Slab City Quotes

If I have to hear one more story about what great fun it was working with you 'back in the city,' which I assume he means that slab of concrete and garbage on the Hudson River, I will not be responsible for the removal of his tongue.

These paintings say Mexico is an ancient thing that will still go on forever telling its own story in slabs of color leaves and fruits and proud naked Indians in a history without shame. Their great city of Tenochtitlan is still here beneath our shoes and history was always just like today full of markets and wanting.

We are laying the foundation for some new, monstrous civilization. Only now do I realize what price was paid for building the ancient civilizations. The Egyptian pyramids, the temples and Greek statues—what a hideous crime they were! How much blood must have poured on to the Roman roads, the bulwarks, and the city walls. Antiquity—the tremendous concentration camp where the slave was branded on the forehead by his master, and crucified for trying to escape! Antiquity—the conspiracy of the free men against the slaves! .... If the Germans win the war, what will the world know about us? They will erect huge buildings, highways, factories, soaring monuments. Our hands will be placed under every brick, and our backs will carry the steel rails and the slabs of concrete. They will kill off our families, our sick, our aged. They will murder our children. And we shall be forgotten, drowned out by the voices of the poets, the jurists, the philosophers, the priests. They will produce their own beauty, virtue, and truth. They will produce religion.

Los Angeles, brutal claustrophobic basin of delusion and ripoff, clutter, eerie, sticky, horrible. They came, they saw and wend blind. O hallucination of urban gray slabs. . . . Poor ruined sunsore and sadness for demented City of Angels, of white torment and hideous albino predator birds.

And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive--a word that spreads a longing through the raw sprawl of the city and out across the dreaming bournes and orchards to the solitary hills. Peace.

As the trees turned red, then white, then naked as pitchforks, Margot and Xiao Chen immersed themselves in several forests' worth of pages, and I watched, tortured, as brick after brick of a new development was laid on the wasteland of Midtown West like slabs of gold bullion.

Like a football being held underwater, as soon as you let go, it rises to the surface. And like the grass pressing up through the cracks in a city pavement, your resilience and clarity is always doing its best to find its way through the paving slabs of your superstitious thinking.

To the One Who is Reading Me" You are invulnerable. Didn’t they deliver (those forces that control your destiny) the certainty of dust? Couldn’t it be your irreversible time is that river in whose bright mirror Heraclitus read his brevity? A marble slab is saved for you, one you won’t read, already graved with city, epitaph, dates of the dead. And other men are also dreams of time, not hardened bronze, purified gold. They’re dust like you; the universe is Proteus. Shadow, you’ll travel to what waits ahead, the fatal shadow waiting at the rim. Know this: in some way you’re already dead. Poetry (March 2012)

with walls of bare black stone and four tall narrow windows that looked out to the four points of the compass. In the center of the chamber was the great table from which it took its name, a massive slab of carved wood fashioned at the command of Aegon Targaryen in the days before the Conquest. The Painted Table was more than fifty feet long, perhaps half that wide at its widest point, but less than four feet across at its narrowest. Aegon’s carpenters had shaped it after the land of Westeros, sawing out each bay and peninsula until the table nowhere ran straight. On its surface, darkened by near three hundred years of varnish, were painted the Seven Kingdoms as they had been in Aegon’s day; rivers and mountains, castles and cities, lakes and forests.

The temperature was in the nineties, and on hot nights Chicagoans feel the city body and soul. The stockyards are gone, Chicago is no longer slaughter-city, but the old smells revive in the night heat. Miles of railroad siding along the streets once were filled with red cattle cars, the animals waiting to enter the yards lowing and reeking. The old stink still haunts the place. It returns at times, suspiring from the vacated soil, to remind us all that Chicago had once led the world in butcher-technology and that billions of animals had died here. And that night the windows were open wide and the familiar depressing multilayered stink of meat, tallow, blood-meal, pulverized bones, hides, soap, smoked slabs, and burnt hair came back. Old Chicago breathed again through leaves and screens. I heard fire trucks and the gulp and whoop of ambulances, bowel-deep and hysterical. In the surrounding black slums incendiarism shoots up in summer, an index, some say, of psychopathology. Although the love of flames is also religious. However, Denise was sitting nude on the bed rapidly and strongly brushing her hair. Over the lake, steel mills twinkled. Lamplight showed the soot already fallen on the leaves of the wall ivy. We had an early drought that year. Chicago, this night, was panting, the big urban engines going, tenements blazing in Oakwood with great shawls of flame, the sirens weirdly yelping, the fire engines, ambulances, and police cars – mad-dog, gashing-knife weather, a rape and murder night, thousands of hydrants open, spraying water from both breasts.

how he would get to Tronjheim’s base—where the Urgals were breaking in. There was no time to climb down. He looked at the narrow trough to the right of the stairs, then grabbed one of the leather pads and threw himself down on it. The stone slide was smooth as lacquered wood. With the leather underneath him, he accelerated almost instantly to a frightening speed, the walls blurring and the curve of the slide pressing him high against the wall. Eragon lay completely flat so he would go faster. The air rushed past his helm, making it vibrate like a weather vane in a gale. The trough was too confined for him, and he was perilously close to flying out, but as long as he kept his arms and legs still, he was safe. It was a swift descent, but it still took him nearly ten minutes to reach the bottom. The slide leveled out at the end and sent him skidding halfway across the huge carnelian floor. When he finally came to a stop, he was too dizzy to walk. His first attempt to stand made him nauseated, so he curled up, head in his hands, and waited for things to stop spinning. When he felt better, he stood and warily looked around. The great chamber was completely deserted, the silence unsettling. Rosy light filtered down from Isidar Mithrim. He faltered—Where was he supposed to go?—and cast out his mind for the Twins. Nothing. He froze as loud knocking echoed through Tronjheim. An explosion split the air. A long slab of the chamber floor buckled and blew thirty feet up. Needles of rocks flew outward as it crashed down. Eragon stumbled back, stunned, groping for Zar’roc. The twisted shapes of Urgals clambered out of the hole in the floor. Eragon hesitated. Should he flee? Or should he stay and try to close the tunnel? Even if he managed to seal it before the Urgals attacked him, what if Tronjheim was already breached elsewhere? He could not find all the places in time to prevent the city-mountain from being captured. But if I run to one of Tronjheim’s gates and blast it open, the Varden could retake Tronjheim without having to siege it. Before he could decide, a tall man garbed entirely in black armor emerged from the tunnel and looked directly at him. It was Durza. The Shade carried his pale blade marked with the scratch from Ajihad. A black roundshield with a crimson ensign rested on his arm. His dark helmet was richly decorated, like a general’s, and a long snakeskin cloak billowed around him. Madness burned in his maroon eyes, the madness of one who enjoys power and finds himself in the position to use it.

A MAP IN THE hands of a pilot is a testimony of a man’s faith in other men; it is a symbol of confidence and trust. It is not like a printed page that bears mere words, ambiguous and artful, and whose most believing reader — even whose author, perhaps — must allow in his mind a recess for doubt. A map says to you, ‘Read me carefully, follow me closely, doubt me not.’ It says, ‘I am the earth in the palm of your hand. Without me, you are alone and lost.’ And indeed you are. Were all the maps in this world destroyed and vanished under the direction of some malevolent hand, each man would be blind again, each city be made a stranger to the next, each landmark become a meaningless signpost pointing to nothing. Yet, looking at it, feeling it, running a finger along its lines, it is a cold thing, a map, humourless and dull, born of calipers and a draughtsman’s board. That coastline there, that ragged scrawl of scarlet ink, shows neither sand nor sea nor rock; it speaks of no mariner, blundering full sail in wakeless seas, to bequeath, on sheepskin or a slab of wood, a priceless scribble to posterity. This brown blot that marks a mountain has, for the casual eye, no other significance, though twenty men, or ten, or only one, may have squandered life to climb it. Here is a valley, there a swamp, and there a desert; and here is a river that some curious and courageous soul, like a pencil in the hand of God, first traced with bleeding feet. Here is your map. Unfold it, follow it, then throw it away, if you will. It is only paper. It is only paper and ink, but if you think a little, if you pause a moment, you will see that these two things have seldom joined to make a document so modest and yet so full with histories of hope or sagas of conquest.

Every once in a while at a restaurant, the dish you order looks so good, you don't even know where to begin tackling it. Such are HOME/MADE's scrambles. There are four simple options- my favorite is the smoked salmon, goat cheese, and dill- along with the occasional special or seasonal flavor, and they're served with soft, savory home fries and slabs of grilled walnut bread. Let's break it down: The scramble: Monica, who doesn't even like eggs, created these sublime scrambles with a specific and studied technique. "We whisk the hell out of them," she says, ticking off her methodology on her fingers. "We use cream, not milk. And we keep turning them and turning them until they're fluffy and in one piece, not broken into bits of egg." The toast: While the rave-worthiness of toast usually boils down to the quality of the bread, HOME/MADE takes it a step further. "The flame char is my happiness," the chef explains of her preference for grilling bread instead of toasting it, as 99 percent of restaurants do. That it's walnut bread from Balthazar, one of the city's best French bakeries, doesn't hurt. The home fries, or roasted potatoes as Monica insists on calling them, abiding by chefs' definitions of home fries (small fried chunks of potatoes) versus hash browns (shredded potatoes fried greasy on the griddle) versus roasted potatoes (roasted in the oven instead of fried on the stove top): "My potatoes I've been making for a hundred years," she says with a smile (really, it's been about twenty). The recipe came when she was roasting potatoes early on in her career and thought they were too bland. She didn't want to just keep adding salt so instead she reached for the mustard, which her mom always used on fries. "It just was everything," she says of the tangy, vinegary flavor the French condiment lent to her spuds. Along with the new potatoes, mustard, and herbs de Provence, she uses whole jacket garlic cloves in the roasting pan. It's a simple recipe that's also "a Zen exercise," as the potatoes have to be continuously turned every fifteen minutes to get them hard and crispy on the outside and soft and billowy on the inside.

It must be an old photograph of you, out in the yard, looking almost afraid in the crisp, raking light that afternoons in the city held in those days, unappeased, not accepting anything from anybody. So what else is new? I’ll tell you what is: you are accepting this now from the invisible, unknown sender, and the light that was intended, you thought, only to rake or glance is now directed full in your face, as it in fact always was, but you were squinting so hard, fearful of accepting it, that you didn’t know this. Whether it warms or burns is another matter, which we will not go into here. The point is that you are accepting it and holding on to it, like love from someone you always thought you couldn’t stand, and whom you now recognize as a brother, an equal. Someone whose face is the same as yours in the photograph but who is someone else, all of whose thoughts and feelings are directed at you, falling like a gentle slab of light that will ultimately loosen and dissolve the crusted suspicion, the timely self-hatred, the efficient cold directness, the horrible good manners, the sensible resolves and the senseless nights spent waiting in utter abandon, that have grown up to be you in the tree with no view; and place you firmly in the good-natured circle of your ancestors’ games and entertainments.

He was walking one wet night through a desolate region of the City. A wagon trundled by, drenching his legs with a fine spray. He turned aside, and a maze of dingy streets opened before him. The sky between the slanting rooftops hung black as a slab of jet. Then a waning moon rode clear of the storm clouds. He had penetrated an old commercial sector of the City where winding lanes lay lampless, flanked by dilapidated warehouses. Every window was boarded up or shattered; too many doorways opened onto musty darkness. With every turn of the black road the same scene lay revealed: row upon row of grey, sagging eaves; scarred and battered gates; rusting fences; sickle moons in every shallow remnant of the rain. He seemed to be shedding the present with every step, moving backwards through time. It seemed that he was acting out some part prearranged, utterly without will. "The White Road

Although the once-thriving city is now in ruins, the marble bones tell marvelous stories. We see elegant carvings and dramatic columns and streets and courtyards paved in mosaic tiles. We see the remnants of baths and public toilets. And everywhere among the ruins are sweet, plump cats … stretching out in the sun on slabs of ancient marble, or grooming themselves atop marble posts or broken marble columns or posing like professional models.

It is easy, from a safe distance, to overlook the fact that in under-cities governed by corruption, where exhausted people vie on scant terrain for very little, it is blisteringly hard to be good. The astonishment is that some people are good, and that many people try to be—all those invisible individuals who every day find themselves faced with dilemmas not unlike the one Abdul confronted, stone slab in hand, one July afternoon when his life exploded.

This piece from a larger collection—likely one that would have wrapped around the entire exterior of a building, each slab telling a different part of the story. This one says: Thus the seven Princes of Hel looked in envy upon Midgard and unleashed their unholy hordes upon our united armies.” “Apparently nothing’s changed in fifteen thousand years,” Ember said, shadows darkening her eyes. Bryce kept her mouth shut. She’d never told her mom about Prince Aidas—how he’d helped her twice now, and had seemed unaware of his brothers’ dark plans. If her mom knew she’d consorted with the fifth Prince of Hel, they’d have to redefine the concept of going berserk.

White salt, black salt, gray salt—in grains of every size: from near-powder to flakes to great, rough hunks of it. Salts for protection against darker powers. Against demons. Many Vanir built their houses with slabs of salt at the cornerstones. Rumor claimed that the entire base of the Asteri’s crystal palace was a slab of salt. That it had been built atop a natural deposit.

However, the most common – and impressive – mode of access was from the East along the deep, narrow gorge known as al-Sīq (“the shaft”). This natural ravine is between 91–182 meters (299–597 feet) deep. Approaching the entrance to al-Sīq, visitors would pass a number of rock-cut tombs and the Djinn Blocks – large carved stone slabs which represented the Nabataean deities.

I have a better idea.” Michael smiled, he held up his hand, blue lightning flashed and struck the wall as a doorway opened into a vault behind the wall. Michael and Gabriel carried the Ark into the vault and lowered the Ark onto a slab of rock. When they stepped back through, the blue lightning vanished and so did the passageway. The Ark would be hidden until the Children of Israel could recover it. As we walked out of the cave we could see the fires of the enemy camp burning in the night. “Israel waxes and wanes with the wind they are a fickle people, Iam will not save them from bondage. He will allow them to feel the whip of another master until they grow tired and cry out for their True Master. Do not go back to the city tonight for by morning the city will be taken over, wait here and give yourself up in the morning when the surge is over.” Gabriel warned.

With a push and a shove we were in. Lot slammed the door shut and barred the thick oak slab. “My Lords, it is not wise to go about the city unescorted as you have no doubt discovered. Welcome to my home, consider it yours while you are here,” Lot said nervously. He was a handsome man with a well-trimmed beard and unlike the others of the town he was of a good build and without blemish or disease. The pounding continued on the door, the men of the city both young and old alike had surrounded the dwelling.

Faith is a very curious thing. Even when confronted with contradictory evidence, the truly faithful, those for whom the indoctrination goes so deep you can never dig it out, will cling to the lies they’ve been told with fierce devotion.

Bryce silently translated the text. “This is a piece from a larger collection—likely one that would have wrapped around the entire exterior of a building, each slab telling a different part of the story. This one says: Thus the seven Princes of Hel looked in envy upon Midgard and unleashed their unholy hordes upon our united armies.” “Apparently nothing’s changed in fifteen thousand years,” Ember said, shadows darkening her eyes.

I thought of Bouchard's discovery of a curious stone slab in Rosetta, and Gadamer peeping through the trees at the goblin city. Was this what they had felt? It was awe, of course, mingled with stunned disbelief. I suppose that when one spends their career working towards a goal, constructing all sorts of fantasies about what that goal will look and feel like, one is left a little senseless when the scaffolding comes crashing down around them.

In Nigeria, the Global Fund to Fight AIDS, Tuberculosis and Malaria has granted US$74 million so far for HIV, all of it for work with the ‘general population’. Nigeria gets large slabs from PEPFAR, too, US$105 million in 2006 and rising; 90 per cent of the prevention money was going to ‘general population’ interventions.4 ‘Youth’ is an especially popular focus for prevention efforts in Nigeria, even though HIV tests in several thousand recent graduates from technical college showed that just 1.2 per cent were infected–hardly a sign of an epidemic that is out of control among young people in the general population. Meanwhile, Nigeria has a vibrant sex industry. I can’t say how vibrant because the national programme has until now more or less ignored commercial sex. In a national survey in 2003, 3 per cent of men said they visited a prostitute in the last year, so that would be 1.2 million clients right there, and the probable total is a lot higher.5 There are no estimates of how many women sell sex, and there’s no routine HIV surveillance among sex workers. Sporadic studies are not encouraging. In 2003, 21 per cent of sex workers in the western city of Ibadan and 48 per cent in nearby Saki were infected with HIV.6 Of course, we don’t have a clue how much HIV is spread in sex between men in Nigeria, because no one has asked–the first studies got underway only in 2007. Scattered assessments in drug injectors in eight Nigerian cities in the early 2000s showed that they were as yet no more likely to be infected with HIV than non-injectors, which suggests that there’s still a chance to prevent a major epidemic in this group.7 But how much of the millions of dollars sloshing around for HIV prevention in Nigeria is being spent on drug injectors? As of mid-2007, none.

Like Robert frost, my heart ached to be in the pastoral countryside. On the Interstate, you really never leave the city. The two asphalt slabs are always surrounded by a continuous, homogeneous channel of pavement, cables and wires, and urban sprawl.

Gabriel Solomon, our sandy-lashed, red-haired, soon-to-be-surgeon waiter, recited the night's menu: salad, broiled salmon, boiled red potatoes, sliced tomatoes and corn on the cob, all served family style. A vast slab of butter lay on a white plate next to baskets of bread- white Wonder bread and buttermilk biscuits, neither of which had ever touched our lips. There was a bottle of Hershey's chocolate syrup in the center of the table, a novelty for Jews who didn't mix dairy foods with meat. "The milk is from the farm's cows," Gabe explained. "It's pasteurized but it doesn't taste like city milk. If you'd like city milk, it will be delivered to you. But try the farm milk. Some guests love it. The children seem to enjoy it with syrup." Gabe paused. "I forgot to ask you, do you want your salad dressed or undressed?" Jack immediately replied, "Undressed of course," and winked. My mother worried about having fish with rolls and butter. "Fish is dairy," my father pronounced, immediately an expert on Jewish dietary laws. "With meat it's no butter and no milk for the children." Lil kept fidgeting in her straight-backed chair. "What kind of food is this?" she asked softly. "What do they call it?" "American," the two men said in unison. Within minutes Gabe brought us a bowl filled with iceberg lettuce, butter lettuce, red oak lettuce. "These are grown right here, in our own garden. We pick the greens daily. I brought you some oil and vinegar on the side, and a gravy boat of sour cream for the tomatoes. Take a look at these tomatoes." Each one was the size of a small melon, blood red, virtually seedless. Our would-be surgeon sliced them, one-two-three. We had not encountered such tomatoes before. "Beauties, aren't they?" asked Gabe. Jack held to certain eccentricities in his summer food. Without fail he sprinkled sugar over tomatoes, sugared his melons no matter how ripe and spread his corn with mustard- mustard!