Ranch Quotes

We've searched our database for all the quotes and captions related to Ranch. Here they are! All 100 of them:

OPEN WITH CARE. TRIPPLE G RANCH IS NOT RESPONSIBLE FOR PROPERTY DAMAGE, MAIMING, OR EXCRUCIATINGLY PAINFUL DEATHS.
Rick Riordan (The Battle of the Labyrinth (Percy Jackson and the Olympians, #4))
Escape plan #5: Open an alpaca ranch in Texas, one that requires all blond-haired, brown-eyed, brainy girls to wear sexy cowgirl outfits.
Richelle Mead (The Fiery Heart (Bloodlines, #4))
Me, a tease? I am not. I put out...thank you very much. - Jamie Killian
J.L. Langley (The Tin Star (Ranch Series, #1))
George's voice became deeper. He repeated his words rhythmically as though he had said them many times before. 'Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don't belong no place. They come to a ranch an' work up a stake, and the first thing you know they're poundin' their tail on some other ranch. They ain't got nothing to look ahead to.
John Steinbeck (Of Mice and Men)
Because salvation is by grace through faith, I believe that among the countless number of people standing in front of the throne and in front of the Lamb, dressed in white robes and holding palms in their hands (see Revelation 7:9), I shall see the prostitute from the Kit-Kat Ranch in Carson City, Nevada, who tearfully told me that she could find no other employment to support her two-year-old son. I shall see the woman who had an abortion and is haunted by guilt and remorse but did the best she could faced with grueling alternatives; the businessman besieged with debt who sold his integrity in a series of desperate transactions; the insecure clergyman addicted to being liked, who never challenged his people from the pulpit and longed for unconditional love; the sexually abused teen molested by his father and now selling his body on the street, who, as he falls asleep each night after his last 'trick', whispers the name of the unknown God he learned about in Sunday school. 'But how?' we ask. Then the voice says, 'They have washed their robes and have made them white in the blood of the Lamb.' There they are. There *we* are - the multitude who so wanted to be faithful, who at times got defeated, soiled by life, and bested by trials, wearing the bloodied garments of life's tribulations, but through it all clung to faith. My friends, if this is not good news to you, you have never understood the gospel of grace.
Brennan Manning (The Ragamuffin Gospel)
The seclusion of this ranch house threatened to take her breath away, but she managed to smile. So this is what it’s like to be a country girl.
Cricket Rohman (Colorado Takedown (The McAllister Brothers, #1))
I ain't got no people. I seen the guys that go around on the ranches alone. That ain't no good. They don't have no fun. After a long time they get mean. They get wantin' to fight all the time. . . 'Course Lennie's a God damn nuisance most of the time, but you get used to goin' around with a guy an' you can't get rid of him.
John Steinbeck (Of Mice and Men)
Lucifer was engraving Nate’s name on a cage right now.
Kelly Moran (Redemption (Cattenach Ranch, #1))
STAY HOME FROM SCHOOL FAUX VOMIT: 1 cup of cooked oatmeal 1.2 cup of sour cream (or buttermilk ranch dressing or anything that smells like rancid, sour milk) 2 chopped cheese sticks (for chunkiness) 1 uncooked egg (for authentic slimy texture) 1 can of split pea soup (for putrid green color) 1/4 cup of raisins (to increase gross-osity) Mix ingredients and simmer over low heat for 2 minutes Let mixture cool to warm vomit temperature Use liberally as needed Makes 4 to 5 cups
Rachel Renée Russell (Tales from a Not-So-Popular Party Girl (Dork Diaries, #2))
Common sense got drunk and giddy when Olivia was on the premises. Maybe he should just raise a glass, too, and dub reason a lost cause.
Kelly Moran (Redemption (Cattenach Ranch, #1))
To my way of thinking, no one can live in the grandest cathedral on earth, the Rocky Mountains, and not know that there's someone bigger than man in charge of the world.
Mary Connealy (Petticoat Ranch (Lassoed in Texas, #1))
He needed a stiff drink. With a side of straightjacket.
Kelly Moran (Benediction (Cattenach Ranch, #2))
That dress was designed to be a kill switch for rational thought.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Her sudden grin depleted some of his brain cells. She was evil like that.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Considering she’d just blown his gray matter into the ether, he was screwed.
Kelly Moran (Benediction (Cattenach Ranch, #2))
He bit back a weary sigh and tried to remember strangling her would solve squat.
Kelly Moran (Benediction (Cattenach Ranch, #2))
There was nothing between the ranch and the nearest town except a windy, two-lane mountain road edged with pine trees, meadows, cliffs and boulders. No Dairy Queen, no Circle K, nothing.
Cricket Rohman (Colorado Takedown (The McAllister Brothers, #1))
I see hundreds of men come by on the road an’ on the ranches with their bindles on their back an’ that same damn thing in their heads. Hundreds of them. They come, an’ they quit an’ go on; an’ every damn one of ‘em’s got a little piece of land in his head. An’ never a God damn one of ‘em ever gets it. Just like heaven. Ever’body wants a little piece of lan’. I read plenty of books out there. Nobody never gets to heaven, and nobody never gets no land. It’s just in their head.
John Steinbeck (Of Mice and Men)
Redemption was asking too much, but he could hope. Something told him he’d still be seeking absolution when he took his last breath on some distant day.
Kelly Moran (Redemption (Cattenach Ranch, #1))
I'm fine." "You know how Flynn defines 'fine' as an answer?" Jake asked him conversationally. "He says it usually translates as an anagram: Fucked up, Insecure, Neurotic and Emotional. So which one do you want to go for?
Rolf and Ranger (Silver Bullet Everest)
Life takes you to unexpected places. Love brings you home.
Melissa McClone (Mistletoe Magic (Copper Mountain Christmas #3; Bar V5 Ranch #2))
He was a drool-worthy, panty-drenching, yummy work of masculine art.
Kelly Moran (Redemption (Cattenach Ranch, #1))
She wouldn’t want to be caught on his bad side—assuming he had a good side—yet the naughty bad boy vibes were like an undercurrent pulling her in. Don’t-mess-with-me meets I-dare-you-to-resist.
Kelly Moran (Redemption (Cattenach Ranch, #1))
Go get dirty, baby girl. And I mean the naked kind.
Kelly Moran (Redemption (Cattenach Ranch, #1))
We’ll build our own world in the shape of us.
Kelly Moran (Redemption (Cattenach Ranch, #1))
Maybe these are our salad days." "Huh?" "You know. Happy." "What's happy about a salad?" She shrugged. "Ranch," she said.
M.T. Anderson (Feed)
I loved you as a boy and fell in love with you as a man. You’re in here so deep that there is no you, no me. Only us.
Kelly Moran (Benediction (Cattenach Ranch, #2))
He can take a few pain relievers when he gets back to the ranch. You're not dealing with your wussy city boys, Rowen." "That's right," I said, rolling my eyes even though he had his back to me. "I forgot you all are invincible gods." Garth looked over his shoulder, "Nope, we're even better than that." I could see his smile gleam. "We're cowboys.
Nicole Williams (Lost & Found (Lost & Found, #1))
An hour in her presence, and he was ready to hit his knees, submit to her every whim.
Kelly Moran (Redemption (Cattenach Ranch, #1))
For a guy who wore layers upon layers of armor, his give-a-shit was showing.
Kelly Moran (Redemption (Cattenach Ranch, #1))
I don’t just want you to come. I want you to come undone
Kelly Moran (Redemption (Cattenach Ranch, #1))
Son, not everbody thinks that life on a cattle ranch in west Texas is the second best thing to dyin and goin to heaven.
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
He’d misspoken. She wasn’t a blow. She was a hydrogen bomb directly aimed at his solar plexus.
Kelly Moran (Redemption (Cattenach Ranch, #1))
You can't say that you need to burn witches and shun gay men but eat pork and wear all the mixed fibers you want!!
Heidi Cullinan (Nowhere Ranch)
He reclined on a delightfully cushioned lounge in the sprawling ranch Paris had rented. In Dallas, Texas, of all places. Promiscuity had decked himself out, too, wearing a Stetson (weird), no shirt (understandable), unfastened jeans (smart) and cowboy boots (weird again). Dude looked ready to rustle cattle or something.
Gena Showalter (The Darkest Secret (Lords of the Underworld, #7))
I tell you this not as aimless revelation but because I want you to know, as you read me, precisely who I am and where I am and what is on my mind. I want you to understand exactly what you are getting: you are getting a woman who for some time now has felt radically separated from most of the ideas that seem to interest people. You are getting a woman who somewhere along the line misplaced whatever slight faith she ever had in the social contract, in the meliorative principle, in the whole grand pattern of human endeavor. Quite often during the past several years I have felt myself a sleepwalker, moving through the world unconscious of the moment’s high issues, oblivious to its data, alert only to the stuff of bad dreams, the children burning in the locked car in the supermarket parking lot, the bike boys stripping down stolen cars on the captive cripple’s ranch, the freeway sniper who feels “real bad” about picking off the family of five, the hustlers, the insane, the cunning Okie faces that turn up in military investigations, the sullen lurkers in doorways, the lost children, all the ignorant armies jostling in the night. Acquaintances read The New York Times, and try to tell me the news of the world. I listen to call-in shows.
Joan Didion (The White Album)
Of course she'd told him she would, but if the man hadn't registered her sarcasm, then he wasn't making full use of his ears.
Mary Connealy (Petticoat Ranch (Lassoed in Texas, #1))
For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth.
W.H. Auden
Beauty like hers had no place in his life.
Kelly Moran (Redemption (Cattenach Ranch, #1))
If this was what caring about someone was like, what the hell was he supposed to do? Because he couldn’t handle it, couldn’t live like this.
Kelly Moran (Redemption (Cattenach Ranch, #1))
He was going to need God Almighty to come down from On High to explain this one.
Kelly Moran (Redemption (Cattenach Ranch, #1))
Turned out, monsters were capable of love after all. But it didn’t mean they should.
Kelly Moran (Redemption (Cattenach Ranch, #1))
Sugar, you deserve to go out on your own terms. Just because you got dusted doesn’t mean you’re done.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
As I sat down, though, I realized that you can get used to certain luxuries that you start to think they're necessities, but when you have to forgo them, you come to see that you don't need them after all. There was a big difference between needing things and wanting things--though a lot of people had trouble telling the two apart--and at the ranch, I could see, we have pretty much everything we'd need but precious little else.
Jeannette Walls (Half Broke Horses)
All I've ever wanted was a place to belong, and someone to belong to.
Donna Alward (Hired by the Cowboy (Windover Ranch, #1))
I couldn’t believe the universe was so big, and I got placed on this random floating rock at the same time as Clementine Ryder.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
A partner to share the ups and downs with. Honor and strength, and knowing you're stronger together than apart
Donna Alward (Hired by the Cowboy (Windover Ranch, #1))
There are a lot of ways to castrate a bull," I said, my words deliberate and slow. "You can band the balls off, so they shrivel up and die. Or you can take a knife, and slide it just so." I demonstrated with my free hand. "I grew up on a ranch. I know a lot about castrating bulls.
Jennifer Lynn Barnes (The Fixer (The Fixer, #1))
We could certainly use a detective. And I've got to hand it to you, Nancy - you sure can keep your head.
Carolyn Keene (The Secret of Shadow Ranch (Nancy Drew Mystery Stories, #5))
She needed to come with an instructional manual. And one not written in Spanish.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Urges. Mercy, the urges.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Isn't it strange how often your butt gets all the instructions?" Gerry said conversationally to Mason, "Mine gets hustled all over the place, it's quite the social butterfly.
Rolf and Ranger (Silver Bullet (Falls Chance Ranch, #4))
That's it, he rasped. Hump me. Are you a dog? Are you a dog in heat? You my dog? He slapped me again. Speak, puppy.
Heidi Cullinan (Nowhere Ranch)
He could’ve penned a rendition of Moby Dick in Pig Latin and he wouldn’t have been the wiser.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Touch her, and I’ll kill you.” Cole’s voice is downright arctic.
Elsie Silver (A Photo Finish (Gold Rush Ranch, #2))
I don't reckon men are supposed to think," Sally said philosophically, as the pile of hemp rope grew at her feet. "That's why God gave 'em big muscles.
Mary Connealy (Petticoat Ranch (Lassoed in Texas, #1))
Instead of trying to get to the bottom of why her daughter was floundering through life, she sent me off to ranch boot camp to “prove” myself worthy of art school.
Nicole Williams (Lost & Found (Lost & Found, #1))
Sometimes, it was just easier for me to live under the piles rather than face what might be in them. It wasn’t logical, but my brain didn’t really work normally.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
Orgasms are a myth. Like good credit scores.
Kelly Moran (Benediction (Cattenach Ranch, #2))
I grew up on a working ranch, and there was way too much to do.” “You what? A working ranch? Like…a cowboy?” Cam rolled his eyes. “I guess.” “You’re a cowboy and a fireman?” “Yes, Daniel,” Cam said dryly. “It’s almost as if I am half of the Village People, all rolled into one.
Z.A. Maxfield (The Book Of Daniel (St. Nacho's, #4))
Maybe people with weird haircuts are like structures that become interesting only after being wrecked - Florida ranch houses half-fallen into sinkholes; bankrupt malls; civilizations after a nuclear war. I feel a warm tragic glow knowing I may be of interest to the world only once I have been destroyed.
Douglas Coupland (Shampoo Planet)
When I ride a horse, it just makes my blood wiggle! [Cole, age 5]
Kim Meeder (Bridge Called Hope: Stories of Triumph from the Ranch of Rescued Dreams)
When I was a boy, I went to war searching for glory. I didn't find it. I came here, thinking I'd find glory if I built a ranching empire or a thriving town. Instead I discovered that I didn't even know what glory was, not until you smiled at me for the first time with no fear in your eyes... A hundred years from now, everything I've worked so hard to build will be nothing more than dust blowing in the wind, but if I can spend my life loving you, I'll die a wealthy man, a contented man. -Dallas to Dee
Lorraine Heath (Texas Glory (Texas Trilogy, #2))
Emmy was worth the wait. I’d been waiting thirty-two years for her without even knowing it, and she’d been right in front of me the whole time.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
When it came to Emmy, I was playing with fire, but I would happily walk into the flames for her. And I’d have a smile on my face the whole damn time.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
The way Mom saw it, women should let menfolk do the work because it made them feel more manly. That notion only made sense if you had a strong man willing to step up and get things done, and between Dad's gimp, Buster's elaborate excuses, and Apache's tendency to disappear, it was often up to me to keep the place from falling apart. But even when everyone was pitching in, we never got out from under all the work. I loved that ranch, though sometimes it did seem that instead of us owning the place, the place owned us.
Jeannette Walls (Half Broke Horses)
Delicately, she parted her lips, swept them against his, and kissed first his top, then the bottom. Letting her lead, he pinched his brows together and held still. She didn’t come at him with fire. She told him a story. And he’d be damned if it didn’t start with once upon a time like she were proving he was some kind of hero. Specifically, hers.
Kelly Moran (Redemption (Cattenach Ranch, #1))
I'm out to change people's attitudes about them. Wolves are a whole lot more than just predators who feast on a rancher's herd. They're smart and clever and loyal and courageours, and sometimes they do really stupid, silly things, just like people.
R.C. Ryan (Quinn (Wyoming Sky, #1))
There are only two kinds of people in this world... those who pick their nose... and liars. [Joshua, age 9]
Kim Meeder (Bridge Called Hope: Stories of Triumph from the Ranch of Rescued Dreams)
if you don’t like the road you’re on, you can always pave a new one.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
It’s not about managing, it’s about taste. Your sandwiches taste better.” Ty started cracking up. “Oh my fucking God, are you spoiled. It’s about throwing some meat, cheese, and mayo between two pieces of bread. The taste doesn’t change whether it’s me or you slapping it together.
S.J.D. Peterson (Ty's Obsession (Whispering Pines Ranch, #3))
We need you to do some reconnaissance. A simple flyby over our ranch. All you have to do is count the cars and tell us how many men you see hanging around the property.” Kai shook his head without a moment’s hesitation. “Not even if you fed me your firstborn, still wet and screaming.” I blinked, but for a long moment, his words made no sense. Not the refusal. The part about cannibalizing my theoretical future child. “Well, isn’t that…gruesome? Who are you, Rumpelstiltskin?” Kai frowned, as if I made no sense to him. “No thunderbird would claim a name so senselessly flamboyant.
Rachel Vincent (Alpha (Shifters, #6))
Quinn and Lisa He pulled her to her feet. "Let's go home." "Sure." "Want to ride double?" "On your horse?" "I promise Thunder will be on his best behavior." "Quinn, he has no manners. He tried to take a nip out of my hat yesterday." He groaned. "He didn't." She held it out. "Look at it. You can see the teeth marks." "Lizzy, you promised not to make a pet out of my horse." "What?" "He's falling in love with you." She burst out laughing at his grim pronouncement. "I'm serious," Quinn insisted. "What have you been feeding him?" "I wasn't supposed to?" "Lizzy." "Sugar cubes. He likes them." "You're hopeless, you know that?" "I didn't mean to." He wrapped his arm around her shoulders. "Sure you didn't. Please remember the cattle are sold as beef. This is a working ranch." "Quinn-" she couldn't resist-"even the pretty little ones?
Dee Henderson
For fifty thousand years, right up to the industrial revolution, human civilization was about one thing and one thing only: food. Every culture that existed put most of their time, energy, manpower, and resources into food. Hunting it, gathering it, farming it, ranching it, storing it, distributing it…it was all about food.
Andy Weir (Project Hail Mary)
Are they supposed to cry so much and giggle every second when they're not crying? They never quit finding something so funny that I thought it'd break my eardrums a few times.
Mary Connealy (Petticoat Ranch (Lassoed in Texas, #1))
He reminds me of a solar eclipse—and I know you’re not supposed to look at those. It’s dangerous.
Elsie Silver (A Photo Finish (Gold Rush Ranch, #2))
I seen hundreds of men come by on the road an’ on the ranches, with their bindles on their back an’ that same damn thing in their heads . . . every damn one of ’em’s got a little piece of land in his head. An’ never a God damn one of ’em ever gets it. Just like heaven. Ever’body wants a little piece of lan’. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land.
John Steinbeck (The Grapes of Wrath)
It seems there is always a road with bends and forks to choose, and taking one path means you can never take another one. There's no starting over nor undoing the steps I've taken. It isn't like I'd want to not have my little ones and Jack and that ranch, it is part of life to have to support yourself. It's just that I want everything, my insides are not just hungry, but greedy. I want to find out all the things in the world and still have a family and a ranch. Maybe part of passing that test was a marker for where I've been, but it feels more like a pointer for something I'll never reach. (November 29, 1887 entry, pg 309)
Nancy E. Turner (These Is My Words: The Diary of Sarah Agnes Prine, 1881-1901, Arizona Territories (Sarah Agnes Prine, #1))
Yes, I suppose God is the only one we can really trust. He's all-good and all-powerful. Some people want to do right, and they try to, but none of us are all-powerful. No matter what we want, we can't always make it happen.
Stefani Carmichael (Wildflower Ranch)
I have been sad almost a whole year, thinking that taking that test was somehow the end of my learning and that not having that as a possibility in my future left a big empty spot in my life that the children and the ranch didn't fill. But my life is not like that, it is a tree, and I can stay in one place and spread out in all directions, and I can do more learning shading this brood of mine than if I was all alone.
Nancy E. Turner (These Is My Words: The Diary of Sarah Agnes Prine, 1881-1901, Arizona Territories (Sarah Agnes Prine, #1))
Matters of the heart were important, but people tended to put too much stock in the particular organ when, in retrospect, it was only tissue. It pumped blood and the body couldn’t live without it, sure, but it had no actual bearing on love. The soul was what made a person distinct—the part that lived on after death, how one being connected to another, and what bound essence.
Kelly Moran (Benediction (Cattenach Ranch, #2))
Oh we were just discussing Chris Potter's woobiness.
Heather Rainier (Tangled in Divine (Divine Creek Ranch, #14))
Everyone, later, would find it unbelievable that anyone involved in the ranch would stay in that situation. A situation so obviously bad. But Suzanne had nothing else: she had given her life completely over to Russell, and by then it was like a thing he could hold in his hands, turning it over and over, testing its weight. Suzanne and the other girls had stopped being able to make certain judgments, the unused muscle of their ego growing slack and useless. It had been so long since any of them had occupied a world where right and wrong existed in any real way. Whatever instincts they’d ever had—the weak twinge in the gut, a gnaw of concern—had become inaudible.
Emma Cline (The Girls)
Every creature on earth returns to home. It is ironic that we have made wildlife refuges for ibis, pelican, egret, wolf, crane, deer, mouse, moose, and bear, but not for ourselves in the places we live day after day. We understand that the loss of habitat is the most disastrous event that can occur to a free creauture. We fervently point out how other creatures' natural territories have become surrounded by cities, ranches, highways, noise, and other dissonance, as though we are not affected also. We know that for creatures to live on, they must at least from time to time have a home place, a place where they feel both protected and free
Clarissa Pinkola Estés (Women Who Run With the Wolves)
But then again, he would think, what about his life- and about Jude's life, too- wasn't it a miracle? He should have stayed in Wyoming, he should have been a ranch hand himself. Jude should have wound up - where? In prison, or in a hospital, or dead, or worse. But they hadn't. Wasn't it a miracle that someone who was basically unexceptional could life a life in which he made millions pretending to be other people, that in that life that person would fly from city to city, would spend his days having his every need fulfilled, working in which he was treated like the potentate of a small, corrupt country? Wasn't it a miracle to be adopted at thirty, to find people who loved you so much that they wanted to call you their own? Wasn't it a miracle to have survived the unsurvivable?Wasn't friendship its own miracle, the finding of another person who made the entire lonely world seem somehow less lonely? Wasn't this house, this beauty, this comfort, this life a miracle?
Hanya Yanagihara (A Little Life)
The problem is that if we trust in man we are always let down. No, we shouldn't trust in man-- not ultimately. If we don't trust in man or God, we are in an awful lonely mess, too. You see, if we don't trust anyone, we live in fear, but if we trust in God, then we don't have to fear man anymore.
Stefani Carmichael (Wildflower Ranch)
Parables are told only because they are true, not because the actions of the characters in them can be recommended for imitation. Good Samaritans are regularly sued. Fathers who give parties for wayward sons are rightly rebuked, Employers who pay equal wages for unequal work have labor-relations problems. And any Shepherd who makes a practice of leaving ninety-nine sheep to chase after a lost one quickly goes out of the sheep-ranching business. The parables are true only because they are like what God is like, not because they are models for us to copy. It is simply a fact that the one thing we dare not under any circumstances imitate is the only thing that can save us. The parables are, one and all, about the foolishness by which Grace raises the dead. They apply to no sensible process at all - only to the divine insanity that brings everything out of nothing.
Robert Farrar Capon (Between Noon & Three: Romance, Law & the Outrage of Grace)
I took a pull of the whiskey before setting the bottle on my desk, but I didn’t swallow. I leaned into Emmy, my hand on her throat still keeping her pinned to my office door, and spit the whiskey in her mouth.
Lyla Sage (Done and Dusted (Rebel Blue Ranch, #1))
I followed suit, a little bit nervous, and very unaware of what I was supposed to do. I had that same sensation you get when you were new to a school and had no idea who anyone was in your lunch period. You’d take your lunch tray and sort of stand around for a moment looking for a good spot to take a seat but the entire time you’re searching, all you can feel is everyone’s eyes on you. That’s a shitty feeling.
Fisher Amelie (Greed (The Seven Deadly, #2))
Whenever I hurt myself, my mother says it is the universe’s way of telling me to slow down. She also tells me to put some coconut oil on it. It doesn’t matter what it is. She often hides stones underneath my pillow when I come home for the weekend. The stones are a formula for sweet dreams and clarity. I dig them out from the streets, she tells me what each one is for. My throat hurts, so she grinds black pepper into a spoonful of honey, makes me eat the entire thing. My mother knows how to tie knots like a ship captain, but doesn’t know how I got that sailor mouth. She falls asleep in front of the TV only until I turn it off, shouts, I was watching that! The sourdough she bakes on Friday is older than I am. She sneaks it back and forth across the country when she flies by putting the starter in small containers next to a bag of carrots. They think it’s ranch dressing, she giggles. She makes tea by hand. Nettles, slippery elm, turmeric, cinnamon- my mother is a recipe for warm throats and belly laughs. Once she fell off of a ladder when I was three. She says all she was worried about was my face as I watched her fall.
Sarah Kay (No Matter the Wreckage: Poems)
Song of myself I am of old and young, of the foolish as much as the wise, Regardless of others, ever regardful of others, Maternal as well as paternal, a child as well as a man, Stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine, One of the Nation of many nations, the smallest the same and the largest the same, A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live, A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth, A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian, A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye; At home on Kanadian snow-shoes or up in the bush, or with fishermen off Newfoundland, At home in the fleet of ice-boats, sailing with the rest and tacking, At home on the hills of Vermont or in the woods of Maine, or the Texan ranch, Comrade of Californians, comrade of free North-Westerners, (loving their big proportions,) Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat, A learner with the simplest, a teacher of the thoughtfullest, A novice beginning yet experient of myriads of seasons, Of every hue and caste am I, of every rank and religion, A farmer, mechanic, artist, gentleman, sailor, quaker, Prisoner, fancy-man, rowdy, lawyer, physician, priest. I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place.
Walt Whitman
One of the few freedoms that we have as human beings that cannot be taken away from us is the freedom to assent to what is true and to deny what is false. Nothing you can give me is worth surrendering that freedom for. At this moment I'm a man with complete tranquillity...I've been a real estate developer for most of my life, and I can tell you that a developer lives with the opposite of tranquillity, which is perturbation. You're perturbed about something all the time. You build your first development, and right away you want to build a bigger one, and you want a bigger house to live in, and if it ain't in Buckhead, you might as well cut your wrists. Soon's you got that, you want a plantation, tens of thousands of acres devoted solely to shooting quail, because you know of four or five developers who've already got that. And soon's you get that, you want a place on Sea Island and a Hatteras cruiser and a spread northwest of Buckhead, near the Chattahoochee, where you can ride a horse during the week, when you're not down at the plantation, plus a ranch in Wyoming, Colorado, or Montana, because truly successful men in Atlanta and New York all got their ranches, and of course now you need a private plane, a big one, too, a jet, a Gulfstream Five, because who's got the patience and the time and the humility to fly commercially, even to the plantation, much less out to a ranch? What is it you're looking for in this endless quest? Tranquillity. You think if only you can acquire enough worldly goods, enough recognition, enough eminence, you will be free, there'll be nothing more to worry about, and instead you become a bigger and bigger slave to how you think others are judging you.
Tom Wolfe (A Man in Full)
Instead of the macho, trigger-happy man our culture has perversely wanted him to be, the cowboy is more apt to be convivial, quirky, and softhearted. To be "tough" on a ranch has nothing to do with conquests and displays of power. More often than not, circumstances - like the colt he's riding or an unexpected blizzard - are overpowering him. It's not toughness but "toughing it out" that counts. In other words, this macho, cultural artifact the cowboy has become is simply a man who possesses resilience, patience, and an instinct for survival. "Cowboys are just like a pile of rocks - everything happens to them. They get climbed on, kicked, rained and snowed on, scuffed up by wind. Their job is 'just to take it,' " one old-timer told me.
Gretel Ehrlich (The Solace of Open Spaces)
Dangerous and indifferent ground: against its fixed mass the tragedies of people count for nothing although the signs of misadventure are everywhere. No past slaughter nor cruelty, no accident nor murder that occurs on the little ranches or at the isolate crossroads with their bare populations of three or seventeen, or in the reckless trailer courts of mining towns delays the flood of morning light. Fences, cattle, roads, refineries, mines, gravel pits, traffic lights, graffiti'd celebration of athletic victory on bridge overpass, crust of blood on the Wal-Mart loading dock, the sun-faded wreaths of plastic flowers marking death on the highway are ephemeral. Other cultures have camped here a while and disappeared. Only earth and sky matter. Only the endlessly repeated flood of morning light. You begin to see that God does not owe us much beyond that.
Annie Proulx
Suppose we were planning to impose a dictatorial regime upon the American people—the following preparations would be essential: 1. Concentrate the populace in megalopolitan masses so that they can be kept under close surveillance and where, in case of trouble, they can be bombed, burned, gassed or machine-gunned with a minimum of expense and waste. 2. Mechanize agriculture to the highest degree of refinement, thus forcing most of the scattered farm and ranching population into the cities. Such a policy is desirable because farmers, woodsmen, cowboys, Indians, fishermen and other relatively self-sufficient types are difficult to manage unless displaced from their natural environment. 3. Restrict the possession of firearms to the police and the regular military organizations. 4. Encourage or at least fail to discourage population growth. Large masses of people are more easily manipulated and dominated than scattered individuals. 5. Continue military conscription. Nothing excels military training for creating in young men an attitude of prompt, cheerful obedience to officially constituted authority. 6. Divert attention from deep conflicts within the society by engaging in foreign wars; make support of these wars a test of loyalty, thereby exposing and isolating potential opposition to the new order. 7. Overlay the nation with a finely reticulated network of communications, airlines and interstate autobahns. 8. Raze the wilderness. Dam the rivers, flood the canyons, drain the swamps, log the forests, strip-mine the hills, bulldoze the mountains, irrigate the deserts and improve the national parks into national parking lots. Idle speculations, feeble and hopeless protest. It was all foreseen nearly half a century ago by the most cold-eyed and clear-eyed of our national poets, on California’s shore, at the end of the open road. Shine, perishing republic.
Edward Abbey (Desert Solitaire)
We call it hypocrisy, but it is schizophrenia, a modest ranch-house life with Draconian military adventures; a land of equal opportunity where a white culture sits upon a Black; a horizontal community of Christian love and a vertical hierarchy of churches--the cross was well-designed! a land of family, a land of illicit heat; a politics of principle, a politics of property; nation of mental hygiene with movies and TV reminiscent of a mental pigpen; patriots with a detestation of obscenity who pollute their rivers; citizens with a detestation of government control who cannot bear any situation not controlled. The list must be endless, the comic profits are finally small--the society was able to stagger on like a 400-lb. policeman walking uphill because living in such an unappreciated and obese state it did not at least have to explode in schizophrenia--life went on. Boys could go patiently to church at home and wait their turn to burn villages in Vietnam.
Norman Mailer
Ya smell like sun," he murmured. D's voice was raw, like a man under hypnosis. "Ya know that smell? That toasty-skin smell, like ya get after goin' ta the beach?" He nodded a little. "I love that smell." He straightened, eyes lowered to the ground. "Reminds me a workin' on the ranch, when I was a kid. Ridin' with my brother, up in the hills, sun beatin' down turnin' our necks brown, our hands." Jack didn't dare speak, or breathe, or make the tiniest move to disturb the so-rare Reverie. This glimpse into D's secret mind was like having a skittish deer approach him on a wooded trail; one false move and it would dart away into the brush, leaving him with only a flash of white tail before vanishing.
Jane Seville (Zero at the Bone (Zero at the Bone #1))
There's a feeling you get driving down to Casper at night from the north, and not only there, other places where you come through hours of darkness unrelieved by any lights except the crawling wink of some faraway ranch truck. You come down a grade and all at once the shining town lies below you, slung out like all western towns, and with the curved bulk of mountain behind it. The lights trail away to the east in a brief and stubby cluster of yellow that butts hard up against the dark. And if you've ever been to the lonely coast you've seen how the shore rock drops off into the black water and how the light on the point is final. Beyond are the old rollers coming on for millions of years. It is like that here at night but instead of the rollers it's the wind. But the water was here once. You think about the sea that covered this place hundreds of millions of years ago, the slow evaporation, mud turned to stone. There's nothing calm in those thoughts. It isn't finished, it can still tear apart. Nothing is finished. You take your chances.
Annie Proulx (Close Range: Wyoming Stories)
I was asked to talk to a roomful of undergraduates in a university in a beautiful coastal valley. I talked about place, about the way we often talk about love of place, but seldom how places love us back, of what they give us. They give us continuity, something to return to, and offer familiarity that allows some portion of our lives to remain collected and coherent. They give us an expansive scale in which our troubles are set into context, in which the largeness of the world is a balm to loss, trouble, and ugliness. And distant places give us refuge in territories where our own histories aren't so deeply entrenched and we can imagine other stories, other selves, or just drink up quiet and respite. The bigness of the world is redemption. Despair compresses you into a small space, and a depression is literally a hollow in the ground. To dig deeper into the self, to go underground, is sometimes necessary, but so is the other route of getting out of yourself, into the larger world, into the openness in which you need not clutch your story and your troubles so tightly to your chest. Being able to travel in both ways matters, and sometimes the way back into the heart of the question begins by going outward and beyond. This is the expansiveness that comes literally in a landscape or that tugs you out of yourself in a story..... I told the student that they were at an age when they might begin to choose the places that would sustain them the rest of their lives, that places were much more reliable than human beings, and often much longer-lasting, and I asked each of them where they felt at home. They answered, each of them, down the rows, for an hour, the immigrants who had never stayed anywhere long or left a familiar world behind, the teenagers who'd left the home they'd spent their whole lives in for the first time, the ones who loved or missed familiar landscapes and the ones who had not yet noticed them. I found books and places before I found friends and mentors, and they gave me a lot, if not quite what a human being would. As a child, I spun outward in trouble, for in that inside-out world [of my family], everywhere but home was safe. Happily, the oaks were there, the hills, the creeks, the groves, the birds, the old dairy and horse ranches, the rock outcroppings, the open space inviting me to leap out of the personal into the embrace of the nonhuman world.
Rebecca Solnit (The Faraway Nearby)
FOR THE VOICELESS by El Niño Salvaje I speak for the ones who cannot speak, for the voiceless. I raise my voice and wave my arms and shout for the ones you do not see, perhaps cannot see, for the invisible. For the poor, the powerless, the disenfranchised; for the victims of this so-called “war on drugs,” for the eighty thousand murdered by the narcos, by the police, by the military, by the government, by the purchasers of drugs and the sellers of guns, by the investors in gleaming towers who have parlayed their “new money” into hotels, resorts, shopping malls, and suburban developments. I speak for the tortured, burned, and flayed by the narcos, beaten and raped by the soldiers, electrocuted and half-drowned by the police. I speak for the orphans, twenty thousand of them, for the children who have lost both or one parent, whose lives will never be the same. I speak for the dead children, shot in crossfires, murdered alongside their parents, ripped from their mothers’ wombs. I speak for the people enslaved, forced to labor on the narcos’ ranches, forced to fight. I speak for the mass of others ground down by an economic system that cares more for profit than for people. I speak for the people who tried to tell the truth, who tried to tell the story, who tried to show you what you have been doing and what you have done. But you silenced them and blinded them so that they could not tell you, could not show you. I speak for them, but I speak to you—the rich, the powerful, the politicians, the comandantes, the generals. I speak to Los Pinos and the Chamber of Deputies, I speak to the White House and Congress, I speak to AFI and the DEA, I speak to the bankers, and the ranchers and the oil barons and the capitalists and the narco drug lords and I say— You are the same. You are all the cartel. And you are guilty. You are guilty of murder, you are guilty of torture, you are guilty of rape, of kidnapping, of slavery, of oppression, but mostly I say that you are guilty of indifference. You do not see the people that you grind under your heel. You do not see their pain, you do not hear their cries, they are voiceless and invisible to you and they are the victims of this war that you perpetuate to keep yourselves above them. This is not a war on drugs. This is a war on the poor. This is a war on the poor and the powerless, the voiceless and the invisible, that you would just as soon be swept from your streets like the trash that blows around your ankles and soils your shoes. Congratulations. You’ve done it. You’ve performed a cleansing. A limpieza. The country is safe now for your shopping malls and suburban tracts, the invisible are safely out of sight, the voiceless silent as they should be. I speak these last words, and now you will kill me for it. I only ask that you bury me in the fosa común—the common grave—with the faceless and the nameless, without a headstone. I would rather be with them than you. And I am voiceless now, and invisible.
Don Winslow (The Cartel (Power of the Dog #2))