Scoop Novel Quotes

Remy took a chair across from Jerado. A chess board and pieces sat in between them. “Are you sure you remember the moves?” Jerado looked forward to recouping his card game losses. “Y ..es. I . . . I practiced the moves in my office. I . . . I also read a scroll on playing the game.” “Then you won’t object to betting on the outcome of the game?” “N . . . o. H . . . ow much?” “Let’s bet a modest sum. Say, twenty-five silver?” Jerado pushed a stack of silver pennies into the middle. “A . . . ll right.” Remy pushed a similar stack forward. “I’’ll let you have the first move,” Jerado said. Remy moved a pawn forward to start the game. Five moves later, Remy said, “C . . . heckmate,” and scooped up the silver coins. Jerado sat stunned for a few moments. “Rematch.” After Remy won four more games — the last for seven gold pennies — Jerado said through clenched teeth, “That’s enough for tonight, Remy. I’m tired.

With her eyes closed, Sylvie placed herself on the wide expanse of her brother-in-law’s uncertainty. It resembled one of the foggy, rambling moors she and her sisters had loved in Victorian novels. Sylvie felt at home on the rough terrain, filling her lungs with murky air. Since Charlie’s death, she’d felt like she was spilling out of her edges and messily trying to scoop herself up at the same time. Her sisters and mother were safe, with their aspirations and routines; Sylvie was her heartbreak and loss.

the sands upon which we so carelessly trod were wonderfully rich in the precious metal, and any sort of industry was sure to be repaid enormously by the glittering grains scattered about. It was not dust, you understand, but tiny grains resembling those of granulated sugar. The richest yield was derived from the sands at the bottom of the shallow inlet, and the practice of the miners was to wade a little way into the stream, scoop up a basin off the sandy bottom and wash it until only the specks of sparkling metal remained.

You don't know the power of the dark side Space the final frontier I'm iron man It can't rain all the time Cowabunga Babe with the power What if I'm not the hero. What if I'm the bad guy? It is extraordinary thing to meet someone who you can bear your soul to and accept you for what you are. That's the thing about the truth. It'll set you free, but first it'll really piss you off! I make out with a girl, I start turnin intro one. You gotta admit that's a little weird. C'mon, luke you get turned on by two scoops of I've cream. It doesn't take X-Ray vision to see you are up to no good. It does not do well to dwell on dreams and forget to live.

You don't know the power of the dark side Space the final frontier I'm iron man It can't rain all the time Cowabunga Babe with the power What if I'm not the hero. What if I'm the bad guy? It is extraordinary thing to meet someone who you can bear your soul to and accept you for what you are. That's the thing about the truth. It'll set you free, but first it'll really piss you off! I make out with a girl, I start virgin's intro one. You gotta admit that's a little weird. C'mon, luke you get turned on by two scoops of I've cream. It doesn't take X-Ray vision to see you are up to no good. It does not do well to dwell on dreams and forget to live.

Is power like the vis viva and the quantite d’avancement? That is, is it conserved by the universe, or is it like shares of a stock, which may have great value one day, and be worthless the next? If power is like stock shares, then it follows that the immense sum thereof lately lost by B[olingbroke] has vanished like shadows in sunlight. For no matter how much wealth is lost in stock crashes, it never seems to turn up, but if power is conserved, then B’s must have gone somewhere. Where is it? Some say ‘twas scooped up by my Lord R, who hid it under a rock, lest my Lord M come from across the sea and snatch it away. My friends among the Whigs say that any power lost by a Tory is infallibly and insensibly distributed among all the people, but no matter how assiduously I search the lower rooms of the clink for B’s lost power, I cannot seem to find any there, which explodes that argument, for there are assuredly very many people in those dark salons. I propose a novel theory of power, which is inspired by . . . the engine for raising water by fire. As a mill makes flour, a loom makes cloth and a forge makes steel, so we are assured this engine shall make power. If the backers of this device speak truly, and I have no reason to deprecate their honesty, it proves that power is not a conserved quantity, for of such quantities, it is never possible to make more. The amount of power in the world, it follows, is ever increasing, and the rate of increase grows ever faster as more of these engines are built. A man who hordes power is therefore like a miser who sits on a heap of coins in a realm where the currency is being continually debased by the production of more coins than the market can bear. So that what was a great fortune, when first he raked it together, insensibly becomes a slag heap, and is found to be devoid of value. When at last he takes it to the marketplace to be spent. Thus my Lord B and his vaunted power hoard what is true of him is likely to be true of his lackeys, particularly his most base and slavish followers such as Mr. Charles White. This varmint has asserted that he owns me. He fancies that to own a man is to have power, yet he has got nothing by claiming to own me, while I who was supposed to be rendered powerless, am now writing for a Grub Street newspaper that is being perused by you, esteemed reader.

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

Oh, darling, I think we both know I was never the one in control." He scooped her up and tossed her over his shoulder.

He scooped the girl up in his arms. The feminine scent of her delicious blood hung thick in the air. He could tell from her smell that she was the same girl he had met seventeen years ago. For the first time in all these years, his burning sensation, his thirst, calmed down.

I call this the Black 'n' Blue," she explained. "It's a freshly made pie with blackberries and blueberries and a buttery double crust. I'd say one piece will do the trick, but if you find yourself in a creative lull, I'd add a scoop of vanilla ice cream on top." Anna picked up a dessert neatly wrapped in plastic and tied with a bow. "Laughter and delight are guaranteed with this Mexican chocolate cinnamon roll.

towel!’ ‘Take a break,’ suggests Colly. ‘Do some Christmas cooking. Make one yummy thing a day.’ ‘Good idea,’ says Ruby. But it’s not. She burns the Christmas cake and drops the shortbread while she’s pulling the tray out of the oven. Colly snorts at the shortbread disaster. ‘Desperate times call for desperate measures!’ She hands a teaspoon each to Ruby, Mu and me. We sit on the kitchen floor, scooping the broken bits into our mouths, laughing and spraying crumbs over each other. In the end, it’s not so much a disaster as a picnic. But when Ruby’s plum pudding escapes from its cloth and turns to mush in the pot of boiling water, she sits in the corner of the

Colombia would eventually solve her gastrointestinal issue. June finished pouring the dark liquid into two Yetis and settled into the black wicker love seat on her front porch with her friend Fiona, who had been waiting patiently for the engagement scoop. June had bought the outdoor sofa at the boutique down the street from the small bookstore All Booked Up that she owned on Second Street, the touristy enclave of Long Beach. It burst with lively open-air restaurants, colorful candy shops, and dive bars that satisfied both the families and

Sheridan’s eyes fell to the watery gateway as he begrudgingly donned the novel wetsuit and pulled on the crown of arc lamps. Following Kunchen’s lead, he cinched it tightly around his waist, feet, and neck. And all the while his eyes returned to the teeming portal. Kunchen took notice. “This whirlpool is like the mighty river of life.” Kunchen said. Sheridan watched as Kunchen dipped his right hand into a shallow pool of ice-crusted water, scooping up the pristine liquid in his cupped fingers. He submitted the handful of water to Sheridan. With the gentle tilt of his right hand he poured it out, watching it trickle into his left hand. With unerring kindness in his eyes, Kunchen became the teacher and Sheridan the pupil: “Observe the water. It is soft, easily bending and transforming to its circumstance.” He poured the water from his left hand. It fell into the writhing water and disappeared in an instant. “But when it joins with the force of the whirlpool it becomes powerful and unstoppable. You must be flexible like the water, feeling the flow of life, tapping into its current. This is the only way.

since nothing is more predictable than the media’s parroting of its own fictions and the terror of each competitor that it will be scooped by the others, whether or not the story is true, because

I drift through forests in my dreams, I swim the lake I imagine for myself when I’m sad. It’s so blue and clear. I scoop some water into my hands as I tread water and I can see right through it, almost as if it’s air. Tiny, luminescent fish live at the bottom of the pool and wink at me as I swim naked and free above them, my hair spilling out around me.

Andi Teran’s first novel is vivid and fully realized, an entire universe expertly condensed into the pages you hold in your hands. Ana herself is a complicated delight, and by the end of the book I wanted to scoop her up into my arms.

I could see the reporter scribbling away as if his life depended on it. I suppose for him it was the scoop of a lifetime. Here he’d probably been sitting around for months doing the Kibbencook courthouse “beat,” and seeing nothing more interesting than a drunk driver. And now, isn’t it funny, but I wonder if Mr. Alterman didn’t have something to do with getting that reporter into the courtroom? I hadn’t thought about that before, but this case made Mr. Alterman famous. He was in Time magazine even.

I take out salad ingredients, vegetables, herbs and several knives: peeler, smooth-bladed and serrated. I cut half a cucumber into cubes, then move onto the mushrooms which I slice into little slithers, I go back to the cucumber, cutting wafer-thin slices, skip to topping and tailing green beans, pop whole beetroots into the oven, I scoop the flesh out of avocados and grapefruits, and put the chard into boiling water. The whole idea is not to get bored. The theory, because I have a theory about peeling things, is to leave room for random opportunities. With cooking, as with everything else, we tend to curb our instincts. Speed and chaos allow for a slight loss of control. Cutting vegetables into different shapes and sizes encourages combinations which might not have been thought of otherwise. In a salad of mushrooms, cucumber and lamb's lettuce, the chervil needs to stay whole, in sprigs, to make a contrast because the other ingredients are so fine, almost transparent, and slippery. If its thin stems and tiny branches didn't contradict the general sense of languor- accentuated by the single cream instead of olive oil in the dressing- the whole thing would descend into melancholy.

But it was awkward, standing there on the beach, no screen, no device in her hand, nothing to confirm and catalog her productivity. She felt exposed. The way she had felt on that summer day thirty years back after Timmy disappeared and she stood by herself in the ocean, all that water all around her, an immensity of water under an even more enormous sky, and she was just a tiny little thing. A girl. Alone. She felt that way again after she had drafted the first installment of Philipia Bay, had sent it to her agent and her agent had sent it out into the perilous publishing world, and she waited and waited to see if publishing would scoop it up, or ignore it, or tear it apart. It was just a stupid romance-action novel. But it felt like it was her out there, bared, defenseless.

She wrenched her eyes shut, squinting in a spasm as the ice inside her fissured and cracked open. Instantly she flew up through it; the water, no longer frozen but warmed now, fell from her, cascaded out of her closed eyes, down her cheeks, into his scooping lips. She flew out and above herself, her body left behind to convulse in his arms. She looked down and saw everything around her, the corpses and hatred, and shame, all of it, out in the open now, shimmering and cleansed in her raining tears. Zaitsev held her. His arms were wings, freeing her from the ice, flying her high into the cloudburst, into the wind blowing through the ruins of the city beneath her, soaking in her rain.

Starling House still looks like God scooped it up from the cover of a Gothic novel and dropped it on the banks of the Mud River, and I still like it far more than I should. I pretend the busted windowpanes are jagged little mouths, grinning at me.