Shakes The Clown Quotes

The Buddhists say if you meet somebody and your heart pounds, your hands shake, your knees go weak, that’s not the one. When you meet your ‘soul mate’ you’ll feel calm. No anxiety, no agitation.

For a moment he felt a wild hope: perhaps this really was a nightmare. Perhaps he would awake in his own bed, bathed in sweat, shaking, maybe even crying . . . but alive. Safe. Then he pushed the thought away. Its charm was deadly, its comfort fatal.

What do you love?" "You for doing this - you in general. Chocolate, sushi, malt shakes. All things I'm highly deficient in at the moment. Well, other than you." "What do you hate?" "Chloe and clowns. Come to think of it, Chloe is a clown.

The Buddhists say if you meet somebody and your heart pounds, your hands shake, your knees go weak, that’s not the one. When you meet your soul mate you’ll feel calm. No anxiety, no agitation. I say, the Buddhists don’t have a clue.

Nat is already laughing. We go through this every morning. She tells Nik I own a clown car. I glower at her while I put my foot up onto Nik’s lap and kick the passenger door while turning the ignition. She starts. Works every time. Nik looks like he’s not sure whether to laugh or get the hell out of the car. We’re on our way to work and Nat says, “Nik, turn on the radio.” He shakes his head and replies cynically, “I would but I’m scared the roof might fly off.” Nat and I burst into laughter. We laugh so much we both sob and laugh at the same time.

Christmas is the marriage of chaos and design. The real sound of life, for once, can burst out because a formal place has been set for it. At the moment when things have gotten sufficiently loose, the secret selves that these familiar persons hold inside them shake the room...An undercurrent of clowning and jostling is part of the process by which we succeed finally in making our necessary noise: despite the difficulty of getting the words right, of getting the singers on the same page, of keeping the ritual from falling apart into the anarchy of separate impulses. From such clatter--extended and punctuated by whatever instrument is handy, a triangle a tambourine, a Chinese gone--beauty is born.

THE FORTRESS Under the pink quilted covers I hold the pulse that counts your blood. I think the woods outdoors are half asleep, left over from summer like a stack of books after a flood, left over like those promises I never keep. On the right, the scrub pine tree waits like a fruit store holding up bunches of tufted broccoli. We watch the wind from our square bed. I press down my index finger -- half in jest, half in dread -- on the brown mole under your left eye, inherited from my right cheek: a spot of danger where a bewitched worm ate its way through our soul in search of beauty. My child, since July the leaves have been fed secretly from a pool of beet-red dye. And sometimes they are battle green with trunks as wet as hunters' boots, smacked hard by the wind, clean as oilskins. No, the wind's not off the ocean. Yes, it cried in your room like a wolf and your pony tail hurt you. That was a long time ago. The wind rolled the tide like a dying woman. She wouldn't sleep, she rolled there all night, grunting and sighing. Darling, life is not in my hands; life with its terrible changes will take you, bombs or glands, your own child at your breast, your own house on your own land. Outside the bittersweet turns orange. Before she died, my mother and I picked those fat branches, finding orange nipples on the gray wire strands. We weeded the forest, curing trees like cripples. Your feet thump-thump against my back and you whisper to yourself. Child, what are you wishing? What pact are you making? What mouse runs between your eyes? What ark can I fill for you when the world goes wild? The woods are underwater, their weeds are shaking in the tide; birches like zebra fish flash by in a pack. Child, I cannot promise that you will get your wish. I cannot promise very much. I give you the images I know. Lie still with me and watch. A pheasant moves by like a seal, pulled through the mulch by his thick white collar. He's on show like a clown. He drags a beige feather that he removed, one time, from an old lady's hat. We laugh and we touch. I promise you love. Time will not take away that.

EVERY WEDNESDAY, I teach an introductory fiction workshop at Harvard University, and on the first day of class I pass out a bullet-pointed list of things the students should try hard to avoid. Don’t start a story with an alarm clock going off. Don’t end a story with the whole shebang having been a suicide note. Don’t use flashy dialogue tags like intoned or queried or, God forbid, ejaculated. Twelve unbearably gifted students are sitting around the table, and they appreciate having such perimeters established. With each variable the list isolates, their imaginations soar higher. They smile and nod. The mood in the room is congenial, almost festive with learning. I feel like a very effective teacher; I can practically hear my course-evaluation scores hitting the roof. Then, when the students reach the last point on the list, the mood shifts. Some of them squint at the words as if their vision has gone blurry; others ask their neighbors for clarification. The neighbor will shake her head, looking pale and dejected, as if the last point confirms that she should have opted for that aseptic-surgery class where you operate on a fetal pig. The last point is: Don’t Write What You Know. The idea panics them for two reasons. First, like all writers, the students have been encouraged, explicitly or implicitly, for as long as they can remember, to write what they know, so the prospect of abandoning that approach now is disorienting. Second, they know an awful lot. In recent workshops, my students have included Iraq War veterans, professional athletes, a minister, a circus clown, a woman with a pet miniature elephant, and gobs of certified geniuses. They are endlessly interesting people, their lives brimming with uniquely compelling experiences, and too often they believe those experiences are what equip them to be writers. Encouraging them not to write what they know sounds as wrongheaded as a football coach telling a quarterback with a bazooka of a right arm to ride the bench. For them, the advice is confusing and heartbreaking, maybe even insulting. For me, it’s the difference between fiction that matters only to those who know the author and fiction that, well, matters.

My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness,— That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs, Where Beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves. Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep? - Ode to a Nightingale

Hope, though; now there’s a real pest. Hope doesn’t just nibble your cheese and chew holes in your skirting boards. Hope keeps you plodding on when it really is time to call it quits. Hope drags you to sixteen auditions in a single day, when there’s a nice job in your brother-in-law’s tannery just waiting for you. Hope keeps you going in Old Stairs or Paradise, even though there’s no money and nothing to eat and the landlord just took your chair and your chamber pot. Personally, I can see no great merit in simply being alive if you’re miserable and in pain, but Hope won’t let you go. She’s a tease, like bad children teasing a dumb animal, and I’ve made a point of avoiding her whenever I can. Still, sometimes she runs you down and there’s nowhere left for you to go. You can turn and fight her and lose, or let her scoop you up and turn your brain to mush. Hope against hope. We had human chains shifting those blocks with levers and rollers, through the narrow alleys where carts couldn’t go. We had shifts digging the ditch by lamplight, in the rain. And in every working party there was at least one man who cheerfully announced that it wasn’t going to work, the whole idea was stupid, the enemy’ll find a way round this in two shakes, just you see; and even he didn’t really believe it, because of Hope. Hope turns a hundred men and women ripping the skin off their hands on a coarse hemp rope into a street party. Someone tells a joke, or clowns around, or starts singing a favourite song from one of the shows, and Hope bursts through, like sappers, and next thing you know she’s everywhere, like smoke, or floodwater, or rats. We’re going to beat Ogus, she whispers in every ear, and this time it’ll be different.

All Night, All Night Rode in the train all night, in the sick light. A bird Flew parallel with a singular will. In daydream's moods and attitudes The other passengers slumped, dozed, slept, read, Waiting, and waiting for place to be displaced On the exact track of safety or the rack of accident. Looked out at the night, unable to distinguish Lights in the towns of passage from the yellow lights Numb on the ceiling. And the bird flew parallel and still As the train shot forth the straight line of its whistle, Forward on the taut tracks, piercing empty, familiar -- The bored center of this vision and condition looked and looked Down through the slick pages of the magazine (seeking The seen and the unseen) and his gaze fell down the well Of the great darkness under the slick glitter, And he was only one among eight million riders and readers. And all the while under his empty smile the shaking drum Of the long determined passage passed through him By his body mimicked and echoed. And then the train Like a suddenly storming rain, began to rush and thresh-- The silent or passive night, pressing and impressing The patients' foreheads with a tightening-like image Of the rushing engine proceeded by a shaft of light Piercing the dark, changing and transforming the silence Into a violence of foam, sound, smoke and succession. A bored child went to get a cup of water, And crushed the cup because the water too was Boring and merely boredom's struggle. The child, returning, looked over the shoulder Of a man reading until he annoyed the shoulder. A fat woman yawned and felt the liquid drops Drip down the fleece of many dinners. And the bird flew parallel and parallel flew The black pencil lines of telephone posts, crucified, At regular intervals, post after post Of thrice crossed, blue-belled, anonymous trees. And then the bird cried as if to all of us: 0 your life, your lonely life What have you ever done with it, And done with the great gift of consciousness? What will you ever do with your life before death's knife Provides the answer ultimate and appropriate? As I for my part felt in my heart as one who falls, Falls in a parachute, falls endlessly, and feel the vast Draft of the abyss sucking him down and down, An endlessly helplessly falling and appalled clown: This is the way that night passes by, this Is the overnight endless trip to the famous unfathomable abyss.

Now when I made my way down to the beach, Roscoe followed along. At the bottom, he would run up and down the black sand, bounding into the water and then out again, shaking himself dry only to run out once more. To my surprise, he seemed to understand the game of fetch. Our first time out, he found a stick of driftwood, began tossing it about, and then ran out and dropped it at my feet. Scooting up the beach, he glanced behind him as he went. When I made the connection and threw the stick, his joy seemed boundless. He whipped the stick into the air, threw it about a bit, then walked proudly back toward me with it pinned between his teeth. I laughed. The sound was eerie to my ears. It echoed against the cliff overhang and reverberated back. My first laugh in endless months brought me up short. Did I have the right to laugh or enjoy the day, for I realized I had, in fact, been enjoying the day very much up to that moment. We were one week into July and the sun was warm, but not blistering; the water was cool, but not cold, and it was clear. The gulls circled my head and rested on the cliff face, watching the water for their next meal. Roscoe clowned for my pleasure. Photographs of the day played in my mind and the sensation was pleasant.

IN THE SMALL Ohio town where I grew up, many homes had parlors that contained pianos, sideboards, and sofas, heavy objects signifying gentility. These pianos were rarely tuned. They went flat in summer around the Fourth of July and sharp in winter at Christmas. Ours was a Story and Clark. On its music stand were copies of Stephen Foster and Ethelbert Nevin favorites, along with one Chopin prelude that my mother would practice for twenty minutes every three years. She had no patience, but since she thought Ohio—all of it, every scrap—made sense, she was happy and did not need to practice anything. Happiness is not infectious, but somehow her happiness infected my father, a pharmacist, and then spread through the rest of the household. My whole family was obstinately cheerful. I think of my two sisters, my brother, and my parents as having artificial, pasted-on smiles, like circus clowns. They apparently thought cheer and good Christian words were universals, respected everywhere. The pianos were part of this cheer. They played for celebrations and moments of pleasant pain. Or rather, someone played them, but not too well, since excellent playing would have been faintly antisocial. “Chopin,” my mother said, shaking her head as she stumbled through the prelude. “Why is he famous?

We can’t walk through the house like this--we’ll make a mess.” Ryder’s jeans are soaked through and caked with mud. I’m wearing shorts, but my bare legs are spattered all over. “We’re going to have to strip here,” I say, shaking my head. “Just leave it all in a pile. I’ll toss it in the wash after lunch.” He just stares at me, wide-eyed. “What? Now?” “Yeah, you go first,” I say, amused by the blush that’s creeping up his neck. “Geez, Ryder. It’s not like I haven’t seen you in your underpants before.” I have vague memories of Ryder running around Magnolia Landing’s lawn wearing nothing but superhero undies. And after all the years of shared beach houses and hotel suites, well…like I said, we were more like siblings when we were little. “If it’ll make you more comfortable, I’ll turn around,” I offer. “Nah, it’s fine.” He reaches for the hem of his T-shirt and pulls it over his head in one fluid motion. And then I remember why this was a bad idea. My mouth goes dry at the sight of his tanned, sculpted chest, his narrow waist, and jutting hip bones. Oh, man. What was I thinking? I swallow hard as he unbuttons his jeans and slides down the zipper. Boxers or briefs? That’s all I’m thinking as he peels down the wet denim--slowly, as if he’s enjoying this little striptease. He steps out of them gracefully and tosses them into a heap beside his shirt before straightening to his full height, facing me. Oh. My. God. I exhale sharply. The answer is boxer briefs, heather-gray ones. And right now they’re clinging to him wetly, leaving absolutely nothing to the imagination. He looks like a god. A six-foot-four, football-playing god, and I am staring at him with my mouth hanging open like some kind of pathetic freak. Snap out of it. “Sorry,” I say, averting my gaze. My cheeks are burning now. I probably look like a clown. That’s what happens when a fair-skinned redhead like me blushes. “If you…um…want to shower. I mean, you know--” “I’ll just go put on something dry for now. We really need to eat and then get that stuff out of the barn.” I just nod, biting my lower lip. I can’t even look at him. This is crazy. “Your turn to strip,” he says, and my gaze shoots up to meet his. He’s smiling now, his dimples in full effect. “Ugh, just go and change.” I cover my eyes with one hand and flap the other toward the hall. “I’ll meet you in the kitchen in five,” he says. “Great.” I let my hand drop only when I hear his footsteps move away. Then yeah, I’ll admit it--I allow myself a nice long look at his backside as he walks away from me. And let me tell you, it was well worth the look.

Dad drove Heather home. He didn’t talk much in the car. He just kept shaking his head and muttering under his breath.

Someone bumps into my shoulder, and I look up. Her ex-boyfriend smirks up at me. I am a few inches taller than him and I like that. “Pardon me,” I say. I turn to walk away when what I really want to do is flatten him. “Pardon you for what?” he asks. “Fucking my girlfriend?” I crack my knuckles really quickly because what I’m about to do is going to hurt. He doesn’t even see it coming. I punch him directly in the face, and he goes down like one of those blow-up clowns that falls over when you hit it. He lies there, rubbing his jaw. “Don’t ever talk about her like that again,” I say. I shake out the pain in my hand. It hurts, but it’s a good hurt. I’d be willing to make it hurt a lot more if he’ll get up and say something else. I adjust my jeans over my thighs and squat down next to him. People are stopping in the street to look at us, but I don’t care. He’s lying there in his fancy suit, looking like a jackass. Probably because he is one. He’s a stupid motherfucker if he thinks he can talk about Sky like that. I stick out my hand. “Want some help getting up?” I ask. Warily, he reaches for my extended palm. He lets me pull him to his feet, and I make a production of brushing him off. “That’s enough,” he says. “Yeah,” I warn. “It was. Don’t let it happen again.” He knows what I’m talking about.

We walk past a clown who is painting kids’ faces, and I suddenly stop, something catching my eye. “I like that unicorn,” I say, pointing to the bright pink stuffed animal hanging from the ceiling of a game booth. Travis looks from the unicorn to me. “Is that a hint?” “I didn’t think I was being subtle,” I say, batting my eyelashes at him. “How much is it?” Travis asks the man in charge of the game, reaching for his wallet. “One dart for three dollars, four for ten. You just pop a balloon with the dart and you get a prize,” he says, perking up at the prospect of a new customer. “Oh, that sounds easy!” I say, clapping my hands together. “How many times do you have to pop a balloon to get the unicorn?” Travis asks. “Five,” the man answers brightly. “I could buy you a unicorn for cheaper than that!” Travis says, turning to me. My face falls. “But that’s not the point,” I argue. Travis looks at my pout before he lifts his eyes up to the ceiling, shaking his head. “Okay, I will take five darts.” I immediately perk up again, and reach out for his arm. “You’ll do great!” I say. Travis takes the first dart from the man and throws it at the wall. It doesn’t even make it all the way and falls pitifully to the floor. “Must have been a bad dart,” I argue. He frowns, picks up the second dart and this time takes a little more aim before throwing it. This time it makes it to the wall but doesn’t manage to stick. “That’s okay, it−” Before I can finish my thought, Travis is handing me his jacket to hold so he has both hands free. He picks up the next dart, his face all business, and plants his feet, ready for action. None of the five darts pop any balloons, and before I can offer him any words of consolation he has slapped down a twenty on the ledge and rolled up his sleeves. “Travis, you don’t have to−” but I can tell he isn’t listening to a word I’m saying. He throws another dart and it actually connects to the side of a balloon, but it only serves to pin the balloon to the wall more. Is that even possible? These are like miracle balloons. “This is obviously rigged!” I argue, picking up one of the darts. I throw it at the wall, my back leg kicking up from the effort and it connects with a bright yellow balloon, popping it instantly. “We have a winner!” The operator yells. I look up at Travis who is just staring at the popped balloon. “That was just beginner’s luck,” I assure Travis, picking up another dart and trying to throw it at the wall a little higher than before, aiming for above the balloons. It quickly curves down in the air and pops a blue balloon. Honestly, I tried out for my high school’s baseball team and got laughed off the diamond. If it wasn’t so inappropriate I would have Travis take a video so I could post it on my Facebook page. That would show Shannon Winters and all her baseball friends. “Another winner!” the operator yells. “Three more, pretty lady, and you’ve got your unicorn.” I shoot my eyes to Travis, but he’s still staring at the wall in disbelief. I have no problem popping the other three balloons and I stand gleefully with my arms outstretched, waiting for my unicorn. “You have three more darts,” the operator points out. “Did you want to try and win your boyfriend something?” I clamp my lips together while Travis stands beside me, completely silent. “We’re going to try something else,” I say, holding my unicorn in one hand and grabbing Travis’s hand with the other. Travis walks away shaking his head. “I played football in university. I was on the provincial lacrosse team.” “I know,” I say, wrapping my arm around his middle as we walk away. “You were so close.” I try and hide the smile from my face. There is hardly anything I’m able to beat Travis at and now I know whenever I challenge him it should definitely include darts

Who are you?” I say. “Sawney Bean.” I shake him a couple of times. “Sawney Bean? He died three hundred years ago and a million miles away. Try again, Porky.” He laughs and grabs my arms. “I’m Sawney and I’ll eat your guts for lunch.” “Naming yourself after a dead cannibal might scare some people, but you’re just a clown to me. Now tell me again why I shouldn’t drop you out a window?

Nie mój cyrk, nie moje małpy.” She shakes her head, mumbling, “Not my circus, not my monkeys.” She