six million Jews, eighteen million members of the Soviet Union, and so on. I paid my dues along with everybody else,” he said. It is his hope that a modest monument, possibly a stone cross, since he was a Christian, will be erected somewhere in his memory, possibly on the grounds of the United Nations headquarters in New York. It should be incised, he said, with his name and dates 1889-1945. Underneath should be a two-word sentence in German: “Entschuldigen Sie.” Roughly translated into English, this comes out, “I Beg Your Pardon,” or “Excuse Me.
Kurt Vonnegut Jr. (God Bless You, Dr. Kevorkian)
...but grief, he'd discovered, was not an experience you went through once and then 'moved on' (as the idiotic popular phrase would have it). The truth was that it came over you in successive waves - waves separated by periods of numbness, periods of forgetfulness, periods of ordinary living.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
Hardwick was showing the frustration of a man trying to hold his groceries inside a ripped bag.
John Verdon (Think of a Number (Dave Gurney, #1))
Whenever you’re disturbed, try to identify the fear beneath the disturbance. The root is always fear, and unless we face it, we tend to act badly.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
Era una sonrisa que podría hacer que un hombre creyera que la vida era buena.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
It was a curious thing about the past--how it lay in wait for you, quietly, invisibly, almost as though it weren't there. You might be tempted to think it was gone, no longer existed. Then, like a pheasant flushed from cover, it would roar up in an explosion of sound, color, motion--shockingly alive.
John Verdon (Think of a Number (Dave Gurney, #1))
Andy: But they gave us an out in the Land of Oz. They made us write. They didn't make us write particularly well. And they didn't always give us important things to write about. But they did make us sit down, and organize our thoughts, and convey those thoughts on paper as clearly as we could to another person. Thank God for that. That saved us. Or at least it saved me. So I have to keep writing letters. If I can't write them to you, I have to write them to someone else. I don't think I could ever stop writing completely.
A.R. Gurney (Love Letters)
The mind is a mass of contradictions and conflicts. We lie to make others trust us. We hide our true selves in the pursuit of intimacy. We chase happiness in ways that drive happiness away. When we’re wrong we fight the hardest to prove we’re right.” Caught
John Verdon (Think of a Number (Dave Gurney, #1))
He was all too aware of how one's perceptions can start lining up to support a particular conclusion. Once a pattern begins to take shape, however erroneous it might be, the mind unconsciously favors any data points that support it and discounts any that don't.
John Verdon (Peter Pan Must Die (Dave Gurney, #4))
Whatever it was that had drawn him to police work, that had wed him to the job for so many years, it surely wasn't the appeal of a gun or the deceptively simple solution it offers.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
Coincidences do occur, David. That’s why the word exists.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
Oysa tek gerçek şu; yeterince uzun yaşarsanız her şeyi, herkesi kaybedersiniz.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
Sherlock Holmes, "İmkansız olanı elerseniz,elimizde kalan ne kadar mümkün görünmese de doğrudur," derdi.
John Verdon (Think of a Number (Dave Gurney, #1))
We each seem to be wired to believe my situation causes my problems but your personality causes yours. This creates trouble.
John Verdon (Think of a Number (Dave Gurney, #1))
They’ve lost the initiative, which means they’ve lost the war.” Gurney
Frank Herbert (Dune (Dune, #1))
What a dolt my father sends me for weaponry,” Paul intoned. “This doltish Gurney Halleck has forgotten the first lesson for a fighting man armed and shielded.” Paul snapped the force button at his waist, felt the crinkled-skin tingling of the defensive field at his forehead and down his back, heard external sounds take on characteristic shield-filtered flatness. “In shield fighting, one moves fast on defense, slow on attack,” Paul said. “Attack has the sole purpose of tricking the opponent into a misstep, setting him up for the attack sinister. The shield turns the fast blow, admits the slow kindjal!” Paul snapped up the rapier, feinted fast and whipped it back for a slow thrust timed to enter a shield’s mindless defenses.
Frank Herbert (Dune (Dune, #1))
How are you? I'm shattered, thanks, how are you? I walk aimlessly through the rooms of my house, what have you been up to? I have woken up in the middle of the last 240 nights in a heart-pounding sweat, what's new with you? I sometimes wish I would never wake up, have you been on vacation this year? I ache for the arms of my sweetheart to hold me tight, how's your family? I feel barren and useless and creepy and mundane, seen any good movies lately? I'm terrified that I'll feel this way forever, I like that sweater you're wearing. I keep seeing his body on the hospital gurney, don't you love this weather. My broken heart is in my throat, let's do lunch. I'm so completely and utterly tired of being sad, thanks, how are you?
Christine Silverstein
How many bright angels can dance on a pin? How many hopes drown in a bottle of gin? Did the thought ever come that your glass was a gun and one day you’d wonder, God, what have I done?
John Verdon (Think of a Number (Dave Gurney, #1))
Well, I’m sure you know that our country is the only so-called advanced nation that still has a death penalty. And torture chambers. I mean, why screw around? But listen: If anyone here should wind up on a gurney in a lethal-injection facility, maybe the one at Terre Haute, here is what your last words should be: “This will certainly teach me a lesson.” If Jesus were alive today, we would kill him with lethal injection. I call that progress. We would have to kill him for the same reason he was killed the first time. His ideas are just too liberal.
Kurt Vonnegut Jr. (Armageddon in Retrospect)
Life is a one way journey, So don't waste your moment. Enjoy the beauty and scenery, fill your heart with love and joyment. Life is a one way journey. Always we are getting ready, not for the game of tourney, But for miracles and joy of heady. Life is a one way journey. We always hope and dream to live, but not on a beautiful gurney, but with vigor and beauty to thrive.
Debasish Mridha
But how could he stop being what he was? However much he cared for her, however much he wanted to be with her, however much he wanted her to be happy, how could he become someone he wasn't?
John Verdon (Think of a Number (Dave Gurney, #1))
Andy: Most of the things I did with her partly in mind. And if I said or did an inauthentic thing, I could almost hear her groaning over my shoulder. But now she's gone and I really don't know how I'll get along without her. Melissa: (Looking at him for the first time.) You'll survive, Andy... Andy: I have a wonderful wife, fine children, and a place in the world I feel proud of, but the death of Melissa suddenly leaves a huge gap in my life... Melissa: Oh now, Andy... Andy: The thought of never again being able to write to her, to connect to her, to get some signal back from her, fills me with an emptiness which is hard to describe. Melissa: Now Andy, stop... Andy: I don't think there are many men in this world who have had the benefit of such a friendship with such a woman. But it was more than friendship, too. I know now that I loved her. I loved her even from the day I met her, when she walked into second grade, looking like the lost princess of Oz. Melissa: Oh, Andy, PLEASE. I can't bear it. Andy: I don't think I've ever loved anyone the way I loved her, and I know I never will again. She was at the heart of my life, and already I miss her desperately. I just wanted to say this to you and to her. Sincerely, Andy Ladd. Melissa: Thank you, Andy.
A.R. Gurney (Love Letters)
I didn’t know what it meant to have a nervous breakdown. I’d heard people jokingly exaggerate that they’d had one. Until that moment on my bathroom floor, I had no concept. Then the frayed strands of my sanity that I’d fought so hard to keep together snapped in two, and I started to free fall into chaos. First, I screamed. I screamed and I screamed until I was hoarse. Then my screams turned over to cries of agony. Pain, both physical and emotional, consumed me. Will tried to console me, but it was useless. He panicked and called my parents. When they heard my sobs in the background, they told him to call the paramedics. So he did. By the time they arrived, I was spent of emotions. Instead, I lay motionless on the floor. They were a hazy blur of blue uniforms and soft voices. I could hear them calling my name from far off—like I was under the surface of water. But I couldn’t muster the strength to reply. I heard crying behind me. It must’ve been Will because one of the paramedics said, “Don’t worry, son, we’re gonna take good care of her.” Then I felt myself floating upwards as they put me on a gurney. I rattled and shook as they pulled me out of the house. The flashing lights hurt my eyes. But then a needle pierced my vein, bringing liquid peace to my soul."--Melanie
Katie Ashley (Nets and Lies)
Eis uma coisa curiosa acerca do passado: a forma como jaz à nossa espera, silencioso, invisível, quase como se ali não estivesse. Podemos ter a tentação de julgar que desapareceu, que já não existe. De repente, como um faisão espantado para fora do seu esconderijo, erguer-se-á numa explosão de som, cor e movimento: escandalosamente vivo.
John Verdon (Think of a Number (Dave Gurney, #1))
Gurney se maravillaba de que una persona tan espontánea pudiera también llevar una vida tan regida por los principios. Era lo que la hacía ser como era. Era lo que la convertía en un faro en el cenagal de su propia existencia.
John Verdon (Think of a Number (Dave Gurney, #1))
He knew how isolated he could become and hardly notice it was happening. How relationships could slip away like smoke in the breeze. How easily he could sink into himself. How natural and benign his isolating obsessions could seem.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
But when I open them up, I find that they’re equal! And they both have achieved the same destiny: my zinc gurney. Why, then, did he tire himself out poring over so many books? Boh! Take my advice, journalist: eat, drink, and enjoy yourself—
Douglas Preston (The Monster of Florence)
Sexual energy in general has tremendous power, the power to concentrate one's attention like nothing else, to become the sole reality, to warp judgement, to obliterate pain and the perception of risk. The power to make all other considerations irrelevant. There is no force on earth that comes close to it in its power to blind and drive the individual in its grip.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
I can't imagine,' I said one afternoon after a long silence, 'how it would be possible for such a small island to support enough artists and stonecutters to build all these wonders. And I can't imagine how all these different people get along without quarreling.' 'Oh, it is possible,' said Nallab, sucking thoughtfully on a mango, 'but only if you DO imagine it...
James Gurney (Dinotopia: A Land Apart from Time)
We’re sideswiped by a gurney bearing an unconscious, emaciated young woman with a shaved head. Her flesh shows bruises and oozing scabs. Johanna Mason. Who actually knew rebel secrets. At least the one about me. And this is how she has paid for it.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Omigod,” Valerie said. “Unh!” And her water broke. It was an explosion of water. A tidal wave. We’re talking Hoover Dam quantity water. Water everywhere . . . but mostly on Cal. Cal had been standing at the bottom of the gurney. Cal was totally slimed from the top of his head to his knees. It dripped off the end of his nose and ran in rivulets down his bald head. Valerie drew her legs up, the sheet fell away, and Cal gaped at the sight in front of him. Julie stuck her head around for a look. “Uh-oh,” Julie said, “there’s a foot sticking out. Guess this is going to be a breech baby.” That was when Cal fainted. CRASH. Cal went over like he was a giant redwood cut down by Paul Bunyan. Windows rattled and the building shook. Everyone clustered around Cal.
Janet Evanovich (To the Nines (Stephanie Plum, #9))
The days when someone was simply "killed in a car accident" were long gone. Now those words opened a Pandora's box, out of which emerged all the images: the roll of the gurney, the blood on the trauma bay floor, the tube shoved down her throat, the pounding on her chest.
Paul Kalanithi (When Breath Becomes Air)
My years of struggling against inequality, abusive power, poverty, oppression, and injustice had finally revealed something to me about myself. Being close to suffering, death, executions, and cruel punishments didn't just illuminate the brokenness of others; in a moment of anguish and heartbreak, it also exposed my own brokenness. You can't effectively fight abusive power, poverty, inequality, illness, oppression, or injustice and not be broken by it. We are all broken by something. We have all hurt someone and have been hurt. We all share the condition of brokenness even if our brokenness is not equivalent. The ways in which I have been hurt - and have hurt others - are different from the ways Jimmy Dill suffered and caused suffering. But our shared brokenness connected us. Thomas Merton said: We are bodies of broken bones. I guess I'd always known but never fully considered that being broken is what makes us human. We all have our reasons. Sometimes we're fractured by the choices we make; sometimes we're shattered by things we would never have chosen. But our brokenness is also the source of our common humanity, the basis for our shared search for comfort, meaning, and healing. Our shared vulnerability and imperfection nurtures and sustains our capacity for compassion. We have a choice. We can embrace our humanness, which means embracing our broken natures and the compassion that remains our best hope for healing. Or we can deny our brokenness, forswear compassion, and, as a result, deny our own humanity. I thought of the guards strapping Jimmy Dill to the gurney that very hour. I thought of the people who would cheer his death and see it as some kind of victory. I realized they were broken people, too, even if they would never admit it. So many of us have become afraid and angry. We've become so fearful and vengeful that we've thrown away children, discarded the disabled, and sanctioned the imprisonment of the sick and the weak - not because they are a threat to public safety or beyond rehabilitation but because we think it makes us seem tough, less broken. I thought of the victims of violent crime and the survivors of murdered loved ones, and how we've pressured them to recycle their pain and anguish and give it back to the offenders we prosecute. I thought of the many ways we've legalized vengeful and cruel punishments, how we've allowed our victimization to justify the victimization of others. We've submitted to the harsh instinct to crush those among us whose brokenness is most visible. But simply punishing the broken - walking away from them or hiding them from sight - only ensures that they remain broken and we do, too. There is no wholeness outside of our reciprocal humanity. I frequently had difficult conversations with clients who were struggling and despairing over their situations - over the things they'd done, or had been done to them, that had led them to painful moments. Whenever things got really bad, and they were questioning the value of their lives, I would remind them that each of us is more than the worst thing we've ever done. I told them that if someone tells a lie, that person is not just a liar. If you take something that doesn't belong to you, you are not just a thief. Even if you kill someone, you're not just a killer. I told myself that evening what I had been telling my clients for years. I am more than broken. In fact, there is a strength, a power even, in understanding brokenness, because embracing our brokenness creates a need and desire for mercy, and perhaps a corresponding need to show mercy. When you experience mercy, you learn things that are hard to learn otherwise. You see things that you can't otherwise see; you hear things you can't otherwise hear. You begin to recognize the humanity that resides in each of us.
Bryan Stevenson (Just Mercy)
Andy: Andrew Makepeace Ladd, the Third, accepts with pleasure the kind invitation of Mr. and Mrs. Gilbert Channing Gardner for a birthday party in honor of their daughter Melissa on April 19th, 1937 at half past three o'clock. Melissa: Dear Andy: Thank you for the birthday present. I have a lot of Oz books, but not 'The Lost Princess of Oz.' What made you give me that one? Sincerely yours, Melissa. Andy: I'm answering your letter about the book. When you came into second grade with that stuck-up nurse, you looked like a lost princess. Melissa: I don't believe what you wrote. I think my mother told your mother to get that book. I like the pictures more than the words. Now let's stop writing letters.
A.R. Gurney (Love Letters)
This is just me, me the way I write, the way my writing is, the way I want to be to you, giving myself to you across a distance not keeping or retaining any part of it for myself, giving this piece of myself to you totally, and you can tear me up and throw me out, or keep me, and read me today,
A.R. Gurney (Love Letters)
If she could look her loss in the face, what shape would it be? What colour? Bright blue. Sky blue. Hope blue. A love as big as the sky. How bright and fierce it is. How impossible to extinguish. To think of it gone feels like screaming. He is her brother. He is someone she willed into being. He is inside her and outside her. And she would take all that she has ever had and throw it away in an instant, to be there on the gurney, to fight in his place. She would give away having ever known him to keep him from—she will not think of the words. There will be no words that imply an ending.
Joanna Quinn (The Whalebone Theatre)
The personal collisions that upset us the most, the ones we seem powerless to let go of, are those in which we played a role that we are unwilling to acknowledge. That’s why the pain lasts—because we refuse to look at its source. We cannot detach it, because we refuse to look at the point of attachment.
John Verdon (Think of a Number (Dave Gurney, #1))
She is watching a man lying dead or asleep on a blanket nearby dressed in a crumpled tan suit with blood discolouring his sleeve, his hand clutching a plastic bag filled with bread rolls, alone black shoe on a foot. Another man she saw been carried into the emergency room was wearing just one sport shoe, so many shoes gone astray she thinks, so many shoes dislodged while their owners are carried by the arms and legs or dragged by the armpits into the backs of cars and vans and dragged again into emergency rooms without a gurney, the orphaned shoes kicked aside in the rush or left to die on the street or on footpaths like an unblinking eye awaiting the return of its owner
Paul Lynch (Prophet Song)
El problema con los ojos radicaba en que éstos, más que ninguna otra de las facciones de la cara, captaban la tensión, la contradicción: la indiferencia reservada, salpicada con una pizca de crueldad, que Gurney había discernido con frecuencia en los rostros de los asesinos con los que había tenido la oportunidad de pasar a tiempo a solas.
John Verdon (Think of a Number (Dave Gurney, #1))
Whenever they collide, facts are no match for beliefs. We may think our beliefs are based on facts, but the truth is that the facts we embrace are based on our beliefs. The great conceit of the rational mind is that facts are ultimately persuasive. But that’s a fantasy. People don’t die to defend the facts, they die to defend their beliefs.
John Verdon (Wolf Lake (Dave Gurney #5))
a part share in a wire worm
Edmund Gurney
The fact that no one was dead persuaded him that he was on the right track
John Verdon (Think of a Number (Dave Gurney, #1))
El hecho de que los medios de comunicación hubieran pasado de ser fuentes de información relativamente inofensivas a ser máquinas cínicas de polarización lo enfadaba
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
A shrink once told me that an exception is a resentment waiting to be born.
John Verdon (Shut Your Eyes Tight (Dave Gurney, #2))
judgmental—
John Verdon (Think of a Number (Dave Gurney, #1))
En esos sueños veía con una claridad que superaba las palabras que el pozo de tristeza era pérdida, y la mayor pérdida de todas era la pérdida de amor.
John Verdon (Think of a Number (Dave Gurney, #1))
Çocuğunu arkadaşlarını dövmemesini öğretmek için döven baba aslında ona dövmeyi öğretmektedir.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
An even more advanced form of uploading your mind into a computer was envisioned by computer scientist Hans Moravec. When I interviewed him, he claimed that his method of uploading the human mind could even be done without losing consciousness. First you would be placed on a hospital gurney, next to a robot. Then a surgeon would take individual neurons from your brain and create a duplicate of these neurons (made of transistors) inside the robot. A cable would connect these transistorized neurons to your brain. As time goes by, more and more neurons are removed from your brain and duplicated in the robot. Because your brain is connected to the robot brain, you are fully conscious even as more and more neurons are replaced by transistors. Eventually, without losing consciousness, your entire brain and all its neurons are replaced by transistors. Once all one hundred billion neurons have been duplicated, the connection between you abd the artificial brain is finally cut. When you gaze back at the stretcher, you see your body, lacking its brain, while your consciousness now exists inside a robot.
Michio Kaku (The Future of Humanity: Terraforming Mars, Interstellar Travel, Immortality and Our Destiny Beyond Earth)
La atención de Sonya era agradable, gratificante para el ego, incluso quizás un poco excitante, pero conllevaba un precio excesivamente alto, era demasiado peligrosa para cosas que importaban más.
John Verdon (Think of a Number (Dave Gurney, #1))
The father was dry-eyed but the mother kept erupting, like loudly, unprovoked, in a keening foreign wail that was almost like song; it sounded strangely ceremonial and impersonal, like a lament for an idea. Walter went alone to the morgue, without any idea. His love was resting beneath a sheet on a gurney of an awkward height, too high to be knelt by. Her hair was as ever, silky and black and thick, as ever, but there was something wrong with her jaw, some outrageously cruel and unforgivable injury, and her forehead, when he kissed it, was colder than any just universe could have allowed such a young person's forehead to be. The coldness entered him through his lips and didn't leave. What was over was over. His delight in the world had died, and there was no point in anything.
Jonathan Franzen (Freedom)
The mind is a mass of contradictions and conflicts. We lie to make others trust us. We hide our true selves in the pursuit of intimacy. We chase happiness in ways that drive happiness away. When we’re wrong we fight the hardest to prove we’re right.
John Verdon (Think of a Number (Dave Gurney, #1))
It's not the victim who wakes up to a half-empty bed, a half-empty house.He isn't the one who dreams that he's stiilla live, only to wake up to the pain of realizing the he's not. He doesn't feel the sickening rage, the heartache his death causes. He doesn't keep seeing the empty chair at the table, hearing sounds that sound like his voice. he doesn't keep seeing the closet full of his clothes...- Her voice was groing hoarse, She cleared her throat.- He doens't feel agony, the agony of having the heart of your life torn out.
John Verdon (Let the Devil Sleep (Dave Gurney, #3))
Sometimes in the winter in the dark I'd wake and everything that smacked of dread would have lifted up and stolen away in the night and I would just be lying there with the snow blowing against the glass. I'd think that maybe I should turn on the lamp but then I'd just lie there and listen to the quiet. The wind in the quiet. There are times now when I see those patients in their soiled nightshirts lying on gurneys in the hallway with their faces to the wall that I ask myself what humanity means. I would ask does it include me.
Cormac McCarthy (Stella Maris (The Passenger, #2))
I don’t like to use this word,” he said, “because I’m a man of science and I don’t believe in it. But what happened to your mother today was a miracle. I never say that, because I hate it when people say it, but I don’t have any other way to explain this.” The bullet that hit my mother in the butt, he said, was a through-and-through. It went in, came out, and didn’t do any real damage. The other bullet went through the back of her head, entering below the skull at the top of her neck. It missed the spinal cord by a hair, missed the medulla oblongata, and traveled through her head just underneath the brain, missing every major vein, artery, and nerve. With the trajectory the bullet was on, it was headed straight for her left eye socket and would have blown out her eye, but at the last second it slowed down, hit her cheekbone instead, shattered her cheekbone, ricocheted off, and came out through her left nostril. On the gurney in the emergency room, the blood had made the wound look much worse than it was. The bullet took off only a tiny flap of skin on the side of her nostril, and it came out clean, with no bullet fragments left inside. She didn’t even need surgery. They stopped the bleeding, stitched her up in back, stitched her up in front, and let her heal. “There was nothing we can do, because there’s nothing we need to do,” the doctor
Trevor Noah (Born a Crime: Stories from a South African Childhood (One World Essentials))
The ambulance arrived when the police cars did. They were accompanied by a man in a black suit who had the look of a federal agent. It didn’t surprise Cecily that he went right up to Tate and drew him to one side. While Cecily was being checked over by a paramedic, Gabrini, who’d already been loaded onto a gurney, was being watched by two police officers. Tate came back to Cecily while the federal agent paused by the police officers. “You can take him to the hospital to have his ribs strapped,” the man told the ambulance attendant. “But we’ll have transport for him to New Jersey with two federal marshals.” “Marshals!” Gabrini exclaimed, holding his side, because the outburst had hurt. “Marshals,” the federal agent replied. There was something menacing about the smile that accompanied the words. “It seems that you’re wanted in Jersey for much more serious crimes than breaking an entering and assault with a deadly weapon, Mr. Gabrini.” “Not in Jersey,” Gabrini began. “No, those other charges, they’re in D.C.” “You’ll get to D.C. eventually,” the federal agent murmured, then the dark man smiled. And Gabrini knew at once that he wasn’t connected in any way at all to the government. Gabrini was suddenly yelling his head off, begging for federal protection, but nobody paid him much attention. He was carried off in the ambulance with the sedan following close behind.
Diana Palmer (Paper Rose (Hutton & Co. #2))
Now, how are you getting back to the motel?” He looked like he was going to argue some more, shifting slowly in the gurney to a more upright position but something pulled him up short and he winced. “I’ll catch a cab.” “And is there someone who can keep an eye on you?” He’d been pretty wiped out from the morphine. She’d be more comfortable discharging him if she was doing it to someone’s care. “Are you kidding? The rodeo’s over. The motel will be full of yahooing bull riders.” “I mean someone who’ll actually look in on you, not be drunk off their ass while you throw up in your sleep and choke on your own vomit.” He cocked an eyebrow at her. “I bet you’re fun at parties.” Parties? Ha! She should be so lucky. “I’m a real treat.
Amy Andrews (Troy (American Extreme Bull Riders Tour, #5))
but be sure not to have it boil. Remove from the fire, and add a piece of butter the size of an egg. This is sufficient for eight people. =Potato Soup= 4 Potatoes 3 Pints of Milk Piece of Butter size of an Egg Small piece of Onion Take four large potatoes, boil until done and mash smooth, adding butter and salt to taste. Heat the milk in a double boiler, cook the onion in it a few minutes and then
Lydia Maria Gurney (Things Mother Used to Make A Collection of Old Time Recipes, Some Nearly One Hundred Years Old and Never Published Before)
The truth was that a complex murder case attracted his attention and curiosity like nothing else on earth. He could make up reasons for it. He could say it was all about justice. About rectifying an imbalance in the scheme of things. About standing up for those who had been struck down. About a quest for truth. But there were other times when he considered it nothing but high-stakes puzzle-solving, an obsessive-compulsive drive to fit all the loose pieces together. An intellectual game, a contest of mind and will. A playing field on which he could excel.
John Verdon (Peter Pan Must Die (Dave Gurney, #4))
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)
When it begins it is like a light in a tunnel, a rush of steel and steam across a torn up life. It is a low rumble, an earthquake in the back of the mind. My spine is a track with cold black steel racing on it, a trail of steam and dust following behind, ghost like. It feels like my whole life is holding its breath. By the time she leaves the room I am surprised that she can’t see the train. It has jumped the track of my spine and landed in my mothers’ living room. A cold dark thing, black steel and redwood paneling. It is the old type, from the western movies I loved as a kid. He throws open the doors to the outside world, to the dark ocean. I feel a breeze tugging at me, a slender finger of wind that catches at my shirt. Pulling. Grabbing. I can feel the panic build in me, the need to scream or cry rising in my throat. And then I am out the door, running, tumbling down the steps falling out into the darkened world, falling out into the lifeless ocean. Out into the blackness. Out among the stars and shadows. And underneath my skin, in the back of my head and down the back of my spine I can feel the desperation and I can feel the noise. I can feel the deep and ancient ache of loudness that litters across my bones. It’s like an old lover, comfortable and well known, but unwelcome and inappropriate with her stories of our frolicking. And then she’s gone and the Conductor is closing the door. The darkness swells around us, enveloping us in a cocoon, pressing flat against the train like a storm. I wonder, what is this place? Those had been heady days, full and intense. It’s funny. I remember the problems, the confusions and the fears of life we all dealt with. But, that all seems to fade. It all seems to be replaced by images of the days when it was all just okay. We all had plans back then, patterns in which we expected the world to fit, how it was to be deciphered. Eventually you just can’t carry yourself any longer, can’t keep your eyelids open, and can’t focus on anything but the flickering light of the stars. Hours pass, at first slowly like a river and then all in a rush, a climax and I am home in the dorm, waking up to the ringing of the telephone. When she is gone the apartment is silent, empty, almost like a person sleeping, waiting to wake up. When she is gone, and I am alone, I curl up on the bed, wait for the house to eject me from its dying corpse. Crazy thoughts cross through my head, like slants of light in an attic. The Boston 395 rocks a bit, a creaking noise spilling in from the undercarriage. I have decided that whatever this place is, all these noises, sensations - all the train-ness of this place - is a fabrication. It lulls you into a sense of security, allows you to feel as if it’s a familiar place. But whatever it is, it’s not a train, or at least not just a train. The air, heightened, tense against the glass. I can hear the squeak of shoes on linoleum, I can hear the soft rattle of a dying man’s breathing. Men in white uniforms, sharp pressed lines, run past, rolling gurneys down florescent hallways.
Jason Derr (The Boston 395)
He ran long at the White House, and arrived late to his next meeting with Hillary Clinton, Jake Sullivan and Frank Ruggiero—their first major strategy session on Taliban talks after the secret meeting with A-Rod. She was waiting in her outer office, a spacious room paneled in white and gilt wood, with tasseled blue and pink curtains and an array of colorfully upholstered chairs and couches. In my time reporting to her later, I only ever saw Clinton take the couch, with guests of honor in the large chair kitty-corner to her. She’d left it open for him that day. “He came rushing in. . . . ” Clinton later said. “And, you know, he was saying ‘oh I’m so sorry, I’m so sorry.’ ” He sat down heavily and shrugged off his coat, rattling off a litany of his latest meetings, including his stop-in at the White House. “That was typical Richard. It was, like, ‘I’m doing a million things and I’m trying to keep all the balls in the air,’ ” she remembered. As he was talking, a “scarlet red” flush went up his face, according to Clinton. He pressed his hands over his eyes, his chest heaving. “Richard, what’s the matter?” Clinton asked. “Something horrible is happening,” he said. A few minutes later, Holbrooke was in an ambulance, strapped to a gurney, headed to nearby George Washington University Hospital, where Clinton had told her own internist to prepare the emergency room. In his typically brash style, he’d demanded that the ambulance take him to the more distant Sibley Memorial Hospital. Clinton overruled him. One of our deputies on the SRAP team, Dan Feldman, rode with him and held his hand. Feldman didn’t have his BlackBerry, so he scrawled notes on a State Department expense form for a dinner at Meiwah Restaurant as Holbrooke dictated messages and a doctor assessed him. The notes are a nonlinear stream of Holbrooke’s indomitable personality, slashed through with medical realities. “Call Eric in Axelrod’s office,” the first read. Nearby: “aortic dissection—type A . . . operation risk @ > 50 percent”—that would be chance of death. A series of messages for people in his life, again interrupted by his deteriorating condition: “S”—Secretary Clinton—“why always together for medical crises?” (The year before, he’d been with Clinton when she fell to the concrete floor of the State Department garage, fracturing her elbow.) “Kids—how much love them + stepkids” . . . “best staff ever” . . . “don’t let him die here” . . . “vascular surgery” . . . “no flow, no feeling legs” . . . “clot” . . . and then, again: “don’t let him die here want to die at home w/ his fam.” The seriousness of the situation fully dawning on him, Holbrooke turned to job succession: “Tell Frank”—Ruggiero—“he’s acting.” And finally: “I love so many people . . . I have a lot left to do . . . my career in public service is over.” Holbrooke cracked wise until they put him under for surgery. “Get me anything you need,” he demanded. “A pig’s heart. Dan’s heart.
Ronan Farrow (War on Peace: The End of Diplomacy and the Decline of American Influence)