Parallel Parking Quotes

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They say the first thing to go when you're old is your legs or your eyesight. It isn't true. The first thing to go is parallel parking.
Kurt Vonnegut Jr. (Timequake)
That parallel parking is like making love but more difficult and in public.
Neil Hilborn (Our Numbered Days)
Gus hated feeling anxious. He also hated warm ketchup, loud people, sunburns, parallel parking, jams and jellies, Instagram, Sarah McLachlan’s SPCA commercials, rubber glue, Michael Bay’s DVD commentaries, Michael Bay’s films, Michael Bay, and that weird feeling that tattooed, bearded hipster caused in the pit of his stomach that felt like he had tripped down a flight of stairs into a frozen lake that got lit on fire.
T.J. Klune (How to Be a Normal Person (How to Be, #1))
It was called evolutionary biology. Under its sway, the sexes were separated again, men into hunters and women into gatherers. Nurture no longer formed us; nature did. Impulses of hominids dating from 20,000 B.C. were still controlling us. And so today on television and in magazines you get the current simplifications. Why can't men communicate? (Because they had to be quiet on the hunt.) Why do women communicate so well? (Because they had to call out to one another where the fruits and berries were.) Why can men never find things around the house? (Because they have a narrow field of vision, useful in tracking prey.) Why can women find things so easily? (Because in protecting the nest they were used to scanning a wide field.) Why can't women parallel-park? (Because low testosterone inhibits spatial ability.) Why won't men ask for directions? (Because asking for directions is a sign of weakness, and hunters never show weakness.) This is where we are today. Men and women, tired of being the same, want to be different again.
Jeffrey Eugenides (Middlesex)
I’ve got a spare,” Jack says, finishing in twenty seconds a parallel parking job that would have taken me twenty minutes and my whole dignity.
Ali Hazelwood (Love, Theoretically)
Only a sister could be thoroughly unimpressed with your public accomplishments and accolades but would screech in joy and support when you finally learned how to parallel park or make it through a cavity filling without fainting.
Lauren Weisberger (Where the Grass Is Green and the Girls Are Pretty)
They say the first thing to go when you’re old is your legs or your eyesight. It isn’t true. The first thing to go is parallel parking.
Kurt Vonnegut Jr. (Timequake)
This motherfucking parallel parking.
Jason Matthews (Red Sparrow (Red Sparrow Trilogy #1))
I feel like I'm diagonally parked in a parallel universe.
Various (101 Best Jokes)
Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
Neal Stephenson (Snow Crash)
FORKED BRANCHES We grew up on the same street, You and me. We went to the same schools, Rode the same bus, Had the same friends, And even shared spaghetti With each other's families. And though our roots belong to The same tree, Our branches have grown In different directions. Our tree, Now resembles a thousand Other trees In a sea of a trillion Other trees With parallel destinies And similar dreams. You cannot envy the branch That grows bigger From the same seed, And you cannot Blame it on the sun's direction. But you still compare us, As if we're still those two Kids at the park Slurping down slushies and Eating ice cream. Suzy Kassem, Rise Up and Salute the Sun (2010)
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
North Koreans have two stories running in their heads at all times, like trains on parallel tracks. One is what you are taught to believe; the other is what you see with your own eyes. It wasn’t until I escaped to South Korea and read a translation of George Orwell’s Nineteen Eighty-Four that I found a word for this peculiar condition: doublethink. This is the ability to hold two contradictory ideas in your mind at the same time—and somehow not go crazy. This “doublethink” is how you can shout slogans denouncing capitalism in the morning, then browse through the market in the afternoon to buy smuggled South Korean cosmetics.
Yeonmi Park
I feel like i am parked diagonally in a parallel universe
Anonymous
They say the first thing to go when you're old is your legs or your eyesight. It isn't true. The first thing to go is parallel parking.
Kurt Vonnegut Jr. (Timequake)
was never going to be able to parallel park that behemoth.
Dahlia Adler (That Way Madness Lies: 15 of Shakespeare's Most Notable Works Reimagined)
Never in my life have I been so turned on by parallel parking.
B.K. Borison (In the Weeds (Lovelight, #2))
Women, who are smarter than men in everything, mysteriously, don't seem to know how to parallel park.
Fausto Brizzi (100 Days of Happiness)
That is the idea he is toying with, Renzo says, to write an essay about the things that don’t happen, the lives not lived, the wars not fought, the shadow worlds that run parallel to the world we take to be the real world, the not-said and the not-done, the not-remembered.
Paul Auster (Sunset Park)
Technology won’t save their asses. We know that better than anyone. Technology is a tool that gives us the space to make political change. Politics are a tool we use to open the space for making better technology. It’s like parallel parking: you go as far as you can in one direction, then back up and go as far as you can in the other. Use tech to make political achievements, use politics to improve tech. Back and forth.
Cory Doctorow (Attack Surface (Little Brother, #3))
lungs, and the stars winked distantly in the deep cobalt sky. It was three thirty a.m., way too early to be awake. A truck turned the corner and rumbled its way over to our house. I watched it parallel park, then go silent as the lights switched
E.M. Tippetts (Someone Else's Fairytale (Someone Else's Fairytale, #1))
We grew up on the same street, You and me. We went to the same schools, Rode the same bus, Had the same friends, And even shared spaghetti With each other's families. And though our roots belong to The same tree, Our branches have grown In different directions. Our tree, Now resembles a thousand Other trees In a sea of a trillion Other trees With parallel destinies And similar dreams. You cannot envy the branch That grows bigger From the same seed, And you cannot Blame it on the sun's direction. But you still compare us, As if we're still those two Kids at the park Slurping down slushies and Eating ice cream. Suzy Kassem, Rise Up and Salute the Sun (2010)
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
Fifteen minutes into my [driving] lesson. I'm convinced love and parallel parking have a lot in common. There are tense moments and blind spots, and time when I can't see the curb at all. But then some mysterious force guides me and I find I'm right where I was meant to be.
Jennifer Salvato Doktorski (The Summer After You and Me)
No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.
Neal Stephenson (Snow Crash)
Highly sensitive children and adults often appear frightened, irritable, apprehensive, with digestive problems, or as loners. But you may also appear as aware, imaginative, and creative. As an adult you tend to overwhelm yourself by working too hard, too long, with too much interpersonal interaction, unaware of your sensitivity thresholds.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
I am diagonally parked among the vertically parallel people of this horizontal universe.
Vikrmn: CA Vikram Verma (10 Alone)
North Koreans have two stories running in their heads at all times, like trains on parallel tracks. One is what you are taught to believe; the other is what you see with your own eyes. It wasn’t until I escaped to South Korea and read a translation of George Orwell’s Nineteen Eighty-Four that I found a word for this peculiar condition: doublethink. This is the ability to hold two contradictory ideas in your mind at the same time—and somehow not go crazy. This
Yeonmi Park (In Order to Live: A North Korean Girl's Journey to Freedom)
The best description of this book is found within the title. The full title of this book is: "This is the story my great-grandfather told my father, who then told my grandfather, who then told me about how The Mythical Mr. Boo, Charles Manseur Fizzlebush Grissham III, better known as Mr. Fizzlebush, and Orafoura are all in fact me and Dora J. Arod, who sometimes shares my pen, paper, thoughts, mind, body, and soul, because Dora J. Arod is my pseudonym, as he/it incorporates both my first and middle name, and is also a palindrome that can be read forwards or backwards no matter if you are an upright man in the eyes of God or you are upside down in a tank of water wearing purple goggles and grape jelly discussing how best to spread your time between your work, your wife, and the toasted bread being eaten by the man you are talking to who goes by the name of Dendrite McDowell, who is only wearing a towel on his head and has an hourglass obscuring his “time machine”--or the thing that he says can keep him young forever by producing young versions of himself the way I avert disaster in that I ramble and bumble like a bee until I pollinate my way through flowery situations that might otherwise have ended up being more than less than, but not equal to two short parallel lines stacked on top of each other that mathematicians use to balance equations like a tightrope walker running on a wire stretched between two white stretched limos parked on a long cloud that looks like Salt Lake City minus the sodium and Mormons, but with a dash of pepper and Protestants, who may or may not be spiritual descendents of Mr. Maynot, who didn’t come over to America in the Mayflower, but only because he was “Too lazy to get off the sofa,” and therefore impacted this continent centuries before the first television was ever thrown out of a speeding vehicle at a man who looked exactly like my great-grandfather, who happens to look exactly like the clone science has yet to allow me to create
Jarod Kintz (This is the story my great-grandfather told my father, who then told my grandfather, who then told me about how The Mythical Mr. Boo, Charles Manseur Fizzlebush Grissham III, better known as Mr. Fizzlebush, and Orafoura are all in fact me...)
Mike’s Tuxedo Rental was a bolt-hole of polyester knockoffs sandwiched between a Dunkin’ Donuts on the corner and a local flower shop on the other side. As Anne parallel-parked across the street from it, she checked the clock on her dash and was relieved they had an hour before the shop closed at five.
J.R. Ward (The Rehearsal Dinner (The Wedding From Hell, #1; Firefighters, #0.5))
They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
Neal Stephenson (Snow Crash)
Before I opened my computer in the parking lot today, I relived one of my favorite memories. It's the one with Woody and me sitting on the steps of the Metropolitan Museum after it's closed. We're watching people parade out of the museum in summer shorts and sandals. The trees to the south are planted in parallel lines. The water in the fountain shoots up with a mist that almost reaches the steps we sit on. We look at silver-haired ladies in red-and-white-print dresses. We separate the mice from the men, the tourists from the New Yorkers, the Upper East Siders from the West Siders. The hot-pretzel vendor sells us a wad of dough in knots with clumps of salt stuck on top. We make our usual remarks about the crazies and wonder what it would be like to live in a penthouse apartment on Fifth Avenue overlooking the Met. We laugh and say the same things we always say. We hold hands and keep sitting, just sitting, as the sun beings to set. It's a perfect afternoon.
Diane Keaton (Then Again)
There was something wonderful about the atmosphere at Stony Cross Park. One could easily imagine it as some magical place set in some far-off land. The surrounding forest was so deep and thick as to be primeval in appearance, while the twelve-acre garden behind the manor seemed too perfect to be real. There were groves, glades, ponds, and fountains. It was a garden of many moods, alternating tranquility with colorful tumult. A disciplined garden, every blade of grass precisely clipped, the corners of the box hedges trimmed to knife blade crispness. Hatless, gloveless, and infused with a sudden sense of optimism, Annabelle breathed deeply of the country air. She skirted the edge of the terraced gardens at the back of the manor and followed a graveled path set between raised beds of poppies and geraniums. The atmosphere soon became thick with the perfume of flowers, as the path paralleled a drystone wall covered with tumbles of pink and cream roses. Wandering more slowly, Annabelle crossed through an orchard of ancient pear trees, sculpted by decades into fantastic shapes. Farther off, a canopy of silver birch led to woodland beds that appeared to melt seamlessly into the forest beyond.
Lisa Kleypas (Secrets of a Summer Night (Wallflowers, #1))
there is nothing generic about a human life. When I was little, to get to my bus stop, I had to cross a field that had so much snow my parents fitted me with ski pants and knee-high thermal boots that were toasty to forty degrees below zero. I am excellent in the stern of a canoe, but I never got the hang of riding a bike with no hands. I have seen the northern lights because my parents always woke up the whole house when the night sky was painted with color. I love the smell of clover and chamomile because my sister and I used to pick both on the way home from swimming lessons. I spent weeks of my childhood riding around on my bike saving drowning worms after a heavy rain. My hair is my favorite feature even though it’s too heavy for most ponytails, and I still can’t parallel park. There is no life in general. Each day has been a collection of trivial details—little intimacies and jokes and screw-ups and realizations.
Kate Bowler
Shelby looked over to see Andrew silently mouthing syllables to himself, as if he were part of an ecstatic rite. He grinned as he bit fricatives and tongued plosives. He was tasting English origins, mulling over words ripped from bronze-smelling hoards. Words that had slept beneath centuries of dust and small rain, sharp and bright as scale mail. Poetry had never moved her quite so much as drama. She loved the shock of colloquy, the beat and treble of words doing what they had to on stage. Andrew preferred the echo of poems buried alive.
Bailey Cunningham (Pile of Bones (Parallel Parks, #1))
In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your home-own. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
Neal Stephenson (Snow Crash)
Youth. Particularly hard hit is the younger generation that faces an economic situation for which it has been inadequately prepared. Imbued with the unrealistic expectation of continuing economic prosperity, of having things better than their parents did, they grapple, often unsuccessfully, with underdeveloped self-sufficiency, unemployment, and underemployment in all but a few circumscribed areas. But this sense of entitlement creates a resentment of the compromises necessary to effectively survive. As a result, young adults may tend to feel more disillusioned and alienated.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
A shared genetic past does not negate eons of separate evolution. While plants and humans maintain parallel abilities to sense and be aware of the physical world, the independent paths of evolution have led to a uniquely human capacity, beyond intelligence, that plants don't have: the ability to care. So the next time you find yourself on a stroll through a park, take a second to ask yourself: What does the dandelion in the lawn see? What does the grass smell? Touch the leaves of an oak, knowing that the tree will remember it was touched. But it won't remember you. You, on the other hand, can remember this particular tree and carry the memory of it with you forever.
Daniel Chamovitz (What a Plant Knows: A Field Guide to the Senses)
Why can’t men communicate? (Because they had to be quiet on the hunt.) Why do women communicate so well? (Because they had to call out to one another where the fruits and berries were.) Why can men never find things around the house? (Because they have a narrow field of vision, useful in tracking prey.) Why can women find things so easily? (Because in protecting the nest they were used to scanning a wide field.) Why can’t women parallel-park? (Because low testosterone inhibits spatial ability.) Why won’t men ask for directions? (Because asking for directions is a sign of weakness, and hunters never show weakness.) This is where we are today. Men and women, tired of being the same, want to be different again.
Jeffrey Eugenides (Middlesex)
Clingmans Dome in the middle of the park. Then, it’s downhill to Virginia, and people have told me Virginia is a cakewalk. I’ll learn soon enough that “easy” trail beyond the Smoky Mountains is as much a fantasy as my dream lunch with pizza…uh, I mean Juli, but for now I’ve convinced myself all will be well once I get through the Smokies. I leave Tray Mountain Shelter at 1:00 with ten miles to go. I’ve eaten the remainder of my food. I’ve been hiking roughly two miles per hour. Downhill is slower due to my sore knee. I need to get to Hiawassee by 6:00 p.m., the check-in deadline at Blueberry Patch Hostel, where my mail drop is waiting.5 I have little margin, so I decide to push for a while. I down a couple of Advil and “open it up” for the first time this trip. In the next hour I cover 3.5 miles. Another 1.5 miles and I am out of water, since I skipped all the side trails leading to streams. Five miles to go, and I’m running out of steam. Half the strands of muscle in my legs have taken the rest of the day off, leaving the other half to do all the work. My throat is dry. Less than a mile to go, a widening stream parallels the trail. It is nearing 6:00, but I can handle the thirst no longer. There is a five-foot drop down an embankment to the stream. Hurriedly I drop my pack and camera case, which I have clipped over the belt of my pack. The camera starts rolling down the embankment, headed for the stream. I lunge for it and miss. It stops on its own in the nook of a tree root. I have to be more careful. I’m already paranoid about losing or breaking gear. Every time I resume hiking after a rest, I stop a few steps down the trail and look back for anything I may have left behind. There’s nothing in my pack that I don’t need. Finally, I’m
David Miller (AWOL on the Appalachian Trail)
You must believe that you’re not to blame for this problem … but that you are responsible for its solution.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
house. I watched it parallel park, then go silent as the lights switched off. The driver’s side door opened, and my best friend, Matthew, stepped down. His cowboy boots
E.M. Tippetts (Someone Else's Fairytale (Someone Else's Fairytale, #1))
watched it parallel park, then go silent as the lights switched off. The driver’s side door opened, and my best friend, Matthew, stepped down. His cowboy boots thudded against the asphalt,
E.M. Tippetts (Someone Else's Fairytale (Someone Else's Fairytale, #1))
our house. I watched it parallel park, then go
E.M. Tippetts (Someone Else's Fairytale (Someone Else's Fairytale, #1))
vulnerable to negative experience, though not necessarily. So what
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
Jeanne continued to drive until she reached a small state park. She parked her car and walked over to a bench parallel to the lake. Jeanne stared out at the lake and thought about carving all of her ex-lovers names onto the large stones that sat in the grass and spending her entire life waiting for them to be eroded by the wind and the rain. In the park there were also children dropping medium sized rocks with both hands into a stream. They fell heavily into the water and sunk down with the sound of small giggles. The children shouted something to their mothers. Something like, “Look mom we’re skip- ping rocks!” The mothers didn’t look but they shouted something back like, “Wow good job honey!” The “wow” was drawn out long and slow, more pronounced than any of the other words in the sentence. The children seemed pleased with this response and continued to laugh and throw stones into the river. A woman sat on a bench across from Jeanne for an extended period of time, folding leaves in her hands like a nervous tick. The woman looked up from her hands and laughed. She looked back down at her hands and looked sad again. Jeanne felt the urge to ask the woman why she looked down at the leaves and felt sad. Maybe, Jeanne speculated, she felt sad for the leaves that were in pieces all around her. Maybe the woman felt sad for herself because she was sitting on a bench alone and feeling ner- vous. Perhaps the woman felt guilty because she was laughing while killing something. Jeanne watched the woman as she looked up at middle space and alternated her expression from smiling to sad. Jeanne thought about wanting to kiss the woman’s face when it looked sad. Jeanne wanted to catch her mouth right in the in-be- tween before she smiled. Jeanne wanted the kiss to be sad and slow but hopeful as children laughed and threw rocks with her ex-lovers names into the river. Jeanne sat on the bench in the park and did nothing. She could feel her heart beating inside of her left shoulder blade. Jeanne wanted to throw rocks into the river like a child and kiss. Jeanne thought, “Kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss,” but she continued to sit. She didn’t throw rocks. She didn’t kiss anyone.
Gabby Bess (Alone with Other People)
You need a hybrid and a parking space the size of a runway.” A laugh slipped out as her gaze flickered over him. “That is not nice.” “Did you just snort?” “No.” She bit her lip, backing up again. Slowly this time, cutting the wheel. “Yes, you did. You totally snorted.” “I do not snort.” She hit the curb. A laugh escaped, finishing with a snort. “Oh my gosh. You’re drawing a crowd.” “I am not!” She laughed, looking around, hoping it wasn’t true. It wasn’t except for a teenaged kid who stood outside the coffee shop with a steaming cup and his phone, probably tweeting about bad women drivers. “The Harbor Tides is going to show up any minute.” “Stop it.” “Man dies of old age while waiting for woman to parallel park.” “Stop it!” It had been forever since she’d bantered with a man. It felt good. Like a big, warm hug at the end of a long week.
Denise Hunter (Falling Like Snowflakes (Summer Harbor, #1))
Here, inmates would spend seven days and six nights being drilled on vacation etiquette. For example, they’d be taught how to read speed-limit signs; how to park within the parallel lines of a parking space; how to drink and dispose of alcohol; how to vomit inconspicuously; how to steer a Jet Ski and chew gum at the same time.… The drill instructors would be selected from an elite pool of former Highway Patrol troopers, ex–Navy SEALs, and retired tour guides from Epcot.
Carl Hiaasen (Dance of the Reptiles: Rampaging Tourists, Marauding Pythons, Larcenous Legislators, Crazed Celebrities, and Tar-Balled Beaches: Selected Columns)
Polls on what people fear most have found consistently that speaking in public, formally and informally, is the number-one American fear.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
In South Philly, parallel parking is a skill learned at an early age and one that easily identifies native sons from outsiders who had no concept of how to move a car sideways and wedge it snugly between two others.
Marc Kuhn (Dead Letter)
Roper shrugged, cleared his throat and then swallowed the phlegm. ‘Never liked fish anyway.’ ‘Just pick it up,’ she muttered. ‘Throw it in a damn bin.’ He looked at her for a few seconds, licked his bottom lip, and then turned towards the river and walked away, leaving it there. Jamie stared at it, weighing up whether to pick it up and prove Roper right, or to leave it and admit to herself that it wasn’t that important. She didn’t like the idea of touching something that had been in his mouth, so she left it and followed him. This morning, they did have bigger fish to fry. Whether Roper liked them or not. There was a police cordon set up around the area and three squad cars and an ambulance parked at odd angles on the street. It ran parallel to the water, with a pavement separating the road from the grassy bank that led down to the body.  A bridge stretched overhead and iron grates spanned the space between the support struts, stopping debris from washing into the Thames. It looked like the body had got caught on one and then dragged to shore.  Some bystanders had gathered on the bridge and were looking down, at a loss for anything else to do than hang around, hoping for a look at a corpse.  Jamie dragged her eyes away from them and looked around. The buildings lining the river were mostly residential. Blocks of apartments. No wonder the body had been seen quickly.  There were six uniformed officers on scene, two of whom were standing guard in front of the privacy tent that had been set up on the bank. It looked like they’d fished the body out onto the grass. Jamie was a little glad she didn’t have to wade into the water.  To the right, a man in his sixties was being interviewed by one of the officers. He was wrapped in a foil blanket and his khaki trousers were still soaked through. Had he been the one to pull the body out? It took a certain kind of person to jump into a river to help someone rather than call it in. Especially in November. That made three officers. She continued to search. She could see another two in the distance, checking the river and talking to pedestrians. The conversations were mostly comprised of them saying the words, ‘I can’t tell you that, sorry,’ to people who kept asking what had happened in a hundred different ways. Jamie was glad her days of crowd control were over. She’d been a uniformed officer for seven years. The day she’d graduated to plainclothes was one of the happiest of her life. For all the shit her father did, he was one hell of a detective, and she’d always wanted to be one — minus the liver cirrhosis and gonorrhoea, of course. She was teetotal. The sixth officer was filling out a report and talking to the paramedics. If the victim had washed up in the river in November then there would have been nothing they could do.
Morgan Greene (Bare Skin (DS Jamie Johansson #1))
But I’m sixteen! I can’t even parallel-park! How am I supposed to know how to be your eyes and ears?
P.C. Cast (Marked (House of Night, #1))
What are you, some kind of parallel parking expert?
Katie Cotugno (Birds of California)
By 1949, both the United States and the Soviet Union had withdrawn their troops and turned the peninsula over to the new puppet leaders. It did not go well. Kim Il Sung was a Stalinist and an ultranationalist dictator who decided to reunify the country in the summer of 1950 by invading the South with Russian tanks and thousands of troops. In North Korea, we were taught that the Yankee imperialists started the war, and our soldiers gallantly fought off their evil invasion. In fact, the United States military returned to Korea for the express purpose of defending the South—bolstered by an official United Nations force—and quickly drove Kim Il Sung’s army all the way to the Yalu River, nearly taking over the country. They were stopped only when Chinese soldiers surged across the border and fought the Americans back to the 38th parallel. By the end of this senseless war, at least three million Koreans had been killed or wounded, millions were refugees, and most of the country was in ruins. In 1953, both sides agreed to end the fighting, but they never signed a peace treaty. To this day we are still officially at war, and both the governments of the North and South believe that they are the legitimate representatives of all Koreans.
Yeonmi Park (In Order to Live: A North Korean Girl's Journey to Freedom)
They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The
Neal Stephenson (Snow Crash)
I parallel park in front of Shuei-Do Manju Shop, one of the best traditional Japanese sweet shops in the area. They’re known for their manju and mochi, soft and chewy rice cakes stuffed with tasty fillings ranging from peanut butter to traditional red bean. It’s so good that the emperor of Japan ate manju from their shop during a visit to the US.
Julie Abe (The Charmed List)
My ability to defend myself in rough situations—along with a brief but memorable stint as a taxi driver in Cleveland—turned into quite the selling point for my boss, Iris, during the hiring process. I could parallel-park and adjust my radio while flipping a rude gesture at another driver, all the while calculating a 20-percent tip in my head. I demonstrated my skills to Iris when she hired me. She asked me never to do it again.
Molly Harper (Driving Mr. Dead (Half-Moon Hollow, #1.5))
Butch pulled his best friend’s R8 V10 performance Plus into a parallel parking spot downtown. The car was murdered, everything blacked out, and it was sleek as a space shuttle, capable of reaching Millennium Falcon speeds in spite of the fact that it weighed as much as Rhage. The thing was also a dinosaur in the best sense of the word, a throwback to big-engine cars of the past that sounded like pro wrestlers and sucked gas like a sprinter used oxygen. In other words, it was right up V’s alley.
J.R. Ward
AT SIXTEEN, MOST KIDS WOULD STRESS about parallel parking tests, getting a driver’s license, and affording a car. Jason stressed about controlling a team of fiery horses with wind ropes.
Rick Riordan (The House of Hades (Heroes of Olympus, #4))
There were outlaw bikers and meth labs close by. Berenson was readier to believe that. Stories about the badlands were legion. But a pained echo in a chance remark about Dean’s daughter led her to believe that the kid was in some way the problem. She was fourteen years old. Berenson put two and two together and made five. She figured maybe the kid was hanging with the bikers or experimenting with crystal and causing big problems at home. Then she revised her opinion. The quality problems up at Highland Park became common knowledge inside the company. Berenson knew that Dean had a difficult split responsibility. As a director of the corporation he had a fiduciary duty to see it do well. But he also had a parallel responsibility to the Pentagon to make sure New Age sold it only the good stuff. Berenson figured
Lee Child (Bad Luck and Trouble (Jack Reacher, #11))
plunge. I tried to keep my eyes open and channel June Peggot parallel parking outside the Atlanta Starbucks. I’m in awe of that maneuver to this day. Men have married women for less reason.
Barbara Kingsolver (Demon Copperhead)
How about you just let me lead and stop thinking so hard?" Robby slapped his hands over his face. "You have no idea what you're asking of me. I don't drive because I spend my life in fear of having to parallel park.
Onley James (Exasperating (Elite Protection Services, #3))
I tried to keep my eyes open and channel June Peggot parallel parking outside the Atlanta Starbucks. I’m in awe of that maneuver to this day. Men have married women for less reason.
Barbara Kingsolver (Demon Copperhead)
She asks me, "How do you grieve someone you never met?" With each patient, I hear similar questions. It keeps emerging, this pulse. It presses in every room, leans on every shoulder, demands an answer: How do you grieve future loss? Underneath that, more questions: How do you deal with the viciousness of a broken dream? How do you move on from the picture of life in your head? How do you keep moving through a parallel-universe life? My patients suffer from good dreams. What I mean is, it's not the nightmares that keep them up. It's the hope. Daydreams of another life. Instead of homesick, they're timesick. Before becoming a chaplain, I thought grief was about missing the past. About reflecting on all the things before, the stuff we had until mortality crawled through the window. It's true. We grieve the past. But mostly no one gets a chance to grieve the future. It doesn't seem to read as a real loss. I need to tell you about this because nobody told me: The dream that didn't happen is as much of a loss as losing the one that did.
J.S. Park (As Long as You Need: Permission to Grieve)
practice parallel parking.
Jerry B. Jenkins (Haunted Waters (The Red Rock Mysteries #1))
then if he even has a license. I try and fail to picture him practicing his parallel parking with Mr. Cole in the passenger seat.
Alix E. Harrow (Starling House)
Dodge Caravan three weeks ago, out in Pittsfield.’ Pittsfield, she thought, right across the state border from Albany. Where a woman vanished just last month. She stood with the receiver pressed to her ear, her pulse starting to hammer. ‘Where’s that van now?’ ‘Our team sat tight and didn’t follow it. By the time they heard back about the plates, it was gone. It hasn’t come back.’ ‘Let’s change out that car and move it to a parallel street. Bring in a second team to watch the house. If the van comes by again, we can do a leapfrog tail. Two cars, taking turns.’ ‘Right, I’m headed over there now.’ She hung up. Turned to look into the interview room where Charles Cassell was still sitting at the table, his head bowed. Is that love or obsession I’m looking at? she wondered. Sometimes, you couldn’t tell the difference. Twenty-eight DAYLIGHT WAS FADING when Rizzoli cruised up Dedham Parkway. She spotted Frost’s car and pulled up behind him. Climbed out of her car and slid into his passenger seat. ‘And?’ she said. ‘What’s going on?’ ‘Not a damn thing.’ ‘Shit. It’s been over an hour. Did we scare him off?’ ‘There’s still a chance it wasn’t Lank.’ ‘White van, stolen plates from Pittsfield?’ ‘Well, it didn’t hang around. And it hasn’t been back.’ ‘When’s the last time Van Gates left the house?’ ‘He and the wife went grocery shopping around noon. They’ve been home ever since.’ ‘Let’s cruise by. I want to take a look.’ Frost drove past the house, moving slowly enough for her to get a good long gander at Tara-on-Sprague-Street. They passed the surveillance team, parked at the other end of the block, then turned the corner and pulled over. Rizzoli said: ‘Are you sure they’re home?’ ‘Team hasn’t seen either one of them leave since noon.’ ‘That house looked awfully dark to me.’ They sat there for a few minutes, as dusk deepened. As Rizzoli’s uneasiness grew. She’d seen no lights on. Were both husband and wife asleep? Had they slipped out without the surveillance team seeing them? What was that van doing in this neighborhood? She looked at Frost. ‘That’s it. I’m not going to wait any longer. Let’s pay a visit.’ Frost circled back to the house and parked. They rang the bell, knocked on the door. No one answered. Rizzoli stepped off the porch, backed up the walkway, and gazed up at the southern plantation facade with its priapic white columns. No lights were on upstairs, either. The van, she thought. It was here for a reason. Frost said, ‘What do you think?’ Rizzoli could feel her heart starting to punch, could feel prickles of unease. She cocked her head, and Frost got the message: We’re going around back. She circled to the side yard and swung open a gate. Saw just a narrow brick walkway, abutted by a fence. No room for a garden, and barely room for the two trash cans sitting there. She stepped through the gate. They had no warrant, but something was wrong here, something that was making her hands tingle, the same hands that had been scarred by Warren Hoyt’s blade. A monster leaves his mark on your flesh, on your instincts. Forever after, you can feel it when another one passes by. With Frost right behind her, she moved past dark windows and a central air-conditioning unit that blew warm air against her chilled flesh. Quiet, quiet. They were trespassing now, but all she wanted was a peek in the windows, a look in the back door. She rounded the corner and found a small backyard, enclosed by a fence. The rear gate was open. She crossed the yard to that gate and looked into the alley beyond it. No one there. She started toward the house and was almost at the back door when she noticed it was ajar. She and Frost exchanged a look. Both their weapons came out. It had happened so quickly, so automatically, that she did not even remember having drawn hers. Frost gave the back door a push, and it swung
Tess Gerritsen (Body Double (Jane Rizzoli & Maura Isles, #4))
There was a bar in a standalone wooden building, with a patch of weedy gravel for parking, and on the gravel were seven Harley-Davidsons, all in a neat line. Possibly not actual Hells Angels as such. Possibly one of many other parallel denominations. Bikers were as split as Baptists. All the same, but different. Apparently these particular guys liked black leather tassels and chromium plating. They liked to lie back and ride with their legs spread wide and their feet sticking out in front of them. Possibly a cooling effect. Perhaps necessary. Generally they wore heavy leather vests. And pants, and boots. All black. Hot, in late summer.
Lee Child (The Midnight Line (Jack Reacher, #22))
A truck turned the corner and rumbled its way over to our house. I watched it parallel park, then go silent as the lights switched off. The driver’s side door opened, and my best friend, Matthew, stepped down. His cowboy boots thudded against the asphalt, then crunched across the gravel that covered our front yard. “Howdy,” he said. I
E.M. Tippetts (Someone Else's Fairytale (Someone Else's Fairytale, #1))
Why worry about the future? The present is more than most of us can handle.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
Because you prefer and value this inner-orientation, you rely less on socializing for stimulation, meeting your needs, and satisfaction. This doesn’t mean, however, that you don’t enjoy meeting and being with others. On the contrary, you do, but you enjoy them in smaller doses, and in deeper, longer-lived relationships. Crowds and short-term, superficial connections not only don’t interest you but also tend to drain your batteries.
Signe Dayhoff (Diagonally-Parked in a Parallel Universe: Working Through Social Anxiety)
Don’t explain something to her unless she specifically asks for an explanation.” “Like what, for instance?” “Like anything. Economics. Parallel parking. How to correctly load the dishwasher.” “Why is an explanation bad?” “Who knows? It just is. They even have a word for it: mansplaining. It drives them crazy.
J.T. Geissinger (Cruel Paradise (Beautifully Cruel, #2))
TRAIL DESCRIPTION Segment 2 begins by crossing the South Platte River on the Gudy Gaskill Bridge, mile 0.0 (6,117 feet), the last water source for over 10 miles. Due to private property, there is no camping along the river. At the end of the bridge, the trail makes right turns and goes under the bridge along the river. Soon after, the trail veers right, leaving the river, and begins climbing steadily up several switchbacks. At mile 1.1 (6,592), pass an abandoned quartz mine and enter the Buffalo Creek Fire area. Note how the forest is beginning to regenerate. At mile 2.5 (6,841), the trail passes a distinct outcrop of pink granite and continues through rolling terrain. There are several good campsites along this stretch of the trail, including a site between boulders at the top of a ridge at mile 5.2 (7,745). From this spot, the Chair Rocks are visible to the west. Raleigh Peak (8,183) is about a mile to the southeast and Long Scraggy Peak (8,812) is about 4 miles to the south. After a slight downhill, The Colorado Trail crosses Raleigh Peak Road at mile 6.0 (7,691). A dry campsite can be found to the left of the trail at mile 6.6 (7,684). At mile 7.3 (7,613), cross an old jeep road and continue through the burned area. Approaching mile 10.1 is a metal building on the right, the unmanned fire station with emergency water spigot on the northeast corner. Turn left at mile 10.1 (7,622), where the trail parallels Jefferson County Rd 126 for 0.3 mile. Cross Jefferson County Rd 126 at mile 10.4 (7,675) and follow the Forest Service dirt road as it bends to the south. Here at mile 10.7 (7,712) a dry campsite can be found. Segment 2 ends when the trail reaches a large parking area at the Little Scraggy Trailhead on FS Rd 550 at mile 11.5 (7,834). There is a toilet and an information display here. This trailhead is a Forest Service fee area. Camping is not allowed in the parking area, but is permissible outside this area in the vicinity of The Colorado Trail.
Colorado Trail Foundation (The Colorado Trail)
North Koreans have two stories running in their heads at all times, like trains on parallel tracks. One is what you are taught to believe; the other is what you see with your own eyes. It wasn’t until I escaped to South Korea and read a translation of George Orwell’s Nineteen Eighty-Four that I found a word for this peculiar condition: doublethink. This is the ability to hold two contradictory ideas in your mind at the same time—and somehow not go crazy. This “doublethink” is how you can shout slogans denouncing capitalism in the morning, then browse through the market in the afternoon to buy smuggled South Korean cosmetics.
Yeonmi Park (In Order to Live: A North Korean Girl's Journey to Freedom)
While our species continues to manufacture its radically different and untested all-human world, the rest of life should be allowed to endure, for our own safety. While preserving our own deep history, it will, if we choose to let it, continue on its own trajectory through evolutionary time. By thus maintaining two parallel worlds on the planet, humanity will ensure the survival and continued advanced of the rest of life, and of ourselves.
Edward O. Wilson (A Window on Eternity: A Biologist's Walk Through Gorongosa National Park)
At her school on a road traversed all day by hulking trucks and double-decker buses, Anna’s lungs are likely getting an even bigger dose of exhaust. Spikes like that, on and near the busy streets where so many of us spend much of our time—strolling to work, driving, sitting in our living rooms—make pollution a threat even in places where overall air quality is good. As afternoon turns to evening and a pickup basketball game heats up outside the conference room, McConnell tells me about the Colorado hospital where his mom was treated after a heart attack. It sat beside a major highway, and he couldn’t help thinking when he visited about the evidence suggesting air pollution causes arrhythmias, clotting problems, and other changes dangerous for heart patients. Even putting the parking lot between the road and the hospital would have made a difference, he says. The building’s designers probably didn’t know that, but zoning officials should, and they can make rules to reduce unnecessary exposure. “If you’re building a new school, why would you build it next to a freeway?” he asks. Exercise greatly increases the amount of air—and thus, the pollution—our lungs take in, so McConnell wishes the runners he sees along L.A.’s Sunset Boulevard knew how much better off they’d be on one of the quieter roads that parallels it. Those who do, he believes, ought to nudge them in that direction.
Beth Gardiner (Choked: Life and Breath in the Age of Air Pollution)