Stew Peters Quotes

We've searched our database for all the quotes and captions related to Stew Peters. Here they are! All 9 of them:

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What our Heavenly Father wants us to do about our spiritual failures is like what our earthly father wants us to do about our earthly failures. When we fall off the horse, or the bike, or the high road to Heaven, we must simply climb on again as soon as we are aware of the fact that we have fallen off, rather than sitting there stewing in self-pity or self-hatred.
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Peter Kreeft (Prayer for Beginners)
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The seamen had whitewashed the smoky ceilings of the ward, and that dear homely smell carried the vividness of thatch and lumpy walls and stew given from the goodness of a stranger's heart. But that was all there was of comfort, and the salt air had turned from cold to warm in the passing of a life, an afternoon.
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Peter Carey (Parrot and Olivier in America)
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Apart from the peace and emptiness of the landscape, there is a special smell about winter in Provence which is accentuated by the wind and the clean, dry air. Walking in the hills, I was often able to smell a house before I could see it, because of the scent of woodsmoke coming from an invisible chimney. It is one of the most primitive smells in life, and consequently extinct in most cities, where fire regulations and interior decorators have combined to turn fireplaces into blocked-up holes or self-consciously lit "architectural features." The fireplace in Provence is still used - to cook on, to sit around, to warm the toes, and to please the eye - and fires are laid in the early morning and fed throughout the day with scrub oak from the Luberon or beech from the foothills of Mont Ventoux. Coming home with the dogs as dusk fell, I always stopped to look from the top of the valley at the long zigzag of smoke ribbons drifting up from the farms that are scattered along the Bonnieux road. It was a sight that made me think of warm kitchens and well-seasoned stews, and it never failed to make me ravenous.
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Peter Mayle (A Year in Provence (Provence, #1))
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He was becoming an effective human being. He had learned from his birth family how to snare rabbits, make stew, paint fingernails, glue wallpaper, conduct ceremonies, start outside fires in a driving rain, sew with a sewing machine, cut quilt squares, play Halo, gather, dry, and boil various medicine teas. He had learned from the old people how to move between worlds seen and unseen. Peter taught him how to use an ax, a chain saw, safely handle a .22, drive a riding lawn mower, drive a tractor, even a car. Nola taught him how to paint walls, keep animals, how to plant and grow things, how to fry meat, how to bake. Maggie taught him how to hide fear, fake pain, how to punch with a knuckle jutting. How to go for the eyes. How to hook your fingers in a person’s nose from behind and threaten to rip the nose off your face. He hadn’t done these things yet, and neither had Maggie, but she was always looking for a chance. When
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Louise Erdrich (LaRose)
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There was more barley than beef in his stew.
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Peter David (Artful)
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Gloria put a bowl of stew in Peter's hands. "Eat," she said. Peter raised the spoon to his lips. He chewed. He swallowed. It had been a long time since he had eaten anything besides tiny fish and old bread. And so when Peter had his first bite of stew, it overwhelmed him. The warmth of it, the richness of it, knocked him backward; it was as if a gentle hand had pushed him when he was not expecting it. Everything he had lost came flooding back: the garden, his father, his mother, his sister, the promises that he had made and could not keep. "What's this?" said Gloria Matienne. "The boy is crying." "Shhh," said Leo. He put his hand on Peter's shoulder. "Shhh. Don't worry, Peter. Everything will be good. All will be well. We will do together whatever it is that needs to be done. But for now, you must eat." Peter nodded. He raised his spoon. Again he chewed and swallowed, and again he was overcome. He could not help it. He could not stop the tears; they flowed down his cheeks and into the bowl. "It is a very good stew, Madam Matienne. he managed to say. "Truly, it is an excellent stew.
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Kate DiCamillo (The Magician's Elephant)
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Peter told him that for the Incas the center of the universe wasn’t a point but a line where the two halves of the universe meet. Is this the scene unfolding before Richard’s eyes at the entrance to the asylum seekers’ residence? And are the two groups of people facing off here something like the two halves of a universe that actually belong together, but whose separation is nonetheless irrevocable? Is the rift dividing them in fact a bottomless chasm; is that why such powerful turbulences have been released? And is it a rift between Black and White? Or Poor and Rich? Stranger and Friend? Or between those whose fathers have died and those whose fathers are still alive? Or those with curly hair and those with straight? Those who call their dinner fufu and those who call it stew? Or those who like to wear yellow, red, and green t-shirts and those who prefer neckties? Or those who like to drink water and those who prefer beer? Or between speakers of one language and another? How many borders exist within a single universe?
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Jenny Erpenbeck (Go, Went, Gone)
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A sustainable local economy is one that enables the local community to be sustainable in all of its aspects in the long run. If the local economy is not sustainable, its future has been traded away -- literally -- to people at a distance, for the proverbial bowl of stew.
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Peter H. Denton (Live Close to Home)
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The Gilkey Memorial is a grisly necessity because corpses rarely make it down the mountain in one piece. For Everest losses, families sometimes send a recovery team. This doesn't happen on K2. The Savage Mountain devours its victims during the long winter beteween climbing seasons. It encases the torsos in ice and grates them against the rocks, only to spit out the digested remains decades later, scattering limbs among the avalanche debris. When Art Gilkey's team gathered stones to honor their friend in 1953, they started a morbid tradition. To keep the campsites sanitary, climbers began using the memorial as a place to dispose of the fingers, pelvic bones, arms, heads, and legs found in the glacial melt. Burying these scraps under the Gilkey Memorial felt more respectful than leaving them to the ravens. For more than half a century, the memorial has been a place to caution the living and consecrate the dead. Mountaineers attempting K2 visit the site to remind themselves of what they are getting into......On hot days, the cairn stews with the scent of defrosting flesh, and the odor clings to mourners' hair and clothing.” (Buried in the Sky, p. 102).
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Peter Zuckerman (Buried in the Sky: The Extraordinary Story of the Sherpa Climbers on K2's Deadliest Day)