β
You're broke, eh?"
I been shaking two nickels together for a month, trying to get them to mate.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
His chest, heaving harder this time. His words, almost gasping this time. βYou destroy me.β
I am falling to pieces in his arms.
My fists are full of unlucky pennies and my heart is a jukebox demanding a few nickels and my head is flipping quarters heads or tails heads or tails heads or tails heads or tails
βJuliette,β he says, and he mouths the name, barely speaking at all, and heβs pouring molten lava into my limbs and I never even knew I could melt straight to death.
βI want you,β he says. He says βI want all of you. I want you inside and out and catching your breath and aching for me like I ache for you.β He says it like itβs a lit cigarette lodged in his throat, like he wants to dip me in warm honey and he says βItβs never been a secret. Iβve never tried to hide that from you. Iβve never pretended I wanted anything less.
β
β
Tahereh Mafi (Unravel Me (Shatter Me, #2))
β
I try to make a point of being seen. Sometimes when I'm out, I'll buy a juice even when I'm not thirsty. If the store is crowded I'll even go so far as dropping change all over the floor, nickels and dimes skidding in every direction. All I want is not to die on a day I went unseen.
β
β
Nicole Krauss (The History of Love)
β
After the last shovel of dirt was patted in place, I sat down and let my mind drift back through the years. I thought of the old K. C. Baking Powder can, and the first time I saw my pups in the box at the depot. I thought of the fifty dollars, the nickels and dimes, and the fishermen and blackberry patches.
I looked at his grave and, with tears in my eyes, I voiced these words: "You were worth it, old friend, and a thousand times over.
β
β
Wilson Rawls (Where the Red Fern Grows)
β
What you don't necessarily realize when you start selling your time by the hour is that what you're really selling is your life.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
A nickel ain't worth a dime anymore.
β
β
Yogi Berra
β
The main problem in any democracy is that crowd-pleasers are generally brainless swine who can go out on a stage & whup their supporters into an orgiastic frenzyβthen go back to the office & sell every one of the poor bastards down the tube for a nickel apiece.
β
β
Hunter S. Thompson (Fear and Loathing: On the Campaign Trail '72)
β
Besides, if I had a nickel for every time I wanted to smack a kidβs parents for not teaching them even the most basic thingsβ¦wellβ¦Iβd have enough nickels to put in a sock and smack those parents with it.
β
β
Andy Weir (Project Hail Mary)
β
We must believe in our souls that we are somebody, that we are significant, that we are worthful, and we must walk the streets of life every day with this sense of dignity and this sense of somebody-ness.
β
β
Colson Whitehead (The Nickel Boys)
β
I want my life to be easier than this. I mean, I know I'm not some starving kid who has to wash clothes in the Ganges for a nickel, but today just sucks.
β
β
A.S. King (Ask the Passengers)
β
You can change the law but you canβt change people and how they treat each other.
β
β
Colson Whitehead (The Nickel Boys)
β
I don't wanna take my time going to work, I got a motorcycle and a sleeping bag and ten or fifteen girls. What the hell I wanna go off and go to work for? Work for what? Money? I got all the money in the world. I'm the king, man. I run the underworld, guy. I decide who does what and where they do it at. What am I gonna run around like some teeny bopper somewhere for someone elses money? I make the money man, I roll the nickels. The game is mine. I deal the cards
β
β
Charles Manson
β
Donβt give up on books. They feel so goodβtheir friendly heft. The sweet reluctance of their pages when you turn them with your sensitive fingertips. A large part of our brains is devoted to deciding what our hands are touching, is good or bad for us. Any brain worth a nickel knows books are good for us.
β
β
Kurt Vonnegut Jr. (If This Isn't Nice, What Is?: Advice for the Young)
β
If I had a nickel for every time I heard the words 'I don't want to ruin our friendship ' I wouldn't be driving a car with an ominously flashing 'check engine' light.
β
β
Molly Harper (Nice Girls Don't Have Fangs (Jane Jameson, #1))
β
I buried a nickel under the porch when I was 8, she said, but one day my grandma died & they sold the house & I never got to go back for it.
A nickel used to mean something, I said.
She nodded. It still does, she said & then she started to cry.
β
β
Brian Andreas (Story People)
β
If everyone looked the other way, then everybody was in on it. If he looked the other way, he was as implicated as the rest. That's how he saw it, how he'd always seen things.
β
β
Colson Whitehead (The Nickel Boys)
β
I remembered my New
Orleans days, living on two five-cent candy bars a day for weeks at a time in order to have leisure to
write. But starvation, unfortunately, didn't improve art. It only hindered it. A man's soul was rooted in
his stomach. A man could write much better after eating a porterhouse steak and drinking a pint of
whiskey than he could ever write after eating a nickel candy bar. The myth of the starving artist was a
hoax.
β
β
Charles Bukowski (Factotum)
β
If it is true for you, it is true for someone else, and you are no longer alone.
β
β
Colson Whitehead (The Nickel Boys)
β
Make a career of humanity. Make it a central part of your life.
β
β
Colson Whitehead (The Nickel Boys)
β
If I had a nickel for every time I almost died, I would have been driving to school in a Ferrari and flying off to Bora-Bora on the weekends.
β
β
Jennifer Lynn Barnes (Every Other Day)
β
A lot of what we experience as strength comes from knowing what to do with weakness.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
When he walked outside again, the sky was shining like a nickel and the air was filled with the smell of sugared nuts.
β
β
Michael Chabon (The Amazing Adventures of Kavalier & Clay)
β
Throughout the day, Stargirl had been dropping money. She was the Johnny Appleseed of loose change: a penny here, a nickel there. Tossed to the sidewalk, laid on a shelf or bench. Even quarters.
"I hate change," she said. "It's so . . . jangly."
"Do you realize how much you must throw away in a year?" I said.
"Did you ever see a little kid's face when he spots a penny on a sidewalk?
β
β
Jerry Spinelli (Stargirl (Stargirl, #1))
β
Any brain worth a nickel knows books are good for us.
β
β
Kurt Vonnegut Jr. (If This Isn't Nice, What Is?: Advice for the Young)
β
I can't picture in my mind three hundred and sixty thousand dollars... When I think of it, all I can see in my mind is a big nickel.
β
β
Harlan Ellison
β
Like justice, it existed in theory.
β
β
Colson Whitehead (The Nickel Boys)
β
I grew up hearing over and over, to the point of tedium, that "hard work" was the secret of success: "Work hard and you'll get ahead" or "It's hard work that got us where we are." No one ever said that you could work hard - harder even than you ever thought possible - and still find yourself sinking ever deeper into poverty and debt.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
He who gets behind in a race must forever remain behind or run faster than the man in front.
β
β
Colson Whitehead (The Nickel Boys)
β
Our boy looks impressed.β
βShould be,β Rhage muttered as he jacked the belt on his robe. βWe are awesome.β
Multiple groans at that point. Rolled eyes.
βAt least he didnβt pull out the βtotes amazeballs,ββ somebody muttered.
βThatβs Lassiter,β came an answer.
βMan, that son of a bitch has got to stop watching Nickel-fucking-odeon.
β
β
J.R. Ward (Lover at Last (Black Dagger Brotherhood, #11))
β
When someone works for less pay than she can live on β when, for example, she goes hungry so that you can eat more cheaply and conveniently β then she has made a great sacrifice for you, she has made you a gift of some part of her abilities, her health, and her life. The 'working poor,' as they are approvingly termed, are in fact the major philanthropists of our society. They neglect their own children so that the children of others will be cared for; they live in substandard housing so that other homes will be shiny and perfect; they endure privation so that inflation will be low and stock prices high. To be a member of the working poor is to be an anonymous donor, a nameless benefactor, to everyone else.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
You have to read widely, constantly refining (and redefining) your own work as you do so. Itβs hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written, but I know itβs true. If I had a nickel for every person who ever told me he/she wanted to become a writer but βdidnβt have time to read,β I could buy myself a pretty good steak dinner. Can I be blunt on this subject? If you donβt have the time to read, you donβt have the time (or the tools) to write. Simple as that.
Reading is the creative center of a writerβs life. I take a book with me everywhere I go, and find there are all sorts of opportunities to dip in β¦ Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered anyway.
β
β
Stephen King (On Writing: A Memoir of the Craft)
β
Violence is the only lever big enough to move the world
β
β
Colson Whitehead (The Nickel Boys)
β
There's a weird fact that if you dropped a penny off the Empire State Building in New York City, you'd kill someone. I feel really bad, 'cause I dropped a nickel off it once.
β
β
Taylor Hanson
β
By first believing in Santa Claus, then the Easter Bunny, then the Tooth Fairy, Rant Casey was recognizing that those myths are more than pretty stories and traditions to delight children. Or to modify behavior. Each of those three traditions asks a child to believe in the impossible in exchange for a reward. These are stepped-up tests to build a child's faith and imagination. The first test is to believe in a magical person, with toys as the reward. The second test is to trust in a magical animal, with candy as the reward. The last test is the most difficult, with the most abstract reward: To believe, trust in a flying fairy that will leave money.
From a man to an animal to a fairy.
From toys to candy to money. Thus, interestingly enough, transferring the magic of faith and trust from sparkling fairy-dom to clumsy, tarnished coins. From gossamer wings to nickels... dimes... and quarters.
In this way, a child is stepped up to greater feats of imagination and faith as he or she matures. Beginning with Santa in infancy, and ending with the Tooth Fairy as the child acquires adult teeth. Or, plainly put, beginning with all the possibility of childhood, and ending with an absolute trust in the national currency.
β
β
Chuck Palahniuk (Rant: An Oral Biography of Buster Casey)
β
The legend engraved on the face of the Jewish nickelβ on the body of every Jewish child!β not IN GOD WE TRUST, but SOMEDAY YOU'LL BE A PARENT AND YOU'LL KNOW WHAT IT'S LIKE.
β
β
Philip Roth (Portnoy's Complaint)
β
Man is a marvelous curiosity. When he is at his very very best he is a sort of low grade nickel-plated angel; at is worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm. Yet he blandly and in all sincerity calls himself the "noblest work of God.
β
β
Mark Twain (Letters from the Earth: Uncensored Writings)
β
If I had a nickel for every time I'd wished I possessed the power to alter another person's mind, I'd be knee deep in nickels.
β
β
Mayandree Michel (Betrayal (The Descendants, #1))
β
I stole every nickel and blew it on fine threads, luxurious lodgings, fantastic foxes, and other sensual goodies. I partied in every capital in Europe and basked on all the world's most famous beaches.
β
β
Frank W. Abagnale (Catch Me If You Can: The True Story of a Real Fake)
β
The capacity to suffer. Elwood--all the Nickel boys--existed in the capacity. Breathed in it, ate in it, dreamed in it. That was their lives now. Otherwise they would have perished. The beatings, the rapes, the unrelenting winnowing of themselves. They endured. But to love those who would have destroyed them? To make that leap? We will meet your physical force with soul force. Do to us what you will and we will still love you.
β
β
Colson Whitehead (The Nickel Boys)
β
When it gets down to it β talking trade balances here β once we've brain-drained all our technology into other countries, once things have evened out, they're making cars in Bolivia and microwave ovens in Tadzhikistan and selling them here β once our edge in natural resources has been made irrelevant by giant Hong Kong ships and dirigibles that can ship North Dakota all the way to New Zealand for a nickel β once the Invisible Hand has taken away all those historical inequities and smeared them out into a broad global layer of what a Pakistani brickmaker would consider to be prosperity β y'know what? There's only four things we do better than anyone else:
music
movies
microcode (software)
high-speed pizza delivery
β
β
Neal Stephenson (Snow Crash)
β
Perhaps his life might have veered elsewhere if the US government had opened the country to colored advancement like they opened the army. But it was one thing to allow someone to kill for you and another to let him live next door.
β
β
Colson Whitehead (The Nickel Boys)
β
There are people who trick you and deliver emptiness with a smile, while others rob you of your self-respect. You need to remember who you are.
β
β
Colson Whitehead (The Nickel Boys)
β
To forbid the thought of escape, even that slightest butterfly thought of escape, was to murder one's humanity.
β
β
Colson Whitehead (The Nickel Boys)
β
The boys could have been many things had they not been ruined by that place. Doctors who cured diseases or perform brain surgery, inventing shit that saves lives. Run for president. All those lost geniuses - sure not all of them were geniuses, Chickie Pete for example was not solving special relativity - but they had been denied even the simple pleasure of being ordinary. Hobbled and handicapped before the race even began, never figuring out how to be normal.
β
β
Colson Whitehead (The Nickel Boys)
β
People give me such a headache. Everybody wants to nickel-and-dime. Ten bags of mulch for, like, four thousand square feet. Jesus.' His hands dropped and he looked at her. 'You know that's crazy, right?' How the hell would she know? Mom was lucky she could work the mower.
β
β
Brigid Kemmerer (Storm (Elemental, #1))
β
Suppose you fell over with this fish. Is there anything you could do? Sure. Pray. It'd be like falling out of an airplane without a parachute and hoping you'll land in a haystack. The only thing that'd save you would be God, and since He pushed you overboard in the first place, I wouldn't give a nickel for your chances.
β
β
Peter Benchley (Jaws (Jaws, #1))
β
When someone works for less pay than she can live on -- when, for example, she goes hungry so that you can eat more cheaply and conveniently -- than she has made a great sacrifice for you, she has made of a gift of some part of her abilities, her health, and her life.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
We can hardly pride ourselves on being the worldβs preeminent democracy, after all, if the large numbers of citizens spend half their waking hours in what amounts, in plain terms, to a dictatorship.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
By the way, did you fellows know that a hummingbird weighs as much as a quarter? Do you think a hummingbird also weighs the same as two dimes and a nickel? But then she asked a question of her own: How do they weigh a hummingbird?
β
β
Calvin Trillin (Enough's Enough)
β
There were the things he used to sustain life: a box of fish food. And the things he'd used to take it: a pair of nickel-plated handcuffs.
β
β
Lionel Dahmer (A Father's Story)
β
In our modern age, cell phone technology permits us to record the constant brutality that occurs all around us; we experience not an uptick in violence but a new kind of witnessing.
β
β
Colson Whitehead (The Nickel Boys)
β
When trust is violated, it's like you're left with an empty piggy bank. Building trust again, she said, is like putting big, fat nickels into the slot. They clank against the bottom, and that sound is jarring. But in order to heal, you have to keep adding those nickels, and soon enough, there will be coins to cushion the nickel's fall and make the sound not so grating.
β
β
Bill Konigsberg (The Music of What Happens)
β
According to a recent poll [...] 94% of Americans agree that "people who work fulltime should be able to earn enough to keep their families out of poverty.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
What do you need?" Vadderung asked.
"Advice," I said. "If the price is right."
"And what do you think a sufficient price would be?"
"Lucy charges a nickel."
"Ah," Vadderung said. "But Lucy is a psychiatrist. You realize that you've just cast yourself as Charlie Brown."
"Augh," I said.
β
β
Jim Butcher (Cold Days (The Dresden Files, #14))
β
Try to roll with the punches. Keep your chin up. Donβt take any wooden nickels. Vote Democrat in every election. Ride your bike in the park. Dream about my perfect, golden body. Take your vitamins. Drink eight glasses of water a day. Pull for the Mets. Watch a lot of movies. Donβt work too hard at your job. Take a trip to Paris with me. Come to the hospital when Rachel has her baby and hold my grandchild in your arms. Brush your teeth after every meal. Donβt cross the street on a red light. Defend the little guy. Stick up for yourself. Remember how beautiful you are. Remember how much I love you. Drink one Scotch on the rocks every day. Breathe deeply. Keep your eyes open. Stay away from fatty foods. Sleep the sleep of the just. Remember how much I love you.
β
β
Paul Auster (The Brooklyn Follies)
β
The administration says the American people want tax cuts. Well, duh. The American people also want drive-through nickel beer night. The American people want to lose weight by eating ice cream. The American people love the Home Shopping Network because it's commercial-free.
β
β
Will Durst
β
because for him to do nothing was to undermine his own dignity.
β
β
Colson Whitehead (The Nickel Boys)
β
But inside your sob-sodden Kleenex
And your Saturday night panics,
Under your hair done this way and that way,
Behind what looked like rebounds
And the cascade of cries diminuendo,
You were undeflected.
You were gold-jacketed, solid silver,
Nickel-tipped. Trajectory perfect
As through ether.
β
β
Ted Hughes (Birthday Letters)
β
was like one of those Negroes Dr.Β King spoke of in his letter from jail, so complacent and sleepy after years of oppression that they had adjusted to it and learned to sleep in it as their only bed.
β
β
Colson Whitehead (The Nickel Boys)
β
You'll be found, your nickels, dimes and Indian-heads fused by electroplating. Abe Lincolns melted into Miss Columbias, eagles plucked raw on the backs of quarters, all run to quicksilver in your jeans. More! Any boy hit by lightning, lift his lid and there on his eyeball, pretty as the Lord's Prayer on a pin, find the last scene the boy ever saw! A box-Brownie photo, by God, of that fire climbing down the sky to blow you like a penny whistle, suck your soul back up along the bright stair!
β
β
Ray Bradbury (Something Wicked This Way Comes)
β
Something went klunk. Like a nickel dropping in a soda machine. One of those small insights that explains everything. This was puberty for these boys. Adolescence. The first date, the first kiss, the first chance to hold hands with someone special. Delayed, postponed, a decade's worth of longing--while everybody around you celebrates life, you pretend, suppress, inhibit, deprive yourself of you own joy--but finally ultimately, eventually, you find a place where you can have a taste of everything denied.
β
β
David Gerrold
β
It didn't make no sense until it made the only sense.
β
β
Colson Whitehead (The Nickel Boys)
β
He talked about luck and fate and numbers coming up, yet he never ventured a nickel at the casinos because he knew the house had all the percentages. And beneath his pessimism, his bleak conviction that all the machinery was rigged against him, at the bottom of his soul was a faith that he was going to outwit it, that by carefully watching the signs he was going to know when to dodge and be spared. It was fatalism with a loophole, and all you had to do to make it work was never miss a sign. Survival by coordination, as it were. The race is not to the swift, nor the battle to the strong, but to those who can see it coming and jump aside. Like a frog evading a shillelagh in a midnight marsh.
β
β
Hunter S. Thompson (The Rum Diary)
β
The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential - X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We'd pass out every time we saw - actually saw- a flower.
β
β
Anthony Doerr (Four Seasons in Rome: On Twins, Insomnia, and the Biggest Funeral in the History of the World)
β
You might discover that, nationwide, America's food banks are experiencing 'a torrent of need which [they] cannot meet' and that, according to a survey conducted by the U.S. Conference of Mayors, 67 percent of the adults requesting emergency food aid are people with jobs.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
β
You can change the law but you canβt change people and how they treat each other. Nickel was racist as hellβhalf the people who worked here probably dressed up like the Klan on weekendsβbut the way Turner saw it, wickedness went deeper than skin color. It was Spencer. It was Spencer and it was Griff and it was all the parents who let their children wind up here. It was people.
β
β
Colson Whitehead (The Nickel Boys)
β
Change is the nature of nature,'" she read. "'For example, stars expand as they grow older. They grow from a star, to a red super-giant, to a supernova. When a massive star explodes at the end of its life, the explosion dispenses different elements-helium, carbon, oxygen, iron, nickel-across the universe, scattering starduest. That stardust now makes up the planets, including ours.
β
β
Michelle Cuevas (Beyond the Laughing Sky)
β
If it's true that the United States was born of slavery and revolutionary justice...then surely her own country was born of a cruel, grasping indifference to its indigenous peoples and the natural world. We who rip our the Earth's most irreplaceable resources, sell them cheaply to anyone with a nickel in their pocket, then wake up and do it all over again--that could well serve as the Greenwood motto, and perhaps even for her nation itself.
β
β
Michael Christie (Greenwood)
β
All objects in the universe are unique. No two things that happen by chance ever happen in exactly the same way. No two things are ever constructed or manufactured in exactly the same way. No two things wear in exactly the same way. No two things ever break in exactly the same way.
β
β
Joe Nickell
β
Hate cannot drive out hate, only love can do that.
β
β
Colson Whitehead (The Nickel Boys)
β
SMART
My dad gave me one dollar bill
'Cause I'm his smartest son,
And I swapped it for two shiny quarters
'Cause two is more than one!
And then I took the quarters
And traded them to Lou
For three dimes - I guess he don't know
That three is more than two!
Just then, along came old blind Bates
And just 'cause he can't see
He gave me four nickels for my three dimes,
And four is more than three!
And I took the nickels to Hiram Coombs
Down at the seed-feed store,
And the fool gave me five pennies for them,
And five is more than four!
And then I went and showed my dad,
And he got red in the cheeks
And closed his eyes and shook his head -
Too proud of me to speak!
β
β
Shel Silverstein (Where the Sidewalk Ends)
β
I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, God damn it! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!
β
β
Paddy Chayefsky (Network [Screenplay])
β
Throw us in jail, and we will still love you. Bomb our homes and threaten our children, and, as difficult as it is, we will still love you. Send your hooded perpetrators of violence into our communities after midnight hours, and drag us out onto some wayside road, and beat us and leave us half-dead, and we will still love you. But be ye assured that we will wear you down by our capacity to suffer, and one day we will win our freedom.
β
β
Colson Whitehead (The Nickel Boys)
β
What do you know about somebody not being good enough for somebody else? And since when did you care whether Corinthians stood up or fell down? You've been laughing at us all your life. Corinthians. Mama. Me. Using us, ordering us, and judging us: how we cook your food; how we keep your house. But now, all of a sudden, you have Corinthians' welfare at heart and break her up from a man you don't approve of. Who are you to approve or disapprove anybody or anything? I was breathing air in the world thirteen years before your lungs were even formed. Corinthians, twelve. . . . but now you know what's best for the very woman who wiped the dribble from your chin because you were too young to know how to spit. Our girlhood was spent like a found nickel on you. When you slept, we were quiet; when you were hungry, we cooked; when you wanted to play, we entertained you; and when you got grown enough to know the difference between a woman and a two-toned Ford, everything in this house stopped for you. You have yet to . . . move a fleck of your dirt from one place to another. And to this day, you have never asked one of us if we were tired, or sad, or wanted a cup of coffee. . . . Where do you get the RIGHT to decide our lives? . . . I'll tell you where. From that hog's gut that hangs down between your legs. . . . I didn't go to college because of him. Because I was afraid of what he might do to Mama. You think because you hit him once that we all believe you were protecting her. Taking her side. It's a lie. You were taking over, letting us know you had the right to tell her and all of us what to do. . . . I don't make roses anymore, and you have pissed your last in this house.
β
β
Toni Morrison (Song of Solomon)
β
My aim here was much more straightforward and objective β just to see whether I could match income to expenses, as the truly poor attempt to do every day. Besides, I've had enough unchosen encounters with poverty in my lifetime to know it's not a place you would want to visit for touristic purposes; it just smells too much like fear.
β
β
Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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Poems are bullshit unless they are
teeth or trees or lemons piled
on a step. Or black ladies dying
of men leaving nickel hearts
beating them down. Fuck poems
and they are useful, wd they shoot
come at you, love what you are,
breathe like wrestlers, or shudder
strangely after pissing. We want live
words of the hip world live flesh &
coursing blood. Hearts Brains
Souls splintering fire. We want poems
like fists beating niggers out of Jocks
or dagger poems in the slimy bellies
of the owner-jews. Black poems to
smear on girdlemamma mulatto bitches
whose brains are red jelly stuck
between βlizabeth taylorβs toes. Stinking
Whores! we want βpoems that kill.
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Amiri Baraka
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The world continued to instruct: Do not love for they will disappear, do not trust for you will be betrayed, do not stand up for you will be swatted down. Still he heard those higher imperatives: Love and that love will be returned, trust in the righteous path and it will lead you to deliverance, fight and things will change. He never listened, never saw what was plainly in front of him, and now he had been plucked from the world altogether.
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Colson Whitehead (The Nickel Boys)
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But Jesus makes his appearance here only as a corpse; the living man, the wine-guzzling vagrant and precocious socialist, is never once mentioned, nor anything he ever had to say. Christ crucified rules, and it may be that the true business of modern Christianity is to crucify him again and again so that he can never get a word out of his mouth.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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Come on, you winefizzling, ginsizzling, booseguzzling existences! Come on, you dog-gone, bullnecked, beetlebrowed, hogjowled, peanutbrained, weaseleyed fourflushers, false alarms and excess baggage! Come on, you triple extract of infamy! Alexander J. Christ Dowie, that's yanked to glory most half this planet from 'Frisco Beach to Vladivostok. The Deity ain't no nickel dime bumshow. I put it to you that he's on the square and a corking fine business proposition. He's the grandest thing yet and don't you forget it. Shout salvation in king Jesus. You'll need to rise precious early, you sinner there, if you want to diddle the Almighty God. Pflaaaap! Not half. He's got a coughmixture with a punch in it for you, my friend, in his backpocket. Just you try it on.
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James Joyce (Ulysses)
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There are big forces that want to keep the Negro down, like Jim Crow, and there are small forces that want to keep you down, like other people, and in the face of all those things, the big ones and the smaller ones, you have to stand up straight and maintain your sense of who you are.
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Colson Whitehead (The Nickel Boys)
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...Maybe it's low-wage work in general that has the effect of making feel like a pariah. When I watch TV over my dinner at night, I see a world in which almost everyone makes $15 an hour or more, and I'm not just thinking of the anchor folks. The sitcoms and dramas are about fashion designers or schoolteachers or lawyers, so it's easy for a fast-food worker or nurse's aide to conclude that she is an anomaly β the only one, or almost the only one, who hasn't been invited to the party. And in a sense she would be right: the poor have disappeared from the culture at large, from its political rhetoric and intellectual endeavors as well as from its daily entertainment. Even religion seems to have little to say about the plight of the poor, if that tent revival was a fair sample. The moneylenders have finally gotten Jesus out of the temple.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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When Seymour and I were five and three, Les and Bessie played on the same bill for a couple of weeks with Joe Jackson -- the redoubtable Joe Jackson of the nickel-plated trick bicycle that shone like something better than platinum to the very last row of the theater. A good many years later, not long after the outbreak of the Second World War, when Seymour and I had just recently moved into a small New York apartment of our own, our father -- Les, as he'll be called hereafter -- dropped in on us one evening on his way home from a pinochle game. He quite apparently had held very bad cards all afternoon. He came in, at any rate, rigidly predisposed to keep his overcoat on. He sat. He scowled at the furnishings. He turned my hand over to check for cigarette-tar stains on my fingers, then asked Seymour how many cigarettes he smoked a day. He thought he found a fly in his highball. At length, when the conversation -- in my view, at least -- was going straight to hell, he got up abruptly and went over to look at a photograph of himself and Bessie that had been newly tacked up on the wall. He glowered at it for a full minute, or more, then turned around, with a brusqueness no one in the family would have found unusual, and asked Seymour if he remembered the time Joe Jackson had given him, Seymour, a ride on the handle bars of his bicycle, all over the stage, around and around. Seymour, sitting in an old corduroy armchair across the room, a cigarette going, wearing a blue shirt, gray slacks, moccasins with the counters broken down, a shaving cut on the side of his face that I could see, replied gravely and at once, and in the special way he always answered questions from Les -- as if they were the questions, above all others, he preferred to be asked in his life. He said he wasn't sure he had ever got off Joe Jackson's beautiful bicycle.
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J.D. Salinger (Raise High the Roof Beam, Carpenters & Seymour: An Introduction)
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It was easy to root for the winners. No, he liked the punch-drunk ones, half walking at mile twenty-three, tongues flapping like Labradors. Tumbling across the finish line by hook or by crook, feet pounded to bloody meat in their Nikes. The laggards and limpers who werenβt running the course but running deep into their characterβdown into the cave to return to the light with what they found. By the time they got to Columbus Circle, the TV crews have split, the cone cups of water and Gatorade litter the course like daisies in a pasture, and the silver space blankets twist in the wind. Maybe they had someone waiting for them and maybe they didnβt. Who wouldnβt celebrate that?
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Colson Whitehead (The Nickel Boys)
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To draw for a moment from an entirely different corner of my life, that part of me still attached to the biological sciences, there is ample evidence that animals β rats and monkeys, for example β that are forced into a subordinate status within their social systems adapt their brain chemistry accordingly, becoming 'depressed' in humanlike ways. Their behavior is anxious and withdrawn; the level of serotonin (the neurotransmitter boosted by some antidepressants) declines in their brains. And β what is especially relevant here β they avoid fighting even in self-defense ... My guess is that the indignities imposed on so many low-wage workers β the drug tests, the constant surveillance, being 'reamed out' by managers β are part of what keeps wages low. If you're made to feel unworthy enough, you may come to think that what you're paid is what you are actually worth.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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But I knew a lot more than that; I knew exactly what sort of man he was in his old age, so it wasn't hard to guess what he must have been like as a young man--for a man's character doesn't change after he's thirty. It only becomes more firmly set, and is more deeply marked in his features.
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Ralph Moody (Shaking the Nickel Bush (Little Britches, #6))
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My father had been a copper miner, uncles and grandfathers worked in the mines for the Union Pacific. So to me, sitting at a desk all day was not only a privilege but a duty: something I owed to all those people in my life, living and dead, who'd had so much more to say than anyone ever got to hear.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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Some economists argue that the apparent paradox rests on an illusion: there is no real 'labor shortage,' only a shortage of people willing to work at the wages currently being offered. You might as well talk about a 'Lexus shortage' β which there is, in a sense, for anyone unwilling to pay $40,000 for a car.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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Iβm done telling tales. Starting today, youβll get nothing but boring news and the most trivial of facts. For example, did you know that playing three particular notes on the hackbrett will summon a demon?β
βYou are definitely making that up,β said Nickel.
βAm not. Itβs true. Ask anyone. Oh! Also, the only way to kill off a nachzehrer is by putting a stone into its mouth. That will keep it from gnawing on its own flesh while you cut off the head.β
βNow, thatβs the sort of education that might come in handy someday,β said Fritz with an impish grin.
Serilda gave a sage nod. βMy job is to prepare you for adulthood.
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Marissa Meyer (Gilded (Gilded, #1))
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...I displayed, or usually displayed, all those traits deemed essential to job readiness: punctuality, cleanliness, cheerfulness, obedience. These are the qualities that welfare-to-work job-training programs often seek to inculcate, though I suspect that most welfare recipients already possess them, or would if their child care and transportation problems were solved.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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Honey, have you seen my measuring tape?β
βI think itβs in that drawer in the kitchen with the scissors, matches, bobby pins, Scotch tape, nail clippers, barbecue tongs, garlic press, extra buttons, old birthday cards, soy sauce packets thick rubber bands, stack of Christmas napkins, stained take-out menus, old cell-phone chargers, instruction booklet for the VCR, some assorted nickels, an incomplete deck of cards, extra chain links for a watch, a half-finished pack of cough drops, a Scrabble piece I found while vacuuming, dead batteries we arenβt fully sure are dead yet, a couple screws in a tiny plastic bag left over from the bookshelf, that lock with the forgotten combination, a square of carefully folded aluminum foil, and expired pack of gum, a key to our old house, a toaster warranty card, phone numbers for unknown people, used birthday candles, novelty bottle openers, a barbecue lighter, and that one tiny little spoon.β
βThanks, honey.β
AWESOME!
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Neil Pasricha (The Book of (Even More) Awesome)
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What these [personality] tests tell employers about potential employees is hard to imagine since the 'right' answer should be obvious to anyone who has ever encountered the principle of hierarchy and subordination. Do I work well with others? You bet, but never to the point where I would hesitate to inform on them for the slightest infraction. Am I capable of independent decision making? Oh yes, but I know better than to let this capacity interfere with a slavish obedience to orders . . . The real function of these tests, I decide, is to convey information not to the employer but to the potential employee, and the information being conveyed is always: You will have no secrets from us. We don't just want your muscles and that portion of your brain that is directly connected to them; we want your innermost self.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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They" hate us because they feel--and "they" are not wrong--that it is within our power to do so much more, and that we practice a kind of passive-aggressive violence on the Third World. We do this by, for example, demonizing tobacco as poison here while promoting cigarettes in Asia; inflating produce prices by paying farmers not to grow food as millions go hungry worldwide; skimping on quality and then imposing tariffs on foreign products made better or cheaper than our own; padding corporate profits through Third World sweatshops; letting drug companies stand by as millions die of AIDS in Africa to keep prices up on lifesaving drugs; and on and on.
We do, upon reaching a very high comfort level, mostly choose to go from ten to eleven instead of helping another guy far away go from zero to one.
We even do it in our own country. Barbara Ehrenreich's brilliant book Nickel and Dimed describes the impossibility of living with dignity or comfort as one of the millions of minimum-wage workers in fast food, aisle-stocking and table-waiting jobs. Their labor for next to nothing ensures that well-off people can be a little more pampered.
So if we do it to our own, what chance do foreigners have?
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Bill Maher (When You Ride Alone You Ride With Bin Laden: What the Government Should Be Telling Us to Help Fight the War on Terrorism)
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A jail within a jail. In those long hours, he struggled over Reverend King's equation. "Throw us in jail and we will love you ... But be assured that we will wear you down by our capacity to suffer, and one day we will win our freedom. We will not only win our freedom for ourselves, we will so appeal to your heart and your conscience that we will win you in the process and our victory will be a double victory." No he could not make that leap to love. He understood neither the impulse of the proposition nor the will to execute it.
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Colson Whitehead (The Nickel Boys)
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When confronted by a βbelieverβ it is easy for me to contrast the views of the skeptic with those of the rationalist. I simply reach into my pocket and pull out my change.
Holding a quarter aloft, I say, βThis is a most remarkable coin, for it is heavier than all the sins of humanity committed since the beginning of the human race.β
I then hold up a nickel and say, βThis coin is even more amazing, as it is brighter and shinier than the flames that proceeded from the Burning Bush discovered on Mt. Sinai by Moses.β
Then I raise a penny and state, βThis portrait of President Lincoln is more realistic and true-to-life than any portrait of Satan ever painted.β
And finally, I hold out a bright, shiny dime and say, βAnd this dime is the most amazing of all because it is heavier and contains more precious metals than all the gold bricks in the streets of Heaven.β
I end with βGive to Caesar what is his, and hold the rest of it dearβfor it is all you see and touchβand the Christian god can take care of all his things, for they amount to less than this 41 cents I hold here in my hand.
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E. Haldeman-Julius
β
There seems to be a vicious cycle at work here, making ours not just an economy but a culture of extreme inequality. Corporate decision makers, and even some two-bit entrepreneurs like my boss at The Maids, occupy an economic position miles above that of the underpaid people whose labor they depend on. For reasons that have more to do with class β and often racial β prejudice than with actual experience, they tend to fear and distrust the category of people from which they recruit their workers. Hence the perceived need for repressive management and intrusive measures like drug and personality testing. But these things cost money β $20,000 or more a year for a manager, $100 a pop for a drug test, and so on β and the high cost of repression results in ever more pressure to hold wages down. The larger society seems to be caught up in a similar cycle: cutting public services for the poor, which are sometimes referred to collectively as the 'social wage,' while investing ever more heavily in prisons and cops. And in the larger society, too, the cost of repression becomes another factor weighing against the expansion or restoration of needed services. It is a tragic cycle, condemning us to ever deeper inequality, and in the long run, almost no one benefits but the agents of repression themselves.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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The βworking poor,β as they are approvingly termed, are in fact the major philanthropists of our society. They neglect their own children so that the children of others will be cared for; they live in substandard housing so that other homes will be shiny and perfect; they endure privation so that inflation will be low and stock prices high. To be a member of the working poor is to be an anonymous donor, a nameless benefactor, to everyone else. As Gail, one of my restaurant coworkers put it, βyou give and you give.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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What I have to face is that 'Barb,' the name on my ID tag, is not exactly the same person as Barbara. 'Barb' is what I was called as a child, and still am by my siblings, and I sense that at some level I'm regressing. Take away the career and the higher education, and maybe what you're left with is this original Barb, the one who might have ended up working at Wal-Mart for real if her father hadn't managed to climb out of the mines. So it's interesting, and more than a little disturbing, to see how Barb turned out β that she's meaner and slyer than I am, more cherishing of grudges, and not quite as smart as I'd hoped.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)
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In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk...
I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up.
Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief.
It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers.
To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret!
And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!...
Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long?
The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!
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Jean Lorrain (Monsieur de Phocas)
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Why do you choose to write about such gruesome subjects?
I usually answer this with another question: Why do you assume that I have a choice?
Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline.
The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions βhobbies.β
Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because βhobbyβ is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies βthe arts.β
Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death.
To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call βthe artsβ; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.
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Stephen King (Night Shift)
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Almost everyone smokes as if their pulmonary well-being depended on it β the multinational mΓ©lange of gooks; the dishwashers, who are all Czechs here; the servers, who are American natives β creating an atmosphere in which oxygen is only an occasional pollutant. My first morning at Jerry's, when the hypoglycemic shakes set in, I complain to one of my fellow servers that I don't understand how she can go so long without food. 'Well, I don't understand how you can go so long without a cigarette,' she responds in a tone of reproach. Because work is what you do for other; smoking is what you do for yourself. I don't know why the atismoking crusaders have never grasped the element of defiant self-nurturance that makes the habit so endearing to its victims β as if, in the American workplace, the only thing people have to call their own is the tumors they are nourishing and the spare moments they devote to feeding them.
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Barbara Ehrenreich (Nickel and Dimed: On (Not) Getting By in America)