Short Amusement Park Quotes

The finest things I have seen are dead places: a shuttered amusement park I entered by bribing a night watchman with the price of a drink; an abandoned barn in which, the farmer said, half a dozen bigfoots had been living the summer before.

Having to amuse myself during those earlier years, I read voraciously and widely. Mythic matter and folklore made up much of that reading—retellings of the old stories (Mallory, White, Briggs), anecdotal collections and historical investigations of the stories' backgrounds—and then I stumbled upon the Tolkien books which took me back to Lord Dunsany, William Morris, James Branch Cabell, E.R. Eddison, Mervyn Peake and the like. I was in heaven when Lin Carter began the Unicorn imprint for Ballantine and scoured the other publishers for similar good finds, delighting when I discovered someone like Thomas Burnett Swann, who still remains a favourite. This was before there was such a thing as a fantasy genre, when you'd be lucky to have one fantasy book published in a month, little say the hundreds per year we have now. I also found myself reading Robert E. Howard (the Cormac and Bran mac Morn books were my favourites), Lovecraft, Clark Ashton Smith and finally started reading science fiction after coming across Andre Norton's Huon of the Horn. That book wasn't sf, but when I went to read more by her, I discovered everything else was. So I tried a few and that led me to Clifford Simak, Roger Zelazny and any number of other fine sf writers. These days my reading tastes remain eclectic, as you might know if you've been following my monthly book review column in The Magazine of Fantasy & Science Fiction. I'm as likely to read Basil Johnston as Stephen King, Jeanette Winterson as Harlan Ellison, Barbara Kingsolver as Patricia McKillip, Andrew Vachss as Parke Godwin—in short, my criteria is that the book must be good; what publisher's slot it fits into makes absolutely no difference to me.

On either side of them the essence of honky tonk beach resort had now enclosed them: gas stations, fried clam stands, Dairy Treets, motels painted in feverish pastel colors, mini golf. Larry was drawn two painful ways by these things. Part of him clamored at their sad and blatant ugliness and at the ugliness of the minds that had turned this section of a magnificent, savage coastline into one long highway amusement park for families in station wagons. But there was a more subtle, deeper part of him that whispered of the people who had filled these places and this road during other summers. Ladies in sunhats and shorts too tight for their large behinds. College boys in red and black striped rugby shirts. Girls in beach shifts and thong sandals. Small screaming children with ice cream spread over their faces. They were American people, and there was a kind of dirty, compelling romance about them whenever they were in groups never mind if the group was in an Aspen ski lodge or performing their prosaic/ arcane rites of summer along Route 1 in Maine. And now all these Americans were gone.

My willingness to sacrifice much-needed rest and my prioritizing amusement or work over the basic needs of my body and the people around me (with whom I'm far more likely to be short-tempered after a night of little sleep) reveal that these good things—entertainment and work—have taken a place of ascendancy in my life. In the nitty-gritty of my daily life, repentance for idolatry may look as pedestrian as shutting off my email an hour earlier or resisting that alluring clickbait to go to bed. The truth is, I'm far more likely to give up sleep for entertainment that I am for prayer. When I turn on Hulu late at night I don't consciously think, "I value this episode of Parks and Rec more than my family, prayer, and my own body," But my habits reveal and shape what I love and what I value, whether I care to admit it or not.

A reply dated 13 May finally arrived from the town clerk. Mr Mottershead could open the zoo subject to: 1) the type of animals being limited to those already described in previous correspondence; 2) the estate should not be used as an amusement park, racing track or public dance hall; and 3) no animals were to be kept within a distance of a hundred feet from the existing road. This necessitated the purchase of an additional strip of land between the road and the estate, which would have to be securely enclosed, but which couldn't be used for animals. (First it was used as a children's playground and later became a self-service cafe.) Somehow my dad managed to get a further mortgage of £350 to pay for the land and fencing. Of all the conditions, the most damaging in the long term was the last: the zoo was allowed 'no advertisement, sign or noticeboard which can be seen from the road above-mentioned'. Only a small sign at the entrance to the estate would be permitted, which meant the lodge, which was a good twenty-five yards from the road was completely invisible to any passing car. This would remain a problem for a very long time. For many years, the night before bank holidays, Dad and his friends would have to go out and hang temporary posters under the official road signs on the Chester bypass. The police turned a blind eye as long as they were taken down shortly afterwards.

Carajo!" Paco says, throwing down his lunch. "They think they can buy a U-shaped shell, stuff it, and call it a taco, but those cafeteria workers wouldn't know taco meat from a piece of shit. That's what this tastes like, Alex." "You're makin' me sick, man," I tell him. I stare uncomfortably at the food I brought from home. Thanks to Paco everything looks like mierda now. Disgusted, I shove what's left of my lunch into my brown paper bag. "Want some of it?" Paco says with a grin as he holds out the shitty taco to me. "Bring that one inch closer to me and you'll be sorry," I threaten. "I'm shakin' in my pants." Paco wiggles the offending taco, goading me. He should seriously know better. "If any of that gets on me--" "What'cha gonna do, kick my ass?" Paco sings sarcastically, still shaking the taco. Maybe I should punch him in the face, knocking him out so I won't have to deal with him right now. As I have that thought, I feel something drop on my pants. I look down even though I know what I'll see. Yes, a big blob of wet, gloppy stuff passing as taco meat lands right on the crotch of my faded jeans. "Fuck," Paco says, his face quickly turning from amusement to shock. "Want me to clean it off for you?" "If your fingers get anywhere close to my dick, I'm gonna personally shoot you in the huevos," I growl through clenched teeth. I flick the mystery meat off my crotch. A big, greasy stain lingers. I turn back to Paco. "You got ten minutes to get me a new pair of pants." "How the hell am I s'posed to do that?" "Be creative." "Take mine." Paco stands and brings his fingers to the waistband of his jeans, unbuttoning right in the middle of the courtyard. "Maybe I wasn't specific enough," I tell him, wondering how I'm going to act like the cool guy in chem class when it looks like I've peed in my pants. "I meant, get me a new pair of pants that will fit me, pendejo. You're so short you could audition to be one of Santa Claus's elves." "I'm toleratin' your insults because we're like brothers." "Nine minutes and thirty seconds." It doesn't take Paco more than that to start running toward the school parking lot.

When the world one loves is seen to be dying, the viewer dies a little with it. A great American painter, Reginald Marsh, exemplifies this truism. Every day until his death at the age of 56, he sketched and painted the most earthy, sweaty and lusty examples of humanity he could lay his eyes upon. His productive voyeurism led him through the entire spectrum of cheap cafes, carnivals, amusement parks, skid rows, exclusive clubs, opera openings, coming-out parties and everything in-between. His super-realistic canvases were jammed with the kind of people he loved to watch in the environments he loved to haunt. As his closing years approached, Reginald Marsh grew depressed at the changing scene. New styles were emerging and it now became more difficult to immerse himself in the vistas from which he had so long drawn, both in his paintings and life itself. His canvases of lumpy women and pot-bellied men were too unappealing for the “think thin” era of the 1950s, and his floozies violated the then-current Grace Kelly/Ivory Soap look. His disdain for modern masters (“Matisse draws like a three-year-old, “Picasso ... a false front”) became exemplified as he summed up modern art as “high and pure and sterile — no sex, no drink, no muscles.” Marsh’s “out of date” feeling reached its zenith when he was asked to take part in an art symposium. The first speaker, who was a then-popular New York painter, enthusiastically championed current trends. Then followed a professor who advocated new and dynamic experimentation in visual appeal. At last it was Reginald Marsh’s turn to speak. He stood on the platform for a moment, as if trying to collect his thoughts. A sad look of resignation appeared in his eyes as he gazed down at the audience. The talented watcher of his innermost secret lusts and life-giving scintillations declared softly, “I am not a man of this century,” and sat down. He died shortly thereafter.

¡Carajoǃ” Paco says, throwing down his lunch. “They think they can buy a U-shaped shell, stuff it, and call it a taco, but those cafeteria workers wouldn’t know taco meat from a piece of shit. That’s what this tastes like, Alex.” “You’re makin’ me sick, man,” I tell him. I stare uncomfortably at the food I brought from home. Thanks to Paco everything looks like mierda now. Disgusted, I shove what’s left of my lunch into my brown paper bag. “Want some of it?” Paco says with a grin as he holds out the shitty taco to me. “Bring that one inch closer to me and you’ll be sorry,” I threaten. “I’m shakin’ in my pants.” Paco wiggles the offending taco, goading me. He should seriously know better. “If any of that gets on me--” “What’cha gonna do, kick my ass?” Paco sings sarcastically, still shaking the taco. Maybe I should punch him in the face, knocking him out so I won’t have to deal with him right now. As I have that thought, I feel something drop on my pants. I look down even though I know what I’ll see. Yes, a big blob of wet, gloppy stuff passing as taco meat lands right on the crotch of my faded jeans. “Fuck,” Paco says, his face quickly turning from amusement to shock. “Want me to clean it off for you?” “If your fingers come anywhere close to my dick, I’m gonna personally shoot you in the huevos,” I growl through clenched teeth. I flick the mystery meat off my crotch. A big, greasy stain lingers. I turn back to Paco. “You got ten minutes to get me a new pair of pants.” “How the hell am I s’posed to do that?” “Be creative.” “Take mine.” Paco stands and brings his fingers to the waistband of his jeans, unbuttoning right in the middle of the courtyard. “Maybe I wasn’t specific enough,” I tell him, wondering how I’m going to act like the cool guy in chem class when it looks like I’ve peed in my pants. “I meant, get me a new pair of pants that will fit me, pendejo. You’re so short you could audition to be one of Santa Claus’s elves.” “I’m toleratin’ your insults because we’re like brothers.” “Nine minutes and thirty seconds.” It doesn’t take Paco more than that to start running toward the school parking lot. I seriously don’t give a crap how I get the pants; just that I get ‘em before my next class. A wet crotch is not the way to show Brittany I’m a stud.