Monterey California Quotes

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses. Its inhabitant are, as the man once said, "whores, pimps, gambler and sons of bitches," by which he meant Everybody. Had the man looked through another peephole he might have said, "Saints and angels and martyrs and holymen" and he would have meant the same thing.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream.

THE SALINAS VALLEY is in Northern California. It is a long narrow swale between two ranges of mountains, and the Salinas River winds and twists up the center until it falls at last into Monterey Bay.

He could not tell all of the California pines apart, the gray pine from the coulter, the bushop from the knobcone and the Monterey.

up in Pacific Grove, a coastal town on the Monterey Peninsula in California, I had spent many Sunday mornings combing beaches, hunting for sea glass. I once believed the surf-tumbled glass had come from mermaids when the mythical creatures wept for sailors lost at sea, their tears hardened and washed ashore by the latest storm front. Mermaid tears were treasure, meant to be guarded close to one’s heart. They brought wishes of true love and kept you safe

Flying to Monterey I had a sharp apprehension of the many times before when I had, like Lincoln Steffens, "come back," flown west, followed the sun, each time experiencing a lightening of spirit as the land below opened up, the checkerboards of the midwestern plains giving way to the vast empty reach between the Rockies and the Sierra Nevada; then home, there, where I was from, me, California. It would be a while before I realized that “me” is what we think when our parents die, even at my age, who will look out for me now, who will remember me as I was, who will know what happens to me now, where will I be from.

Perhaps an even more surprising case was reported in June 2012, when a security officer at California’s Monterey Bay Aquarium found a banana peel on the floor in front of the Shale Reef exhibit at 3 a.m. On closer inspection, the banana peel turned out to be a healthy, fist-size red octopus. The security officer followed the wet slime trail and replaced the octopus in the exhibit it had come from. But here’s the shocking part: The aquarium didn’t know it had a red octopus living in its Shale Reef exhibit. Apparently the octopus hitchhiked there as a juvenile, attached to a rock or sponge added to the exhibit, and grew up at the aquarium without anyone knowing it was there.

at California’s Monterey Bay Aquarium found a banana peel on the floor in front of the Shale Reef exhibit at 3 a.m. On closer inspection, the banana peel turned out to be a healthy, fist-size red octopus. The security officer followed the wet slime trail and replaced the octopus in the exhibit it had come from. But here’s the shocking part: The aquarium didn’t know it had a red octopus living in its Shale Reef exhibit. Apparently the octopus hitchhiked there as a juvenile, attached to a rock or sponge added to the exhibit, and grew up at the aquarium without anyone knowing it was there.

California, Labor Day weekend...early, with ocean fog still in the streets, outlaw motorcyclists wearing chains, shades and greasy Levis roll out from damp garages, all-night diners and cast-off one-night pads in Fricso, Hollywood, Berdoo and East Oakland, heading for the Monterey peninsula, north of Big Sur...The Menace is loose again, the Hell's Angels, the hundred-carat headline, running fast and loud on the early morning freeway, low in the saddle, nobody smiles, jamming crazy through traffic and ninety miles an hour down the center stripe, missing by inches...like Genghis Khan on an iron horse, a monster steed with a fiery anus, flat out through the eye of a beer can and up your daughter's leg with no quarter asked and non given; show the squares some class, give em a whiff of those kicks they'll never know...Ah, these righteous dudes, they love to screw it on...Little Jesus, the Gimp, Chocolate George, Buzzard, Zorro, Hambone, Clean Cut, Tiny, Terry the Tramp, Frenchy, Mouldy Marvin, Mother Miles, Dirty Ed, Chuck the Duck, Fat Freddy, Filthy Phil, Charger Charley the Child Molester, Crazy Cross, Puff, Magoo, Animal and at least a hundred more...tense for the action, long hair in the wind, beards and bandanas flapping, earrings, armpits, chain whips, swastikas and stripped-down Harleys flashing chrome as traffic on 101 moves over, nervous, to let the formation pass like a burst of dirty thunder...

Monterey, as far as my observation goes, is decidedly the pleasantest and most civilized-looking place in California.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses.

Another former chess player shared his own fond memory of Thiel from this era. Around the spring of 1988, the team was driving to Monterey for a tournament, with Thiel behind the wheel of the Rabbit. They took California’s Route 17, a four-lane highway that crosses the Santa Cruz Mountains and is regarded as one of the state’s most dangerous. The team was in no particular hurry, but Thiel drove as if he were a man possessed. He navigated the turns like Michael Andretti, weaving in and out of lanes, nearly rear-ending cars as he slipped past them, and seemed to be flooring the accelerator for large portions of the trip. Somewhat predictably, the lights of a California Highway Patrol cruiser eventually appeared in his rearview. Thiel was pulled over, and the trooper asked if he knew how fast he was going. The young men in the rest of the car, simultaneously relieved to have been stopped and scared of the trooper, looked at each other nervously. “Well,” Thiel responded, in his calmest, most measured baritone. “I’m not sure if the concept of a speed limit makes sense.” The officer said nothing. Thiel continued: “It may be unconstitutional. And it’s definitely an infringement on liberty.” The officer looked at Thiel and the geeks in the beater car and decided the whole thing wasn’t worth his time. He told Thiel to slow down and have a nice day. “I don’t remember any of the games we played,” said the man, now in his fifties, who’d been in the passenger seat. “But I will never forget that drive.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky-tonks, restaurants and whore-houses, and little crowded groceries, and laboratories and flop-houses. Its inhabitants are, as the man once said, "whores, pimps, gamblers, and sons of bitches," by which he meant Everybody. Had the man looked through another peep-hole he might have said: "Saints and angels and martyrs and holy men," and he would have meant the same thing. In the morning when the sardine fleet has made a catch, the purse-seiners waddle heavily into the bay blowing their whistles. The deep-laden boats pull in against the coast where the canneries dip their tails into the bay. The figure is advisedly chosen, for if the canneries dipped their mouths into the bay the canned sardines which emerge from the other end would be metaphorically, at least, even more horrifying. Then cannery whistles scream and all over the town men and women scramble into their clothes and come running down to the Row to go to work. Then shining cars bring the upper classes down: superintendents, accountants, owners who disappear into offices. Then from the town pour Wops and Chinamen and Polaks, men and women in trousers and rubber coats and oilcloth aprons. They come running to clean and cut and pack and cook and can the fish. The whole street rumbles and groans and screams and rattles while the silver rivers of fish pour in out of the boats and the boats rise higher and higher in the water until they are empty. The canneries rumble and rattle and squeak until the last fish is cleaned and cut and cooked and canned and then the whistles scream again and the dripping, smelly, tired Wops and Chinamen and Polaks, men and women, straggle out and droop their ways up the hill into the town and Cannery Row becomes itself again-quiet and magical. Its normal life returns. The bums who retired in disgust under the black cypress-tree come out to sit on the rusty pipes in the vacant lot. The girls from Dora's emerge for a bit of sun if there is any. Doc strolls from the Western Biological Laboratory and crosses the street to Lee Chong's grocery for two quarts of beer. Henri the painter noses like an Airedale through the junk in the grass-grown lot for some pan or piece of wood or metal he needs for the boat he is building. Then the darkness edges in and the street light comes on in front of Dora's-- the lamp which makes perpetual moonlight in Cannery Row. Callers arrive at Western Biological to see Doc, and he crosses the street to Lee Chong's for five quarts of beer. How can the poem and the stink and the grating noise-- the quality of light, the tone, the habit and the dream-- be set down alive? When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will on to a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book-- to open the page and to let the stories crawl in by themselves.

Tim Tigner began his career in Soviet Counterintelligence with the US Army Special Forces, the Green Berets. That was back in the Cold War days when, “We learned Russian so you didn't have to,” something he did at the Presidio of Monterey alongside Recon Marines and Navy SEALs. With the fall of the Berlin Wall, Tim switched from espionage to arbitrage. Armed with a Wharton MBA rather than a Colt M16, he moved to Moscow in the midst of Perestroika. There, he led prominent multinational medical companies, worked with cosmonauts on the MIR Space Station (from Earth, alas), chaired the Association of International Pharmaceutical Manufacturers, and helped write Russia’s first law on healthcare. Moving to Brussels during the formation of the EU, Tim ran Europe, Middle East, and Africa for a Johnson & Johnson company and traveled like a character in a Robert Ludlum novel. He eventually landed in Silicon Valley, where he launched new medical technologies as a startup CEO. In his free time, Tim has climbed the peaks of Mount Olympus, hang glided from the cliffs of Rio de Janeiro, and ballooned over Belgium. He earned scuba certification in Turkey, learned to ski in Slovenia, and ran the Serengeti with a Maasai warrior. He acted on stage in Portugal, taught negotiations in Germany, and chaired a healthcare conference in Holland. Tim studied psychology in France, radiology in England, and philosophy in Greece. He has enjoyed ballet at the Bolshoi, the opera on Lake Como, and the symphony in Vienna. He’s been a marathoner, paratrooper, triathlete, and yogi.  Intent on combining his creativity with his experience, Tim began writing thrillers in 1996 from an apartment overlooking Moscow’s Gorky Park. Decades later, his passion for creative writing continues to grow every day. His home office now overlooks a vineyard in Northern California, where he lives with his wife Elena and their two daughters. Tim grew up in the Midwest, and graduated from Hanover College with a BA in Philosophy and Mathematics. After military service and work as a financial analyst and foreign-exchange trader, he earned an MBA in Finance and an MA in International Studies from the University of Pennsylvania’s Wharton and Lauder Schools.  Thank you for taking the time to read about the author. Tim is most grateful for his loyal fans, and loves to correspond with readers like you. You are welcome to reach him directly at tim@timtigner.com.

My lifelong hero Gordon Moore, the aforementioned author of Moore’s Law, has thrown his talent and capital into the Bay Foundation’s efforts to restore the underwater kelp forests of California’s Monterey Coast. Sea kelp absorbs twenty times more CO2 than a comparably sized land forest.

CP/M—for Control Program for Microcomputers—it had been created by thirty-three-year-old Gary Kildall, a computer-science teacher at the Naval Postgraduate School in Monterey, California.

Nobody can agree which tree is the most photographed in the world. Some say it’s a Cypress in Monterey, California, others a Jeffry Pine in nearby Yosemite and others still a Willow in Lake Wanaka, New Zealand. Even if you’ve never seen them, you can probably guess what these trees look like. They stand alone in endless vistas of water, sky or rock. Millions of brains have been attracted to the hidden and half-hidden truths that emit from these solitary trees. They triggered something in the photographers’ subconscious which responded by giving their owners a pleasurable hit of feeling. Lonely, brave, relentless and beautiful, those who stop and snap are not taking pictures of trees, but of themselves.

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Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries and laboratories and flophouses.

Thus a pattern of migratory labor grew up in California—starting with the wheat ranches—in which large numbers of migrant workers would converge on an area at harvesttime, perform the work, then move on to another crop. It was a world of single men, bunking in barracks while on the job, then shoving off, their belongings and bedrolls slung across their shoulders. Photographs from the 1880s and 1890s reveal these men to be predominantly whites and Chinese. Photographs from the early 1900s show that Japanese and East Indian workers were now in the fields. Photographs from the 1920s show even further diversification: Filipinos, especially on the Monterey Peninsula; African Americans in the southern San Joaquin; Mexicans throughout Southern California, including the newly irrigated Imperial Valley.

As was the custom with big events in the mid- to late-1960s, particularly in the northern California area, Altamont was drenched in acid. And as was also the custom at that time, that acid was provided free-of-charge by Mr. Augustus Owsley Stanley III, also known as The Bear. At the so-called “Human Be-In” staged in January of 1967, for example, Owsley had kindly distributed 10,000 tabs of potent LSD. For the Monterey Pop Festival just five months later, he had cooked up and distributed 14,000 tabs. For Altamont, he did likewise. Also present that day, and featured in the Maysles brothers’ film gyrating atop a raised platform near the stage, was the King of the Freaks himself, Vito Paulekas.

in the Central Valley, our communities often don’t get a lot of focus and attention. A lot of the statewide candidates are focusing on large urban areas,” said Luis Alejo, a former state legislator and one of Villaraigosa’s earliest supporters, who is now the chair of the Monterey County Board of Supervisors. “Among all the top candidates, I have yet to see any of them have a direct message for Latino voters…. Unlike some of the past elections, I think they need to come out with a really working-class economic plan.” A plan that includes addressing California’s affordable housing crisis, which seeps far beyond the state’s big cities.

When reading this unusual novel, then, with its oddly unsettling and sometimes strained combination of Christian and pagan, sacred and profane attributes—its earthiness and surreality, violence and pastoralism, pantheism and anthropomorphism, naturalism and lyricism—it is helpful to remember that Steinbeck invested his essential self in it, which is to say, he wrote it more like an extensive poem, or extended dream sequence, than like a traditionally mimetic or realistic novel. “I have the instincts of a minstrel rather than those of a scrivener,” he informed Grove Day in late 1929. Thus, while To a God Unknown has an urgent, breathless fairy-tale quality, and is, as critic Howard Levant asserts, more “a series of detached... scenes” than “a unified... organic whole,” it is not an incoherent concoction—“a rambling and improbable history,” as Warren French calls It—that flies in the face of all sensible literary convention. During its long gestation through different versions and multiple drafts, Steinbeck worked hard to create a palpable factual dimension that gives this otherwise arcane book a recognizable texture in regard to its geographical setting and landmarks (the moss-covered rock actually existed in the northern California town of Laytonville), its unusual characters (some of whom, such as the seer, Steinbeck claimed were based on living persons), and in its feel for telling details of nature and social life in Monterey County in the early part of this century.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses. Its inhabitants are, as the man once said, "whores, pimps, gamblers, and sons of bitches," by which he meant Everybody. Had the man looked through another peephole he might have said, "Saints and angels and martyrs and holy men," and he would have meant the same thing.

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