James Bond Quotes

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

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You only live twice: Once when you are born And once when you look death in the face
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Ian Fleming (You Only Live Twice (James Bond, #12))
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Most little girls in England grow up wanting to marry a prince. Bex grew up wanting to kick James Bond's butt and assume his double-0 ranking.
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Ally Carter (Cross My Heart and Hope to Spy (Gallagher Girls, #2))
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I am a poet in deeds--not often in words.
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Ian Fleming (Goldfinger (James Bond, #7))
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Live Another Sol would be an awesome name for a James Bond movie.
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Andy Weir (The Martian)
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People are islands,' she said. 'They don't really touch. However close they are, they're really quite separate. Even if they've been married for fifty years.
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Ian Fleming (Casino Royale (James Bond, #1))
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I've been bitten, beat up, tied to a bed, James Bonded out, and now you finish off by choking a goddamn teacher!
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Lili St. Crow (Strange Angels (Strange Angels, #1))
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Mr Bond, they have a saying in Chicago: 'Once is happenstance. Twice is coincidence. The third time it's enemy action'.
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Ian Fleming (Goldfinger (James Bond, #7))
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Once is happenstance. Twice is coincidence. Three times is enemy action
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Ian Fleming (Goldfinger (James Bond, #7))
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Surround yourself with human beings, my dear James. They are easier to fight for than principles.
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Ian Fleming (Casino Royale (James Bond, #1))
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Mine’s Bond – James Bond.
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Ian Fleming (Casino Royale (James Bond, #1))
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I texted Kaidan, who was listed in my contacts under β€œJames,” for James Bond. He’d chosen it. He had me listed as β€œHot Chick From Gig.” Video chat in 30. His immediate response made me shake my head. Clothing optional? It was nice to know he could keep a sense of humor in the face of calamity. Or maybe he wasn’t joking... β€œAre you two flirting?” Patti asked, her eyes darting to me from the road. I blushed and deleted his message.
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Wendy Higgins (Sweet Reckoning (Sweet, #3))
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Now I feel like James Bond. Suave and intelligent, breaking all the codes while looking fabulous.
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Jim Butcher (Dead Beat (The Dresden Files, #7))
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This is an Aston Martin, Gin.You don't run over dead bodies in an Aston Matin." "Tell that to James Bond
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Jennifer Estep (Web of Lies (Elemental Assassin, #2))
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You do not interrupt a man when he is explaining his master plan after having been soundly defeated. Don't you watch any James Bond Movies?
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Katie MacAlister (Crouching Vampire, Hidden Fang (Dark Ones #7))
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I want to be more like James Bond, and less like Ian Fleming.
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Jarod Kintz (I Want)
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Bond reflected that good Americans were fine people and that most of them seemed to come from Texas.
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Ian Fleming (Casino Royale (James Bond, #1))
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Today we are fighting Communism. Okay. If I'd been alive fifty years ago, the brand of Conservatism we have today would have been damn near called Communism and we should have been told to go and fight that. History is moving pretty quickly these days and the heroes and villains keep on changing parts.
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Ian Fleming (Casino Royale (James Bond, #1))
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It was the short men that caused all the trouble in the world.
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Ian Fleming (Goldfinger (James Bond, #7))
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I realize that they giggle and I actually laugh, that they show their cleavage and I have none to show, but just so you know, I am also a girl. I'm one of the three wise MEN. And it's gay to think that James Bond is hot.
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John Green
β€œ
Smoking I find the most ridiculous of all the varieties of human behavior and practically the only one that is entirely against nature. Can you imagine a cow or any animal taking a mouthful of smoldering straw then breathing in the smoke and blowing it out through its nostrils?
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Ian Fleming (Goldfinger (James Bond, #7))
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Every bond is a bond to sorrow.
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James Joyce
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You could just run over him," I said. "He's already dead, and it's not like you haven't done it before." "Yeah, but I don't want bloody bits of dwarf stuck on my wheels for the next two weeks." Finn sniffed. "This is an Aston Martin, Gin. You don't run over dead bodies in an Aston Martin." "Tell that to James Bond." Finn shot me a dirty look as he pulled out onto the street.
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Jennifer Estep (Web of Lies (Elemental Assassin, #2))
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Loneliness becomes a lover, solitude a darling sin.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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Unfortunately most ways of making big money take a long time. By the time one has made the money one is too old to enjoy it.
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Ian Fleming (Goldfinger (James Bond, #7))
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The World Is Not Enough
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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Everyone has the revolver of resignation in his pocket.
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Ian Fleming (Casino Royale (James Bond, #1))
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History is moving pretty quickly these days, and the heroes and villains keep on changing parts.
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Ian Fleming
β€œ
Most marriages don't add two people together. They subtract one from the other.
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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A dry martini,' he said. 'One. In a deep champagne goblet.' ... Just a moment. Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon-peel. Got it?
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Ian Fleming (Casino Royale (James Bond, #1))
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History is moving pretty quickly these days and the heroes and villains keep on changing parts.
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Ian Fleming (Casino Royale (James Bond, #1))
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It’s just that I’d rather die of drink than of thirst.
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Ian Fleming (Thunderball (James Bond, #9))
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All women love semi-rape. They love to be taken.It was his sweet brutality against my bruised body that made his act of love so piercingly wonderful.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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All the greatest men are maniacs. They are possessed by a mania which drives them forward towards thier goal. The great scientists, the philosophers, the religious leaders - all maniacs. What else but a blind singlenee of purpose could have given focus to thier genius, would have kept them in the groove of purpose. Mania ... is as priceless as genius.
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Ian Fleming (Doctor No (James Bond, #6))
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Hope makes a good breakfast. Eat plenty of it.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Like all harsh, cold men, he was easily tipped over into sentiment.
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Ian Fleming (Casino Royale (James Bond, #1))
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I don't think I ever believed in love, not really. Just though it was something James Bond made up, a long time ago, to get laid.
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Maggie Stiefvater (Forever (The Wolves of Mercy Falls, #3))
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The gain to the winner is always less than the loss to the loser.
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Ian Fleming (Live and Let Die (James Bond, #2))
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The bitch is dead now.
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Ian Fleming (Casino Royale (James Bond, #1))
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His hand sliced through the air in a silencing motion, and he stalked to the window. "Have you seen any rats?" Her mind spun at the sudden shift of subject. "Rats?" "Rodents that resemble large mice." "I know what rats are," she gritted out. "Why?" "They're spies." He peered through the curtain into the darkness. Thick fog diffused the yellow lamplight, creating an eerie glow on the street below. "Have you seen any?" Rodent spies? The man might be hot as hell, but he was a loon. As inconspicuously as possible, Cara inched toward the door. "I didn't see any furry little James Bonds.
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Larissa Ione (Eternal Rider (Lords of Deliverance, #1; Demonica, #6))
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I think it's the same with all the relationships between a man and a woman. They can survive anything so long as some kind of basic humanity exists between the two people. When all kindness has gone, when one person obviously and sincerely doesn't care if the other is alive or dead, then it's just no good. -- from Quantum of Solace
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Ian Fleming (For Your Eyes Only (James Bond, #8))
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A broad smile spread across Will’s face. β€œThen we have no choice but to give our blessing too. Cordelia Carstairs,” he said, β€œthe Carstairs and the Herondales will be bonded even more closely now. If James could have chosen his wife from all the women in all the worlds that are or ever were, I would wish for no other.” Tessa laughed. β€œWill! You cannot compliment our new daughter only on the chance of her last name!” Will was grinning like a boy. β€œWait until I tell Jemβ€”
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Cassandra Clare (Chain of Gold (The Last Hours, #1))
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Love of life is born of the awareness of death, of the dread of it.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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Maybe I could just James Bond my way down the cable if I draped the scarf over it, clinging to the ends as my body careened down it to safety-- Careened. What an ugly word that was
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Katie MacAlister (Fire Me Up (Aisling Grey, #2))
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It was cold autumn weather, but in spite of the cold they wandered up and down the roads of the Park for nearly three hours. They agreed to break off their intercourse; every bond, he said, is a bond to sorrow.
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James Joyce (Dubliners)
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I don't stop when I am tired, I stop when I am done
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James Bond
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And people with obsessions, reflected Bond, were blind to danger.
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Ian Fleming (Moonraker (James Bond, #3))
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...Goldfinger could not have known that high tension was Bond's natural way of life and that pressure and danger relaxed him.
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Ian Fleming (Goldfinger (James Bond, #7))
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Before a man's forty, girls cost nothing. After that you have to pay money, or tell a story. Of the two, it's the story that hurts most. Anyway I'm not forty yet.
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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His headache was still sitting over his right eye as if it had been nailed there.
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Ian Fleming (Moonraker (James Bond, #3))
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But I am greedy for life. I do too much of everything all the time. Suddenly one day my heart will fail. The Iron Crab will get me as it got my father. But I am not afraid of The Crab. At least I shall have died from an honourable disease. Perhaps they will put on my tombstone. 'This Man Died from Living Too Much'.
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Ian Fleming (From Russia with Love (James Bond, #5))
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We need James Bond with a library science degree.
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Robin Sloan (Mr. Penumbra's 24-Hour Bookstore (Mr. Penumbra's 24-Hour Bookstore, #1))
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Why does the third of the three brothers, who shares his food with the old woman in the wood, go on to become king of the country? Why does James Bond manage to disarm the nuclear bomb a few seconds before it goes off rather than, as it were, a few seconds afterwards? Because a universe where that did not happen would be a dark and hostile place. Let there be goblin hordes, let there be terrible environmental threats, let there be giant mutated slugs if you really must, but let there also be hope. It may be a grim, thin hope, an Arthurian sword at sunset, but let us know that we do not live in vain.
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Terry Pratchett (A Slip of the Keyboard: Collected Non-Fiction)
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They want us dead,' said Bond calmly. 'So we have to stay alive.
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Ian Fleming (Moonraker (James Bond, #3))
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You start to die the moment you are born. The whole of life is cutting through the pack with death. So take it easy.
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Ian Fleming (Live and Let Die (James Bond, #2))
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And then one day when you're playing your little game you'll suddenly find yourself pinned down like a butterfly.
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Ian Fleming
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He shrugged his shoulders to shift the pain of failure---the pain that is so much greater than the pleasure of success.
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Ian Fleming (Moonraker (James Bond, #3))
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Een James Bond-boek is stom maar opwindend, terwijl een meesterwerk van de Vlaamse literatuur even stom maar daarbij ook nog vervelend is.
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Louis Paul Boon
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It reads better than it lives
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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Our prisons are full of people who think they're Napoleon..or God.
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Ian Fleming (Doctor No (James Bond, #6))
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Those whom the Gods wish to destroy, they first make bored.
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Ian Fleming (From Russia with Love (James Bond, #5))
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There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about how to be evil and how to be bad. The Devil had no prophets to write his Ten Commandments, and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folklore about evil people. All we have is the living example of people who are least good, or our own intuition.
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Ian Fleming (Casino Royale (James Bond, #1))
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Surround yourself with human beings, my dear James. They are easier to fight for than principles.' He laughed. 'But don't let me down and become human yourself. We would lose such a wonderful machine.
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Ian Fleming (Casino Royale (James Bond, #1))
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The name's Bond. James Omar Bond.
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Eoin Colfer (Benny and Omar)
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This is why we are chosen warrior partners, because we share such a perfect bond of sympathy. Come to me, Jamie, that we might share a manly embrace.
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Cassandra Clare (Cast Long Shadows (Ghosts of the Shadow Market, #2))
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She explained to me later that she must have been possessed by a subconscious desire to be raped. Well she found me in the mountains and she was raped - by me.
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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When the odds are hopeless, when all seems to be lost, then is the time to be calm, to make a show of authority – at least of indifference
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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When we got to the marina we saw this beautiful boat named Tara waiting for us. Fredo, Carin, Ryan, Dan, Kenny, Allison, my mom, and me were all together to enjoy that extraordinary day. As the boat pulled away from the city, its skyline vanished into the horizon. The captain took us to this area where we sailed through caves and lush hilly landscapes. All of a sudden, the captain pushed the throttle all the way down and we started bombing across the water like we were in a James Bond movie. Everyone's hair was blowing all over the place, especially the girls'. Of course, mine was perfect (ha,ha), but theirs ended up looking like the worst case of bed head I've seen! It was so funny.
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Justin Bieber (Justin Bieber: Just Getting Started)
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You can get far in North America with laconic grunts. "Huh," "hun," and "hi!" in their various modulations, together with "sure," "guess so," "that so?" and "nuts!" will meet almost any contingency.
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Ian Fleming (For Your Eyes Only (James Bond, #8))
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In their talk there was nothing but companionship with a distant undertone of passion. In the background there was the unspoken zest of the promise which, in due course and in their own time, would be met.
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Ian Fleming (Casino Royale (James Bond, #1))
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He was a secret agent, and still alive thanks to his exact attention to the detail of his profession.
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Ian Fleming (Casino Royale (James Bond, #1))
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I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold and very well-made. I hate small portions of anything, particularly when they taste bad.
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Ian Fleming (Casino Royale (James Bond, #1))
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Dad always said a person must have a magnificent reason for writing out his or her Life Story and expecting anyone to read it. Unless your name is something along the lines of Mozart, Matisse, Churchill, Che Guevara or Bond - James Bond - you best spent your free time finger painting or playing shuffeboard, for no one, with the exception of your flabby-armed mother with stiff hair and a mashed potato way of looking at you, will want to hear the particulars of your pitiable existence, which doubtlessly will end as it began - with a wheeze.
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Marisha Pessl (Special Topics in Calamity Physics)
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And don't get hurt,' [Dexter] added. 'There's no one to help you up there. And don't go stirring up a lot of trouble for us. This case isn't ripe yet. Until it is, our policy with Mr Big is 'live and let live'.' Bond looked quizzically at Captain Dexter In my job,' he said, 'when I come up against a man like this one, I have another motto. It's 'live and let die'.
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Ian Fleming (Live and Let Die (James Bond, #2))
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We ran like young wild furies, where angels feared to tread. The woods were dark and deep. Before us demons fled. We checked Coke bottle bottoms to see how far was far. Our worlds of magic wonder were never reached by car. We loved our dogs like brothers, our bikes like rocket ships. We were going to the stars, to Mars we'd make round trips. We swung on vines like Tarzan, and flashed Zorro's keen blade. We were James Bond in his Aston, we were Hercules unchained. We looked upon the future and we saw a distant land, where our folks were always ageless, and time was shifting sand. We filled up life with living, with grins, scabbed knees, and noise. In glass I see an older man, but this book's for the boys.
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Robert McCammon
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I don’t drink tea. I hate it. It’s mud. Moreover it’s one of the main reasons for the downfall of the British Empire. Be a good girl and make me some coffee.
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Ian Fleming (Goldfinger (James Bond, #7))
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Am I in love? Absolutely. I’m in love with ancient philosophers, foreign painters, classic authors, and musicians who have died long ago. I’m a passionate lover. I fawn over these people. I have given them my heart and my soul. The trouble is, I’m unable to love anyone tangible. I have sacrificed a physical bond, for a metaphysical relationship. I am the ultimate idealistic lover.
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James Byron Dean
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Englishmen are so odd. They are like a nest of Chinese boxes. It takes a very long time to get to the centre of them. When one gets there the result is unrewarding, but the process is instructive and entertaining.
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Ian Fleming (Casino Royale (James Bond, #1))
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Zhi yin. Jem had told her once that it meant understanding music, and also a bond that went deeper than friendship. Jem played, and he played the years of Will's life as he had seen them. He played two little boys in the training room, one showing the other how to throw knives, and he played the ritual of parabatai: the fire and the vows and burning runes. He played two young men running through the streets of London in the dark, stopping to lean up against a wall and laugh together. He played the day in the library when he and Will had jested with Tessa about ducks, and he played the train to Yorkshire on which Jem had said that parabatai were meant to love each other as they loved their own souls. He played that love, and he played their love for Tessa, and hers for them, and he played Will saying, In your eyes I have always found grace. He played the too few times he had seen them since he had joined the Brotherhood- the brief meetings at the Institute; the time when Will had been bitten by a Shax demon and nearly died, and Jem had come from the Silent City and sat with him all night, risking discovery and punishment. And he played the birth of their first son, and the protection ceremony that had been carried out on the child in the Silent City. Will would have no other Silent Brother but Jem perform it. And Jem played the way he had covered his scarred face with his hands and turned away when he'd found out the child's name was James. He played of love and loss and years of silence, words unsaid and vows unspoken, and all the spaces between his heart and theirs; and when he was done, and he'd set the violin back in its box, Will's eyes were closed, but Tessa's were full of tears. Jem set down his bow, and came toward the bed, drawing back his hood, so she could see his closed eyes and his scarred face. And he had sat down beside them on the bed, and taken Will's hand, the one that Tessa was not holding, and both Will and Tessa heard Jem's voice in their minds. I take your hand, brother, so that you may go in peace. Will had opened the blue eyes that had never lost their color over all the passing years, and looked at Jem and then Tessa, and smiled, and died, with Tessa's head on his shoulder and his hand in Jem's.
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Cassandra Clare (Clockwork Princess (The Infernal Devices, #3))
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I would stay away from him and leave him to go his own road where there would be other women, countless other women, who would probably give him as much physical pleasure as he had had with me. I wouldn’t care, or at least I told myself that I wouldn’t care, because none of them would ever own himβ€”own any larger piece of him than I now did.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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It’s like watching a James Bond movie. Morpheusβ€”in a black trench-coat-style blazer that hangs to his thighs, gray tweed pants, a dark gray vest, skinny red tie, and black pin-striped dress shirtβ€”could pass for a punk-fae secret agent who’s captured his villain. His thick blue waves touch his shoulders from under a gray tweed flat cap, and his wings drape down his back and across the floor, fluttering sporadically as he keeps his balance against Jeb’s resistance.
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A.G. Howard (Unhinged (Splintered, #2))
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Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared
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Ian Fleming (Casino Royale (James Bond, #1))
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I think it was the beginning of Mrs. Bond's unquestioning faith in me when she saw me quickly enveloping the cat till all you could see of him was a small black and white head protruding from an immovable cocoon of cloth. He and i were now facing each other, more or less eyeball to eyeball, and George couldn't do a thing about it. As i say, I rather pride myself on this little expertise, and even today my veterinary colleagues have been known to remark, "Old Herriot may be limited in many respects, but by God he can wrap a cat.
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James Herriot (James Herriot's Cat Stories)
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I've found that one must try and teach people that there's no top limit to disaster-that, so long as breath remains in your body, you've got accept the miseries of life. They will often seem infinite, insupportable. They are part of the human condition.
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Ian Fleming (You Only Live Twice (James Bond, #12))
β€œ
The conventional parabola--sentiment, the touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears and the final bitterness--was to him shameful and hypocritical.
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Ian Fleming (Casino Royale (James Bond, #1))
β€œ
Luck in all its moods had to be loved and not feared Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact he would be brought to his knees by love or by luck.
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Ian Fleming (Casino Royale (James Bond, #1))
β€œ
Just as, at least in one religion, accidia is the first of the cardinal sins, so bordom, and particularly the incredible circumstance of waking up bored, was the only vice Bond utterly condemned.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Danger, like a third man, was standing in the room.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Those who deserve to die, die the death they deserve.
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Ian Fleming (Live and Let Die (James Bond, #2))
β€œ
Inside each of us resides the truth,” I began, β€œthe absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion. As I listen to this trial, I am reminded of the climactic scene of a James Bond film, The Man with the Golden Gun. James Bond escaped his hall of mirrors by breaking the glass, shattering the illusions, until only the true villain stood before him. We, too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.
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Garth Stein (The Art of Racing in the Rain)
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For her, sex was nothing more than an itch. And this phsychological and physiological neutrality of hers at once relieved her of so many human emotions and sentiments and desires. Sexual neutrality was the essence of coldness in an individual. It was a great and wonderful thing to be born with.
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Ian Fleming (From Russia with Love (James Bond, #5))
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At thirteen desperately watching TV, curling my long legs under me, desperately reading books, callow adolescent that I was, trying (desperately!) to find someone in books, in movies, in life, in history, to tell me it was O.K. to be ambitious, O.K. to be loud, O.K. to be Humphrey Bogart (smart and rudeness), O.K. to be James Bond (arrogance), O.K. to be Superman (power), O.K. to be Douglas Fairbanks (swashbuckling), to tell me self-love was all right, to tell me I could love God and Art and Myself better than anything on earth and still have orgasms.
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Joanna Russ (The Female Man)
β€œ
I have noticed a curious bifurcation in outcome in the way romances are written by women et written by men - Love Story, The Bridges of Madison County, every James Bond tale ever penned, even the film named above - end with the woman either lost or dead. And the man free to love, or at least to have sex, again. Romances (in the modern genre sense) written by women end with the couple alive, together, and in a committed and at least potentially fertile relationship, ready to turn to the work of their world. In other words, men's romances are about love and death; women's romances are about love and life.
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Lois McMaster Bujold
β€œ
Isn't friendship amazing? At one time, our friends were just strangers to us. However, there was something special about these strangers; you felt a connection, something in common, a special bond, and your friendship began. What if, as we pass all of the β€˜strangers’ in our lives, if we looked at these strangers as if they could be a friend? What a different world it would be….
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James A. Murphy (The Waves of Life Quotes and Daily Meditations)
β€œ
Women are often meticulous and safe drivers, but they are very seldom first-class. In general, Bond regarded them as a mild hazard and he always gave them plenty of road and was ready for the unpredictable. Four women in a car he regarded as the highest potential danger, and two women nearly as lethal. Women together cannot keep silent in a car, and when women talk they have to look into each other’s faces. An exchange of words is not enough. They have to see the other person’s expression, perhaps to read behind the others’ words or analyze the reaction to their own. So two women in the front seat of a car constantly distract each other’s attention from the road ahead and four women are more than doubly dangerous for the driver not only has to hear and see, what her companion is saying but also, for women are like that, what the two behind are talking about.
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Ian Fleming (Thunderball (James Bond, #9))
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The great trains are going out all over Europe, one by one, but still, three times a week, the Orient Express thunders superbly over the 1,400 miles of glittering steel track between Istanbul and Paris. Under the arc-lights, the long-chassied German locomotive panted quietly with the labored breath of a dragon dying of asthma. Each heavy breath seemed certain to be the last. Then came another.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Ianto Jones was at his station behind the run-down Tourist Information Centre that served at a front to the clandestine goings on in Torchwood. His bare feet were on his desk, his tie slumped like a crestfallen snake next to an open pizza box, the top two buttons of his shirt undone. "Taking it easy, I see?" said Jack, stepping out through the security door that led into the Hub itself. "Well at least someone has the right idea. Whatcha doing there, Sport?" "Sport?" said Ianto. "Not sure I like 'Sport' as a term of endearment. 'Sexy is good, if unimaginative. 'Pumpkin' is a bit much, but 'Sport'? No. You'll have to think of another one. "Okay, Tiger Pants. Whatcha doing?" Ianto laughed. "I..." he said, pausing to swallow a mouthful of pizza, "am having a James Bondathon." "A what?" "A James Bondathon. I'm watching my favourite James Bond films in chronological order." "You're a Bond fan?" "Oh yes. He's the archetypal male fantasy, isn't he? The man all women want to have, and all men want to be." "Are you sure it's not the other way around?
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David Llewellyn (Trace Memory (Torchwood, #5))
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Bond came to the conclusion that Tilly Masterton was one of those girls whose hormones had got mixed up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and 'sex equality.' As a result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits--barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them.
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Ian Fleming (Goldfinger (James Bond, #7))
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To pragmatists, the letter Z is nothing more than a phonetically symbolic glyph, a minor sign easily learned, readily assimilated, and occasionally deployed in the course of a literate life. To cynics, Z is just an S with a stick up its butt. Well, true enough, any word worth repeating is greater than the sum of its parts; and the particular word-part Z can, from a certain perspective, appear anally wired. On those of us neither prosaic nor jaded, however, those whom the Fates have chosen to monitor such things, Z has had an impact above and beyond its signifying function. A presence in its own right, it’s the most distant and elusive of our twenty-six linguistic atoms; a mysterious, dark figure in an otherwise fairly innocuous lineup, and the sleekest little swimmer ever to take laps in a bowl of alphabet soup. Scarcely a day of my life has gone by when I’ve not stirred the alphabetical ant nest, yet every time I type or pen the letter Z, I still feel a secret tingle, a tiny thrill… Z is a whip crack of a letter, a striking viper of a letter, an open jackknife ever ready to cut the cords of convention or peel the peach of lust. A Z is slick, quick, arcane, eccentric, and always faintly sinister - although its very elegance separates it from the brutish X, that character traditionally associated with all forms of extinction. If X wields a tire iron, Z packs a laser gun. Zap! If X is Mike Hammer, Z is James Bond. If X marks the spot, Z avoids the spot, being too fluid, too cosmopolitan, to remain in one place. In contrast to that prim, trim, self-absorbed supermodel, I, or to O, the voluptuous, orgasmic, bighearted slut, were Z a woman, she would be a femme fatale, the consonant we love to fear and fear to love.
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Tom Robbins
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Mr. Kadam bowed and said, β€œMiss Kelsey, I will leave you to your dining companion. Enjoy your dinner.” Then he walked out of the restaurant. β€œMr. Kadam, wait. I don’t understand.” Dining companion? What is he talking about? Maybe he’s confused. Just then, a deep, all-too-familiar voice behind me said, β€œHello, Kells.” I froze, and my heart dropped into my stomach, stirring up about a billion butterflies. A few seconds passed. Or was it a few minutes? I couldn’t tell. I heard a sigh of frustration. β€œAre you still not talking to me? Turn around, please.” A warm hand slid under my elbow and gently turned me around. I raised my eyes and gasped softly. He was breathtaking! So handsome, I wanted to cry. β€œRen.” He smiled. β€œWho else?” He was dressed in an elegant black suit and he’d had his hair cut. Glossy black hair was swept back away from his face in tousled layers that tapered to a slight curl at the nape of his neck. The white shirt he wore was unbuttoned at the collar. It set off his golden-bronze skin and his brilliant white smile, making him positively lethal to any woman who might cross his path. I groaned inwardly. He’s like…like James Bond, Antonio Banderas, and Brad Pitt all rolled into one. I decided the safest thing to do would be to look at his shoes. Shoes were boring, right? Not attractive at all. Ah. Much better. His shoes were nice, of course-polished and black, just like I would expect. I smiled wryly when I realized that this was the first time I’d ever seen Ren in shoes. He cupped my chin and made me look at his face. The jerk. Then it was his turn to appraise me. He looked me up and down. And not a quick look. He took it all in slowly. The kind of slow that made a girl’s face feel hot. I got mad at myself for blushing and glared at him. Nervous and impatient, I asked, β€œAre you finished?” β€œAlmost.” He was now staring at my strappy shoes. β€œWell, hurry up!” His eyes drifted leisurely back up to my face and he smiled at me appreciatively, β€œKelsey, when a man spends time with a beautiful woman, he needs to pace himself.” I quirked an eyebrow at him and laughed. β€œYeah, I’m a regular marathon alright.” He kissed my fingers. β€œExactly. A wise man never sprints…in a marathon.” β€œI was being sarcastic, Ren.” He ignored me and tucked my hand under his arm then led me over to a beautifully lit table. Pulling the chair out for me, he invited me to sit. I stood there wondering if I could sprint for the nearest exit. Stupid strappy shoes, I’d never make it. He leaned in close and whispered in my ear. β€œI know what you’re thinking, and I’m not going to let you escape again. You can either take a seat and have dinner with me like a normal date,” he grinned at his word choice, β€œor,” he paused thoughtfully then threatened, β€œyou can sit on my lap while I force-feed you.” I hissed, β€œYou wouldn’t dare. You’re too much of a gentleman to force me to do anything. It’s an empty bluff, Mr. Asks-For-Permission.” β€œEven a gentleman has his limits. One way or another, we’re going to have a civil conversation. I’m hoping I get to feed you from my lap, but it’s your choice.” He straightened up again and waited. I unceremoniously plunked down in my chair and scooted in noisily to the table. He laughed softly and took the chair across from me. I felt guilty because of the dress and readjusted my skirt so it wouldn’t wrinkle.
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Colleen Houck (Tiger's Curse (The Tiger Saga, #1))
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What is the age of the soul of man? As she hath the virtue of the chameleon to change her hue at every new approach, to be gay with the merry and mournful with the downcast, so too is her age changeable as her mood. No longer is Leopold, as he sits there, ruminating, chewing the cud of reminiscence, that staid agent of publicity and holder of a modest substance in the funds. He is young Leopold, as in a retrospective arrangement, a mirror within a mirror (hey, presto!), he beholdeth himself. That young figure of then is seen, precociously manly, walking on a nipping morning from the old house in Clambrassil street to the high school, his booksatchel on him bandolierwise, and in it a goodly hunk of wheaten loaf, a mother's thought. Or it is the same figure, a year or so gone over, in his first hard hat (ah, that was a day!), already on the road, a fullfledged traveller for the family firm, equipped with an orderbook, a scented handkerchief (not for show only), his case of bright trinketware (alas, a thing now of the past!), and a quiverful of compliant smiles for this or that halfwon housewife reckoning it out upon her fingertips or for a budding virgin shyly acknowledging (but the heart? tell me!) his studied baisemoins. The scent, the smile but more than these, the dark eyes and oleaginous address brought home at duskfall many a commission to the head of the firm seated with Jacob's pipe after like labours in the paternal ingle (a meal of noodles, you may be sure, is aheating), reading through round horned spectacles some paper from the Europe of a month before. But hey, presto, the mirror is breathed on and the young knighterrant recedes, shrivels, to a tiny speck within the mist. Now he is himself paternal and these about him might be his sons. Who can say? The wise father knows his own child. He thinks of a drizzling night in Hatch street, hard by the bonded stores there, the first. Together (she is a poor waif, a child of shame, yours and mine and of all for a bare shilling and her luckpenny), together they hear the heavy tread of the watch as two raincaped shadows pass the new royal university. Bridie! Bridie Kelly! He will never forget the name, ever remember the night, first night, the bridenight. They are entwined in nethermost darkness, the willer and the willed, and in an instant (fiat!) light shall flood the world. Did heart leap to heart? Nay, fair reader. In a breath 'twas done but - hold! Back! It must not be! In terror the poor girl flees away through the murk. She is the bride of darkness, a daughter of night. She dare not bear the sunnygolden babe of day. No, Leopold! Name and memory solace thee not. That youthful illusion of thy strength was taken from thee and in vain. No son of thy loins is by thee. There is none to be for Leopold, what Leopold was for Rudolph.
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James Joyce (Ulysses)