Sun And Cocktails Quotes

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I can't build a simple shelf. I have no idea how to change an oil filter on a car. I can't even stick a stamp on an envelope straight. And I'm always dialling the wrong number. But I have come up with a few original cocktails that people seem to like.
Haruki Murakami (South of the Border, West of the Sun)
I think with sadness of all the books I’ve read, all the places I’ve seen, all the knowledge I’ve amassed and that will be no more. All the music, all the paintings, all the culture, so many places: and suddenly nothing. They made no honey, those things, they can provide no one with any nourishment. At the most, if my books are still read, the reader will think: There wasn’t much she didn’t see! But that unique sum of things, the experience that I lived, with all its order and its randomness — the Opera of Peking, the arena of Huelva, the candomblé in Bahía, the dunes of El-Oued, Wabansia Avenue, the dawns in Provence, Tiryns, Castro talking to five hundred thousand Cubans, a sulphur sky over a sea of clouds, the purple holly, the white nights of Leningrad, the bells of the Liberation, an orange moon over the Piraeus, a red sun rising over the desert, Torcello, Rome, all the things I’ve talked about, others I have left unspoken — there is no place where it will all live again. At
Sarah Bakewell (At the Existentialist Café: Freedom, Being, and Apricot Cocktails with Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, Martin Heidegger, Maurice Merleau-Ponty and Others)
Panic strikes me when I think about a sentence that isn’t given the chance to live because I don’t have a pen in my hand or am not sitting near enough to someone familiar to speak it to. Especially if it’s a particularly good sentence, a sentence with truth or beauty or humor or sadness to it. The best ones always take you by surprise. They sneak into your head while you’re walking down the aisles at a supermarket, or flat-out assault you when you’re at your grandmother’s funeral, and you have to scramble to give the thought life before it’s gone forever. Cocktail napkins, palms, text messages sent to yourself.
Adi Alsaid (Somewhere Over the Sun)
There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.
F. Scott Fitzgerald (The Great Gatsby)
Grass: I live in a great steel tower that reflects the blazing sun. People catch fire just walking by. The more bodies that pile up around you, the greater your equity, the stronger your power, the longer you live. This is the point of living in a high rise. To see the bodies pile up at sunset, the nostalgic hour, the hour of summing up, stirring the cocktails, feeling the great tower sway in the hot winds.
Don DeLillo (The Day Room)
Our crab pots are out front, and Francis has fixed a big metal barrel right on the beach. He lights a good fire to get the water boiling, and after the crabs are cooked, we women sit on the patio shucking until we have a mountain of meat in the middle of the table. We stir up buckets of cocktail sauce from catsup, mayonnaise, Worcestershire, lemon juice, and celery salt, and the kids come running. They eat on their towels on the sand, soaking up as much sun as possible to get them through the next winter.
Kim Fay (Love & Saffron)
lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word.
F. Scott Fitzergald (The Great Gatsby)
The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word.
F. Scott Fitzergald (The Great Gatsby)
In the late afternoon the group assembled for cocktails. Without consorting about it they'd all dressed up, and the women's perfumes fought for supremacy in the living room. The sun set, candles were lit; Mme Reynard found an English dictionary among the cookbooks and proposed they play the game called Dictionary, whereby a player assigns an incorrect definition to an unknown word in hopes of fooling the other players. She claimed the secateur was the sabateur's assistant. Malcom that costalgia was a shared reminiscence, Susan that a remotion was a lateral promotion, Frances that polonaise was an outmoded British condiment fabricated from a horse's bone marrow, Madeline that a puncheon was a contentious luncheon, and Joan that a syrt was a Syrian breath mint. Julius, whose English was not fully matured, said that unbearing was the act of "removing a bear from a peopled premises.
Patrick deWitt (French Exit)
She gazed over at her mother and took a deep breath. Perhaps her mother had never shown Abby affection, not really, but she had given her a knack for solitude, with its terrible lurches outward, and its smooth glide back to peace. Abby would toast her for that. It was really the world that was one’s brutal mother, the one that nursed and neglected you, and your own mother was only your sibling in that world. Abby lifted her glass. “May the worst always be behind you. May the sun daily warm your arms.…” She looked down at her cocktail napkin for assistance, but there was only a cartoon of a big-chested colleen, two shamrocks over her breasts. Abby looked back up. God’s word is quick! “May your car always start—” But perhaps God might also begin with tall, slow words; the belly bloat of a fib; the distended tale. “And may you always have a clean shirt,” she continued, her voice growing gallant, public and loud, “and a holding roof, healthy children and good cabbages—and may you be with me in my heart, Mother, as you are now, in this place; always and forever—like a flaming light.
Lorrie Moore (Birds of America: Stories)
Maybe we should go on a holiday. What do you think? Can we go on a holiday next summer? Go away together? Greece, like some of those musty philosophers you write about? You get to see all those crumbling things from the past. And I get sun, beaches, bikinis, cocktails.” “Greece is a bit far. What about Wales?” “Wales!” “I’ve never been abroad. I need to start slowly.
Karl Drinkwater (Cold Fusion 2000)
The fortnight in Venice passed quickly and sweetly- perhaps too sweetly; I was drowning in honey, stingless. On some days life kept pace with the gondola, as we nosed through the side canals and the boatman uttered his plaintive musical bird-cry of warning; on other days with the speed-boat bouncing over the lagoon in a stream of sun-lit foam; it left a confused memory of fierce sunlight on the sands and cool, marble interiors; of water everywhere, lapping on smooth stone, reflected in a dapple of light on painted cielings; of a night at the Corombona palace such as Byron might have known, and another Byronic night fishing for scampi in the shallows of Chioggia, the phosphorescent wake of the little ship, the lantern swinging in the prow, and the net coming up full of weed and sand and floundering fishes; of melon and prosciutto on the balcony in the cool of the morning; of hot cheese sandwiches and champagne cocktails at Harrys Bar.
Evelyn Waugh (Brideshead Revisited)
Thock. She flattened the paper cup into the table, shattering their images. The sun stood at two o’clock, as it had stood yesterday and would stand tomorrow. Hell is eternal apartness. What had she done that she must spend the rest of her years reaching out with yearning for them, making secret trips to long ago, making no journey to the present? I am their blood and bones, I have dug in this ground, this is my home. But I am not their blood, the ground doesn’t care who digs it, I am a stranger at a cocktail party.
Harper Lee (Go Set a Watchman)
The Lido, with its acres of sun-pinked or pyjamaed bodies, was like a strand with an endless heap of seals come up for mating. Too many people in the piazza, too many limbs and trunks of humanity on the Lido, too many gondolas, too many motor-launches, too many steamers, too many pigeons, too many ices, too many cocktails, too many menservants wanting tips, too many languages rattling, too much, too much sun, too much smell of Venice, too many cargoes of strawberries, too many silk shawls, too many huge, raw-beef slices of watermelon on stalls: too much enjoyment, altogether far too much enjoyment!
D.H. Lawrence (Lady Chatterley’s Lover)
From chapter three of THE GREAT GATSBY by Scott Fitzgerald: “By seven o’clock the orchestra has arrived . . . the bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter . . . The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. . . . already there are wanderers, confident girls who weave here and there among the stouter and more stable . . . excited with triumph glide on through the sea-change of faces and voices and color under the constantly changing light. “Suddenly one of these gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvass platform. . . . There is a burst of chatter as the erroneous news goes around that she is Gilda Gray’s understudy from the Follies. The party has begun.
F. Scott Fitzgerald (The Great Gatsby)
Stormy lived more life in one night than most people do their whole lives. She was a force of nature. She taught me that love--” My eyes well up and I start over. “Stormy taught me that love is about making brave choices every day. That’s what Stormy did. She always picked love; she always picked adventure. To her they were one and the same. And now she’s off on a new adventure, and we wish her well.” From his seat on the couch, John wipes his eyes with his sleeve. I give Janette a nod, and she gets up and presses play on the stereo, and “Stormy Weather” fills the room. “Don’t know why there’s no sun up in the sky…” After, John shoulders his way over to me, holding two plastic cups of fruit punch. Ruefully he says, “I’m sure she’d tell us to spike it, but…” He hands me a cup, and we clink. “To Edith Sinclair McClaren Sheehan, better known as Stormy.” “Stormy’s real name was Edith? It’s so serious. It sounds like someone who wears wool skirts and heavy stockings, and drinks chamomile tea at night. Stormy drank cocktails!” John laughs. “I know, right?” “So then where did the name Stormy come from? Why not Edie?” “Who knows?” John says, a wry smile on his lips. “She’d have loved your speech.” He gives me a warm, appreciative sort of look. “You’re such a nice girl, Lara Jean.
Jenny Han (Always and Forever, Lara Jean (To All the Boys I've Loved Before, #3))
Every summer Gloria gathered tiny gherkins from our garden and placed them in jars with vinegar, tarragon, cocktail onions, and black pepper, to be used throughout the year. She made an extraordinary strawberry jam that was “cooked” in the summer sun. The berries were added to a sugar syrup and boiled for a couple of minutes, then the whole mixture was poured into a roasting pan, covered with a screen to keep out insects, and left in the sun for several days until the moisture evaporated and the berries reached an almost candied state.
Jacques Pépin (The Apprentice: My Life in the Kitchen)
I don’t know. I’m so tired of being a different temperature from everyone else in the room. Whoever said men are from Mars and women are from Venus wasn’t talking about middle-aged women. We’re definitely the Red Planet, or better yet Mercury, because that’s closer to the sun.
Annabel Chase (Magic Uncorked (Midlife Magic Cocktail Club, #1))
The seventies were crazy everywhere, but crazier in Los Angeles. It was the era of freewheeling drugs and sex, the rag end of the sixties. I refer to sprees, to strange couplings and triplings, to nights that started with beer and wine and ended with cocaine and capsules, to debaucheries too various to chronicle. In a sense, we were all Robert Mitchum, smoking rope in bed with two girls while the sun was still noon high. We thought it was normal. You would walk into a house for a pool party, and there, on the cocktail table in the center of the living room, as if it were nuts or cooked shrimp, would be a platter of cocaine. We did it because we were stupid, because we did not know the danger. When I talk about my drug years, I am talking about twenty-four months in the middle of the seventies. I was in the rock and roll world, which meant I was around the stuff all the time. Of course, it was more than mere proximity. I was fun when I was high, talkative and all-encompassing. I could go forever, never be done talking. To some extent, I was really self-medicating, using the drugs to skate over issues in my own life. The fact is, money and success had come so fast, while I was away doing something else, not paying attention, that, when I finally realized where I was and just what I had, I could not understand it. There was this voice in my head, saying, Who do you think you are? What do you think you did? You are a fraud! You don’t deserve any of this! I tortured myself, and let the anxiety well up, then beat back the anxiety with the drugs, on and on, until one day, I stood up and said, “Screw it. That’s over. I’m done.” No rehab, no counseling, nothing like that. Just a moment of clarity, in which I saw myself from the outside, the mess I was making, the waste. I was slipping, not working as hard as I used to. I started leaving the office early on Fridays, then skipping Fridays altogether. Then I started leaving early on Thursdays, then arriving late on Mondays. I was letting myself go. Then one day, I just decided, It has to stop. I threw away the pills and bottles, took a cold shower, had a barbershop shave, and stepped into the cool of Sunset Boulevard, and began fresh. Maybe it had to do with my family situation. I was a father again.
Jerry Weintraub (When I Stop Talking, You'll Know I'm Dead: Useful Stories from a Persuasive Man)
walk out to the middle of the road and look both ways, trying to determine in which direction town might be. To the left, nothing but dry fields. To the right, the same. No shade, no life. Just the blazing Kenyan sun in front, and behind me, at the hotel, a cruel pantomime of Africa played out in blackface, replete with rich, tanned Euro-travelers demanding afternoon cocktails from illiterate Kenyan waiters in bow ties and white jackets.
Kenneth Cain (Emergency Sex (And Other Desperate Measures): True Stories from a War Zone)
Jock’s drinking didn’t help matters. At four o’clock every afternoon when we were in Bombay, we met the rest of the family on the veranda for cocktails. There was a ritual to it,
Paula McLain (Circling the Sun)
Jock’s drinking didn’t help matters. At four o’clock every afternoon when we were in Bombay, we met the rest of the family on the veranda for cocktails. There was a ritual to it, I learned very quickly, every feature played out to the letter, how much ice went in, how much lime, the air filling with a tangy zest that I felt at the back of my throat.
Paula McLain (Circling the Sun)
Is D looking out for you?” he wanted to know. “Making sure you don’t get into trouble?” “What do you mean?” “You always had your own rules about things. Like that boy you ran around with when I first met you.” “Kibii?” “That’s right.” He tipped his cocktail glass back and pulled the whisky along the rim through his teeth. “You were always a bit of a savage here, weren’t you?” “I can’t think what you’re implying. And anyway, you seemed to admire my hunting with Kibii when we first met. Now I’m a savage?” “I’m only saying that what you do reflects on me. The way you were brought up out here, running around with God knows who doing God knows what…and now you’re off at D’s, a woman alone surrounded by men. It smacks of trouble.” “I’m working, not taking dozens of lovers.” “I’d hear of it in an instant if you were,” he said flatly. His eyes flicked away and returned. “You’ve already put me in quite a position.” “I’ve put you in a position? Just give me the damned divorce and let’s have done with it.” Before
Paula McLain (Circling the Sun)
Races weren’t supposed to be pageants or cocktail parties. They were tests. Hundreds of hours of training came down to a few breathless moments—and only then would anyone know if the animals were ready, which would rise and which would stumble, how the work and the talent would match up to carry this horse through, while that one would be left wearing dust, the jockey ashamed or surprised or full of excuses. There
Paula McLain (Circling the Sun)
This drink is an Elixandria. It's named after our sun, that's why it's this nice orange color. The brown liquid on top is dark rum, and we pour it over to represent a setting sun. Little bit of rum? 'Dawn'. Little more rum? 'Dusk'. You looking to get drunk? 'Dark'.
Mandy Ashcraft (Small Orange Fruit)
I’m the one who spills. Who trips. Who drops. I once accidentally flung a chicken bone across the room at a very elegant cocktail party while trying to make a point.
Shonda Rhimes (Year of Yes: How to Dance It Out, Stand In the Sun and Be Your Own Person)
He supposed he’d never get used to it; the taste of a thousand – a million – who knew how many – scorched and vaporised bodies, and chemistry; from dust to dust, my father, O father; from dust to dust, an organic offering to the sun, to night, to all the other suns and their planets and their moons; this cocktail of dust that tasted and smelled like death. How could anyone ever get used to it?
Adam J. Smith (Neon Sands (Neon #1))
Gingers are my kryptonite. Always have been, always will be. Show me a hot redheaded guy and my pulse will start a’racing. And this guy? At least six feet three, sun-kissed skin, freckles scattered across his nose, his hair swept back from his chiseled features. Cheekbones that could cut glass. And those eyes, currently giving me the three-second inventory. I
Alice Clayton (Mai Tai'd Up (Cocktail, #4))
Sean deliberately loitered on the patio with his grandmother and the other septuagenarians before going to the kitchen to pour May Ellen and Lily’s drinks. He wanted to give them a bit of privacy. As for me, Sean thought—drawing deep drafts of the scented, heavy Florida night air into his lungs--I need to pull myself together. Because it was happening already: the Lily Effect was at work on his brain. Why in God’s name had he told her he’d be accompanying her and the team on some dives, when that was the last thing he wanted to do . . . especially if he intended to maintain his sanity? Unfortunately, as dumb as he was feeling, Sean had the answer to that one. It pained him to realize that he was still as hung up on Lily as ever—and just as susceptible to her disdain. It had taken her, what, two hours since she waltzed back into Coral Beach to accuse him of crooked politics? Did Lily have any idea of the high-wire act he was attempting by trying to get the reef accurately documented and assessed before he took a public stance on the marina development? No, of course not. Sean might have filled her in, if she hadn’t made it clear she assumed his sole motivation was political gain. Stung, he’d retaliated in kind, implying that Lily might stoop so low as to manipulate the reef study—even though Sean knew the sun would set in the east before Lily Banyon committed an act of professional dishonesty. Her integrity had always been one of the things he admired most about her. That Lily actually fell for his bogus threat merely showed how profound her distrust, her dislike of him was. At the Rusted Keel, Dave had urged him to seize the opportunity to go on the research boat and work on charming Lily. Yeah, Sean thought acidly, as he carried the cocktails toward the living room. He and Lily were off to their usual great start.
Laura Moore (Night Swimming: A Novel)
COSMOPOLITANS AT THE PARADISE Cosmopolitans at the Paradise. Heavenly Kelly's cosmopolitans make the sun rise. They make the sun rise in my blood. Under the stars in my brow. Tonight a perfect cosmopolitan sets sail for paradise. Johnny's cosmopolitans start the countdown on the launch pad. My Paradise is a diner. Nothing could be finer. There was a lovely man in this town named Harry Diner. Lighter than zero Gravity, a rinse of lift, the cosmopolitan cocktail They mix here at the Paradise is the best In the United States - pink as a flamingo and life-announcing As a leaping salmon. The space suit I will squeeze into arrives In a martini glass. Poured from a chilled silver shaker beaded with frost sweat. Finally I go Back to where the only place to go is far. Ahab on the launch pad - I'm the roar Wearing a wild blazer, black stripes and red, And a yarmulke with a propeller on my missile head. There she blows! Row harder, my hearties! - My United Nations of liftoff! I targeted the great white whale black hole. On impact I burst into stars. I am the caliph of paradise, Hip-deep in a waterbed of wives. I am the Ducati of desire, 144.1 horsepower at the rear wheel. Nights and days, black stripes and red, I orbit Sag Harbor and the big blue ball. I pursue Moby-Dick to the end of the book. I raise the pink flamingos to my lips and drink.
Frederick Seidel (Poems 1959-2009)
It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.
Kristian Ventura (A Happy Ghost)
Crazy Pavers: A Sophisticated and Sleek Solution for Walls and Fireplaces The beauty of Crazy Paving, or randomly placed pavers, is that it complements many different types of spaces. Like, in a retro-inspired home, its wildness makes sense and gives you the impression that it’s cocktail hour whenever the sun sets.
Stone Depot
The instant you run around anyone, Ari, you give them power,' my mother had said. Her lips on my cheek, her fingers around the thin stem of a cocktail glass, diamonds sparkling in the sun. 'Be the one who is pursued.
Nalini Singh (Quiet in Her Bones)
Even so I had always come up after a dive numbed and stiff from the cold, requiring a powerful “submarine cocktail,” a pint of hot coffee and whisky, mixed half-and-half, to help thaw me out.
Edward Ellsberg (The World War II Chronicles: Under the Red Sea Sun, The Far Shore, and No Banners, No Bugles)
in her fingers. “Don’t you want me to say something like that? Isn’t that why you’re here?” “I... well...” Walker swallowed hard. “Is the truth always such a challenge?” “What, are you some seer? A truth divining rod?” “Was. Now I don’t care,” Shane said. “And if hunting ghosts gives you a thrill, buckle up, enjoy the ride. I have enough trouble with the living.” “It doesn’t give me a thrill,” Walker said, pushing the tea away. “I want to get some publicity for the hotel.” “And ghosts will do that?” What was Shane, her conscience? “People like mysteries, right? The unknown.” The more Walker thought about it, the more she thought she was right. This was going to work if she could get Calum on board. “Maybe.” Shane shrugged and arranged her cocktail napkins in a short spiral tower. “But what if the unknown becomes known?” Shane asked. “What then?” The sun was a red orange fireball flaming towards the shadowy horizon when Calum finally made his way back towards the hotel. He’d enjoyed another coffee with Laird and his fiancé, Tucker as well as Laird’s brother Kane and his wife and young daughter.
Sinclair Jayne (Halloween at the Graff (Holiday at the Graff, #1))
He sold smoked bluefish pâté and cocktail sauce, lemons, asparagus, corn on the cob, sun-dried tomato pesto, and fresh pasta. He sold Ben & Jerry's, Nantucket Nectars, frozen loaves of French bread. It was a veritable grocery store; before, it had just been fish. Marguerite inspected the specimens in the refrigerated display case; even the fish had changed. There were soft-shell crabs and swordfish chunks ("great for kebabs"); there was unshelled lobster meat selling for $35.99 a pound; there were large shrimp, extra-large shrimp, and jumbo shrimp available with shell or without, cooked or uncooked. But then there were the Dusty staples- the plump, white, day-boat scallops, the fillets of red-purple tuna cut as thick as a paperback novel, the Arctic char and halibut and a whole striped bass that, if Marguerite had to guess, Dusty had caught himself off of Great Point that very morning.
Elin Hilderbrand (The Love Season)
Happiness isn’t found out on a beach somewhere basking in the hot sun. It isn’t found in a cocktail glass or in approval from others. It is not something you need to chase or find. Instead, you can create it right here, where you are now, with the choices you make each day. Choose to take good care of yourself. Do what brings you joy. Live a life you believe in. Spend time in the company of those who uplift you. Be kind. Happiness is the side effect of all of these experiences; it is not a thing you find out there.
Cyndie Spiegel (A Year of Positive Thinking: Daily Inspiration, Wisdom, and Courage (A Year of Daily Reflections))
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We have several original cocktails,” I said. “The most popular one’s Robin’s Nest, after the bar. A little thing I whipped up myself. You use rum and vodka as a base. It’s easy going down, but it packs a wallop.” “Sounds good for wooing women.” “Well, I thought that was the whole point of cocktails.” She smiled. “Okay, I’ll try one.
Haruki Murakami (South of the Border, West of the Sun: A Novel (Vintage International))
Most people don’t realize it, but good cocktails demand talent.
Haruki Murakami (South of the Border, West of the Sun: A Novel (Vintage International))
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