Squad For Life Quotes

We've searched our database for all the quotes and captions related to Squad For Life. Here they are! All 100 of them:

I am not good at noticing when I'm happy, except in retrospect.
Tana French (In the Woods (Dublin Murder Squad, #1))
What I am telling you, before you begin my story, is this -- two things: I crave truth. And I lie.
Tana French (In the Woods (Dublin Murder Squad, #1))
Like all failed experiments, that one taught me something I didn’t expect: one key ingredient of so-called experience is the delusional faith that it is unique and special, that those included in it are privileged and those excluded from it are missing out.
Jennifer Egan (A Visit from the Goon Squad)
Structural dissatisfaction: Returning to circumstances that once pleased you, after having experienced a more thrilling or opulent way of life, and finding that you can no longer tolerate them.
Jennifer Egan (A Visit from the Goon Squad)
I can't tell if she's actually real, or if she's stopped caring if she's real or not. Or is not caring what makes a person real?
Jennifer Egan (A Visit from the Goon Squad)
Our entire society is based on discontent. People wanting more and more and more. Being constantly dissatisfied with their homes, their bodies, their décor, their clothes, everything – taking it for granted that that’s the whole point of life. Never to be satisfied. If you are perfectly happy with what you got, especially if what you got isn’t even all that spectacular then you’re dangerous. You’re breaking all the rules. You’re undermining the sacred economy. You’re challenging every assumption that society is built on.
Tana French (The Likeness (Dublin Murder Squad, #2))
Regardless of the advertising campaigns may tell us, we can't have it all. Sacrifice is not an option, or an anachronism; it's a fact of life. We all cut off our own limbs to burn on some altar. The crucial thing is to choose an altar that's worth it and a limb you can accept losing. To go consenting to the sacrifice.
Tana French (The Likeness (Dublin Murder Squad, #2))
Only teenagers think boring is bad. Adults, grown men and women who've been around the block a few times, know that boring is a gift straight from God. Life has more than enough excitement up its sleeve, ready to hit you with as soon as you're not looking, without you adding to the drama.
Tana French (Broken Harbour (Dublin Murder Squad, #4))
People you knew when you were teenagers, the ones who saw your stupidest haircut and the most embarrassing things you've done in your life, and they still cared about you after all that: they're not replaceable, you know?
Tana French (Broken Harbour (Dublin Murder Squad, #4))
You kneel beside her, breathing the familiar smell of Sasha's sleep, whispering into her ear some mix of I'm sorry and I will never leave you, I'll be curled around your heart for the rest of your life, until the water pressing my shoulders and chest crushes me awake and I hear Sasha screaming into my face: Fight! Fight! Fight!
Jennifer Egan (A Visit from the Goon Squad)
Sometimes I imagine myself looking back on right now and I think like where will I be standing when I look back Will right now look like the beginning of a great life or... or what
Jennifer Egan (A Visit from the Goon Squad)
You forget what it was like. You'd swear on your life you never will, but year by year it falls away. How your temperature ran off the mercury, your heart galloped flat-out and never needed to rest, everything was pitched on the edge of shattering glass. How wanting something was like dying of thirst. How your skin was too fine to keep out any of the million things flooding by; every color boiled bright enough to scald you, any second of any day could send you soaring or rip you to bloody shreds.
Tana French (The Secret Place (Dublin Murder Squad, #5))
One of my da's tragedies was always the fact that he was bright enough to understand just how comprehensively he had shat all over his life.
Tana French (Faithful Place (Dublin Murder Squad, #3))
Rebecca was an academic star. Her new book was on the phenomenon of word casings, a term she'd invented for words that no longer had meaning outside quotation marks. English was full of these empty words--"friend" and "real" and "story" and "change"--words that had been shucked of their meanings and reduced to husks. Some, like "identity" and "search" and "cloud," had clearly been drained of life by their Web usage. With others, the reasons were more complex; how had "American" become an ironic term? How had "democracy" come to be used in an arch, mocking way?
Jennifer Egan (A Visit from the Goon Squad)
In the case of suicide, people think that no fight was involved they merely think that the person couldn't take it and felt weak. They forget all the mental struggles the person faced because the were invisible and sometimes unspoken and unexposed to anyone. This attitude of society is wrong.
Deeksha Arora
I told people I was taking a gap year, but the truth was that I wanted to do nothing, absolutely nothing, for as long as possible, maybe for the rest of my life.
Tana French (In the Woods (Dublin Murder Squad, #1))
some mornings... I sit at the kitchen table shaking salt into the hairs on my arm, and a feeling shoves up in me: it's finished. Everything went past without me.
Jennifer Egan (A Visit from the Goon Squad)
Yet each disappointment Ted felt in his wife, each incremental deflation, was accompanied by a seizure of guilt; many years ago, he had taken the passion he felt for Susan and folded it in half, so he no longer had a drowning, helpless feeling when he glimpsed her beside him in bed: her ropy arms and soft, generous ass. Then he’d folded it in half again, so when he felt desire for Susan, it no longer brought with it an edgy terror of never being satisfied. Then in half again, so that feeling desire entailed no immediate need to act. Then in half again, so he hardly felt it. His desire was so small in the end that Ted could slip it inside his desk or a pocket and forget about it, and this gave him a feeling of safety and accomplishment, of having dismantled a perilous apparatus that might have crushed them both. Susan was baffled at first, then distraught; she’d hit him twice across the face; she’d run from the house in a thunderstorm and slept at a motel; she’d wrestled Ted to the bedroom floor in a pair of black crotchless underpants. But eventually a sort of amnesia had overtaken Susan; her rebellion and hurt had melted away, deliquesced into a sweet, eternal sunniness that was terrible in the way that life would be terrible, Ted supposed, without death to give it gravitas and shape. He’d presumed at first that her relentless cheer was mocking, another phase in her rebellion, until it came to him that Susan had forgotten how things were between them before Ted began to fold up his desire; she’d forgotten and was happy — had never not been happy — and while all of this bolstered his awe at the gymnastic adaptability of the human mind, it also made him feel that his wife had been brainwashed. By him.
Jennifer Egan (A Visit from the Goon Squad)
You don't have to be very bright to carry a handbarrow. So the squad leader gave such work to people who'd been in positions of authority.
Aleksandr Solzhenitsyn (One Day In The Life Of Ivan Denisovich)
I’m sorry and I believe in you and I’ll always be near you, protecting you, and I will never leave you, I’ll be curled around your heart for the rest of your life.
Jennifer Egan (A Visit from the Goon Squad)
The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh.
Jennifer Egan (A Visit from the Goon Squad)
In all your life, only a few moments matter. Mostly you never get a good look at them except in hindsight, long after they've zipped past you: the moment when you decided whether to talk to that girl, slow down on that blind bend, stop and find that condom. I was lucky, I guess you could call it. I got to see one of mine face-to-face, and recognize it for what it was.
Tana French (Faithful Place (Dublin Murder Squad, #3))
No one needs a relationship. What you need is the basic cop-on to figure that out, in the face of all the media bullshit screaming that you're nothing on your own and you're a dangerous freak if you disagree. The truth is, if you don't exist without someone else, you don't exist at all. And that doesn't just go for romance. I love my ma, I love my friends, I love the bones of them. If any of them wanted me to donate a kidney or crack a few heads, I'd do it, no questions asked. And if they all waved good-bye and walked out of my life tomorrow, I'd still be the same person I am today.
Tana French (The Trespasser (Dublin Murder Squad, #6))
It took my breath away, that evening. If you've ever dreamed that you walked into your best-loved book or film or TV program, then maybe you've got some idea how it felt: things coming alive around you, strange and new and utterly familiar at the same time; the catch in your heartbeat as you move through the rooms that had such a vivid untouchable life in your mind, as your feet actually touch the carpet, as you breathe the air; the odd, secret glow of warmth as these people you've been watching for so long, from so far away, open their circle and sweep you into it.
Tana French (The Likeness (Dublin Murder Squad, #2))
Never make the mistake of badmouthing cats in front of her. I think she used to be one in a past life." ... "Definitely a cat in a past life," Owen muttered next to me. "But, like, a big scary one that ate people.
Kelly Oram (The Avery Shaw Experiment (Science Squad, #1))
If you think you’re a success, you will be a success; if you think you deserve nothing but crap, you’ll get nothing but crap. Your inner reality shapes your outer one, every day of your life.
Tana French (Broken Harbor (Dublin Murder Squad, #4))
To send men to the firing squad, judicial proof is unnecessary. These procedures are an archaic bourgeois detail. This is a revolution! And a revolutionary must become a cold killing machine motivated by pure hate. We must create the pedagogy of the paredón [execution wall].
Ernesto Che Guevara
Too Clear, too clean. The problem was precision, perfection; the problem was "digitization" which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. "An aesthetic holocaust!
Jennifer Egan (A Visit from the Goon Squad)
I was a wrecked thing smeared over with dark finger marks and stuck with shards of nightmare, and I had no right there any more. I moved through my lost life like a ghost, trying not to touch anything with my bleeding hands, and dreamed of learning to sail in a warm place, Bermuda or Bondi, and telling people sweet soft lies about my past.
Tana French (The Likeness (Dublin Murder Squad, #2))
Probably he was thinking what a boring bollocks I was. Plenty of people think the same thing- all of them are teenagers, mentally if not physically. Only teenagers think boring is bad. Adults, grown men and women who've been around the block a few times, know that boring is a gift straight from God. Life has more then enough excitement up its sleeve, ready to hit you as soon as you're not looking, without you adding to the drama.
Tana French (Broken Harbour (Dublin Murder Squad, #4))
Do you see now why I believe in miracles? I used to imagine time folding over, the shades of our future selves slipping back to the crucial moments to tap each of us on the shoulder and whisper: Look, there, look! That man, that woman: they're for you; that's your life, your future, fidgeting in the line, dripping on the carpet, shuffling in that doorway. Don't miss it.
Tana French (The Likeness (Dublin Murder Squad, #2))
Aden had only ever had one true friend, someone he knew would fight for him and with him regardless of whether he held any power or not. The others in the squad he trusted, but Vasic occupied an entirely different place in his life, until it was as if their blood was the same.
Nalini Singh (Shield of Winter (Psy-Changeling, #13))
The idea was flawed, of course," he said irritably. "Innately and fatally flawed. It depended on two of the human race's greatest myths: the possibility of permanence, and the simplicity of human nature. Both of which are all well and good in literature, but the purest fantasy outside the covers of a book. Our story should have stopped that night with the cold cocoa, the night we moved in: and they all lived happily ever after, the end. Inconveniently, however, real life demanded that we keep on living.
Tana French (The Likeness (Dublin Murder Squad, #2))
What I Suddenly Understand My job is to make people uncomfortable. + I will do it all my life. ---> My mother, Sasha Blake, is my first victim.
Jennifer Egan (A Visit from the Goon Squad)
At that point in time, there were three things in life that I knew for certain: (1) I was a girl who’d never met a site she couldn’t hack or a code she couldn’t break, (2) I had a roundhouse that could put a grown man in the hospital, and (3) I would without question chop off my own hands before I’d come within five feet of a pom-pom
Jennifer Lynn Barnes (Perfect Cover (The Squad, #1))
She'd risked everything, and here was the result: the raw, warped core of her life.
Jennifer Egan (A Visit from the Goon Squad)
I loved him, you know,' she said. 'I would have loved him as hard as he'd let me, for the rest of my life.
Tana French (The Likeness (Dublin Murder Squad, #2))
The summer came to life. It burst from gray to fierce blue and gold in the blink of an eye; the air pealed with grasshoppers and lawnmowers, swirled with branches and bees and dandelion seeds, it was soft and sweet as whipped cream, and over the wall the wood was calling us in the loudest of silent voices, it was shaking out all its best treasures to welcome us home. Summer tossed out a fountain of ivy tendrils, caught us straight under the breastbones and tugged; summer, redeemed and unfurling in front of us, a million years long.
Tana French (In the Woods (Dublin Murder Squad, #1))
I have a counteroffer. I'll tell you the job description I really want." Raine's throat tightened in frustration. If he was going to keep it on this level, it was up to her to force them to the next one. As always. Seth looked down at his feet. She saw his Adam's apple bob, once. Twice. He met her eyes, with the look of a man who was facing the firing squad. "Full-time lover," he said hoarsely. "Father of your children. Companion in adventure, champion, guardian, protector, helpmeet, mate. Love of you life. Forever.
Shannon McKenna (Behind Closed Doors (McClouds & Friends #1))
Murder is the thoroughbred stable. Murder is a shine and a dazzle, a smooth ripple like honed muscle, take your breath away. Murder is a brand on your arm, like an elite army unit's, like a gladiator's, saying for all your life: One of us. The finest.
Tana French (The Secret Place (Dublin Murder Squad, #5))
Full-Private Number One in the Awkward Squad of the rank and file of life was Sloppy, and yet had his glimmering notions of standing true to the Colours.
Charles Dickens (Our Mutual Friend)
I watched her on the stand in that unfamiliar suit and thought of the soft hairs at the back of her neck, warm and smelling of the sun, and it seemed an impossible thing to me, it seemed the vastest and saddest miracle of my life: I touched her hair, once.
Tana French (In the Woods (Dublin Murder Squad, #1))
Just about everything in this life is treacherous, ready to twist and shape-shift at any second; it seemed to me that the whole world would be a different place if you had someone you were certain of, certain to the bone, or if you could be that to someone else.
Tana French (Broken Harbour (Dublin Murder Squad, #4))
You’re all cadets now.” Xaden’s voice carries out over the courtyard, stronger than the others. “Take a look at your squad. These are the only people guaranteed by Codex not to kill you. But just because they can’t end your life doesn’t mean others won’t. You want a dragon? Earn one.
Rebecca Yarros (Fourth Wing (The Empyrean, #1))
Out of absolutely nowhere I felt a sudden, sweet shot of joy, piercing and distilled as the jolt I imagine heroin users get when the fix hits the vein. It was my partner bracing herself on her hands as she slid fluidly off the desk, it was the neat practiced movement of flipping my notebook shut one-handed, it was my superintendent wriggling into his suit jacket and covertly checking his shoulders for dandruff, it was the garishly lit office with a stack of marker-labeled case files sagging in the corner and evening rubbing up against the window. It was the realization, all over again, that this was real and it was my life. Maybe Katy Devlin, if she had made it that far, would have felt this way about blisters on her toes, the pungent smell of sweat and floor wax in the dance studios, the early-morning breakfast bells raced down echoing corridors. Maybe she, like me, would have loved the tiny details and the inconveniences even more dearly than the wonders, because they are the things that prove you belong.
Tana French (In the Woods (Dublin Murder Squad, #1))
I will never leave you, I'll be curled around your heart for the rest of your life
Jennifer Egan (A Visit from the Goon Squad)
When she was born I wanted to go out and kill someone for her, so she would know for sure, all her life, that I was ready to do it if it needed doing.
Tana French (Faithful Place (Dublin Murder Squad, #3))
A flower is seen only toward the end of its life, juts-bloomed and already on its way to being brown paper. And maybe all names are illusions. How often do we name something after its briefest form? Rose bush, rain, butterfly, snapping turtle, firing squad, childhood, death, mother tongue, me, you.
Ocean Vuong (On Earth We're Briefly Gorgeous)
Sasha's green eyes were right up against yours, the lashes interlocking. "In Naples," she said, "there were kids who were just lost. You knew they were never going to get back to what they'd been, or have a normal life. And then there were other ones who you thought, maybe they will." ... You opened your eyes, which you hadn't realized were shut again. "what I'm saying is, We're the survivors," Sasha said. ... "Not everyone is. But we are. Okay?
Jennifer Egan (A Visit from the Goon Squad)
I needed to go into that bare, with nothing from my own life on my body, the way woodcutters' children in fairy tales have to leave their protections behind to enter the enchanted castle; the way votaries in old religions used to go naked to their initiation rites.
Tana French (The Likeness (Dublin Murder Squad, #2))
...the solitude was intoxicating. On my first night there I lay on my back on the sticky carpet for hours, in the murky orange pool of city glow coming through the window, smelling heady curry spices spiraling across the corridor and listening to two guys outside yelling at each other in Russian and someone practicing stormy flamboyant violin somewhere, and slowly realizing that there was not a single person in the world who could see me or ask me what I was doing or tell me to do anything else, and I felt as if at any moment the bedsit might detach itself from the buildings like a luminous soap bubble and drift off into the night, bobbing gently above the rooftops and the river and the stars.
Tana French (In the Woods (Dublin Murder Squad, #1))
What is wrong with you?” He glared at me. “I’m somewhat sure I’m suddenly gay,” I shrugged, “My father and mother are hypocritical abandoning homophobic assholes. The former defending my chief suspect in the biggest case of my life—something I’m sure you had a hand in. I’m obsessed with your freckles, your bunny slippers and your lips—which I should be getting points for not kissing while you’re incapacitated, by the way. I’m dating a whore while working on the vice squad—points to me again for not arresting your ass for that—and I’m ridiculously horny. Oh, and my fiancée won’t talk to me.
Dani Alexander (Shattered Glass (Shattered Glass, #1))
I pictured every inch of what she would look like now: the crow’s-feet from smiles I hadn’t seen, the softness of her belly from kids who weren’t mine, all her life that I had missed written on her body in Braille for my hands to read.
Tana French (Faithful Place (Dublin Murder Squad, #3))
The death penalty is broken, and you are either part of the Death Squad or banging on the doors. Choose.
Anthony Ray Hinton (The Sun Does Shine: How I Found Life and Freedom on Death Row)
Lixa sempre as expectativas das pessoas, companheiro. Faz bem à circulação.
Tana French (The Secret Place (Dublin Murder Squad, #5))
Lexie Madison developed out of nothing like a Polaroid, she curled off the page and hung in the air like incense smoke, a girl with my face and a life from a half-forgotten dream.
Tana French (The Likeness (Dublin Murder Squad, #2))
In all your life, only a few moments matter. Mostly you never get a good look at them except in hindsight, long after they’ve zipped past you:
Tana French (Faithful Place (Dublin Murder Squad, #3))
Sacrifice is not an option, or an anachronism; it´s a fact of life. We all cut off our own limbs to burn on some altar. The crucial thing is to choose an altar that is worth it and a limb you can accept losing.
Tana French (The Likeness (Dublin Murder Squad, #2))
How close, Frost?" "Real close, boss. I swear on my life." Joker slowly looked up, eyes glistening with black hope. The fire in his madness was still burning. "If you're going to swear, swear on something that matters.
Marv Wolfman (Suicide Squad: The Official Movie Novelization)
Shukhov went to sleep fully content. He'd had many strokes of luck that day: they hadn't put him in the cells; they hadn't sent his squad to the settlement; he'd swiped a bowl of kasha at dinner; the squad leader had fixed the rates well; he'd built a wall and enjoyed doing it; he'd smuggled that bit of hacksaw blade through; he'd earned a favor from Tsezar that evening; he'd bought that tobacco. And he hadn't fallen ill. He'd got over it. A day without a dark cloud. Almost a happy day. There were three thousand six hundred and fiftythree days like that in his stretch. From the first clang of the rail to the last clang of the rail. Three thousand six hundred and fifty-three days. The three extra days were for leap years.
Aleksandr Solzhenitsyn (One Day in the Life of Ivan Denisovich)
The modern world, which denies personal guilt and admits only social crimes, which has no place for personal repentance but only public reforms, has divorced Christ from His Cross; the Bridegroom and Bride have been pulled apart. What God hath joined together, men have torn asunder. As a result, to the left is the Cross; to the right is Christ. Each has awaited new partners who will pick them up in a kind of second and adulterous union. Communism comes along and picks up the meaningless Cross; Western post-Christian civilization chooses the unscarred Christ. Communism has chosen the Cross in the sense that it has brought back to an egotistic world a sense of discipline, self-abnegation, surrender, hard work, study, and dedication to supra-individual goals. But the Cross without Christ is sacrifice without love. Hence, Communism has produced a society that is authoritarian, cruel, oppressive of human freedom, filled with concentration camps, firing squads, and brain-washings. The Western post-Christian civilization has picked up the Christ without His Cross. But a Christ without a sacrifice that reconciles the world to God is a cheap, feminized, colourless, itinerant preacher who deserves to be popular for His great Sermon on the Mount, but also merits unpopularity for what He said about His Divinity on the one hand, and divorce, judgment, and hell on the other. This sentimental Christ is patched together with a thousand commonplaces, sustained sometimes by academic etymologists who cannot see the Word for the letters, or distorted beyond personal recognition by a dogmatic principle that anything which is Divine must necessarily be a myth. Without His Cross, He becomes nothing more than a sultry precursor of democracy or a humanitarian who taught brotherhood without tears.
Fulton J. Sheen (Life of Christ)
It always took my breath away,’ he said, ‘that the five of us could have found one another–against such odds, through all the layers of armored fortifications each of us had set up… Do you see now why I believe in miracles? I used to imagine time folding over, the shades of our future selves slipping back to the crucial moments to tap each of us on the shoulder and whisper: Look, there, look! That man, that woman: they’re for you; that’s your life, your future, fidgeting in that line, dripping on the carpet, shuffling in that doorway. Don’t miss it.
Tana French (The Likeness (Dublin Murder Squad, #2))
Say one more thing about that gladiator, and I’ll feed numb nuts here your wings,” Maeve fires off. It’s her voice that brings me back. Who needs a cheer squad when I have Maeve’s sweet disposition and vocabulary to spring me back to life?
Cecy Robson (Bloodguard (Old Erth, #1))
Where everything is words, you'd think I'd have some mastery and know my way around, but all this churning hatred, each man a verbal firing squad, immeasurable suspicions, a flood of mocking, angry talk, all of life a vicious debate, conversations in which there is nothing that cannot be said...no, I'd be better off in the jungle, I thought, where a roar's a roar and no one is hard put to miss its meaning.
Philip Roth (Operation Shylock: A Confession)
She takes hold of his hands. As they move together, Rolph feels his self-consciousness miraculously fade, as if he is growing up right there on the dance floor, becoming a boy who dances with girls like his sister. Charlie feels it, too. In fact, this particular memory is one she'll return to again and again, for the rest of her life, long after Rolph has shot himself in the head in their father's house at twenty eight: her brother as a boy, hair slicked flat, eyes sparking, shyly learning to dance.
Jennifer Egan (A Visit from the Goon Squad)
I think it was only in that moment I believed she was dead, this girl I had never seen alive. I'll never be free of her. I wear her face; as I get older it'll stay her changing mirror, the one glimpse of all the ages she never had. I lived her life, for a few strange bright weeks; her blood went into making me what I am, the same way it went to make the bluebells and the hawthorn tree. But when I had the chance to take that final step over the border, lie down with Daniel among the ivy leaves and the sound of water, let go of my own life with all its scars and all its wreckage and start new, I turned it down.
Tana French (The Likeness (Dublin Murder Squad, #2))
To outsmart you they thought up work squads—but not squads like the ones outside the camps, where everyone is paid his separate wage. Everything was so arranged in the camp that the prisoners egged one another on. It was like this: either you all got a bit extra or you all croaked. You're loafing you bastard—do you think I'm willing to go hungry just because of you? Put your guts into it, slob.
Aleksandr Solzhenitsyn (One Day In The Life Of Ivan Denisovich)
Look at all the old wars, centuries ago: the king led his men into battle. Always. That was what the ruler was: both on a practical level and on a mystical one, he was the one who stepped forwards to lead his tribe, put his life at stake for them, become the sacrifice for their safety. If he had refused to do that most crucial thing at that most crucial moment, they would have ripped him apart- and rightly so: he would have shown himself to be an impostor, with no right to the throne. The king was the country; how could he possibly expect it go into battle without him? But now... Can you see any modern president or prime minister on the front line, leading his men into the war he's started? And once that physical and mystical link is broken, once the ruler is no longer willing to be the sacrifice for his people, he becomes not a leader but a leech, forcing others to take his risks while he sits in safety and battens on their losses. War becomes a hideous abstraction, a game for bureaucrats to play on paper; soldiers and civilians become mere pawns, to be sacrificed by the thousand for reasons that have no roots in any reality. As soon as rulers mean nothing, war means nothing; human life means nothing. We're ruled by venal little usurpers, all of us, and they make meaninglessness everywhere they go.
Tana French (The Likeness (Dublin Murder Squad, #2))
I don’t like that I didn’t know this essential truth about Theo. I know there’s more to him than I can ever capture and keep close to me, like his fleeting thoughts or his conversations with other people, but this is bigger. It’s so central to his heart, one of my favorite things about him—the way he loves me, the way he loves his parents and sister, the way he loves the squad, the way he loves discovering life’s mysteries and solving them. This
Adam Silvera (History Is All You Left Me)
Well… Five… I just wanted to say rest in peace. To me you are a dead man… I am ashamed that I am related to you. I am ashamed that we have the same bloodline, it is obvious that yours contains a defect in the structure. I’m going to endure the punishment for this gun just because I made the mistake of hanging with a lame. But I swear to God on everything I ever loved… you better change your last fucking name as soon as possible. You will never in your life again be referred to as Powers! Change that shit, or I will kill you with my bare hands the first chance I get. Disconnect yourself bitch!
David Weaver (Bankroll Squad)
It is generally thought, on those worlds where the mall lifeform has seeded, that people take the wire baskets away and leave them in strange and isolated places, so that squads of young men have to be employed to gather them together and wheel them back. This is exactly the opposite of the truth. In reality the men are hunters, stalking their rattling prey across the landscape, trapping them, breaking their spirit, taming them and herding them to a life of slavery. Possibly.
Terry Pratchett (Reaper Man (Discworld, #11; Death, #2))
This country’s passion for property is built into the blood, a current as huge and primal as desire. Centuries of being turned out on the roadside at a landlord’s whim, helpless, teach your bones that everything in life hangs on owning your home.
Tana French (The Likeness (Dublin Murder Squad #2))
Our entire society’s based on discontent: people wanting more and more and more, being constantly dissatisfied with their homes, their bodies, their decor, their clothes, everything. Taking it for granted that that’s the whole point of life, never to be satisfied. If you’re perfectly happy with what you’ve got–specially if what you’ve got isn’t even all that spectacular–then you’re dangerous.
Tana French (The Likeness: Dublin Murder Squad: 2)
Behold those times re-created by the brutal power of sunlit images, the light of life’s tragedy. The walls of the trial, the field of the firing squad; and the distant ghost of Rome’s suburbs in a ring, gleaming white in naked light. Gunshots: our death, our survival.
Pier Paolo Pasolini (Selected Poetry of Pier Paolo Pasolini, The: A Bilingual Edition)
I work Cold Cases. When we bring witnesses in, they want to believe this doesn’t count: not really a murder investigation, not a proper one with guns and cuffs, nothing that’ll slam through your life like a tornado. Something old and soft, instead, worn fuzzy round the edges.
Tana French (The Secret Place (Dublin Murder Squad, #5))
These children will not be coming of age, this or any other summer. This August will not ask them to find hidden reserves of strength and courage as they confront the complexity of the adult world and come away sadder and wiser and bonded for life. This summer has other requirement for them.
Tana French (In the Woods (Dublin Murder Squad, #1))
... what you get out of life is mostly what you planted. Not always, no, but mostly. If you think you're a success, you will be a success; if you think you deserve nothing but crap, you'll get nothing but crap. Your inner reality shapes your outer one, every day of your life. Do you follow me?
Tana French (Broken Harbour (Dublin Murder Squad, #4))
No one needs a relationship. What you need is the basic cop-on to figure that out, in the face of all the media bullshit screaming that you're nothing on your own and you're a dangerous freak if you disagree. The truth is, if you don't exist without someone else, you don't exist at all. And that doesn't just go for romance. I love my ma, I love my friends, I love the bones of them. If any of them wanted me to donate a kidney or crack a few heads, I'd do it, no questions asked. And if they all waved goodbye and walked out of my life tomorrow, I'd still be the same person I am today. I live inside my own skin. Anything that happens outside it doesn't change who I am. This isn't something I'm proud of; as far as I'm concerned, it's a bare minimum baseline requirement for calling yourself an adult human being, somewhere around the level of knowing how to do your own washing or change a toilet roll. All those idiots on the websites, begging for other people to pull their sagging puppet-strings, turn them real: they make me want to spit.
Tana French (The Trespasser (Dublin Murder Squad, #6))
Our love was insane. Like smiling into the face of a firing squad. God. Why were we like this? The answer soon revealed itself. Because living without each other was not a life worth living. Yes, we were crazy. And that was okay. He would be my remedy. I would be his therapy. Because we were crazy in love.
Belle Aurora (Rebirth (RAW Family, #3))
Ted had the uneasy sense that the child was spinning them out as a way of filling the time, distracting them both from whatever was going on inside the house. And this made her seem much older than she really was, a tiny little woman, knowing, world-weary, too accepting of life's burdens even to mention them.
Jennifer Egan (A Visit from the Goon Squad)
I have a fleeting fantasy of telling her that procreation isn't a contest, any more than SAT scores and making the cheerleading squad and getting into a good college and all the other things, both big and small, that she turned into a contest when Janie and I were young, going all the way back to whose baby teeth came in first, according to my mother.
Emily Giffin (Where We Belong)
Jack took me to the Christmas Dance. It snowed the day of the dance, making the Meier Farmhouse and Dance Hall look like something out of a painting, the lights on the roof glowing under sheets of white. And when Jack led me onto the dance floor and grasped one of my hands and tugged it up behind his neck, then placed his arm around my back, soft and low, I thought life couldn't get better. He pulled me close against him, our hands clasped next to his chest.The cedar from the farmhouse mingled with Jack's aftershave,making a sweet, rustic scent. "Becks,remember the first time we met?" he asked,his lips grazing my ear. Of course I remembered. The events of that day were permanently etched into my brain. "You mean,the time you nearly beheaded me with a baseball?" "I had to do something to get the new girl's attention." "A simple 'hello' would have worked." He pulled me in tighter, as if that were possible. "Why did we wait so long to do this?" "Um, because you were making your way through the entire cheerleading squad?" He looked at me for a few moments, then shook his head and leaned in to brush his lips along my shoulder. I closed my eyes. If this was what I could expect for the rest of my high school years,I never wanted to graduate. Ever.
Brodi Ashton (Everneath (Everneath, #1))
Look, nobody's trying to kill me right now and that's just fine. If they don't like me, that's just how it goes. I got over needing people to LIKE me in tenth grade, when I spied the captain of the cheerleading squad on her knees in front of the offensive line of the football team under the bleachers, one day after school. I figured that wasn't the life for me.
MaryJanice Davidson (Undead and Unpopular (Undead, #5))
The world transformed itself around me: the stakes shot up, colors were so beautiful they hurt, life became almost unimaginably sweet and almost unimaginably frightening. It’s so fragile, you know; things are so easily broken. I suppose this may be what it’s like to fall in love, or to have a child, and to know that this could be taken from you at any moment. We were racing at breakneck speed towards the day when everything we had would be at the mercy of a merciless world, and every second was so beautiful and so precarious, it took my breath away.
Tana French (The Likeness (Dublin Murder Squad, #2))
A few words in defense of military scientists. I agree that squad leaders are in the best position to know what and how much their men and women need to bring on a given mission. But you want those squad leaders to be armed with knowledge, and not all knowledge comes from experience. Sometimes it comes from a pogue at USUHS who’s been investigating the specific and potentially deadly consequences of a bodybuilding supplement. Or an army physiologist who puts men adrift in life rafts off the dock at a Florida air base and discovers that wetting your uniform cools you enough to conserve 74 percent more of your body fluids per hour. Or the Navy researcher who comes up with a way to speed the recovery time from travelers’ diarrhea. These things matter when it’s 115 degrees and you’re trying to keep your troops from dehydrating to the point of collapse. There’s no glory in the work. No one wins a medal. And maybe someone should.
Mary Roach (Grunt: The Curious Science of Humans at War)
Patrol dogs and Military Working Dogs were trained to protect their handlers. If the handler was attacked, and unconscious, or fighting for his or her life, the dog had to know what to do without being told. As Leland said, “These animals aren’t robots, goddamnit! They think! You train her up right, this beautiful dog will watch your back better than a squad of goddamned Marines!
Robert Crais (The Promise (Elvis Cole, #16; Joe Pike, #5; Scott James & Maggie, #2))
Losing one’s parents causes an immense shift in perspective. It brought home to me the value of their presence within my life, on a much broader scale than I had ever understood it before: the value of being rooted within a greater story than one’s own. I became acutely aware, for the first time, just what I had deprived you of. As soon as I reached that realization, I began looking for you.
Tana French (The Trespasser (Dublin Murder Squad, #6))
Driving to pick up his son, Bennie alternated between the Sleepers and the Dead Kennedys, San Francisco bands he'd grown up with. He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays the quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape - everything was an effect in the bloodless constructions Bennie and his peers were churning out. He worked tirelessly, feverishly, to get things right, stay on top, make songs that people would love and buy and download as ring tones (and steal, of course) - above all, to satisfy the multinational crude-oil extractors he'd sold his label to five years ago. But Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust!
Jennifer Egan (A Visit from the Goon Squad)
I thought of Mark’s reckless eyes—The only things I believe in are out on that there dig—and then of revolutionaries waving ragged, gallant banners, of refugees swimming swift nighttime currents; of all those who hold life so light, or the stakes so dear, that they can walk steady and open-eyed to meet the thing that will take or transform their lives and whose high cold criteria are far beyond our understanding.
Tana French (In the Woods (Dublin Murder Squad, #1))
People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!
Christopher Hitchens (Hitch 22: A Memoir)
I tell the squad a joke: "Stop me if you're heard this. There was a Marine of nuts and bolts, half robot--weird but true--whose every move was cut from pain as though from stone. His stoney little hide had been crushed and broken. But he just laughed and said, 'I've been crushed and broken before.' And sure enough, he had the heart of a bear. His heart functioned for weeks after it had been diagnosed by doctors. His heart weighed half a pound. His heart pumped seven hundred thousand gallons of warm blood through one hundred thousand miles of veins, working hard--hard enough in twelve hours to lift one sixty-five ton boxcar one foot off the deck. He said. The world would not waste the heart of a bear, he said. On his clean blue pajamas many medals hung. He was a walking word of history, in the shop for a few repairs. He took it on the chin and was good. One night in Japan his life came out of his body--black--like a question mark. If you can keep your head while others are losing theirs perhaps you have misjudged the situation. Stop me if you've heard this...
Gustav Hasford (The Short-Timers)
Or possibly- forgive me- you simply haven't decided what you want from life yet; you haven't found anything that you truly want to hold onto. That changes everything, you know. Students and very young people can rent with no damage to their intellectual freedom, because it puts them under no threat: they have nothing, yet, to lose. Have you noticed how easily the very young die? They make the best martyrs for any cause, the best soldiers, the best suicides. It's because they're held here so lightly: they haven't yet accumulated loves and responsibilities and commitments and all the things that tie us securely to this world. They can let go of it as easily and simply as lifting a finger. But as you get older, you begin to find things that are worth holding onto, forever. All of a sudden you're playing for keeps, as children say, and it changes the very fabric of you.
Tana French (The Likeness (Dublin Murder Squad, #2))
Yeah,” Bryce said, “but I mean, I drove her to it, you know? That’s the thing. If I just hadn’t broken up with her—” “You have a pretty high opinion of yourself, don’t you?” He looked taken aback. “What?” “Well, your assumption that she killed herself because you broke up with her. I don’t think that’s why she killed herself at all. She killed herself because she was sick. You had nothing to do with making her that way. Your breaking up with her may have acted as a sort of catalyst for her final breakdown, but it could just have easily been some other crisis in her life—her parents getting divorced, her not making the cheerleader squad, her cat dying. Anything. So try not to be so hard on yourself.
Meg Cabot (Shadowland (The Mediator, #1))
At a lunchtime reception for the diplomatic corps in Washington, given the day before the inauguration of Barack Obama as president, I was approached by a good-looking man who extended his hand. 'We once met many years ago,' he said. 'And you knew and befriended my father.' My mind emptied, as so often happens on such occasions. I had to inform him that he had the advantage of me. 'My name is Hector Timerman. I am the ambassador of Argentina.' In my above album of things that seem to make life pointful and worthwhile, and that even occasionally suggest, in Dr. King’s phrase as often cited by President Obama, that there could be a long arc in the moral universe that slowly, eventually bends toward justice, this would constitute an exceptional entry. It was also something more than a nudge to my memory. There was a time when the name of Jacobo Timerman, the kidnapped and tortured editor of the newspaper La Opinion in Buenos Aires, was a talismanic one. The mere mention of it was enough to elicit moans of obscene pleasure from every fascist south of the Rio Grande: finally in Argentina there was a strict ‘New Order’ that would stamp hard upon the international Communist-Jewish collusion. A little later, the mention of Timerman’s case was enough to derail the nomination of Ronald Reagan’s first nominee as undersecretary for human rights; a man who didn’t seem to have grasped the point that neo-Nazism was a problem for American values. And Timerman’s memoir, Prisoner without a Name, Cell without a Number, was the book above all that clothed in living, hurting flesh the necessarily abstract idea of the desaparecido: the disappeared one or, to invest it with the more sinister and grisly past participle with which it came into the world, the one who has been ‘disappeared.’ In the nuances of that past participle, many, many people vanished into a void that is still unimaginable. It became one of the keywords, along with escuadrone de la muerte or ‘death squads,’ of another arc, this time of radical evil, that spanned a whole subcontinent. Do you know why General Jorge Rafael Videla of Argentina was eventually sentenced? Well, do you? Because he sold the children of the tortured rape victims who were held in his private prison. I could italicize every second word in that last sentence without making it any more heart-stopping. And this subhuman character was boasted of, as a personal friend and genial host, even after he had been removed from the office he had defiled, by none other than Henry Kissinger. So there was an almost hygienic effect in meeting, in a new Washington, as an envoy of an elected government, the son of the brave man who had both survived and exposed the Videla tyranny.
Christopher Hitchens (Hitch 22: A Memoir)
And then there are those you stop counting the years with because they are here to stay. They are here. And they aren't going anywhere. Nothing will make them flinch. Nothing will make them think twice. They know you at your worst, the worst you didn't even know you had. They know the sound of your mood swings, the color of your anger, how you curse when you curse, how you shout when you throw a tantrum. They know when you're avoiding a subject. They know when you're lying. They know when you're jealous. They know your vices by heart and they celebrate them. They celebrate you-- vices included. They know your lost dreams and how life fucked you over. They know the battles you lost. And they think your fabulous when you think you're just an unlucky mediocre person who once thought will make it big in life. They know the last time you were happy. They see the unspoken sadness in your eyes. They know the words behind your silence. They know the photographs playing in your mind when you're looking afar. They know YOU, the naked YOU, the raw YOU, not the embellished YOU people see, not the YOU that will be read in biographies or in elegies once you're dead, not the YOU that introduces you to others. They love you from the bottom of their heart. They are your family regardless of their blood. They are your squad. They are your people. And no matter how many times you make them open the door, they can't walk out. They just can't. Because, just sometimes, when people say forever, they mean it. They do.
Malak El Halabi
If you’ve ever dreamed that you walked into your best-loved book or film or TV program, then maybe you’ve got some idea how it felt: things coming alive around you, strange and new and utterly familiar at the same time; the catch in your heartbeat as you move through the rooms that had such a vivid untouchable life in your mind, as your feet actually touch the carpet, as you breathe the air; the odd, secret glow of warmth as these people you’ve been watching for so long, from so far away, open their circle and sweep you into it.
Tana French (The Likeness (Dublin Murder Squad #2))
The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.
Russell Brand
As you flail, knowing you’re not supposed to panic – panicking will drain your strength – your mind pulls away as it does so easily, so often, without your even noticing sometimes, leaving Robert Freeman Jr. to manage the current alone while you withdraw to the broader landscape, the water and buildings and streets, the avenues like endless hallways, your dorm full of sleeping students, the air thick with their communal breath. You slip through Sasha’s open window, floating over the sill lined with artifacts from her travels: a white seashell, a small gold pagoda, a pair of red dice. Her harp in one corner with its small wood stool. She’s asleep in her narrow bed, her burned red hair dark against the sheets. You kneel beside her, breathing the familiar smell of Sasha’s sleep, whispering into her ear some mix of I’m sorry and I believe in you and I’ll always be near you, protecting you, and I will never leave you, I’ll be curled around your heart for the rest of your life, until the water pressing my shoulders and chest crushes me awake and I hear Sasha screaming into my face: Fight! Fight! Fight!
Jennifer Egan (A Visit from the Goon Squad)
Our entire society’s based on discontent: people wanting more and more and more, being constantly dissatisfied with their homes, their bodies, their decor, their clothes, everything. Taking it for granted that that’s the whole point of life, never to be satisfied. If you’re perfectly happy with what you’ve got—specially if what you’ve got isn’t even all that spectacular—then you’re dangerous. You’re breaking all the rules, you’re undermining the sacred economy, you’re challenging every assumption that society’s built on. That’s why Rafe’s dad throws a mickey fit whenever Rafe says he’s happy where he is. The way he sees it, we’re all subversives. We’re traitors.
Tana French (The Likeness (Dublin Murder Squad #2))
I rent," I said. "I'm probably two paychecks from the street. It doesn't bother me." Daniel nodded, unsurprised. "Possibly you're braver than I am," he said. "Or possibly - forgive me - you simply haven't decided what you want from life yet; you haven't found anything that you truly want to hold onto. That changes everything, you know. Students and very young people can rent with no damage to their intellectual freedom, because it puts them under no threat: they have nothing, yet, to lose. Have you noticed how easily the very young die? They make the best martyrs for any cause, the best soldiers, the best suicides. It's because they're held here so lightly: they haven't yet accumulated loves and responsibilities and commitments and all the things that tie us securely to this world. They can let go of it as easily and simply as lifting a finger. But as you get older, you begin to find things that are worth holding on to, forever. All of a sudden you're playing for keeps, as children say, and it changes the very fabric of you.
Tana French (The Likeness (Dublin Murder Squad, #2))