Sound Pithy Quotes

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The trouble with you, Anne, is that you're thinking too much about yourself. You should just think of Mrs. Allan and what would be nicest and most agreeable to her," said Marilla, hitting for once in her life on a very sound and pithy piece of advice. Anne instantly realized this.
L.M. Montgomery (Anne of Green Gables (Anne of Green Gables, #1))
Are you good at keeping secrets, Merry?” “I’m better than some.” I pause, then add, “More often than not, they keep me,” only because it sounds simultaneously mysterious and pithy.
Paul Tremblay (A Head Full of Ghosts)
I walked far down a dirt side road and into a farmer's field - some sort of cereal that was chest high and corn green and rustled as its blades inflicted small paper burns on my skin as I walked through them. And in that field, when the appointed hour, minute, and second of the darkness came, I lay myself down on the ground, surrounded by the tall pithy grain stalks and the faint sound of insects, and held my breath, there experiencing a mood that I have never really been able to shake completely - a mood of darkness and inevitability and facination - a mood that surely must have been held by most young people since the dawn of time as they have crooked their necks, stared at the heavens, and watched their sky go out.
Douglas Coupland (Generation X: Tales for an Accelerated Culture)
Blackwell made a pithy sound of consternation. “We find ourselves in a rather complicated predicament.” “How’s that?” Moncrieff stepped to his captain’s side, his hand in his jacket, presumably on a weapon. Blackwell’s eye speared the first mate, glittering with reservation, his own hand reaching behind him. “I cannot, in good conscience, allow innocent women to be held at Ben More against their will.” Farah snorted. “Since when?
Kerrigan Byrne (The Duke with the Dragon Tattoo (Victorian Rebels, #6))
Out beyond and way back and further past that still. And such was it since. But after all appearances and some afternoons misspent it came to pass not all was done and over with. No, no. None shally shally on that here hill. Ah, but that was idle then and change was not an old hand. No, no. None shilly shilly on that here first rung. So, much girded and with new multitudes, a sun came purple and the hail turned in a year or two. And that was not all. No, no. None ganny ganny on that here moon loose. Turns were taken and time put in, so much heft and grimace, there, with callouses, all along the diagonal. Like no other time and the time taken back, that too like none other that can be compared to a bovine heap raising steam, or the eye-cast of a flailing comet. Back and forth, examining the egg spill and the cord fray and the clowning barnacle. And all day with no break to unwrap or unscrew or squint and flex or soak the brush. No, no. None flim flim on that here cavorting mainstay. From tree to tree and the pond there deepening and some small holes appearing and any number of cornstalks twisting into a thing far from corn. That being the case there was some wretched plotting, turned to stone, holding nothing. No, no. None rubby rubby on that here yardstick. Came then from the region of silt and aster, all along the horse trammel and fire velvet, first these sounds and then their makers. When passed betwixt and entered fully, pails were swung and notches considered. There was no light. No, none. None wzm wzm on that here piss crater. And it being the day, still considered. Oh, all things considered and not one mentioned, since all names had turned in and handed back. Knowing this the hounds disbanded and knowing that the ground muddled headstones and milestones and gallows and the almond-shaped buds of freshest honeysuckle. And among this chafing tumult fates were scrambled and mortality made untidy and pithy vows took themselves a breather. This being the way and irreversible homewards now was a lifted skeletal thing of the past, without due application or undue meaning. No, no. None shap shap on that here domicile shank. From right foot to left, first by the firs, then by the river, hung and loitered, and the blaze there slow to come. All night waking with no benefit of sleeping and the breath cranking and the heart-place levering and the kerosene pervading but failing to jerk a flame from out any one thing. No, none. None whoosh whoosh on that here burnished cunt. Oh, the earth, the earth and the women there, inside the simpering huts, stamped and spiritless, blowing on the coals. Not far away, but beyond the way of return.
Claire-Louise Bennett (Pond)
Taking a rich wife . . . a duke’s daughter . . . there would be strings. Golden chains. It would all have to be her way. Her decision would always be the last.” West tugged irritably at his trapped finger. “I’ll be damned if I dance to her tune, or her father’s.” “We all have to dance to someone’s tune. The best you can hope for is to like the music.” West scowled. “You never sound like more of an idiot than when you try to say something wise and pithy.” “I’m not the one with his finger stuck in a teacup,” Devon pointed out. “Is there any other reason you won’t pursue her, besides the money? Because that one rings hollow.” It wasn’t just the money. But West was too tired and surly to try to make his brother understand. “Just because you’ve given up all masculine pride,” he muttered, “doesn’t mean I have to do the same.” “Do you know what kind of men are able to keep their masculine pride?” Devon asked. “Celibate ones. The rest of us don’t mind doing a little begging and appeasing, if it means not having to sleep alone.” “If you’re finished—” West began, with an irritated gesture of his hand. At that moment, the teacup came unstuck, flung itself off his finger, and went soaring through an open window. Both brothers stared blankly after the path of its flight. A few seconds later, they heard a crash of porcelain on a graveled pathway. In the silence, West shot a narrow-eyed glance at his brother, who was trying so hard not to laugh that his facial muscles were twitching. Finally, Devon managed to regain control of himself. “So glad your right hand is free again,” he said in a conversational tone. “Especially since it seems that for the foreseeable future, you’ll be making frequent use of it.
Lisa Kleypas (Devil's Daughter (The Ravenels, #5))
Alison’s not psychotic.”  “See? She’s already breaking down your defenses.”  “She is not. We’ve—accepted each other in a new way. We put the past where it belongs.”  Rhett’s scowl deepens. “She has you speaking in greeting card , bro. You can’t reduce life to a pithy statement.” “You sound a lot smarter when you’re pissed.”  “You commit to stupid shit when you go to sushi with your ex.”  “I retract my last statement.” 
Noelle August (Boomerang (Boomerang, #1))
You probably know what Sherlock Holmes had to say about inference, the most famous thing he ever said that wasn’t “Elementary!”: “It is an old maxim of mine that when you have excluded the impossible, whatever remains, however improbable, must be the truth.” Doesn’t that sound cool, reasonable, indisputable? But it doesn’t tell the whole story. What Sherlock Holmes should have said was: “It is an old maxim of mine that when you have excluded the impossible, whatever remains, however improbable, must be the truth, unless the truth is a hypothesis it didn’t occur to you to consider.” Less pithy, more correct. The
Jordan Ellenberg (How Not To Be Wrong: The Hidden Maths of Everyday)
We all have to dance to someone’s tune. The best you can hope for is to like the music.” West scowled. “You never sound like more of an idiot than when you try to say something wise and pithy.
Lisa Kleypas (Devil's Daughter (The Ravenels #5))
It was only when Britt had endorsed the idea of online dating that Molly had agreed to try it. It seemed so crass: the mug shot, the concise distillation of one’s interests and aspirations into a few pithy lines, all with the desperate undertone of Pick me! Pick me! It was like putting yourself on a menu and trying to make yourself sound delicious.
Andy Abramowitz (A Beginner's Guide to Free Fall)
When Ronald Reagan was a radio announcer, he used to call baseball games that he did not physically attend by reading the terse descriptions that trickled in over the telegraph wire and were printed out on a paper tape. He would sit there, all by himself in a padded room with a microphone, and the paper tape would creep out of the machine and crawl over the palm of his hand printed with cryptic abbreviations. If the count went to three and two, Reagan would describe the scene as he saw it in his mind’s eye: “The brawny left-hander steps out of the batter’s box to wipe the sweat from his brow. The umpire steps forward to sweep the dirt from home plate,” and so on. When the cryptogram on the paper tape announced a base hit, he would whack the edge of the table with a pencil, creating a little sound effect, and describe the arc of the ball as if he could actually see it. His listeners, many of whom presumably thought that Reagan was actually at the ballpark watching the game, would reconstruct the scene in their minds according to his descriptions. This is exactly how the World Wide Web works: the HTML files are the pithy description on the paper tape, and your web browser is Ronald Reagan. The same is true of graphical user interfaces in general.
Neal Stephenson (In the Beginning...Was the Command Line)
Steinem’s most powerful gift was her ability to synthesize radical sentiments into appealingly pithy, era-defining sound bites.
Rebecca Traister (All the Single Ladies: Unmarried Women and the Rise of an Independent Nation)