Motorcycle Shipping Quotes

The Grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships, motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I'd never see. And then, one day I got in...

Shapes began to appear in the mist as it thickened. Clary saw herself and Simon as children, holding hands, crossing a street in Brooklyn,; she had barrettes in her hair and Simon was adorably rumpled, his glasses sliding off his nose. There they were again, throwing snowballs in Prospect Park; and at Luke's farmhouse, tanned from summer, hanging upside down from tree branches. She saw them in Java Jones, listening to Eric's terrible poetry, and on the back of a flying motorcycle as it crashed into a parking lot, with Jace there, looking at them, his eyes squinted against the sun. And there was Simon with Isabelle, his hands curved around her face, kissing her, and she could see Isabelle as Simon saw her: fragile and strong, and so, so beautiful. And there was Valentine's ship, Simon kneeling on Jace, blood on his mouth and shirt, and blood at Jace's throat, and there was the cell in Idris, and Hodge's weathered face, and Simon and Clary again, Clary etching the Mark of Cain onto his forehead. Maureen, and her blood on the floor, and her little pink hat, and the rooftop in Manhattan where Lilith had raised Sebastian, and Clary was passing him a gold ring across a table, and an Angel was rising out of a lake before him and he was kissing Isabelle...

Sala called for more drink and Sweep brought four rums, saying they were on the house. We thanked him and sat for another half hour, saying nothing. Down on the waterfront I could hear the slow clang of a ship’s bell as it eased against the pier, and somewhere in the city a motorcycle roared through the narrow streets, sending its echo up the hill to Calle O’Leary. Voices rose and fell in the house next door and the raucous sound of a jukebox came from a bar down the street. Sounds of a San Juan night, drifting across the city through layers of humid air; sounds of life and movement, people getting ready and people giving up, the sound of hope and the sound of hanging on, and behind them all, the quiet, deadly ticking of a thousand hungry clocks, the lonely sound of time passing in the long Caribbean night.

I liked the way the boats looked, but I didn’t do anything about it. After a blowup with the feculent Times bloater—lying there on his waterbed playing the paper comb and drinking black rum—I flew up to Houston, Texas— don’t ask me why—and bought a touring bike. A bicycle, not a motorcycle. And I pedaled it to Los Angeles. The most terrible trip in the world. I mean Apsley Cherry-Garrard with Scott at the pole didn’t have a clue. I endured sandstorms, terrifying and lethal heat, thirst, freezing winds, trucks that tried to kill me, mechanical breakdowns, a Blue Norther, torrential downpours and floods, wolves, ranchers in single-engine planes dropping flour bombs. And Quoyle, the only thing that kept me going through all this was the thought of a little boat, a silent, sweet sailboat slipping through the cool water. It grew on me. I swore if I ever got off that fucking bicycle seat which was, by that time, welded into the crack of me arse, if ever I got pried off the thing I’d take to the sea and never leave her.

An ominous hush lies over the busiest, most bustling part of town. No hoofbeats, no rattling of cart wheels or rumble of automobiles, no roar of motorcycles or ringing of bicycle bells. No rasp of sawing from the carpenters’ workshops, or clanging from the forges, or slamming of warehouse doors. No gossiping voices of washerwomen on their way to the hot springs, no shouts of dockworkers unloading the ships, or cries of newspaper hawkers on the main street. No smell of fresh bread from the bakeries, or waft of roasting meat from the restaurants.

But before that could happen he was awake. It was half an hour after dawn, and the world was swaddled in a thick white ground fog that would burn off when the sun got up a little more. Now the motorcycle dealership rose out of it like some strange ship’s prow constructed of cinderblock instead of wood.

It is now time to face the fact that English is a crazy language — the most loopy and wiggy of all tongues. In what other language do people drive in a parkway and park in a driveway? In what other language do people play at a recital and recite at a play? Why does night fall but never break and day break but never fall? Why is it that when we transport something by car, it’s called a shipment, but when we transport something by ship, it’s called cargo? Why does a man get a hernia and a woman a hysterectomy? Why do we pack suits in a garment bag and garments in a suitcase? Why do privates eat in the general mess and generals eat in the private mess? Why do we call it newsprint when it contains no printing but when we put print on it, we call it a newspaper? Why are people who ride motorcycles called bikers and people who ride bikes called cyclists? Why — in our crazy language — can your nose run and your feet smell?Language is like the air we breathe. It’s invisible, inescapable, indispensable, and we take it for granted. But, when we take the time to step back and listen to the sounds that escape from the holes in people’s faces and to explore the paradoxes and vagaries of English, we find that hot dogs can be cold, darkrooms can be lit, homework can be done in school, nightmares can take place in broad daylight while morning sickness and daydreaming can take place at night, tomboys are girls and midwives can be men, hours — especially happy hours and rush hours — often last longer than sixty minutes, quicksand works very slowly, boxing rings are square, silverware and glasses can be made of plastic and tablecloths of paper, most telephones are dialed by being punched (or pushed?), and most bathrooms don’t have any baths in them. In fact, a dog can go to the bathroom under a tree —no bath, no room; it’s still going to the bathroom. And doesn’t it seem a little bizarre that we go to the bathroom in order to go to the bathroom? Why is it that a woman can man a station but a man can’t woman one, that a man can father a movement but a woman can’t mother one, and that a king rules a kingdom but a queen doesn’t rule a queendom? How did all those Renaissance men reproduce when there don’t seem to have been any Renaissance women? Sometimes you have to believe that all English speakers should be committed to an asylum for the verbally insane: In what other language do they call the third hand on the clock the second hand? Why do they call them apartments when they’re all together? Why do we call them buildings, when they’re already built? Why it is called a TV set when you get only one? Why is phonetic not spelled phonetically? Why is it so hard to remember how to spell mnemonic? Why doesn’t onomatopoeia sound like what it is? Why is the word abbreviation so long? Why is diminutive so undiminutive? Why does the word monosyllabic consist of five syllables? Why is there no synonym for synonym or thesaurus? And why, pray tell, does lisp have an s in it? If adults commit adultery, do infants commit infantry? If olive oil is made from olives, what do they make baby oil from? If a vegetarian eats vegetables, what does a humanitarian consume? If pro and con are opposites, is congress the opposite of progress? ...

I built, of blocks, a town three hundred thousand strong, whose avenues were paved with a wine-colored rug and decorated by large leaves outlined inappropriately in orange, and on this leafage I'd often park my Tootsie Toy trucks, as if on pads of camouflage, waiting their deployment against catastrophes which included alien invasions, internal treachery, and world war. It was always my intention, and my conceit, to use up, in the town's construction, every toy I possessed: my electronic train, of course, the Lincoln Logs, old kindergarten blocks—their deeply incised letters always a problem—the Erector set, every lead soldier that would stand (broken ones were sent to the hospital), my impressive array of cars, motorcycles, tanks, and trucks—some with trailers, some transporting gas, some tows, some dumps—and my squadrons of planes, my fleet of ships, my big and little guns, an undersized group of parachute people (looking as if one should always imagine them high in the sky, hanging from threads), my silversided submarines, along with assorted RR signs, poles bearing flags, prefab houses with faces pasted in their windows, small boxes of a dozen variously useful kinds, strips of blue cloth for streams and rivers, and glass jars for town water towers, or, in a pinch, jails. In time, the armies, the citizens, even the streets would divide: loyalties, friendships, certainties, would be undermined, the city would be shaken by strife; and marbles would rain down from formerly friendly planes, steeples would topple onto cars, and shellfire would soon throw aggie holes through homes, soldiers would die accompanied by my groans, and ragged bands of refugees would flee toward mountain caves and other chairs and tables.

It was early spring of 1997, about five years into my career as a journalist, a day of dark skies and cold rain. Peter Diamandis and I had gotten together for the very first time at a rundown diner on the outskirts of Chinatown, San Francisco. The diner was long and narrow, and we were seated toward the rear of the room. I was sitting with my back to the building’s far corner, Peter with his back to the rest of the restaurant. And the rest of the restaurant was staring at him. For twenty minutes, Peter had been getting more and more excited while telling me about his newly launched endeavor: the XPRIZE, a ten-million-dollar competition for the first team to build a private spaceship capable of taking three people into space twice in two weeks. Already, the Sharpie had come out. There were charts on napkins, graphs on placemats, a healthy rearrangement of condiments — the ketchup marking the end of the troposphere, the mustard the beginning of the mesosphere. About the time he got loud about how some maverick innovator working out of a garage somewhere was going to “take down NASA,” people began to stare. Peter couldn’t see them; I could. Twenty folks in the restaurant, all looking at him like he was stark raving mad. And I remember this: I remember thinking they were wrong. It’s hard to put my finger on why. Part of it was a strange hunch. Journalists tend to be cynical by nature and disbelieving by necessity. The job requires a fairly healthy bullshit detector, and that was the thing — mine wasn’t going off. More of it was that I had just come from a month in the Black Rock Desert, outside of Gerlach, Nevada, watching Craig Breedlove try to drive a car through the sound barrier. Breedlove’s effort was terrestrial-bound rocket science, for sure. The Spirit of America, his vehicle, was pretty much a miniature Saturn V — 40 feet long, 8 feet wide, 6 feet high, and powered by a turbojet engine that burned, well, rocket fuel. During those long days in the desert, I spent a lot of time talking to aerospace engineers. They all made one thing clear: Driving a car through the sound barrier was a lot harder than sending a rocket ship into low-earth orbit. In fact, when I asked Breedlove’s crew chief, former Air Force pilot turned aerospace engineer Dezso Molnar — who we’ll meet again later as the inventor of the world’s first flying motorcycle — what he was going to work on when all this was over, he said, “I want to do something easy, something relaxing. I think I’m going to build a spaceship.