Moo Quotes

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

If only, if only," the woodpecker sighs, "The bark on the tree was as soft as the skies." While the wolf waits below, hungry and lonely, Crying to the moo-oo-oon, "If only, If only.
Louis Sachar (Holes (Holes, #1))
Who did you eat this time? (Acheron) It wasn’t a who, akri. It was something that had hornies on its head like me. There were a bunch of them actually. All of them had hornies and they made a strange moo-moo sound. (Simi)
Sherrilyn Kenyon (Acheron (Dark-Hunter, #14))
My cow is not pretty, but it is pretty to me.
David Lynch
Taxation, gentlemen, is very much like dairy farming. The task is to extract the maximum amount of milk with the minimum amount of moo.
Terry Pratchett (Jingo (Discworld, #21; City Watch, #4))
Coach Hedge grunted like he was pleased to have an excuse. He unclipped the megaphone from his belt and continued giving directions, but his voice came out like Darth Vader's. The kids cracked up. The coach tried again, but this time the megaphone blared: "The cow says moo!
Rick Riordan (The Lost Hero (The Heroes of Olympus, #1))
Just sit tight. Reinforcements should be here soon. Hopefully nothing happens before-" Lightning crackled overhead. The wind picked up with a vengeance. Worksheets flew into the Grand Canyon, and the entire bridge shuddered. Kids screamed, stumbling and grabbing the rails. "I had to say something," Hedge grumbled. He bellowed into his megaphone: "Everyone inside! The cow says moo! Off the skywalk!" "I thought you said this thing was stable!" Jason shouted over the wind. "Under normal circumstances," Hedge agreed, "which these aren't.
Rick Riordan (The Lost Hero (The Heroes of Olympus, #1))
What? (Nick) You one of them humans can’t follow Simi speak. That’s okay. This is why the Simi don’t bother talking to most humans ‘cause, no offense, you all weird. Some of you even stupid. Real stupid. Like stump stupid. It’s the lack of hornays, I say. See, only really smart creatures have hornays…except for them moo moo cows – they not bright. But akri says there’s always an exception to every rule. So they would be the exception to the hornay one. But they taste really good so the Simi will forgive them for bringing down her bell curve of superior intellect over all the other nonhorned subspecies. (Simi
Sherrilyn Kenyon (Infinity (Chronicles of Nick, #1))
His dimple appeared. “I can’t help it. I’m part wolf. I have four stomachs.” “That’s cows, you idiot,” I said with a laugh. He grinned, “Moo.” -Caeden and Sophie
Micalea Smeltzer (Outsider (Outsider, #1))
Oh, man," says Dum. "That would have been so awesome. Can you imagine? Boom!" He mimes a mushroom cloud. "Moo!" Dee gives him a long-suffering look. "You´re such a child. You can´t just waste a nuke like that. You gotta figure out a way to control the trajectory so that when the bomb goes off, it shoots the radioactive cows into your enemies.
Susan Ee (World After (Penryn & the End of Days, #2))
The cow is of the bovine ilk; one end is moo, the other milk.
Ogden Nash (Free Wheeling)
understand what he was saying. Nico wished the coach hadn’t brought the megaphone. Not only was it loud and obnoxious, but also, for no reason Nico understood, it occasionally blurted out random Darth Vader lines from Star Wars or yelled, “THE COW GOES MOO!
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
If only, if only, the woodpecker sighs, The bark on the tree was just a little bit softer. While the wolf waits below, hungry and lonely, He cries to the moo-oo-oon, If only, if only.
Louis Sachar (Holes (Holes, #1))
Duck was a neutral party, so he brought the ultimatum to the cows.
Doreen Cronin (Click, Clack, Moo: Cows That Type)
. . . how easily some things can be broken for good and for bad, and how some things, no matter how shattered, can still go back together. Like Moo, my family may never be as strong as it once was. There are chips and cracks and scars, But some of them can be repaired, piece by piece, rebuilt into something even more cherished and loved and unique.
Sarah Ockler (Fixing Delilah)
I said, "I'll take the T-bone steak." A soft voice mooed, "Oh wow." And I looked up and realized The waitress was a cow. I cried, "Mistake--forget the the steak. I'll take the chicken then." I heard a cluck--'twas just my luck The busboy was a hen. I said, "Okay no, fowl today. I'll have the seafood dish." Then I saw through the kitchen door The cook--he was a fish. I screamed, "Is there anyone workin' here Who's an onion or a beet? No? Your're sure? Okay then friends, A salad's what I'll eat." They looked at me. "Oh,no," they said, "The owner is a cabbage head.
Shel Silverstein
Having a chronic illness, Molly thought, was like being invaded. Her grandmother back in Michigan used to tell about the day one of their cows got loose and wandered into the parlor, and the awful time they had getting her out. That was exactly what Molly's arthritis was like: as if some big old cow had got into her house and wouldn't go away. It just sat there, taking up space in her life and making everything more difficult, mooing loudly from time to time and making cow pies, and all she could do really was edge around it and put up with it. When other people first became aware of the cow, they expressed concern and anxiety. They suggested strategies for getting the animal out of Molly's parlor: remedies and doctors and procedures, some mainstream and some New Age. They related anecdotes of friends who had removed their own cows in one way or another. But after a while they had exhausted their suggestions. Then they usually began to pretend that the cow wasn't there, and they preferred for Molly to go along with the pretense.
Alison Lurie (The Last Resort)
Think about something else," Kaitlyn said. "Did you ever find a cow alarm clock around here?" "No. A what?" "An alarm clock shaped like a cow. It was Lewis's. It used to go off every morning, this sound like a cowbell and then a voice shouting 'Wake up! Don't sleep your life away!' And then it would moo." Lydia giggled faintly. "I wish I'd seen that. It sounds-like Lewis." "Actually, it sounded like a cow." Kaitlyn could hear Lydia snorting softly in the darkness for a while, then silence. She pulled the covers over her head and went to sleep.
L.J. Smith (Dark Visions (Dark Visions, #1-3))
They examine me like I’m a cow at a 4-H auction. I try not to moo.
Jeri Smith-Ready (Wicked Game (WVMP Radio, #1))
He tossed the paper aside. “Taxation, gentlemen, is very much like dairy farming. The task is to extract the maximum amount of milk with the minimum of moo. And I am afraid to say that these days all I get is moo.
Terry Pratchett (Jingo (Discworld, #21))
The unworthies in power feel danger, like cows uneasily pawing the ground with a great "Moo.
William S. Burroughs (Last Words: The Final Journals)
Coming for her. Because I'm its...mate. Oh, man, that couldn't be good. She wanted this centaur to get her away from that wolf! She screamed against her gag, "Moo ur ass! Hu-y!" Chloe :)
Kresley Cole
Taxation, gentlemen, is very much like dairy farming. The task is to extract the maximum amount of milk with the minimum of moo. And I am afraid to say that these days all I get is moo.
Terry Pratchett (Jingo (Discworld, #21))
This was fresh, rich, heavenly, succulent, soft, creamy, kiss-my-ass, cows-gotta-die-for-this, delightfully salty, moo-ass, good old white folks cheese, cheese to die for, cheese to make you happy, cheese to beat the cheese boss, cheese for the big cheese, cheese to end the world,
James McBride (Deacon King Kong)
I figured maybe this was how he tortured people. He embarrassed them to death riding around in the moo-mobile.
Rick Riordan (The Battle of the Labyrinth (Percy Jackson and the Olympians, #4))
I agree with Proust in this, he says, that books create their own silences in ways that friends rarely do. And the silence that grows palpable when one has finished a canto of Dante, he says, is quite different from the silence that grows palpable when one has reached the end of Oedipus at Colonus. The most terrible thing that has happened to people today, he says, is that they have grown frightened of silence. Instead of seeking it as a friend and as a source of renewal they now try in every way they can to shut it out... the fear of silence is the fear of loneliness, he says, and the fear of loneliness is the fear of silence. People fear silence, he says, because they have lost the ability to trust the world to bring about renewal. Silence for them means only the recognition that they have been abandoned... How can people find the strength to be happy if they are so terrified of silence?
Gabriel Josipovici (Moo Pak)
Let's get out of here, my mother said.
Sharon Creech (Moo)
Gwen was kind of amazed. A mother with several degrees and a prestigious position at an Ivy League college did not ensure that she’d be any less embarrassing to her child than a mother who became a nurse through night school. Gwen knew this when Alla launched into her “unfortunate changes in my vagina after the birth of Lachlan” discussion. “No. It was his shoulders. He’s always had very large shoulders. I mean look at him. Even as a baby they were freakishly long.” “Freakishly?” Lock snapped. “They stretched me right out.” “Mom!” Brody shrugged and reached for more moo goo gai pork. “I didn’t mind.” “Dad!” “Well, darling, you were always quite large, so it made things a little easier for both of us when it came to sex.” “Mom!” Alla shook her head. “I don’t know what happened to you, Lachlan MacRyrie.” She turned to Gwen. “I’ve always insisted on being quite open about human bodies when talking to my children. There’s no shame in a woman’s body. And like everything else in the world, it ages. So while you still have the exquisite body you’ve been blessed with, Gwen dear, and that prebirth vagina— enjoy it.” “Is there any way to get you to stop?” Lock begged.
Shelly Laurenston (The Mane Squeeze (Pride, #4))
Old McDonald had a restaurant, E, I, E, I, O, And in that restaurant was some beef, E, I, E, I, O, With a moo moo here, And a moo moo there. Here a moo, there a moo, Everywhere a moo moo cholesterol filled death trap burger.
Harry Whitewolf (INDIE POET - Thirty Poems From My Thirties: 2006 - 2016)
I looked at the woman crying over the doll and felt something else. I was sick of people acting against their own interests. Mooing about how to refinance the slaughterhouse. Putting skylights in the killing pen and pretending the bolt in the brain was a pathway to a better field. I paid my bill. Save your fucking pennies for a gun and a history book, I thought.
Vanessa Veselka (Zazen)
like a man who has jumped off a diving board, but then, through force of will, lowers himself inch by inch into the pool.
Jane Smiley (Moo)
Almonds. Apricots. Avocadoes. Some peaches I don't know. Grapefruit. Lemones. Probably oranges.
Jane Smiley (Moo)
And Sam Vimes thought: Why is Young Sam's nursery full of farmyard animals anyway? Why are his books full of moo-cows and baa-lambs? He is growing up in the city. He will only see them on a plate! They go sizzle!
Terry Pratchett (Where's My Cow? (Discworld, #34.5))
I was sitting in the backseat with my brother, Luke, a seven-year-old complexity. Sometimes he acted as if he were two, and sometimes twelve. He was full of questions and energy and opinions except when you wanted him to have any of those things.
Sharon Creech (Moo)
Anna was, Livia is, Plurabelle's to be. Northmen's thing made southfolk's place but howmulty plurators made eachone in per-son? Latin me that, my trinity scholard, out of eure sanscreed into oure eryan! Hircus Civis Eblanensis! He had buckgoat paps on him, soft ones for orphans. Ho, Lord! Twins of his bosom. Lord save us! And ho! Hey? What all men. Hot? His tittering daugh-ters of. Whawk? Can't hear with the waters of. The chittering waters of. Flitter-ing bats, fieldmice bawk talk. Ho! Are you not gone ahome? What Thom Malone? Can't hear with bawk of bats, all thim liffey-ing waters of. Ho, talk save us! My foos won't moos. I feel as old as yonder elm. A tale told of Shaun or Shem? All Livia's daughter- sons. Dark hawks hear us. Night! Night! My ho head halls. I feel as heavy as yonder stone. Tell me of John or Shaun? Who wereShem and Shaun the living sons or daughters of? Night now! Tell me, tell me, tell me, elm! Night night! Telmetale of stem or stone. Beside the rivering waters of, hitherandthithering waters of. Night!
James Joyce (Finnegans Wake)
I spoke the word “moo” into a glass of water, hoping to change the structure of each water molecule into the shape of a cow. I felt like drinking a steak.
Jarod Kintz (This Book is Not for Sale)
If I eat another hamburger, I'll start to moo. - Rachel
Susan Elizabeth Phillips (Dream a Little Dream (Chicago Stars, #4))
I'm already fantasizing about the Chinese food IO'm going to order in. Moo shu chicken with hoisn sauce. Maybe I'll even eat it in the bathtub.
Meg Cabot (Queen of Babble Gets Hitched (Queen of Babble, #3))
A cow of awkward pause mooed.
David Mitchell
Just playing by the rules. Moo, bitch. Moo.
Julie Murphy (If the Shoe Fits (Meant to Be, #1))
The funeral was really sad, but Chinatown fucking killed this moo shu tonight!
Jared Reck (A Short History of the Girl Next Door)
If only, if only,” the woodpecker sighs, “The bark on the tree was just a little bit softer.” While the wolf waits below, hungry and lonely, He cries to the moo—oo—oon, “If only, if only.
Louis Sachar (Holes (Holes Series Book 1))
You know, I have to tell you"--I tried to make my voice bright to lighten the moo--"this ring of yours has got to be the ugliest thing I have ever seen." "I'm insulted." He held his hand up to the moonlight and straightened the monstrosity on his finger. "My dad gave this to me when we moved to Michigan.'To remember the old life' he said. I've never taken it off. I look at it and see California." "Remind me never to visit California.
Linda Gerber (Death by Bikini (Death By Mysteries, #1))
If only, if only,” the woodpecker sighs, “The bark on the tree was as soft as the skies.” While the wolf waits below, hungry and lonely, Crying to the moo—oo—oon, “If only, if only.” Stanley
Louis Sachar (Holes)
The entrant mooed like a calf but in insolence looked about him. Hew saw Kit. Kit saw him. Nay, it was more than pure seeing. It was Jove's bolt. It was, to borrow from the papists, the bell of the consecration. It was the revelation of the possibility nay the certainty of the probability or somewhat of the kind of the. It was the sharp knife of a sort of truth in the disguise of danger. Both went out together, and it was as if they were entering, rather than leaving, the corridor outside with its sour and burly servant languidly asweep with his broom, the major-domo in livery hovering, transformed to a sweet bower of assignation, though neither knew the other save in a covenant familiar through experience unrecorded and unrecordable whose terms were not of time and to which space was a child's puzzle.
Anthony Burgess (A Dead Man in Deptford)
Fanny snarled. “She would never agree to help a talking, part-metal bull carry out his evil plans in exchange for cash – unlike me!” “Of course,” McMoo realized. “When Seymour Bushes went to the outside toilet he shouted Eliza’s name because he thought you were her. You were hiding inside!” She nodded proudly. “I went there as soon as I’d sneaked in and slipped the moo-der card in his paper –
Steve Cole (The Victorian Moo-ders (Cows In Action 9))
I thought I heard a cow mooing in Seese's back yard. Later on, later down the road, as they say, I would learn that this was the sound of the Rinpoche chanting some ancient prayer. But, at that moment, it sounded to me very much like a mooing cow.
Roland Merullo (Breakfast with Buddha)
Little Joe was still behind him. Eli could feel it. He wanted to look back, but he couldn’t. The tears were too close. If he were Fancy, he’d turn around and kick and buck and moo and do just about anything to keep his calf near. But Eli wasn’t Fancy; he was a farmer.
Sandra Neil Wallace
Clear clutter. Make space for you.
Magdalena VandenBerg
...and the thick, sugary covering of the snow...
Jane Smiley (Moo)
What you saw was what you got, and she did not believe, as some of the other girls said, that the boys at the parties were separate from some sober incarnation of the same boys.
Jane Smiley (Moo)
Dean Harstad had unbounded patience, the very patience that drove Chairman X bananas, patience as a weapon.
Jane Smiley (Moo)
Knock, knock! Who’s there? Moo. Moo, who? Make up your mind—are you a cow or an owl?
Rob Elliott (Laugh-Out-Loud Animal Jokes for Kids (Laugh-Out-Loud Jokes for Kids))
I’d forgotten that the generally accepted norm of well done, medium and rare was translated to pink, bloody, and still mooing by a French chef.
Valerie Keogh (The Trophy Wife)
Cock-a-doodle-doo, the cow says moo.
Crazy Steve
But naturally my shoulder, sir,’ mooed the animal contentedly, ‘nobody else’s is mine to offer.
Douglas Adams (The Complete Hitchhiker's Guide to the Galaxy: The Trilogy of Five)
You, me, the animals in the wild, the animal at your feet, the animal on your plate, the person next to you— We are all one We are all holy cows Moo
David Duchovny (Holy Cow)
If only, if only,” the woodpecker sighs, “The bark on the tree was just a little bit softer.” While the wolf waits below, hungry and lonely, He cries to the moo—oo—oon, “If only, if only.
Louis Sachar (Holes)
the cow crossly shook her head and craned her neck, mooing plaintively, and beyond the black barns of Meliuzeievo the stars twinkled, and invisible threads of sympathy stretched between them and the cow as if there were cattle sheds in other worlds where she was pitied. Everything
Boris Pasternak (Doctor Zhivago)
Don’t you want to know what happened?” Carol turned to look at her and put her hands on her hips. She said, “No, I don’t, because I don’t want you making a story out of it, because as soon as you make a story out of it, then it keeps happening every time you tell it, and if you make a good story out of it, then you’re gonna want to tell it, so don’t bother.
Jane Smiley (Moo)
The body, the mind, and the spirit don't form a pyramid, they form a circle. Each of them runs into the other two. The body isn't below the mind and the spirit; from the point of view it's between them. if you reside too much in the mind, then you get too abstract and cut off from the world. You long for the spiritual life, but you can't get to it, and you fall into despair. The exercise of the senses frees you from abstraction and opens the way to transcendence.
Jane Smiley (Moo)
What the Motorcycle Said Br-r-r-am-m-m, rackerty-am-m, OM, AM: All-r-r-room, r-r-ram, ala-bas-ter- Am, the world’s my oyster. I hate plastic, wear it black and slick, hate hardhats, wear one on my head, That’s what the motorcycle said. Passed phonies in Fords, knockede down billboards, landed On the other side of The Gap, and Whee, bypassed history. When I was born (The Past), baby knew best. They shook when I bawled, took Freud’s path, threw away their wrath. R-r-rackety-am-m. Am. War, rhyme, soap, meat, marriage, the Phantom Jet are sh*t, and like that. Hate pompousness, punishment, patience, am into Love, hate middle-class moneymakers, live on Dad, that’s what the motorcycle said. Br-r-r-am-m-m. It’s Nowsville, man. Passed Oldies, Uglies, Straighties, Honkies. I’ll never be mean, tired, or unsexy. Passed cigarette suckers, souses, mother-fuckers, losers, went back to Nature and found how to get VD, stoned. Passed a cow, too fast to hear her moo, “I rolled our leaves of grass into one ball. I am the grassy All.” Br-r-r-am-m-m, rackety-am-m, OM, Am: All-gr-r-rin, oooohgah, gl-l-utton- Am, the world’s my smilebutton.
Mona van Duyn
In this flirtation he was conducting, he had had to rely entirely on his personality, never a good idea.
Jane Smiley (Moo)
Mary had nice clothes, too, ones she had worked hard for over the summer,
Jane Smiley (Moo)
We've heard history for centuries. It's time for herstory.
Mommy Moo Moo
Alles, woran man glaubt, beginnt zu existieren.
Ilse Aichinger (Kleist, Moos, Fasane)
Hmmph, said Mrs. Walker, or rather, without speaking, she launched this hmmph into the air of the room and allowed it to float there.
Jane Smiley (Moo)
It was the exact combination of the ephemeral and the eternal that a dying man needed to know about.
Jane Smiley (Moo)
It's like a buffet, basically. Like this really expensive buffet, except also you have to eat all of what's on your plate or they expel you. So conceptually that's kind of fucked up. If that happened at real buffets, that would be incredible. If you were like, 'Hmm, this moo shu pork has kind of a chalky dirt taste,' and then some enormous Chinese guy is like, 'EAT IT OR WE WILL GIVE YOU AN F, AND ALSO WE WILL KICK YOU OUT OF THE RESTAURANT,' that just doesn't seem like a good business model.
Jesse Andrews (Me and Earl and the Dying Girl)
Poor Buttercup was not in a very good mood; for she had been lately bereft of her calf, and mourned for the little thing most dismally. Just now she regarded all mankind as her enemies (and I do not blame her), so when the matadore came prancing towards her with the red handkerchief flying at the end of his long lance, she threw up her head, and gave a most appropriate "Moo!".
Louisa May Alcott (Little Men (Little Women, #2))
One signal conversation, which she had lingered near for ten minutes, between two woman German professors, had concerned a support group they both belonged to for people with an overwhelming compulsion to tear up their clothes and braid them into rag rugs.
Jane Smiley (Moo)
She did not think it any coincidence that ideas denigrating literary authorship had taken center stage simultaneously with the emergence of formerly silent voices for whom the act of writing, and publishing, had the deepest and most delicious possible meaning, simultaneously with the emergence of an audience for whom the act of thinking and writing was an act of skeptical anger, sometimes a transitional act to violence.
Jane Smiley (Moo)
All those cows with the same pattern of black and white, all turning their heads at the same time, all mooing in unison (his first love was still cloning) and all feeling pregnant when they were not, didn’t seem to be an image she could hold in her head along with the rest of what she knew about life.
Jane Smiley (Moo)
My vagina was green water, soft pink fields, cow mooing sun resting sweet boyfriend touching lightly with soft piece of blond straw. There is something between my legs. I do not know what it is. I do not know where it is. I do not touch. Not now. Not anymore. Not since. My vagina was chatty, can't wait, so much, so much saying, words talking, can't quit trying, can't quit saying, oh yes, oh yes. Not since I dream there's a dead animal sewn in down there with thick black fishing line. And the bad dead animal smell cannot be removed. And its throat is slit and it bleeds through all my summer dresses. My vagina singing all girl songs, all goat bells ringing songs, all wild autumn field songs, vagina songs, vagina home songs. Not since the soldiers put a long thick rifle inside me. So cold, the steel rod canceling my heart. Don't know whether they're going to fire it or shove it through my spinning brain. Six of them, monstrous doctors with black masks shoving bottles up me too. There were sticks, and the end of a broom. My vagina swimming river water, clean spilling water over sun-baked stones over stone clit, clit stones over and over. Not since I heard the skin tear and made lemon screeching sounds, not since a piece of my vagina came off in my hand, a part of the lip, now one side of the lip is completely gone. My vagina. A live wet water village. My vagina my hometown. Not since they took turns for seven days smelling like feces and smoked meat, they left their dirty sperm inside me. I became a river of poison and pus and all the crops died, and the fish. My vagina a live wet water village. They invaded it. Butchered it and burned it down. I do not touch now. Do not visit. I live someplace else now. I don't know where that is.
V (formerly Eve Ensler) (The Vagina Monologues)
James condemns any form of Christianity that drifts into a sterile, actionless "orthodoxy." Faith, not what we do, is fundamental in establishing a relationship with God. But faith, James insists, must be given content. Genuine faith, he insists, always and inevitably produces evidence of its existence in a life of righteous living.
Douglas J. Moo (The Letter of James (The Pillar New Testament Commentary))
The plant succession that had begun in March with snowdrops and early crocuses would soon flicker out in a blaze of orange chrysanthemums and show its last pinpoints of color in bittersweet and ash berries hanging like embers in the general misty brown of the world.
Jane Smiley (Moo)
I do not know where this mania for understanding oneself has come from, he said, but it clearly exerts a powerful hold on people.
Gabriel Josipovici (Moo Pak)
She chewed the tender meat and sucked out the juices and felt the sauce coat her tongue and roll down her throat. After that, he looked still better. Another
Jane Smiley (Moo)
Pinecones. Little works of art. Prickly. Reminders of fall. Similar to pineapples. A sign of welcome.
Mommy Moo Moo (Loblolly, Loblolly, You're So Tall)
Christ who is your life,' (Col 3:4): This identification reflects the relentless Christological focus of Colossians.
Douglas J. Moo (The Letters to the Colossians and to Philemon (The Pillar New Testament Commentary (PNTC)))
Your heart is the voice of Mother Nature. It’s the real mystic.
Deb Chowdhury (Boo, Moo and Koo)
A girl who made no mistakes about the right shade of lipstick would always land on her feet.
Jane Smiley (Moo)
and the horticulturalists really believed that gardening would save the world that agriculture was destroying.
Jane Smiley (Moo)
redound to the university’s professed goal of excellence
Jane Smiley (Moo)
I was about to order Chinese when I looked out the window and saw you. Hey, do you two want to stay? We’re getting moo shu.” It was so like Uncle Chris to go from wanting to beat John up one minute, to inviting him for moo shu the next. “Uh, maybe,” I said. I pointed to the French doors, looking questioningly at John. He nodded. “Let’s see how it goes, okay, Uncle Chris?” “That’d be good,” Uncle Chris said. “We could talk all this out.” John followed me inside, Uncle Chris trailing behind us, his expression curious rather than suspicious. “I hate it when families fight,” Uncle Chris was saying. “It makes it so uncomfortable…” I suppose I should have counted it lucky that it had been Uncle Chris, and not some other adult, I’d run into first at home. I wasn’t sure if it was because of all the years he’d sent out of mainstream society-he still had no idea how to text, or what Google was-or if his personality was really this childlike.
Meg Cabot (Underworld (Abandon, #2))
IT ALL BEGAN with the High Court case about the madman and the watermelons. The man in question, named Ivan, lived along the River Dell in an eastern section of the city near the merchant docks. To one side of his house resided a cutter and engraver of gravestones, and to the other side was a neighbor’s watermelon patch. Ivan had contrived somehow in the dark of night to replace every watermelon in the watermelon patch with a gravestone, and every gravestone in the engraver’s lot with a watermelon. He’d then shoved cryptic instructions under each neighbor’s door with the intention of setting each on a scavenger hunt to find his missing items, a move useless in one case and unnecessary in the other, as the watermelon-grower could not read and the gravestone-carver could see her gravestones from her doorstep quite plainly, planted in the watermelon patch two lots down. Both had guessed the culprit immediately, for Ivan’s antics were not uncommon. Only a month ago, Ivan had stolen a neighbor’s cow and perched her atop yet another neighbor’s candle shop, where she mooed mournfully until someone climbed the roof to milk her, and where she was compelled to live for several days, the kingdom’s most elevated and probably most mystified cow, while the few literate neighbors on the street worked through Ivan’s cryptic clues for how to build the rope and pulley device to bring her down.
Kristin Cashore (Bitterblue (Graceling Realm, #3))
This was fresh, rich, heavenly, succulent, soft, creamy, kiss-my-ass, cows-gotta-die-for-this, delightfully salty, moo-ass, good old white folks cheese, cheese to die for, cheese to make you happy, cheese to beat the cheese boss, cheese for the big cheese, cheese to end the world, cheese so good it inspired a line every first Saturday of the month: mothers, daughters, fathers, grandparents, disabled in wheelchairs, kids, relatives from out of town, white folks from nearby Brooklyn Heights, and even South American workers from the garbage-processing plant on Concord Avenue, all patiently standing in a line that stretched from the interior of Hot Sausage’s boiler room to Building 17’s outer doorway, up the ramp to the sidewalk, curling around the side of the building and to the plaza near the flagpole.
James McBride (Deacon King Kong)
At high school I was never comfortable for a minute. I did not know about Lonnie. Before an exam, she got icy hands and palpitations, but I was close to despair at all times. When I was asked a question in class, any simple little question at all, my voice was apt to come out squeaky, or else hoarse and trembling. When I had to go to the blackboard I was sure—even at a time of the month when this could not be true—that I had blood on my skirt. My hands became slippery with sweat when they were required to work the blackboard compass. I could not hit the ball in volleyball; being called upon to perform an action in front of others made all my reflexes come undone. I hated Business Practice because you had to rule pages for an account book, using a straight pen, and when the teacher looked over my shoulder all the delicate lines wobbled and ran together. I hated Science; we perched on stools under harsh lights behind tables of unfamiliar, fragile equipment, and were taught by the principal of the school, a man with a cold, self-relishing voice—he read the Scriptures every morning—and a great talent for inflicting humiliation. I hated English because the boys played bingo at the back of the room while the teacher, a stout, gentle girl, slightly cross-eyed, read Wordsworth at the front. She threatened them, she begged them, her face red and her voice as unreliable as mine. They offered burlesqued apologies and when she started to read again they took up rapt postures, made swooning faces, crossed their eyes, flung their hands over their hearts. Sometimes she would burst into tears, there was no help for it, she had to run out into the hall. Then the boys made loud mooing noises; our hungry laughter—oh, mine too—pursued her. There was a carnival atmosphere of brutality in the room at such times, scaring weak and suspect people like me.
Alice Munro (Dance of the Happy Shades)
Those Latin American and Eastern European novelists aren’t any help here. They live inside the mansion of female desire as if it is their right. Their own desire is a nice healthy dog on a string, ready to eat, fuck, fetch, piss on the bushes.
Jane Smiley (Moo)
Good evening," it lowed and sat back heavily on its haunches, "I am the main Dish of the Day. May I interest you in parts of my body? It harrumphed and gurgled a bit, wriggled its hind quarters into a more comfortable position and gazed peacefully at them. Its gaze was met by looks of startled bewilderment from Arthur and Trillian, a resigned shrug from Ford Prefect and naked hunger from Zaphod Beeblebrox. "Something off the shoulder perhaps?" suggested the animal. "Braised in a white wine sauce?" "Er, your shoulder?" said Arthur in a horrified whisper. "But naturally my shoulder, sir," mooed the animal contentedly, "nobody else's is mine to offer." Zaphod leapt to his feet and started prodding and feeling the animal's shoulder appreciatively. "Or the rump is very good," murmured the animal. "I've been exercising it and eating plenty of grain, so there's a lot of good meat there." It gave a mellow grunt, gurgled again and started to chew the cud. It swallowed the cud again. "Or a casserole of me perhaps?" it added. "You mean this animal actually wants us to eat it?" whispered Trillian to Ford. "Me?" said Ford, with a glazed look in his eyes. "I don't mean anything." "That's absolutely horrible," exclaimed Arthur, "the most revolting thing I've ever heard." "What's the problem, Earthman?" said Zaphod, now transferring his attention to the animal's enormous rump. "I just don't want to eat an animal that's standing there inviting me to," said Arthur. "It's heartless." "Better than eating an animal that doesn't want to be eaten," said Zaphod. "That's not the point," Arthur protested. Then he thought about it for a moment. "All right," he said, "maybe it is the point. I don't care, I'm not going to think about it now. I'll just ... er ..." The Universe raged about him in its death throes. "I think I'll just have a green salad," he muttered. "May I urge you to consider my liver?" asked the animal, "it must be very rich and tender by now, I've been force-feeding myself for months." "A green salad," said Arthur emphatically. "A green salad?" said the animal, rolling his eyes disapprovingly at Arthur. "Are you going to tell me," said Arthur, "that I shouldn't have green salad?" "Well," said the animal, "I know many vegetables that are very clear on that point. Which is why it was eventually decided to cut through the whole tangled problem and breed an animal that actually wanted to be eaten and was capable of saying so clearly and distinctly. And here I am." It managed a very slight bow. "Glass of water please," said Arthur. "Look," said Zaphod, "we want to eat, we don't want to make a meal of the issues. Four rare steaks please, and hurry. We haven't eaten in five hundred and seventy-six thousand million years." The animal staggered to its feet. It gave a mellow gurgle. "A very wise choice, sir, if I may say so. Very good," it said. "I'll just nip off and shoot myself." He turned and gave a friendly wink to Arthur. "Don't worry, sir," he said, "I'll be very humane." It waddled unhurriedly off to the kitchen. A matter of minutes later the waiter arrived with four huge steaming steaks.
Douglas Adams (The Restaurant at the End of the Universe (The Hitchhiker's Guide to the Galaxy, #2))
If you reside too much in the mind, then you get too abstract and cut off from the world. You long for the spiritual life, but you can’t get to it, and you fall into despair. The exercise of the senses frees you from abstraction and opens the way to transcendence.
Jane Smiley (Moo)
How did he manage such feats of compassion while staying sane and creative? By stilling the mind and communing with nature: One hears the [Teaching's] voice from the world as a whole, from the chirping of the birds, the mooing of the cows, from the voices and tumult of human beings; from all these one hears the voice of God. . .. All our senses feed the brain, and if it diets mainly on cruelty and suffering, how can it remain healthy? Change that diet, on purpose, train mentally to refocus the mind, and one nourishes the brain.
Diane Ackerman (The Zookeeper's Wife)
Charlotte had tried to read his work. It seemed only polite, after all, given that they were neighbors. But after a while, she'd simply had to give up. 'Love' always rhymed with 'dove,' (Where, she wondered, did one locate that many doves in Derbyshire?) and 'you' rhymed so often with 'dew,' that Charlotte had wanted to grab Rupert by the shoulders and yell, 'Few, hue, new, woo, Waterloo!' Good gracious, even 'moo' would have been preferable. Rupert's poetry could surely have been improved by a cow or two. Saying moo on cue at Waterloo.
Julia Quinn (Where's My Hero? (The Gamblers of Craven's, #2.5; Brotherhood - MacAllister's, #4.5; Splendid, #3.5))
Is your cheese this good? This wasn’t plain old housing projects “cheese food”; nor was it some smelly, curdled, reluctant Swiss cheese material snatched from a godforsaken bodega someplace, gathering mold in some dirty display case while mice gnawed at it nightly, to be sold, to some sucker fresh from Santo Domingo. This was fresh, rich, heavenly, succulent, soft, creamy, kiss-my-ass, cows-gotta-die-for-this, delightfully salty, moo-ass, good old white folks cheese, cheese to die for, cheese to make you happy, cheese to bet the cheese boss, cheese for the big cheese, cheese to end the world ...
James McBride (Deacon King Kong)
Yesterday was history, today is challenging, and tomorrow will be destination
Kaw Moo
Be careful is better than never wrong.
Kaw Moo
If you procrastinate for today, nothing will be done for tomorrow.
Kaw Moo
We've simply become too attached to work," I explained. "We've become too addicted to working and we need to balance our lives with a little idle activity like sitting on porches or chatting with neighbors." "I would HATE that!" she answered with a moo of disgust. "I LOVE to work! I can't stand just sitting around. Work makes me happy." This woman, by the way, is one of the most grounded, cheerful, and talented people I know. She's also not an outlier. I've had this conversation many times over the past few years with both friends and strangers and I often get some version of, "but I love to work!" in response. The question for me wasn't whether people enjoyed their work but whether they needed it. That was the question that drove my research. The question I asked hundreds of people around the country and the essential question of this book: Is work necessary? A lot of people will disagree with my next statement to the point of anger and outrage: Humans don't need to work in order to be happy. At this point, in our historical timeline, that claim is almost subversive. The assumption that work is at the core of what it means to lead a useful life underlies so much of our morality that it may feel I'm questioning our need to breathe or eat or sleep. But as I examined the body of research of what we know is good for all humans, what is necessary for all humans, I noticed a gaping hole where work was supposed to be. This lead me to ask some pointed questions about why most of us feel we can't be fully human unless we're working. Please note that by "work" I don't mean the activities we engage in to secure our survival: finding food, water, or shelter. I mean the labor we do to secure everything else beyond survival or to contribute productively to the broader society - the things we do in exchange for pay.
Celeste Headlee (Do Nothing: How to Break Away from Overworking, Overdoing, and Underliving)
So what's going on with you and your boyfriend?" Eli asked me right before he shoved a forkful of eggs into his mouth during breakfast the next morning. I made a face in the direction of my plate before shooting a glance upward to find Gordo’s eyes on me, a smirk on his face. "Mason?" I asked, going back to my food. Eli made a gagging noise, elbowing me hard in the ribs. "I'm not gonna go into details on how disturbing it is that I say ‘your boyfriend’ and you automatically think of fucking Mase." "He's always calling me his wife, or telling people I don't know that we're getting married," I replied, elbowing him back as hard as he got me. It was partially the truth… but mostly, I didn’t want to talk about the man who had been kissing my shoulder hours ago. "I love Mase, but it'll be a sunny day in my asshole before you and him get together," he mumbled. I snorted, biting into my biscuit. "Who the heck else would you be talking about?" I asked, but I knew. Oh, I knew damn well he was referring to Sacha. Freaking Gordo snickered from across the table before putting his hands up in surrender when I glared at him. "I didn’t say anything." "Sacha, Flabby. Sacha. Your boyfriend. Your snuggle bug." Eliza finally answered. Suddenly the half-eaten biscuit on my plate needed to be eaten immediately. I shoved the entire piece into my mouth to avoid the conversation my brother was trying to edge into. I'd had talks about boys with Eli in the past, and they never ended—or started—well. "There's nothing going on between us. We're just friends." Because we were. Eli made a noise that sounded like “hmmph” deep in his throat. It was incredulous and disbelieving. Then he asked the question to prove it, his attention back on his band mate. "Gordo, do you think I'm blind?" Gordo shook his head. "Gaby, do you think I'm blind?" he asked. "Not blind, just dumb.” I smiled. He shot me a frown. A moment later, he threw his arm over my shoulders and started shoving his plate away with his free hand. "Flabby Gaby, that kid is in love with you." In love. With me? I leaned forward and tried to sniff his breath. “Are you still drunk?” But my brother kept talking before I could keep going. "Anyone with eyes and ears knows that guy thinks you shit out Lucky Charms." Gordo and I burst out laughing. "Is that a good thing?" I asked him. Eliza shoved my face away with his palm, ignoring my commentary again. "And I think that you love him, too." The noise that came out of my mouth sounded like a hybrid “moo” and squawk at the same time. "I—,” I slammed my mouth shut before opening it again with a sputter. “What?
Mariana Zapata (Rhythm, Chord & Malykhin)
I only wanted books—nothing more—only books, only words, it was never anything but words—give them to me, I don’t have any! Look, see, I don’t have any! Look, I’m naked, barefoot, I’m standing before you—nothing in my pants pockets, nothing under my shirt or under my arm! They’re not stuck in my beard! Inside—look—there aren’t any inside either—everything’s been turned inside out, there’s nothing there! Only guts! I’m hungry! I’m tormented!... What do you mean there’s nothing? Then how can you talk and cry, what words are you frightened with, which ones do you call out in your sleep? Don’t nighttime cries roam inside you, a thudding twilight murmur, a fresh morning shriek? There they are words—don’t you recognize them? They’re writhing inside you, trying to get out! There they are! They’re yours! From wood, stone, roots, growing in strength, a dull mooing and whining in the gut is trying to get out; a piece of tongue curls, the torn nostrils swell in torment. That’s how the bewitched, beaten, and twisted snuffle with a mangy wail, their boiled white eyes locked up in closets, their vein torn out, backbone gnawed; that’s right, that’s how your pushkin writhe, or mushkin—what is in my name for you?—pushkin-mushkin, flung upon the hillock like a shaggy black idol, forever flattened by fences, up to his ears in di, the pushkin-stump, legless, six-fingered, biting his tongue, nose in his chest—and his head can’t be raised!—pushkin, tearing off the poisoned shirt, ropes, chains, caftan, noose, that wooden heaviness: let me out, let me out! What is in my name for you? Why does the wind spin in the gully? How many roads must a man walk down? What do you want, old man? Why do you trouble me? My Lord, what is the matter? Ennui, oh, Nin! Grab the inks and cry! Open the dungeon wide! I’m here! I’m innocent! I’m with you! I’m with you!
Tatyana Tolstaya (The Slynx)
Still dark. The Alpine hush is miles deep. The skylight over Holly’s bed is covered with snow, but now that the blizzard’s stopped I’m guessing the stars are out. I’d like to buy her a telescope. Could I send her one? From where? My body’s aching and floaty but my mind’s flicking through the last night and day, like a record collector flicking through a file of LPs. On the clock radio, a ghostly presenter named Antoine Tanguay is working through Nocturne Hour from three till four A.M. Like all the best DJs, Antoine Tanguay says almost nothing. I kiss Holly’s hair, but to my surprise she’s awake: “When did the wind die down?” “An hour ago. Like someone unplugged it.” “You’ve been awake a whole hour?” “My arm’s dead, but I didn’t want to disturb you.” “Idiot.” She lifts her body to tell me to slide out. I loop a long strand of her hair around my thumb and rub it on my lip. “I spoke out of turn last night. About your brother. Sorry.” “You’re forgiven.” She twangs my boxer shorts’ elastic. “Obviously. Maybe I needed to hear it.” I kiss her wound-up hair bundle, then uncoil it. “You wouldn’t have any ciggies left, perchance?” In the velvet dark, I see her smile: A blade of happiness slips between my ribs. “What?” “Use a word like ‘perchance’ in Gravesend, you’d get crucified on the Ebbsfleet roundabout for being a suspected Conservative voter. No cigarettes left, I’m ’fraid. I went out to buy some yesterday, but found a semiattractive stalker, who’d cleverly made himself homeless forty minutes before a whiteout, so I had to come back without any.” I trace her cheekbones. “Semiattractive? Cheeky moo.” She yawns an octave. “Hope we can dig a way out tomorrow.” “I hope we can’t. I like being snowed in with you.” “Yeah well, some of us have these job things. Günter’s expecting a full house. Flirty-flirty tourists want to party-party-party.” I bury my head in the crook of her bare shoulder. “No.” Her hand explores my shoulder blade. “No what?” “No, you can’t go to Le Croc tomorrow. Sorry. First, because now I’m your man, I forbid it.” Her sss-sss is a sort of laugh. “Second?” “Second, if you went, I’d have to gun down every male between twelve and ninety who dared speak to you, plus any lesbians too. That’s seventy-five percent of Le Croc’s clientele. Tomorrow’s headlines would all be BLOODBATH IN THE ALPS AND LAMB THE SLAUGHTERER, and the a vegetarian-pacifist type, I know you wouldn’t want any role in a massacre so you’d better shack up”—I kiss her nose, forehead, and temple—“with me all day.” She presses her ear to my ribs. “Have you heard your heart? It’s like Keith Moon in there. Seriously. Have I got off with a mutant?” The blanket’s slipped off her shoulder: I pull it back. We say nothing for a while. Antoine whispers in his radio studio, wherever it is, and plays John Cage’s In a Landscape. It unscrolls, meanderingly. “If time had a pause button,” I tell Holly Sykes, “I’d press it. Right”—I press a spot between her eyebrows and up a bit—“there. Now.” “But if you did that, the whole universe’d be frozen, even you, so you couldn’t press play to start time again. We’d be stuck forever.” I kiss her on the mouth and blood’s rushing everywhere. She murmurs, “You only value something if you know it’ll end.
David Mitchell (The Bone Clocks)