Sweet Fourteen Quotes

I. Those of us born by water are never afraid enough of drowning. Bruises used to trophy my knees from my death-defying tree climb jumps. Growing up, my backyard was a forest of blackberry bushes. I learned early nothing sweet will come to you unthorned. II. At twelve your body becomes a currency. So Jenny and I sat down and cut up all our clothes into nothing. That year I failed math class but knew the exact number of calories in a carrot stick. I learned early being desired goes hand in hand with hunger. III. The last time I tried to scream I felt my father climbing up through my throat and into my mouth. IV. There is a certain kind of girl who reads Lolita at fourteen and finds religion. I painted my eyes black and sucked barroom cherries to red my tongue. There was a boy who promised Judas really did love Jesus. I learned early every kiss and betrayal are up for interpretation. V. I think he must have conferenced with my nightmares on exactly how to hurt me. VI. He never broke my heart. He only turned it into a compass that always points me back to him.

Samuel walked out to Lindsey then, and there she was in his arms, my sweet butterball babe, born ten years after my fourteen years on Earth: Abigail Suzanne. Little Susie to me. Samuel placed Susie on a blanket near the flowers. And my sister, my Lindsey, left me in her memories, where I was meant to be.

The dinner bell rings, and everyone trots off, Frederick coming in last with his taffy-colored hair and wounded eyes, bootlaces trailing. Werner washes Frederick’s mess tin for him; he shares homework answers, shoe polish, sweets from Dr. Hauptmann; they run next to each other during field exercises. A brass pin weighs lightly on each of their lapels; one hundred and fourteen hobnailed boots spark against pebbles on the trail. The castle with its towers and battlements looms below them like some misty vision of foregone glory. Werner’s blood gallops through his ventricles, his thoughts on Hauptmann’s transceiver, on solder, fuses, batteries, antennas; his boot and Frederick’s touch the ground at the exact same moment.

Can you imagine? Fourteen-hundred-year-old views of history determining how neighbors interacted in the twentieth century? No. You can't. Because history here is a dead thing. Something captured in books that schoolchildren have to endure and which they forget about the moment the books are closed. In Pakistan, every conversation, however personal, is punctuated by the raspy, decrepit gasps of the past breathing down your neck; every generation has to fight out all the old arguments that have been fought before.

I will put Chaos in to fourteen lines And keep him there; and let him thence escape If he be lucky; let him twist, and ape Flood, fire, and demons–his adroit designs Will strain to nothing in the strict confines Of this sweet Order, where, in pious rape, I hold his essence and amorphous shape, Till he with Order mingles and combines. Past are the hours, the years, of our duress, His arrogance, our awful servitude: I have him. He is nothing more nor less Than something simple not yet understood; I shall not even force him to confess; Or answer. I will only make him good.

If we could shrink the Earth’s 5.7 billion population to a village of one hundred people, the resulting profile would look like this:        Sixty Asians, fourteen Africans, twelve Europeans, eight Latin Americans, five from the United States and Canada, and one from New Zealand or Australia.        Eighty-two would be nonwhite.        Sixty-seven would be non-Christian.        Thirty-two percent of the entire world’s wealth would be in the hands of five people.        All five people would be citizens of the United States.        Sixty-seven would be unable to read.        Fifty would suffer from malnutrition. Thirty-three would be without access to a safe water supply.        Eighty would live in substandard housing. Thirty-nine would lack access to improved sanitation. Twenty-four would not have electricity.        Only one would have a college education.30

My fourteen-year-old sister Lara is a brat. Unfortunately, no one sees it but me. To everyone else, she’s adorable. She’s tiny and blonde and sweet and as helpless as a kitten. Chloe reminded me of Lara, at first. The difference, as I discovered, is that Chloe really is as sweet as she seems and she isn’t as helpless as she looks.

You smell of other people's blood, ma petite." I smiled at him, sweetly. "It was no one you knew." His voice when it came was low and dark, full of a quiet rage. It slithered across my skin, like a cold wind. "Have you been killing vampires, my little animator?" "No." I whispered it, my voice suddenly hoarse. I had never heard his voice like that. "They call you The Executioner, did you know that?" "Yes." He had done nothing to threaten me, yet nothing at that moment would have forced me to pass him. They might as well have barred the door. "How many kills do you have to your credit?" I didn't like this conversation. It wasn't going to end anywhere I wanted to be. I knew one master vampire who could smell lies. I didn't understand Jean-Claude's mood, but I wasn't about to lie to him. "Fourteen." "And you call us murderers." I just stared at him, not sure what he wanted me to say.

Mercédès! Ah, yes, you are right, this name is still sweet to me when I speak it, and this is the first time for many years that it has sounded so clear as it left my lips. Oh, Mercédès, I have spoken your name with sighs of melancholy, with groans of pain and with the croak of despair. I have spoken it frozen with cold, huddled on the straw of my dungeon. I have spoken it raging with heat and rolling around on the stone floor of my prison. Mercédès, I must have my revenge, because for fourteen years I suffered, fourteen years I wept and cursed. Now, I say to you, Mercédès, I must have my revenge!

When we blame those who brought about the brutal murder of Emmett Till, we have to count President Eisenhower, who did not consider the national honor at stake when white Southerners prevented African Americans from voting; who would not enforce the edicts of the highest court in the land, telling Chief Justice Earl Warren, 'All [opponents of desegregation] are concerned about is to see that their sweet little girls are not required to sit in schools alongside some big, overgrown Negroes.' We must count Attorney General Herbert Brownell Jr., who demurred that the federal government had no jurisdiction in the political assassinations of George Lee and Lamar Smith that summer, thus not only preventing African Americans from voting but also enabling Milam and Bryant to feel confident that they could murder a fourteen-year-old boy with impunity. Brownell, a creature of politics, likewise refused to intervene in the Till case. We must count the politicians who ran for office in Mississippi thumping the podium for segregation and whipping crowds into a frenzy about the terrifying prospects of school desegregation and black voting. This goes double for the Citizens' Councils, which deliberately created an environment in which they knew white terrorism was inevitable. We must count the jurors and the editors who provided cover for Milam, Bryant, and the rest. Above all, we have to count the millions of citizens of all colors and in all regions who knew about the rampant racial injustice in America and did nothing to end it. The black novelist Chester Himes wrote a letter to the New York Post the day he heard the news of Milam's and Bryant's acquittals: 'The real horror comes when your dead brain must face the fact that we as a nation don't want it to stop. If we wanted to, we would.

it died away, Stu said: “This wasn’t on the agenda, but I wonder if we could start by singing the National Anthem. I guess you folks remember the words and the tune.” There was that ruffling, shuffling sound of people getting to their feet. Another pause as everyone waited for someone else to start. Then a girl’s sweet voice rose in the air, solo for only the first three syllables: “Oh, say can—” It was Frannie’s voice, but for a moment it seemed to Larry to be underlaid by another voice, his own, and the place was not Boulder but upstate Vermont and the day was July 4, the Republic was two hundred and fourteen years old, and Rita lay dead in the tent behind him, her mouth filled with green puke and a bottle of pills in her stiffening hand. A chill of gooseflesh passed over him and suddenly he felt that they were being watched, watched by something that could, in the words of that old song by The Who, see for miles and miles and miles. Something awful and dark and alien. For just a moment he felt an urge to run from this place, just run and never stop. This was no game they were playing here. This was serious business; killing business. Maybe worse. Then other voices joined in. “—can you see, by the dawn’s early light,” and Lucy was singing, holding his hand, crying again, and others were crying, most of them were crying, crying for what was lost and bitter, the runaway American dream, chrome-wheeled, fuel-injected, and stepping out over the line, and suddenly his memory was not of Rita, dead in the tent, but of he and his mother at Yankee Stadium—it was September 29, the Yankees were only a game and a half behind the Red Sox, and all things were still possible. There were fifty-five thousand people in the Stadium, all standing, the players in the field with their caps over their hearts, Guidry on the mound, Rickey Henderson was standing in deep left field (“—by the twilight’s last gleaming—”), and the light-standards were on in the purple gloaming, moths and night-fliers banging softly against them, and New York was around them, teeming, city of night and light. Larry joined the singing too, and when it was done and the applause rolled out once more, he was crying a bit himself. Rita was gone. Alice Underwood was gone. New York was gone. America was gone. Even if they could defeat Randall Flagg, whatever they might make would never be the same as that world of dark streets and bright dreams.

What no one tells you is that there will be a last time you ever carry your child. A last time you tuck them in. A last time they run into your arms off the school bus. All through his infancy, Dylan was attached to me, almost literally. I nursed him, and he was fussy, so I carried him almost constantly, patting his back, humming to him, breathing in his delicious baby scent. He didn’t walk till he was fourteen months old, and I loved that, because I got to carry him that much longer. I took him for hikes in a backpack, his little knees hitting my ribs. I carried him on my shoulders, him clinging to fistfuls of my hair. I loved every minute. He was an affectionate boy full of drooly kisses and cuddles. He was generous with his hugs, from Paul at the post office to Christine, our librarian. And especially with me. Every night when I read him bedtime stories, his sweet little head would rest against my shoulder, and he’d idly stroke my arm, smelling like Dove soap and baby shampoo. Driving in the car was like a tranquilizer dart for Dylan . . . even bumping down our long dirt road wouldn’t wake him up, and I’d park the car, get out and unbuckle him, then lift his sweaty little body into my arms to carry him inside and just sit on the couch with him in my arms, heart against heart. And then one day, he no longer needed that. The bedtime stories stopped when he was about ten and wanted to read to himself. The last time I attempted to carry him from the car, he woke up and said, “It’s okay, Mom. I’m awake.” He never needed that again. Had someone told me “This is the last time you’ll get to carry your son,” I would have paid more attention. I would have held him as long as I could. They don’t tell you that your son will stop kissing you with sweet innocence, and those smooches will be replaced with an obligatory peck. They don’t tell you that he won’t want a piggyback ride ever again. That you can’t hold his hand anymore. That those goofy, physical games of chasing and tickling and mock wrestling will end one day. Permanently. All those natural, easy, physical gestures of love stop when your son hits puberty and is abruptly aware of his body . . . and yours. He doesn’t want to hug you the same way, finding your physicality perhaps a little . . . icky . . . that realization that Mom has boobs, that Mom’s stomach is soft, that Mom and Dad have sex, that Mom gets her period. The snuggles stop. This child, the deepest love of your life, won’t ever stroke your arm again. You’ll never get to lie in bed next to him for a bedtime chat, those little talks he used to beg for. No more tuck-ins. No more comforting after a bad dream. The physical distance between the two of you is vast . . . it’s not just that he’ll only come so close for the briefest second, but also the simple fact that he isn’t that little boy anymore. He’s a young man, a fully grown male with feet that smell like death and razor stubble on his once petal-soft cheeks.

We dance. Sweet, downcast, through-the-lashes-glances bely every beating she got at thirteen, every lash of the tongue from her dad at fourteen, every heroin high that let her out for awhile, every hour and day she had to be tough. She is so natural and soft. Her shoulders are down, hips loose and swinging as we close together. I swear I'm growing chest hair just looking at her. I've been a boy in public before, but I've never seen her like this. That's it exactly; I haven't seen her at all, except in glimpses, in half-confessional role-play sex. And here she is - pressed tight against my chest, hips grinding against my crotch to the bass bump of the music. Her thigh along mine is electric heaven. Two drag queens cannot decide whether we are breeders or in drag. I stroke my mascara-made mustache at them - but none of it matters with hands in suede and the way she smiles.

All your life you look to America for those home-grown, corn-fed tits that the Yank bitches all sprout when they’re about fourteen – those bulging DDs that you wank about as a kid as you look longingly across the Atlantic, simultaneously repulsed and electrified – and then the greatest tits you’ve ever seen walk straight out of Giffnock (Glasgow, but you knew that, right?) and bounce their sweet way down to you via the Caledonian-sleeper train. I know they say America is finished, but Christ, when the Jock lassies are packing the premium chest meat, you know they aren’t kidding.

But who or what would want to torment a girl of only fourteen for the rest of her life? The thought was oppressive. Of course…it had to be the gods who were behind it all. The gods who whispered in her ear that she was better off not being born. The gods who declared she must suffer her whole life. What did Tokue think about life once she understood this? How was she going to live out the rest of it? She was just a girl, quietly sobbing her heart out.

Adzuki beans are small, russet-colored beans. They have a thin white line on the ridge. They’re somewhat thick-skinned with a sweet, nutty flavor. Black beans or turtle beans have a beautiful matte black color. The flesh is cream-colored with a rich, earthy flavor. Cannellini or white beans are white and kidney-shaped. They have a creamy, smooth texture and are good in soups and salads. Chickpeas are round, cream-colored legumes. Extremely popular in the Mediterranean, India, and the Middle East, they have a nutlike flavor. Very high in fiber and nutrients, they’re great when tossed on a salad, mixed with some chopped onion and olive oil, or pureed into hummus. Fava beans or broad beans are usually available whole in their pods or peeled and split. They’re large and light brown with a nutty taste and a slightly grainy texture. Great Northern beans are large white beans with a creamy texture. Use them in baked bean dishes. Navy beans are small white beans and are so called because the U.S. Navy used to keep them aboard ships as a standard provision. Pinto beans are perhaps the most popular beans in the United States. Pale pink with streaks of brown, once cooked, they turn entirely pink. They have a rich, meaty taste.

Pumpkin SIDEKICKS: carrots, butternut squash, sweet potatoes, orange bell peppers TRY TO EAT: ½ cup most days

So when can I meet your young man?” “He isn’t my young man.” Anna shook her head, rose, and found something fascinating to stare at out the window. “He was my employer, and he is a gentleman, so he and his brothers came to my aid.” “Fine-looking fellow,” Grandmama remarked innocently. “You’ve met him?” “Morgan and I ran into him and his younger brother when she took me to the park yesterday. Couple of handsome devils. In my day, bucks like that would have been brought to heel.” “This isn’t your day”—Anna smiled—“but as you are widowed, you shouldn’t feel compelled to exercise restraint on my behalf.” “Your dear grandfather gave me permission to remarry, you know.” Grandmother peered at a tray of sweets as she spoke. “At the time, I told him I could never love another, and I won’t—not in the way I loved him.” “But?” Anna turned curious eyes on her grandmother and waited. “But he knew me better than I know myself. Life is short, Anna James, but it can be long and short at the same time if you’re lonely. I think that was part of your brother’s problem.” “What do you mean?” Anna asked, not wanting to point out the premature use of the past tense. “He was too alone up there in Yorkshire.” Grandmother bit into a chocolate. “The only boy, then being raised by an old man, too isolated. There’s a reason boys are sent off to school at a young age. Put all those barbarians together, and they somehow civilize each other.” “Westhaven wasn’t sent to school until he was fourteen,” Anna said. “He is quite civilized, as are his brothers.” “Civilized, handsome, well heeled, titled.” Grandmother looked up from the tray of sweets. “What on earth is not to like?” Anna

By adding vegetables like carrots, potatoes and zucchini, you were able to create seven separate pâtes of different colors. And each pâte has been cooked in a way to maximize the deliciousness of each vegetable. I'm impressed you were able to complete all that work in so little time." "You made two separate sauces too. A sweet and tangy sudachi gelée... ... and a refreshing green herb sauce centered on shiso... and mixed with other fragrant herbs to make a pesto." "Wow! Seasoning a European terrine with distinctly Japanese flavors like sudachi and shiso... what a fresh idea!" "Mmmm! The sautéed zucchini together with the herb sauce is so invigoratingly zesty and tasty! Exquisite!" "The tangy sudachi sauce goes well with the mildly sweet tomatoes too." "Seven different pâtes with two different sauces means there are fourteen flavors to enjoy. I'm already excited to try various combinations!" "Me too. It seems the colorful rainbow stripes aren't only pleasing to the eye... they also manage to be equally pleasing to the palate!

Pierre Hermé. Variously coined "The Picasso of Pastry," "The King of Modern Pâtisserie," "The Pastry Provocateur," and "The Magician with Tastes," he's the rock star of the French pastry world. In a country that takes desserts as seriously as Americans take Hollywood relationships (that is to say, very), he has the respect and admiration of Paul Newman. At the age of fourteen, in fact, Gaston Lenôtre of the famed Lenôtre Pâtisserie asked Pierre's father if he could apprentice Pierre. So at about the same age that I started whipping up Oreo blizzards for my illustrious career at Dairy Queen, Pierre began his in the French pastry world. After five years at Lenôtre, at the spry age of nineteen, he became the head pastry chef. If you've ever seen the billowy white gâteaux or structurally perfect strawberry tarts from this Parisian landmark, you know how impressive this is. Later, he moved on to Fauchon, another top marque in the French pastry world, where he caught the world's attention with his Cherry on the Cake, a towering creation of hazelnut dacquoise, milk chocolate ganache, milk chocolate Chantilly cream, milk chocolate shavings, crushed wafers, and a bright red candied cherry- phew! complete with stem- on top. This was an important revelation for two reasons: its artistry and the unexpected flavors. Unveiling this cake is a ritual, and if there's one thing I'd learned, it's that the French like their rituals. The more dramatic, the better. Untying the satin bow at the top of the cake's tall, triangular box allows the sides to fall away, revealing the gleaming cherry and six gold-leaf markings down the side, which indicate where to slice to serve the six perfect portions. With this cake, Pierre proved he was wildly creative, yet precise and thoughtful; a hedonist, but a hedonist with a little restraint and a lot of skill. Just as with its design, the flavor of the Cherry on the Cake left the French gasping. While they're typically dark and bittersweet chocolate devotees, this cake is all milk chocolate. Pierre took a risk that his budding fan base would fall for the milk chocolate and not think him sacrilegious for eschewing the dark. Same thing with flavors like lychee, rose, and salted caramel, which are common these days, but were out there when Pierre introduced them to his macarons and cakes in the early days.

No,” he told her. “If I’m serious, I’m scared. I’m scared because…you’re you. You’re the brightest light I’ve ever met. You’re sweet and perfect and lovely and…” He moved closer to her, holding onto his towel. “And you have this freckle right here.” He reached out one finger to her neck, tapping the little brown spot. “It’s been driving me wild since I was fourteen, Chloe, and if I think about how much I’ve wanted you and how long, and how if I make one wrong move I might lose you altogether… I can’t be serious, Chloe. It’s too much.