Loosely Tethered Quotes

The cord that tethers ability to success is both loose and elastic. It is easy to see fine qualities in successful books or to see unpublished manuscripts, inexpensive vodkas, or people struggling in any field as somehow lacking. It is easy to believe that ideas that worked were good ideas, that plans that succeeded were well designed, and that ideas and plans that did not were ill conceived. And it is easy to make heroes out of the most successful and to glance with disdain at the least. But ability does not guarantee achievement, nor is achievement proportional to ability. And so it is important to always keep in mind the other term in the equation—the role of chance…What I’ve learned, above all, is to keep marching forward because the best news is that since chance does play a role, one important factor in success is under our control: the number of at bats, the number of chances taken, the number of opportunities seized.

I wanted Killian O’Dea. I couldn’t help myself. I was tethered to him somehow and I didn’t think I’d be able to cut myself loose so easily.

That beast inside you, the one you think is tethered tightly to the post, the one you’ve tamed with art, love, prayer, meditation: it’s barely muzzled. The knot is weak. The post is brittle. All it takes is two words and a siren to cut it loose.

To live within the tethers of desire is—again and again—to be shocked at how far they have come loose from reason

But what Andy never understood about him was this: he was an optimist. Every month, every week, he chose to open his eyes, to live another day in the world. He did it when he was feeling so awful that sometimes the pain seemed to transport him to another state, one in which everything, even the past that he worked so hard to forget, seemed to fade into a gray watercolor wash. He did it when his memories crowded out all other thoughts, when it took real effort, real concentration, to tether himself to his current life, to keep himself from raging with despair and shame. He did it when he was so exhausted of trying, when being awake and alive demanded such energy that he had to lie in bed thinking of reasons to get up and try again, when it would be much easier to go to the bathroom and untape the plastic zipped bag containing his cotton pads and loose razors and alcohol wipes and bandages from its hiding place beneath the sink and simply surrender. Those were the very bad days. It

But what Andy never understood about him was this: he was an optimist. Every month, every week, he chose to open his eyes, to live another day in the world. He did it when he was feeling so awful that sometimes the pain seemed to transport him to another state, one in which everything, even the past that he worked so hard to forget, seemed to fade into a gray watercolor wash. He did it when his memories crowded out all other thoughts, when it took real effort, real concentration, to tether himself to his current life, to keep himself from raging with despair and shame. He did it when he was so exhausted of trying, when being awake and alive demanded such energy that he had to lie in bed thinking of reasons to get up and try again, when it would be much easier to go to the bathroom and untape the plastic zipped bag containing his cotton pads and loose razors and alcohol wipes and bandages from its hiding place beneath the sink and simply surrender. Those were the very bad days.

I will use your love to break you, I will take it and make it mine and create a tether around your throat with it which won’t ever come loose. Today I will taste your heartbreak and you will watch as I enforce my dominance over you and the man you profess such feelings for. You will be the prize I hold above him and the threat which makes him compliant. And he shall be the same for you. I do not need your love to own you. I only need the object of your desire at my mercy.

His hair was mussed, and his teeth were very white in his swarthy, dust-streaked face. With his autocratic facade stripped away, and his eyes sparkling with enjoyment, his grin was so unexpectedly engaging that Lillian experienced a curious melting sensation inside. Hanging over him, she felt her own lips curving in a reluctant smile. A loose lock of her hair dangled free of its tether, sliding silkily over his jaw. “What’s a trebuchet?” she asked. “A catapult. I have a friend who has a keen interest in medieval weaponry. He…” Westcliff hesitated, a new tension seeming to spread through his taut body as he lay beneath her. “He recently built a trebuchet using an ancient design…and enlisted me to help fire it…” Lillian was entertained by the idea that the normally reserved Westcliff was capable of such boyish antics. Realizing that she was straddling him, she colored and began to wriggle off him. “Your aim was off?” she asked, striving to sound casual. “The owner of the stone wall we demolished seemed to think so.” The earl caught his breath sharply as her body slid away from his, and remained sitting on the ground even after she had gotten to her feet.

But what Andy never understood about him was this: he was an optimist. Every month, every week, he chose to open his eyes, to live another day in the world. He did it when he was feeling so awful that sometimes the pain seemed to transport him to another state, one in which everything, even the past that he worked so hard to forget, seemed to fade into a gray watercolor wash. He did it when his memories crowded out all other thoughts, when it took real effort, real concentration, to tether himself to his current life, to keep himself from raging with despair and shame. He did it when he was so exhausted of trying, when being awake and alive demanded such energy that he had to lie in bed thinking of reasons to get up and try again, when it would be much easier to go to the bathroom and untape the plastic zipped bag containing his cotton pads and loose razors and alcohol wipes and bandages from its hiding place beneath the sink and simply surrender.

TV’s essential characteristics make it the perfect education for sociopaths, facilitating deceit, acquisitiveness, intransigence, and validating a worldview only loosely tethered to reality.

Having tethered her to him, hooded her like a tame falcon, he could still cut her loose, release her. If she stayed, he still might let her go.

I squeaked and squirmed to get loose, but I was born with the upper body strength of a hamster.

Stonesnake had passed the rope around the smooth spike of rock he was waiting on, but as soon as Jon reached him he shook it loose and was off again. This time there was no convenient cleft when he reached the end of their tether, so he took out his felt-headed hammer and drove a spike deep into a crack in the stone with a series of gentle taps. Soft as the sounds were, they echoed off the stone so loudly that Jon winced with every blow, certain that the wildlings must hear them too. When the spike was secure, Stonesnake secured the rope to it, and Jon started after him. Suck on the mountain’s teat, he reminded himself. Don’t look down. Keep your weight above your feet. Don’t look down. Look at the rock in front of you. There’s a good handhold, yes. Don’t look down. I can catch a breath on that ledge there, all I need to do is reach it. Never look down.

The cord that tethers ability to success is both loose and elastic. It is easy to see fine qualities in successful books or to see unpublished manuscripts, inexpensive vodkas, or people struggling in any field as somehow lacking. It is easy to believe that ideas that worked were good ideas, that plans that succeeded were well designed, and that ideas and plans that did not were ill conceived. And it is easy to make heroes out of the most successful and to glance with disdain at the least. But ability does not guarantee achievement, nor is achievement proportional to ability. And so it is important to always keep in mind the other term in the equation—the role of chance. It

More than two dozen kids lined a low railing around the gazebo. They were all tied to it by a rope leash that gave them no more than a few feet of movement. Neck to rail, like tethered horses. Each of the kids was weighed down by a concrete block that encased their hands. Their eyes were hollow, their cheeks caved in. Astrid used a word that Sam had never imagined coming from her. “Nice language,” Drake said with a smirk. “And in front of the Pe-tard, too.” A cafeteria tray had been placed in front of each of the prisoners. It must have been a very recent delivery because some were still licking their trays, hunched over, faces down, tongues out, licking like dogs. “It’s the circle of freaks,” Drake said proudly, waving a hand like a showman. In a crusty old wheelbarrow to one side, three kids were using a short-handled shovel to mix cement. It made a heavy sloshing sound. They dumped a shovelful of gravel into the mix and stirred it like lumpy gravy. “Oh, no,” Lana said, backing away, but one of the Coates kids smashed her behind the knee with his baseball bat, and she crumpled. “Gotta do something with unhelpful freaks,” Drake said. “Can’t have you people running around loose.” He must have seen Sam start to react because he stuck his gun against Astrid’s head. “Your call, Sam. You so much as flinch and we’ll get to see what a genius brain really looks like.” “Hey, I got no powers, man,” Quinn said. “This is sick, Drake. Like you’re sick,” Astrid said. “I can’t even reason with you because you’re just too damaged, too hopelessly messed up.” “Shut up.

Our discussion is serious; if you do not deign to give me your attention, I am not going to bow and scrape before you. I have the underground. But so long as I live and desire - let my hand wither20 if I bring even one little brick for such a tenement house! Never mind that I myself have just rejected the crystal edifice, for the sole reason that one cannot taunt it with one's tongue. I said that not because I have such a love of putting out my tongue. Perhaps I was angry simply because such an edifice, at which it is possible not to put out one's tongue, has never yet been found among all your edifices. On the contrary, I would let my tongue be cut off altogether, from sheer gratitude, if only it could be so arranged that I myself never felt like sticking it out again. What do I care that it's impossible to arrange it so, and one must content oneself with apartments? Why, then, have I been arranged with such desires? Can it be that I've been arranged simply so as to come to the conclusion that my entire arrangement is a hoax? Can that be the whole purpose? I don't believe it. You know what, though: I'm convinced that our sort, the underground ones, ought to be kept on a tether. Though we're capable of sitting silently in the underground for forty years, once we do come out and let loose, we talk, talk, talk... ========== Notes From Underground (Fyodor Dostoyevsky; Richard Pevear) - Your Highlight on Location 924-929 | Added on Monday, April 13, 2015 12:12:38 AM

What lingers is the feeling of coming face-to-face with a life so loosely tethered to a body and knowing that you hold the final thread.

The cord that tethers ability to success is both loose and elastic.

Mara, I leave you not with my words but with the words of Emily Dickinson, my most beloved poet. I can think of no better way to call you to rise to the legacy which I bequeath to you. We never know how high we are Till we are called to rise; And then, if we are true to plan, Our statures touch the skies. The heroism we recite Would be a daily thing, Did not ourselves the cubits warp For fear to be a king. Mara understood now what she would do. She would rise. She would let The Chrysalis glide with unfettered wings toward its own uncertain destiny, but she would not yet let the other Strasser paintings go. Each of the paintings told a story more layered and complex than its provenance alone could ever reveal—a story of the passions, hopes, and dreams of the artist, subject, patron, and owners. Mara would set out to uncover these paintings’ deeper lineages and tie the paintings to their past so they could achieve the full destinies that had been stolen from them. Like the Saint Peter of Michael’s etchings, who had been exhorted that “whatever you bind on earth shall be bound in Heaven, and whatever you loose on earth will be loosed in Heaven,” she would tether their future to their past. thirty-six HAARLEM, 1662 THE BURGOMASTER SEES THEIR LONG GAZES.

Certain things anchor us to people—or their memories—and having to experience those same things without them… it’s the anchor letting loose and fear taking hold, afraid we’ll lose the tether to their memory, too.