Michaels Wall Quotes

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

Obstacles don’t have to stop you. If you run into a wall, don’t turn around and give up. Figure out how to climb it, go through it, or work around it.
Michael Jordan
Those who know don't tell and those who tell don't know.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
Now I gazed out of my office window. Slowly the world was changing from old-gold to the deep purple which, in the words of that dreamy song Mum was fond of humming, bathes garden walls under the twinkle of starlight.
Michael Wyndham Thomas (The Erkeley Shadows)
The men on the trading floor may not have been to school, but they have Ph.D.’s in man’s ignorance.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
He knows that the only way he can accept losing her is if he can continue to hold her or be held by her. If they can somehow nurse each other out of this. Not with a wall.
Michael Ondaatje (The English Patient)
Were the walls of our meat industry to become transparent, literally or even figuratively, we would not long continue to raise, kill, and eat animals the way we do.
Michael Pollan (The Omnivore's Dilemma: A Natural History of Four Meals)
You built your walls too, she tells him. So I have my wall. She says it glittering in a beauty he cannot stand. She with her beautiful clothes with her pale face that laughs at everyone who smiles at her...
Michael Ondaatje (The English Patient)
Everyone has to scratch on walls somewhere or they go crazy
Michael Ondaatje (In the Skin of a Lion)
What are the odds that people will make smart decisions about money if they don't need to make smart decisions--if they can get rich making dumb decisions? The incentives on Wall Street were all wrong; they're still all wrong.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
Don’t interrupt,’ one of the boys said. ‘He’ll lose his life.’ Seeing it was a matter of life and death, Sophie and Michael backed toward the door. But Howl, quite unperturbed at killing his nephew, strode over to the wall and pulled the boxes up by the roots.
Diana Wynne Jones (Howl’s Moving Castle (Howl’s Moving Castle, #1))
He was blessed with an unconventional mind, which overcame his conventional middle-class upbringing.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
The CDO was, in effect, a credit laundering service for the residents of Lower Middle Class America. For Wall Street it was a machine that turned lead into gold.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
People were so naive about plants, Ellie thought. They just chose plants for appearance, as they would choose a picture for the wall. It never occurred to them that plants were actually living things, busily performing all the living functions of respiration, ingestion, excretion, reproduction---and defense.
Michael Crichton (Jurassic Park (Jurassic Park, #1))
I was tired of well-meaning folks, telling me it was time I got over being heartbroke. When somebody tells you that, a little bell ought to ding in your mind. Some people don't know grief from garlic grits. There's somethings a body ain't meant to get over. No I'm not suggesting you wallow in sorrow, or let it drag on; no I am just saying it never really goes away. (A death in the family) is like having a pile of rocks dumped in your front yard. Every day you walk out and see them rocks. They're sharp and ugly and heavy. You just learn to live around them the best way you can. Some people plant moss or ivy; some leave it be. Some folks take the rocks one by one, and build a wall.
Michael Lee West (American Pie)
I am someone who has a cold heart. If I am beside a great grief I throw barriers up so the loss cannot go too deep or too far. There is a wall instantly in place, and it will not fall.
Michael Ondaatje (The Cat's Table)
When something becomes obvious to you,” he said, “you immediately think surely someone else is doing this.
Michael Lewis (Flash Boys: A Wall Street Revolt)
I thought instead of a good rule for survival on Wall Street: Never agree to anything proposed on someone else's boat or you'll regret in in the morning.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
Shining a light creates shadows,
Michael Lewis (Flash Boys: A Wall Street Revolt)
So,” Lauren said. “You help ghosts with unfulfilled wishes cross over to the astral plane for judgment.” “Yes.” “And you hunt demons.” “Yes.” “And you’re married to an angel.” “Yes.” She paused. “…so basically, you’re Dean Winchester.” I made an exasperated sound. “I am NOT.” She smirked. “Yeah, sure.
Kyoko M. (The Holy Dark (The Black Parade, #3))
The claw slipped again. It came off the edge of the stone and Hadrian felt his stomach rise as he fell. He dropped less than two stories and landed in a thick pile of straw, but it still hurt. With the wind knocked from him, he lay staring up at the sky and the wall. Royce’s shadow crossed his face. “That was pathetic.” “You’re enjoying this a little too much for me to think you’re honestly trying to help.” “Trust me. I want you to improve. I want you to fall from much higher up.
Michael J. Sullivan (The Crown Tower (The Riyria Chronicles, #1))
The world clings to its old mental picture of the stock market because it’s comforting; because it’s so hard to draw a picture of what has replaced it; and because the few people able to draw it for you have no interest in doing so.
Michael Lewis (Flash Boys: A Wall Street Revolt)
His world closes in. The sky is endless no longer but pieced into squares of brick and bright cloths hanging down to dry. Underfoot, no longer stone but rubble, earth, the peelings and rotted scraps of the inedible. He smells the smoke of cooking fires, he hears men arguing and babies screaming like seagulls, he sees young women looking shyly down from high windows, exchanging glances. Now, he is no longer the watcher. Watched. Shouts echo in the dark between twisted walls and back alleys. A twisted smile in a doorway. A stranger’s voice. A stranger’s language.
Michael Tobert (Karna's Wheel)
When you’re a conservative Republican, you never think people are making money by ripping other people off,” he said. His mind was now fully open to the possibility. “I now realized there was an entire industry, called consumer finance, that basically existed to rip people off.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
Some people you just had to embrace, in some way or another, had to bite into the muscle, to remain sane in their company. You needed to grab their hand and clutch it like a downer so they would pull you into their midst. Otherwise they, walking casually down the street towards you, almost about to wave, would leap over a wall and be gone for months.
Michael Ondaatje (The English Patient)
You must realize that when you defend yourself, you are really defending your walls. There is nothing else to defend in there.
Michael A. Singer (The Untethered Soul: The Journey Beyond Yourself)
The gingko tree leans lazily against the facing wall or perhaps it supports it; Stephen cannot be sure. The dense ridges of its bark now appear like rippled sand with, here and there, pools left behind by the tide. The bark is pocked with white spots, holed and crinkled with age, seemingly dead but for the life sprouting in its leaves, so smooth, so green, so deep. How remarkable this tree is, how changeable, how mysterious its leaves and branches and trunk … how infinite. Stephen reaches for another pipe. The smoke rubs out his yesterdays and tomorrows. There is only now, this tree, this pipe. Another pipe, ah, another pipe.
Michael Tobert (Karna's Wheel)
Much of our food system depends on our not knowing much about it, beyond the price disclosed by the checkout scanner; cheapness and ignorance are mutually reinforcing. And it's a short way from not knowing who's at the other end of your food chain to not caring–to the carelessness of both producers and consumers that characterizes our economy today. Of course, the global economy couldn't very well function without this wall of ignorance and the indifference it breeds. This is why the American food industry and its international counterparts fight to keep their products from telling even the simplest stories–"dolphin safe," "humanely slaughtered," etc.–about how they were produced. The more knowledge people have about the way their food is produced, the more likely it is that their values–and not just "value"–will inform their purchasing decisions.
Michael Pollan (The Omnivore's Dilemma: A Natural History of Four Meals)
Every systemic market injustice arose from some loophole in a regulation created to correct some prior injustice.
Michael Lewis (Flash Boys: A Wall Street Revolt)
He wasn’t a religious man but a vision of what Paradise might be came to him, a windowed room afloat on an endless sea, walls packed floor to ceiling with all the books ever written or dreamed of. It was nearly enough to make giving up the world bearable.
Michael Crummey (Galore)
Obstacles don't have to stop you. If you run into a wall, don't turn around and give up. Figure out how to climb it, go through it, or work around it.
Michael Jordan
A philosophy untouched by the shadows on the wall can only yield a sterile utopia.
Michael J. Sandel (Justice: What's the Right Thing to Do?)
I've failed over and over and over again in my life and that is why I succeed-Michael Jordan
Louise Bay (King of Wall Street (The Royals Collection, #1))
SPIDER-MAN (thinking): I can bench press a car. I can climb up the side of a wall. Fight twenty guys to a standstill. Swing across chasms thirty stories deep. Feel a bullet coming my way and move fast enough to get clear. But something in her makes me gentle. Makes me shy. Makes me strong. Makes me happy to be alive. And maybe that's it. Maybe that's what it really comes down to. She makes me. Makes me whole . . . She completes me . . . So here's the thing, God . . . I know I complain a lot, and I know that you and me, we've got issues, but right now, just for tonight . . . Thank you for her. Thank you. Amazing Spider-Man #53 (Volume 2)
J. Michael Straczynski
I remember one bobcat they had in here - now bobcats are an endangered species in this neck of the woods - they'd caught it somewhere and they must have put that cat through a dozen rounds of burn experiments before they finally determined that it was utterly useless to them. Like an empty beer can. And then you know what they did to it? Claudius was late for a lunch date so rather thanput the destroyed but still breathing animal to sleep, he picked it up by its hind legs and simply smashed its head against a wall repeatedly until it was dead. How can I forget it: I was the one told to clean up the mess. The head dented in. The eyes slowly closing. The once proud claws hanging down, stunned and lifeless, the utter senselessness of it all, and the hate, a hatred that was consummated in me which is as dangerous a hormone, or chemical, or portion of the brain, as any neutron bomb. Except that I didnt know how to explode. I was like a computer without a keyboard, a bird without wings. Roaring inside. I wanted to kill that man. To do unto others what they had done unto me. I was that bobcat, you better believe it.
Michael Tobias (Rage and Reason)
The upper classes of this country raped this country. You fucked people. You built a castle to rip people off. Not once in all these years have I come across a person inside a big Wall Street firm who was having a crisis of conscience. Nobody
Michael Lewis (The Big Short)
G'Kar: I believe that when we leave a place, part of it goes with us and part of us remains. Go anywhere in the station when it is quiet, and just listen. After a while, you will hear the echoes of all our conversations, every thought and word we’ve exchanged. Long after we are gone, our voices will linger in these walls for as long as this place remains. But I will admit that the part of me that is going will very much miss the part of you that is staying.
J. Michael Straczynski
The best way to manage people, he thought, was to convince them that you were good for their careers. He further believed that the only way to get people to believe that you were good for their careers was actually to be good for their careers.
Michael Lewis (Flash Boys: A Wall Street Revolt)
It was like a broken slot machine in the casino that pays off every time. It would keep paying off until someone said something about it; but no one who played the slot machine had any interest in pointing out that it was broken.
Michael Lewis (Flash Boys: A Wall Street Revolt)
Wall Street investment banks are like Las Vegas casinos: They set the odds. The customer who plays zero-sum games against them may win from time to time but never systematically, and never so spectacularly that he bankrupts the casino.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
But everyone wanted to be a Big Swinging Dick, even the women. Big Swinging Dickettes.
Michael Lewis (Liar's Poker)
What Gutfreund said has become a legend at Salomon Brothers and a visceral part of its corporate identity. He said: “One hand, one million dollars, no tears.
Michael Lewis (Liar's Poker)
The U.S. financial markets had always been either corrupt or about to be corrupted.
Michael Lewis (Flash Boys: A Wall Street Revolt)
The U.S. stock market was now a class system, rooted in speed, of haves and have-nots. The haves paid for nanoseconds; the have-nots had no idea that a nanosecond had value.
Michael Lewis (Flash Boys: A Wall Street Revolt)
Thus the only Goldman Sachs employee arrested by the FBI in the aftermath of a financial crisis Goldman had done so much to fuel was the employee Goldman asked the FBI to arrest.
Michael Lewis (Flash Boys: A Wall Street Revolt)
I tried to find a way to go on. I could see familiar traces of the path that was my life, but there was always the wall behind me. Do you know what I mean? First you try and climb, pretending it never happened, but it's too tall. Then you try to go around, thinking you can fix it, but it is too far. Then, in frustration, you beat on it with your hands, but it does nothing, so you tire and sit down and just stare at it. You stare because you can't bring yourself to walk away. Walking away means that you're giving up, abandoning them. "There is no way back. There is only forward. It's impossible to imagine there's any reason to move ahead, but that isn't the real reason you give up. The real fear--the terror that keeps you rooted--is that you might be wrong." --Myron, Monk of Maribor
Michael J. Sullivan
In the morning she found pieces of a bird chopped and scattered by the fan blood sprayed onto the mosquito net, its body leaving paths on the walls like red snails that drifted down in lumps. She could imagine the feathers while she had slept falling around her like slow rain.
Michael Ondaatje (The Man with Seven Toes)
I've been a soldier all my life. I've fought from the ranks on up, you know my service. But sir, I must tell you now, I believe this attack will fail. No 15,000 men ever made could take that ridge. It's a distance of more than a mile, over open ground. When the men come out of the trees, they will be under fire from Yankee artillery from all over the field. And those are Hancock's boys! And now, they have the stone wall like we did at Fredericksburg. - Lieutenant General James Longstreet to General Robert E. Lee after the initial Confederate victories on day one of the Battle of Gettysburg.
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
The losses in the Dervish ranks were horrendous as whole families and tribal groups were wiped out. No European army would have dreamed of facing such a wall of fire, but still they came on.
Nigel Seed (No Road to Khartoum (Michael McGuire Trilogy 1))
Politicians could talk about building walls and changing laws to keep people out, but in the end they were just symbols. Neither would stop the tide any more than the rock jetties at the mouth of the port did. Nothing could stop the tide of hope and desire. Bosch
Michael Connelly (The Wrong Side of Goodbye (Harry Bosch, #19; Harry Bosch Universe, #29))
The troops arrived at the wall together and swept into the village, some through the gates and some through the holes blasted by the artillery. Then the slaughter began as they went from hut to hut, winkling out the defenders at bayonet point. The screaming showed the progress of the individual battles across the village until at last it was quiet.
Nigel Seed (No Road to Khartoum (Michael McGuire Trilogy 1))
The shattered wall, the broken tower have a story to tell - from the touchstones of ruins and ancient texts we make a pilgrimage. from The Ruins
Michael Alexander (The Earliest English Poems)
The U.S. stock market now trades inside black boxes, in heavily guarded buildings in New Jersey and Chicago.
Michael Lewis (Flash Boys: A Wall Street Revolt)
Words were few and failing between them as though the silence that sat with them had laid its old lips on theirs and sucked them dry of speech. For where could one begin? With the weather? But here there was no weather. These few sad rooms were the old man's world. His horizons were all walls.
Michael Bedard (Redwork)
Charlie Ledley—curiously uncertain Charlie Ledley—was odd in his belief that the best way to make money on Wall Street was to seek out whatever it was that Wall Street believed was least likely to happen, and bet on its happening.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
The Piranha didn’t talk like a person. He said things like “If you fuckin’ buy this bond in a fuckin’ trade, you’re fuckin’ fucked.” And “If you don’t pay fuckin’ attention to the fuckin’ two-year, you get your fuckin’ face ripped off.” Noun, verb, adjective: fucker, fuck, fucking. No part of speech was spared. His world was filled with copulating inanimate objects and people getting their faces ripped off.
Michael Lewis (Liar's Poker)
They had stumbled either upon a serious flaw in modern financial markets or into a great gambling run. Characteristically, they were not sure which it was. As Charlie pointed out, “It’s really hard to know when you’re lucky and when you’re smart.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
You see, even after decades of therapy and workshops and retreats and twelve-steps and meditation and even experiencing a very weird session of rebirthings, even after rappeling down mountains and walking over hot coals and jumping out of airplanes and watching elephant races and climbing the Great Wall of China, and even after floating down the Amazon and taking ayahuasca with an ex-husband and a witch doctor and speaking in tongues and fasting (both nutritional and verbal), I remained pelted and plagued by feelings of uncertainty and despair. Yes, even after sleeping with a senator, and waking up next to a dead friend, and celebrating Michael Jackson’s last Christmas with him and his kids, I still did not feel—how shall I put this?—mentally sound.
Carrie Fisher (Shockaholic)
If I take a lamp and shine it toward the wall, a bright spot will appear on the wall. The lamp is our search for truth... for understanding. Too often, we assume that the light on the wall is God, but the light is not the goal of the search, it is the result of the search. The more intense the search, the brighter the light on the wall. The brighter the light on the wall, the greater the sense of revelation upon seeing it. Similarly, someone who does not search - who does not bring a lantern - sees nothing. What we perceive as God is the by-product of our search for God. It may simply be an appreciation of the light... pure and unblemished... not understanding that it comes from us. Sometimes we stand in front of the light and assume that we are the center of the universe - God looks astonishingly like we do - or we turn to look at our shadow and assume that all is darkness. If we allow ourselves to get in the way, we defeat the purpose, which is to use the light of our search to illuminate the wall in all its beauty and in all its flaws; and in so doing, better understand the world around us.
J. Michael Straczynski (Babylon 5)
My hand touches his cheek. “You want me to keep fighting this?” His eyes close as he rubs his face in my palm. “I love watching your walls crumble. I love watching your reasons diminish. I’m really going to enjoy it when you finally realize just how much you want me.” His voice drops, and he looks at me again, serious this time. “Because make no mistake— you’ll want me. I’m makin’ damn sure of it.
Corinne Michaels (Say You Want Me (The Hennington Brothers, #2))
Donnie Green himself had been a trader at Salomon Brothers in the dark ages, when traders had more hair on their chests than on their heads.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
There is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The alm, a fall wind out of Yugoslavia. The arifi, also christened aref or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense. There are other, less constant winds that change direction, that can knock down horse and rider and realign themselves anticlockwise. The bist roz leaps into Afghanistan for 170 days--burying villages. There is the hot, dry ghibli from Tunis, which rolls and rolls and produces a nervous condition. The haboob--a Sudan dust storm that dresses in bright yellow walls a thousand metres high and is followed by rain. The harmattan, which blows and eventually drowns itself into the Atlantic. Imbat, a sea breeze in North Africa. Some winds that just sigh towards the sky. Night dust storms that come with the cold. The khamsin, a dust in Egypt from March to May, named after the Arabic word for 'fifty,' blooming for fifty days--the ninth plague of Egypt. The datoo out of Gibraltar, which carries fragrance. There is also the ------, the secret wind of the desert, whose name was erased by a king after his son died within it. And the nafhat--a blast out of Arabia. The mezzar-ifoullousen--a violent and cold southwesterly known to Berbers as 'that which plucks the fowls.' The beshabar, a black and dry northeasterly out of the Caucasus, 'black wind.' The Samiel from Turkey, 'poison and wind,' used often in battle. As well as the other 'poison winds,' the simoom, of North Africa, and the solano, whose dust plucks off rare petals, causing giddiness. Other, private winds. Travelling along the ground like a flood. Blasting off paint, throwing down telephone poles, transporting stones and statue heads. The harmattan blows across the Sahara filled with red dust, dust as fire, as flour, entering and coagulating in the locks of rifles. Mariners called this red wind the 'sea of darkness.' Red sand fogs out of the Sahara were deposited as far north as Cornwall and Devon, producing showers of mud so great this was also mistaken for blood. 'Blood rains were widely reported in Portugal and Spain in 1901.' There are always millions of tons of dust in the air, just as there are millions of cubes of air in the earth and more living flesh in the soil (worms, beetles, underground creatures) than there is grazing and existing on it. Herodotus records the death of various armies engulfed in the simoom who were never seen again. One nation was 'so enraged by this evil wind that they declared war on it and marched out in full battle array, only to be rapidly and completely interred.
Michael Ondaatje
Back in the summer of 1941, they had stood to lose so much, it seemed, through the shame and ruination of exposure. Sammy could not have known that one day he would come to regard all the things that their loving each other had seemed to put at so much risk – his career in comic books, his relations with his family, his place in the world – as the walls of a prison, an airless, lightless keep from which there was no hope of escape….He recalled his and Tracy’s parting at Penn Station on the morning of Pearl Harbor, in the first-class compartment of the Broadway Limited, their show of ordinary mute male farewell, the handshake, the pat on the shoulder, carefully tailoring and modulating their behavior through there was no one at all watching, so finely attuned to the danger of what they might lose that they could not permit themselves to notice what they had
Michael Chabon (The Amazing Adventures of Kavalier & Clay)
I put my pen to the paper and began to write. I’d made so many wishes for so many couples quietly in my head as they drove away, but writing the words out made it seem more real, possible. For them, and maybe for me. FOR YOU, I WISH FOR SECOND CHANCES. I folded it shut, then put it on the wall before I could change my mind, right above Jilly’s. As Michael Salem called out to her and she started his way, I crossed the backyard, moving toward the music. When I looked back at the wish wall from a distance, it was a sea of squares: I couldn’t even find mine among them. So many things we ask for, hope for, prayers put out into a world so wide: there was no way they could all be answered. But you had to keep asking. If you didn’t, nothing even had a chance of coming true.
Sarah Dessen (Once and for All)
Fulfillment comes from striving to succeed, to survive by your own wits and strength. Such things make each of us who we are.” Using the blanket, he rubbed his hair. “You lose that in captivity, lose yourself, and that loss saps your capacity for joy. I think comfort can be a curse, an addiction that without warning or notice erodes hope. You know what I mean?” He looked at each of them, but no one answered. “Live with it long enough and the prison stops being the walls or the guards. Instead, it’s the fear you can’t survive on your own, the belief you aren’t as capable, or as worthy, as others. I think everyone has the capacity to do great things, to rise above their everyday lives; they just need a little push now and then.
Michael J. Sullivan (Age of Myth (The Legends of the First Empire, #1))
You're a bird who's been in a cage all your life, and suddenly all the walls are gone, and you're in the wide open. You're so afraid you're looking for any way back into the cage again." He saw the emotions flicker across her pale face. "Whatever you choose to think now, it's not safer there, Amanda. Even if you tried to go back now, I don't think you could survive that way again." He was right. She knew he was. She had reached the end of enduring it even before Michael claimed her. Yet, being here was no assurance. What if she couldn't fly?
Francine Rivers (Redeeming Love)
Livingstone had said sympathy was no substitute for action. That was an essential brick in Bosch’s wall. He had built himself as a man of action and, at the moment when the integrity of his life’s work had been called into question by a man on death row, he had chosen to turn his sympathy for Elizabeth Clayton into action.
Michael Connelly (Two Kinds of Truth (Harry Bosch, #20; Harry Bosch Universe, #31))
Regret, hurt, bereavement, loss, to permit the flow of even one tear at the upwelling of such feelings was to imperil ancient root systems and retaining walls. Mudslide and black avalanche would result and drown him.
Michael Chabon (Telegraph Avenue)
Step outside on the terrace if you can't sleep in the heat. Don't be surprised if you find me there. The summer stars are spectacular. Just make sure you sleep near the half wall. Stay out of the sight line of the north tower. It would be scandalous if Uncle Solomon watched you sleep. You know, Islamic propriety and all. And by the way, you sleep about as quiet as an egg beater.
Michael Ben Zehabe (Persianality)
She yanked up the veil from Sarah’s burka to catch her breath in the night’s thick air. Frantic, Zoe snatched her cell phone from the bedside table. The touchscreen’s dim light painted her frightened silhouette on the bedroom wall.
Michael Ben Zehabe
Michael looked around the beautiful garden with its many colored flowers, fragrant lemon trees, the old statures of the gods dug from ancient ruins, other newer ones of holy saints, the rose-colored walls across the villa. It was a lovely setting for the examination of twelve murderous apostles.
Mario Puzo (The Sicilian (The Godfather #2))
Between the kitchen and the destroyed chapel a door led into an oval-shaped library. The space inside seemed safe except for a large hole at portrait level in the far wall, caused by mortar-shell attack on the villa two months earlier. The rest of the room had adapted itself to this wound, accepting the habits of weather, evening stars, the sound of birds.
Michael Ondaatje (The English Patient)
Don’t be anyone else but who you are, Kristen. There’s nothing sexier than a woman who’s confident. Trust me.” She clears her throat, and I watch the walls go up. “Ready to eat?” I’ll let her win this one, but the game is far from over. “Sure.
Corinne Michaels (One Last Time (Second Time Around, #2))
What is most troubling, and sad, about industrial eating is how thoroughly it obscures all these relationships and connections. To go from the chicken (Gallus gallus) to the Chicken McNugget is to leave this world in a journey of forgetting that could hardly be more costly, not only in terms of the animal's pain but in our pleasure, too. But forgetting, or not knowing in the first place, is what the industrial food chain is all about, the principal reason it is so opaque, for if we could see what lies on the far side of the increasingly high walls of our industrial agriculture, we would surely change the way we eat.
Michael Pollan (The Omnivore's Dilemma: A Natural History of Four Meals)
If this letter system works, it should be reproducible and consistent. If this letter system works, it should be demonstrated in biblical narrative—with consistency. It has. It does. It will. For instance: Daniel interpreted the handwriting on the Babylonian wall. (Da 5:1-31) The question has always been, “What method would produce the same interpretation?” If you will pull out your Strong’s Concordance and translate those same four words, you won’t get the same results that Daniel got. Was Daniel using a different method than modern Christians? Yes, obviously.
Michael Ben Zehabe (The Meaning of Hebrew Letters: A Hebrew Language Program For Christians (The Jonah Project))
The aloneness. The invisible walls. Always the outsider looking in. Different. Unusual. I despise their world and the superficiality of it all and yet still want to be a part of it. I wonder sometimes how much simpler a life of naïveté and unawareness would be. I have on occasion found people I could trust with who I really am, and when that happens, I walk away.... It’s safer that way-- for them, for me. It’s far easier to bear personal pain than the responsibility of someone else’s. I feel safe around people as tough as I am, but they don’t come along that often.
Taylor Stevens (The Informationist (Vanessa Michael Munroe, #1))
Dark pools were another rogue spawn of the new financial marketplace. Private stock exchanges, run by the big brokers, they were not required to reveal to the public what happened inside them. They reported any trade they executed, but they did so with sufficient delay that it was impossible to know exactly what was happening in the broader market at the moment the trade occurred.
Michael Lewis (Flash Boys: A Wall Street Revolt)
Because the lenders sold many—though not all—of the loans they made to other investors, in the form of mortgage bonds, the industry was also fraught with moral hazard. “It was a fast-buck business,” says Jacobs. “Any business where you can sell a product and make money without having to worry how the product performs is going to attract sleazy people.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
Everyone collects souvenirs, whether they call them that or not. They're evidence that we’ve taken part in the great dance of life – been places, seen things. They’re connections between us and something grander and more eternal than we are. And they belong to us. Tourists shooting blurry mobile-phone-camera snapshots of the ‘Mona Lisa’ or Niagara Falls want to prove they were there, not to have art to hang on their walls.
Michael Hughes
Chamberlain raised his saber, let loose the shout that was the greatest sound he could make, boiling the yell up from his chest: Fix bayonets! Charge! Fix bayonets! Charge! Fix bayonets! Charge! He leaped down from the boulder, still screaming, his voice beginning to to crack and give, and all around him his men were roaring animal screams, and he saw the whole Regiment rising and pouring over the wall and beginning to bound down through the dark bushes, over the dead and dying wounded, hats coming off, hair flying, mouths making sounds, one man firing as he ran, the last bullet, last round.
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
Being kind, making hard decisions, helping those in need, standing up for what’s right, pointing toward hope and truth, and embracing the power of persistence . . . those were the qualities of Superman that mattered to me far more than his ability to see through walls. Because all of us can do those other things, can be those things; we can be Superman whenever we choose.
J. Michael Straczynski (Becoming Superman: My Journey from Poverty to Hollywood)
Reason, truth, innocence" --Royce sat back against the wall and folded his arms--"unicorns, pixies, and dragons; you're not that young to believe in such things. How is it that you fancy yourself a resident of a make-believe world." "I told you. At this point, it's a choice." "It's not. It's fooling yourself. I can decide between eating fish or pork, but I can only pretend to eat unicorn meat. I can't actually eat a unicorn. The world is the world, and you live in it with open eyes or choose to be blind. It's all the same to me, but don't stand there pretending your right.
Michael J. Sullivan (The Disappearance of Winter's Daughter (The Riyria Chronicles, #4))
I thought. I thought of the slow yellow autumn in the swamp and the high honey sun of spring and the eternal silence of the marshes, and the shivering light on them, and the whisper of the spartina and sweet grass in the wind and the little liquid splashes of who-knew-what secret creatures entering that strange old place of blood-warm half earth, half water. I thought of the song of all the birds that I knew, and the soft singsong of the coffee-skinned women who sold their coiled sweet-grass baskets in the market and on Meeting Street. I thought of the glittering sun on the morning harbor and the spicy, somehow oriental smells from the dark old shops, and the rioting flowers everywhere, heavy tropical and exotic. I thought of the clop of horses' feet on cobblestones and the soft, sulking, wallowing surf of Sullivan's Island in August, and the countless small vistas of grace and charm wherever the eye fell; a garden door, a peeling old wall, an entire symmetrical world caught in a windowpane. Charlestone simply could not manage to offend the eye. I thought of the candy colors of the old houses in the sunset, and the dark secret churchyards with their tumbled stones, and the puresweet bells of Saint Michael's in the Sunday morning stillness. I thought of my tottering piles of books in the study at Belleau and the nights before the fire when my father told me of stars and butterflies and voyages, and the silver music of mathematics. I thought of hot, milky sweet coffee in the mornings, and the old kitchen around me, and Aurelia's gold smile and quick hands and eyes rich with love for me.
Anne Rivers Siddons (Colony)
Once very smart people are paid huge sums of money to exploit the flaws in the financial system, they have the spectacularly destructive incentive to screw the system up further, or to remain silent as they watch it being screwed up by others. The cost, in the end, is a tangled-up financial system. Untangling it requires acts of commercial heroism—and even then the fix might not work. There was simply too much more easy money to be made by elites if the system worked badly than if it worked well. The whole culture had to want to change. “We know how to cure this,” as Brad had put it. “It’s just a matter of whether the patient wants to be treated.
Michael Lewis (Flash Boys: A Wall Street Revolt)
The market might have learned a simple lesson: Don’t make loans to people who can’t repay them. Instead it learned a complicated one: You can keep on making these loans, just don’t keep them on your books. Make the loans, then sell them off to the fixed income departments of big Wall Street investment banks, which will in turn package them into bonds and sell them to investors.
Michael Lewis (The Big Short)
There was a black marine called Philly Dog who'd been a gang lord in Philadelphia and who was looking forward to some street fighting after six months in the jungle, he could so the kickers what he could do with some city ground. (In Hue he turned out to be incredibly valuable. I saw him pouring out about a hundred rounds of .30-caliber fire into a breach in the wall, laughing, 'You got to bring some to get some'; he seemed to be about the only man in Delta Company who hadn't been hurt yet.)
Michael Herr (Dispatches)
Why does this always happen?” Royce asked. “Why are we always hanging on a wall, waiting to die by slow vivisection? I just want to point out that this was your idea—again.” “I’ve been waiting for that. But I believe I told you not to come.” Hadrian shifted in his chains and sighed. “I don’t suppose there’s much chance of a beautiful princess coming in here and saving us again.” “That card’s been dealt.
Michael J. Sullivan (Rise of Empire (The Riyria Revelations, #3-4))
In the middle of the afternoon, when the heat was at its worst, having accumulated around the concrete since early in the morning, I had ten minutes or so of respite in my tiny office. The walls there were blistering. I could scarcely breathe. But I fled there as if it had been a cool, wet, autumn day inside. I was not looking for relief from the heat so much as relief from the crowds. They licked away my being with their idiot tongues.
Michael McDowell
I have this theory," says Andy Stone, seated in his office at Prudential-Bache Securities. "Wall Street makes its best producers into managers. The reward for being a good producer is to be made a manager. The best producers are cutthroat, competitive, and often neurotic and paranoid. You turn those people into managers, and they go after each other. They no longer have the outlet for their instincts that producing gave them. They usually aren't well suited to be managers. Half of them get thrown out because they are bad. Another quarter get muscled out because of politics. The guys left behind are just the most ruthless of the bunch. That's why there are cycles on Wall Street—why Salomon Brothers is getting crunched now—because the ruthless people are bad for the business but can only be washed out by proven failure.
Michael Lewis (Liar's Poker: Rising Through the Wreckage on Wall Street)
Russians had a reputation for being the best programmers on Wall Street, and Serge thought he knew why: They had been forced to learn to program computers without the luxury of endless computer time. Many years later, when he had plenty of computer time, Serge still wrote out new programs on paper before typing them into the machine. “In Russia, time on the computer was measured in minutes,” he said. “When you write a program, you are given a tiny time slot to make it work.
Michael Lewis (Flash Boys)
Bertrand Russell wrote that the best way to overcome one’s fear of death “is to make your interests gradually wider and more impersonal, until bit by bit the walls of the ego recede, and your life becomes increasingly merged in the universal life.” He goes on: An individual human existence should be like a river: small at first, narrowly contained within its banks, and rushing passionately past rocks and over waterfalls. Gradually, the river grows wider, the banks recede, the waters flow more quietly, and in the end, without any visible break, they become merged in the sea, and painlessly lose their individual being.
Michael Pollan (How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence)
A credit default swap was confusing mainly because it wasn’t really a swap at all. It was an insurance policy, typically on a corporate bond, with semiannual premium payments and a fixed term. For instance, you might pay $200,000 a year to buy a ten-year credit default swap on $100 million in General Electric bonds. The most you could lose was $2 million: $200,000 a year for ten years. The most you could make was $100 million, if General Electric defaulted on its debt any time in the next ten years and bondholders recovered nothing. It was a zero-sum bet: If you made $100 million, the guy who had sold you the credit default swap lost $100 million. It was also an asymmetric bet, like laying down money on a number in roulette. The most you could lose were the chips you put on the table; but if your number came up you made thirty, forty, even fifty times your money.
Michael Lewis (The Big Short: Inside the Doomsday Machine)
The old house had a thousand doors in it. All old houses do. You can see them if you know how to look: the noontime shadow of a windowpane crawling with intent across a floor; unmeasured angles of wall meeting wall; fireplaces grown chill with unused years. Archways with unseen contours you can trace with a finger in the cracks as brick grinds against brick in settling walls. Some nights, and some houses are doorways entire, silhouettes against the evening's last light black on black like an opening into a darker sky. You just have to look. An eye-corner glance will do, if you don't turn and stare and explain it away.
Michael Montoure (Slices)
Hi," she said. The gloomy interior of the car lit up with a warm green glow and the scent of sage filled the air. Virginia rubbed her forefinger and thumb together, and in the mirror, Josh saw a tiny ball of green energy appear. She flicked the ball at the motorcyclist. "You missed!" Dee snapped. "Here,let me..." "Patience,Doctor,patience," Virginia said. The rubber on the bike's front tire abruptly crumbled to black powder. Spokes collapsed, the wheel buckled and the bike careered across the road, the front forks scraping a shower of sparks from the concrete. Then the bike hit the low restraining wall on the bay side of the road and the rider was catapulted over it, disappearing without a sound. "Subtle,as always, Virginia," Dee said.
Michael Scott (The Warlock (The Secrets of the Immortal Nicholas Flamel, #5))
The old Soviet culture also left its former citizens oddly prepared for Wall Street in the early twenty-first century. The Soviet-controlled economy was horrible and complicated but riddled with loopholes. Everything was scarce; everything was also gettable, if you knew how to get it. “We had this system for seventy years,” said Constantine. “People learn to work around the system. The more you cultivate a class of people who know how to work around the system, the more people you will have who know how to do it well. All of the Soviet Union for seventy years were people who are skilled at working around the system.
Michael Lewis (Flash Boys)
The modern mind is forced towards the future by a certain sense of fatigue, not unmixed with terror, with which it regards the past. It is propelled towards the coming time; it is, in the exact words of the popular phrase, knocked into the middle of next week. And the goad which drives it on thus eagerly is not an affectation for futurity Futurity does not exist, because it is still future. Rather it is a fear of the past; a fear not merely of the evil in the past, but of the good in the past also. The brain breaks down under the unbearable virtue of mankind. There have been so many flaming faiths that we cannot hold; so many harsh heroisms that we cannot imitate; so many great efforts of monumental building or of military glory which seem to us at once sublime and pathetic. The future is a refuge from the fierce competition of our forefathers. The older generation, not the younger, is knocking at our door. It is agreeable to escape, as Henley said, into the Street of By-and-Bye, where stands the Hostelry of Never. It is pleasant to play with children, especially unborn children. The future is a blank wall on which every man can write his own name as large as he likes; the past I find already covered with illegible scribbles, such as Plato, Isaiah, Shakespeare, Michael Angelo, Napoleon. I can make the future as narrow as myself; the past is obliged to be as broad and turbulent as humanity. And the upshot of this modern attitude is really this: that men invent new ideals because they dare not attempt old ideals. They look forward with enthusiasm, because they are afraid to look back.
G.K. Chesterton (What's Wrong with the World)
He remembered the night in Arlington when the news came: secession. He remembered a paneled wall and firelight. When we heard the news we went into mourning. But outside there was cheering in the streets, bonfires of joy. They had their war at last. But where was there ever any choice? The sight of fire against wood paneling, a bonfire seen far off at night through a window, soft and sparky glows always to remind him of that embedded night when he found that he had no choice. The war had come. He was a member of the army that would march against his home, his sons. He was not only to serve in it but actually to lead it, to make the plans and issue the orders to kill and burn and ruin. He could not do that. Each man would make his own decision, but Lee could not raise his hand against his own. And so what then? To stand by and watch, observer at the death? To do nothing? To wait until the war was over? And if so, from what vantage point and what distance? How far do you stand from the attack on your home, whatever the cause, so that you can bear it? It had nothing to do with causes; it was no longer a matter of vows. When Virginia left the Union she bore his home away as surely as if she were a ship setting out to sea, and what was left behind on the shore was not his any more. So it was no cause and no country he fought for, no ideal and no justice. He fought for his people, for the children and the kin, and not even the land, because not even the land was worth the war, but the people were, wrong as they were, insane even as many of them were, they were his own, he belonged with his own. And so he took up arms willfully, knowingly, in perhaps the wrong cause against his own sacred oath and stood now upon alien ground he had once sworn to defend, sworn in honor, and he had arrived there really in the hands of God, without any choice at all; there had never been an alternative except to run away, and he could not do that. But Longstreet was right, of course: he had broken the vow. And he would pay. He knew that and accepted it. He had already paid. He closed his eyes. Dear God, let it end soon.
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))
Is this where it was?” Royce asked, stopping and studying the base of the tower. “How should I know?” Hadrian replied as his eyes coursed up the length of the south tower. Up close, it blocked everything else out, a solid wall of black rising against the light of the moon. “I can never understand why such small people build such gigantic things.” “Maybe they’re compensating,” Royce said, dropping several lengths of rope. “Damn it, Royce. It’s been eight years since we did this. I was in better shape then. I was younger, and if I recall, I vowed I would never do it again.” “That’s why you shouldn’t make vows. The moment you do, fate starts conspiring to shove them down your throat.” Hadrian sighed, staring upward. “That’s one tall tower.” “And if the dwarves were still here maintaining it, it would be impregnable. Lucky for us, they’ve let it rot. You should be happy—the last eight years would only have eroded it further. It should be easier.” “It’s granite, Royce. Granite doesn’t erode much in eight years
Michael J. Sullivan (Rise of Empire (The Riyria Revelations, #3-4))
David watched Sol finish the can of beans. Sol always ate fast. He overate. Since he was eight. Sol leaned back in the wooden chair against the wall, under the window. Baby brother. Sol could have been anything he wanted to be. Nothing mathematical, nothing quantitative, of course, but anything else. A beautiful boy, a wonderful brother, they got along well. Then when Sol turned eight years old, age of a new beginning, their mother obsessed over him, ignoring David. Obsessed over Sol and his underwear. Over and over, a regeneration, a newness. Changed his clothes constantly, had him on her lap every minute possible. She put him in bed and tucked the covers in every night. She refused to let their father do it, so he always took care of David. But, of course, David needed no help and Sol always needed Ruth to take care of him. Sol was still being breast fed even when he finally went to kindergarten. Then Ruth slowly increased regular, solid food. But before bed, Sol had a nightcap, mother’s milk. Their special time. Their unique closeness took a turn from breastfeeding to something else. By the time Sol was in third grade, he was one of the fattest kids in class. Then the brothers became a real team. Now here he was. David and Sol still together, on a mission given by the Creator. It was perfect.
Michael Grigsby (Segment of One)
Around three a.m. he feels a presence in the room. He sees, for the pulse of a moment, a figure at the foot of his bed, against the wall or painted onto it perhaps, not quite discernible in the darkness of foliage beyond the candlelight. He mutters something, something he had wanted to say, but there is silence and the slight brown figure, which could be just a night shadow, does not move. A poplar. A man with plumes. A swimming figure. And he would not be so lucky, he thinks, to speak to the young sapper again. He stays awake in any case this night, to see if the figure moves towards him. Ignoring the tablet that brings painlessness, he will remain awake till the light dies out and the smell of candle smoke drifts into his room and into the girl's room farther down the hall. If the figure turns around there will be paint on his back, where he slammed in grief against the mural of trees. When the candle dies out he will be able to see this. His hand reaches out slowly and touches his book and returns to his dark chest. Nothing else moves in the room. [298]
Michael Ondaatje (The English Patient)
Amazing. Chamberlain let his eyes close down to the slits, retreating within himself. He had learned that you could sleep on your feet on the long marches. You set your feet to going and after a while they went by themselves and you sort of turned your attention away and your feet went on walking painlessly, almost without feeling, and gradually you closed down your eyes so that all you could see were the heels of the man in front of you, one heel, other heel, one heel, other heel, and so you moved on dreamily in the heat and the dust, closing your eyes against the sweat, head down and gradually darkening, so you actually slept with the sight of the heels in front of you, one heel, other heel, and often when the man in front of you stopped you bumped into him. There were no heels today, but there was the horse he led by the reins. He did not know the name of this horse. He did not bother any more; the horses were all dead too soon. Yet you learn to love it. Isn’t that amazing? Long marches and no rest, up very early in the morning and asleep late in the rain, and there’s a marvelous excitement to it, a joy to wake in the morning and feel the army all around you and see the campfires in the morning and smell the coffee… … awake all night in front of Fredericksburg. We attacked in the afternoon, just at dusk, and the stone wall was aflame from one end to the other, too much smoke, couldn’t see, the attack failed, couldn’t withdraw, lay there all night in the dark, in the cold among the wounded and dying. Piled-up bodies in front of you to catch the bullets, using the dead for a shield; remember the sound? Of bullets in dead bodies? Like a shot into a rotten leg, a wet thick leg. All a man is: wet leg of blood. Remember the flap of a torn curtain in a blasted window, fragment-whispering in that awful breeze: never, forever, never, forever. You have a professor’s mind. But that is the way it sounded. Never. Forever. Love that too? Not love it. Not quite. And yet, I was never so alive.
Michael Shaara (The Killer Angels (The Civil War Trilogy, #2))