Manhattan Beach Quotes

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...normally I consider nostalgia to be a toxic impulse. It is the twinned, yearning delusion that (a) the past was better (it wasn´t) and (b) it can be recaptured (it can´t) that leads at best to bad art, movie versions of old TV shows, and sad dads watching Fox news. At worst it leads to revisionist, extremist politics, fundamentalist terrorism, and the victory-in Appalachia in particular-of a narcissist Manhattan cartoon maybe-millionaire and cramped-up city creep who, if he ever did go up to Rocky Top in real life, would never come down again.
John Hodgman (Vacationland: True Stories from Painful Beaches)
How do you know a gangster?” “Usually, the room goes a little quiet when he walks in.
Jennifer Egan (Manhattan Beach)
What shall I give? and which are my miracles? 2. Realism is mine--my miracles--Take freely, Take without end--I offer them to you wherever your feet can carry you or your eyes reach. 3. Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at the table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sundown--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best--mechanics, boatmen, farmers, Or among the savans--or to the _soiree_--or to the opera. Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct and in its place. 4. To me, every hour of the light and dark is a miracle, Every inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every cubic foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?
Walt Whitman (Leaves of Grass)
Cheating is like a girl’s maidenhead. Doesn’t matter if she’s done it once or a hundred times; she’s ruined just the same.
Jennifer Egan (Manhattan Beach)
Men said “Girls are weak” when in fact girls made them weak.
Jennifer Egan (Manhattan Beach)
The best possible outcome of marriage was a wealthy, childless widowhood.
Jennifer Egan (Manhattan Beach)
You know the expression,” Eddie said. “ ‘Don’t write if you can talk, and don’t talk if you can nod.’ ” Styles was delighted. “A mick said that.
Jennifer Egan (Manhattan Beach)
We’ll emerge from this war victorious and unscathed, and become bankers to the world. We’ll export our dreams, our language, our culture, our way of life. And it will prove irresistible.
Jennifer Egan (Manhattan Beach)
he’d won by playing dirty—worse than losing.
Jennifer Egan (Manhattan Beach)
I got to play a brain-dead comatose rapist who wakes up every full moon to cause hell in the small cult film: “Coma Man From Manhattan Beach.
Justin Bog (Sandcastle and Other Stories: The Complete Edition)
Eddie had never noticed how much of his own speech derived from the sea, from “keeled over” to “learning the ropes” to “catching the drift” to “freeloader” to “gripe” to “brace up” to “taken aback” to “leeway” to “low profile” to “the bitter end,” or the very last link on a chain.
Jennifer Egan (Manhattan Beach)
Each time Anna moved from her father’s world to her mother and Lydia’s, she felt as if she’d shaken free of one life for a deeper one. And when she returned to her father, holding his hand as they ventured out into the city, it was her mother and Lydia she shook off, often forgetting them completely. Back and forth she went, deeper—deeper still—until it seemed there was no place further down she could go. But somehow there always was. She had never reached the bottom.
Jennifer Egan (Manhattan Beach)
I like to be near water whenever possible, don’t you?” he said, gazing into the dark. “Melville put it best: ‘Nothing will content men but the extremest limit of the land’—but that’s not it, I can’t recall the quote. It’s in our nature to seek out the edge. Even on a golf course
Jennifer Egan (Manhattan Beach)
Their insularity made him envious—not just of the men but all three of them. They were working together, two men and a girl, with evident ease. Even after the diving suit was on and she no longer looked like a girl, he was resentful of their shared knowledge, their nomenclature and expertise.
Jennifer Egan (Manhattan Beach)
Now normally I consider nostalgia to be a toxic impulse. It is the twinned, yearning delusion that (a) the past was better (it wasn’t) and (b) it can be recaptured (it can’t) that leads at best to bad art, movie versions of old TV shows, and sad dads watching Fox News. At worst it leads to revisionist, extremist politics, fundamentalist terrorism, and the victory—in Appalachia in particular—of a narcissist Manhattan cartoon maybe-millionaire
John Hodgman (Vacationland: True Stories from Painful Beaches)
It’s not a hometown, actually, it’s a home island. “It’s the same size and shape as Manhattan,” Arthur tells people at parties all his life, “except with a thousand people.” Delano Island is between Vancouver Island and mainland British Columbia, a straight shot north from Los Angeles. The island is all temperate rain forest and rocky beaches, deer breaking into vegetable gardens and leaping in front of windshields, moss on low-hanging branches, the sighing of wind in cedar trees.
Emily St. John Mandel (Station Eleven)
since the Depression, we bankers have had the leisure and . . . solitude, you might say, to think about the future. The Civil War left us with a federal government. The Great War made us a creditor nation. As bankers, we must anticipate what changes this war will thrust upon us.” […] The old man leaned forward and took a long breath. “I see the rise of this country to a height no country has occupied, ever,” he said quietly. “Not the Romans. Not the Carolingians. Not Genghis Khan or the Tatars or Napoleon’s France. Hah! You’re all looking at me like I’ve one foot in the funny farm. How is that possible? you ask. Because our dominance won’t arise from subjugating peoples. We’ll emerge from this war victorious and unscathed, and become bankers to the world. We’ll export our dreams, our language, our culture, our way of life. And it will prove irresistible.
Jennifer Egan (Manhattan Beach)
He hungered for a sense of progress, of new things approaching while old familiar ones receded. It seemed far too long since he’d had that sensation.
Jennifer Egan (Manhattan Beach)
She could feel the logic of mechanical parts in her fingertips; this came so naturally that she could only think that other people didn’t really try.
Jennifer Egan (Manhattan Beach)
He liked the thought that his own power would one day be refined into translucence, with no memory of the blood and earth that had generated it.
Jennifer Egan (Manhattan Beach)
Problems he couldn’t solve made him angry.
Jennifer Egan (Manhattan Beach)
We work in the realm of the impression.” Nell hailed a taxi and directed the driver to East
Jennifer Egan (Manhattan Beach)
corrupt interloper bluffing her way through her life.
Jennifer Egan (Manhattan Beach)
Let me tell you something, dearie: the world is a closed door to an unwed mother and her illegitimate child. If
Jennifer Egan (Manhattan Beach)
Lust made an idiot of everyone it touched—Dexter felt stupidity shrouding his head like a hood in the shape of a dunce’s cap.
Jennifer Egan (Manhattan Beach)
You know the expression,” Eddie said. “ ‘Don’t write if you can talk, and don’t talk if you can nod.’ ” Styles was delighted. “A mick said that.” Eddie winked.
Jennifer Egan (Manhattan Beach)
He was of no more consequence than an empty cigarette packet.
Jennifer Egan (Manhattan Beach)
It only hurts at first,” she said. “After a while you can’t feel anything.” Mr. Styles grinned as if her reply were a ball he’d taken physical pleasure in catching. “Words to live by,” he said,
Jennifer Egan (Manhattan Beach)
She’d never been good at banter; it was like a skipping rope whose rhythm she couldn’t master enough to jump in with confidence. The war seemed not to exist here, despite the presence of officers in uniform.
Jennifer Egan (Manhattan Beach)
Trouble is,” Mr. Q. breathed, “you open a channel . . . now it exists. Hard to regulate what . . . passes through or . . . what direction it . . . moves.” Dexter said nothing. What the hell was he getting at? “This may be your . . . blind spot.
Jennifer Egan (Manhattan Beach)
(I know, it's a poem but oh well). Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sun-down--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best-- mechanics, boatmen, farmers, Or among the savans--or to the soiree--or to the opera, Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct, and in its place. To me, every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?
Walt Whitman
As she worked, Anna glanced occasionally at the Flossie Flirt doll wedged at the end of a shelf. She had wanted one so violently two years ago that some of her desperation seemed to have broken off and stayed inside her. It was strange and painful to discover that old longing now, in this place.
Jennifer Egan (Manhattan Beach)
It had been years since she’d fabricated a story from whole cloth. It brought a sense of returning to an earlier time when she was questioned more often and had fewer evasions at her disposal. Besides, she thought, looking into Rose’s relieved and joyful face, people practically told you the lies they wanted to hear.
Jennifer Egan (Manhattan Beach)
Antidepression medication is temperamental. Somewhere around fifty-nine or sixty I noticed the drug I’d been taking seemed to have stopped working. This is not unusual. The drugs interact with your body chemistry in different ways over time and often need to be tweaked. After the death of Dr. Myers, my therapist of twenty-five years, I’d been seeing a new doctor whom I’d been having great success with. Together we decided to stop the medication I’d been on for five years and see what would happen... DEATH TO MY HOMETOWN!! I nose-dived like the diving horse at the old Atlantic City steel pier into a sloshing tub of grief and tears the likes of which I’d never experienced before. Even when this happens to me, not wanting to look too needy, I can be pretty good at hiding the severity of my feelings from most of the folks around me, even my doctor. I was succeeding well with this for a while except for one strange thing: TEARS! Buckets of ’em, oceans of ’em, cold, black tears pouring down my face like tidewater rushing over Niagara during any and all hours of the day. What was this about? It was like somebody opened the floodgates and ran off with the key. There was NO stopping it. 'Bambi' tears... 'Old Yeller' tears... 'Fried Green Tomatoes' tears... rain... tears... sun... tears... I can’t find my keys... tears. Every mundane daily event, any bump in the sentimental road, became a cause to let it all hang out. It would’ve been funny except it wasn’t. Every meaningless thing became the subject of a world-shattering existential crisis filling me with an awful profound foreboding and sadness. All was lost. All... everything... the future was grim... and the only thing that would lift the burden was one-hundred-plus on two wheels or other distressing things. I would be reckless with myself. Extreme physical exertion was the order of the day and one of the few things that helped. I hit the weights harder than ever and paddleboarded the equivalent of the Atlantic, all for a few moments of respite. I would do anything to get Churchill’s black dog’s teeth out of my ass. Through much of this I wasn’t touring. I’d taken off the last year and a half of my youngest son’s high school years to stay close to family and home. It worked and we became closer than ever. But that meant my trustiest form of self-medication, touring, was not at hand. I remember one September day paddleboarding from Sea Bright to Long Branch and back in choppy Atlantic seas. I called Jon and said, “Mr. Landau, book me anywhere, please.” I then of course broke down in tears. Whaaaaaaaaaa. I’m surprised they didn’t hear me in lower Manhattan. A kindly elderly woman walking her dog along the beach on this beautiful fall day saw my distress and came up to see if there was anything she could do. Whaaaaaaaaaa. How kind. I offered her tickets to the show. I’d seen this symptom before in my father after he had a stroke. He’d often mist up. The old man was usually as cool as Robert Mitchum his whole life, so his crying was something I loved and welcomed. He’d cry when I’d arrive. He’d cry when I left. He’d cry when I mentioned our old dog. I thought, “Now it’s me.” I told my doc I could not live like this. I earned my living doing shows, giving interviews and being closely observed. And as soon as someone said “Clarence,” it was going to be all over. So, wisely, off to the psychopharmacologist he sent me. Patti and I walked in and met a vibrant, white-haired, welcoming but professional gentleman in his sixties or so. I sat down and of course, I broke into tears. I motioned to him with my hand; this is it. This is why I’m here. I can’t stop crying! He looked at me and said, “We can fix this.” Three days and a pill later the waterworks stopped, on a dime. Unbelievable. I returned to myself. I no longer needed to paddle, pump, play or challenge fate. I didn’t need to tour. I felt normal.
Bruce Springsteen (Born to Run)
Here the focus is narrow, almost obsessive. Everything that is not absolutely necessary to your happiness has been removed from the visual horizon. The dream is not only of happiness, but of happiness conceived in perfect isolation. Find your beach in the middle of the city. Find your beach no matter what else is happening. Do not be distracted from finding your beach. Find your beach even if—as in the case of this wall painting—it is not actually there. Create this beach inside yourself. Carry it with you wherever you go. The pursuit of happiness has always seemed to me a somewhat heavy American burden, but in Manhattan it is conceived as a peculiar form of duty.
Zadie Smith
Each generation identifies with a small group of people said to have lived lives exemplifying the vices and virtues of that generation. If one were to choose a trial lawyer whose life reflected the unique characteristics of America’s “Wild West” of a criminal justice system in the latter half of the Twentieth Century, that person likely would be my father. New York City of the 1960s until the turn of the 21st century was the world’s epicenter of organized and white-collar crime. During those four decades, the most feared mafia chiefs, assassins, counterfeiters, Orthodox Jewish money launderers, defrocked politicians of every stripe, and Arab bankers arriving in the dead of night in their private jets, sought the counsel of one man: my father, Jimmy La Rossa. Once a Kennedy-era prosecutor, Brooklyn-born Jimmy La Rossa became one of the greatest criminal trial lawyers of his day. He was the one man who knew where all of the bodies were buried, and everyone knew it. It seemed incomprehensible that Jimmy would one day just disappear from New York. Forever. After stealing my dying father from New York Presbyterian Hospital to a waiting Medevac jet, the La Rossa Boys, as we became known, spent the next five years in a place where few would look for two diehard New Yorkers: a coastal town in the South Bay of Los Angeles, aptly named Manhattan Beach. While I cooked him his favorite Italian dishes and kept him alive using the most advanced medical equipment and drugs, my father and I documented our notorious and cinematic life together as equal parts biography and memoir. This is our story.
James M. LaRossa Jr. (Last of the Gladiators: A Memoir of Love, Redemption, and the Mob)
Why, who makes much of a miracle? As to me I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love, or sleep in the bed at night with any one I love, Or sit at table at dinner with the rest, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive of a summer forenoon, Or animals feeding in the fields, Or birds, or the wonderfulness of insects in the air, Or the wonderfulness of the sundown, or of stars shining so quiet and bright, Or the exquisite delicate thin curve of the new moon in spring; These with the rest, one and all, are to me miracles, The whole referring, yet each distinct and in its place. To me every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same. To me the sea is a continual miracle, The fishes that swim–the rocks–the motion of the waves–the ships with men in them, What stranger miracles are there?
Walt Whitman
The places where poor children face the worst odds include some — but not all — of the nation’s largest urban areas, like Atlanta; Chicago; Los Angeles; Milwaukee; Orlando, West Palm Beach and Tampa in Florida; Austin, Tex.; the Bronx; and the parts of Manhattan with low-income neighborhoods.
Anonymous
Raised in privilege, Robert Moses was always cushioned from real life; from the age of nine, he slept in a custom-made bed and was served dinner prepared by the family’s cook on fine china. As Parks Commissioner, he swindled Long Island farmers and homeowners out of their land to build his parkways—essentially cattle chutes that skirted the properties of the rich, allowing those well-off enough to own a car to get to beaches disfigured by vast parking lots. He cut the city off from its waterfront with expressways built to the river’s edge, and the parks he built were covered with concrete rather than grass, leaving the city grayer, not greener, than it had been before. The ambient racism of the time hardly excuses his shocking contempt for minorities: of the 255 new playgrounds he built in the 1930s, only one was in Harlem. (Physically separated from the city by wrought-iron monkeys.) In the decade after the Second World War, he caused 320,000 people to be evicted from their homes; his cheap, sterile projects became vertical ghettos that fomented civic decay for decades. If some of his more insane schemes had been realized—a highway through the sixth floor of the Empire State Building, the Lower Manhattan Expressway through today’s SoHo, the Battery Bridge whose approaches would have eliminated Castle Clinton and Battery Park—New York as we know it would be nearly uninhabitable. There is a name for what Robert Moses was engaged in: class warfare, waged not with armored vehicles and napalm, but with bulldozers and concrete.
Taras Grescoe
«Ascolta, non serve che mi scaldi, però sì, ti sei comportato da idiota.» «Hai ragione per quanto riguarda l’idiota, ma per quanto riguarda lo scaldarti… nella tua lingua significa la stessa cosa che nelle mia?» Ne dubitavo. Avrei dovuto preparare la mia entrata in scena con un po’ più d’attenzione.
Raquel Villaamil (Manhattan Beach)
Proof of what he’d always believed: men’s children gave them away. It was why Dexter rarely did business with any man before meeting his family. He wished his Tabby had gone barefoot, too.
Jennifer Egan (Manhattan Beach)
Los viejos lobos de mar participaban de un mito original, estaban cerca de la raíz de todas las cosas, incluido el lenguaje. Eddie nunca antes se había fijado en cuántas expresiones de las que utilizaba en su día a día procedían de la marinería, desde «hacer aguas» hasta «irse a pique», pasando por «periplo», «echar por la borda», «escorarse», «llegar a buen puerto», «ir viento en popa», «estar boyante», «luchar contra viento y marea», «ser una rémora», etcétera, pero utilizarlas en su contexto natural lo hacía sentirse más cerca de algo fundamental, de una verdad profunda cuyos contornos creía percibir, alegóricamente, incluso estando en tierra firme. Navegar acercaba a Eddie a esa verdad, y los viejos lobos de mar estaban todavía más cerca.
Jennifer Egan (Manhattan Beach)
while Rose and her family went to Shabbat services. Leaning in the vestibule, she noticed an airmail envelope with exotic stamps amid the usual letters and V-mails. Her own name was penned across the front in a crimped, slanted cursive that looked jarringly familiar. Her father’s, she would have sworn. Anna climbed the six flights to her old apartment for the first time since her move, aware of her heavy tread on the stairs she’d once flitted up like a dragonfly. The apartment smelled like an old icebox. Anna slid open a
Jennifer Egan (Manhattan Beach)
Never part with a fact unless you’ve no choice.
Jennifer Egan (Manhattan Beach)
Anna war manchmal versucht, den Drink anzunehmen - und sei es nur, um die Reaktionen der beiden zu testen. Ihre Rolle, die so fest etabliert war, dass die Ursprünge längst im Dunkeln lagen, bestand darin, allen Versuchungen ihres Umfelds zu widerstehen - ein braves Mädchen zu sein, und das in jeder Hinsicht. Die Tatsache, dass sie schon seit ihrem vierzehnten Lebensjahr nicht mehr der Ausbund von Tugend war, für den man sie hielt, hätte sie in Anwesenheit von Tante und Mutter leicht vergessen können. Aber sie vergaß es nie ganz.
Jennifer Egan (Manhattan Beach: Roman (German Edition))
Vielleicht bestand wahres Glück darin, nicht mehr um das Glück kämpfen zu müssen.
Jennifer Egan (Manhattan Beach: Roman (German Edition))
Du bist gesund, meinte er. Morgen sagst du mir, wohin ich dich bringen soll.
Jennifer Egan (Manhattan Beach)
Sie sehnte sich stattdessen nach dem Elan und der Zielstrebigkeit, die alle anderen Menschen in der Forty-second Street zu beflügeln schienen: Gruppen lachender Matrosen; Mädchen mit angelegten, eingesprühten Haaren; ältere Paare, die Damen im Pelz - alle eilten im Dämmerlicht dahin. Anna betrachtete sie forschend. Woher wussten sie, wohin es ging?
Jennifer Egan (Manhattan Beach: Roman (German Edition))
Despite the early hour U.S. Attorney Joan Thurston looked resplendent in a charcoal gray business suit that seemed to have been tailored by the gods. Thurston was mid-forties and, in Loren’s view, excessively attractive. She had auburn hair, broad shoulders, tapered waist. She had two sons in their early teens. Her husband worked at Morgan Stanley in Manhattan. They lived in ritzy Short Hills with a vacation home on Long Beach Island. In short: Joan Thurston was what Loren wanted to be when she grew up.
Harlan Coben (The Innocent)
Agnes cleared the toques and sequin chains from the kitchen table and set four places for supper. She would have liked for Lydia to join them, would happily have cradled her in her own lap. But that would ruin the meal for Eddie. So Agnes left Lydia alone in the front room, compensating, as always, by keeping her own attention fixed upon her like a rope whose two ends she and her younger daughter were holding. Through this rope Agnes felt the quiver of Lydia’s consciousness and curiosity, her trust that she wasn’t alone. She hoped that Lydia could feel her own feverish love and assurance. Of course, holding the rope meant that Agnes was only half-present—distracted, as Eddie often remarked. But in caring so little, he left her no choice.
Jennifer Egan (Manhattan Beach)
I’ve led a sheltered, virtuous life,” she said.
Jennifer Egan (Manhattan Beach)
We work in the realm of the impression.
Jennifer Egan (Manhattan Beach)
There were rumors at the high school of girls who’d had to depart suddenly to “live with relations.” One of these, Loretta Stone, was now a year behind her peers: a chastened solitary girl whose alleged ruin was a succulent dish the other children feasted upon.
Jennifer Egan (Manhattan Beach)
There was widespread chagrin over not being able to buy Panamanian rum from the bumboats that swarmed both ends of the canal, but it soon dissolved into the monotony peculiar to long voyages. Everyone resisted this at first; they were bored, stymied, restless. But within a few days, peace overcame the ship like a sigh—the relief of knowing this was all there was, or would be, for some weeks. Men
Jennifer Egan (Manhattan Beach)
He’d chanced upon his favorite hour: A premonition of dawn without any visible sign of it.
Jennifer Egan (Manhattan Beach)
They were open but empty-looking, like the windows of a house no one lived in. At
Jennifer Egan (Manhattan Beach)
One thing was certain: Rose had been wrong about the world becoming small again. Or at least it would not be the same small world it had been. Too much had changed. And amid those shifts and realignments, Anna had slipped through a crack and escaped.
Jennifer Egan (Manhattan Beach)
If wishing could make men die, there’d be nary a live one left.” As suddenly
Jennifer Egan (Manhattan Beach)
beach.
Jennifer Egan (Manhattan Beach)
sunshade he wore to the ring failed to conceal the freshets of tears that coursed from his small, cruel eyes.
Jennifer Egan (Manhattan Beach)
It’s a pity we’re forced to make the choices that govern the whole of our lives when we’re so goddamn young.
Jennifer Egan (Manhattan Beach)
Agnes felt her daughter’s impatience that she go, and it made her want to cleave, as if holding Anna would somehow awaken in her daughter the need to be held. Agnes clasped her fiercely, trying through sheer force to open the folded part of Anna, so deeply recessed.
Jennifer Egan (Manhattan Beach)
A good deed needs no excuse.
Jennifer Egan (Manhattan Beach)
it was a restless, desperate wish for something to change. Anything. Even if the change brought a certain danger. He’d take danger over sorrow every time.
Jennifer Egan (Manhattan Beach)
Sometimes, before coming inside, Eddie would stand in the hall and overhear a festive gaiety from behind the closed door. It always surprised him. Did I imagine that? he would ask himself later. Or had they been easier—happier—without him?
Jennifer Egan (Manhattan Beach)
I’ll die young; it’ll be just when I’m finally happy. Then something’ll happen, and all of a sudden I’ll be dead.” She looked at each of us in turn. “But that’s okay. I’ve been practically everywhere, I’ve seen so much: the morning most in Manhattan, or the jungle in Ecuador; I’ve been skydiving, I’ve had lots of lovers and a wild, difficult time, but before that I had a happy, sheltered one, too; and I’ve really learned a lot about death. It doesn’t matter if I die young, because I can still say that I’ve lived.” Marty just shook his head. “How arrogant does someone have to be to talk like that?” “How inhibited does someone have to be to call that arrogant?” As the two of them went on arguing, I strolled along the beach on my own. Liz was right, I thought. She loved unconditionally, wasted herself unconditionally, failed unconditionally.
Benedict Wells (Vom Ende der Einsamkeit)
On my right, beyond the dark waters of the bay dotted with small craft, some anchored and some under way from one end of the harbor toward the other, the lights on the Balboa peninsula glittered like jewels. Not more than a hundred yards from me was a small sandy beach, a few feet beyond it the color and movement of the Balboa Fun Zone. Occasionally the sound of a merry-go-round there mingled raucously with the combo's more delicate harmonies, and lights from the Ferris wheel spun slowly over the amusement booths below it. As I passed the dance area, the music stopped. I walked to the portable bar farther back on the stern and asked the uniformed bartender for another bourbon highball. I got it, went back near the dancers and leaned against the rail, looking them over. The combo swung into Manhattan, and half a dozen couples started dancing.
Richard S. Prather (Shell Scott PI Mystery Series, Volume Three)
Anna liked Bascombe, which was partly to say that she liked herself in his company.
Jennifer Egan (Manhattan Beach)
Anna liked Bascombe, which was partly to say that she liked herself in his company. Their flat, unvalenced exchanges were the closest she had ever come to feeling like a man. Bascombe in the grip of those greedy arms would be another matter, but Anna felt no envy. She had the Bascombe she wanted.
Jennifer Egan (Manhattan Beach)
Dexter liked the Irish, was drawn to them, although time and again they had proved untrustworthy. It wasn’t duplicity so much as a constitutional weakness that might have been the booze or might have been what drove them to it. You wanted a mick to help you dream up schemes, but in the end you needed a wop or a Jew or a Polack to bring them off.
Jennifer Egan (Manhattan Beach)
A good deed needs no excuse. So his pop used to reassure Dexter when he would resist, embarrassed, carrying a covered dish of leftover meatballs to the bums and hoboes who haunted the carny houses near his restaurant. Dexter muttered the phrase to himself as he lifted the heavy folded chair into his trunk. A good deed needs no excuse.
Jennifer Egan (Manhattan Beach)
Her mother glanced at her. “I don’t think about him, Anna. That’s the truth.” “What do you think about?” A spot of red had appeared on each of her mother’s cheeks. She was angry. Anna was, too, and the anger strengthened her, as if she were bracing herself against it. “You know perfectly well what I think about,” her mother said.
Jennifer Egan (Manhattan Beach)
But her only real witness, then and now, was Lydia. And her sister could only listen. She could not advise, or answer the questions that troubled Anna most: When would she be allowed to know what she knew? Or when would she have forgotten it?
Jennifer Egan (Manhattan Beach)
Impressive, eh?” he remarked to Tabby. She turned, flushed. “What?” “The girls. Wasn’t that what you wanted to see?” he asked pointedly. “Isn’t that the reason we’re all here today?” But they were empty words. He knew the answer: Tabby’s excitement had been to see Grady, not the Naval Yard. It had all been for him. “I don’t remember, Daddy,” she said, touching her hair distractedly. “I thought you were the one who wanted to come.
Jennifer Egan (Manhattan Beach)
Here,” he said, thrusting the binoculars at Tabby to break the spell of her self-absorption. “Make sure no Germans are coming ashore like they did on Amagansett Beach.” “Why would they, Daddy? There’s nothing important here.” “To help with your fingernails? Those seem to be very important.” She yanked her fragment of a robe around her and stalked back indoors. Dexter seethed at her vanity and his own impulsiveness. It was a weakness.
Jennifer Egan (Manhattan Beach)
Sparks had grown up in New Orleans and gone to sea in his twenties. He was a teetotaler, unusual in an Irishman. “Ah, but I dream of this stuff,” he said, gazing into the cup of milk before downing it in a cascade of voluptuous gulps. “I’ll crawl across broken glass for a cup of milk like an opium addict for a pipe.” “You might like opium better.” Sparks snorted. “It’s bad enough needing food and sleep and cigarettes, having to drag this fucking leg around. I can’t afford a habit like that.” “I’ve seen cripples in opium dens.” “Sure you have—trying to forget they’re cripples! How’s that for smarts—you’ve got a brace on your fucking leg and a monkey on your fucking back, and you think you’ve solved your fucking problem when all you’ve really done is stuck your head up your arse.” As Sparks shook the cup to catch the last drops of milk, Eddie was stricken with sympathy. To be a deviant and a cripple, without good looks or fortune or physical strength—how had Sparks managed to endure such a life? Yet he’d more than endured; he was ever cheerful.
Jennifer Egan (Manhattan Beach)
At Playland, Eddie and the little boys had ridden potato sacks down long wooden slides, getting friction burns where a knee or an elbow dragged against the wood. The fun-house floor was pocked with holes through which loud blasts of air (fired by some hidden wiseacre) were meant to lift girls’ skirts. Ingrid had a horror of these blasts, and she clung to Eddie, laughing.
Jennifer Egan (Manhattan Beach)
Standing under the gray sky among so many women, Anna began to understand the collective grief: Lydia had been a last still point amid so much wrenching change.
Jennifer Egan (Manhattan Beach)
Lust made an idiot of everyone it touched
Jennifer Egan (Manhattan Beach)
Among their shared irreverences was a disdain for golf—Dexter because he hadn’t the patience to learn a game whose experts had imbibed it with mother’s milk; the old man because he saw it as sloth masquerading as sport.
Jennifer Egan (Manhattan Beach)
I do not talk this way to everyone. Men so far outside my intellectual scope do not normally crave extensive and repeated interactions, as you do. Your reasons for persisting in this effort elude me, I confess. I could speculate, of course, but that would be a fool’s errand—in part because it would imply that our inner lives had the slightest modicum of solidarity—which I more than doubt—but also because it would indicate that I care one jot about what moves and motivates you, Third, which I do not.
Jennifer Egan (Manhattan Beach)
Men ran the world, and they wanted to fuck the women. Men said “Girls are weak” when in fact girls made them weak.
Jennifer Egan (Manhattan Beach)
Dames were as bad as dope for turning a man against his interests.
Jennifer Egan (Manhattan Beach)
Not enough has been written about the treachery of middle life,” the old man mused, his voice carrying over the wind. “Dante went to hell to escape it, and I’ve seen plenty of other men do the same, metaphorically speaking.
Jennifer Egan (Manhattan Beach)
Anna liked Bascombe, which was partly to say that she liked herself in his company. Their flat, unvalenced exchanges were the closest she had ever come to feeling like a man.
Jennifer Egan (Manhattan Beach)
At the mouth of the estuary, they stopped to gaze across the water at the shimmery Manhattan skyline, rising majestically in the distance. Sophie had never experienced quite so powerfully that sense of nature not just surviving but thriving in the middle of an urban industrial landscape. She was blown away
Emma Burstall (The House On Rockaway Beach)
«Parli come se stessimo uscendo insieme seriamente» disse, guardandomi negli occhi con insistenza. «E non è così, vero?» Restai con la bocca talmente aperta da sembrare un tunnel ferroviario. Non sapevo cosa rispondere. Perché non stavamo uscendo? Certo che lo stavamo facendo, che diritto aveva di chiedermi spiegazioni? «Quale delle tue personalità multiple sta parlando in questo momento?» riuscii a dire. «Quella dello stronzo» sorrise. «A ogni modo, siamo adulti e il termine uscire è obsoleto.» «Sarà così per i trentenni. Io esco, ho degli appuntamenti e dei ragazzi, come mi hai presentato alla tua famiglia? Come un’estranea conosciuta grazie a un escremento di cane?» «No, come qualcuno di molto speciale.»
Raquel Villaamil (Manhattan Beach)
It’s a pity we’re forced to make the choices that govern the whole of our lives when we’re so goddamn young.” “If they’re the wrong choices, then we have to make new ones,” Dexter said. “Even late in the day.
Jennifer Egan (Manhattan Beach)
twelve-
Jennifer Egan (Manhattan Beach)
Soap is a waste of time too. What good is soap in a zombie situation? Soap sometimes imagines himself trapped in his mother’s soap boutique. Zombies are coming out of the surf, dripping wet, hellishly hungry, always so fucking slow, shuffling hopelessly up through the sand of Manhattan Beach. Soap has barricaded himself in Float with his mother and some blond Japanese tourists with surfboards. “Do something, sweetheart!” his mother implores. So Sweetheart throws water all over the floor. There’s the surfboards, a baseball bat under the counter, some rolls of quarters, and a swordfish mounted up on the wall, but Sweetheart decides the cash register is best for bashing. He tells the Japanese tourists to get down on their hands and knees and rub soap all over the floor. When the zombies finally find a way into Float, his mother and the tourists can hide behind the counter. The zombies will slip all over the floor and Sweetheart will bash them in the head with the cash register. It will be just like a Busby Berkeley zombie musical.
Kelly Link (Magic for Beginners: Stories)
The hammerhead crane brandished its fist to the east; to the west loomed the building ways cages. Around all of it, railroad tracks spiraled into whorls of paisley. The diving barge had gone.
Jennifer Egan (Manhattan Beach)
Dexter pleaded a sudden high fever: hallucinations on the train, unconsciousness, removal to a hospital. It was the sort of story you might get away with once in your life, at long distance, if no one had any reason to doubt you. In fact, he reflected later, it wasn’t far from the truth.
Jennifer Egan (Manhattan Beach)
The twins had brought along Buck Rogers ray guns, but the wind turned their shots and death throes into pantomime.
Jennifer Egan (Manhattan Beach)
Sure enough, the toughness he’d sensed coiled in Ed Kerrigan had flowered into magnificence in the dark-eyed daughter. Proof of what he’d always believed: men’s children gave them away. It was why Dexter rarely did business with any man before meeting his family. He wished his Tabby had gone barefoot, too.
Jennifer Egan (Manhattan Beach)
He wore a thin silk scarf—little more than a cravat—and a bowler, but he was famously, almost comically hardy. Dexter had never seen him sweat even wearing a dinner suit in dead summer. He’d a quick knifelike walk that required Dexter to stride in earnest to keep up, although he was several inches taller.
Jennifer Egan (Manhattan Beach)
The Riders Placencia Beach, Belize, 1996 Americans aren’t overly familiar with Tim Winton, although in my mind he is one of the best writers anywhere. This novel is set in Ireland and Greece as a man and his daughter search for their missing wife and mother. Gripping. 2. Family Happiness Miacomet Beach, Nantucket, 2001 The finest of Laurie Colwin’s novels, this is, perhaps, my favorite book in all the world. It tells the story of Polly Demarest, a Manhattan woman who is torn between her very uptown lawyer husband and her very downtown artist lover. 3. Mary and O’Neil Cottesloe Beach, Western Australia, 2009 These connected stories by Justin Cronin will leave you weeping and astonished. 4. Appointment in Samarra Nha Trang Beach, Vietnam, 2010 This classic novel was recommended to me by my local independent bookseller, Dick Burns, once he had found out how much I loved Revolutionary Road by Richard Yates. John O’Hara’s novel has all the requisite elements of a page-turner—drinking, swearing, and country club adultery, although set in 1930s Pennsylvania. This may sound odd, but trust me, it’s un-put-downable! 5. Wife 22 Oppenheimer Beach, St. John, U.S. Virgin Islands, 2012 If you like piña coladas… you will love Melanie Gideon’s tale of marriage lost and rediscovered. 6. The Interestings Steps Beach, Nantucket, 2013 And this summer, on Steps Beach in Nantucket, I will be reading The Interestings by Meg Wolitzer. Wolitzer is one of my favorite writers. She explores the battles between the sexes better than anyone around.
Elin Hilderbrand (Beautiful Day)
Manson attracted the attention of another woman, Patricia Krenwinkel, on Manhattan Beach in 1967. Krenwinkel later said that Manson was the first person who had ever told her she was beautiful and that she had sex with him on the first night they met. Thoroughly transfixed by Manson and desperate to become one of his girls, Krenwinkel left her job, car, apartment, and last paycheck behind and returned with the budding family to San Francisco. Krenwinkel gave Manson her father’s credit card and the foursome survived for a while by stealing and writing bad checks. Susan “Sadie” Atkins was the next woman to join the Manson Family. Atkins was an ex-convict who was supporting herself by topless dancing. Manson was drawn to Atkins when he learned that she had danced in a cabaret led by the self-styled leader of the Satanic Church, Anton LaVey. Atkins was a heavy drug-user when she met Manson and was easily convinced to join his family and to set about recruiting more members, preferably male. Atkins was able to lure Bruce Davis to join the family in the fall of 1967, the first male member and a man who was later described as Manson’s right-hand man. Davis met the family when they were in Oregon. Manson had traded his minibus for a full-size yellow school bus and had taken his family on a tour of the American West; he had decided the family should move to Los Angeles. The Haight had become too dangerous, Manson said, life would be better for the family in L.A. What he didn’t tell his family was that the real reason he wanted to move to Los Angeles was to pursue his dreams of stardom. Charles Manson was looking for a record deal.
Hourly History (Charles Manson: A Life From Beginning to End (Biographies of Criminals))
IF ONE END of Long Island was a fish mouth ready to chomp on the barb of Manhattan, the tail fin was the East End, split down the middle with Shelter Island between the two. Let the billionaires have the Hamptons on the South Fork, with the shops and restaurants and parties that re-created what made them so exquisitely comfy in Manhattan. The North Fork was two ferry rides away, and it showed. It was farm stands on actual farms. It was pies and parades and stony beaches that hurt your feet, banging screen doors and peaches eaten over the sink.
Judy Blundell (The High Season)
We’re paying him an awful lot of money to tell us we’re wonderful. And then, as if another voice had interposed itself, Nice work if you can get it.
Jennifer Egan (Manhattan Beach)
Because our dominance won’t arise from subjugating peoples. We’ll emerge from this war victorious and unscathed, and become bankers to the world. We’ll export our dreams, our language, our culture, our way of life. And it will prove irresistible.
Jennifer Egan (Manhattan Beach)