Inspirational Rafting Quotes

Safety, stability--it's an illusion. It's a false god, Simon. It's like clinging to a sinking raft instead of learning to swim.

I live in two worlds. One is a world of books. I've been a resident of Faulkner's Yoknapatawpha County, hunted the white whale aboard the Pequod, fought alongside Napoleon, sailed a raft with Huck and Jim, committed absurdities with Ignatius J. Reilly, rode a sad train with Anna Karenina and strolled down Swann's Way. It's a rewarding world, but my second one is by far superior. My second one is populated with characters slightly less eccentric, but supremely real, made of flesh and bone, full of love, who are my ultimate inspiration for everything.

Life was the gift that you were given the day you were born, and in turn you are the gift to life. Only in the moments of being alone in the darkness on the raft, will you have the space to speak, listen, and to act from the heart.

Only in the moments of being alone in the darkness on the raft, will you have the space to speak, listen, and to act from the heart. Only in the moments of pain, do we begin to empathize with humankind. Only when you are lost, you will find new meaning. Float on.

Acknowledge and accept that there will be chaotic times while being on your raft from being lost in true freedom. Engulfed by darkness at sea, we are consumed by a great loneliness that has consistently existed even when people surrounded us, and that is when we must throw all that is heavy into the water, and float independently through to the present.

Freedom from stress, freedom from anxiety, freedom from depression; freedom is autonomy from all that stagnates growth in this ever complex and noisy world. By the fear of being in the unknown, we often overlook and forget the serene view of being on the raft: the glowing virgin stars, the gentle ways that the waves moves, and the endless possibilities that exist under the sun. The fundamental principle of freedom is to be lost and our state of mind never differs too far from this analogy of being stranded in the middle of the ocean.

Louie found the raft offered an unlikely intellectual refuge. He had never recognized how noisy the civilized world was. Here, drifting in almost total silence, with no scents other than the singed odor of the raft, no flavors on his tongue, nothing moving but the slow porcession of shark fins, every vista empty save water and sky, his time unvaried and unbroken, his mind was freed of an encumbrance that civilization had imposed on it. In his head, he could roam anywhere, and he found that his mind was quick and clear, his imagination unfettered and supple. He could stay with a thought for hours, turning it about.

In some aspects losing a child is like a wall, but instead of getting over it, you must carry the wall with you, wherever you go, for as long as you live. The wall is immovable. You can’t go anywhere until you learn to move the wall. You are just stuck in the same place, forever. You can tug and tug all you want, there are days that the wall will not move. And there are days that it moves ever so slightly. Over time I have realized that in order to move forward, knowing that I must bring this wall with me, that the best way to do so is to metaphorically flood the soil near the wall with water, and have the wall float with me, instead of me having to carry it. Every act of love and kindness turns to water. Water and love can penetrate and move anything. It just takes time. I need to turn my wall into a raft.

Eating a can be the weight that pulls you under or the life raft. It's your choice.

The dangerously high level of stupidity surplus was once again the lead story in The Owl that morning. The reason for the crisis was clear: Prime Minister Redmond van de Poste and his ruling Commonsense Party had been discharging their duties with a reckless degree of responsibility that bordered on inspired sagacity. Instead of drifting from one crisis to the next and appeasing the nation with a steady stream of knee-jerk legislation and headline-grabbing but arguably pointless initiatives, they had been resolutely building a raft of considered long-term plans that concentrated on unity, fairness and tolerance. It was a state of affairs deplored by Mr. Alfredo Traficcone, leader of the opposition Prevailing Wind Party, who wanted to lead the nation back to the safer ground of uniformed stupidity.

Grief was an ocean. We were sitting in the middle of it on makeshift life rafts, never knowing if we’d make it to shore.

Stephenson had large wrought-iron boiler plates available and he also had the courage of his calculations... The idea found its best-known expression in the Menai railway bridge opened in 1850. Stephenson's beams, which weighed 1,500 tons each, were built beside the Straits and were floated into position between the towers on rafts across a swirling tide. They were raised rather over a hundred feet up the towers by successive lifts with primitive hydraulic jacks. All this was not done without both apprehension and adventure; they were giants on the earth in those days.

We are part of a flowing ocean of energy. Our limitations are the rafts we create to help us feel secure.

In the bustling of the cities, forever surrounded by people and their chatter, we stand alone; an island of humanity. Build your raft, that you may drift into the heart and make real contact.

Before big bridges, deep tunnels and the advent of health and safety regulations, there were many ways to cross rivers. They would use rowing boats, rickety rafts or in the absence of a vessel, swim or wade. Everyone knew what a stepping-stone was. They all understood that it was not something that you would want to stand on for any length of time. It was a means to an end, an important point and a route from A to B.

The narrow, middle, common-ground is the life-raft in a turbulent sea of extremism. We are overwhelmed by common hopes.

I have occupied this idle, empty winter with writing a story. It has been written to please myself, without thought of my own vanity or modesty, without regard for other people's feelings, without considering whether I shock or hurt the living, without scrupling to speak of the dead. The world, I know, is changing. I am not indifferent to the revolution that has caught us in its mighty skirts, to the enormity of the flood that is threatening to submerge us. But what could I do? In the welter of the surrounding storm, I have taken refuge for a moment on this little raft, constructed with the salvage of my memory. I have tried to steer it into that calm haven of art in which I still believe. I have tried to avoid some of the rocks and sandbanks that guard its entrance. [from the introduction]

Jimmy Fratianno did worry and rightly so, for he suffered for Sinatra’s behaviour being hassled by the Vegas cops – until he had a word that someone might get much more than hassled unless the aggravation against him ceased. The Mob thought Sinatra stupid for his behaviour. It was not the place or time. Nevertheless, in those fledging days at the Desert Inn, with seven different law agencies monitoring operations, Sinatra also spent even more time with Johnny Rosselli, who was the perfect mobster for Las Vegas. He could be anything anybody wanted him to be. He was attractive to women (by now lovers included Betty Hutton, Lana Turner and Donna ‘It’s A Wonderful Life’ Reed) and Sinatra found him fun, good company and a generous all-around guy. He was a facilitator. He could arrange the murder of ‘Russian Louis’ Strauss who tried to blackmail his friend Benny Binion the owner of the Horseshoe Casino. He could get a girl a date with Frank Sinatra and vice versa. He met with Howard Hughes, who had a jealousy-inspired (Marilyn Monroe and Ava Gardner) lifetime hatred for Sinatra, and acted as Hughes’s go-between with Meyer Lansky and Moe Dalitz. They said George Raft was a great dancer, yet Johnny Rosselli could expertly waltz to anybody’s tune.

The second element to why the show has worked is undoubtedly my team. And guess what? I am not alone out there. I work with a truly brilliant, small tight-knit crew. Four or five guys. Heroes to a man. They work their nuts off. Unsung. Up to their necks in the dirt. Alongside me in more hellholes than you could ever imagine. They are mainly made up of ex-Special Forces buddies and top adventure cameramen--as tough as they come, and best friends. It’s no surprise that all the behind-the-scenes episodes we do are so popular--people like to hear the inside stories about what it is really like when things go a little “wild.” As they often do. My crew are incredible--truly--and they provide me with so much of my motivation to do this show. Without them I am nothing. Simon Reay brilliantly told me on episode one: “Don’t present this, Bear, just do it--and tell me along the way what the hell you are doing and why. It looks amazing. Just tell me.” That became the show. And there is the heroic Danny Cane, who reckoned I should just: “Suck an earthworm up between your teeth, and chomp it down raw. They’ll love it, Bear. Trust me!” Inspired. Producers, directors, the office team and the field crew. My buddies. Steve Rankin, Scott Tankard, Steve Shearman, Dave Pearce, Ian Dray, Nick Parks, Woody, Stani, Ross, Duncan Gaudin, Rob Llewellyn, Pete Lee, Paul Ritz, and Dan Etheridge--plus so many others, helping behind the scenes back in the UK. Multiple teams. One goal. Keeping one another alive. On, and do the field team share their food with me, help collect firewood, and join in tying knots on my rafts? All the time. We are a team.

I had two great passions at the time: one magical and ethereal, which was reading, and the other mundane and predictable, which was pursuing silly love affairs. Concerning my literary ambitions, my successes went from slender to nonexistent. During those years I started a hundred woefully bad novels that died along the way, hundreds of short stories, plays, radio serials, and even poems that I wouldn't let anyone read, for their own good. I only needed to read them myself to see how much I still had to learn and what little progress I was making, despite the desire and enthusiasm I put into it. I was forever rereading Carax's novels and those of countless authors I borrowed from my parent's bookshop. I tried to pull them apart as if they were transistor radios, or the engine of a Rolls-Royce, hoping I would be able to figure out how they were built and how and why they worked. I'd read something in a newspaper about some Japanese engineers who practiced something called reverse engineering. Apparently these industrious gentlemen disassembled an engine to its last piece, analyzing the function of each bit, the dynamics of the whole, and the interior design of the device to work out the mathematics that supported its operation. My mother had a brother who worked as an engineer in Germany, so I told myself that there must be something in my genes that would allow me to do the same thing with a book or with a story. Every day I became more convinced that good literature has little or nothing to do with trivial fancies such as 'inspiration' or 'having something to tell' and more with the engineering of language, with the architecture of the narrative, with the painting of textures, with the timbres and colors of the staging, with the cinematography of words, and the music that can be produced by an orchestra of ideas. My second great occupation, or I should say my first, was far more suited to comedy, and at times touched on farce. There was a time in which I fell in love on a weekly basis, something that, in hindsight, I don't recommend. I fell in love with a look, a voice, and above all with what was tightly concealed under those fine-wool dresses worn by the young girls of my time. 'That isn't love, it's a fever,' Fermín would specify. 'At your age it is chemically impossible to tell the difference. Mother Nature brings on these tricks to repopulate the planet by injecting hormones and a raft of idiocies into young people's veins so there's enough cannon fodder available for them to reproduce like rabbits and at the same time sacrifice themselves in the name of whatever is parroted by bankers, clerics, and revolutionary visionaries in dire need of idealists, imbeciles, and other plagues that will prevent the world from evolving and make sure it always stays the same.

The autumn had been unseasonably dry, and the vines that had taken up residence on the canal side of the brick wall surrounding the property extended themselves in parched desperation towards the water. Brunetti was struck by the resemblance between the vines, exposed to the sun almost all day, every day, and The Raft of the Medusa. The human limbs in the foreground of the painting, like the vines on the wall, fell weakly towards the water, while the figures behind stretched towards a glimpse of what might be a boat, a speck of land, or yet another swiftly arriving wave, bent on their destruction. How much worse the vines looked than the men on the raft, even though the accounts of the incident that had inspired the painting spoke of dehydration and starvation.