Matte Black Quotes

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

The paradox of volcanoes was that they were symbols of destruction but also life. Once the lava slows and cools, it solidifies and then breaks down over time to become soil - rich, fertile soil. She wasn't a black hole, she decided. She was a volcano. And like a volcano she couldn't run away from herself. She'd have to stay there and tend to that wasteland. She could plant a forest inside herself.
Matt Haig (The Midnight Library)
The sky grows dark The black over blue Yet the stars still dare To shine for you
Matt Haig (The Midnight Library)
They were in love with him because he was a prince and a faerie and magical and you were supposed to love princes and faeries and magic people. They loved him the way they’d loved Beast the first time he swept Belle around the dance floor in her yellow dress. They loved him as they loved the Eleventh Doctor with his bow tie and his flippy hair and the Tenth Doctor with his mad laugh. They loved him as they loved lead singers of bands and actors in movies, loved him in such a way that their shared love brought them closer together.
Holly Black (The Darkest Part of the Forest)
Trace started on his way again, this time taking the lead. "She's five-four and weighs less than one-twenty. Matt can handle himself." "Says the man with the black eye.
Lori Foster (Trace of Fever (Men Who Walk the Edge of Honor, #2))
Most people, when they imagine New England, think about old colonial homes, white houses with black shutters, whales, and sexually morbid WASPs with sensible vehicles and polite political opinions. This is incorrect. If you want to get New England right, just imagine a giant mullet in paint-stained pants and a Red Sox hat being pushed into the back of a cruiser after a bar fight.
Matt Taibbi (Spanking the Donkey: Dispatches from the Dumb Season)
Our prison population, in fact, is now the biggest in the history of human civilization. There are more people in the United States either on parole or in jail today (around 6 million total) than there ever were at any time in Stalin’s gulags. For what it’s worth, there are also more black men in jail right now than there were in slavery at its peak.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
As a black hole forms it creates an immense gamma-ray burst, blinding whole galaxies with light and destroying millions of worlds. You could disappear at any second. This one. Or this one. Or this one. Make sure, as often as possible, you are doing something you’d be happy to die doing.
Matt Haig (The Humans)
An image of a black hole - she realised that's what she was. A black hole. A dying star, collapsing in on itself.
Matt Haig (The Midnight Library)
the real reason he’d keep running into monsters was because he was black, and when you’re black in America, there’s always a monster. Sometimes it’s Lovecraftian Elder Gods; sometimes it’s the police, or the Klan, or the Registrar of Voters.
Matt Ruff (Lovecraft Country)
She wasn't a black hole, she decided. She was a volcano. And like a volcano, she couldn't run away from herself. She'd have to stay there and tend to that wasteland. She could plant a forest inside herself.
Matt Haig (The Midnight Library)
It is hard to predict, isn't it?' she asked, looking blankly in front of her as she moved a black bishop across the board to take a white pawn. 'The things that will make us happy'.
Matt Haig (The Midnight Library)
Now, consider this.   A human life is on average 80 Earth years or around 30,000 Earth days. Which means they are born, they make some friends, eat a few meals, they get married, or they don’t get married, have a child or two, or not, drink a few thousand glasses of wine, have sexual intercourse a few times, discover a lump somewhere, feel a bit of regret, wonder where all the time went, know they should have done it differently, realise they would have done it the same, and then they die. Into the great black nothing. Out of space. Out of time. The most trivial of trivial zeroes. And that’s it, the full caboodle. All confined to the same mediocre planet.
Matt Haig (The Humans)
She was luminous. Her red hair had been braided a dozen ways, all swirled together in a high shaggy twist. Her eyelids were shimmering green, her lips crimson and matte. She wore black vintage ankle-high motorcycle boots. She was lethal.
Lauren Kate (Unforgiven (Fallen, #5))
I look around. You'd have to be out of your fucking mind to write, as Marcus did, that Black History Month is a ploy to lever more entitlement money out of Congress, but the ho-hum nonresponse of the white crowd reading this bit of transparent insanity is, to me, even weirder.
Matt Taibbi (Griftopia: Bubble Machines, Vampire Squids, and the Long Con That Is Breaking America)
Matt, you are suffering from a disease of youth—you expect moral problems to have nice, neat, black-and-white answers.
Robert A. Heinlein (Space Cadet)
As she stared now at the magazine cover - an image of a black hole - she realised that's what she was. A black hole. A dying start collapsing in on itself.
Matt Haig (The Midnight Library)
Rena squinted at me, blowing a strand of her matte black hair out of her face, exasperated. 'You get good price for that. What you saving it for, tea with little Tsarevich Alexei? They shot him in 1918.' She took the dress out of the bag, shook it and hung it back up. 'Is fact.
Janet Fitch (White Oleander)
So the only time RICO was used to fight mortgage fraud was when the criminal was a black gang member and the victims were banks. (Ironically, nobody thought to wonder how it was possible for a Lincoln Park gang member to buy 222 houses with no money down. Heading into that particular rabbit hole would have led to the larger crime, but nobody did.)
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
Love is scary because it pulls you in with an intense force, a supermassive black hole which looks like nothing from the outside but from the inside challenges every reasonable thing you know. You lose yourself, like I lost myself, in the warmest of annihilations.
Matt Haig (The Humans)
The argument is that Black History Month dwells too much on the downside of white America's relationship to its brothers of African heritage, slavery and torture and the like, and ignores the work of all the good white folk through the years who were nice to black people (did you know it was a white teacher who first suggested George Washington Carver study horticulture?).
Matt Taibbi (Griftopia: Bubble Machines, Vampire Squids, and the Long Con That Is Breaking America)
Her shoulder length hair was the color of pitch and looked like it only had casual relationships with the brushes it knew.
Matt Abraham (Dane Curse (Black Cape Case Files, #1))
Above his head at street level, he saw an angled aileron of a scarlet Porsche, its jaunty fin more or less at the upper edge of his window frame. A pair of very soft, clean glistening black shoes appeared, followed by impeccably creased matt charcoal pinstriped light woollen legs, followed by the beautifully cut lower hem of a jacket, its black vent revealing a scarlet silk lining, its open front revealing a flat muscular stomach under a finely-striped red and white shirt. Val’s legs followed, in powder-blue stockings and saxe-blue shoes, under the limp hem of a crêpey mustard-coloured dress, printed with blue moony flowers. The four feet advanced and retreated, retreated and advanced, the male feet insisting towards the basement stairs, the female feet resisting, parrying. Roland opened the door and went into the area, fired mostly by what always got him, pure curiosity as to what the top half looked like.
A.S. Byatt (Possession)
The worst part about being a prosecutor, in Matt Houlihan's opinion, 2as that even when you won, you didnt. The world was too black and white for that. ... It was like securing the bull after he'd careened through the china shop - yes, you could pen him for a whole, but you still incurred the cost of the mess he'd left in his wake.
Jodi Picoult (Salem Falls)
She wasn't a black hole, she decided. She was a volcano. And like a volcano she couldn't run away from herself. She'd have to stay there and tend to that wasteland.
Matt Haig (The Midnight Library)
I hope I'm not disturbing anything," Finn said, looking past Duncan at me. As soon as his dark eyes landed on mine, my breath caught in my throat. He stood at the door, his black hair mussed a bit.His vest was still neatly pressed but it was marred with a dark stain from Elora's blood. "No,not at all," I said, sitting up further. "Actually,we were-" Matt began,his voice hard. "Actually,we were leaving," Willa cut him off. She scooted off the bed,and Matt shot her a look, which she only smiled at. "We were just saying that we had something to do in your room. Weren't we,Matt?" "Fine," Matt grumbled and stood up. Finn moved aside to Matt and Willa could walk out of the room, and Matt gave him a warning glare. "But we'll just be right across the hall." Willa grabbed Matt's hand to keep him moving. Finn, as usual, seemed oblivious to Matt's threats, which only made Matt angrier.
Amanda Hocking (Torn (Trylle, #2))
Unable to afford street OxyContin, Matt at some point switched to the black tar heroin that had saturated the Columbus market, brought in by young Mexican men from a small state on Mexico’s Pacific coast called Nayarit.
Sam Quinones (Dreamland: The True Tale of America's Opiate Epidemic)
The civil rights movement ended in a kind of negotiated compromise. Black Americans were granted legal equality, while white America was allowed to nurture and maintain an illusion of innocence, even as it continued to live in almost complete separation.
Matt Taibbi (I Can't Breathe: A Killing on Bay Street)
Lincoln is not the only famous leader to have battled depression. Winston Churchill lived with the ‘black dog’ for much of his life too. Watching a fire, he once remarked to a young researcher he was employing: ‘I know why logs spit. I know what it is to be consumed.
Matt Haig (Reasons To Stay Alive)
When the Black Death swept through 14th century Europe, killing upwards of 200 million people and forever altering the course of human history, one of the original culprits of the epidemic was said to be the black rat, carrying plague-infested fleas into population centers to wreak their destruction. This is, in fact, not true. The true perpetrator was actually the Asian great gerbil, who took advantage of the warmer climate to travel the silk road and bring the disease into Europe. This is only important to know because Ralph, champion pit fighter of the kobold training grounds, lives his life in a perpetual state of rage. Why? Because he feels that human death toll of 200 million is much too low, and he will do everything in his power to triple that number. Starting with you. The only survivor of a family of gerbils left to starve by a child who’d grown bored with the pets, Ralph had to commit unspeakable acts of cannibalism in order to endure. Part earth rodent, part the embodiment of death, Frenzied Gerbils are regular mobs one might encounter on the fifth or seventh floors. But Ralph here is special. He has dedicated his existence to fighting and training in hopes that one day he might exact his revenge against the humans he so despises. He is fast, he is angry,
Matt Dinniman (Dungeon Crawler Carl (Dungeon Crawler Carl, #1))
Our prison population, in fact, is now the biggest in the history of human civilization. There are more people in the United States either on parole or in jail today (around 6 million total) than there ever were at any time in Stalin’s gulags. For what it’s worth, there are also more black men in jail right now than there were in slavery at its peak. See if this syllogism works, then. Poverty goes up; Crime goes down; Prison population doubles.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
Matt had his back to the house and his hands braced against a black Lexus. Holy fuck. This was textbook sketchy. Black car, strange man, middle of the night. Maybe I was about to be abducted. Maybe I was about to become one of those news stories that makes people say, “I feel bad for the girl, but she was asking for trouble.
M. Pierce (Night Owl (Night Owl, #1))
Every day, not only did he wear his red and white outfit, complete with shiny black belt and boots, but he was determined to be as jolly as could be, because the easiest way to make other people happy was to be happy yourself, or at least to act as if you were. That was how his mother had done it. And even his father too, once upon a time.
Matt Haig (A Boy Called Christmas (Christmas, #1))
No island is an island, he said. There is no new land, just the same body broken open.
Matt Rasmussen (Black Aperture: Poems)
Water stains like liver spots dotted the floors, ceiling, and walls while the smell of warm wood rot hung in the air thick like an old whore’s perfume.
Matt Abraham (Dane Curse (Black Cape Case Files, #1))
As she stared at the magazine cover - an image of a black hole - she realized that's what she was. A black hole. A dying star, collapsing in on itself
Matt Haig (The Midnight Library)
For what it’s worth, there are also more black men in jail right now than there were in slavery at its peak.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
And I walked across the gravel, towards the road and somewhere in the universe of my soul a fiery, life-giving star collapsed, and a very black hole began to form.
Matt Haig
The sky grows dark The black over blue Yet the stars still dare To shine for you
Matt Haig (The Midnight Library)
Even when we cannot see parts of the moon, they are still physically there. During a new moon, when it is completely lit from behind, it appears only as a black, starless circle in the sky. For while we sometimes cannot see the moon, it is still there as a silhouette. Which is why I get upset when a crescent moon is shown with stars visible through the middle of it!
Matt Parker (Humble Pi: A Comedy of Maths Errors)
You’d be a better Christian if you learned how to read, Ruby had told him. Cain’s mark was a protection; if the mark was his skin color, then God must have turned him white, not black.
Matt Ruff (Lovecraft Country)
Salt reached into his pocket and took out his matte black gun, pointing it directly at Charlie. “You have made a very bad mistake crossing me, Charlatan—” Charlie froze. Vicereine’s shadow cat roared as three shadows spread from Malik, their mouths full of teeth. Bellamy drew a sword of shadow. “Lionel,” Malik said. “There’s no need for this.” Behind Salt, Vince lifted his wrists and the cuffs came away, falling to the ground. He stepped forward with inhuman swiftness, pressing the point of a letter opener to Salt’s throat. Adeline made a sharp sound that was almost a scream. The sounds of the party seemed very far away. “You said I was a creature of hate.” Vince spoke into Salt’s ear. “And I do hate you. For Remy, whose blood is my blood, whose flesh is my flesh, and whose hate is my hate. For Char, who will survive tonight. Aim that gun somewhere else, or I will hurt you and go on hurting you until there is nothing but pain.” “You can’t—” Salt began, voice trembling. “I’m sorry, Char.” Vince wore a small, sad smile. “It was always going to happen like this. I knew he’d let me get close to him, and it’d give me a chance.
Holly Black (Book of Night (Book of Night, #1))
The soft cream lace of her floaty dress fell to just mid-thigh and long bell sleeves grazed the backs of her hands, creating the picture of elegance. Her long blonde hair was half twisted up, half falling in gently curled tendrils over her shoulders and down her back to add to the effect, while the matte black platform heels and smoky eyes toughened it up. It was just a shame the mascara streaks on her cheeks completely ruined it all.
Torrie McLean (Ink (Haven Series #1))
time flowed by like a black river that I watched from a stationary point on some undefined shore. I hovered above everything, clung to nothing, and regarded the world and its inhabitants as figments of a fleeting and pointless dream. The
Matt Cardin (DIVINATIONS OF THE DEEP)
Colonel Kassad returns to the fire and slides the night visor up onto the top of his helmet. Kassad is wearing full combat gear, and the activated chameleon polymer shows only his face, floating two meters above the ground. “Nothing,” he says. “No movement. No heat traces. No sound besides the wind.” Kassad leans the FORCE multipurpose assault rifle against a rock and sits near the others, the fibers of his impact armor deactivating into a matte black not much more visible than before.
Dan Simmons (The Fall of Hyperion (Hyperion Cantos, #2))
Emshwiller stepped out of the pickup wielding a matte-black rifle with a large scope (it was actually an airgun that fired 6.26-mm slugs). She was wearing her most elegant blue dress and a backward baseball cap. “I wanted to look freaky,” she says.
Joshua Davis (John McAfee's Last Stand)
The old master oil paintings were usually done in transparent oil colors on top of a black-and-white underpainting, which was often painted in egg temperas. My version of this technique was to start with a watercolor underpainting, which is fast drying like tempera, but I have an easier time controlling it. Then I seal the underpainting with a coat of clear, matte acrylic medium. That keeps the oil paints, which come next, from soaking into the paper, where they would turn dull and flat. Instead, thin layers of transparent oil paint can be smoothed into glowing colors and bold, glossy surfaces, with a depth and space that I don’t think can be gotten any other way. It isn’t easy to do, but when it works, the results can still surprise me.
Paul O. Zelinsky
The civil rights movement, legislation, and milestone court decisions of the 1950s and ’60s produced remarkable changes and ended or ramped down centuries of explicit, statutory discrimination. But real integration was not one of the accomplishments. The civil rights movement ended in a kind of negotiated compromise. Black Americans were granted legal equality, while white America was allowed to nurture and maintain an illusion of innocence, even as it continued to live in almost complete separation. Black America always saw the continuing schism. But white America has traditionally been free to ignore and be untroubled by it and to believe it had reached the “postracial” stage of its otherwise proud history. That was until cellphones and the Internet came along.
Matt Taibbi (I Can't Breathe: A Killing on Bay Street)
Yes,” she said, “television is one of those unique products of the American genius. A means of keeping a complex country intact. Just as America begins to explode every which way, riches and opportunity and complexity, just then along comes the TV to bring it all together. Rich and poor, black and white—they share the same heroes, Matt Dillon and Paladin. In January the talk is of Superbowl. In October, baseball. Say what you will, but only Americans could so skillfully build instant bridges among the classes, bind together diversity.
Tim O'Brien (Going After Cacciato)
We’re creating a dystopia, where the mania of the state isn’t secrecy or censorship but unfairness. Obsessed with success and wealth and despising failure and poverty, our society is systematically dividing the population into winners and losers, using institutions like the courts to speed the process. Winners get rich and get off. Losers go broke and go to jail. It isn’t just that some clever crook on Wall Street can steal a billion dollars and never see the inside of a courtroom; it’s that, plus the fact that some black teenager a few miles away can go to jail just for standing on a street corner, that makes the whole picture complete.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
A human life is on average eighty Earth years or around thirthy thousand Earth days. Which means they are born, they make some friends, eat a few meals, they get married or they don't get married, have a child or two, or not, drink a few thousand glasses of wine, have sexual intercourse a few times, discover a lump somewhere, feel a bit of regret, wonder where all the time went, know they should have done it differently, realize they would have done it the same, and then they die. Into the great black nothing. Out of space. Out of time. The most trivial of trivial zeroes. And that’s it, the full caboodle. All confined to the same mediocre planet.
Matt Haig (The Humans)
I look in the jewelry box where Joanie found the drugs. She showed me a miniature Ziploc bag filled with a clear, hard rock. “What is this?” I said. I never did drugs, so I had no idea. Heroin? Cocaine? Crack? Ice? “What is this?” I screamed at Alex, who screamed back, “It’s not like I shoot it!” A plastic ballerina pops up and slowly twirls to a tinkling song whose sound is discordant and deformed. The pink satin liner is dirty, and other than a black pearl necklace, the box holds only rusty paper clips and rubber bands noosed with Alex’s dark hair. I see a note stuck to the mirror and pick up the jewelry box and move the ballerina aside. She twirls against my finger. The note says, I wouldn’t hide them in the same place twice. I let out a short breath through my nose. Good one, Alex. I close the jewelry box and shake my head, missing her tremendously. I wish she never went back to boarding school, and I don’t understand her sudden change of plans. What did they fight about? What could have been so bad?
Kaui Hart Hemmings (The Descendants)
Chrome handlebars and a matte metal frame come together around a shiny black tank before it all slides into a cushioned seat. I don’t comprehend a single thing about all of the gadgets and buttons, but they seem capable of more power than one vehicle should have. I falter in my step and stare at the metal monster Linc intends to operate. His
Heather Hildenbrand (Imitation (Clone Chronicles #1))
Got an itch you can’t scratch, Matt?” …“Don’t you worry about me, Legs. There’s a whole black book worth of willing volunteers.” “Legs?” I ask, taking my purse out of his hands. “Well I can’t call you Tits, can I?” “You’re a piece of work, Taylor.” “It’s okay to admit you want me, Mia,” he says cockily. “For what? The medical experience known as your dick?
B.J. Harvey (Game Player (Game, #1))
A third bleat, impatient now, and he turned to see a snow-white goat with golden horns and black spots under its eyes. "Hey, Tanngrisnir." He hugged the goat. When he realized what he was doing, he pulled back fast, but Tanngnjóstr pushed forward, clearly expecting the same greeting his brother got. Matt gave it to him - after checking to be sure no one was watching.
K.L. Armstrong (Thor's Serpents (The Blackwell Pages #3))
David Abrams’s Fobbit, Giorgio Agamben’s The Open, Omnia Amin and Rick London’s translations of Ahmed Abdel Muti Hijazi’s poetry, Peter Van Buren’s We Meant Well, Donovan Campbell’s Joker One, C. J. Chivers’s The Gun, Seth Connor’s Boredom by Day, Death by Night, Daniel Danelo’s Blood Stripes, Kimberly Dozier’s Breathing the Fire, Nathan Englander’s What We Talk About When We Talk About Anne Frank, Siobhan Fallon’s You Know When the Men Are Gone, Nathaniel Fick’s One Bullet Away, Dexter Filkins’s The Forever War, David Finkel’s The Good Soldiers, Jim Frederick’s Black Hearts, Matt Gallagher’s Kaboom, Jessica Goodell’s Shade It Black, J. Glenn Gray’s The Warriors, Dave Grossman’s On Killing and On Combat, Judith Herman’s Trauma and Recovery, Kirsten Holmstedt’s Band of Sisters, Karl Marlantes’s Matterhorn, Colum McCann’s Dancer, Patrick McGrath’s Trauma, Jonathan Shay’s Odysseus in America and Achilles in Vietnam, Roy Scranton’s essays and fiction, the Special Inspector for Iraq Reconstruction Report Hard Lessons, Bing West’s The Strongest Tribe and No True Glory, Kayla Williams’s Love My Rifle More Than You.
Phil Klay (Redeployment)
In 1860, an oligarchy of eight thousand men ruled over millions of enslaved blacks, and poor whites, in the South.22 The wealthiest men in the country were cotton kings; half the millionaires in 1850 lived in one town in Mississippi.23 Slave cotton was at the center of a global financial and trading system, one stretching from Mississippi to Wall Street to the looms in Manchester across the sea.
Matt Stoller (Goliath: The 100-Year War Between Monopoly Power and Democracy)
She spotted Matt Holden and her eyes began to twinkle. He was a handsome devil, even at his age. His wife had died the year before, and the husky black-eyed politician with his glimmering silver hair and elegant broad-shouldered physique was now on every widow’s list of eligible. Even now, two lovely elderly society dames were attacking from both sides with expensive perfume and daring cleavage. At least one of them should have worn something high-necked, she mused, with her collarbone and skinny neck so prominent. Another pair of eyes followed her amused gaze. “Doesn’t it remind you of shark attacks?” a pleasant voice murmured in her ear. She jumped, and looked up at her companion for the evening. “Good grief, Colby, you scared me out of a year’s growth!” she burst out with a helpless laugh.
Diana Palmer (Paper Rose (Hutton & Co. #2))
A cop ascending a staircase in a white neighborhood who was so pre-terrified of the residents that he pulled the trigger at the first sound he heard would be derided as a paranoid lunatic. Similarly, the idea that a fat white guy selling hot smokes on a street corner was a grave threat would be laughed at as absurd. But a 350-pound black man is plausibly described in the press as someone who scared pedestrians, a threat needing to be defused. Try to imagine a world where there isn’t a vast unspoken consensus that black men are inherently scary, and most of these police assaults would play in the media like spontaneous attacks of madness. Instead, they’re sold as battle scenes from an occupation story, where a quick trigger finger while patrolling the planet of a violent alien race is easy to understand.
Matt Taibbi (I Can't Breathe: A Killing on Bay Street)
Love is scary because it pulls you in with an intense force, a supermassive black hole which looks like nothing from the outside but from the inside challenges every reasonable thing you know. You lose yourself, like I lost myself, in the warmest of annihilations. It makes you do stupid things – things that defy all logic. The opting for anguish over calm, for mortality over eternity, and for Earth over home.
Matt Haig (The Humans)
It was at that moment that Markisha decided to apply for CalWORKs. She’d rented a room in an apartment she shared with a barber in her neighborhood, and she needed some help paying for it. CalWORKs meant three hundred dollars a month, plus food stamps. So she went to the local welfare office—a “Family Resource Center,” known as an FRC—and walked inside. She was barely sober, emotionally a wreck, literally penniless, and her entire ambition in life was to keep and maintain a room and a half in a rundown section of west San Diego without having to sell her body to pay the rent. This is the kind of person at whom the weight of the state’s financial fraud prosecution apparatus tends to be trained in America. Markisha entered the financial fraud patrol zone when she walked through those doors at the FRC. For three hundred dollars a month, she was about to become more heavily scrutinized by the state than any twelve Wall Street bankers put together. The amounts of money spent in these kinds of welfare programs are very small, but the levels of political capital involved are mountainous. You can always score political points banging on black welfare moms on meth. And the bureaucracy she was about to enter reflects that intense, bitterly contemptuous interest.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
The Republicans already lost virtually the entire black vote (scoring just 4 percent and 6 percent of black voters the last two elections). Now, by pushing toward the nomination a candidate whose brilliant plan to “make America great again” is to build a giant wall to keep out Mexican rapists, they’re headed the same route with Hispanics. That’s a steep fall for a party that won 44 percent of the Hispanic vote as recently as 2004. Trump
Matt Taibbi (Insane Clown President: Dispatches from the 2016 Circus)
On one side sat a group of mostly nonwhite Americans who believed (or knew from personal experience) that institutional racism is still a deathly serious problem in this country, as evidenced by everything from profiling to mass incarceration to sentencing disparities to a massive wealth gap. On the other side sat an increasingly impatient population of white conservatives that was being squeezed economically (although not nearly as much as black citizens), felt its cultural primacy eroding, and had become hypersensitive to any accusation of racism. These conservatives blamed everything from the welfare state to affirmative action for breeding urban despair and disrespect toward authority—in other words, these conservatives saw themselves as victims of malevolent systems and threatening trends but thought that nonwhite Americans were fully responsible for their own despair.
Matt Taibbi (I Can't Breathe: A Killing on Bay Street)
Things that are jailable crimes on one end of that spectrum become speeding tickets on the other. We find white people on the jail end and black people on the speeding ticket end, but for the most part … well, for the most part, you know what I mean. That winking understanding we all share about who gets the book thrown at him and who doesn’t, that’s where American racism has gone: unspoken and hidden, but bureaucratized and automated, and therefore more powerful than ever.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
this only helps dispute the belief that the Black Death was caused by rats. A plague outbreak is always preceded by the presence of a great many dead rats, since they are also susceptible to the disease. Now, unlike in Asia, in Europe there are no plague-resistant rodents that could act as a breeding ground for the disease and a distinct lack of accounts mentioning dead rats in any medieval literature. Also, despite two outbreaks of plague in Iceland in the fifteenth century rats did not settle on the island until much later.
David Leadbeater (The Plagues of Pandora (Matt Drake, #9))
Most of the crime-ridden minority neighborhoods in New York City, especially areas like East New York, where many of the characters in Eric Garner’s story grew up, had been artificially created by a series of criminal real estate scams. One of the most infamous had involved a company called the Eastern Service Corporation, which in the sixties ran a huge predatory lending operation all over the city, but particularly in Brooklyn. Scam artists like ESC would first clear white residents out of certain neighborhoods with scare campaigns. They’d slip leaflets through mail slots warning of an incoming black plague, with messages like, “Don’t wait until it’s too late!” Investors would then come in and buy their houses at depressed rates. Once this “blockbusting” technique cleared the properties, a company like ESC would bring in a new set of homeowners, often minorities, and often with bad credit and shaky job profiles. They bribed officials in the FHA to approve mortgages for anyone and everyone. Appraisals would be inflated. Loans would be approved for repairs, but repairs would never be done. The typical target homeowner in the con was a black family moving to New York to escape racism in the South. The family would be shown a house in a place like East New York that in reality was only worth about $15,000. But the appraisal would be faked and a loan would be approved for $17,000. The family would move in and instantly find themselves in a house worth $2,000 less than its purchase price, and maybe with faulty toilets, lighting, heat, and (ironically) broken windows besides. Meanwhile, the government-backed loan created by a lender like Eastern Service by then had been sold off to some sucker on the secondary market: a savings bank, a pension fund, or perhaps to Fannie Mae, the government-sponsored mortgage corporation. Before long, the family would default and be foreclosed upon. Investors would swoop in and buy the property at a distressed price one more time. Next, the one-family home would be converted into a three- or four-family rental property, which would of course quickly fall into even greater disrepair. This process created ghettos almost instantly. Racial blockbusting is how East New York went from 90 percent white in 1960 to 80 percent black and Hispanic in 1966.
Matt Taibbi (I Can't Breathe: A Killing on Bay Street)
Happy birthday,” he whispered, his breath landing warm and suddenly close to my lips, making my insides flip. And just as quickly as he’d surprised me with the cake, he kissed me, one frosting-covered hand moving from my hair to the back of my neck, the other solid and warm in the small of my back, pressing us together, my chest against his ribs, my hip bones just below his, the tops of our bare summer legs hot and touching. I stopped breathing. My eyes were closed and his mouth tasted like marzipan flowers and clove cigarettes, and in ten seconds the whole of my life was wrapped up in that one kiss, that one wish, that one secret that would forever divide my life into two parts. Up, down. Happy, sad. Shock, awe. Before, after. In that single moment, Matt, formerly known as friend, became something else entirely. I kissed him back. I forgot time. I forgot my feet. I forgot the people outside, waiting for us to rejoin the party. I forgot what happens when friends cross into this space. And if my lungs didn’t fill and my heart didn’t beat and my blood didn’t pump without my intervention, I would have forgotten about them, too. I could have stayed like that all night, standing in front of the sink, Matt’s black apple hair brushing my cheeks, heart thumping, lucky and forgetful…
Sarah Ockler (Twenty Boy Summer)
Or I can stay with Colby when he comes back,” she added deliberately. She even smiled. “He’ll take care of me.” His black eyes narrowed. “He can barely take care of himself,” he said flatly. “He’s a lost soul. He can’t escape the past or face the future without Maureen. He isn’t ready for a relationship with anyone else, even if he thinks he is” She didn’t rise to the bait. “I can count on Colby. He’ll help me if I need it.” He looked frustrated. “But you won’t let me help you.” “Colby isn’t involved with anyone who’d be jealous of the time he spent looking out for me. That’s the difference.” He let out an angry breath and his eyes began to glitter. “You have to beat the subject to death, I guess.” She managed to look indifferent. “You have your own life to live, Tate. I’m not part of it anymore. You’ve made that quite clear.” His teeth clenched. “Is it really that easy for you to throw the past away?” he asked. “That’s what you want,” she reminded him. There was a perverse pleasure in watching his eyes narrow. “You said you’d never forget or forgive me,” she added evenly. “I took you at your word. I’ll always have fond memories of you and Leta. But I’m a grown woman. I have a career, a future. I’ve dragged you down financially for years, without knowing it. Now that I do…” “For God’s sake!” he burst out, rising to pace with his hands clenched in his pockets. “I could have sent you to Harvard if you’d wanted to go there, and never felt the cost! “You’re missing the point,” she said, feeling nausea rise in her throat and praying it wouldn’t overflow. “I could have worked my way through school, paid for my own apartment and expenses. I wouldn’t have minded. But you made me beholden to you in a way I can never repay.” He stopped pacing and glared at her. “Have I asked for repayment?” She smiled in spite of herself. “You look just like Matt when you glower that way.” The glare got worse. She held up a hand. “I know. You don’t want to talk about that. Sorry.” “Everyone else wants to talk about it,” he said irritably. “I’ve done nothing but dodge reporters ever since the story broke. What a hell of a way to do it, on national television!
Diana Palmer (Paper Rose (Hutton & Co. #2))
In the elaborate con that is American electoral politics, the Republican voter has long been the easiest mark in the game, the biggest dope in the room. Everyone inside the Beltway knows this. The Republican voters themselves are the only ones who never saw it. Elections are about a lot of things, but at the highest level, they’re about money. The people who sponsor election campaigns, who pay the hundreds of millions of dollars to fund the candidates’ charter jets and TV ads and 25-piece marching bands, those people have concrete needs. They want tax breaks, federal contracts, regulatory relief, cheap financing, free security for shipping lanes, antitrust waivers and dozens of other things. They mostly don’t care about abortion or gay marriage or school vouchers or any of the social issues the rest of us spend our time arguing about. It’s about money for them, and as far as that goes, the CEO class has had a brilliantly winning electoral strategy for a generation. They donate heavily to both parties, essentially hiring two different sets of politicians to market their needs to the population. The Republicans give them everything that they want, while the Democrats only give them mostly everything. They get everything from the Republicans because you don’t have to make a single concession to a Republican voter. All you have to do to secure a Republican vote is show lots of pictures of gay people kissing or black kids with their pants pulled down or Mexican babies at an emergency room. Then you push forward some dingbat like Michele Bachmann or Sarah Palin to reassure everyone that the Republican Party knows who the real Americans are. Call it the “Rove 1-2.” That’s literally all it’s taken to secure decades of Republican votes, a few patriotic words and a little over-the-pants rubbing. Policywise, a typical Republican voter never even asks a politician to go to second base. While we always got free trade agreements and wars and bailouts and mass deregulation of industry and lots of other stuff the donors definitely wanted, we didn’t get Roe v. Wade overturned or prayer in schools or balanced budgets or censorship of movies and video games or any of a dozen other things Republican voters said they wanted.
Matt Taibbi (Insane Clown President: Dispatches from the 2016 Circus)
You were just in South Dakota a couple of weeks ago,” he pointed out. “Why didn’t you get it then?” “It wasn’t available then.” She brushed back a tiny strand of loose hair. “Don’t cross-examine me, okay? It’s been a long day.” He ran a hand around the back of his neck, under his braid of hair, and stared at her own hair in the tight bun at her nape as she replaced the errant strand. “I thought you took it down at night.” “At bedtime,” she corrected. His eyes narrowed. “Lucky Colby,” he said deliberately. She wasn’t going to give him any rope to hang her with. She just smiled. He glared at her. “He won’t change,” he said flatly. “I don’t care,” she said. “I appreciate all you’ve done for me, Tate, but my private life is my own business, not yours.” “That’s a hell of a way to talk to me.” “That works both ways,” she replied, eyes narrowing. “What gives you the right to ask questions about the men I date?” Her words made him mad. His lips compressed until they made a straight line. He looked like his father when he was angry. He finished his coffee in a tense silence and got to his feet. He glanced at his watch. “I’ve got to go. I just wanted to see how you were.” “You just wanted to see if Colby was here,” she corrected and smiled mirthlessly when he blinked. “You know I don’t approve of Colby,” he told her. “Like I care?” she said. He took a step toward her. His black eyes glittered with conflicting emotions. She aroused him more lately than any woman he’d ever known. Just looking at her sent him over the edge. On some level she recognized the tension in him, the need that he was denying. He was upset about Matt Holden pulling him out of the security work, not because of the money, but rather because it seemed nothing more than spite. Actually Holden was saving them both from a political upheaval because he could have been accused of nepotism. But deeper than that was a frustration because he wanted a woman he couldn’t have. Cecily knew that at some level. He was trying to start a fight. She couldn’t let him. “Colby is a sweet man,” she said gently. “He’s good company and he doesn’t drink around me, ever.” “He’s an alcoholic,” he said quietly, trying to control the anger. “I told you before, he’s in therapy,” she said. “He’s trying, Tate.” “So you expect me not to worry about you? After what my own father put me and my mother through?
Diana Palmer (Paper Rose (Hutton & Co. #2))
I press the blue glass triangle to my lips and smile for Matt, my best-friend-that’s-a-boy, my last goodbye to the brokenhearted promise I carried like my journal for so long. Somewhere below the black frothy ocean, a banished mermaid reads my letters and weeps endlessly for a love she’ll never know – not for a single moment. Before the trip, Frankie and I set out to have the Absolute Best Summer Ever, the summer of twenty boys. We’ll never agree on the final count – whether the boys from Caroline’s should be included in the tally, whether the milk-shake man was too old to be considered a “boy,” whether her tattooed rock star interlude was anything other than a rebound. But in the end, there were only two boys who really mattered. Matt and Sam. When I close my eyes, I see Sam lying next to me on the blanket that first night we watched the stars – the night he made me look at everything in a different way; the breeze on my skin and the music and the ocean at night. But I also see Matt; his marzipan frosting kiss. All the books he read to me. His postcard fairy tales of California, finally coming to life in Zanzibar Bay. When I kissed Sam, I was so scared of erasing Matt. But now I know that I could never erase him. He’ll always be part of me – just in a different way. Like Sam, making smoothies on the beach two thousand miles away. Like Frankie, my voodoo magic butterfly finding her way back home in the dark. Like the stars, fading with the halo of the vanishing moon. Like the ocean, falling and whispering against the shore. Nothing ever really goes away – it just changes into something else. Something beautiful.
Sarah Ockler (Twenty Boy Summer)
Danny’s Song” by Kenny Loggins “Reminder” by Mumford & Sons “Barton Hollow” by The Civil Wars “Like a Bridge Over Troubled Waters” by Simon and Garfunkel “I and Love and You” by The Avett Brothers “Make You Feel My Love” by Adele “Can’t Break Her Fall” by Matt Kearney  “Stillborn” by Black Label Society “Come On Get Higher” by Matt Nathanson “I Won’t Give Up” by Jason Mraz “This Girl” by City & Colour “My Funny Valentine” by Ella Fitzgerald “Dream a Little Dream of Me” by Ella Fitzgerald and Louis Armstrong “Stormy Blues” by Billie Holiday “I would be Sad” by The Avett Brothers “Hello, I’m Delaware” by City & Colour “99 Problems” by Hugo (originally written and performed by Jay-Z) “It’s Time” by Imagine Dragons “Let It Be Me” by Ray LaMontagne “Rocketship” by Guster “Don’t Drink The Water” by Dave Matthews Band “Blackbird” by The Beatles
Jasinda Wilder (Falling Into You (Falling, #1))
All of this goes back to Bill Clinton. It’s not a coincidence that radical welfare reform took place on the same watch that also saw a radical deregulation of the financial services industry. Clinton was a man born with a keen nose for two things: women with low self-esteem and political opportunity. When he was in the middle of a tough primary fight in 1992 and came out with a speech promising to “end welfare as we know it,” he could immediately smell the political possibilities, and it wasn’t long before this was a major plank in his convention speech (and soon in his first State of the Union address). Clinton understood that putting the Democrats back in the business of banging on black dependency would allow his party to reseize the political middle that Democrats had lost when Lyndon Johnson threw the weight of the White House behind the civil rights effort and the War on Poverty.
Matt Taibbi (The Divide: American Injustice in the Age of the Wealth Gap)
As soon as we take our seats, a sequence of six antipasti materialize from the kitchen and swallow up the entire table: nickels of tender octopus with celery and black olives, a sweet and bitter dance of earth and sea; another plate of polpo, this time tossed with chickpeas and a sharp vinaigrette; a duo of tuna plates- the first seared and chunked and served with tomatoes and raw onion, the second whipped into a light pâté and showered with a flurry of bottarga that serves as a force multiplier for the tuna below; and finally, a plate of large sea snails, simply boiled and served with small forks for excavating the salty-sweet knuckle of meat inside. As is so often the case in Italy, we are full by the end of the opening salvo, but the night is still young, and the owner, who stops by frequently to fill my wineglass as well as his own, has a savage, unpredictable look in his eyes. Next comes the primo, a gorgeous mountain of spaghetti tossed with an ocean floor's worth of clams, the whole mixture shiny and golden from an indecent amount of olive oil used to mount the pasta at the last moment- the fat acting as a binding agent between the clams and the noodles, a glistening bridge from earth to sea. "These are real clams, expensive clams," the owner tells me, plucking one from the plate and holding it up to the light, "not those cheap, flavorless clams most restaurants use for pasta alle vongole." Just as I'm ready to wave the white napkin of surrender- stained, like my pants, a dozen shades of fat and sea- a thick cylinder of tuna loin arrives, charred black on the outside, cool and magenta through the center. "We caught this ourselves today," he whispers in my ear over the noise of the dining room, as if it were a secret to keep between the two of us. How can I refuse?
Matt Goulding (Pasta, Pane, Vino: Deep Travels Through Italy's Food Culture (Roads & Kingdoms Presents))
Devin was the most gorgeous, unique creature Kate had ever known. She'd come out of the womb an individual, refusing to be defined by anyone. She didn't even look like anyone on either side of their families. Matt's family was so proud of their dark hair, a blue-black that had been the envy of generations, the way it caught the sun like a spiderweb. From Kate's own side of the family, there was a gene that made their eyes so green that they could trick people into thinking that even the most unattractive Morris woman was pretty. And yet here was Devin, with fine cotton-yellow hair and light blue eyes, the left of which was a lazy eye. She'd had to wear an eye patch when she was three. And she'd loved it. She loved her knotted yellow hair. She loved wearing stripes with polka dots, and tutus, and pink and green socks with orange patent-leather shoes. Devin could care less what other people thought about her.
Sarah Addison Allen (Lost Lake (Lost Lake, #1))
I asked Wendy Melvoin how serious she thought Prince was in his theological questioning. ‘I felt it was showbiz for me,’ she told me. ‘I did not relate personally. But part of the beauty of it back then is that there were Jews, Mexicans, blacks, whites, gays and straights in his band. Everyone had their own opinions and they were tolerated and embraced.’ Lisa Coleman developed this thought. ‘I felt when I first joined the band he thought it was more important to pose questions than to get answers, and somewhere along the line he looked at it and now he doesn’t pose the questions any more, he tells you what the answers are. That counts a lot of people out.’ Wendy agreed: ‘He always had a tendency to speak in parables. He’s not a clear talker. He can speak quickly and monosyllabically and get to the point of what he wants, but when you get down to really philosophical questions and get into a conversation it can become very difficult to follow. He has a different language that he’s learned.
Matt Thorne (Prince)
We got to see a Corsair ship up close – all matt black, no markings, no lights – and practically invisible out here in the dark! What a sight to behold! Most people don’t get to see those bastards up close. That is, for very long! Anyways, the ship was just floating there, no sign of life. Our hails weren’t being answered, and so we assumed the ship was dead in space. Captain Mulligan, gods-rest-his-soul, told me to form a boarding party of security and medics from the sickbay and that we were going over there. We weren’t a military ship, and we’re not Star Marines, so we were lightly armed and quite nervous. I mean, this wasn’t just some of my security section being called out to break up a fight at one of the bars on the promenade, this was serious life-and-death shit! So I said ‘okay’, and told my assistant supervisor, Lisa Garfner, to get them all together. Seven of us shifted over to the other ship with the transmatter (you still use those things, I take it?) not knowing what to expect. It could’ve been anything… and it was. It was crazy.
Christina Engela (Space Vacation)
She wasn’t sure when she realized that she wasn’t alone. She’d heard a louder murmur from the crowd outside, but she hadn’t connected it with the door opening. She looked over her shoulder and saw Tate standing against the back wall. He was wearing one of those Armani suits that looked so splendid on his lithe build, and he had his trenchcoat over one arm. He was leaning back, glaring at the ceremony. Something was different about him, but Cecily couldn’t think what. It wasn’t the vivid bruise high up on his cheek where Matt had hit him. But it was something…Then it dawned on her. His hair was cut short, like her own. He glared at her. Cecily wasn’t going to cower in her seat and let him think she was afraid to face him. Mindful of the solemnity of the occasion, she got up and joined Tate by the door. “So you actually came. Bruises and all,” she whispered with a faintly mocking smile, eyeing the very prominent green-and-yellow patch on his jaw that Matt Holden had put there. He looked down at her from turbulent black eyes. He didn’t reply for a minute while he studied her, taking in the differences in her appearance, too. His eyes narrowed on her short hair. She thought his eyelids flinched, but it might have been the light. His eyes went back to the ceremony. He didn’t say another word. He didn’t really need to. He’d cut his hair. In his culture-the one that part of him still belonged to-cutting the hair was a sign of grief. She could feel the way it was hurting him to know that the people he loved most in the world had lied to him. She wanted to tell him that the pain would ease day by day, that it was better to know the truth than go through life living a lie. She wanted to tell him that having a foot in two cultures wasn’t the end of the world. But he stood there like a painted stone statue, his jaw so tense that the muscles in it were noticeable. He refused to acknowledge her presence at all. “Congratulations on your engagement, by the way,” she said without a trace of bitterness in her tone. “I’m very happy for you.” His eyes met hers evenly. “That isn’t what you told the press,” he said in a cold undertone. “I’m amazed that you’d go to such lengths to get back at me.” “What lengths?” she asked. “Planting that story in the tabloids,” he returned. “I could hate you for that.” The teenage sex slave story, she guessed. She glared back at him. “And I could hate you, for believing I would do something so underhanded,” she returned. He scowled down at her. The anger he felt was almost tangible. She’d sold him out in every way possible and now she’d embarrassed him publicly, again, first by confessing to the media that she’d been his teenage lover-a load of bull if ever there was one. Then she’d compounded it by adding that he was marrying Audrey at Christmas. He wondered how she could be so vindictive. Audrey was sticking to him like glue and she’d told everyone about the wedding. Not that many people hadn’t read it already in the papers. He felt sick all over. He wouldn’t have Audrey at any price. Not that he was about to confess that to Cecily now, after she’d sold him out. He started to speak, but he thought better of it, and turned his angry eyes back toward the couple at the altar. After a minute, Cecily turned and went back to her seat. She didn’t look at him again.
Diana Palmer (Paper Rose (Hutton & Co. #2))
Alex Honnold, free solo climbing phenom: The Last of the Mohicans soundtrack Rolf Potts, author of Vagabonding and others: ambitones like The Zen Effect in the key of C for 30 minutes, made by Rolfe Kent, the composer of music for movies like Sideways, Wedding Crashers, and Legally Blonde Matt Mullenweg, lead developer of WordPress, CEO of Automattic: “Everyday” by A$AP Rocky and “One Dance” by Drake Amelia Boone, the world’s most successful female obstacle course racer: “Tonight Tonight” by the Smashing Pumpkins and “Keep Your Eyes Open” by NEEDTOBREATHE Chris Young, mathematician and experimental chef: Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix Jason Silva, TV and YouTube philosopher: “Time” from the Inception soundtrack by Hans Zimmer Chris Sacca: “Harlem Shake” by Baauer and “Lift Off” by Jay Z and Kanye West, featuring Beyoncé. “I can bang through an amazing amount of email with the Harlem Shake going on in the background.” Tim Ferriss: Currently I’m listening to “Circulation” by Beats Antique and “Black Out the Sun” by Sevendust, depending on whether I need flow or a jumpstart.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
I’m happy here, Tate. I’ll let you know when the baby comes,” she added quietly. “Certainly, you’ll have access to him any time you like.” Doors were closing. Walls were going up around her. He clenched his teeth together in impotent fury. “I want you,” he said forcefully, which was not at all what he wanted to say. “I don’t want you,” she replied, lying through her teeth. She wasn’t about to become an obligation again. She even smiled. “Thanks for coming to see about me. I’ll phone Leta when she and Matt come home from Nassau.” “They’re already home,” he said flatly. “I’ve been to make peace with them.” “Have you?” She smiled gently. “I’m glad. I’m so glad. It broke Leta’s heart that you wouldn’t speak to her.” “What do you think it’s going to do to her when she hears that you won’t marry the father of your child?” She gaped at him. “She…knows?” “They both know, Cecily,” he returned. “They were looking forward to making a fuss over you.” He turned toward the door, bristling with hurt pride and rejection. “You can call my mother and tell her yourself that you aren’t coming back. Then you can live here alone in the middle of ‘blizzard country,; and I wish you well.” He turned at the door with his black eyes flashing. “As for me, hell will freeze over before I come near you again!” He went out and slammed the door. Cecily stared after him with her heart in her throat. Why was he so angry that she’d relieved him of any obligations about the baby? He couldn’t want her for herself. If he had, if he’d had any real feeling for her, he’d have married her years ago. It was only the baby. She let the tears rush down her face again with pure misery as she heard the four-wheel drive roar out of the driveway and accelerate down the road. She hoped he didn’t run over anybody. Her hand went to her stomach and she remembered with anguish the look on his face when he’d put his big, strong hand over his child. She’d sent him away for the sake of his own happiness, didn’t he know that? She supposed it was just hurt pride that had caused his outburst. But she wished he hadn’t come. It would be so much harder to live here now that she could see him in this house, in these rooms, and be haunted by the memory of him all over again. He wouldn’t come back. She’d burned her bridges. There was no way to rebuild them.
Diana Palmer (Paper Rose (Hutton & Co. #2))
All of this could fall flat, feel too much like a caricature of a Sicilian trattoria, if the food itself weren't so damn good: arancini, saffron-scented rice fried into crunchy, greaseless golf balls; polpette di pesce spada, swordfish meatballs with a taste so deep and savory they might as well be made of dry-aged beef; and a superlative version of caponata di melanzane, that ubiquitous Sicilian starter of eggplant, capers, and various other vegetation, stewed into a sweet and savory jam that you will want to smear on everything. Everything around you screams Italy, but those flavors on the end of the fork? The sweet-and-sour tandem, the stain of saffron, the grains of rice: pure Africa. The pasta: even better. Chewy noodles tinted jet black with squid ink and tossed with sautéed rings and crispy legs of calamari- a sort of nose-to-tail homage to the island's cherished cephalopod. And Palermo's most famous dish, pasta con le sarde, a bulge of thick spaghetti strewn with wild fennel, capers, raisins, and, most critically, a half dozen plump sardines slow cooked until they melt into a briny ocean ragù. Sweet, salty, fatty, funky- Palermo in a single bite.
Matt Goulding (Pasta, Pane, Vino: Deep Travels Through Italy's Food Culture (Roads & Kingdoms Presents))
Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. Withfinocchioin fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.
Matt Goulding (Pasta, Pane, Vino: Deep Travels Through Italy's Food Culture (Roads & Kingdoms Presents))
Jews and Asians are only 7 percent of the total population, and between them they dominate in fields like medicine and engineering, not to mention entrepreneurship and academics. They rarely end up in prison or gangs (this is especially true of Jews). And while they are historically poor and persecuted, they have not allowed themselves to stay in that position. Take their story and compare it to black Americans and how can we explain the canyon that separates them? I’m sure the Jesse Jacksons of the world would sooner become Holocaust deniers than admit to the real answer: Family. Education. Ambition. Family. Education. Ambition. Whenever the plight of the minority in America is discussed, you’ll notice that Jews and Asians are left out of the conversation. In fact, many school systems are now trying to figure out how to get LESS of them in advanced placement courses and prestigious colleges. They’ve become too successful, apparently. But it’s not just their success that the race mongers hate, it’s HOW they accomplished it. Their men don’t father dozens of out-of-wedlock babies with dozens of women. Their households insist on discipline and academic success. They work hard, they are driven. Asians may now be at the point where they actually enjoy preferential bias. If I’m an employer and an Asian walks in to apply for a job, I’m going to assume he’s an achiever. That’s not a stereotype, that’s called a reputation. And they’ve freaking earned it. Family. Education. Ambition. These three things really are a recipe for success. If you don’t believe me, ask the next Asian or Jew you meet. And then make sure to take care of your co-pay on the way out.
Matt Walsh
Fukuoka, more than any other city in Japan, is responsible for ramen's rocket-ship trajectory, and the ensuing shift in Japan's cultural identity abroad. Between Hide-Chan, Ichiran, and Ippudo- three of the biggest ramen chains in the world- they've brought the soup to corners of the globe that still thought ramen meant a bag of dried noodles and a dehydrated spice packet. But while Ichiran and Ippudo are purveyors of classic tonkotsu, undoubtedly the defining ramen of the modern era, Hideto has a decidedly different belief about ramen and its mutability. "There are no boundaries for ramen, no rules," he says. "It's all freestyle." As we talk at his original Hide-Chan location in the Kego area of Fukuoka, a new bowl arrives on the table, a prototype for his borderless ramen philosophy. A coffee filter is filled with katsuobushi, smoked skipjack tuna flakes, and balanced over a bowl with a pair of chopsticks. Hideto pours chicken stock through the filter, which soaks up the katsuobushi and emerges into the bowl as clear as a consommé. He adds rice noodles and sawtooth coriander then slides it over to me. Compared with other Hide-Chan creations, though, this one shows remarkable restraint. While I sip the soup, Hideto pulls out his cell phone and plays a video of him layering hot pork cheeks and cold noodles into a hollowed-out porcelain skull, then dumping a cocktail shaker filled with chili oil, shrimp oil, truffle oil, and dashi over the top. Other creations include spicy arrabbiata ramen with pancetta and roasted tomatoes, foie gras ramen with orange jam and blueberry miso, and black ramen made with bamboo ash dipped into a mix of miso and onions caramelized for forty-five days.
Matt Goulding (Rice, Noodle, Fish: Deep Travels Through Japan's Food Culture)
It starts with a thwack, the sharp crack of hard plastic against a hot metal surface. When the ladle rolls over, it deposits a pale-yellow puddle of batter onto the griddle. A gentle sizzle, as the back of the ladle sparkles a mixture of eggs, flour, water, and milk across the silver surface. A crepe takes shape. Next comes cabbage, chopped thin- but not too thin- and stacked six inches high, lightly packed so hot air can flow freely and wilt the mountain down to a molehill. Crowning the cabbage comes a flurry of tastes and textures: ivory bean sprouts, golden pebbles of fried tempura batter, a few shakes of salt, and, for an extra umami punch, a drift of dried bonito powder. Finally, three strips of streaky pork belly, just enough to umbrella the cabbage in fat, plus a bit more batter to hold the whole thing together. With two metal spatulas and a gentle rocking of the wrists, the mass is inverted. The pork fat melts on contact, and the cabbage shrinks in the steam trapped under the crepe. Then things get serious. Thin wheat soba noodles, still dripping with hot water, hit the teppan, dancing like garden hoses across its hot surface, absorbing the heat of the griddle until they crisp into a bird's nest to house the cabbage and crepe. An egg with two orange yolks sizzles beside the soba, waiting for its place on top of this magnificent heap. Everything comes together: cabbage and crepe at the base, bean sprouts and pork belly in the center, soba and fried egg parked on top, a geologic construction of carbs and crunch, protein and chew, all framed with the black and white of thickened Worcestershire and a zigzag of mayonnaise. This is okonomiyaki, the second most famous thing that ever happened to Hiroshima.
Matt Goulding (Rice, Noodle, Fish: Deep Travels Through Japan's Food Culture)
If a man jumped as high as a louse (lice), he would jump over a football field. In Ancient Egypt, the average life expectancy was 19 years, but for those who survived childhood, the average life expectancy was 30 years for women and 34 years for men. The volume of the moon is equivalent to the volume of the water in the Pacific Ocean. After the 9/11 incident, the Queen of England authorized the guards to break their vow and sing America’s national anthem for Americans living in London. In 1985, lifeguards of New Orleans threw a pool party to celebrate zero drownings, however, a man drowned in that party. Men and women have different dreams. 70 percent of characters in men’s dreams are other men, whereas in women its 50 percent men and 50 percent women. Men also act more aggressively in dreams than women. A polar bear has a black skin. 2.84 percent of deaths are caused by intentional injuries (suicides, violence, war) while 3.15 percent are caused by diarrhea. On average people are more afraid of spiders than they are afraid of death. A bumblebee has hairs on its eyes, helping it collect the pollen. Mickey Mouse’s creator, Walt Disney feared mice. Citarum river in Indonesia is the dirtiest and most polluted river in the world. When George R R Martin saw Breaking Bad’s episode called “Ozymandias”, he called Walter White and said that he’d write up a character more monstrous than him. Maria Sharapova’s grunt is the loudest in the Tennis game and is often criticized for being a distraction. In Mandarin Chinese, the word for “kangaroo” translates literally to “bag rat”. The first product to have a barcode was a chewing gum Wrigley. Chambarakat dam in Iraq is considered the most dangerous dam in the world as it is built upon uneven base of gypsum that can cause more than 500,000 casualties, if broken. Matt Urban was an American Lieutenant Colonel who was nicknamed “The Ghost” by Germans because he always used to come back from wounds that would kill normal people.
Nazar Shevchenko (Random Facts: 1869 Facts To Make You Want To Learn More)
Carbonara: The union of al dente noodles (traditionally spaghetti, but in this case rigatoni), crispy pork, and a cloak of lightly cooked egg and cheese is arguably the second most famous pasta in Italy, after Bologna's tagliatelle al ragù. The key to an excellent carbonara lies in the strategic incorporation of the egg, which is added raw to the hot pasta just before serving: add it when the pasta is too hot, and it will scramble and clump around the noodles; add it too late, and you'll have a viscous tide of raw egg dragging down your pasta. Cacio e pepe: Said to have originated as a means of sustenance for shepherds on the road, who could bear to carry dried pasta, a hunk of cheese, and black pepper but little else. Cacio e pepe is the most magical and befuddling of all Italian dishes, something that reads like arithmetic on paper but plays out like calculus in the pan. With nothing more than these three ingredients (and perhaps a bit of oil or butter, depending on who's cooking), plus a splash of water and a lot of movement in the pan to emulsify the fat from the cheese with the H2O, you end up with a sauce that clings to the noodles and to your taste memories in equal measure. Amatriciana: The only red pasta of the bunch. It doesn't come from Rome at all but from the town of Amatrice on the border of Lazio and Abruzzo (the influence of neighboring Abruzzo on Roman cuisine, especially in the pasta department, cannot be overstated). It's made predominantly with bucatini- thick, tubular spaghetti- dressed in tomato sauce revved up with crispy guanciale and a touch of chili. It's funky and sweet, with a mild bite- a rare study of opposing flavors in a cuisine that doesn't typically go for contrasts. Gricia: The least known of the four kings, especially outside Rome, but according to Andrea, gricia is the bridge between them all: the rendered pork fat that gooses a carbonara or amatriciana, the funky cheese and pepper punch at the heart of cacio e pepe. "It all starts with gricia.
Matt Goulding (Pasta, Pane, Vino: Deep Travels Through Italy's Food Culture (Roads & Kingdoms Presents))
Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. With finocchio in fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.
Matt Goulding (Pasta, Pane, Vino: Deep Travels Through Italy's Food Culture (Roads & Kingdoms Presents))
somewhere in the universe of my soul a fiery, life-giving star collapsed, and a very black hole began to form.
Matt Haig (The Humans)
By the time they got to Java Jones, Eric was already onstage, swaying back and forth in front of the microphone with his eyes squinched shut. He’d dyed the tips of his hair pink for the occasion. Behind him, Matt, looking stoned, was beating irregularly on a djembe. “This is going to suck so hard,” Clary predicted. She grabbed Simon’s sleeve and tugged him toward the doorway. “If we make a run for it, we can still get away.” He shook his head determinedly. “I’m nothing if not a man of my word.” He squared his shoulders. “I’ll get the coffee if you find us a seat. What do you want?” “Just coffee. Black—like my soul.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
Dramatically and effectively, the Times article established symbolic and social linkages between blacks and poor whites and assigned responsibility for the disease to both.
Matt Wray (Not Quite White: White Trash and the Boundaries of Whiteness)
Sometimes the obvious can stare you in the face. Until 1955, it was agreed that human beings had twenty-four pairs of chromosomes. It was just one of those facts that everybody knew was right. They knew it was right because in 1921 a Texan named Theophilus Painter had sliced thin sections off the testicles of two black men and one white man castrated for insanity and 'self-abuse', fixed the slices in chemicals and examined them under the microscope. Painter tried to count the tangled mass of unpaired chromosomes he could see in the spermatocytes of the unfortunate men, and arrived at the figure of twenty-four. 'I feel confident that this is correct,' he said. Others later repeated his experiment in other ways. All agreed the number was twenty-four.
Matt Ridley (Genome: The Autobiography of a Species in 23 Chapters)
My dad's version of the book, the staid, declarative Guide to the Galaxy, is nearly identical, except that the graphics are a matte black, and the same information is listed as Fact #47. I guess that's what growing up means, at least according to to the publishing industry: phosphorescence fades to black and white, and facts cease to be fun.
Karen Russell (St. Lucy's Home for Girls Raised by Wolves)
Just as a white man has different skin color from a black man, so it is quite possible that he also has a somewhat different mind. But given what we know of evolution, it is not very likely. The evolutionary pressures that have shaped the human mind—principally competitive relations with kin members, tribal allies, and sexual partners—are and have been the same for white and black men and were at work before the ancestors of whites left Africa 100,000 years ago. While skin color is affected by things such as climate, which differs markedly between Africa and northern Europe, the shape of the mind is affected only very marginally by nonhuman problems such as what kind of game to hunt or how to keep warm or cool. Infinitely more important is how to deal with fellow human beings, and that is the same problem everywhere.
Matt Ridley (The Red Queen: Sex and the Evolution of Human Nature)
DOM’S CAR, A BLACK-ON-BLACK CAMARO, is sitting in the parking lot when I pull up to his apartment. The paint, although matte in finish, shines in the early evening sunlight. I’ve never been a big fan of cars, but this one is almost as sexy as Dominic. It sits low to the ground and sounds ferocious when he presses the gas and lets it roar down the road. Sometimes we take long, pointless drives out of the city, and I settle back in the leather seats and enjoy being wrapped up in so much power with him at the wheel.
Adriana Locke (Swink (Landry Family, #5))
He's on to sashimi now, fanning and curling slices of snapper and fugu into white roses on his cutting board. Before Toshio can plate the slices, Shunichi reaches over and calmly replaces the serving plate his son has chosen with an Edo-era ceramic rectangle more to his liking. Three pieces of tempura- shrimp, eggplant, new onion- emerge hissing and golden from the black iron pot in the corner, and Toshio arranges them on small plates with wedges of Japanese lime. Before the tempura goes out, Shunichi sneaks in a few extra granules of salt while Toshio's not looking. By now Dad is shadowing his son's every move. As Toshio waves a thin plank of sea cucumber eggs over the charcoal fire, his dad leans gently over his shoulder. "Be careful. You don't want to cook it. You just want to release its aroma." Toshio places a fried silverfish spine on a craggy ceramic plate, tucks grated yuzu and sansho flowers into its ribs, then lays a sliver of the dried eggs over the top. The bones shatter like a potato chip, and the sea cucumber detonates in my mouth.
Matt Goulding (Rice, Noodle, Fish: Deep Travels Through Japan's Food Culture)
We are holding a light. We are to let it shine! Though it may seem but a twinkling candle in a world of blackness, it is our business to let it shine. Light dispels darkness, and it attracts people in darkness to it. We are blowing a trumpet. In the din and noise of battle, the sound of our little trumpet may seem to be lost, but we must keep sounding the alarm to those who are in spiritual danger. We are kindling a fire. In this cold world full of hatred and selfishness, our little blaze may seem to be unavailing, but we must keep our fire burning. A light, a trumpet, a fire . . . they seem so little amidst the darkness and violence of the world. But “with God all things are possible” (Matt. 19:26),
Billy Graham (Hope for Each Day: Words of Wisdom and Faith (A 365-Day Devotional))
The sky grows dark The black over blue Yet the stars still dare To shine for you
Matt Haig (The Midnight Library)
As a black hole forms, it creates an immense gamma-ray burst, blinding whole galaxies with light and destroying millions of worlds. You could disappear at any second. This one. Or this one. Or this one. Make sure, as often as possible, you are doing something you’d be happy to die doing.
Matt Haig (The Humans)
Because you never know exactly what you’ll find inside that black box until you open it, there is a temptation to hope—perhaps not quite consciously—that your next race won’t be one of those grinding affairs. This hope is a poor coping skill. Bracing yourself—always expecting your next race to be your hardest yet—is a much more mature and effective way to prepare mentally for competition.
Matt Fitzgerald (How Bad Do You Want It?: Mastering the Psychology of Mind Over Muscle)
You get near a black hole and the gravitational pull drags you into its bleak, dark reality.
Matt Haig (The Midnight Library)