Night Hoops Quotes

We've searched our database for all the quotes and captions related to Night Hoops. Here they are! All 53 of them:

Smoke gunpowder and go to school to jump through hoops, sit up and beg, and roll over on command. Listen to the whispers that curl into your head at night, calling you ugly and fat and stupid and bitch and whore and worst of all "a disappointment." Puke and starve and cut and drink because you don't want to feel any of this.
Laurie Halse Anderson (Wintergirls)
Why? You want to know why? Step into a tanning booth and fry yourself for two or three days. After your skin bubbles and peels off, roll in coarse salt, then pull on long underwear woven from spun glass and razor wire. Over that goes your regular clothes, as long as they are tight. Smoke gunpowder and go to school to jump through hoops, sit up and beg, and roll over on command. Listen to the whispers that curl into your head at night, calling you ugly and fat and stupid and bitch and whore and worst of all, "a disappointment." Puke and starve and cut and drink because you don't want to feel any of this. Puke and starve and drink and cut because you need the anesthetic and it works. For a while. But then the anesthetic turns into poison and by then it's too late because you are mainlining it now, straight into your soul. It is rotting you and you can't stop. Look in a mirror and find a ghost. Hear every heartbeat scream that everysinglething is wrong with you. "Why?" is the wrong question. Ask "Why not?
Laurie Halse Anderson (Wintergirls)
Give thy thoughts no tongue, Nor any unproportioned thought his act. Be thou familiar, but by no means vulgar; Those friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel, But do not dull thy palm with entertainment Of each new-hatched unfledged comrade. Beware Of entrance to a quarrel, but being in, Bear’t that th’opposèd may beware of thee. Give every man thy ear, but few thy voice; Take each man’s censure, but reserve thy judgement. Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy; For the apparel oft proclaims the man, And they in France of the best rank and station Are most select and generous, chief in that. Neither a borrower nor a lender be, For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all: to thine own self be true; And it must follow, as the night the day, Thou canst not then be false to any man.
William Shakespeare (Hamlet)
She is day and I am night. When day and night are absolutely equal, it’s equinox. Banner is my equinox. My equal.
Kennedy Ryan (Block Shot (Hoops, #2))
There was no anger in his voice, no disappointment even. It was as if he'd given up on me. He pulled his keys out of his pocket. "I should be going now. Merry Christmas, Nick
Carl Deuker (Night Hoops)
Life is a constellation of decisions, connected by coincidences and deliberations, painting pictures in the heavens. During the day, when things are brightest, we don’t see the stars, but they are there. It’s only in the contrast of night, when things are darkest, that the stars shine.
Kennedy Ryan (Long Shot (Hoops, #1))
So that night after Wyatt goes to bed, I can't sleep. And I see this piece of paper with this song he's writing and it's clearly about me. It says something about a redhead and mentioned the hoop earrings that I was wearing all the time. And then he had this chorous about me having a big heart but no love in it. I kept looking at the words, thinking, This isn't right. He didn't understand me at all. So I thought about it for a little while and got out a pen and paper. I wrote some things down. When he woke up, I said, "Your chorus should be more like 'Big eyes, big soul/big heart, no control/but all she got to give is tiny love.'" Wyatt grabbed a pen and paper and he said, "Say that again?" I said, "It was just an example. Write your own goddamn song." Simone: "Tiny Love"was the Breeze's biggest hit. And Wyatt pretended he wrote the whole thing.
Taylor Jenkins Reid (Daisy Jones & The Six)
Why?’ She nods. ‘She had everything: a family who loved her, friends, activities. Her mother wants to know why she threw it all away?’ Why you want to know why? Step into a tanning booth and fry yourself for two or three days. After your skin bubbles and falls off, roll in coarse salt, then put on long underwear woven from spun glass and razor wire. Over that goes your regular clothes, as long as they are tight. Smoke gunpowder and go to school to jump through hoops, sit up and beg, and roll over on command. Listen to the whispers that curl into your head at night, calling you ugly and fat and stupid and bitch and whore and worst of all ‘A disappointment.’ Puke and starve and cut and drink because you need an anesthetic and it works. For a while. But then the anesthetic turns into poison and by then it’s too late because you are mainlining it now, straight into your soul. It is rotting you and you can’t stop. Look in a mirror and find a ghost. Hear every heartbeat scream that everythingsinglething is wrong with you. ‘Why?’ is the wrong question. Ask ‘Why not?
Laurie Halse Anderson (Wintergirls)
Yet here, Laertes? Aboard, aboard, for shame! The wind sits in the shoulder of your sail, And you are stay'd for. There, my blessing with thee. And these few precepts in thy memory See thou character. Give thy thoughts no tongue, Nor any unproportion'd thought his act. Be thou familiar, but by no means vulgar. Those friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel; But do not dull thy palm with entertainment Of each new-hatch'd, unfledged comrade. Beware Of entrance to a quarrel; but being in, Bear't that the opposed may beware of thee. Give every man thy ear, but few thy voice; Take each man's censure, but reserve thy judgment. Costly thy habit as thy purse can buy, But not express'd in fancy; rich, not gaudy; For the apparel oft proclaims the man, And they in France of the best rank and station Are of a most select and generous, chief in that. Neither a borrower nor a lender be; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man. Farewell. My blessing season this in thee!
William Shakespeare
In my opinion, the best time to be alive is always right now. People are aways whining about how they were born in the wrong century, but they really haven't thought things through. They picture the old castle they wish they could live in, but they don't think about the drafts in the winter or the pitch darkness at night, or all the spiders and the lice. They can't imagine the everyday pain of a life without movies or recorded music or... or... Interet videos about cats. And don't even get me started on women who idealize the past. Do you have any idea what it was like to be a woman even a hundred years ago? Horrible! And a hundred years before that, the situation practically defies description. We might as well have been slaves. Trussed up in hoop skirts and corsets, married off like racehorses. Good riddance to history, I say!
Tommy Wallach (Thanks for the Trouble)
the days had got to be like hoops, tighter and tighter to get through, and filled with bursts of shrapnel.
Louis-Ferdinand Céline (Journey to the End of the Night)
Patches don’t look it, but when attached to your soul they can get pretty heavy. They go over the holes in your soul, like when you patch a sock. When you have a hole in your soul, it’s because you’re hurting from something. I don’t know if you noticed, but that girl had a lot of holes.
Nathan Reese Maher (Lights Out: Book 2)
The sand lay blue in the moonlight and the iron tires of the wagons rolled among the shapes of the riders in gleaming hoops that veered and wheeled woundedly and vaguely navigational like slender astrolabes and the polished shoes of the horses kept hasping up like a myriad eyes winking across the desert floor. They watched storms out there so distant they could not be heard, the silent lightning flaring sheetwise and the thin black spine of the mountain chain fluttering and sucked away again in the dark. They saw wild horses racing on the plain, pounding their shadows down the night and leaving in the moonlight a vaporous dust like the palest stain of their passing.
Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
There’s nothing wrong with you at all. Sometimes people say or do things that are mean because there's something the matter with them. With Lydia, it seems there’s always something wrong with her.
Nathan Reese Maher (Lights Out: Book 2)
The shadow self is what lies beneath the makeup. It’s those ugly parts that you haven’t accepted about yourself. You hide those parts in the shadows until you’re ready.” Her face remained a haunting calm. “When you realize the scars are who you are, that there was nothing wrong with you and that you were beautiful all along - that’s when you decide to take the makeup off.
Nathan Reese Maher (Lights Out: Book 2)
sky. Life is a constellation of decisions, connected by coincidences and deliberations, painting pictures in the heavens. During the day, when things are brightest, we don’t see the stars, but they are there. It’s only in the contrast of night, when things are darkest, that the stars shine.
Kennedy Ryan (Long Shot (Hoops, #1))
The next morning, when Thomasin withdrew the curtains of her bedroom window, there stood the Maypole in the middle of the greek, its top cutting into the sky. It had sprung up in the night. or rather early morning, like Jack's bean-stalk. She opened the casement to get a better view of the garlands and posies that adored it. The sweet perfume of the flowers had already spread into the surrounding air, which being free from every taint, conducted to her lips a full measure of the fragrance received from the spire of blossom in its midst. At the top of the pole were crossed hoops decked with small flowers; beneath these came a milk-white zone of Maybloom;then a zone of bluebells, then of cowslips, then of lilacs, then of ragged-rosins, daffodils and so on, till the lowest stage was reached.Thomasin noticed all these, and was delighted that the May revel was to be so near.
Thomas Hardy (The Return of the Native)
Reading two pages apiece of seven books every night, eh? I was young. You bowed to yourself in the mirror, stepping forward to applause earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one saw: tell no-one. Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W. Remember your epiphanies written on green oval leaves, deeply deep, copies to be sent if you died to all the great libraries of the world, including Alexandria? Someone was to read them there after a few thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like a whale. When one reads these strange pages of one long gone one feels that one is at one with one who once ... The grainy sand had gone from under his feet. His boots trod again a damp crackling mast, razorshells, squeaking pebbles, that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada. Unwholesome sandflats waited to suck his treading soles, breathing upward sewage breath, a pocket of seaweed smouldered in seafire under a midden of man's ashes. He coasted them, walking warily. A porterbottle stood up, stogged to its waist, in the cakey sand dough. A sentinel: isle of dreadful thirst. Broken hoops on the shore; at the land a maze of dark cunning nets; farther away chalkscrawled backdoors and on the higher beach a dryingline with two crucified shirts. Ringsend: wigwams of brown steersmen and master mariners. Human shells. He halted. I have passed the way to aunt Sara's. Am I not going there? Seems not.
James Joyce
She is bright and good. And I can be dark, bad when I have to be. Sometimes when I don’t have to be, but just want to be. She is day and I am night. When day and night are absolutely equal, it’s equinox. Banner is my equinox. My equal. The revelation rattles around inside me, but my face, my surface remains smooth.
Kennedy Ryan (Block Shot (Hoops, #2))
Because I am, just as you are you. We don’t always get to pick who we are, Shelly Wynn, but we can choose to celebrate it.
Nathan Reese Maher (Lights Out: Book 2)
Iemand zou de hoop kunnen koesteren dat hij door zijn verwachtingen te reduceren werkelijker zou kunnen worden, dat hij zichzelf zou kunnen beperken tot een harde, betrouwbare kern en daarmee immuun zou worden voor de pijn van de teleurstelling. Maar hoe zou het zijn om een leven te leiden dat zich verre houdt van grootse, onbescheiden verwachtingen, een leven waarin alleen nog banale verwachtingen bestaan, zoals de verwachting dat de bus komt?
Pascal Mercier (Night Train to Lisbon)
I touch the double row of silver hoop earrings hanging from his left ear, trail along his jawline, his neck, down his shoulder, to the flaming tail of the dragon on his arm. He leans into the caress, and my own body feels on fire with the continued way his eyes gaze upon me. The first moment I saw him, the night people clamored over each other to step out of his way, I was frightened. The guy with earrings and tattoos and an energy radiating danger. Now—inside and out—all I see is beauty.
Katie McGarry (Crash into You (Pushing the Limits, #3))
Hoop skirt and corset?" I glared at him. "Not one word," I warned, pointing my finger at him. "Why, yes, ma'am. I would nevah-" I cut him off. "I mean it, Shane. I will put the hurt on you." He straightened. "Frankly, my dear Isabel, I don't give a damn.
Ranae Glass (Chasing Midnight (The Dark of Night, #2))
You’re very intelligent and I enjoyed our evening together last night. I don’t know how to explain it. I have always been drawn to athletic types. Throwing a football or shooting hoops on dates. You don’t seem athletic. Are you? But I’ve never had such long talks and so many things to talk about with anyone either. It is refreshing, yet different.
Lisa Mayme Corbit (The Truth About Melissa: A Soul Mate Experiment)
In my opinion, the best time to be alive is always right now. People are aways whining about how they were born in the wrong century, but they really haven't thought things through. They picture the old castle they wish they could live in, but they don't think about the drafts in the winter or the pitch darkness at night, or all the spiders and the lice. They can't imagine the everyday pain of a life without antibiotics or anesthetics. The tedium of a world without movies or recorded music or... or... Internet videos about cats. And don't even get me started on women who idealize the past. Do you have any idea what it was like to be a woman even a hundred years ago? Horrible! And a hundred years before that, the situation practically defies description. We might as well have been slaves. Trussed up in hoop skirts and corsets, married off like racehorses. Good riddance to history, I say!
Tommy Wallach (Thanks for the Trouble)
He put on his underwear and shuffled back to the bedroom, standing in the doorway for a moment and looking at the woman who had brought him home last night. Arms and legs splayed, everything show ing. Last night she had looked like the goddess of the Western world in her thigh-high leather skirt and cork sandals, her cropped top and hoop earrings. This morning he saw the sagging white dough of a growing boozegut, and the second chin starting to appear under the first.
Stephen King (Doctor Sleep (The Shining, #2))
In two days they began to come upon bones and cast-off apparel. They saw halfburied skeletons of mules with the bones so white and polished they seemed incandescent even in that blazing heat and they saw panniers and packsaddles and the bones of men and they saw a mule entire, the dried and blackened carcass hard as iron. They rode on. The white noon saw them through the waste like a ghost army, so pale they were with dust, like shades of figures erased upon a board. The wolves loped paler yet and grouped and skittered and lifted their lean snouts on the air. At night the horses were fed by hand from sacks of meal and watered from buckets. There was no more sickness. The survivors lay quietly in that cratered void and watched the whitehot stars go rifling down the dark. Or slept with their alien hearts beating in the sand like pilgrims exhausted upon the face of the planet Anareta, clutched to a namelessness wheeling in the night. They moved on and the iron of the wagontires grew polished bright as chrome in the pumice. To the south the blue cordilleras stood footed in their paler image on the sand like reflections in a lake and there were no wolves now. They took to riding by night, silent jornadas save for the trundling of the wagons and the wheeze of the animals. Under the moonlight a strange party of elders with the white dust thick on their moustaches and their eyebrows. They moved on and the stars jostled and arced across the firmament and died beyond the inkblack mountains. They came to know the nightskies well. Western eyes that read more geometric constructions than those names given by the ancients. Tethered to the polestar they rode the Dipper round while Orion rose in the southwest like a great electric kite. The sand lay blue in the moonlight and the iron tires of the wagons rolled among the shapes of the riders in gleaming hoops that veered and wheeled woundedly and vaguely navigational like slender astrolabes and the polished shoes of the horses kept hasping up like a myriad of eyes winking across the desert floor. They watched storms out there so distant they could not be heard, the silent lightning flaring sheetwise and the thin black spine of the mountain chain fluttering and sucked away again in the dark. They saw wild horses racing on the plain, pounding their shadows down the night and leaving in the moonlight a vaporous dust like the palest stain of their passing.
Cormac McCarthy (Blood Meridian: Or the Evening Redness in the West)
One day we are looking at the Magnum photograph of Sophia Loren at the Christian Dior show in Paris in 1968 and thinking yes, it could be me, I could wear that dress, I was in Paris that year; a blink of the eye later we are in one or another doctor's office being told what has already gone wrong, why we will never again wear the red suede sandals with the four-inch heels, never again wear the gold hoop earrings, the enameled beads, never now wear the dress Sophia Loren is wearing.
Joan Didion (Blue Nights)
One night, he left Stephen and me in the arcade and rushed off to a – this hurt my feelings – “real” game. That night, he missed a foul shot by two feet and made the mistake of admitting to the other players that his arms were tired from throwing miniature balls at a shortened hoop all afternoon. They laughed and laughed. ‘In the second overtime,’ Joel told me, ‘when the opposing team fouled me with four seconds left and gave me the opportunity to shoot from the line for the game, they looked mighty smug as they took their positions along the key. Oh, Pop-A-Shot guy, I could hear them thinking to their smug selves. He’ll never make a foul shot. He plays baby games. Wa-wa-wa, little Pop-A-Shot baby, would you like a zwieback biscuit? But you know what? I made those shots, and those songs of bitches had to wipe their smug grins off their smug faces and go home thinking that maybe Pop-A-Shot wasn’t such a baby game after all.” I think Pop-A-Shot’s a baby game. That’s why I love it. Unlike the game of basketball itself, Pop-A-Shot has no standard socially redeeming value whatsoever. Pop-A-Shot is not about teamwork or getting along or working together. Pop-A-Shot is not about getting exercise or fresh air. It takes place in fluorescent-lit bowling alleys or darkened bars. It costs money. At the end of a game, one does not swig Gatorade. One sips bourbon or margaritas or munches cupcakes. Unless one is playing the Super Shot version at the ESPN Zone in Times Square, in which case, one orders the greatest appetizer ever invented on this continent – a plate of cheeseburgers.
Sarah Vowell (The Partly Cloudy Patriot)
That night they rode through a region electric and wild where strange shapes of soft blue fire ran over the metal of the horses’ trappings and the wagonwheels rolled in hoops of fire and little shapes of pale blue light came to perch in the ears of the horses and in the beams of the men. All night sheetlightning quaked sourceless to the west beyond the midnight thunderheads, making a bluish day of the distant desert, the mountains on the sudden skyline stark and black and livid like a land of some other order out there whose true geology was not stone but fear. The thunder moved up from the southwest and lightning lit the desert all about them, blue and barren, great clanging reaches ordered out of the absolute night like some demon kingdom summoned up or changeling land that come the day would leave them neither trace nor smoke nor ruin more than any troubling dream.
Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
Shut up, Ban,” I cut in softly. “I’m not giving you that out. Tonight you face the truth.” “Which is what?” she asks. “Do you have any idea how many women I’ve been with?” I ask instead of answering her question directly. “No, I—” “Neither do I. I literally don’t remember some of them. Just a blur of hair and faces. I got some of their names wrong the night they were in my bed.” I grasp her stubborn chin, lift it. “But you? I remember exactly how tight you were. How wet. I still hear the sounds you made in the dark, and I know how we smell together. I have perfect recall of every second I was inside of you. That’s the truth.” Her pupils dilate and she draws a stuttering breath. “Banner, you’re my match.” Finally saying the words out loud, declaring it, feels right. “I’m not your match,” she says, one imperious brow ascending. “I’m too good for you.” “True,” I grin, tightening my hand at her waist. “But I’m going to have you anyway.
Kennedy Ryan (Block Shot (Hoops, #2))
Purrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr. Trez frowned at the sound. Cracking one eye open, he found his brother standing over his bed, Boo the black cat in the male’s arms, an expression of disapproval narrowing those icy eyes. His brother’s, not the cat’s. “Are you spending another night on your ass,” iAm bit out. Not a question, so why bother throwing out an answer. Groaning as he sat up, Trez had to brace his arms to keep his torso vertical. Apparently, while he’d been out of it, the world had turned into a hula hoop and the planet was going around and around his neck. Losing the fight, he flopped back down. As his brother kept standing there, he knew that this was the siren call back to reality. And he wanted to answer it, he really did. His body, however, was out of gas. “When was the last time you fed?” iAm demanded. He shifted his eyes over and dodged the question. “Since when are you an animal lover?” “I hate this g*dd*mn cat.” “I can tell.
J.R. Ward (The King (Black Dagger Brotherhood, #12))
About four months into it, we were shooting hoops in my dad’s driveway when Chip stopped in his tracks, held me in his arms, looked into my eyes under the starry sky, and said, “I love you.” And I looked at him and said, “Thank you.” “Thank you?” Chip said. I know I should have said, “I love you too,” but this whole thing had been such a whirlwind, and I was just trying to process it all. No guy had ever told me he loved me before, and here Chip was saying it after what seemed like such a short period of time. Chip got angry. He grabbed his basketball from under my arm and went storming off with it like a four-year-old. I really thought, What in the world is with this girl? I just told her I loved her, and that’s all she can say? It’s not like I just went around saying that to people all the time. So saying it was a big deal for me too. But now I was stomping down the driveway going, Okay, that’s it. Am I dating an emotionless cyborg or something? I’m going home. Chip took off in his big, white Chevy truck with the Z71 stickers on the side, even squealing his tires a bit as he drove off, and it really sank in what a big deal that must have been for him. I felt bad--so bad that I actually got up the courage to call him later that night. I explained myself, and he said he understood, and by the end of the phone call we were right back to being ourselves. Two weeks later, when Chip said, “I love you” again, I responded, “I love you too.” There was no hesitation. I knew I loved him, and I knew it was okay to say so. I’m not sure why I ever gave him a second chance when he showed up ninety minutes late for our first date or why I gave him another second chance when he didn’t call me for two months after that. And I’m not sure why he gave me a second chance after I blew that romantic moment in the driveway. But I’m very glad I did, and I’m very glad he did too--because sometimes second chances lead to great things. All of my doubts, all of the things I thought I wanted out of a relationship, and many of the things I thought I wanted out of life itself turned out to be just plain wrong. Instead? That voice from our first date turned out to be the thing that was absolutely right.
Joanna Gaines (The Magnolia Story)
It worries me I may tell you. I sit at home every night thinking about it and smoking endless cigarettes. If you call at my place any night after seven I will show you one of them. Quite circular. Like a hoop.
Flann O'Brien
faster but the picture remained entirely static. The stillness of a deserted office descended and held steady as time rushed by. “When do the cleaners come in?” Reacher asked. “Just before midnight,” Froelich said. “That late?” “They’re night workers. This is a round-the-clock operation.” “And there’s nothing else visible before then?” “Nothing at all.” “So spool ahead. We get the picture.” Froelich operated the buttons and shuttled between fast-forward with snow on the screen and regular-speed playback with a picture to check the timecode. At eleven-fifty P.M. she let the tape run. The counter clicked ahead, a second at a time. At eleven fifty-two there was motion at the far end of the corridor. A team of three people emerged from the gloom. There were two women and a man, all of them wearing dark overalls. They looked Hispanic. They were all short and compact, dark-haired, stoic. The man was pushing a cart. It had a black garbage bag locked into a hoop at the front, and trays stacked with cloths and spray bottles on shelves at the rear. One of the women was carrying a vacuum cleaner. It rode on
Lee Child (Without Fail (Jack Reacher, #6))
What is it you want from me Dad? You want me to be the big basketball star you never were?"-Scott
Carl Deuker (Night Hoops)
Soon, all the children were chanting it. “No school! No school!
Nathan Reese Maher (Lights Out: Book 2)
Somehow her hula hoop had cut into the driver’s side door like the vehicle was made of cheese.
Nathan Reese Maher (Lights Out: Book 2)
She could spin it between her legs, skip with it, twirl it around her neck and transfer it from one arm to the other. Shelly hooped because she enjoyed it; it calmed her whenever she would have an argument or a bad day at school, and it also allowed her to think. Today, she needed to hoop more than ever.
Nathan Reese Maher (Lights Out: Book 2)
Shelly shook her head and made sure she had plenty of space so that she wouldn’t hit anything. As many times before, she kept the hoop close to her waist and then twirled it with small, tight bursts of speed. As the hoop gathered in momentum it started to give off a hum that soon took on a light blue illumination far brighter than the streetlamps. It was so bright, that it lit up the entire backyard.
Nathan Reese Maher (Lights Out: Book 2)
I’m afraid they’re not coming.” Abby said fearfully. “Our parents, our teachers – everyone! They’ve disappeared. That’s it. Lights out, Shelly. We’re on our own.
Nathan Reese Maher (Lights Out: Book 2)
Lydia displays her right hand and instantly bathed the room with a blinding light. It lasted only a moment before it drew back into her palm. “I can fix you if you’re ever broken.
Nathan Reese Maher
It’s no big deal. It’s kind of like a tattoo. It won’t hurt, not too much, just a few stitches and it’ll be all over. It’s really interesting how it’s done. You won’t believe where your soul hides. Go on, take a guess. Where do you think it is?
Nathan Reese Maher (Lights Out: Book 2)
Aloha Oukou. It looked like your soul was escaping so I put you in a tree.
Nathan Reese Maher (Lights Out: Book 2)
I’m inputting the pizza from last night, trying not to think about my points overage, when Jared comes behind me, rests his chin on my shoulder, and hugs me from behind. At first I hold myself stiffly in the circle of warm muscle, but he runs his nose along the line of my neck, smells my hair like he’s absorbing me. I sink back into him and drop my head against him. “That’s it,” he whispers in my ear. “That’s all I want.
Kennedy Ryan (Block Shot (Hoops, #2))
She is day and I am night. When day and night are absolutely equal, it’s equinox. Banner is my equinox. My equal. The revelation rattles around inside me, but my face, my surface remains smooth.
Kennedy Ryan (Block Shot (Hoops, #2))
Upon the arrival of my sweet baby sister, Gina Louise on May 7th, 1955, Dad’s four “Little Women” was complete and I believe he abandoned the wish that the Pescarmona name would live on in a son someday. I tried to fill the void by watching the “Friday Night Fights” (which were boxing matches) with my Dad. I wonder what he really thought about his most “girlie girl” expressing the slightest interest in boxing. Now Linda, who always said she wished she was born a boy, had a Davy Crockett shirt and pants replete with a coonskin cap and sported a belt with two holsters and faux pearl-handled cap guns. I liked the smell of gunpowder for some odd reason and would play guns with her occasionally. We roomed together, but two more different sisters could never be found. I loved clothes with hoop skirts that had to be negotiated very carefully while sitting down in a church pew, which we found out the first time we wore them. We sat on the hoop and our skirts went up nearly over our heads revealing our unmentionables.
Carol Ann P. Cote (Downstairs ~ Upstairs: The Seamstress, The Butler, The "Nomad Diplomats" and Me -- A Dual Memoir)
Andrew will be here to take care of you,” he finishes. “I’ll be back tomorrow night, baby. I know you’ll be mad, but we’ll get past this. We’ve been through so much together.
Kennedy Ryan (Long Shot (Hoops, #1))
Above the lot, the great pink hoop of the Ed’s Doughnut House sign broadcasts its frigid synthetic light into the night,
Paul Murray (Skippy Dies)
Esperanza’s dark beauty brought on images of moonlit skies, night walks on the beach, olive trees in a gentle breeze. She wore hoop earrings. Her long black hair always had the perfect muss to it. Her sheer white blouse had been fitted by a benevolent deity; it may have been open a button too low but it was all working. The
Harlan Coben (Live Wire (Myron Bolitar, #10))
I shift on the couch, trying to get comfortable, searching for relief. I’m still raw and throbbing from Caleb’s invasion last night. I thought he would hit me, but apparently, he believed a gun to my head and shoved between my legs was enough to keep me in line. He was not wrong.
Kennedy Ryan (Long Shot (Hoops, #1))
When you get to the center, though—when you peel back the golden overlay—at his core he’s nothing but a rotting side of meat. Spoiling and crawling with maggots. And I’m the lucky girl who gets to snuggle up to that every night.
Kennedy Ryan (Long Shot (Hoops, #1))
Bring Back Our Baskets! That was the cry heard from Quidditch players across the nation last night as it became clear that the Department of Magical Games and Sports had decided to burn the baskets used for centuries for goal-scoring in Quidditch. ‘We’re not burning them, don’t exaggerate,’ said an irritable-looking Departmental representative last night when asked to comment. ‘Baskets, as you may have noticed, come in different sizes. We have found it impossible to standardise basket size so as to make goalposts throughout Britain equal. Surely you can see it’s a matter of fairness. I mean, there’s a team up near Barnton, they’ve got these minuscule little baskets attached to the opposing team’s posts, you couldn’t get a grape in them. And up their own end they’ve got these great wicker caves swinging around. It’s not on. We’ve settled on a fixed hoop size and that’s it. Everything nice and fair.’ At this point, the Departmental representative was forced to retreat under a hail of baskets thrown by the angry demonstrators assembled in the hall. Although the ensuing riot was later blamed on goblin agitators, there can be no doubt that Quidditch fans across Britain are tonight mourning the end of the game as we know it. ‘’T won’t be t’ same wi’out baskets,’ said one apple-cheeked old wizard sadly. ‘I remember when I were a lad, we used to set fire to ’em for a laugh during t’ match. You can’t do that with goal hoops. ’Alf t’ fun’s gone.’ Daily Prophet, 12 February 1883
J.K. Rowling (Quidditch Through the Ages)