Spy Leaps Quotes

A wounded deer leaps highest, A wounded deer leaps highest, I've heard the hunter tell; 'Tis but the ecstasy of death, And then the brake is still. The smitten rock that gushes, The trampled steel that springs: A cheek is always redder Just where the hectic stings! Mirth is mail of anguish, In which its cautious arm Lest anybody spy the blood And, "you're hurt" exclaim

All great ideas, all great leaps of progress, all have a wake of sacrificial bodies.

This is a love story,” Michael Dean says, ”but really what isn’t? Doesn’t the detective love the mystery or the chase, or the nosey female reporter who is even now being held against her wishes at an empty warehouse on the waterfront? Surely, the serial murder loves his victims, and the spy loves his gadgets, or his country or the exotic counterspy. The ice-trucker is torn between his love for ice and truck and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk. Just as the housewives live for catching glimpses of their own botoxed brows in gilded hall mirrors and the rocked out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on hookbook. Because this is reality, they are all in love, madly, truly, with the body-mic clipped to their back-buckle and the producer casually suggesting, “Just one more angle.”, “One more jello shot.”. And the robot loves his master. Alien loves his saucer. Superman loves Lois. Lex and Lana. Luke loves Leia, til he finds out she’s his sister. And the exorcist loves the demon, even as he leaps out the window with it, in full soulful embrace. As Leo loves Kate, and they both love the sinking ship. And the shark, god the shark, loves to eat. Which is what the Mafioso loves too, eating and money and Pauly and Omertà. The way the cowboy loves his horse, loves the corseted girl behind the piano bar and sometimes loves the other cowboy. As the vampire loves night and neck. And the zombie, don’t even start with the zombie, sentimental fool, has anyone ever been more love-sick than a zombie, that pale dull metaphor for love, all animal craving and lurching, outstretched arms. His very existence a sonnet about how much he wants those brains. This, too is a love story.

(Bonhoeffer's) change was not an ungainly, embarrassing leap from which he would have to retreat slightly when he gained more maturity and perspective. It was by all accounts a deepening consistent with what had gone before.

Quinn turned away to walk out of the room, and he looked so good my cock leaped to attention. I say we strip those fancy-ass clothes from his body and fuck him until he knows he’s ours! I stared down at my lap in irritation. Please?

Colin’s head injury had loosened his tongue. First he seemed to know that she wouldn’t marry him and why, which she had never discussed with him, then he was saying he had kissed her, which he hadn’t, and now he was saying he liked hearing her talk. He had also said last night that her talking sounded cheerful, now that she thought about it. Could he truly think that? This strange conversation was making her heart leap madly. She had to stop thinking these wonderful but confusing things about Colin. She must focus on the task at hand — making sure he was well enough to travel.

Syme felt moved to spring up and leap over the balcony. When the President's eyes were on him he felt as if he were made of glass. He had hardly the shred of a doubt that in some silent and extraordinary way Sunday had found out that he was a spy. He looked over the edge of the balcony, and saw a policeman, standing abstractedly just beneath, staring at the bright railings and the sunlit trees.

In this sub-species [of science fiction] the author leaps forward into an imagined future when planetary, sidereal, or even galactic travel has become common. Against this huge backcloth he then proceeds to develop an ordinary love-story, spy-story, wreck-story, or crime-story. This seems to me tasteless. Whatever in a work of art is not used is doing harm. The faintly imagined, and sometimes strictly unimagineable, scene and properties, only blur the real theme and distract us from any interest it might have had.

Philby now went in for the kill. Elliott had tipped him off that he would be cleared by Macmillan, but mere exoneration was not enough: he needed Lipton to retract his allegations, publicly, humiliatingly, and quickly. After a telephone consultation with Elliott, he instructed his mother to inform all callers that he would be holding a press conference in Dora’s Drayton Gardens flat the next morning. When Philby opened the door a few minutes before 11:00 a.m. on November 8, he was greeted with gratifying proof of his new celebrity. The stairwell was packed with journalists from the world’s press. “Jesus Christ!” he said. “Do come in.” Philby had prepared carefully. Freshly shaved and neatly barbered, he wore a well-cut pinstriped suit, a sober and authoritative tie, and his most charming smile. The journalists trooped into his mother’s sitting room, where they packed themselves around the walls. Camera flashes popped. In a conspicuous (and calculated) act of old-world gallantry, Philby asked a journalist sitting in an armchair if he would mind giving up his seat to a lady journalist forced to stand in the doorway. The man leaped to his feet. The television cameras rolled. What followed was a dramatic tour de force, a display of cool public dishonesty that few politicians or lawyers could match. There was no trace of a stammer, no hint of nerves or embarrassment. Philby looked the world in the eye with a steady gaze and lied his head off. Footage of Philby’s famous press conference is still used as a training tool by MI6, a master class in mendacity.

This is a love story, Michael Deane says. But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke love Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the Mafioso loves, too—eating and money and Paulie and omerta` --the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.

...The gulag—with its millions of victims, if you listen to Solzehnitsyn and Sakharov—supposedly existed in the Soviet Union right down to the very last days of communism. If so—as I've asked before—where did it disappear to? That is, when the communist states were overthrown, where were the millions of stricken victims pouring out of the internment camps with their tales of torment? I'm not saying they don't exist; I'm just asking, where are they? One of the last remaining camps, Perm-35—visited in 1989 and again in '90 by Western observers—held only a few dozen prisoners, some of whom were outright spies, as reported in the Washington Post. Others were refuseniks who tried to flee the country. The inmates complained about poor-quality food, the bitter cold, occasional mistreatment by guards. I should point out that these labor camps were that: they were work camps. They weren't death camps that you had under Nazism where there was a systematic extermination of the people in the camps. So there was a relatively high survival rate. The visitors also noted that throughout the 1980s, hundreds of political prisoners had been released from the various camps, but hundreds are not millions. Even with the great fall that took place after Stalin, under Khrushchev, when most of the camps were closed down...there was no sign of millions pouring back into Soviet life—the numbers released were in the thousands. Why—where are the victims? Why no uncovering of mass graves? No Nuremburg-style public trials of communist leaders, documenting the widespread atrocities against these millions—or hundreds of millions, if we want to believe our friend at the Claremont Institute. Surely the new...anti-communist rulers in eastern Europe and Russia would have leaped at the opportunity to put these people on trial. And the best that the West Germans could do was to charge East German leader Erich Honecker and seven of his border guards with shooting persons who tried to escape over the Berlin Wall. It's a serious enough crime, that is, but it's hardly a gulag. In 1955[sic], the former secretary of the Prague communist party was sentenced to two and a half years in prison. 'Ah, a gulag criminal!' No, it was for ordering police to use tear gas and water cannons against demonstrators in 1988. Is this the best example of bloodthirsty communist repression that the capitalist restorationists could find in Czechoslovakia? An action that doesn't even qualify as a crime in most Western nations—water cannons and tear gas! Are they kidding? No one should deny that crimes were committed, but perhaps most of the gulag millions existed less in reality and more in the buckets of anti-communist propaganda that were poured over our heads for decades.

He said that the church “has an unconditional obligation to the victims of any ordering of society.” And before that sentence was over, he took another leap, far bolder than the first—in fact, some ministers walked out—by declaring that the church “has an unconditional obligation to the victims of any ordering of society, even if they do not belong to the Christian community.” Everyone knew that Bonhoeffer was talking about the Jews, including Jews who were not baptized Christians. Bonhoeffer then quoted Galatians: “Do good to all men.” To say that it is unequivocally the responsibility of the Christian church to help all Jews was dramatic, even revolutionary. But Bonhoeffer wasn’t through yet. 154 The third way the church can act toward the state, he said, “is not just to bandage the victims under the wheel, but to put a spoke in the wheel itself.” The translation is awkward, but he meant that a stick must be jammed into the spokes of the wheel to stop the vehicle. It is sometimes not enough to help those crushed by the evil actions of a state; at some point the church must directly take action against the state to stop it from perpetrating evil. This, he said, is permitted only when the church sees its very existence threatened by the state, and when the state ceases to be the state as defined by God. Bonhoeffer added that this condition exists if the state forces the “exclusion of baptized Jews from our Christian congregations or in the prohibition of our mission to the Jews.

This is a love story, Michael Deane says. But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk, just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ’roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke loves Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the mafioso loves, too—eating and money and Paulie and omertà—the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.

She slides between these walls one foot, two feet, a hand and two this is the space in which she lives breathes, empties all that she is   she knows, where the eye seeks to spy through circles drilled into the walls the hidden, they watch, scratching idly starving for love, the thing she lost   the ones she forgot were left behind they hide now like ghosts in the leaves rustling they leap upon the breeze echoes of the past haunting mirrors   the scribe knows, he laughs sometimes knowing all the things he does it only makes him fail, too self-absorbed to comprehend what she really is   the ghosts they circle inside these walls pushing their fingers through the paper seeking to caress the curls of her hair twisting, she knows they linger   inside, watching where the beetle runs trailing all his miniscule unlived lives between the pages of a book unseen she lived it, breathed it, all that ripples   thus she dances here alone, casting rainbow dust upon the bleakest grey the steel that rusts in crusts of red rosebud offerings to the elements   laughter so raw covers an ache so deep like a monster it yearns to spring inside, where the waiting ends inside, where the spiral grows   there’s a twist in the passage that eels a malevolent darkness screams opening the chasm that yawns awake stealing tomorrow for its own sake   it twists, but nothing can touch her, lost as she is in the echoes of her past

Where is Mistress Denny? I thought she was going to bring Angus herself." John tried unsuccessfully to mask a smile. His eyes watered from laughter and he brought up his sleeve to wipe them, turning slightly away from Ruairi. When the man laughed, he looked ten years younger. "Ye see, my laird, Angus leaped on Mistress Denny and pushed her down into a pile of horse manure. When a couple of Ruairi's men passed in front of Torquil's door carrying a tub, Ruairi stared at John and then turned to Fagan as the men burst out laughing. Fagan threw back his head, slapping his hands on his thighs. "You couldn't just leave well enough alone, could you?" asked a voice from the hall. Ravenna stepped into the room and the men gazed at her with wide eyes. When Angus rose and attempted to move toward her, she help up her hand to stay him. "Don't. You. Dare. You wicked, wicked beast. I've had enough of you for one day. Sit Down!" When Angus sat on command, Fagan murmured, "Bloody coward.

You think to take me on, cripple?” “I am no cripple.” He lunged out with his left hand and seized Clayton by the throat, lifting him in the air. The vampire’s eyes bulged like a toad’s as he struggled and wheezed, “Your arm! But how—” “I told you that Lady Rosslyn is a doctor.” Rafe clenched his wholly healed fingers tighter on the vampire’s windpipe. “You should have listened to me.” Just as Clayton’s lips began to turn blue, Rafe slammed him on the ground. Before Clayton could escape, Rafe leaped on him, pinning his legs with his own. Raising his left fist first, he punched the vampire so hard his lip split open. Another blow with his right smashed Clayton’s nose to a bloody pulp. Unlike in his boxing matches with mortals, he did not hold back his speed or strength. On and on, Rafe rained down blows, mentally assigning each punch as punishment for one of Clayton’s vile deeds. This one was for being disrespectful as his second, this one for recruiting William as a spy. This one for turning against him. One for each rogue he allowed in the city, one for Cassandra. Another for Cassandra…and more for all the deaths he caused. Only

It’s time,” Jack said. “Breeze? Count the kids,” Sam said. Brianna was back in twenty seconds. “Eighty-two, boss.” “About a third,” Jack observed. “A third of what’s left.” “Wait. Make that eighty-eight,” Brianna said. “And a dog.” Lana, looking deeply irritated—a fairly usual expression for her—and Sanjit, looking happy—a fairly usual expression for him—and Sanjit’s siblings were trotting along to catch up. “I don’t know if we’re staying up there or not,” Lana said without preamble. “I want to check it out. And my room smells like crap.” Just before the time was up, Sam heard a stir. Kids were making a lane for someone, murmuring. His heart leaped. “Hey, Sam.” He swallowed the lump in his throat. “Diana?” “Not expecting me, huh?” She made a wry face. “Where’s blondie? I didn’t see her at the big pep rally.” “Are you coming with us?” Brianna demanded, obviously not happy about it. “Is Caine okay with this?” Sam asked Diana. “It’s your choice, but I need to know if he’s going to come after us to take you back.” “Caine has what he wants,” Diana said. “Maybe I should call Toto over,” Sam said. The truth teller was having a conversation with Spidey. “I could ask you whether you’re coming along to spy for Caine, and see what Toto has to say.” Diana sighed. “Sam, I have bigger problems than Caine. And so do you, I guess. Because the FAYZ is going to do something it’s never done before: grow by one.” “What’s that mean?” “You are going to be an uncle.” Sam stared blankly. Brianna said a very rude word. And even Dekka looked up. “You’re having a baby?” Dekka asked. “Let’s hope so,” Diana said bleakly. “Let’s hope that’s all it is.

You’re not expecting us to jump to that?” I asked, worried. “I’m not expecting anything. We’re doing it.” With that, Erica sprang over the railing onto the whale skeleton. She sailed through the air and landed perfectly atop the skull with an agility and finesse I knew I didn’t have in the slightest. I looked around for another way out. The only other exit was blocked by the government agent, who was digging himself out of the dinosaur toys. He had a livid glare in his eye and a plesiosaur jammed in his ear. The SPYDER agents appeared to have lost us, but the government agent was threatening enough. I jumped over the railing. To my surprise, I landed deftly atop the whale skull. Only, the perfect balance thing was completely beyond me. I pitched forward and nearly took a header into the piranha display below. Erica caught me at the last instant and steadied me, but my weight had thrown her off balance too. She now pitched forward herself and had no choice but to leap from the skull and catch onto the lip of the model humpback whale. The cables supporting it strained under the sudden jolt. One snapped free from the ceiling and the whale shifted wildly. Erica swung from the whale’s lip, launched herself into a backflip, and stuck the landing in the middle of the hall. The tourists gathered there all applauded, impressed. As though they figured the Smithsonian had started hiring circus performers to spice things up. Erica looked to me expectantly. So did all the tourists. Now I had potential death and performance anxiety to deal with. Knowing I couldn’t possibly do what Erica had just done, I carefully shimmied down the metal framework that supported the whale skeleton—and still biffed the dismount. I fell backward and landed on my butt atop a large sea turtle. The tourists groaned, like I had let them down.

I hate … and I will wreak that hate upon him”; and in Ahab’s mismatched confrontation with his decent but weak first mate, Mr. Starbuck (now of coffee-bar fame), there seemed a prescient anticipation of Yeats’s twentieth-century lament that “the best lack all conviction, while the worst / Are full of passionate intensity.” Like those horrific charismatics—the Generalissimo, the Führer, and Il Duce—Ahab had his private squad of secret police, five “dusky phantoms” chosen for their proficient delight in killing, whom he keeps hidden and hungry, as if they are a pack of carnivores left to starve in their cage. Once released, they leap to the chase whenever he spies a breeching whale that might be the one he is looking for. By the early 1950s, the Trinidadian writer C. L. R. James could describe Moby-Dick as “the biography of the last days of Adolf Hitler.

These passages, and many more, show that though believers “have crucified the flesh with its passions and desires” (Gal. 5:24), their conflict with the flesh continues (Gal. 5:17). We are always in danger of being seduced by the desires of the flesh that bubble up from within. Like an undercover spy, sin lurks in the corridors of our hearts and minds, watching for any opportunity to betray us. “There remains in a regenerate man a smoldering cinder of evil, from which desires continually leap forth to allure and spur him to commit sin,” writes Calvin.23 This cinder can burst into flame at any time, in any place. That’s why we need vigilance. As Paul commands, “Do not let sin reign in your mortal body, that you should obey it in its lusts” (Rom. 6:12). Peter agrees: “Beloved, I beg you as sojourners and pilgrims, abstain from fleshly lusts which war against the soul” (1 Peter 2:11).

But whether they ventured to the one, the other, or somewhere else entirely, there would be a feast, a fire, and open arms. There would be bright dresses, and flushed skin, and sentimental uncles making misty-eyed toasts as children spied from the stairs. And music? There would be songs that emptied your glass and called you to your feet. Songs that led you to leap and alight in a manner that belied your age. Songs that made you reel and spin until you lost your bearings not only between the parlor and the salon, but between heaven and earth.

there are loads of places to hide. I run behind the pea plants, but he can still see me through the leaves, so I run off and land next to Alice and Dora in between the thorny raspberries. 'Look, Belle, we've found some raspberries that are already ripe. They're so nice.' Alice picks one for me. I taste its sweet raspberriness. 'Yum. Are there more?' 'Not yet. But soon there'll be loads.' 'Got you,' yells John as he runs down the path. He checks us all out deciding who best to make IT. He gives me a look and I know it’s going to be me. So I leap up and run off while he clambers over my sister and Dora. I run quickly, darting between the overgrown potatoes and into the poly-tunnel for the tomatoes. I take a few deep breaths as I emerge from the other end of the poly-tunnel. Looks like I've finally lost John, so I slow down and look around. Dad's shed is in front of me and I can hear him gently tinkering inside. I'm never sure what he's doing in there, but he's so busy he

The Navy’s underseas scientists had leaped at the chance to have their own submarine. The Halibut was redesignated as an attack submarine to cover its true mission and sent to Pearl Harbor shipyards for major overhaul. At the shipyards, the conversion was conducted in complete secrecy. The submarine’s large missile storage room was changed into a seagoing den for spies that became appropriately known as the “bat cave.” It