Summer Walker Quotes

Oh, my sweet summer child," Old Nan said quietly, "what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods

Hubby, At the pool. If I don’t return by nightfall, it’s your marital duty to rescue me. If it goes that late, this means I’ve passed out on a lounge chair in Vegas in summer so my advice is to stock up on aloe vera before you launch the rescue effort. Lexie Walker stared at the note thinking that Alexa Berry… Strike that. Alexa Walker was fucking funny.

This was middle school, the age of miracles, the time when kids shot up three inches over the summer, when breasts bloomed from nothing, when voices dipped and dove. Our first flaws were emerging, but they were being corrected. Blurry vision could be fixed invisibly with the magic of the contact lens. Crooked teeth were pulled straight with braces. Spotty skin could be chemically cleared. Some girls were turning beautiful. A few boys were growing tall.

Summer is leaving silently. Much like a traveler approaching the end of an amazing journey.

When Caroline Walker fell in love with Julian English she was a little tired of him. That was in the summer of 1926, one of the most unimportant years in the history of the United States, and the year in which Caroline Walker was sure her life had reached a pinnacle of uselessness.

We were kids, and it was summer. We were trespassing and half in love.

The fact is I am quite happy in a movie, even a bad movie. Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise, the summer night one met a lonely girl in Central Park and achieved with her a sweet and natural relationship, as they say in books. I too once met a girl in Central Park, but it is not much to remember. What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Welles in the doorway in The Third Man.

Watching the summer close is like watching a good kid die for no apparent reason.

A single red bucket dangled from a single spoke like the last fruit of summer, or like autumn's final leaf.

Seth and I used to like to picture how our world would look to visitors someday, maybe a thousand years in the future, after all the humans are gone and all the asphalt has crumbled and peeled away. We wondered what thise visitors would find here. We liked to guess at what would last. Here the indentations suggesting a vast network of roads. Here the deposits of iron where giant steel structures once stood, shoulder to shoulder in rows, a city. Here the remnants of clothing and dishware, here the burial grounds, here the mounds of earth that were once people's homes. But among the artifacts that will never be found - among the objects that will disintegrate long before anyone from elsewhere arrives - is a certain patch of sidewalk on a Californian street where once, on a dark afternoon in summer at the waning end of the year of the slowing, two kids knelt down together on the cold ground. We dipped our fingers in the wet cement, and we wrote the truest, simplest things we knew - our names, the date, and these words: We were here.

Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise, the summer night one met a lonely girl in Central Park and achieved with her a sweet and natural relationship, as they say in books. I too once met a girl in Central Park, but it is not much to remember. What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Welles in the doorway in The Third Man.

This summer had been about finding herself, and learning to accept love in its various forms -- and to give love. - Quinn Reynolds

Remember this one thing baby girl, women don’t juggle…we diversify!

And you say Paris is gay, but it has its down times. You say go in the spring and not the summer, because watching the autumn creep through the Rive Gauche preparing for winter is hard.

The more time that passes, what begins to seem uncanny to Ben is the fact that all the days ahead are such a darkness, that all of us move through our hours as if blindfolded, never knowing what will happen next. How can he send his daughter out into a world like that? But even an infant’s brain can predict the rough path of a falling object in flight. And so, maybe, in a way, Ben can see what’s coming: His girl will love and be loved. She will suffer, and she will cause suffering. She will be known and unknown. She will be content and discontented. She will sometimes be lonely and sometimes less so. She will dream and be dreamed of. She will grieve and be grieved for. She will struggle and triumph and fail. There will be days of spectacular beauty, sublime and unearned. There will be moments of rapture. She will sometimes feel afraid. The sun will warm her face. The earth will ground her body. And her heart—now thrumming strong and steady, against her father’s chest, as he rocks her to sleep on a porch swing one evening in early summer, at the very start of a life—that heart: it will beat, and it will someday cease to beat. And so much of this life will remain always beyond her understanding, as obscure as the landscapes of someone else’s dreams.

Roger that, Lieutenant. We're boots to the ground. You need firepower?" Walker shook his head at the man's enthusiasm. "No firepower necessary. We're using brains today, Cudahy. I know it may be a novel experience for you four, but it's a good time to start.

Mystic The air is a mill of hooks - Questions without answer, Glittering and drunk as flies Whose kiss stings unbearably In the fetid wombs of black air under pines in summer. I remember The dead smell of sun on wood cabins, The stiffness of sails, the long salt winding sheets. Once one has seen God, what is the remedy? Once one has been seized up Without a part left over, Not a toe, not a finger, and used, Used utterly, in the sun’s conflagrations, the stains That lengthen from ancient cathedrals What is the remedy? The pill of the Communion tablet, The walking beside still water? Memory? Or picking up the bright pieces of Christ in the faces of rodents, The tame flower- nibblers, the ones Whose hopes are so low they are comfortable - The humpback in his small, washed cottage Under the spokes of the clematis. Is there no great love, only tenderness? Does the sea Remember the walker upon it? Meaning leaks from the molecules. The chimneys of the city breathe, the window sweats, The children leap in their cots. The sun blooms, it is a geranium. The heart has not stopped.

Johnnie Walker is my celebratory drink,” I explained. “But when I’m out, I typically only drink whiskey. My dad only drank whiskey. His preference was Jack Daniels. And long before I was ever able to drink, I overheard my dad say that whiskey was like my mom. Rich, bold, sweet, fiery, full-bodied and multilayered.

The Native Americans, whose wisdom Thoreau admired, regarded the Earth itself as a sacred source of energy. To stretch out on it brought repose, to sit on the ground ensured greater wisdom in councils, to walk in contact with its gravity gave strength and endurance. The Earth was an inexhaustible well of strength: because it was the original Mother, the feeder, but also because it enclosed in its bosom all the dead ancestors. It was the element in which transmission took place. Thus, instead of stretching their hands skyward to implore the mercy of celestial divinities, American Indians preferred to walk barefoot on the Earth: The Lakota was a true Naturist – a lover of Nature. He loved the earth and all things of the earth, the attachment growing with age. The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power. It was good for the skin to touch the earth and the old people liked to remove their moccasins and walk with bare feet on the sacred earth. Their tipis were built upon the earth and their altars were made of earth. The birds that flew in the air came to rest on the earth and it was the final abiding place of all things that lived and grew. The soil was soothing, strengthening, cleansing and healing. That is why the old Indian still sits upon the earth instead of propping himself up and away from its life-giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly; he can see more clearly into the mysteries of life and come closer in kinship to other lives about him. Walking, by virtue of having the earth’s support, feeling its gravity, resting on it with every step, is very like a continuous breathing in of energy. But the earth’s force is not transmitted only in the manner of a radiation climbing through the legs. It is also through the coincidence of circulations: walking is movement, the heart beats more strongly, with a more ample beat, the blood circulates faster and more powerfully than when the body is at rest. And the earth’s rhythms draw that along, they echo and respond to each other. A last source of energy, after the heart and the Earth, is landscapes. They summon the walker and make him at home: the hills, the colours, the trees all confirm it. The charm of a twisting path among hills, the beauty of vine fields in autumn, like purple and gold scarves, the silvery glitter of olive leaves against a defining summer sky, the immensity of perfectly sliced glaciers … all these things support, transport and nourish us.

But just because you're telling a good story doesn't mean it's the right story" -Clementine Walker

That summer marked the beginning of a realization that I could never live happily in Africa--or anywhere else--until I could live freely in Mississippi.

She was disappointed in herself for being the typical girl. She never wants to be that girl. That girl…is an emotional wreck. That girl…was an excuse for men who cheat and lose respect for women. That girl…is weak and needy. Troy was better than That Girl! Troy was stronger than That Girl.

Last summer I picked up a yellow scrap of newspaper and read of a Biloxi election in 1948, and in it I caught the smell of history more pungently than from the metal marker telling of the French and Spanish two hundred years ago and the Yankees one hundred years ago. 1948. What a faroff time.

As a Bolling in Feliciana Parish, I became accustomed to sitting on the porch in the dark and talking of the size of the universe and the treachery of men; as a Smith on the Gulf Coast I have become accustomed to eating crabs and drinking beer under a hundred and fifty watt bulb - and one is as pleasant a way as the other in passing a summer night.

I. IN WINTER Myself Pale mornings, and I rise. Still Morning Snow air--my fingers curl. Awakening New snow, O pine of dawn! Winter Echo Thin air! My mind is gone. The Hunter Run! In the magpie's shadow. No Being I, bent. Thin nights receding. II. IN SPRING Spring I walk out the world's door. May Oh, evening in my hair! Spring Rain My doorframe smells of leaves. Song Why should I stop for spring? III. IN SUMMER AND AUTUMN Sunrise Pale bees! O whither now? Fields I did not pick a flower. At Evening Like leaves my feet passed by. Cool Nights At night bare feet on flowers! Sleep Like winds my eyelids close. The Aspen's Song The summer holds me here. The Walker In dream my feet are still. Blue Mountains A deer walks that mountain. God of Roads I, peregrine of noon. September Faint gold! O think not here. A Lady She's sun on autumn leaves. Alone I saw day's shadow strike. A Deer The trees rose in the dawn. Man in Desert His feet run as eyes blink. Desert The tented autumn, gone! The End Dawn rose, and desert shrunk. High Valleys In sleep I filled these lands. Awaiting Snow The well of autumn--dry.

She took a deep breath and it was her eighteenth birthday; it was Jess’s wedding and a summer evening at the pool; it was all those hundreds of times he’d been propped against her dorm building. And it was now, and she wanted to be this sophisticated, Audrey Hepburn-esque girl who gave him a coy smile and sauntered toward him, hips swinging. But this was Tam, and she wasn’t sophisticated for crap.

Oh, my sweet summer child,” Old Nan said quietly, “what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.

Summer is like a slow-walker bringing everything in the world to boil 1 degree at a time. The sun is an arrogant thing, always leaving the world behind when it tires of us. The moon is a loyal companion. It never leaves. It's always there, watching, steadfast, knowing us in our light and dark moments, changing forever just as we do. Everyday it's a different version of itself. Sometimes weak and wan, sometimes strong and full of light. The moon understands what it means to be human. Uncertain. Alone. Cratered by imperfections.

The fact is I am quite happy in a movie, even a bad movie. Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise, the summer night one met a lonely girl in Central Park and achieved with her a sweet and natural relationship, as they say in books. I too once met a girl in Central Park, but it was not much to remember. What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Wells in the doorway in the Third Man.

Some years later, after Scott’s death, we came my father and I to the Field Museum, a long dismal peristyle dwindling away into the howling distance, and inside stood before a tableau of Stone Age Man, father mother and child crouched around an artificial ember in postures of minatory quiet—until, feeling my father’s eye on me, I turned and saw what he required of me—very special father and son we were that summer, he staking his everything this time on a perfect comradeship—and I, seeing in his eyes the terrible request, requiring from me his very life; I, through a child’s cool perversity or some atavistic recoil from an intimacy too intimate, turned him down, turned away, refused him what I knew I could not give.

Summer Nocturne" Let us love this distance, since those who do not love each other are not seperaated. --Simone Weil Night without you, and the dog barking at the silence, no doubt at what's in the silence, a deer perhaps pruning the rhododendron or that racoon with its brilliant fingers testing the garbage can lid by the shed. Night I've chosen a book to help me think about the long that's in longing, "the space across which desire reaches." Night that finally needs music to quiet the dog and whatever enormous animal night itself is, appetite without limit. Since I seem to want to be hurt a little, it's Stan Getz and "It Never Entered My Mind," and to back him up Johnnie Walker Black coming down now from the cabinet to sing of its twelve lonely years in the dark. Night of small revelations, night of odd comfort. Starting to love this distance. Starting to feel how present you are in it.

and by staff doctors, at least one of which resulted in a pregnancy. Earlier in the chain—on March 27—Walker, wary of the effect the scandal might have on his campaign, had written, “We need to continue to keep me out of the story as this is a process issue and not a policy matter.”1 Walker’s staff labored through the spring and summer to satisfy his wish. On September 2, Rindfleisch wrote, “Last week was a nightmare. A bad story every day on our looney bin. Doctors having sex with patients, patients getting knocked up. This has been coming for months and I’ve unofficially been dealing with it. So, it’s been crazy (pun intended).” Later, in an attempt to reassure a colleague on Walker’s staff, Rindfleisch somehow found it in herself to write: “No one cares about crazy people.”2 I began to rethink my determination not to write this book. I realized that my ten years of silence on the subject, silence that I had justified as insulation against an exercise in self-indulgence, was itself an exercise in self-indulgence. The

But then a peculiar thing happened. I became extraordinarily affected by the summer afternoons in the laboratory. The August sunlight came streaming in the great dusty fanlights and lay in yellow bars across the room. The old building ticked and creaked in the heat. Outside we could hear the cries of summer students playing touch football. In the course of an afternoon the yellow sunlight moved across old group pictures of the biology faculty. I became bewitched by the presence of the building; for minutes at a stretch I sat on the floor and watched the motes rise and fall in the sunlight. I called Harry’s attention to the presence but he shrugged and went on with his work. He was absolutely unaffected by the singularities of time and place. His abode was anywhere. It was all the same to him whether he catheterized a pig at four o’clock in the afternoon in New Orleans or at midnight in Transylvania. He was actually like one of those scientists in the movies who don’t care about anything but the problem in their heads - now here is a fellow who does have a “flair for research” and will be heard from. Yet I do not envy him. I would not change places with him if he discovered the cause and cure of cancer. For he is no more aware of the mystery which surrounds him than a fish is aware of the water it swims in. He could do research for a thousand years and never have an inkling of it.

I remember standing against the bar in Budapest’s airport with a couple of workmates, some chaps from McLaren too, waiting for our homeward flight to be called after the ’92 race weekend. The chap behind the counter was doing the exact same thing: halving and squeezing oranges. Funny how these things spark memories. It was an exceedingly hot afternoon that day, and I remember seeing James Hunt walk through the door with Murray Walker. We were waiting for the same flight, a charter to London; I think pretty much the whole of the paddock’s British contingent was on it. Murray looked perfectly normal . . . like Murray really . . . open-necked shirt, briefcase, what have you; but James was wearing nothing but a pair of red shorts. He carried a ticket, a passport and a packet of cigarettes. That was it. There wasn’t even a pair of flip-flops to spoil the perfect minimalist look. The thing that really made the event stick in my mind, though, was that James was absolutely at ease with himself, perfectly comfortable. This was real for him, no stunt or affectation designed to impress or shock, this was genuine: James Hunt, former world champion driver, current commentator for the BBC; work done for the day . . . going home. Take me, leave me; do what you bloody well want, just don’t give me a hard time about your own petty hang-ups. He became a hero of mine that day. Sadly, his heart gave out the following summer and that was that. He was only forty-five. Mind you, he’d certainly packed a lot of living into those years.

If mutual decimation of the McLaughlins and the McLeans marked the end of Charlestown’s “gangster era,” a host of gangs endured in the Town. These were less criminal bands than expressions of territorial allegiance. Every street and alley, every park and pier had its own ragged troop which hung on the corner, played football, baseball, and street hockey, and defended its turf against all comers. The Wildcats hung at the corner of Frothingham and Lincoln streets, the Bearcats at Walker and Russell streets, the Falcons outside the Edwards School, the Cobras on Elm Street, the Jokers in Hayes Square, the Highlanders on High Street, the Crusaders at the Training Field. Each had its distinctive football jersey (on which members wore their street addresses), its own legends and traditions. The Highlanders, for example, took their identity from the Bunker Hill Monument, which towered over their hangout at the top of Monument Avenue. On weekends and summer afternoons, they gathered there to wait for out-of-town tourists visiting the revolutionary battleground. When one approached, an eager boy would step forward and launch his spiel, learned by rote from other Highlanders: “The Monument is 221 feet high, has 294 winding stairs and no elevators. They say the quickest way up is to walk, the quickest way down is to fall. The Monument is fifteen feet square. Its cornerstone was laid in 1825 by Daniel Webster. The statue you see in the foreground is that of Colonel William Prescott standing in the same position as when he gave that brave and famous command, ‘Don’t fire till you see the whites of their eyes.’ The British made three attempts to gain the hill …” And so forth. An engaging raconteur could parlay this patter into a fifty-cent tip.

It was during this period, when Nietzsche found himself surrounded by some of Europe’s most scenic trails, that “he became the peerless walker of legend.” As Gros recounts, during his first summer on the Upper Engadine, Nietzsche began to walk up to eight hours a day. During these walks he would think, eventually filling six small notebooks with the prose that became The Wanderer and His Shadow, the first of many influential books he wrote during a decade powered by ambulation.

The result, the Walker Colt, was one of the most effective and deadly pieces of technology ever devised, one that would soon kill more men in combat than any sidearm since the Roman short sword.65

For the past year, food of some sort has been a permanent appendage to Deo’s hand. Sometimes both hands at once. At first, I teased that he was going to get fat, but then he shot upward—six full inches since last summer. Now I have to look up at him, not the other way around. This amuses him. I don’t really care as long as he doesn’t call me “Short Stuff.

But it is in the variations on Mozart’s “Là ci darem la mano” from Don Giovanni that the seventeen-year-old’s mastery of the keyboard stands revealed. The work probably started out as an end-of-term assignment, set by Elsner in the early summer of 1827 to encourage his protégé to try his hand at a large-scale piece for piano and orchestra.

Oh, my sweet summer child, what do you know about fear? Fear is for the winter, when the snows fall a hundred feet deep. Fear is for the Long Night … when the White Walkers move through the woods.”—Old Nan

I love you, Elie, you whispered. "I love you and not like a best friend loves their best friend, but... more. more than that." You took a deep breath in, knowing you couldn't turn back even if you were afraid of my response and so you charged forward, seemingly emboldened by my silence. " I love the way you raise your hand in class even when you aren't quite sure of the answer, I love the excitement in your voice when you talk about Colombia, I love the world you built for us when we were kids, I love the way you look at me. I love the way you say my name as if you could fit all the good things of summer into it. I love who you are- inside and outside. I love you, Ellie Walker.

In the summer of 1845 she buckled down to the task of making ends meet by writing a novella, La Mare au diable (The Devil’s Pool), which she claimed to have thrown off in four days. It is generally regarded as one of her more beautiful stories, a pastoral fairy tale set in the heart of the rustic countryside around Berry. We gather from one of her letters to Delacroix that she had intended to dedicate the book to Chopin, but for reasons unknown she changed her mind.13 It is an interesting fact that has drawn scant attention, that neither Chopin nor Sand dedicated a single work to each other.

He thought back to dog sledding as a boy. During the day he scouted Doc’s property in wheeled sleds through thousands of acres of switchgrass, dirt, and live oaks. At night he sat with King by a small fire, even in the summer, and read books like the Call of the Wild, Winterdance, and Stone Fox. He read aloud to King the great adventures of Balto and the race to Nome, and stories of the un adulterated wild by John Muir.

But even an infant’s brain can predict the rough path of a falling object in flight. And so, maybe, in a way, Ben can see what’s coming: His girl will love and be loved. She will suffer, and she will cause suffering. She will be known and unknown. She will be content and discontented. She will sometimes be lonely and sometimes less so. She will dream and be dreamed of. She will grieve and be grieved for. She will struggle and triumph and fail. There will be days of spectacular beauty, sublime and unearned. There will be moments of rapture. She will sometimes feel afraid. The sun will warm her face. The earth will ground her body. And her heart—now thrumming strong and steady, against her father’s chest, as he rocks her to sleep on a porch swing one evening in early summer, at the very start of a life—that heart: it will beat, and it will someday cease to beat. And so much of this life will remain always beyond her understanding, as obscure as the landscapes of someone else’s dreams.

So it was just Jeremiah, Steven, and me. I convinced them to watch a romantic comedy about two dog walkers who walk the same route and fall in love. It was the only thing playing. The next movie wouldn’t start for another hour. About five minutes in, Steven stood up, disgusted. “I can’t watch this,” he said. “You coming, Jere?” Jeremiah said, “Nah, I’ll stay with Belly.” Steven looked surprised. He shrugged and said, “I’ll meet you guys when it’s over.

His girl will love and be loved. She will suffer, and she will cause suffering. She will be known and unknown. She will be content and discontented. She will sometimes be lonely and sometimes less so. She will dream and be dreamed of. She will grieve and be grieved for. She will struggle and triumph and fail. There will be days of spectacular beauty, sublime and unearned. There will be moments of rapture. She will sometimes feel afraid. The sun will warm her face. The earth will ground her body. And her heart—now thrumming strong and steady, against her father’s chest as he rocks her to sleep on a porch swing one evening in early summer, at the very start of a life—that heart: it will beat and it will someday cease to beat. And so much of this life will remain always beyond her understanding, as obscure as the landscape of someone else’s dreams.

Table Whiskey: The House Bottle I have some whiskeys that I always keep in the house. Blended Scotch: Johnnie Walker Black or Compass Box Great King Street, sometimes Dewar’s. Bourbon: Jim Beam Black, Evan Williams, or some Very Old Barton if I’ve been to Kentucky recently. Irish: usually Powers. Canadian: Canadian Club or VO. And in the summer I’ll pick up a handle — a 1.75-liter big-boy bottle — of Pikesville rye for highballs.

Martin Walker, The Body in the Castle Well: A Bruno, Chief of Police novel (Knopf, 6/4)

Mr. Walker, Well, you needn't to waste a stamp and two hours of Poke Sanford's time--think of that poor fellow having to carry a letter from your box down to the P.O. and back out the same road again to mine! I'm right next door. You could knock. That's what I meant to do today. I had a letter written up to give you in case I couldn't think of everything [. . . and here the note continued onto the second receipt] or if you weren't in the mood to chat, but really I hoped to say most of this in person. But now you aren't home. Oh, fiddle. Your truck is here. Where are you? I'll just leave you the pie and the letter. Cheer up, Mr. Walker. I hope you enjoy them both. Your neighbor, Nannie Rawley