John D Macdonald Quotes

We've searched our database for all the quotes and captions related to John D Macdonald. Here they are! All 200 of them:

If the cards are stacked against you, reshuffle the deck.
John D. MacDonald
Integrity is not a conditional word. It doesn't blow in the wind or change with the weather. It is your inner image of yourself, and if you look in there and see a man who won't cheat, then you know he never will. Integrity is not a search for the rewards of integrity. Maybe all you ever get for it is the largest kick in the ass the world can provide. It is not supposed to be a productive asset.
John D. MacDonald
...there are people who try to look as if they are doing a good and thorough job, and then there are the people who actually damn well do it, for its own sake.
John D. MacDonald (Free Fall in Crimson (Travis McGee #19))
We were about to give up and call it a night when somebody threw the girl off the bridge.
John D. MacDonald (Darker Than Amber (Travis McGee #7))
Being an adult means accepting those situations where no action is possible.
John D. MacDonald (The Green Ripper (Travis McGee #18))
I am wary of the whole dreary deadening structured mess that we have built into such a glittering top-heavy structure that there is nothing left to see but the glitter, and the brute routines of maintaining it.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
A woman who does not guard and treasure herself cannot be of very much value to anyone else.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
A man with a credit card is in hock to his own image of himself.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
At times it seems as if arranging to have no commitment of any kind to anyone would be a special freedom. But in fact the whole idea works in reverse. The most deadly commitment of all is to be committed only to one's self. Some come to realize this after they are in the nursing home.
John D. MacDonald (The Lonely Silver Rain (Travis McGee #21))
Please not yet. Those are the three eternal words. Please not yet.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
When you see the ugliness behind the tears of another person, it makes you take a closer look at your own.
John D. MacDonald (The Green Ripper (Travis McGee #18))
[Los Angeles] the world's biggest third-class city...
John D. MacDonald (A Deadly Shade of Gold)
Every day, no matter how you fight it, you learn a little more about yourself, and all most of it does is teach humility.
John D. MacDonald (One Fearful Yellow Eye (Travis McGee, #8))
A fallow mind is a field of discontent.
John H. Cunningham (Red Right Return (Buck Reilly Adventure #1))
In the morning I'm often anti-semantic.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
This was not some pretty little girl, coyly flirtatious, delicately stimulated. This was the mature female of the species, vivid, handsome and strong demanding that all the life within her be matched. Her instinct would detect any hedging, any dishonesty, any less than complete response to her - and then she would be gone for good.
John D. MacDonald (The Quick Red Fox (Travis McGee #4))
Old friend, there are people—young and old—that I like, and people that I do not like. The former are always in short supply. I am turned off by humorless fanaticism, whether it's revolutionary mumbo-jumbo by a young one, or loud lessons from scripture by and old one. We are all comical, touching, slapstick animals, walking on our hind legs, trying to make it a noble journey from womb to tomb, and the people who can't see it all that way bore hell out of me.
John D. MacDonald (Dress Her in Indigo (Travis McGee #11))
I do not like the killers, and the killing bravely and well crap. I do not like the bully boys, the Teddy Roosevelt’s, the Hemingways, the Ruarks. They are merely slightly more sophisticated versions of the New Jersey file clerks who swarm into the Adirondacks in the fall, in red cap, beard stubble and taut hero’s grin, talking out of the side of their mouths, exuding fumes of bourbon, come to slay the ferocious white-tailed deer. It is the search for balls. A man should have one chance to bring something down. He should have his shot at something, a shining running something, and see it come a-tumbling down, all mucus and steaming blood stench and gouted excrement, the eyes going dull during the final muscle spasms. And if he is, in all parts and purposes, a man, he will file that away as a part of his process of growth and life and eventual death. And if he is perpetually, hopelessly a boy, he will lust to go do it again, with a bigger beast.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
It can happen to anybody, getting all hung up on some twenty-year-old quiff. Like the little dog in the freight yard, and the train nips off the end of his tail and he yelps and spins around and it cuts off his head. Never lose your head over a piece of tail.
John D. MacDonald
When you look at pictures of people you know are dead, there is something different about the eyes. As if they anticipated their particular fate.It is a visceral recognition. I told myself I was getting too fanciful and went to bed.
John D. MacDonald (The Lonely Silver Rain (Travis McGee #21))
It would be one kind of penance. And there are never enough kinds. Not for him. Not for me. And certainly not for you, my friend.
John D. MacDonald (A Purple Place for Dying (Travis McGee #3))
never sit in the first row at the ballet.
John D. MacDonald
It was to have been a quiet evening at home. Home is the Busted Flush, 52-foot barge-type houseboat, Slip F-18, Bahia Mar, Lauderdale.
John D. MacDonald (The Deep Blue Good-By)
It is one thing to look at a mistreated boat and another to look at a tomb. The silence of the bay seemed more intense. And I could see the glint of the carrion flies.
John D. MacDonald (The Lonely Silver Rain (Travis McGee #21))
All the little gods of irony must whoop and weep and roll on the floors of Olympus when they tune in on the night thoughts of a truly fatuous male.
John D. MacDonald (The Deep Blue Good-By)
It is that flavor exuded by women who have fashioned an earthy and simplified sexual adjustment to their environment, borne their young, achieved an unthinking physical confidence. They are often placidly unkempt, even grubby, taking no interest in the niceties of posture. They have a slow relish for the physical spectrum of food, sun, deep sleep, the needs of children, the caressess of affection. There is a tiny magnificance about them, like the sultry dignity of she-lions.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
The wide world is full of likable people who get kicked in the stomach regularly. They’re disaster-prone. Something goes wrong. The sky starts falling on their head. And you can’t reverse the process.
John D. MacDonald (The Deep Blue Good-By)
Education is something which should be apart from the necessities of earning a living, not a tool therefor. It needs contemplation, fallow periods, the measured and guided study of the history of man's reiteration of the most agonizing question of all: Why?
John D. MacDonald
By noon, in a gray February world, we had come down through snow flurries to land at Albany, and had taken off again. When the snow ended the sky was a luminous gray. I looked down at the winter calligraphy of upstate New York, white fields marked off by the black woodlots, an etching without color, superbly restful in contrast to the smoky, guttering, grinding stink of the airplane clattering across the sky like an old commuter bus.
John D. MacDonald (The Quick Red Fox (Travis McGee #4))
The president is selling the country down the river with the help of the Supreme Court. Agree with us or you are a marked traitor. You know the sort of thing, all that tiresome pea-brained nonsense that attracts those people who are so dim-witted that the only way they can understand the world is to believe that it is all some kind of conspiracy.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
it takes a special man to tell the difference between right and wrong, but any damn fool can tell the difference between good and evil.
John D. MacDonald
A nonreader is somebody standing there in a blindfold.
John D. MacDonald
In the sense of movement a boat is a living thing. It is a companion in the night. Each boat has its own manner and character.” Travis McGee, 1985
John D. MacDonald
summertime.” “I remember it well.
John D. MacDonald (Cinnamon Skin (Travis McGee, #20))
Sama seperti perkawinan, persahabatan tergantung pada menghindari hal-hal yang tidak termaafkan.
John D. MacDonald
Bugs would eat the wax. Chaw the old canvas. And one day there will be a mutation, and we will have new ones that can digest concrete, dissolve steel and suck up the acid puddles, fatten on magic plastics, lick their slow way through glass. Then the cities will tumble and man will be chased back into the sea from which he came...
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
...I do not function too well on emotional motivations. I am wary of them. And I am wary of a lot of other things, such as plastic credit cards, payroll deductions, insurance programs, retirement benefits, savings accounts, Green Stamps, time clocks, newspapers, mortgages, sermons, miracle fabrics, deodorants, check lists, time payments, political parties, lending libraries, television, actresses, junior chambers of commerce, pageants, progress, and manifest destiny.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
If there was one sunset every twenty years, how would people react to them? If there were ten seashells in all the world, what would they be worth? If people could make love just once a year, how carefully would they pick their mates?
John D. MacDonald (One Fearful Yellow Eye (Travis McGee, #8))
Somebody has to be tireless or the fast buck operators would asphalt the entire coast, fill every bay and slay every living thing incapable of carrying a wallet.
John D. MacDonald (Where is Janice Gantry?)
She went inside and watched him walk back toward sixteen,
John D. MacDonald (One More Sunday (Murder Room))
He thought, as the locked truck slid and hit: Too much time staring at the pretty girl, Cherrik. Too much dreaming. Too old, Cherrik. Too damn old.
John D. MacDonald (Cry Hard, Cry Fast)
Hascomb snatched an ancient weapon out of his glove compartment. Officers have smuggled them home from the last five wars. The Colt.45 automatic.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
Ask for two, and they give you the third free.
John D. MacDonald (The Last One Left)
Vulnerability is the curse of the thinking classes.
John D. MacDonald
every day, not matter how you fight it, you learn a little more about yourself, and all most of it does is teach humility.
John D. MacDonald
Gian Gravina? ‘A bore is a person who deprives you of solitude without providing you with company.’ 
John D. MacDonald (The Turquoise Lament (Travis McGee #15))
The Only Thing in the World Worth a Damn is the Strange, Touching, Pathetic, Awesome Nobility of the Individual Human Spirit.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
The world is full of damp rocks, with some very strange creatures hiding under them.
John D. MacDonald (The Green Ripper (Travis McGee, #18))
Waves can wash away the most stubborn stains, and the stars do not care one way or the other.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
That is the flaw in my personality. Vanity. And your flaw is sentimentality. They are the flaws which will inevitably kill us both.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
In all emotional conflicts, the thing you find the most difficult to do, is the thing that you should do." --Meyer's Law
John D. MacDonald
A bird, a horse, a dog, a man, a girl, or a cat—you knock them about and diminish yourself because all you do is prove yourself equally vulnerable.
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
In every contact with every other human in every day of your life, you become what you sense they want of you or, if you are motivated the other way, exactly what they do not want.
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
A man with a credit card is in hock to his own image of himself. But
John D. MacDonald (The Deep Blue Good-By)
The wide world is full of likable people who get kicked in the stomach regularly.
John D. MacDonald (The Deep Blue Good-By)
There are middle-aged children who spend a part of every day thinking of their college or their war, but the ones who grow up to be men do not have this plaintive need for a flavor of past importance,
John D. MacDonald (The Deep Blue Good-By)
Only a woman of pride, complexity and emotional tension is genuinely worth the act of love, and there are only two ways to get yourself one of them. Either you lie, and stain the relationship with your own sense of guile, or you accept the involvement, the emotional responsibility, the permanence she must by nature crave.
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
I had that fractional part of consciousness left which gave me a remote and unimportant view of reality. The world was a television set at the other end of a dark auditorium, with blurred sound and a fringe area picture.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
He’d had a full measure of good bourbon and a fine dinner and probably some excellent brandy. It had dulled his mind slightly, and he was aware of that dullness and was consequently more careful and more suspicious than he would have been sober. He refused a drink. He lowered himself into a comfortable chair and took his time lighting his pipe.
John D. MacDonald (The Deep Blue Good-By)
You can be at ease only with those people to whom you can say any damn fool thing that comes into your head, knowing they will respond in kind, and knowing that any misunderstandings will be thrashed out right now, rather than buried deep and given a chance to fester.
John D. MacDonald
Now, of course, having failed in every attempt to subdue the Glades by frontal attack, we are slowly killing it off by tapping the River of Grass. In the questionable name of progress, the state in its vast wisdom lets every two-bit developer divert the flow into drag-lined canals that give him 'waterfront' lots to sell. As far north as Corkscrew Swamp, virgin stands of ancient bald cypress are dying. All the area north of Copeland had been logged out, and will never come back. As the glades dry, the big fires come with increasing frequency. The ecology is changing with egret colonies dwindling, mullet getting scarce, mangrove dying of new diseases born of dryness.
John D. MacDonald (Bright Orange for the Shroud)
Then she would be that hostess in Houston and I would be that tanned one from Florida, a small memory of chlorinated pool water, fruit juice and gin, steak raw in the middle, and hearty rhythms in the draperied twilight of the tomb-cool motel cubicle, riding the grounded flesh of the jet-stream Valkyrie. A harmless pleasure. For harmless plastic people, scruff-proof, who can create the delusion of romance.
John D. MacDonald (The Deep Blue Good-By)
Travis McGee, that big brown loose-jointed boat bum, that pale-eyed, wire-haired girl-seeker, that slayer of small savage fish, that beach-walker, gin-drinker, quip-maker, peace-seeker, iconoclast, disbeliever, argufier, that knuckly, scar-tissued reject from a structured society.
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
My friend Meyer, the economist, says that cretins are the only humans who can be absolutely certain of their own sanity. All the rest of us go rocketing along rickety rails over spavined bridges and along the edge of bottomless gorges. The man who believes himself free of any taint of madness is a damned liar.
John D. MacDonald (A Purple Place for Dying (Travis McGee #3))
Newsmen have a very short attention span. It is a prerequisite in the business. That is why the news accounts of almost anything make sense to all ages up to the age of twelve. If one wishes to enjoy newspapers, it is wise to halt all intellectual development right at that age. The schools are doing their level best to achieve this goal.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
New York is where it is going to begin, I think. You can see it coming. The insect experts have learned how it works with locusts. Until locust population reaches a certain density, they all act like any grasshoppers. When the critical point is reached, they turn savage and swarm, and try to eat the world. We’re nearing a critical point. One day soon two strangers will bump into each other at high noon in the middle of New York. But this time they won’t snarl and go on. They will stop and stare and then leap at each others
John D. MacDonald (Nightmare in Pink (Travis McGee, #2))
And it was okay because it had to be. There wasn't any other choice. Sometimes it is a relief not to have a choice. I will have to get Meyer to explain this concept to me.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
I don't like it anymore around here, Meyer. I want to go home. Every time I get blown up by a bomb I get that same feeling. I want to go home.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
You did very well, old friend." "Shall I blush and simper?" "If you don't keep it up for long. I hate blushing and simpering in a grown man when it goes on and on.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
You can be with a person for three hours of your life and have a friend. Another one will remain an acquaintance for thirty years.
John D. MacDonald (Bright Orange for the Shroud)
All women are at war all the time, and when I’ve got hunger pains, it shows a little more.
John D. MacDonald (Bright Orange for the Shroud)
The intelligence of a mob can be determined by dividing the lowest IQ present by the number of people in the mob.
John D. MacDonald (Bright Orange for the Shroud)
It was to have been a quiet evening at home.
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
It is a practical world, Mr. Owen, and we have to do practical things.
John D. MacDonald (One More Sunday (Murder Room))
Nothing goes on forever. And if you stay patient, problems tend to go away in time.
John D. MacDonald (One More Sunday (Murder Room))
Victims, he thought, were birds and animals and people who arrived at the wrong place at the wrong time, usually in too big a hurry.
John D. MacDonald (One More Sunday (Murder Room))
Walk very lightly and carefully, Wade. Look behind every bush.
John D. MacDonald (Barrier Island (Murder Room))
Keep your head down, fella. Do your job. Sell the product, write the contracts, negotiate the loans, attend the closings, bank your share and fatten the Keogh accordingly.
John D. MacDonald (Barrier Island (Murder Room))
For the expendable marriage, you give the expendable gift.
John D. MacDonald (Bright Orange for the Shroud)
If you look over in that direction, like two hundred yards, you will see some birds walking. Never drive the boat toward where the birds are walking. First rule of navigation.
John D. MacDonald (The Scarlet Ruse (Travis McGee #14))
anxious little smile that came and went—a mendicant
John D. MacDonald (Bright Orange for the Shroud)
the glue that seems to hold mankind in some kind of lasting stasis is everyone’s desire to be useful.
John D. MacDonald (The Lonely Silver Rain (Travis McGee, #21))
Somebody has to be tireless, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.” These
John D. MacDonald (Nightmare in Pink (Travis McGee, #2))
McBain, John D. MacDonald, Chester Himes, and Richard S. Prather; steamy melodramas like Peyton Place
Stephen King (11/22/63)
If there’s no pain and no loss, it’s only recreational and we can leave it to the minks. People have to be valued.
John D. MacDonald (Nightmare in Pink (Travis McGee, #2))
For once her new placidity was impaired.
John D. MacDonald (The Deep Blue Good-By)
After I had chased the ghastliness of Fancha out of my mind, I settled down to some planning. A trip out to Leavenworth had a deceptive plausibility.
John D. MacDonald (The Deep Blue Good-By)
The breakfast was rather silent, but not with strain.
John D. MacDonald (The Deep Blue Good-By)
He tottered in. In a few moments he came out, hair piece in place. But the haggardness of his face made it look more spurious than before.
John D. MacDonald (The Deep Blue Good-By)
I just don’t know. Maybe I’m good, but that goddamn scale would hesitate a long time before tilting that way.
John D. MacDonald (The Deep Blue Good-By)
The sun was visible from Florida, but it hadn’t gotten to me.
John D. MacDonald (The Deep Blue Good-By)
Once in a while they show up to ask some more questions, but you are amiable, slightly stupid, and very polite.
John D. MacDonald (The Deep Blue Good-By)
And would not her fastidious litheness take away the heavy taste of the fleshy girls in the Citrus Inn? McGee, the Perfidious.
John D. MacDonald (The Deep Blue Good-By)
A sulphur sun pierced the gloom, and the rain stopped and I drove to the hospital.
John D. MacDonald (The Deep Blue Good-By)
The rain had washed the sunset time to a lambent beauty.
John D. MacDonald (The Deep Blue Good-By)
Saturday night. Buddy Dow, hired skipper of a big lunker owned by an insurance company in Atlanta, had enlisted two recruits and was despairingly in need of more.
John D. MacDonald (The Deep Blue Good-By)
I went back to Lois. She had a glass of bourbon that looked like a glass of iced coffee. Her smile was loose and wet and her eyes didn’t track.
John D. MacDonald (The Deep Blue Good-By)
She trudged along, dutiful as a naughty child.
John D. MacDonald (The Deep Blue Good-By)
In spite of the air conditioning, she had filled the lounge with a faint sharp-sweet odor of large overheated girl.
John D. MacDonald (The Deep Blue Good-By)
I have no stomach for surprises. I have endured too many of them. They upset me. The elimination of all removable risk is the most plausible way of staying alive.
John D. MacDonald (The Deep Blue Good-By)
The early bird who gets the worm works for somebody who comes in late and owns the worm farm.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
Somebody has to be tireless, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.
John D. MacDonald (The Lonely Silver Rain (Travis McGee, #21))
He stared at me. “Strange you should do all this for her.” “Pity, I guess.” “One of the worst traps of all, McGee.
John D. MacDonald (The Deep Blue Good-By)
The bathroom was humid with steam and soap. The elderly Palm Beach sybarite who had ordered the pleasure barge for his declining years had added many nice touches.
John D. MacDonald (The Deep Blue Good-By)
settled for a blooming redhead from Waco, Takes-us, name of Molly Bea Archer, carefully cut her out of the pack and trundled her, tipsy and willing, back to the Busted Flush.
John D. MacDonald (The Deep Blue Good-By)
Cathy introduced us. Christine stood there inside her smooth skin, warm and indolent, mildly speculative.
John D. MacDonald (The Deep Blue Good-By)
People have their acquired armor, made up of gestures and expressions and defensive chatter.
John D. MacDonald (The Deep Blue Good-By)
She was styled for abundant lactation, and her uniform blouse was not.
John D. MacDonald (The Deep Blue Good-By)
His wife, Gerry, was a truly stunning blonde in her middle twenties, tall and gracious, but with eyes just a little cold to match a smile so warm and welcoming.
John D. MacDonald (The Deep Blue Good-By)
For perhaps the first time in my life I appreciated the corrosive effects of total uncertainty.
John D. MacDonald (The Lonely Silver Rain (Travis McGee, #21))
I awakened on Monday with the impression that I might have to get up and bang my head against the wall to get my heart started.
John D. MacDonald (Pale Gray for Guilt (Travis McGee #9))
I leaned over and slapped his face sideways and backhanded it back to center position. "Manners," I said.
John D. MacDonald (Pale Gray for Guilt (Travis McGee #9))
Never leave anything which can be traced, when you do have a choice.
John D. MacDonald (The Quick Red Fox (Travis McGee #4))
The eye records. The eye takes vivid, unforgettable pictures.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
The fact remains, we got the evidence right in front of us, the decay of the nashal moral fiber, mob rule in the streets, violence, punks killing decen’ people. Am I right or am I right?
John D. MacDonald (Bright Orange for the Shroud)
He was in a gigantic circular bed, with a pink canopy over it. In all the luxuriant femininity of that big bedroom, George looked shrunken and misplaced, like a dead worm in a birthday cake.
John D. MacDonald (The Deep Blue Good-By)
It's a tricky, complex, indifferent society, Puss. It's a loophole world. And there are a lot of clever animals who know how to reach through the loopholes and pick the pockets of the unsuspecting.
John D. MacDonald (Pale Gray for Guilt (Travis McGee #9))
Sister, I do what I do, and I do it better than most, and I take some satisfaction in that. I am like a very dependable dog. They throw a stick into a jungle and I can go in there and bring it back.
John D. MacDonald (One More Sunday (Murder Room))
Chook’s phone went to nine rings before she answered in the gritty rancor of interrupted sleep. But her voice changed when she recognized mine. “Trav! I phoned you last night. Who is that Mrs. Atkinson?
John D. MacDonald (The Deep Blue Good-By)
I am wary of the whole dreary deadening structured mess we have built into such a glittering top-heavy structure that there is nothing left to see but the glitter, and the brute routines of maintaining it.
John D. MacDonald (The Deep Blue Good-By)
are too many mouths to feed. One million three hundred thousand more every week! And of all the people who have ever been alive on Earth, more than half are living right now. We are gnawing the planet bare,
John D. MacDonald (The Green Ripper (Travis McGee, #18))
I don’t often do this much talking for so little reason, McGee. You have a nice touch. You’re an eager listener. You smile in the right places. It puts people on. And, of course, you haven’t leveled with me.
John D. MacDonald (The Deep Blue Good-By)
I heard his hasty footsteps on the dock. I kept my head down. I heard the thump and felt it as he leaped down into the cockpit. I heard his grunt of consternation. He would have to find out, and find out quickly.
John D. MacDonald (The Deep Blue Good-By)
The scene is reputed to be acrawl with adorably amoral bunnies to whom sex is a pleasant social favor. The new culture. And they are indeed present and available, in exhausting quantity but there is a curious tastelessness about them. A woman who does not guard and treasure herself cannot be of very much value to anyone else. They become a pretty little convenience, like a guest towel. And the cute little things they say, and their dainty little squeals of pleasure and release are as contrived as the embroidered initials on the guest towels. Only a women of pride, complexity and emotional tension is genuinely worth the act of love.
John D. MacDonald (The Deep Blue Good-By (Travis McGee, #1))
I went into the lunchroom. A stocky young girl in a soiled green jumper sat at a table reading a fan magazine. She got up slowly when the screen door creaked. She had enormous breasts and she looked like Buddy Hackett.
John D. MacDonald (A Purple Place for Dying (Travis McGee #3))
I could have listed maybe fifty possible reactions without coming close to the one I got. Her eyes dulled and her narrow nostrils flared wide and her mouth fell into sickness. She lost her posture and stood in an ugly way.
John D. MacDonald (The Deep Blue Good-By)
He chuckled and pulled himself to his feet. “End of session, McGee. Good night and good luck.” At the door he turned and said, “I’ll have you checked out, of course. Just for the hell of it. I’m a careful and inquisitive man.
John D. MacDonald (The Deep Blue Good-By)
Or else take the contemporarily untenable position that evil, undiluted by any hint of childhood trauma, does exist in the world, exists for its own precise sake, the pustular bequest from the beast, as inexplicable as Belsen.
John D. MacDonald
You know what just seeing him did to me.” “I know. Lois, he just isn’t that ominous. Evil, but not ominous. Sly, but not prescient. Once he is off balance, he will stay off balance, and fall heavily. And the law will gather him in.
John D. MacDonald (The Deep Blue Good-By)
There are middle-aged children who spend a part of every day thinking of their college or their war, but the ones who grow up to be men do not have this plaintive need for a flavor of past importance, and Callowell was one of these.
John D. MacDonald (The Deep Blue Good-By)
Would you rather I found you a place of your own right away?” “It doesn’t matter.” “Which would you rather do?” The effort of decision brought her out of her torpor. She made fists and her lips tightened. “I guess I have to be with you.
John D. MacDonald (The Deep Blue Good-By)
I know just enough about myself to know I cannot settle for one of those simplifications which indignant people seize upon to make understandable a world too complex for their comprehension. Astrology, health food, flag waving, bible thumping, Zen, nudism, nihilism—all of these are grotesque simplifications which small dreary people adopt in the hope of thereby finding The Answer, because the very concept that maybe there is no answer, never has been, never will be, terrifies them.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
The ones that swear off, most of them they go back onto it sooner or later, get pig drunk and locked up.” “Something special you’ve got against drunks, Sheriff?” “Married to one for a long time. Too long. She finally drove into a tree one night.
John D. MacDonald (The Empty Copper Sea (Travis McGee #17))
...her dark eyes were like twin entrances to two deep caves. Nothing lived in those caves. Maybe something had, once upon a time. There were piles of picked bones back in there, some scribbling on the walls, and some grey ash where the fires had been.
John D. MacDonald (Darker Than Amber (Travis McGee #7))
But now Cathy had created the restlessness, the indignation, the beginnings of that shameful need to clamber aboard my spavined white steed, knock the rust off the armor, tilt the crooked old lance and shout huzzah. Sleep immediately followed decision.
John D. MacDonald (The Deep Blue Good-By)
You? Really now, Mr. McGee. You are spectacularly huge, and a tan that deep is almost vulgar, and you have a kind of leathery fading boyish charm, but this is not and never was a game for dilettantes, for jolly boys, for the favor-for-an-old-buddy routine. No gray-eyed wonder with a big white grin can solve anything or retrieve anything by blundering around in my life. Thanks for the gesture. But this isn’t television. I don’t need a big brother. So why don’t you just go on back to your fun and games?
John D. MacDonald (The Deep Blue Good-By)
I guess Chook is about twenty-three or -four. Her face is a little older than that. It has that stern look you see in old pictures of the plains Indians. At her best, it is a forceful and striking face, redolent of strength and dignity. At worst it sometimes would seem to be the face of a Dartmouth boy dressed for the farcical chorus line. But that body, seen more intimately than ever before, was incomparably, mercilessly female, deep and glossy, rounded—under the tidy little fatty layer of girl pneumatics—with useful muscle.
John D. MacDonald (The Deep Blue Good-By)
And you can sit out here in the hour before dawn, boy, and think virtuous thoughts and tell yourself how noble you are and all that shit, and you are going to lay back and hang on to the money, because that is the way the world keeps score. Not your way. Not lately.
John D. MacDonald (Barrier Island (Murder Room))
But when they don’t wear helmets, they abuse the taxpayers, taking a couple of weeks to die in intensive care, their primitive brains jellied by hard impact with the concrete highway. Somebody has to pick them up when they go down and deliver them to Emergency, regrettably.
John D. MacDonald (The Empty Copper Sea (Travis McGee #17))
These are the little losers in the bunny derby, but they lose on a different route than the Mariannes, or the ones you see in the supermarket on the nights when they double the green stamps, coming in junk cars, plodding the bright aisles, snarling at their cross sleepy kids.
John D. MacDonald (The Deep Blue Good-By)
throats in a dreadful silence. The infection will spread outward from that point. Old ladies will crack skulls with their deadly handbags. Cars will plunge down the crowded sidewalks. Drivers will be torn out of their cars and stomped. It will spread to all the huge cities of the world, and by dawn of the next day there will be a horrid silence of sprawled bodies and tumbled vehicles, gutted buildings and a few wisps of smoke. And through that silence will prowl a few, a very few of the most powerful ones, ragged and bloody, slowly tracking each other down.
John D. MacDonald (Nightmare in Pink (Travis McGee, #2))
O thank you, Uncle Omar. Thank you for instilling a helpless youth with such grave suspicions of women and all their works, that here and now, in my maturity, in my thirty-second year, I cannot confront a lovely and half-naked lady without getting cramps in my toes and saying gahr.
John D. MacDonald (The Girl, the Gold Watch & Everything)
Willy Lazeer is an acquaintance. His teeth and his feet hurt. He hates the climate, the Power Squadron, the government and his wife. The vast load of hate has left him numbed rather than bitter. In appearance, it is as though somebody bleached Sinatra, skinned him, and made Willy wear him.
John D. MacDonald (The Deep Blue Good-By)
You feel that a door will open and you will be summoned, and horrid things will happen to you before they let you go. You can not mark these houses with any homely flavor of living. When they are emptied after occupancy, they have the look of places where the blood has recently been washed away.
John D. MacDonald (The Deep Blue Good-By)
Junior Allen grinned and grinned and grinned. But some instinct made him wary of me. I would look toward him and see those little blue eyes studying me over that wide smile. He was a big old tom watching benignly as the mice cavorted. He didn’t want another cat at the party. There wasn’t enough for two.
John D. MacDonald (The Deep Blue Good-By)
You said if X has something valuable and Y comes along and takes it away from him, and there is absolutely no way in the world X can ever get it back, then you come along and make a deal with X to get it back, and keep half. Then you just … live on that until it starts to run out. Is that the way it is, really?
John D. MacDonald (The Deep Blue Good-By (Travis McGee #1))
Ninety-nine percent of the things that ninety-nine percent of the people do are entirely predictable, when you have a few lead facts. Drunks, maniacs and pregnant women are the customary exceptions. Everyone has the suspicion he is utterly unique. But we are a herd animal, and we all turn to face into the wind.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
How old is she now?” “Oh, she’s twenty now.” She hesitated. She was obligated to end our little chat with a stylized flourish. The way it’s done in serial television. So she wet her little bunny mouth, sleepied her eyes, widened her nostrils, patted her hair, arched her back, stood canted and hip-shot, huskied her voice and said, “See you aroun’, huh?” “Sure, Marianne. Sure.” Bless them all, the forlorn little rabbits. They are the displaced persons of our emotional culture. They are ravenous for romance, yet settle for what they call making out. Their futile, acne-pitted men drift out of high school into a world so surfeited with unskilled labor there is competition for bag-boy jobs in the supermarkets. They yearn for security, but all they can have is what they make for themselves, chittering little flocks of them in the restaurants and stores, talking of style and adornment, dreaming of the terribly sincere stranger who will come along and lift them out of the gypsy life of the two-bit tip and the unemployment, cut a tall cake with them, swell them up with sassy babies, and guide them masterfully into the shoal water of the electrified house where everybody brushes after every meal. But most of the wistful rabbits marry their unskilled men, and keep right on working. And discover the end of the dream. They have been taught that if you are sunny, cheery, sincere, group-adjusted, popular, the world is yours, including barbecue pits, charge plates, diaper service, percale sheets, friends for dinner, washer-dryer combinations, color slides of the kiddies on the home projector, and eternal whimsical romance—with crinkly smiles and Rock Hudson dialogue. So they all come smiling and confident and unskilled into a technician’s world, and in a few years they learn that it is all going to be grinding and brutal and hateful and precarious. These are the slums of the heart. Bless the bunnies. These are the new people, and we are making no place for them. We hold the dream in front of them like a carrot, and finally say sorry you can’t have any. And the schools where we teach them non-survival are gloriously architectured. They will never live in places so fine, unless they contract something incurable.
John D. MacDonald (The Deep Blue Good-By)
cramp began to knot my right calf and so with thumb and forefinger I pinched my nose shut with considerable force and held the pressure until the cramp faded away. A Chinese solution. Acupressure, just as steady pressure at the right point on the inside of the wrist, three finger widths from the heel of the hand, will inhibit nausea.
John D. MacDonald (The Lonely Silver Rain (Travis McGee, #21))
What kind of people did he have aboard, Willy?” “Smart-ass kids.” “Tourists, college kids?” He stared through me for a moment. “I knew one of them.” “One of the kids?” “What the hell are we talking about? One of the kids. Yes. You know over the bridge on the right there, past where they’re building is a place called Charlie Char-Broil.
John D. MacDonald (The Deep Blue Good-By)
Who are you? What do you want? Who are you?” Her voice was light and fast and intense and her mouth trembled. She seemed to be on the narrow edge of emotional disaster, holding herself in check with the greatest effort. And about her was a rich and heavy scent of brandy, and an unsteadiness, the eyes too swift and not exactly in focus.
John D. MacDonald (The Deep Blue Good-By)
But it’s going to be used for the health and welfare of the bank accounts of the businessmen of Palm County, and done with so many reasonable arguments it’ll be years before the public realizes what a polite screwing it took, here and all up and down this coast. Maybe what I’m saying is this, people. Nobody is going to listen to sweet reason.
John D. MacDonald (A Flash of Green (Murder Room))
She was back in three minutes just to tell me that she couldn’t guarantee she wouldn’t get a little nutty from time to time, but she felt she was past the pill period, and then she headed back toward the beach, a lissome broad in her mirrored sunglasses, walking on good legs, and she was far younger than her years, yet old as the sea she approached.
John D. MacDonald (The Deep Blue Good-By)
sighed. “Bring her around sometime.” She padded lithely over to me and took my wrist and looked at my watch. Her breathing had slowed. Her leotard was sweat-dark and fitted her almost as closely as her healthy hide. She beamed down at me. “I knew you’d be nice about it, Trav. She’ll be here in twenty minutes.” I stared up at her. “You are a con artist, McCall.
John D. MacDonald (The Deep Blue Good-By)
I think he’ll wait until he gets the new generator installed.” “But what if he leaves with them in the morning?” “If that seems too dreadful to you, Lois, you can always get drunk.” “You don’t have to be so cruel.” “You disappointed me.” “I know. I’m sorry.” “How’s your head now?” “A little better, I think. Trav?” “Yes, honey.” “Trav, I’m so hungry I could eat this bench.
John D. MacDonald (The Deep Blue Good-By)
My ward had arisen. She had slept so hard her eyes looked puffy, but she had acquainted herself with the equipment in my stainless steel galley, and she wore a pretty cotton dress, which hung just a little loosely on her, and she had taken two generous steaks out of the locker and set them out to thaw. She seemed a little more aware of the situation, shyly aware that she might be a nuisance.
John D. MacDonald (The Deep Blue Good-By)
Integrity is not a conditional word. It doesn't blow in the wind or change with the weather. It is your inner image of yourself, and if you look in there and see a man who won't cheat, then you know he never will. Integrity is not a search for the rewards of integrity. Maybe all you ever get for it is the largest kick in the ass the world can provide. It is not supposed to be a productive asset.
John D. MacDonald
He was back at me like a cat, and he swung a hard chunk of wood from one of the smashed chairs. I caught the first one on the shoulder and I cleverly caught the next one right over the left ear. It broke a big white bell in my head, and he side-stepped, grunting for breath, and let me go down. I landed on my side, and he punted me in the belly like Groza trying for one from the mid-field stripe.
John D. MacDonald (The Deep Blue Good-By)
How terribly dear!” she said. “How ineffably buddy-buddy! I shouldn’t have gone running to him with my little heartache, Mr. McGee. It was selfish of me. It upset him, and it didn’t do me any particular good. How can he check up on anything anyway? Why don’t you just invent some soothing little story for him and go down and tell it to him and then go back to your beach-bum career, whatever it is?
John D. MacDonald (The Deep Blue Good-By)
I needed a slob summer. The machine was abused. Softness at the waist. Tremor of the hands. Bad tastes in the morning. A heaviness of muscle and bone, a tendency to sigh. Each time you wonder, Can you get it back? The good toughness and bounce and tirelessness, the weight down to a rawhide two oh five, a nasty tendency to sing during the morning shower, the conviction each day will contain wondrous things?
John D. MacDonald (Bright Orange for the Shroud)
Sly and reckless, compulsive and bold. The goat-god, with hoof and smile and hairy ears, satyr at the helm of the Play Pen. Love him, understand him, forgive him, lead him shyly to Freud, or Jesus. Or else take the contemporarily untenable position that evil, undiluted by any hint of childhood trauma, does exist in the world, exists for its own precise sake, the pustular bequest from the beast, as inexplicable as Belsen.
John D. MacDonald (The Deep Blue Good-By)
At last there came the reward for patience, her tremendous inhalation broken into six separate fragments, her whole body listening to itself then, finding, being certain, and then taking with hunger. Later she lay curled languid against my chest, her heart and breathing slow. “Wasn’t too soon,” she said, a blurred drone. “No, it wasn’t.” “Sweet,” she said. “Ver’ sweet.” And she nestled down into the sleep of total exhaustion.
John D. MacDonald (The Deep Blue Good-By)
This is the queasy shadowland, and they don’t even work hard at that because they have never learned to work at anything. They turn sloppy, and when the youngness is gone, there isn’t much left. Just the dead eyes and the small meaty skills and the feeling their luck went bad sometime, when they weren’t watching. Fifteen to twenty-five is the span, and they age quickly and badly. These are the bunnies who never find a burrow.
John D. MacDonald (The Deep Blue Good-By)
I talked with Junior Allen. He didn’t have his mind on it. He was crouched in the brush, and he could taste lamb, and he was alerted for the first shy sound of the little hoofs coming along the trail. I gently and indirectly advanced the idea of my coming along, and he firmly closed the door. He got up and sprang nimbly onto the dock, snapped the weak dock light on, checked his lines, adjusted a fender and came aboard again, restless.
John D. MacDonald (The Deep Blue Good-By)
Molly Bea, she of the hard white breasts lightly dusted with golden freckles, would never be so humiliated by life because she could never become as deeply involved in the meaty toughness of life. She would never be victimized by her own illusions because they were not essential to her. She could always find new ones when the old ones wore out. But Cathy was stuck with hers. The illusion of love, magically changed to a memory of shame.
John D. MacDonald (The Deep Blue Good-By)
I could see, in the haze to the north, the tall stacks of the mighty Borden phosphate and fertilizer plant in Bradenton, spewing lethal fluorine and sulphuric-acid components into the vacation sky. In the immediate area it is known bitterly as the place where Elsie the Cow coughed herself to death. I have read where it had been given yet another two years to correct its massive and dangerous pollution. Big Borden must have directors somewhere. Maybe, like the Penn Central directors, they are going to sit on their respective docile asses until the roof falls in. There are but two choices. Either they know they condone poisoning and don't give a damn, or they don't know they condone poisoning and don't give a damn. Anybody can walk into any brokerage office and be told where to look to find a complete list of the names of the directors and where they live. Drop the fellows a line, huh?
John D. MacDonald (The Turquoise Lament (Travis McGee #15))
I drove out. There were a half-dozen cars there. A house man let me in. Brell came hurrying to me to pump my hand. He was a trim-bodied man in his late forties, dark and handsome in a slightly vulpine way, and I suspected he wore a very expensive and inconspicuous hair piece. He looked the type to go bald early. He had a resonant voice and a slightly theatrical presence. He wore tailored twill ranch pants and a crisp white shirt with blue piping.
John D. MacDonald (The Deep Blue Good-By)
But these are the last remaining years of choice. In the stainless nurseries of the future, the feds will work their way through all the squalling pinkness tattooing a combination tax number and credit number on one wrist, followed closely by the I.T. and T. team putting the permanent phone number, visaphone doubtless, on the other wrist. Die and your number goes back in the bank. It will be the first provable immortality the world has ever known.
John D. MacDonald (The Deep Blue Good-By)
So!" "So?" So I don't think you drove that one off. So it was her choice. So she isn't the kind who says it is for good and then come back all of a sudden. With her, gone is gone. So if I were you, I would be just as bad off as you look. Or worse. So if I were you and one like that was gone for good, I'd miss hell out of her and wonder if maybe I'd handled things a little differently some how, I could have kept her around permanently." "That's enough about 'so.
John D. MacDonald (Pale Gray for Guilt (Travis McGee #9))
All the bright people, stopped in the midst of life, looking with forced smile into the lenses, then to be filed away, their colors fading as the years pass, caught there in slide trays, stack loads, view cubes, until one day the camera person dies and the grandchild says, “Mom, I don’t know any of these people. Or where these were taken even. There are jillions of them here in this big box and more in the closet. What will I do with them anyway?” “Throw them out, dear.
John D. MacDonald (The Empty Copper Sea (Travis McGee #17))
I had to make a guess about what would be right and what would be wrong for her. I had to take a risk. I based the risk on what I know of loneliness, of the need of closeness in loneliness. I stroked her, totally impersonal, the way you soothe a terrified animal. At first she would leap and buck at the slightest touch. After a while there was only a tremor when I touched her, and finally that too was gone. She hiccuped and at last fell down into sleep, curled and spent.
John D. MacDonald (The Deep Blue Good-By)
She came back pinked, sun-dazed and slow moving, with spume-salted hair and a sandy butt, displaying upon a narrow palm, with a child’s innocence, a small and perfect white shell, saying in a voice still drugged with sun and heat, “It’s like the first perfect thing I ever saw, or the first shell. It’s a little white suit of armor with the animal dead and gone. What does it mean when things look so clear and so meaningful? Silly little things.” I sat on a low stool, hating the phone.
John D. MacDonald (The Deep Blue Good-By)
Why, my boy, if all over this great country little bands of Communist sympathizers and Communist dupes could put a spoke in the wheels of free enterprise by blocking progress and production, Red Russia could bring this mighty nation to its knees without using one single little bomb. Lenin said that in order to achieve victory over the capitalist nations, it is first necessary to bankrupt them. Leaving that bay untouched is one of the devices of a welfare state. It’s socialistic in nature.
John D. MacDonald (A Flash of Green (Murder Room))
In explosive gasps Chook introduced us and we went inside. I could see that she was elderly by Chook’s standards. Perhaps twenty-six or -seven. A brown-eyed blonde, with the helpless mournful eyes of a basset hound. She was a little weathered around the eyes. In the lounge lights I saw that the basic black had given her a lot of good use. Her hands looked a little rough. Under the slightly bouffant skirt of the black dress were those unmistakable dancer’s legs, curved and trim and sinewy.
John D. MacDonald (The Deep Blue Good-By)
there is one demon loose upon the world who spends all his infinite time and energy on the devising of all the vicious little coincidences which confound mankind. his specialty is to confront the unwary with coincidences so eerie, so obviously planned by a malevolent intelligence, that time itself comes to a full stop and his victim stands transfixed by a conviction of unreality, while in infra-space, the demon hugs his hairy belly, kicks his hooves in the air, rolling and gasping with silent laughter.
John D. MacDonald
Nina came out—gloved, pursed, be-hatted, wearing a fall suit a little too tailored for her structure—came out with a frail and indefinite-looking man and paused to argue with him, saying, “Freddie, if you show him three, he’ll bog, and you know it, dear. That little mind can make a choice of the best of two, if the choice is obvious. So make the presentation of just Tommy’s and Mary Jane’s. They’re the best and the worst so far, and he’ll pick Tommy’s and we’re in.” Freddie shrugged and sighed and went back in.
John D. MacDonald (The Deep Blue Good-By)
You’re so bright, Trav, and so intuitive about people. And you have … the gift of tenderness. And sympathy. You could be almost anything.” “Of course!” I said, springing to my feet and beginning to pace back and forth through the lounge. “Why didn’t I think of that! Here I am, wasting the golden years on this lousy barge, getting all mixed up with lame-duck women when I could be out there seeking and striving. Who am I to keep from putting my shoulder to the wheel? Why am I not thinking about an estate and how to protect it? Gad, woman, I could be writing a million dollars a year in life insurance. I should be pulling a big oar in the flagship of life. Maybe it isn’t too late yet! Find the little woman, and go for the whole bit. Kiwanis, P.T.A., fund drives, cookouts, a clean desk, and vote the straight ticket, yessiree bob. Then when I become a senior citizen, I can look back upon …” I stopped when I heard the small sound she was making. She sat with her head bowed. I went over and put my fingertips under her chin. I tilted her head up and looked down into her streaming eyes. “Please, don’t,” she whispered. “You’re beginning to bring out the worst in me, woman.” “It was none of my business.” “I will not dispute you.” “But … who did this to you?” “I’ll never know you well enough to try to tell you, Lois.” She tried to smile. “I guess it can’t be any plainer than that.” “And I’m not a tragic figure, no matter how hard you try to make me into one. I’m delighted with myself, woman.” “And you wouldn’t say it that way if you were.” “Spare me the cute insights.
John D. MacDonald (The Deep Blue Good-By)
By five minutes of four I was checked into the hotel. They had a lot of room. They had three conventions going and they still had a lot of room. Once inside the hotel, I was right back in Miami. Same scent to the chilled air, same skeptical servility, same glorious decor—as if a Brazilian architect had mated an air terminal with a manufacturer of cotton padding. Lighting, dramatic. At any moment the star of the show will step back from one of the eight (8) bars and break into song and the girlies will come prancing in. Keep those knees high, kids. Keep laughing.
John D. MacDonald (The Deep Blue Good-By)
Are you a good human being, Gerry? I mean good in the sense that if you put everything in the scales, they’d tip that way?” It startled her. “I don’t know. I haven’t thought of myself that way. I think I like the lush life a little too much. That’s why I married George. I’m vain. I like men to admire me. I’ve got a coarse streak that comes out at the wrong times. But I do try to live up to … some kind of a better image of myself. And I try to improve. I came from nothing, Trav, from a little raggedy-ass spread in the Panhandle with too many kids and too few rooms.
John D. MacDonald (The Deep Blue Good-By)
A few years ago she would have been breathtakingly ripe, and even now, in night light, with drinks and laughter, there would be all the illusions of freshness and youth and desirability. But in this cruelty of sunlight, in this, her twentieth year, she was a record of everything she had let them do to her. Too many trips to too many storerooms had worn the bloom away. The freshness had been romped out, in sweat and excess. The body reflects the casual abrasions of the spirit, so that now she could slump in her meaty indifference, as immunized to tenderness as a whore at a clinic.
John D. MacDonald (The Deep Blue Good-By)
Who the hell are you?” “A friend of a friend.” “Like who?” “Marianne, works at Charlie Char-Broil.” “That silly bitch hasn’t got any friends.” Had I done any pleading or begging, she would have slammed the door. So I stood easy, mildly smiling. It’s a relaxed area. There is a code for all the transients. If you are presentable, unhurried, vaguely indifferent, it is a challenge. I was having better luck with this than I expected, up to this point. I wanted it to continue. If you push against hostility and suspicion, you merely increase it. In a few moments I saw a little less animosity.
John D. MacDonald (The Deep Blue Good-By)
He was back at me like a cat, and he swung a hard chunk of wood from one of the smashed chairs. I caught the first one on the shoulder and I cleverly caught the next one right over the left ear. It broke a big white bell in my head, and he side-stepped, grunting for breath, and let me go down. I landed on my side, and he punted me in the belly like Groza trying for one from the mid-field stripe. I had that fractional part of consciousness left which gave me a remote and unimportant view of reality. The world was a television set at the other end of a dark auditorium, with blurred sound and a fringe area picture.
John D. MacDonald (The Deep Blue Good-By)
Once, as she was getting sleepy, she looked somberly at me and said, “I guess there are a lot of people like me. We react too soon or too late or not at all. We’re jumpy people, and we don’t seem to belong here. We’re victims, maybe. The Junior Allens are so sure of themselves and so sure of us. They know how to use us, how to take us further than we wish before we know what to do about it.” She frowned. “And they seem to know by instinct exactly how to trade upon our concealed desire to accept that kind of domination. I wanted to make a life down here, Trav. I was lonely. I was trying to be friendly. I was trying to be a part of something.
John D. MacDonald (The Deep Blue Good-By)
Suddenly Junior Allen swung aboard, leaped, landed lightly. He was immaculate in white sport shirt, white slacks, pale blue yachting cap. I guessed he was nearing forty. I had not been prepared for him to look so powerful and so fit. He was broad, with shoulders so packed and corded with muscle they gave him a slightly simian posture, the impression enhanced by the extra-long weight and heft of brown tattooed arms, and the short legs, slightly bowed. He had a brown, seamed, knotty face, broad, smiling broadly, the smile squinching the small blue eyes. It was a friendly grin. It was a likable grin. It did not change in any way as he looked at me.
John D. MacDonald (The Deep Blue Good-By)
She was a tall and slender woman, possibly in her early thirties. Her skin had the extraordinary fineness of grain, and the translucence you see in small children and fashion models. In her fine long hands, delicacy of wrists, floating texture of dark hair, and in the mobility of the long narrow sensitive structuring of her face there was the look of something almost too well made, too highly bred, too finely drawn for all the natural crudities of human existence. Her eyes were large and very dark and tilted and set widely. She wore dark Bermuda shorts and sandals and a crisp blue and white blouse, no jewelry of any kind, a sparing touch of lipstick.
John D. MacDonald (The Deep Blue Good-By)
I drove back into town, full of the look of her, full of the impact of her. It was an impact that made the day, the trees, the city, all look more vivid. Her face was special and clear in my mind—the wide mouth, the one crooked tooth, the gray slant of her eyes. Her figure was good, shoulders just a bit too wide, hips just a shade too narrow to be classic. Her legs were long, with clean lines. Her flat back and the inswept lines of her waist were lovely. Her breasts were high and wide spaced, with a flavor of impertinence, almost arrogance. It was the coloring of her though that pleased me most. Dark red of the hair, gray of the eyes, golden skin tones.
John D. MacDonald (A Bullet for Cinderella)
There is something self-destructive about Western technology and distribution. Whenever any consumer object is so excellent that it attracts a devoted following, some of the slide rule and computer types come in on their twinkle toes and take over the store, and in a trice they figure out just how far they can cut quality and still increase market penetration. Their reasoning is that it is idiotic to make and sell a hundred thousand units of something and make 30 cents a unit when you can increase the advertising, sell five million units, and make a nickel profit a unit. Thus, the very good things of the world go down the drain, from honest turkey to honest eggs to honest tomatoes. And gin.
John D. MacDonald (The Dreadful Lemon Sky (Travis McGee #16))
Suddenly she came racing into the lounge. She wore one of my big blue towels in sarong fashion, and had a white towel wrapped around her head. Her face looked narrow and intent. Her features looked more pointed. “That last trip,” she said. “I don’t know if it will help. We stopped at some sort of a boat yard in Miami. I can’t even remember the name. Something about a new generator. He kept complaining about the noise the generator made. They took up the hatches and got down in the bilge and did a lot of measuring. The man said it would take a long time to get the one Junior Allen wanted. It made him angry. But he ordered it anyway. He left a down payment on it. He ordered some kind of new model that had just been introduced.
John D. MacDonald (The Deep Blue Good-By)
Can she be sure of that?” Her laugh was ugly. “Eyewitnesses are usually pretty positive. It happened back in June. Kids are so idealistic. How can I explain to her that it really didn’t mean very much, that it was an old friend, sort of sentimental, unplanned, old-times-sake sort of thing. I don’t make a habit of that sort of thing. But ever since I heard the door open and turned my head and saw her there, pale as death before she slammed the door and ran, I’ve felt cheap and sick about it. We were getting fond of each other up until then. Now she thinks I’m a monster. Tonight she was trying to hurt me by hurting herself. I just hope George has forgotten what she said. His judgment is bad enough lately without something like that to cloud it.
John D. MacDonald (The Deep Blue Good-By)
Gentlemen, a pleasure talking to you. Hope I’ve been of some help. It’s coming upon closing time, and I don’t stay around here one minute more than I need to.” We walked to the van. It was no longer in the shade, and hot enough inside to melt belt buckles. We talked it over and decided that the motel at Robstown had been comfortable enough and only about sixty miles away, so we decided to call it a day, but halfway there we came upon a motel in Alice that looked just about as good, and they had plenty of room, so we took a pair of singles out in the back wing of the place. The shower was a rusty trickle. The window air conditioners made a thumping roaring rattling sound, and the meat across the street was fried, but otherwise it was adequate. Good
John D. MacDonald (Cinnamon Skin (Travis McGee, #20))
We want out. In the end, it’s that simple. We want out, where the law is, where you prosper or you fail according to your own merits as a person. Is that so damned much? I don’t want white friends. I don’t want to socialize. You know how white people look to me? The way albinos look to you. I hope never to find myself in a white man’s bed. I don’t want to integrate. I just don’t want to feel segregated. We’re after our share of the power structure of this civilization, Mr. McGee, because, when we get it, a crime will merit the same punishment whether the victim is black or white, and hoods will get the same share of municipal services, based on zoning, not color. And a good man will be thought a credit to the human race. Sorry. End of lecture. The housemaid has spoken.
John D. MacDonald (Darker Than Amber (Travis McGee, #7))
Such gratitude! It hurt me to see you lose your professional standing, McGee. Like you were going soft and sentimental. So, through my own account, I put us into Fletcher and rode it up nicely and took us out, and split the bonus right down the middle. It's short-term. It's a check. Pay your taxes. Live a little. It's a longer retirement this time. We can gather up a throng and go blundering around on this licentious craft and get the remorses for saying foolish things while in our cups. We had a salvage contract, idiot, and the fee is comparatively small but fair." "And you are comparatively large but fair." "I think of myself that way. Where did the check go? Into the pocket so fast? Good." he looked at his watch. "I am taking a lady to lunch. Make a nice neat deck there, Captain." And away he went, humming.
John D. MacDonald (Pale Gray for Guilt (Travis McGee #9))
At a thirty-foot distance she was a very attractive, ripe-bodied young girl. At close range the coarseness, and the sleaziness of the materials used in construction were all too evident. Her tanned hide had a coarse and grainy look. Her crinkle of putty-colored hair looked lifeless as a Dynel wig. The strictures of the bottom half of the bikini cut into the belly-softness of too many beers and shakes, hamburger rolls and french fries. The meat of her thighs had a sedentary looseness. Her throat and her ankles and the underside of her wrists were faintly shadowed with grime. There was a coppery stubble in her armpits, and a bristle of unshaven hair on her legs, cracked red enamel on her toenails. The breast band of the bikini was just enough askew to reveal a brown new-moon segment of the nipple of her right breast.
John D. MacDonald (The Deep Blue Good-By)
Brave (2012) C-94m. 1⁄2 D: Mark Andrews, Brenda Chapman. Voices of Kelly Macdonald, Emma Thompson, Billy Connolly, Robbie Coltrane, Kevin McKidd, Julie Walters, Craig Ferguson, John Ratzenberger. In ancient times, a Scottish princess named Merida resists her mother’s constant training to become a future queen, preferring a boisterous existence roaming the forest with her trusty bow and arrow. When it comes time for her to choose a suitor, she runs away and stumbles onto a witch who agrees to change her fate through a magical dark spell. Typically handsome Pixar animated feature has robust characters but a formulaic feel—until the story takes a very strange turn. A final burst of emotion almost redeems it. Oscar winner for Best Animated Feature. 3-D Digital Widescreen. [PG] Braveheart (1995) C-177m. 1⁄2 D: Mel Gibson. Mel
Leonard Maltin (Leonard Maltin's 2015 Movie Guide)
She looked at me with gentle indignation. She was what we have after sixty million years of the Cenozoic. There were a lot of random starts and dead ends. Those big plated pea-brain lizards didn’t make it. Sharks, scorpions and cockroaches, as living fossils, are lasting pretty well. Savagery, venom and guile are good survival quotients. This forked female mammal didn’t seem to have enough tools. One night in the swamps would kill her. Yet behind all that fragility was a marvelous toughness. A Junior Allen was less evolved. He was a skull-cracker, two steps away from the cave. They were at the two ends of our bell curve, with all the rest of us lumped in the middle. If the trend is still supposed to be up, she was of the kind we should breed, accepting sensitivity as a strength rather than a weakness. But there is too much Junior Allen seed around.
John D. MacDonald (The Deep Blue Good-By)
I thundered hot water into the big tub, setting up McGee's Handy Home Treatment for Melancholy. A deep hot bath, and a strong cold drink, and a book on the tub rack. Who needs the Megrims? Surely not McGee, not that big brown loose-jointed, wirehaired beach rambler, that lazy fishcatching, girlwatching, grey-eyed iconoclastic hustler. Stay happy, McGee, while you use up the stockpiled cash. Borrow a Junior from Meyer for the sake of coziness. Or get dressed and go over to the next doc, over to the big Wheeler where the Alabama Tiger maintains his permanent floating house party and join the festive pack. Do anything, but stop remembering the way Sam Taggart looks with all the wandering burned out of him. Stop remembering the sly shy way Nicki would walk toward you, across a room. Stop remembering the way Lois died. Get in there and have fun, fella. While there's fun to have. While there's some left. Before they deal you out.
John D. MacDonald (A Deadly Shade of Gold (Travis McGee #5))
Waste of what?” “Of you! It seems degrading. Forgive me for saying that. I’ve seen those African movies. The lion makes a kill and then clever animals come in and grab something and run. You’re so bright, Trav, and so intuitive about people. And you have … the gift of tenderness. And sympathy. You could be almost anything.” “Of course!” I said, springing to my feet and beginning to pace back and forth through the lounge. “Why didn’t I think of that! Here I am, wasting the golden years on this lousy barge, getting all mixed up with lame-duck women when I could be out there seeking and striving. Who am I to keep from putting my shoulder to the wheel? Why am I not thinking about an estate and how to protect it? Gad, woman, I could be writing a million dollars a year in life insurance. I should be pulling a big oar in the flagship of life. Maybe it isn’t too late yet! Find the little woman, and go for the whole bit. Kiwanis, P.T.A., fund drives, cookouts, a clean desk, and vote the straight ticket, yessiree bob. Then when I become a senior citizen, I can look back upon …
John D. MacDonald (The Deep Blue Good-By)
From A Deadly Shade of Gold, a Travis McGee title: “The only thing in the world worth a damn is the strange, touching, pathetic, awesome nobility of the individual human spirit.” From the stand-alone thriller Where Is Janice Gantry?: “Somebody has to be tireless, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.” These two angles show up everywhere in his novels: the need to—maybe reluctantly, possibly even grumpily—stand up and be counted on behalf of the weak, helpless, and downtrodden, which included people, animals, and what we now call the environment—which was in itself a very early and very prescient concern: Janice Gantry, for instance, predated Rachel Carson’s groundbreaking Silent Spring by a whole year. But the good knight’s armor was always tarnished and rusted. The fight was never easy and, one feels, never actually winnable. But it had to be waged. This strange, weary blend of nobility and cynicism is MacDonald’s signature emotion. Where did it come from? Not, presumably, the leafy block where he was raised in quiet and comfort. The war must have changed him, like it changed a generation and the world.
John D. MacDonald (The Deep Blue Good-By)
Walking back through the mall to the exit nearest our part of the parking lot, we passed one shop which sold computers, printers, software, and games. It was packed with teenagers, the kind who wear wire rims and know what the new world is about. The clerks were indulgent, letting them program the computers. Two hundred yards away, near the six movie houses, a different kind of teenager shoved quarters into the space-war games, tensing over the triggers, releasing the eerie sounds of extraterrestrial combat. Any kid back in the computer store could have told the combatants that because there is no atmosphere in space, there is absolutely no sound at all. Perfect distribution: the future managers and the future managed ones. Twenty in the computer store, two hundred in the arcade. The future managers have run on past us into the thickets of CP/M, M-Basic, Cobal, Fortran, Z-80, Apples, and Worms. Soon the bosses of the microcomputer revolution will sell us preprogrammed units for each household which will provide entertainment, print out news, purvey mail-order goods, pay bills, balance accounts, keep track of expenses, and compute taxes. But by then the future managers will be over on the far side of the thickets, dealing with bubble memories, machines that design machines, projects so esoteric our pedestrian minds cannot comprehend them. It will be the biggest revolution of all, bigger than the wheel, bigger than Franklin’s kite, bigger than paper towels.
John D. MacDonald (Cinnamon Skin (Travis McGee, #20))
The girl circled in my arm was clean and fresh, and her sleeping breath was humid against the base of my throat. Something stirred in me in response to her helplessness, and yet at the same time I resented her. I had seen too damn many of these brisk and shining girls, so lovely, so gracious, and so inflexibly ambitious. They had counted their stock in trade and burnished it and spread it right out there on the counter. It was all yours for the asking. All you had to do was give her all the rest of your life, and come through with the backyard pool, cookouts, Eames chairs, mortgage, picture windows, two cars, and all the rest of the setting they required for themselves. These gorgeous girls, with steel behind their eyes, were the highest paid whores in the history of the world. All they offered was their poised, half-educated selves, one hundred and twenty pounds of healthy, unblemished, arrogant meat, in return for the eventual occupational ulcer, the suburban coronary. Nor did they bother to sweeten the bargain with their virginity. Before you could, in your hypnoid state, slip the ring on her imperious finger, that old-fashioned prize was long gone, and even its departure celebrated many times, on house parties and ski weekends, in becalmed sailboats and on cruise ships. This acknowledged and excused promiscuity was, in fact, to her advantage. Having learned her way through the jungly province of sex, she was less likely to be bedazzled by body hunger to the extent that she might make a bad match with an unpromising young man. Her decks were efficiently cleared, guns rolled out, fuses alight, cannonballs stacked, all sails set. She stood on the bridge, braced and ready, scanning the horizon with eyes as cold as winter pebbles. One
John D. MacDonald (The End of the Night (Murder Room))