Plaster Cast Quotes

From my father I had learned that books were to be either adored or exiled. Books that were of God...were not to be studied so much as cherished, like a thing perfect in itself. I had been taught to read the words of men like Madison as a cast into which I ought to pour the plaster of my own mind, to be reshaped according to the contours of their faultless model. I read them to learn what to think, not how to think for myself.

As soon as I put my uniform on, the rest of my life solidified around me like a plaster cast. From that moment on, my friends were anyone who could put up with the disgrace; my occupation, any job from which I was not given the sack; my playground, any cafe or restaurant from which I was not barred or any street corner from which the police did not move me on.

His agility surprised Phoebe Ash. She saw the plaster cast on his right leg. Funny messages in ink—“Go break the left one, tiger!”—had been written on the off-white plaster.

She got temporarily suspended once for writing “fuck the patriarchy” on the wall beside a plaster cast of the crucifixion

Today, I’m asked to review a twenty-year-old patient whose blood tests show abnormal renal function. Both his arms are in full plaster casts, like a Scooby Doo villain. 

In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle’s light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter’s clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63).

Her arms groped forward to guide her when her tears blocked her vision in darkness. Then she couldn't run any more. She sank to her knees and began to cry in her terror. She wanted Gary. She suddenly felt strong arms around her. She bent her head to bury it in Gary's shoulder, trembling in the darkness. Whimpering like a small animal in a trap, she pushed herself closer to him and said in a choked voice, "I'm so frightened!" "I know, my love," the voice said. "I'm so sorry you were hurt." She felt herself being pulled up to him, his grip around her tight. It was a strange feeling in this pitch-black hallway, where not even the light of the moon cast any illumination. The lips she touched were cold and yet they responded to her with an unusual warmth. His hands massaged her back. Something, Melanie thought, was wrong with that. The hands were too smooth, not like a plastered wrist would feel. "Gary?" she asked, backing away. She didn't trust what she couldn't see. "My love," the voice whispered, "there is no need to fear now. I shall protect you from those who mean you harm.

In trying to escape the fatality of memory, he discovered with an immense sadness that pursuing the past inevitably only leads to greater loss. To hold a gesture, a smell, a smile was to cast it as one fixed thing, a plaster death mask, which as soon as it was touched crumbled in his figures back into dust.

He smiled all the way to physics class. He almost laughed out loud when he passed through the door and saw her shadowy, hunched-over form casting around for a seat in the back. She was in his class; this was excellent. Maybe she’d call him a name if he struck up another conversation. Even curse him out. That might fun. God, he’d probably earn himself a restraining order if he tried to sit next to her. He was so tired of saccharine smiles and cloying tones of voice. People always plastered their eyes to his face for fear of looking anywhere else. He was fed up with everybody being so goddamned nice. That’s why he’d already fallen in love with this weird, maladjusted, beautiful girl who carried a chip the size of Ohio on her shoulder. Because nobody was ever mean to the guy in the wheelchair.

Great actions have shaped our society.’ Sindermann said. The greatest of these, physically, has been the Emperor's formal and complete unification of Terra, the outward sequel to which, this Great Crusade, we are now engaged upon. But the greatest, intellectually, has been our casting off of that heavy mantle called religion. Religion damned our species for thousands of years, from the lowest superstition to the highest conclaves of spiritual faith. It drove us to madness, to war, to murder, it hung upon us like a disease, like a shackle ball. I'll tell you what religion was... No, you tell me. You, there?' 'Ignorance, sir.’ Thank you, Khanna. Ignorance. Since the earliest times, our species has striven to understand the workings of the cosmos, and where that understanding has failed, or fallen short, we have filled in the gaps, plastered over the discrepancies, with blind faith. Why does the sun go round the sky? I don't know, so I will attribute it to the efforts of a sun god with a golden chariot. Why do people die? I can't say, but I will choose to believe it is the murky business of a reaper who carries souls to some afterworld.

And when she took hold of his lower arm, thick as her thigh, and tickled him until that sulky boy’s face opened up in a smile, it was like a plaster cast cracking around a piece of jewelry, and when this happened it was as if something started singing inside Sonja.

And when she took hold of his lower arm, thick as her thigh, and tickled him until that sulky boy’s face opened up in a smile, it was like a plaster cast cracking around a piece of jewelry, and when this happened it was as if something started singing inside Sonja. And they belonged only to her, those moments.

Books that were of God—books written by the Mormon prophets or the Founding Fathers—were not to be studied so much as cherished, like a thing perfect in itself. I had been taught to read the words of men like Madison as a cast into which I ought to pour the plaster of my own mind, to be reshaped according to the contours of their faultless

I had been taught to read the words of men like Madison as a cast into which I ought to pour the plaster of my own mind, to be reshaped according to the contours of their faultless model. I read them to learn what to think, not how to think for myself. Books that were not of God were banished; they were a danger, powerful and irresistible in their cunning. To write my essay I had to read books differently, without giving myself over to either fear or adoration.

Above all, he encourages her to paint, nodding with approval at even her most unusual experiments with color, light, rough brushwork [...]. She explains to him that she believes painting should reflect nature and life [...]. He nods, although he adds cautiously that he wouldn't want her to know too much about life - nature is a fine subject, but life is grimmer than she can understand. He thinks it is good for her to have something satisfying to do at home; he loves art himself; he sees her gift and wants her to be happy. He knows the charming Morisots. He has met the Manets, and always remarks that they are a good family, despite Édouard's reputation and his immoral experiments (he paints loose women), which make him perhaps too modern - a shame, given his obvious talent. In fact, Yves takes her to many galleries. They attend the Salon every year, with nearly a million other people, and listen to the gossip about favorite canvases and those critics disdain. Occasionally they stroll in the museums in the Louvre, where she sees art students copying paintings and sculpture, even an unchaperoned woman here and there (surely Americans). She can't quite bring herself to admire nudes in his presence, certainly not the heroic males; she knows she will never paint from a nude model herself. Her own formal training was in the private studios of an academican, copying from plaster casts with her mother present, before she married.

If you do nothing about this desire to use your artistic ability, there is a frustration, and you put part of yourself in a 'plaster cast' which will stunt your personality rather than develop it. There is also the danger of you becoming a complaining, whining, warped sort of person with self pity eating away inside you and coming out in caustic, jealous remarks. In fact, it is wasteful not to use your talents to the full. It can be a form of pride not to use your abilities as 'Hidden Art' which will fulfill your own needs, and enrich the lives of others with whom you live, instead of submitting them to the frustrated you!

The typical accountant is a man, past middle age, spare, wrinkled, intelligent, cold, passive, non-committal, with eyes like a cod-fish; polite in contact but at the same time unresponsive, calm and damnably composed as a concrete post or a plaster of Paris cast; a petrification with a heart of feldspar and without charm of the friendly germ, minus bowels, passion or a sense of humor. Happily they never reproduce and all of them finally go to Hell.

From my father I had learned that books were to be either adored or exiled. Books that were of God—books written by the Mormon prophets or the Founding Fathers—were not to be studied so much as cherished, like a thing perfect in itself. I had been taught to read the words of men like Madison as a cast into which I ought to pour the plaster of my own mind, to be reshaped according to the contours of their faultless model. I read them to learn what to think, not how to think for myself. Books that were not of God were banished; they were a danger, powerful and irresistible in their cunning. To write my essay I had to read books differently, without giving myself over to either fear or adoration. Because Burke had defended the British monarchy, Dad would have said he was an agent of tyranny. He wouldn’t have wanted the book in the house. There was a thrill in trusting myself to read the words. I felt a similar thrill in reading Madison, Hamilton and Jay, especially on those occasions when I discarded their conclusions in favor of Burke’s, or when it seemed to me that their ideas were not really different in substance, only in form. There were wonderful suppositions embedded in this method of reading: that books are not tricks, and that I was not feeble.

Inching into the room, it’s clear something is wrong here. There’s a tingling sensation up my legs and back before I can even really focus on the parlor’s details. There are silhouettes of people, but I can see through them. It’s like shadows were cast and left behind to do as they please. Lost in the surreal sight of them for a moment, I inch further into the room without noticing that some were now moving behind me. There is no warning. I’m suddenly in the air, and moving backward rapidly toward the wall. It’s almost a full second before my body registers the actual pain of the blow my stomach just took. Being hit by a car doesn't even compare to this, and I didn't even see it coming. “For a shadow, you hit like a sledgehammer!” The words barely escape before something else slams into the base of my skull embedding most of my upper body in the wall and all but removing my head. These things are like Lucy; the disembodied dead who haven’t moved on. I've never met others that can actually touch things physically, they must be fairly potent. I pull my face out of the hole it had been planted in, letting plaster dust fall, coating my chest and legs like snow. Looking around quickly I try to gauge my surroundings. I can’t see them, but I know they’re there. Is one easy night, without a huge dry-cleaning bill, too much to ask for these days? I only have time to dwell on it a moment before my head is bouncing off the hardwood floor; once, twice, and then a third time in quick succession. Now ‘pick splinters out of my forehead’ can be added to my Saturday night to-do list. Damn it, this is not going as planned.

He glanced at me as I started running at his side and I cast furtive looks at him beneath my lashes from time to time as I continued along our route. Students walked the paths, ensuring we were never actually alone for more than a moment or two but we weren’t really with anyone else either. So far, the stars didn’t seem to mind. We kept running all the way through The Wailing Wood to Aer Tower and beyond until we reached the crossroads where the path we usually took headed back towards The Orb and a narrow track led up to the fields which ran along the cliffs above Aer Cove. I hesitated at the crossroads, glancing at Darius for a moment as the damn butterflies made a return to my stomach before taking the narrow path up onto the cliff top. The path was empty with no one up on the cliff as far as I could see. If we ran up there, we really would be alone. I glanced back over my shoulder as Darius paused, wondering if he’d dare to follow me. How far was he willing to push the stars on this? He only hesitated a moment before jogging after me as I ran for the cliff top and a smile tugged at my lips as I put on a spurt of speed. If he wanted to run with me then he’d have to keep up. My feet pounded up the track and I panted as my muscles burned in protest at the incline. The sky grew dark overhead as we ran on and I glanced up to see thick storm clouds sweeping overhead despite the fact that there had been nothing but pale blue to see only minutes ago. Fuck you, stars. I gritted my teeth and kept going, ignoring a thin track which led back to the centre of campus and ploughing on. Thunder rumbled overhead, but I pretended I couldn’t hear it and kept running. The clifftop loomed ahead of me and I fixed my gaze on it as the sound of Darius’s feet hitting the trail chased me on. Rain spilled from the clouds, peppering my cheeks and I didn’t even bother to shield myself from it. I kept running until I made it to the very top of the cliff then stopped. I turned to face Darius as he came to a halt too. “Do you think this is a good idea?” he asked slowly, looking up at the sky as the shower grew heavier and the rain washed over us. He wasn’t shielding himself from it either and his tank was plastered to his skin as the rain pounded down. “Why should we have to listen to the stars?” I asked, raising my voice to be heard over the rain. “Because they govern everything,” Darius said sadly like there was nothing to be done for it. “They don’t govern me,” I growled. Darius frowned slightly as I took a step closer and thunder crashed so violently that the ground trembled. I waited to see what he was going to do and his jaw set as he moved towards me too. The rain slammed down over us so hard that I could hardly see through it. My hair was plastered to my back and a shiver ran through me, but I banished it with a flare of fire magic beneath my skin. Darius stopped inches from me and I looked up at him as water gathered in my lashes and slid over my cheeks. He reached out to cup my jaw in his large hand and the thunder crashed again, lightning forking through the clouds above us as the stars fought to make us part. “Are you sure about this?” he asked me. “Fuck fate,” I snarled because it was time I owned what was going on between us. “No one gets to pick my future for me. I choose what I want and I want you.” The smile he gave me was bright and fierce and full of an emotion I was afraid to put a name to, but the way he was looking at me lit me up from the inside out. “Fuck fate,” Darius agreed darkly. (Tory)

Thornton Wilder: The problem of telling you about my past life as a writer is like that of imaginative narration itself; it lies in the effort to employ the past tense in such a way that it does not rob those events of their character of having occurred in freedom. A great deal of writing and talking about the past is unacceptable. It freezes the historical in a determinism. Today’s writer smugly passes his last judgment and confers on existing attitudes the lifeless aspect of plaster-cast statues in a museum. He recounts the past as though the characters knew what was going to happen next.

In the summer of 1961, Segal taught an adult painting class in New Brunswick. The class was encouraged to make use of odd and unlikely materials in assemblages, and one woman brought to class a box of surgeon's bandages. Segal took some home, with the intention of wrapping them around one of his chicken wire framworks. Then a thought occurred to him: why not dip the cloth bandages in plaster, and apply them directly to the body? Segal sat on a chair and instructed his wife to cover him in soaked bandages. The new technique led to a few anxious moments when the plaster began to harden, heat up, and contract, and the artist lost a good portion of his body hair in the course of frantically removing the casts. With great difficulty, he was able to reassemble the pieces into a complete figure which he then placed on a chair. Next Segal provided an environment for his plaster effigy. The chair was moved up to a table, to which was nailed an old window frame. The result, entitled Man Sitting at a Table, marked the discovery of a new sculptural technique and a turning point in the artist's career. Segal has never looked back.

Modern civilization owes its existence to beer. Hunter-gatherers individually lacked the time and resources to create a raspberry pilsner, so our nomadic ancestors were seduced into an agrarian lifestyle that might someday evolve into local microbrews. I am not sure if teetotalers minded the goats while others were busy getting plastered or if they were cast out of the tribe for being dull.

the idea being that you cannot fix a problem until and unless you can see it. He could now see past the plaster, beyond what had been wallpapered or painted over, as we now are called upon to do in the house we all live in, to examine a structure built long ago.

Quinn and Leslie repeatedly showed themselves to be experts at build-a-gag in which related elements were parlayed together for comic effect, and in this episode they play the numbers game as Gamble describes how during the silly season “200-pound men start climbing 49-cent stepladders to wire dimestore angels to the tops of three-dollar Christmas trees and wind up in a $500 plaster cast.

few areas were gated off, like the one they were approaching, the area with some of the casts of human bodies. Protected by iron gates, the figures sat mixed in with other finds in an open-air storage facility. Intermingled with fountains, slabs of marble, and endless rows of pots, were the plaster figures that the first archeologists made as they excavated

If only we could put our minds in plaster casts like our legs! But I cannot keep from thinking from speaking; no director is there to interrupt the interior movie I keep making of myself, someone to shout *Cut!* Volubility is a specifically human misery; I am language mad; no one listens to me, no one looks at me, but...I go on talking

Uncle Leander does not currently have an occupation, save for parenting me. The results have been varied. And awful. When he is not making me pancakes in the shape of mice or rabbits, he is dragging me to pubs to eavesdrop on perfectly innocent people. For fun, he says. Never mind the fact that I am still in three separate plaster casts and about as inconspicuous as an elephant. Neither is Leander, who spends these expeditions noisily eating crisps and grinning at me.

While the British colonel set Lazzaro’s broken arm and mixed plaster for the cast, the German major translated out loud passages from Howard W. Campbell, Jr.’s monograph. Campbell had been a fairly well-known playwright at one time. His opening line was this one: America is the wealthiest nation on Earth, but its people are mainly poor, and poor Americans are urged to hate themselves. To quote the American humorist Kin Hubbard, “It ain’t no disgrace to be poor, but it might as well be.” It is in fact a crime for an American to be poor, even though America is a nation of poor. Every other nation has folk traditions of men who were poor but extremely wise and virtuous, and therefore more estimable than anyone with power and gold. No such tales are told by the American poor. They mock themselves and glorify their betters. The meanest eating or drinking establishment, owned by a man who is himself poor, is very likely to have a sign on its wall asking this cruel question: “If you’re so smart, why ain’t you rich?” There will also be an American flag no larger than a child’s hand—glued to a lollipop stick and flying from the cash register.

Sure, Desdemona, at the receptionist's age, and seeing some poor woman in a second-hand gown and a plaster-cast of makeup to cover the encroaching menaces of age - wouldn't she have shot the same withering glance?