Magnet Kitchen Quotes

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Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.
Anne Michaels
Lots of kitchens have a “catch-all” drawer. What’s in here? It’s always a surprise. Soy sauce packets from carryout, rubber bands, pennies, matches, pushpins, a stray refrigerator magnet. I’m only going to say this once: No. Junk. Drawer. Do I make myself clear?
Peter Walsh (It's All Too Much: An Easy Plan for Living a Richer Life with Less Stuff)
Ove threw away the letter along with the advertising, tied up the bag, put it by the front door, went back into the kitchen, got out a magnet from the bottom drawer, and put up the photo on the fridge. Right next to the riotous color drawing the three-year-old had made of him on the way back from the hospital.
Fredrik Backman (A Man Called Otto)
I love you for the million kindnesses in your heart, your infectious enthusiasm, your search for the perfect deep-fried cheese curds. I love that you take apart a recipe, look at the parts, then put it back together better than before. I love that my first memory of you is the smell of vanilla, coconut, and bacon. I love that you wear Crocs in the kitchen and heels when we go on dates. I want to fill a wall with magnets for all our special memories. I want to carve the Thanksgiving turkey using your hand-painted carving set every year for the next fifty. I want to cook with you, laugh with you, make love to you, and most of all, I want to spend the rest of my life with you.
Amy E. Reichert (The Coincidence of Coconut Cake)
In our dimension, we have gravity and light. In higher dimensions, you might have gravity but no light. The Standard Model gets real strange when it comes to good old gravity in our realm: Why is it so weak compared to the other three forces of nature? Why can a kitchen magnet pick up a paper clip that takes an entire planet to hold down with gravity? It makes no sense.
Craig DiLouie (Episode Thirteen)
The concept at Halden of staff “being on the same side” as the inmates is not how most people would describe the dynamics within prisons. But it’s exactly what I see as Warden Høidal and I continue our tour of the Halden grounds. We pass the prison’s print shop, where staff and men are working together, unfurling the posters they’ve designed as they emerge from machines, assessing them with admiration and critique. Warden Høidal introduces me to a group of the men. One man asks a question in Norwegian, gesturing at me. Høidal nods, and the man bustles away. I look at the warden quizzically. “They would like to give you a gift,” he explains as the man returns. Smiling, the man hands me an apron and a cookbook, both emblazoned with the name of the prison and a wry image of a magnetic kitchen knife strip from which hang two kitchen knives, a carving fork, and a pair of handcuffs. The name of the cookbook is in Norwegian, but Høidal tells me with a chuckle that it translates as Honest Food from Halden Prison.
Christine Montross (Waiting for an Echo: The Madness of American Incarceration)
There’s a magnet that somebody stuck on the refrigerator in our office’s kitchen: PEACE. IT DOES NOT MEAN TO BE IN A PLACE WHERE THERE IS NO NOISE, TROUBLE, OR HARD WORK. IT MEANS TO BE IN THE MIDST OF THOSE THINGS AND STILL BE CALM IN YOUR HEART.
Lori Gottlieb (Maybe You Should Talk to Someone: A Therapist, Her Therapist, and Our Lives Revealed)
That spirit of social initiative disappeared in a short time, pulled away by the fever of the magnets, the astronomical calculations, the dreams of transmutation, and the urge to discover the wonders of the world. From a clean and active man, José Arcadio Buendía changed into a man lazy in appearance, careless in his dress, with a wild beard that Úrsula managed to trim with great effort and a kitchen knife. There were many who considered him the victim of some strange spell.
Gabriel García Márquez (One Hundred Years of Solitude)
There’s a magnet that somebody stuck on the refrigerator in our office’s kitchen: PEACE. IT DOES NOT MEAN TO BE IN A PLACE WHERE THERE IS NO NOISE, TROUBLE, OR HARD WORK. IT MEANS TO BE IN THE MIDST OF THOSE THINGS AND STILL BE CALM IN YOUR HEART. We can help patients find peace, but maybe a different kind than they imagined they’d find when they started treatment. As the late psychotherapist John Weakland famously said, “Before successful therapy, it’s the same damn thing over and over. After successful therapy, it’s one damn thing after another.
Lori Gottlieb (Maybe You Should Talk to Someone: A Therapist, Her Therapist, and Our Lives Revealed)
She laughed and led him into the kitchen, but the amusement died in her throat when he reached for the fridge door, presumably to keep the beer cold, then stopped. He frowned and leaned closer. Peered at the photograph held in place by a brown-eyed-Susan magnet. This one showed Emma at a Red Sox game with Sean’s arm draped around her shoulder and the green field of Fenway Park behind them. He was still frowning. “This creeps me out a little. Isn’t that supposed to be Lisa? I’m pretty sure I was at that game with Mikey and his wife.” “It was Lisa who did the manipulating, not me, if that makes it any less creepy.” “Not really. Just how many of these fake pictures do you have?” “A couple dozen, I guess, that Lisa’s done for me over time. We’re not really photograph happy, which helps, but I’ve got enough so it looks like we’re a couple, at least.
Shannon Stacey (Yours to Keep (Kowalski Family, #3))
The kitchen is a mishmash of bright colored things and well-tended houseplants. The curtains are embroidered with tulips, the fridge plastered with tourist trap magnets. By the back door there’s a concrete statue of a woman carrying a jug on her head, a spider plant spilling its offspring like a veil over her face. A chain of ivy starts in a jar on a shelf over the sink and travels along the wall on hooks for half the room. The salt and pepper shakers on the table are dachshunds wearing hot dog buns.
Allison Larkin (The People We Keep)
His arm comes around my waist from behind. He slides a hand up my stomach and takes a firm hold of one of my breasts. His other hand feathers my shoulder as he moves the hair away from my neck. I squeeze my eyes shut, just as his fingers begin to trace across my skin, up to my shoulder. He slowly runs his finger over the heart and a shudder runs over my whole body. His lips meet my skin, right over the tattoo, and then he sinks his teeth into me so hard, I scream. I try to pull away from him, but he has such a tight grip on me he doesn’t even budge. The pain from his teeth piercing my collarbone rips through my shoulder and down my arm. I immediately start crying. Sobbing. “Ryle, let me go,” I say, my voice pleading. “Please. Walk away.” His arms are cutting into mine as he holds me tightly from behind. He spins me, but my eyes are still closed. I’m too scared to look at him. His hands are digging into my shoulders as he pushes me toward the bed. I start trying to fight him off of me, but it’s useless. He’s too strong for me. He’s angry. He’s hurt. And he’s not Ryle. My back meets the bed and I frantically scoot back toward the headboard, trying to get away from him. “Why is he still here, Lily?” His voice isn’t as composed as it was in the kitchen. He’s really angry now. “He’s in everything. The magnet on the fridge. The journal in the box I found in our closet. The fucking tattoo on your body that used to be my favorite goddamn part of you!” He’s on the bed now. “Ryle,” I beg. “I can explain.” Tears streak down my temples and into my hair. “You’re angry. Please don’t hurt me, please. Walk away, and when you come back, I’ll explain.” His hand grips my ankle and he yanks me until I’m beneath him. “I’m not angry, Lily,” he says, his voice disturbingly calm now. “I just think I haven’t proved to you how much I love you.” His body comes down against mine and he takes my wrists with one hand above my head, pressing them against the mattress. “Ryle, please.” I’m sobbing, trying to push him off of me with any part of my body. “Get off me. Please.” No, no, no, no. “I love you, Lily,” he says, his words crashing against my cheek. “More than he ever did. Why can’t you see that?” My fear folds in on itself, and I become diluted with rage. All I can see when I squeeze my eyes shut is my mother crying on our old living room couch; my father forcing himself on top of her. Hatred rips through me and I start screaming. Ryle tries to muffle my screams with his mouth. I bite down on his tongue. His forehead comes crashing down against mine. In an instant, all the pain fades as a blanket of darkness rolls over my eyes and consumes me.
Colleen Hoover (It Ends with Us (It Ends with Us #1))