Mens Bracelets With Quotes

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You’re one of the best men I know. You wear your tats and piercings and those damn leather bracelets that only you could get away with. But inside you are one big teddy bear. When someone you love needs you, there is nothing you won’t do for them. When I needed you, you were always there. I’ve never questioned your heart. It’s made of fucking gold, and we all know it. We laugh at your crude jokes and snide comments because we know they mean nothing. It’s part of your shield. Underneath, I don’t know many men that compare. You’re one of the best, Dewayne. One of the best.
Abbi Glines (Hold on Tight (Sea Breeze, #8))
Our name is Equality 7-2521, as it is written on the iron bracelet which all men wear on their left wrists with their names upon it. We are twenty-one years old. We are six feet tall, and this is a burden, for there are not many men who are six feet tall. Ever have the Teachers and the Leaders pointed to us and frowned and said: "There is evil in your bones, Equality 7-2521, for your body has grown beyond the bodies of your brothers." But we cannot change our bones nor our body.
Ayn Rand (Anthem)
Everyone is afraid. But one person falls to pieces from fear, and another person keeps it together. You see: fear remains the same for everyone, but the ability to bear it increases with practice; that is where brave men and heroes come from.
Aleksandr Kuprin (The Garnet Bracelet, other stories and novellas)
Our name is Equality 7-2521, as it is written on the iron bracelet which all men wear on their left wrists with their names upon it. We are twenty-one years old. We are six feet tall, and this is a burden, for there are not many men who are six feet tall.
Ayn Rand (Anthem)
Hey girls, did you hear the news? It's just been scientifically proven that barrettes are dangerous! So are bracelets and bric-a-brac. It's a fact. And don't be fooled by thick-necked macho men who pretend that "girl stuff" is boring or frivolous, because that's just an act. Because as soon as you ask that guy to hold your purse for a minute, he will start to squirm, as if your handbag were full of worms, as he holds it as far away from his rugged body as possible. Because "girl stuff" is made with the gender equivalent of Kryptonite!
Julia Serano (Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity)
Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.
Derek Walcott (Selected Poems)
Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.
Whitney Otto (Eight Girls Taking Pictures (Thorndike Press Large Print Basic Series))
We were a bookish family. we loved our books, but before long they were lined up next to the stove and my mother and my uncle fought over which should go first and which should be saved to the very last. The Iliad was a beautiful first edition, the pride of our library, but it too went: Agamemnon, king of men, Nestor, flower of Achaean chivalry, the Black Ships, Patroclus' corpse, Helen's bracelets, Cassandra's shrieks, all met the flames, for he sake of two or three suppers. My uncle was loath to let Mark Twain go...Huckleberry Finn and his river did not deserve such an ignominious end.
Edna O'Brien (The Little Red Chairs)
Drake stood speechless. Admiration- and something else Serena could not quite identify, pride perhaps- showing from his eyes. "Turn around," his deep voice commanded softly. "I would see all of you." She turned slowly, holding back a delighted laugh. Her gown was gold, the color of the amber flecks in her eyes, with a green-and-gold-striped underskirt and matching puffed sleeves. Emeralds hung from her ears, swaying provocatively and catching the candlelight from the wall scones. A choker wrapped around her neck and tiny tear-shaped jewels sparkled from her hair. It had taken the combined urgings of her personal maid and the housekeeper to convince her it was acceptable to wear such a low-cut gown in public. Elegant gloves covered her arms to the elbows with an emerald and gold bracelet on one wrist and a Chinese fan dangling from the other. "I knew you would be beautiful dressed as my duchess, but Serena, I am speechless. The men will adore you and the women will envy you." He spoke the last in an underbreath, as though to himself.
Jamie Carie (The Duchess and the Dragon)
Both men and women of the race were extremely handsome; the former tall and strong, with fine features, curly hair, and a clear bronze complexion. They wore long tunics and turbans, and carried lances, bucklers, or round shields, and large swords slung across their shoulders, the latter, also very tall and well formed, were dressed in becoming bodices with full skirts, a loose mantle enveloping the whole form in graceful drapery. They wore jewels in their ears, and necklaces, bracelets, bangles, and anklets, made of gold, ivory, or shells.   Thousands of oxen paced quietly along with these men, women, old men, and children. They had neither harness nor halter, only bells or red tassels on their heads, and double packs thrown across their backs, which contained wheat and other grains.   A whole tribe journeyed in this manner, under the directions of an elected chief, called the “naik,” whose power is despotic while it lasts. He controls the movements of the caravan, fixes the hours for the start and the halt, and arranges the dispositions of the camp.   I was struck by the magnificent appearance of a large bull, who with superb and imperial step led the van. He was covered with a bright coloured cloth, ornamented with bells and shell embroidery, and I asked Banks if he knew what was the special office of this splendid animal.   “Kâlagani will of course be able to tell us,” answered he. “Where is the fellow?”   He was called, but did not make his appearance, and search being made, it was found he had left Steam House.   “No doubt he has gone to renew acquaintance with some old comrade,” said Colonel Munro. “He will return before we resume our journey.”   This seemed very natural. There was nothing in the temporary absence of the man to occasion uneasiness, but somehow it haunted me uncomfortably.   “Well,” said Banks, “to the best of my belief this bull represents, or is an emblem of, their deity. Where he goes they follow; where he stops, there they encamp; but of course we are to suppose he is in reality under the secret control of the ‘naik.’ Anyhow, he is to these wanderers an embodiment of their religion.”   The cortege seemed interminable, and for two hours there was no sign of an approaching end.
Jules Verne (The Steam House)
Lying sprawled uncouthly at the foot of the Red Dragon where the men had tumbled him down, there was a certain splendor about him still. An old man, an old giant, with bright hairs that shone like gold wires in the gray jut of his beard and the mane of wild hair outflung about his head. I recognized him first by the earl's bracelet twisted about his sword arm, for a spear had taken him between the eyes, but as I looked down more closely into the smashed and blood-pooled face, I recognized the cunning iron-bound mouth, drawn back now in a frozen snarl. I recognized above all, I think the greatness that seemed to cling about him still, an atmosphere of the thing that had made him a giant in more than body; this ancient enemy of Ambrosius's. Hengest, the Jutish adventurer who had grown to be a war lord of the Saxon hordes, lying flung down like a tribute at the foot of the British standard that stirred faintly in the night air above him. That left the son and the grandson to deal with. 'So-o,' Bedwyr said softly. 'Earl Hengest goes at last to his own Storm Lords again. He should have died on a night of tempest, with the lightning leaping from hill to hill, not on a still summer evening with the scent of hawthorn in the air.' 'He was a royal stag,' I said. 'Thank God he is dead.
Rosemary Sutcliff (Sword at Sunset)
I’ve had the best time! The spirit here is incredible. It’s competitive, to be sure, but everyone supports each other. I was getting advice from men I was about to go against right up to the very moment the competitions began.” “That’s wonderful,” Joanna said and handed him a mug of lemonade. “You look absolutely awful.” “I showered,” he replied, a bit defensively. “She means the bruises,” Kassandra said. She thought “awful” was going too far, for the truth was, he looked magnificent. He was a bit battered, however, as was to be expected. All the competitors were the same. “These are nothing,” he insisted, gesturing to the livid black-and-blue splotches with which he was adorned, and with the enthusiasm of a boy, added, “I won two silver bracelets. Here.” He handed one to each of them and beamed as they put them on. “Thank you,” Joanna said sweetly and leaned over to kiss his cheek. Kassandra stared at the bracelet, turning it round and round her wrist. In her quarters, there were chests fitted with silk-lined drawers that held precious jewels given to her because she was a princess. She wore them on occasion and enjoyed them. But never had she received anything so lovely as that simple silver bracelet won by sweat and skill in the Games. “It’s very nice,” she said, and felt his gaze even as she refused to meet it.
Josie Litton (Kingdom Of Moonlight (Akora, #2))
To my knowledge, none of them has ever taken advantage of a respectable female. Even my brothers had their...dalliances as bachelors." "So did your father." He would point that out. "That's different. Papa broke his marriage vows. That doesn't mean my suitors would do so." She swallowed. "Unless you think it impossible for a woman like me to keep men like them satisfied and happy?" He started. "No! I wasn't trying to say...That is-" "It's all right, Mr. Pinter," she said, fighting to keep the hurt out of her voice. "I know what you think of me." His gaze locked with hers, confusing her with its sudden fierceness. "You have no idea what I think of you." She twisted her bracelet nervously, and the motion drew his eyes down to her hands. But as his gaze came back up, it slowed, lingering on her bosom. Could Mr. Pinter...Was it possible that he... Certainly not! Proper Pinter would never be interested in a reckless female of her stamp. Why, he didn't even like her. She'd dressed carefully today, hoping to sway him into doing her bidding by showing that she could look and act like a lady, hoping to gain a measure of his respect. But the intimate way his gaze continued up past her bosom to her throat, and then paused again at her mouth, was more how her brothers looked at their wives. It wasn't so much disrespectful as it was...interested. No, she must be imagining that. He was merely trying to make her uncomfortable; she was misinterpreting the seeming heat in his glance. She refused to let herself be taken in by imagining what wasn't there.
Sabrina Jeffries (A Lady Never Surrenders (Hellions of Halstead Hall, #5))
Dear Kitty, Another birthday has gone by, so now I’m fifteen. I received quite a lot of presents. All five parts of Sprenger’s History of Art, a set of underwear, a handkerchief, two bottles of yoghurt, a pot of jam, a spiced gingerbread cake, and a book on botany from Mummy and Daddy, a double bracelet from Margot, a book from the Van Daans, sweet peas from Dussel, sweets and exercise books from Miep and Elli and, the high spot of all, the book Maria Theresa and three slices of full-cream cheese from Kraler. A lovely bunch of peonies from Peter, the poor boy took a lot of trouble to try and find something, but didn’t have any luck. There’s still excellent news of the invasion, in spite of the wretched weather, countless gales, heavy rains, and high seas. Yesterday Churchill, Smuts, Eisenhower, and Arnold visited French villages which have been conquered and liberated. The torpedo boat that Churchill was in shelled the coast. He appears, like so many men, not to know what fear is—makes me envious! It’s difficult for us to judge from our secret redoubt how people outside have reacted to the news. Undoubtedly people are pleased that the idle (?) English have rolled up their sleeves and are doing something at last. Any Dutch people who still look down on the English, scoff at England and her government of old gentlemen, call the English cowards, and yet hate the Germans deserve a good shaking. Perhaps it would put some sense into their woolly brains. I hadn’t had a period for over two months, but it finally started again on Saturday. Still, in spite of all the unpleasantness and bother, I’m glad it hasn’t failed me any longer. Yours, Anne
Anne Frank (The Diary of a Young Girl)
Favorite painting...?" "Painting? Odalisque," I said. "Really.His non-nude nude. Interesting." It was,to me. Edward's most famous painting of Diana is Troie, where he painted her as Helen of Troy: naked except for the diamond bracelet and the occasional tendril of auburn hair. It had caused quite a stir at its exhibition. Apparently, Millicent Carnegie Biddle fainted on seeing it. It wasn't quite what she was used to viewing when she sat across from Mrs. Edward Willing every few weeks, sipping tea from Wedgewood china cups. Odalisque was more daring in its way, and infinitely more interesting to me. Most of the Post-Impressionist painters did an odalisque, or harem girl, reclining on a sofa or carpet, promising with their eyes that whatever it was that they did to men, they did it well. An odalisque was almost compulsory material.But unlike any of them,Edward had painted his subject-Diana-covered from neck to ankle in shimmery gauze.Covered,but still the ultimate object of desire. "Why that one?" Dr. Rothaus asked. "I don't know-" "Oh,please.Don't go all stupid teenager on me now.You know exactly why you like the painting.Humor me and articulate it." I felt myself beginning the ubiquitos shoulder dip. "Okay. Everyone is covering up something. I guess I think there's an interesting question there." "'What are they hiding?'" I shook my head. "'Does it make a difference?'" "Ah." One sharp corner of her mouth lifted. I would hesitate to call it a smile. "That is interesting.But your favorite Willing piece isn't a painting." "How-" "You hesitated when I asked. Let me guess...Ravaged Man?" "How-" "You're a young woman. And-" Dr. Rothaus levered herself off the desk-"you went through the 1899 file. I know the archive.
Melissa Jensen (The Fine Art of Truth or Dare)
As long as she lived Stephen never forgot her first impressions of the bar known as Alec's—that meeting-place of the most miserable of all those who comprised the miserable army. That merciless, drug-dealing, death-dealing haunt to which flocked the battered remnants of men whom their fellow-men had at last stamped under; who, despised of the world, must despise themselves beyond all hope, it seemed, of salvation. There they sat, closely herded together at the tables, creatures shabby yet tawdry, timid yet defiant—and their eyes, Stephen never forgot their eyes, those haunted, tormented eyes of the invert. Of all ages, all degrees of despondency, all grades of mental and physical ill-being, they must yet laugh shrilly from time to time, must yet tap their feet to the rhythm of music, must yet dance together in response to the band—and that dance seemed the Dance of Death to Stephen. On more than one hand was a large, ornate ring, on more than one wrist a conspicuous bracelet; they wore jewellery that might only be worn by these men when they thus gathered together. At Alec's they could dare to give way to such tastes—what was left of themselves they became at Alec's. Bereft of all social dignity, of all social charts contrived for man's guidance, of the fellowship that by right divine should belong to each breathing, living creature; abhorred, spat upon, from their earliest days the prey to a ceaseless persecution, they were now even lower than their enemies knew, and more hopeless than the veriest dregs of creation. For since all that to many of them had seemed fine, a fine selfless and at times even noble emotion, had been covered with shame, called unholy and vile, so gradually they themselves had sunk down to the level upon which the world placed their emotions. And looking with abhorrence upon these men, drink-sodden, doped as were only too many, Stephen yet felt that some terrifying thing stalked abroad in that unhappy room at Alec's; terrifying because if there were a God His anger must rise at such vast injustice. More pitiful even than her lot was theirs, and because of them mighty should be the world's reckoning.
Radclyffe Hall (The Well of Loneliness)
Darby laughed boisterously, raising one hand to cover her mouth. An elegant pearl bracelet hung from her wrist, swaying with the force of her laughter. She sat at a table full of grinning men who looked at her with expressions of delight and amazement.
Gregg Andrew Hurwitz (The Tower)
The shanties of indigent newcomers to the place were scattered on one side of the crossroads, and on the other side, beyond the shops, were two stinking shebeens where drunken men squatted on the dirt floor, drooling over their home-brewed beer, while a haggard woman ladled more of it into tin cans from a plastic barrel. Outside under a tree, a man in rags, either drunk or exhausted, lay in a posture of crucifixion. Nearby were seven stalls made of rough planks. Two sold used clothes, and one sold new clothes. One offered vegetables, another milky tea and stale bread rolls for the schoolchildren. In a butcher’s shack the stallholder hacked with a machete at the black, flyblown leg of a goat. The last and most salubrious stall, labeled Real Hair, sold wigs and foot-long hair extensions. Near the shops was a shade tree under which a dozen women and about ten children sat in a friendly chatting group, some of them pounding ostrich shells into small discs, while others, using homemade tools, drilled holes in the middle, and still others threaded the punctured discs into bracelets and necklaces to sell to tourists.
Paul Theroux (The Last Train to Zona Verde: My Ultimate African Safari)
And I have really never seen him so angry. Men,’ said Mrs Samuelson, rearranging her handsome diamond bracelet and turning her rings on her fingers, ‘think of nothing but money.
Agatha Christie (Hercule Poirot: The Complete Short Stories)
Men can’t help themselves, so the burden falls on women to keep society safe and close to God.
Rachael English (The Paper Bracelet)
The British burnt down villages and took chiefs as hostages, but it wasn’t until 5 August that the Oba gave himself in.50 He walked into Benin City with hundreds of followers, some twenty elegant wives, many chiefs, and musicians. Messengers walked in front, carrying a white flag. He spent two nights at Obaseki’s house, deliberating on his future. On 7 August the Oba walked to the new court building, which stood in front of his palace from which he had fled six months earlier. He was dressed in full red coral regalia, including a headdress, collar, bangles up to his elbows and ankle bracelets. A huge crowd assembled. The Oba hesitated, and then kneeled in front of Roupell. Three times the Oba lowered his forehead to the dirt ground. He had performed the traditional act of obeisance, in full view of his own people. It was a very public surrender, and exactly the humiliation the British sought. Roupell told the Oba that he’d been deposed, and that he and his chiefs would stand trial for the killing of Phillips and the six other white men.
Barnaby Phillips (Loot: Britain and the Benin Bronzes (Revised and Updated Edition))
Alex tells me he hates themed parties. Leather cuff bracelets and pointy shoes with squared-off toes. When you show up somewhere and some friend or uncle makes the joke “They’ll let anyone in here!” When servers call him bud or boss or chief. Men who walk like they just got off a horse. Vests, on anyone, in any scenario. The moment when a group of people are taking pictures and someone says, “Should we do a silly one?
Emily Henry
The rubber quotas imposed on natives in this 15 percent of the territory were enforced by native soldiers working for the companies or for the EIC itself. In many areas, the rubber came with ease and the natives prospered. The rubber station at Irengi, for instance, was known for its bulging stores and hospitable locals, whose women spent a lot of time making bracelets and where “no one ever misses a meal,” noted the EIC soldier George Bricusse in his memoirs. Elsewhere, however, absent direct supervision, and with the difficulties of meeting quotas greater, some native soldiers engaged in abusive behavior to force the collection. Bricusse noted these areas as well, especially where locals had sabotaged rubber stations and then fled to the French Congo to the north. In rare cases, native soldiers kidnapped women or killed men to exact revenge. When they fell into skirmishes, they sometimes followed long-standing Arab and African traditions by cutting off the hands or feet of the fallen as trophies, or to show that the bullets they fired had been used in battle. How many locals died in these frays is unclear, but the confirmed cases might put the figure at about 10,000, a terrible number.
Bruce Gilley (King Hochschild’s Hoax: An absurdly deceptive book on Congolese rubber production is better described as historical fiction.)